Orpheus And Eurydice Study Guide

In the girls’ home, Mary has to make a decision on whether she wants to clear her charges or live as a murderer. Stereotypically, girls like Mary face prejudice for actions they may or may not have committed, controversially, Mary acts unlike the other teenagers in her girls’ home trying

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The Odyssey: Odysseus’s Justification Hammurabi’s code states, “An eye for an eye, and a tooth for a tooth.” An ancient system of justice basically saying you get what you deserve. Everyone knows the classic revenge story; the protagonist is disrespected or hurt by the antagonist, and will eventually exact their revenge. In Homer’s The Odyssey, revenge is precisely what Odysseus carries out.

What does a faithful person look like to you? A kind and caring person? One who is loyal? One who would put another's needs above their own? In the book, “The Odyssey,” Penelope, (Odysseus' wife), is all of these things.

Orpheus is doing this exactly same thing in the movie. He is trying to save Eurydice overcoming anything or one that comes in his way.

The speech draws important parallels between Shakespeare’s characters and those of the Trojan War. Particularly, the end of the speech focuses on the Queen of Troy, Hecuba, and her sorrow which creates a clever dichotomy between her, the archetypal mourning widow, and Gertrude. Proclaiming that “the instant burst of clamor that she made” upon seeing Priam’s slaughter by Pyrrhus, the First Player conveys both the depth with which Hecuba mourns, and via his energetic diction, the involuntary suddenness with which her grief “bursts” from within her (Shakespeare 2.2.509). Further, Hecuba seems to be driven almost mad with her grief so that she goes “barefoot up and down, threatening the flames” with such woe that her grief has the power to suade “passion in the gods” (Shakespeare 2.2.498-512). Darkly, the First Player conjures an image of a wife grief stricken to ruin such that her predicament would sadden any onlooker. He also unwittingly criticizes Gertrude in doing so by essentially expressing that a wife should

When she enters the bedroom, her voice changes from present to past tense and she starts to reminisce and begins to talk about her mother and aunts. She seems happy to remember her mother’s room and introduces her aunts to the audiences. Mary delivers her dialogue saying that the dressing table and the small elephant statue figures are all same. When Mary gently touches her mother’s photo, she delivers a sad tone. Her performance conveys to the audiences that she misses her mother. The tone of her voice represents that she is a gentle, innocent and a loving child. Her verbal and non-verbal interactions conveyed the viewers with a message that she is an orphan.

By the novel, Mary discusses several issues related to relationships which terrorize aspects of her personal life, including birth and childhood, the death of her mother, her miscarriage and new child and her coming across with the events which occurred in the summer of 1816 (see notes).

This scene is important as it comes midway into the play, marking a turning point, that drives the action towards the tragic end. The scene opens with all three characters relaxed and in a playful mood, but there is an underlying tension that builds throughout the scene with an uneasy sense of insecurity, which is felt by the Duchess as she is aware that her brother has returned to court. The tension continues to increase, with the use of dramatic irony, where the audience is aware of information that the actors on stage do not have. The atmosphere soon shifts from a light hearted one to one of fear. The Duchess, Antonio

After her strange and untimely death, Eurydice cannot remember much of anything, including her own husband's name. She runs into her father whom she has no memory of whatsoever. When her father reads her a letter Orpheus has written her, she suddenly recognizes him. This is one of the happier moments in the play; Eurydice and her father are finally reunited. They immediately begin to bond, and her father tells her stories of his childhood. As the father tells these stories the audience gets a picture of what their relationship was like when they were alive. They sing together, “Da da Dee Da” to the tune of “I Got Rhythm.” It is a heartwarming moment to see Eurydice and her father having fun together just like old times. While she is happy she has been reunited with her father, Eurydice still

Violence, it has been a main tool in the Christian arsenal since the middle ages. From the Crusades to the Inquisitions of Spain, violence is ever prevalent. Even in this day and age, intolerance and violence continue to be preached. But is this violence an instrument of God or man? Is violence an inherent part of this religion? Some would say that it is indeed built in to the very fabric of its being. The Old Testament is full of the smiting of infidels and those who defy God. The Book of Revelations tells of the violent and fiery demise of this entire planet. There are instances of mass genocide, the killing of innocent children, holy wars, you name a violent act and God has called for it. The story of

Shakespeare brings us back to the sisters in act II scene 1. This is a

Act III Scene V - This is a very important scene. Select and comment on

Moreover, he adds on saying Mrs. Pearce, “… if she gives you any trouble, wallop her.” (Act II, 37). He also recommends Mrs. Pearce to; “put her in the dustbin” when she says that she has no room for

In the opening of the play, Cleopatra is immediately described by Antony’s men as a ‘gypsy’ and ‘strumpet’ highlighting her mysteriousness and sensuality. As the ruler of a world foreign to the Romans, Cleopatra and her realm appears as a ‘dangerous mystique’. She becomes a figure of the forbidden to men, representing all that is prohibited but is longed for because it is repressed. Her capability to seduce the two most powerful men of Roman history engenders the Romans to view her as ‘cunning past man’s thought’. This immediately establishes Cleopatra as a powerful seductress, reinforcing the theme of power in the play. Enobarbus is one of the most significant characters in emphasising Cleopatra’s luxury and decadence. In Act 2, scene 2, he describes Cleopatra’s first meeting with Antony. ‘The barge’, ‘The poop was beaten gold’ and ‘lovesick’ all possess connotations of excess, demonstrating the Epicurean delights of Egypt. The references to immortality such as ‘Age cannot wither her’ and to ‘Venus’ the Goddess of love, sex and