The Winters Tale: The Tragedy Within A Romance :: essays research papers

The Winter's Tale: The Tragedy Within A Romance In 1623, the complete works of Shakespeare were published in the First Folio. Within this Folio were the works of Shakespeare categorized by their genre. There were tragedies, histories, comedies, and the final four were romances. Prior to this time, romance was not a widespread genre in anyone's writings. We can see by means of the "genealogy" of writing, that the romance we know today was created through the combination of the Greek novels and Shakespearean comedies. This alliance between the two genres is apparent in Shakespeare's Winter's Tale. The most obvious indication to this suggestion is in the first three acts of the play. Within these acts a whole tragedy can be seen and all it's parts defined to show that this Romance was written by meshing to types of play together. The first three acts of the Winter's Tale are where the tragedy takes place. These three acts can be broken down into five acts, as suggested by Bill, the great comparative literian. The first of these five acts is the exposition. The story is set up and you are thrust into Leontes internal passion of jealousy. The second act is where Leontes expresses his passion externally by accusing Hermione of sleeping with Polixenes. He then has his wife taken off to jail. The third act is where we see the first contest, or agon. This takes place when Paulina brings the baby daughter from jail and presents it to Leontes. The two battle back and forth, attempting to prove themselves. The fourth act is the main agon, or the place at which we are at the peak of competition. Hermione stands before the king and the lords and she denies infidelity. However, no matter how convincing she is, Leontes' mind is set as to her actions in the past. The fifth act is the resolution, and this is when the oracle is read. Leontes realizes his jealousy and his errors, and is punished by Apollo, who kills

Psychoanalytic Criticism Essay

Sigmund Freud, a well-known psychologist, believes the unconscious can be unlocked through dreams. He defined the unconscious as, â€Å"the storehouse of those painful experiences and emotions, those wounds, fears, guilty desires, and unresolved conflicts we do not know about because we feel we will be overwhelmed by them† (Tyson). Psychoanalytic criticism, a form of criticism which allows the reader to psychoanalyze an author’s unconscious through the characters of his or her work(s), is heavily influenced by Freudian theories of psychology. Since Sigmund Freud explored the workings of the unconscious, he found that his patients developed many defense and anxiety mechanisms to cope with disagreeable ideas, painful memories, feelings or impulses. Nella Larson, author to of Passing, created two diverse characters showing different signs to support Freud’s defense mechanisms and repression—Clare Kendry and Irene Redfield. Clare Kendry, one of the main characters in the book, represses much of her black history to meet societal expectations. At the beginning of Passing, Larson gives a short backstory to Clare’s life; portraying her biracial background. As the novel progressed, readers meet â€Å"an attractive-looking woman†¦with those dark, almost black, eyes and [a] wide mouth like a scarlet flower against the ivory of her skin† (Larson, 9). Once this eye-catching woman introduces herself to her longtime friend, Irene Redfield, as Clare, she declares she has passed into the white community. During the civil rights movement, if a biracial individual’s skin complexion appeared closer to white than black; he or she would be able to pass into the white society. As she tells the story of her lost years to Irene, one can tell Clare has repressed her black history as a result of moving in with two white aunts after her father died. She has this a locus in the family since her aunts were racist against the black community. This prejudice against black people unconsciously helped Clare in repressing her black identity. Clare’s aunts were hypocrites in their religious beliefs because â€Å"[for] all their Bibles and praying and ranting about honesty, they didn’t want anyone to know that their darling brother had seduced—ruined, they called it—a Negro girl. They could excuse the ruin, but they couldn’t forgive the tar-brush† (Larson, 19). When living with her aunts, she was conditioned to believe she was 100% white. This conditioning influences Clare to pass into the white community, leaving her black history behind. In a way, since Clare has conditioned herself to live among white people, she fears her identity will be compromised. Eventually, she marries a rich, white man named John Bellew—an extreme racist. During one of Irene’s visits, Clare confessed that she would never go through the horrors of pregnancy again because she â€Å"nearly died in terror the whole nine months before Margery (her daughter) was born† (Larson, 26) because she feared that Margery â€Å"might be dark† (Larson, 26). This fear coincides with Clare’s repression of half of her identity—something she has been trained not to accept; especially since she married a very prejudice man. After re-meeting Irene in the restaurant in Chicago, Clare begins to look up to her as more than a friend by reaching out to Irene Redfield and showing discreet signs of projection. Since she did not have a mother figure growing up, she instinctively projects that solitary need onto her friend, Irene. When Irene and Clare bump into each other at the restaurant, Clare professes her need to see Irene on a regular basis, â€Å"And now, ‘Rene dear, that I’ve found you, I mean to see lots and lots of you† (Larson, 16). This proves Clare’s need for projection, hoping that Irene would fill that motherly role. Clare’s projection could resemble many things but one stands out clear—she is starting to unconsciously revert back to her black heritage and needs that motherly role m odal to guide her back to her own identity. Unlike Clare, Irene Redfield has different psychoanalytical issues, one of which regards low self-esteem. Throughout Passing, Irene starts to despise Clare because of her confidence. Clare shows traits that she yearns to possess indicating that Irene doesn’t see her self-worth. Irene is jealous of Clare’s beauty and outgoing attitude. Irene knows Clare carries heavy baggage because she is hiding her identity from her husband but it seems like Irene hates the fact that Clare doesn’t appear to have a care in the world: Irene doubted the genuineness of it, seeing herself only as a means to an end where Clare was concerned. Nor could it be said that [Clare] had even the slight artistic or sociological interest in the race that some members of other races displayed. She hadn’t. No, Clare Kendry cared nothing for the race. She only belonged to it. (Larson, 36). This passage is the starting point of Irene’s jealousy. In her mind, Clare had it all. She is married to a rich, white man who sees her as a white woman whereas Irene is married to a black man—almost making it impossible for her to ever pass into the white community; especially because one of her sons shares his father’s skin tone. Irene also dislikes Clare’s appearance during the Negro Welfare League Dance because she thinks her husband might find Clare’s apparel attractive. When she noticed Clare’s elegant dress and features, she â€Å"regretted that she hadn’t [counseled] Clare to wear something ordinary and inconspicuous† (Larson, 53). This dance was the beginning of Irene’s fear of betrayal and abandonment. Towards the end of the book, Irene suspects her husband, Brian, is having an affair with Clare. Despite what she suspects, she doesn’t want to believe it. Because she thinks that as long as Clare’s black history is kept from John, Irene has nothing to worry about. Despite how Irene feels, Cla re is bold and daring–willing to jeopardize everything to be free of John’s grasp. Irene couldn’t bear losing Brian; especially if Clare gains marital freedom: It was that smile that maddened Irene. She ran across the room, her terror tinged with ferocity, and laid a hand on Clare’s bare arm. One thought possessed her. She couldn’t have Clare Kendry cast aside by Bellew. She couldn’t have her free (Larson, 79). This excerpt proves that Irene has a fear of abandonment and a fear of betrayal. She cannot handle her husband betraying her for Clare Kendry, and she does not want to raise the boys alone. Irene also shows signs of repression and selective memory: â€Å"†¦What happened next, Irene Redfield never afterwards allowed herself to remember. Never clearly† (Larson 79). Irene knows what had happened but repressed the memory because she wouldn’t have been able to handle having murder on her hands. When the detective asks her what had happened, she, instead, remembers what she wants to remember and tells him Clare simply fell out the window before anyone could stop her. With Irene’s unfortunate luck, he believes her—allowing the new memory of Clare Kendry’s death to take place of the actual event. Much of Irene’s responses to Clare’s persona reflect what many blacks must have felt during the Civil Rights movement. During the Civil Rights Movement, the Jim Crow laws were established and segregation was made legal. Unfortunately, the black community received the shorter end of the stick and had to endure harsh treatment. Because of the hardships many black men and women had to tolerate, a psychological illness was developed. Due to the heavy white influence, black people were subjected. Like Irene, they most likely experienced avoidance, low self-esteem, fear of intimacy, abandonment or betrayal. Biracial men and women who passed into the white society found a loop hole to escape the disadvantages of segregation. Nella Larson captured a morbid, yet perfect, moment of how fear can literally drive a person over the edge and do whatever it takes for the fear to absolve. She portrayed Sigmund Freud’s defense mechanisms and anxieties well and understood the consequences of repression and fear. Repression is a double-edged sword. It is necessary to cope with tragic events and/or thoughts but it is also a powerful vice to the human mind. The defenses and anxieties Sigmund Freud discovered through his experiments could make or break a person—depending on their mental condition. Fears can either conquer or be conquered. Clare wanted to conquer her fear by leaving her husband, John. She wanted to free herself from his prejudice attitude and start a new life where she wouldn’t have to hide her black history. On the downside, Irene Redfield allowed her fear and rage consume her conscious, giving her the weapon she needed to kill Clare Kendry—paranoia. If Irene wasn’t so afraid of losing her husband, then she wouldn’t have had to kill Clare to eliminate her fears of solitude and betrayal. Works Cited Larson, Nella. Passing. London: W.W. Norton & Company, Inc., 2007. Book. Luft, Joseph and Harrington Ingham. â€Å"SMALL GROUP INSTRUCTOR TRAINING COURSE.† 1984. Chapter 5: Johari Window. Web. 11 November 2012. . Tyson, Lois. Critical Theory Today: A User-Friendly Guide. 2nd. New York City: Taylor and Francis Group, 2009. Web.

Noras Child-like Nature in A Dolls House Essay - 1162 Words

From the title alone, Henrik Ibsen’s, A Doll’s House, carries an adolescent connotation, with dolls holding immediate association with young girls and youth. In this controversial playwright, Ibsen portrays his Danish protagonist as an ignorant juvenile. Set in Copenhagen, Denmark, during the 1880’s, Nora’s childlike character suggests what the lifestyle of many women during that time may have been. Ibsen reveals Nora’s innate, childlike nature incorporating strategic set placement and direction, significant symbols, an array of revealing dialogue, and elaborate description, healthy in detail. Ibsen creates a setting that traps Nora in domestic comfort. The play opens with a description of the setting, detailing it as â€Å"A room furnished†¦show more content†¦Making use of the word â€Å"little† again revealing how he views his wife; â€Å"my† is also a frequent word in Torvald’s vocabulary. Torvald’s possessive nature prompts him to call Nora his no matter what pet-name he uses. The pattern of these possessive, diminutive pet-names such as â€Å"my little featherbrain† (3) reflect Torvald’s belief that Nora is another child of his, so much so that he actually refers to Nora specifically as a child on more than one occasion. Telling Nora that she talks like a child (3) and suggesting that â€Å"the child shall have her way† (2) further displays his feelings toward Nora. Just as an adult does not discuss their business with an adolescent, so does Torvald not have important conversations with Nora. Nora even notifi es Torvald that during the last scene was the â€Å"first (they) have had a serious conversation†(3). Torvald even groups Nora with his other children demanding that â€Å"lesson time shall begin . . . both (hers) and the children’s† (3). Torvald believes that he both owns and fathers Nora, vocalizing that â€Å"if a man made her (his wife), he has given her a new life, and she has in a way become both wife and child to him† (3). Going on, Torvald questions Nora, asking her, â€Å"Why shouldn’t I look at my dearest treasure, at all of the beauty that is mine, my very own?†(3). Financially stifling Nora and placing her in positions where he can act as her savior, or father, boosts Torvald’s self-esteemShow MoreRelatedA Doll s House By Henrik Ibsen1288 Words   |  6 Pages Henrik Ibsen’s A Doll’s House is based in the Victorian society of the 19th century. It assesses the many struggles and hardships that women faced because of marriage â€Å"laws† that were crucial during that time period. The society was male- dominated with no equality. Nora is the protagonist in A Doll’s House and the wife of a man named Torvald. This play is about Nora’s voyage to recognizing her self- determination and independence. She transforms from a traditional, reserved woman to a new, independentRead MoreHenrik Ibsen s A Doll s House1291 Words   |  6 Pages002322- 3 Henrik Ibsen’s A Doll’s House is based in the Victorian society of the 19th century. It assesses the many struggles and hardships that women faced because of marriage â€Å"laws† that were crucial during that time period. The society was male- dominated with no equality. Nora is the protagonist in A Doll’s House and the wife of a man named Torvald. This play is about Nora’s voyage to recognizing her self- determination and independence. She transforms from a traditional, reserved woman toRead MoreA Doll s House By Henrik Ibsen1288 Words   |  6 Pages Henrik Ibsen’s A Doll’s House is based in the Victorian society of the 19th century. It assesses the many struggles and hardships that women faced because of marriage â€Å"laws† that were crucial during that time period. The society was male- dominated with no equality. Nora is the protagonist in A Doll’s House and the wife of a man named Torvald. This play is about Nora’s voyage to recognizing her self- determination and independence. She transforms from a traditional, reserved woman to a new, independentRead MoreA Doll s House By Henrik Ibsen1639 Words   |  7 PagesIn the play A Doll’s House, Henrik Ibsen examines the roles of a woman during the nineteenth century in a male dominated Victorian society. The play is a well-played out journey of the main character, Nora, self-discovery and struggles against the oppression of her husband Torvald and the society he represents. Nora, who is the wife of Torvald Helmer, is the heroine of the play in the end. At the beginning of Act I, the scene is a clear picture of the lifestyle of the Helmer’s household. TheRead MoreEntrapment Of Household: Analysis Of â€Å"A Doll’S House†.1657 Words   |  7 PagesHousehold: Analysis of â€Å"A Doll’s House† The author of â€Å"A Doll’s House†, Henrik Ibsen was criticized for his controversial advocacy of moral and social reform by failing to respect the institution of marriage in his plays. A Doll’s House presents the aftermath of nineteenth-century patriarchal husbandry like those in Susan Glaspell’s play, â€Å"Trifles†. In many of the parlor plays of this era, female spectators reflect on their individual situations, revealing the unsatisfying nature of a woman’s positionRead MoreEssay about The Rebellion of Nora in Ibsens A Dolls House1357 Words   |  6 PagesThe Rebellion of Nora in A Dolls House      Ã‚  Ã‚   A Dolls House, by Henrik Ibsen, was written during a time when the role of woman was that of comforter, helper, and supporter of man. The play generated great controversy due to the fact that it featured a female protagonist seeking individuality.  Ã‚   A Dolls House was one of the first plays to introduce woman as having her own purposes and goals. The heroine, Nora Helmer, progresses during the course of the play eventually to realize that she mustRead MoreA Dolls House -H.Ibsen ,Critical Analysis1554 Words   |  7 Pagesï » ¿Subject : Drama B Writer : Henrik Johan Ibsen Genre : Realistic Modern Drama Name of the Work / Play : A Doll’s House ( 1897 ) in three acts Characters : Major Characters / Minor Characters Nora Helmer ( wife of Torvald Helmer ,mother of three children ) Torvald Helmer( husband of Nora Helmer , a lawyer ,father of three children ) Dr. Rank ( doctor ,friend of Nora Torvald Helmer, confidant ,commentator ) Mrs. Kristine Linde ( old friend of Nora Helmer ) Nils Krogstad ( barristerRead More Mrs. Linde as a Foil for Nora in in Ibsens A Dolls House Essay1650 Words   |  7 PagesNora in A Dolls House Random House Websters dictionary defines a foil as a person or thing that makes another seem better by contrast.   This essay will focus on the use of the foil to contrast another character. The characters of Nora and Mrs. Linde provide an excellent example of this literary device. Mrs. Lindes aged, experienced personality is the perfect foil for Noras childish nature. Mrs. Lindes hard life is used to contrast the frivolity and sheltered aspects of Noras life. NorasRead MoreA Psychoanalytical Perspective of a Dolls House972 Words   |  4 PagesA Psychoanalytical Perspective of a Doll’s House Justin Doughman Composition II/Literature South University Online A Psychoanalytical Perspective of â€Å"A Doll’s House† Nora Helmer is a young mother of three and an obedient house wife in, â€Å"A Doll’s House,† a play write written by Henrik Ibsen. Using the psychological perspective to dig deeper into Nora’s subconscious the reader finds that Nora yearns to be an independent womenRead More A Doll’s House Essay1511 Words   |  7 PagesIn Henrik Ibsen’s play, A Doll’s House, Nora is subjected to moral degradation through her familial role, the consistent patronization of her husband and her own assumed subordinance. Ibsen belittles the role of the housewife through means of stage direction, diminutive pet names and through Nora’s interaction with her morally ultimate husband, Torvald. Nora parades the faà §ade of being naà ¯ve and frivolous, deteriorating her character from being a seemingly ignorant child-wife to a desperate woman