The ways Shakespeare presents the character of Viola in Act One Scenes Two and Four Essay Example For Students

The ways Shakespeare presents the character of Viola in Act One Scenes Two and Four Essay Viola makes her entrance into the play in Scene 2, when she emerges out of the sea after a ship wreck. She is distraught the first time we meet her, as she has just lost her twin brother in the ship wreck. The fact that she is so distraught needs to be emphasised in the staging of the play; I think a girly, vulnerable yelp, as well as almost hysterical tears would be appropriate. This is the only time in the play where Viola is openly female and vulnerable and therefore I feel that this needs to be emphasised to the audience. We will write a custom essay on The ways Shakespeare presents the character of Viola in Act One Scenes Two and Four specifically for you for only $16.38 $13.9/page Order now One of the most interesting questions I had about Viola was why she did not go home after the ship wreck. It cannot be that she did not have enough money, as we know she does, For saying so theres gold. It also could not be that home is too far away, as Orsino had been mentioned by her father, I have heard my father name him. I think that the reason Viola does not go home is because there is nothing left for her there, as we know her father has died, My father had a mole upon his brow. We can tell this from the use of the past tense. Her mother is also not mentioned at all in the play, apart from in a figure of speech by Sebastian. Therefore I feel that Viola has no family left in where she lived before, so she would have no need to go back there. Another reason I feel she would not want to go back to her home country is that if she was there she would have to mourn for her brother in the way Olivia has to mourn for hers. Viola would not like to mourn for her brother the way Olivia is; as it would not be for herself it would be for other people. This therefore shows the contrast between the two womens ways of mourning. When the captain tells Viola that Olivia has also lost her brother, Viola instantly sees a parallel between them and wants to go serve her, O that I served that lady. This shows Violas instinctive to help others and her natural urge to care for others. She wants to help Olivia get through what she is also going through. The captain tells Viola that there is a chance that Sebastian, her brother may have survived, I saw him hold acquaintance with the waves/So long as I could see. I think the reason he says this, whether it is necessary true or not, is because he saw that Viola was ready to throw herself back into the waves, as she was without her brother. However by saying this, the Captain is giving Viola some hope to cling on to. Viola is so glad that she gives the captain some gold. I think the essential role of the captain in the play is to lift the spirits of Viola, so the play does continue and she does decide to live on. He is also there to create a parallel between the relationship of Viola and the captain and Sebastian and Antonio. The captain and Viola are shown to get on well, but like Antonio with Sebastian, the captain will do anything for Viola. As well as showing this through the words, Shakespeare also shows this through use of language, In Scene 2 the question of why does Viola cross dress is raised. For me there are many reasons why Viola does this. There are first the more practical reasons of as a man it is easier to find work and there is the obvious advantage of more freedom. However, as Viola is the daughter of someone important, and she herself is a noblewoman, she could go tell people who she really is and be helped by them. Therefore I think Viola chooses to be in disguise so she can mourn alone and in her own way. .ud0f88dfcfc94b8085f09800453f99989 , .ud0f88dfcfc94b8085f09800453f99989 .postImageUrl , .ud0f88dfcfc94b8085f09800453f99989 .centered-text-area { min-height: 80px; position: relative; } .ud0f88dfcfc94b8085f09800453f99989 , .ud0f88dfcfc94b8085f09800453f99989:hover , .ud0f88dfcfc94b8085f09800453f99989:visited , .ud0f88dfcfc94b8085f09800453f99989:active { border:0!important; } .ud0f88dfcfc94b8085f09800453f99989 .clearfix:after { content: ""; display: table; clear: both; } .ud0f88dfcfc94b8085f09800453f99989 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ud0f88dfcfc94b8085f09800453f99989:active , .ud0f88dfcfc94b8085f09800453f99989:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ud0f88dfcfc94b8085f09800453f99989 .centered-text-area { width: 100%; position: relative ; } .ud0f88dfcfc94b8085f09800453f99989 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ud0f88dfcfc94b8085f09800453f99989 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ud0f88dfcfc94b8085f09800453f99989 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ud0f88dfcfc94b8085f09800453f99989:hover .ctaButton { background-color: #34495E!important; } .ud0f88dfcfc94b8085f09800453f99989 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ud0f88dfcfc94b8085f09800453f99989 .ud0f88dfcfc94b8085f09800453f99989-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ud0f88dfcfc94b8085f09800453f99989:after { content: ""; display: block; clear: both; } READ: Shakespeare And His Theater EssayThere is also the factor that as she will be busy being a servant and will not have time to dwell on thoughts of her brother. It is as if she is trying to create a safe haven for herself to recover in. She is making herself invisible to the rest of the world till she is ready to face them as herself again. By dressing up as a man Viola is also essentially becoming Sebastian, as she will look like him and when she looks in the mirror she will see him. It is a way of combining herself and her twin into one body and letting him live on. I think it is important that this part of Scene two where she decides to live as a man in Illyria is staged appropriately so it does not seem too much of a random thought for Viola to have. The way I would do this is by having Sebastians trunk on the edge of the shore, as though it has drifted in from the shipwreck. This way it will look as though Viola has seen the trunk and as well as getting memories of Sebastian from it, she will also think of this idea of cross dressing to be a man. It will also emphasise the fact that when she is cross dressing she is trying to let Sebastian live on in the exterior of herself. In Scene 4 Viola makes her second appearance in the play apart from this time she is a man; Cesario. She is also with Orsino, whom she is now a servant for. This is an important transformation; not only will she have to act appropriately, but her costume should also realistically show her to be a girl dressed up to be a boy in the dress of the time, but also so people would not know she was a girl. At the time Twelfth Night was first performed the person playing Viola would have being a boy playing a girl playing a boy. This would be perhaps even more confusing for the audience and may have even made it harder to stage. I would dress Cesario in a simple costume like one that a servant in the Elizabethan times would wear. The reason I think it should be simple is that so it is realistic; in many productions I have seen the costume that Cesario is wearing is too fancy for a boy and a servant. Another important aspect of the staging in this scene is how to stage the relationship between Orsino and Cesario. The reason this is so important is because of the sexual ambiguity in the relationship between Orsino and Cesario. To show this sexual ambiguity I would create sexual tension on stage by making it seem awkward when they sit next to each other on a bench. This sexual ambiguity is shown through the fact that after only three days, already Orsino has told Cesario all about his love for Olivia because he has been so impressed by him. The love between could be seen as platonic or perhaps even paternal as Cesario is a lot younger than Orsino. However for me the love between them is a sublime platonic love with a hint of homoerotic. The fact that Orsino has told Cesario all this shows that Cesario inspires trust. We can also see this from the fact that Orsino trusts Cesario to go tell Olivia how he feels, but this could also show Orsinos idleness. In Scene 4 Orsino asks Cesario to go tell Olivia how he feels for Olivia; sending messengers, instead of going yourself was a traditional aspect of courtly love. I think Orsino has chosen Cesario to do this job because not only does he trust him, but he sees in Cesario himself in his youth. Orsino may think that Cesarios youth would be a good portrayal of him and may make Olivia associate Orsino with Cesarios youth. It is also interesting to note how Viola reacts to this proposal of Orsinos. She does not seem to keen, I think not so, my lord. Orsino can see the failings of Orsinos plan already; she is more perceptive and is showing her female intuition. .ufd663130ccd84c130bf51b524ebd01a7 , .ufd663130ccd84c130bf51b524ebd01a7 .postImageUrl , .ufd663130ccd84c130bf51b524ebd01a7 .centered-text-area { min-height: 80px; position: relative; } .ufd663130ccd84c130bf51b524ebd01a7 , .ufd663130ccd84c130bf51b524ebd01a7:hover , .ufd663130ccd84c130bf51b524ebd01a7:visited , .ufd663130ccd84c130bf51b524ebd01a7:active { border:0!important; } .ufd663130ccd84c130bf51b524ebd01a7 .clearfix:after { content: ""; display: table; clear: both; } .ufd663130ccd84c130bf51b524ebd01a7 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ufd663130ccd84c130bf51b524ebd01a7:active , .ufd663130ccd84c130bf51b524ebd01a7:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ufd663130ccd84c130bf51b524ebd01a7 .centered-text-area { width: 100%; position: relative ; } .ufd663130ccd84c130bf51b524ebd01a7 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ufd663130ccd84c130bf51b524ebd01a7 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ufd663130ccd84c130bf51b524ebd01a7 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ufd663130ccd84c130bf51b524ebd01a7:hover .ctaButton { background-color: #34495E!important; } .ufd663130ccd84c130bf51b524ebd01a7 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ufd663130ccd84c130bf51b524ebd01a7 .ufd663130ccd84c130bf51b524ebd01a7-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ufd663130ccd84c130bf51b524ebd01a7:after { content: ""; display: block; clear: both; } READ: The Main Themes in "The Merchant of Venice"Scene 4 ends with the rhyming couplet; Yet, a barful strife!/Whoeer I woo, myself would be his wife, spoken by Cesario/Viola. This reminds the audience that Cesario is a girl and lets the audience know Violas feelings for Orsino, adding more confusion to the already confused plot. She notifies the audience that her feelings will make wooing Olivia on behalf of Orsino an even more of a difficult task than it already is. However Viola is still going to carry out this task showing her braveness, as well as how she would do anything for him. It is an almost selfless act, as if she does manage to make Orsinos love for Olivia requited, she will never have her wish of marrying him. In conclusion I think Shakespeare presents Viola in a brave, caring way, which has led to her being considered as one of Shakespeares golden girls. She is almost shown to be a heroine. The reason I think she has being presented by Shakespeare like this is to show the contrasts in the Elizabethan society between people of different natures as well as status. The fact that Viola decides to cross dress also ties in with it as the fact she that she is brave and a conformist, as this is what she is doing when she cross dresses. However I do feel that for all these ideas about Violas character to come across affectively to the audience these scenes need to be staged appropriately.

Napoleon Bonaparte

Napoleon Bonaparte is one of the most recognized names in world history, having led France to the control of most of continental Europe. In the following pages, the rise of Napoleon Bonaparte from the Island of Corsica to the title of Emperor of France will be examined. Napoleon Bonaparte was born on the Mediterranean Island of Corsica on August 15th, 1769. He was the second surviving child of lawyer Carlo Buonaparte, and his wife, Letizia Ramolino, who had married when Letizia was 14. At the time of Napoleons birth, Corsica had recently changed hands from the state of Genoa to France. There was a resistance movement to this changing over led by Pasquale Paoli. Carlo Buonaparte joined this movement, but Paoli was forced to flee, so Carlo became content with the French occupation. In 1771, Carlo convinced the French to recognize his title of count, which allowed him to further pursue his legal career. Now working for the French, Carlo was now open to the new opportunities that he could offer his family. Following the tradition of lesser noble families, he sent his eldest sons off to school, sending Joseph into the Church, and Napoleon into the army. Napoleon moved on to military school in Brienne, supported by royal scholarship, where he was an outsider, mostly because of his Corsican accent and background. In 1784, he graduated as the first Corsican to attend the Ecole Militaire, but was by no means a great student, ranked 42nd in a class of 58. After graduation, Napoleon was made a second lieutenant of artillery in a regiment that served as a training school for young artillery officers. Napoleon continued his education while in the army, reading much, particularly on strategy and tactics. He took his first visit home in September of 1786, and this lasted for almost two years. Upon his return home, he was greeted by a much different household, as his father had passed away a year earlier of stomach cancer. Althoug...

Critical Management Theory (CMT) Explain Marx theories and how they Essay

Critical Management Theory (CMT) Explain Marx theories and how they applies to modern organisations - Essay Example The most important task and contribution of critical management theory â€Å"is to promote a more systematic and critical consideration of the contexts of organisational work† (Alvesson & Willmott, 1996, p.188). It is also meant to strengthen the resistance towards pressures to align with the functional imperatives and demand of the corporate wisdom (Alvesson & Willmott, 1996, p.188). CMS offers a number of alternatives with the view to maintain the management theories to radically transform the management practices. There is extreme scepticism regarding moral dispensability and as well as the ecological and social sustainability of the existing management forms in organisations. CMS has no concern for the individual’s manager’s personal failures. Neither is it concerned with the poor management practices of particular organisations. It is rather concerned with social injustice and the environmental destruction of the economic and social systems that the organisa tions and managers serve and then reproduce (Adler, Forbes & Willmott, 2007, p.2). It is important to explain the term critical in this context. A large team is considered to be an example in this case. Teamwork is considered to be a means which would be used by managers to mobilise the employees for improving their performance in business. By the reorganisation of work for accommodating task interdependencies, and by leaving a certain amount of autonomy with the team members to handle the interdependencies, such team work is considered to be the most effective and most efficient means of working in a business and managing employees. Issues like work force diversities have become increasingly important and are considered to be factors which would impede or facilitate effective team work. If such team work impedes, research suggests and finds out a way in which the problem can be mitigated (Adler, Forbes & Willmott, 2007, p.2). In CMS, both team work and mainstream theories informing it are considered to be problematic. Mainstream research ignores such problems or views them as pathological. However, critical research shows how team work can be used to take the organisation towards its goals and objectives and can result in internalising the business values by the team members. Team members than begin to exploit and discipline themselves and their peers towards better business performance and become responsible team players (Adler, Forbes & Willmott, 2007, p.2). While developing the critical agenda, contemporary developments which are beyond mere academia have influenced CMS. â€Å"Well-established critiques of the fundamental features of contemporary capitalism have been undercut by the decline and fragmentation of the left since around 1970† (Adler, Forbes & Willmott, 2007, p.2). The same period also witnessed the development of a number of social movements which opened new perspectives. Expansion of some of the European communities and emerging econom ies and the rise of the Chinese and Indian economy has modified the Anglo and American business values. These developments are directly related to the management of organisations and the daily experience of works. Critical Management Studies appeal to the faculties, practitioners, students and activists who are tired and frustrated by such conservative limits (Adler, Forbes &