The Fiery Wooing of Mordred - an Analysis (P.G. Wodehouse)

“a cigar popped out, half an inch of soft gray ash on it, smoking, waiting”, was what led to a

If there was no such thing as sympathy, empathy, or love in our world, it would be a hard place to live. If there was no hard law or reason in our world, it would be a crazy place to live. Neither of these worlds would be anybody’s first choice as a home - it's just common sense take away either of these two fundamental aspects of life, and everything is immediately chaos. In fact, it is only in a world such as ours, where legal and human emotion work together, that we are happy. In William Shakespeare's A Midsummer Night's Dream, Shakespeare recognizes this truth and uses the two settings to represent the city of Athens as law, order, civility, and judgment, while the woods represent chaos, incivility, dreams, and love.

The Courtier, originally written as a “courtesy book”, can now be considered to provide significant insight into the norms and practices associated with courtship and gender during the Renaissance era. The book’s third volume is a particularly insightful window into 16th century romantic ideals. Throughout Book Three, Baldassare Castiglione builds an elaborate perspective on what makes the perfect court lady, what sexual and social behavior is acceptable, and how an ideal couple (both courtier and court lady) should function.

Edward Scissorhands, written by Tim Burton, tells the tale of a young man who is lovable, childlike and sensitive, bewildered by the humanity around him, yet is terrifying- someone who has scissors, the deadly weaponry, for hands. Many viewers may read this film as a “Tim Burton” type of fairytale which includes both an alternative aspect and romance. However, through the presentation of mise-en-scene in this film, Burton drives in a much more serious subject of social criticism by establishing two different understandings of life in the movie.

In A Midsummer Night’s Dream, Shakespeare makes heavy use of hyperbole, the twisting of reality into something greater than what it actually is, in both the dialogue and the ridiculous, larger-than-life nature of the situations that occur to provide a basis for the conflict between reality and illusion, blurring the line that separates the two concepts.

In usual fairytale movies, filmmakers intend to make films that give happy endings with simple miraculous entertainments. However, in the fable movie, Edward Scissorhand, the director, Tim Burton, positions the viewers to understand the significant meaning of particular issues. “E.S” is can be seen as a story of stereotypical suburbia with social criticism. In this essay, starting from analysing this film and providing dominant discourse, the use of characters will be discussed followed by debate of technical and symbolic codes which help to put up the discourse. In particular, this essay will consider the technical code of camera angle and symbolic codes of colour which emphasize the dominant discourse.

“This one was hardly bigger than a garage. The table was cluttered with limp- looking magazines and at one end of it there was a big green glass ashtray full of cigarette butts and cotton wads with little blood spots on them. If she had had anything to do with the running of the place, that would have been emptied every so often. There were no chairs against the wall at the head of the room. It had a rectangular-shaped panel in it that permitted a view of the office where the nurse came and went and the secretary listened to the radio. A plastic fern, in a gold pot sat in the opening and trailed its fronds down almost to the floor. The radio was softly playing gospel music” (O’Connor 3). As the Turpins waited Mrs. Turpin began to describe the other waiting room occupants to pass the time. Mrs. Turpin can be seen as a larger woman who is proud of her means and then there is her husband Claud who can be described as a “florid, bald, sturdy and shorter than Mrs. Turpin (O’Connor 1). Next was an unnamed blonde child whose attire consisted of a dirty blue romper, the boy’s mother was seen “wearing on a yellow sweatshirt and wine- colored slacks, both gritty-looking, and the rims of her lips were stained with snuff. Her dirty yellow hair was tied behind with a little piece of red paper ribbon” (O’Connor 5). The next woman is called the “stylish woman” by

Literature of the English Restoration offers the example of a number of writers who wrote for a courtly audience: literary production, particularly in learned imitation of classical models, was part of the court culture of King Charles II. The fact of a shared model explains the remarkable similarities between “The Imperfect Enjoyment” by the Earl of Rochester and “The Disappointment” by Aphra Behn—remarkable only because readers are surprised to read one poem about male sexual impotence from the late seventeenth century, let alone two examples of this genre by well-known courtly writers. In fact, Richard Quaintance presents ten more examples by lesser-known poets as he defines the literary sub-genre of the neo-Classical “imperfect

Jonathan Edwards’s attention to the separation of the body from the soul combined with his efforts to account for the spirit of revivalism during the “Great Awakening” implicates the sublime as both a rhetorical tool and psychological experience that, in either case, foregrounds the relationship between an individual’s perception of the self and his or her relationship to a community. Comparing Edwards’s personal writing to his public writing , an exploration of the phenomenon of conversion is clearly developed. Sublime experiences represent potential moments for conversion to Christianity because such events are moments that define the self in absence

William Shakespeare starts with a seemingly unresolvable conflict in A Midsummer Night’s Dream. The main characters are lovers who are either unrequited in their love or hassled by the love of another. These lovers are inevitably paired. How does Shakespeare make this happen? He creates many subplots that, before long, are all snarled up into a chaotic knot. So, what actions does Shakespeare take to resolve these new quandaries? He ends up trusting a single key entity with his comedy. It’s only then that he introduces a special character into his world: a mischievous fairy whom is known by the name of Puck. Puck is the catalyst for all these subplots and, indeed, for the entirety of Shakespeare’s A Midsummer Night’s Dream. Try to take Puck

That is when the boys realize that those consequences were indeed very traumatic, for a little boy with a mulberry mark on his face was missing from the gathering, and although they didn’t know it then, never to be seen again. This is very similar to how humans underestimate the consequences of their actions and how those actions can easily slide from good to evil and how little time it takes to happen. For example, at the beginning of the novel, Jack is intent on being a leader and a role model in an ethical and respectable way but, in the course of a couple months, he transformed from the person who was ready to run things diplomatically, to a crazed anarchist whose main focus are blood and control. Directly linking to fire, fire is thirsty for wood and oxygen as well as to dominate and control everything that it can touch. Fire, like many things is forever changing and never trustworthy therefore, trust in anything is questionable, for nothing truly is exactly as it seems.

Romanticism is categorized as “a preference for simplicity and naturalness, a love of plain feelings and truth to common place reality, especially as found in natural scenes”. Nathaniel Hawthorne was an anti-transcendentalist and believed in the dark side of man, hence his dark romantic novel The Scarlet Letter. This allegorical novel depends heavily on symbol and character. The novel is chock full of symbolic dimension of images, characters, and descriptions. The Scarlet Letter defines the American Romanticist movement while using symbolic characters and places that give the book seemingly two different stories. The first story denotes the story going on in the book, including the characters. The other story has symbols that speak on

after the fire and make sure he okay. She takes him much more as a

Fire is a symbol of emotion in the novel and is involved in deep moments of love and hate. There were various examples of ‘fire’ that develop love and hate in the story. The two most important ‘fires’ in the novel are literal and both committed by Bertha Mason. The first act of arson occurs in Volume 1, Chapter 15 when Bertha sets Rochester’s clothes on fire. “Something creaked: it was a door ajar, and that door was Mr. Rochester’s, and the smoke rushed in a cloud from thence” (148). Out of love, Jane doused her crush in

Staring from the definition found in the dictionary, the decadence is a literary movement especially of late 19th-century France and England characterized by refined aestheticism, artifice, and the quest for new sensations. [1]