Trace the changes that we see in Macbeth from the opening scenes when he is presented to us as "brave Macbeth", the hero, to the "tyrant" Macbeth we s

The view of Macbeth changes greatly throughout the play, in the beginning being seen as valiant hero, and towards the end as a tyrannical villain. Before the witches planted the seed of greatness in his head, Macbeth was a great man never someone that others would expect to do something as disastrous as murder the king. It is obvious by Macbeth's language and in some way his actions, that as soon as the murderous thought came into his head, he was a changed man. The Macbeth that everybody once knew became unrecognisable, as the killings snowballed out of control, and any sense of morality had left him. Macbeth was ruling Scotland with an iron fist, when Macduff refused to show up at his banquet, he admitted that he "[kept] a servant feed."(3.4.132) In act 3 scene 6, Lennox is noticing how ruthless Macbeth actually is, to kill the king and his best friend, "gracious Duncan was pitied of Macbeth, marry he is dead...the right-valiant Banquo walked too late."(3.6.3-5) Macbeth quickly changes from what seems like the hero of the story to the villain, and he is very obvious about this transition.

Present a discussion of the way the “fair is foul and foul is fair” motif runs throughout Act 1. Explore its relevance to what happens in this act and

The idea that 'fair is foul and foul is fair' is one that runs through all of the first act in Shakespeare's Macbeth. The idea is first introduced by the weïrd sisters in scene one and is continually brought up by different characters, to describe views when something is not as it seems. Macbeth is the first to reiterate this idea in scene three, saying 'so foul and fair a day I have not seen,' (1.3.36) this is Macbeth's first line in the play, and contributes significantly to the construction of his character. Macbeth's statement represents the happiness he feels after winning a great battle, but also the sadness he feels from killing many men. This battle is Macbeth's head between good and bad is worsened by the three witches prediction that he shall be king, and the inescapable knowledge that do so, he would have to murder the current king. The idea of "fair is foul and foul is fair," is also visited by Banquo after the witches pronounced Macbeth as king, "why do you start and seem to fear things that sound so fair?" (1.3.49-50) Macbeth is obviously taken aback my the witches words and Banquo can see this, but does not understand it is because he knows the only way he can become king is to murder Duncan, the current king.

Phillip Adams article: Homework week 1

Phillip Adams constructs childhood as being a time of restriction and confinement, in which every part of a child’s life is controlled by authority figures, specifically parents. In Adams own words, he describes childhood as a “totalitarian regime from which [he] was very glad to escape,” this statement is very extreme and really shows how dreadful he thinks childhood actually is. He believes that the boundaries that parents set for their children, are unreasonable and hinder the development of the child. This very extreme controversial opinion, in which childhood is not seen as a golden time, goes against what most people choose to represent childhood like. Throughout the whole article Adams continually draws comparisons between extreme fascist regimes such as that in Russia, and the control held over children by all authority figures. The only escape that Adams can see is the eventual transition into adulthood.

Catcher in the Rye

When Holden got of at Penn Station, all he could think of doing was calling someone, anyone. New York was a lonely place for Holden, even though it was a big city, he couldn’t think of anyone to call, no one he could talk to. Everyone he wanted to talk to would end up getting him in trouble, in some round-about way, it just wasn’t worth the risk. Holden needed somewhere to stay for the night, he couldn’t go home, so he hailed a cab. Jason was on the 9^th hour of his 13 hour shift and was not overly thrilled at picking a weird-looking, grey haired teenager up at this time of night, but he did anyway, he needed the money. Holden gave his home address, just on instinct, well he thought so anyway, even though home is the one place he really wanted to go. About 10 minutes into the journey Holden asked Jason to change direction, this didn't make Jason very happy, he thought Holden said it where he knew that he couldn’t, he thought he was dicking him around. Jason soon regretting picking Holden up in the first place, a typical teenager, asking stupid questions about ducks and changing his route in the middle of the trip. He would’ve kicked him out too, but he couldn’t, there was just this look in his eyes, he looked so sad, and alone. He felt bad for Holden, but when Holden asked him out for a drink, it was really too far, he tried to put him down as softly as possible. When they finally arrived at the Edmont hotel, Jason was glad to have Holden out of the car, but Holden couldn’t help feel like he had lost a friend.

Holden made his way up to his room, with help from Melvin, the sixty-five year old bellboy. When he got there he just sat down and looked out the window. Looked at all the people in the other hotel, enjoying themselves and doing what they really want to do. Across the road in another hotel were a young couple spitting water over each other, Holden didn’t understand why they were, but it just made him feel lonely, and at one point he almost invited Stradler over for company. That thought passed his mind quickly though, when he realised that wasn’t the kind of company he wanted. Although Holden didn’t understand the act of sex, he still knew that it’s something everyone at his age did, it was normal. Holden decided to call Faith Cavendish, she wasn’t exactly a whore but she wouldn’t be to angry at him calling to talk late at night, he figured she’d be used to it. When faith picked up the phone, it defiantly wasn’t what Holden was expecting, she didn’t sound happy to hear him at all. It was obvious that Holden had woken her up, and she made it obvious she wasn’t impressed, Holden tried talking about Eddie, trying to start up a conversation so they could go out. Faith knew Holden wasn’t as old as he was making himself sound, but she remembered what it was like to be a teen, she knew he was just trying to act older. There was no harm in going out for a drink, Faith knew he wouldn’t try anything, Holden just didn’t sound like that type of guy, he sounded like a child, and if he was paying, Faith wasn’t going to complain. As the idea of free drinks grew on Faith, Holden backed out and hung up the phone. “Who was that?” Faith’s sick roommate calls out from her room, “Some kid woke me up at this hour and then doesn’t even end up buying me a drink, typical.”

After Holden hung up the phone he went back to his loneliness, with his only company the water-spitting couple and a cross-dressing man across the street.

Winnie the Pooh by A.A. Milne

A.A. Milne’s book, Winnie the Pooh, constructs a version of childhood of which it is a time of innocence and dependancy. These two characteristics are seen throughout the whole book but are, however, especially prevalent in chapter nine. Most characters in Winnie the Pooh are seen to be children, with the exception of Owl and Rabbit, and therefore are constructed by Milne to represent childhood in all it’s different forms. Piglet is known in the book as being the timid, shy and quiet best friend of Pooh, in chapter nine these characteristics are especially evident, as he represents the way a child would react in his situation. To construct the innocent, dependent version of childhood seen in the book, Milne uses three mechanisms; language, the actions of the characters and the illustrations. The experience of a flood for the first time would be a daunting but also exciting experience for a child who was oblivious to the actual danger, and piglet is a perfect representative of both emotions.

Throughout Winnie the Pooh almost all characters are seen to possess two main characteristics; innocence and dependancy. The idea of a childhood being a time of innocence is obviously a common view, as is dependancy, and in Winnie the Pooh, A.A. Milne represents these qualities superbly in one character, Piglet. Throughout the whole book Piglet is seen as the small and timid member of the group, and the most childlike in the way that he acts. Piglet embodies all the characteristics of a child and is therefore the character Milne chose to represent the softer side of a child. Even though almost all characters in the story are seen as being child-like, it is Piglet that stands out as being more so than the others. The greatest representation of Piglets character is in chapter nine, a great flood has plagued the 100 acre Woods and piglet is stuck in his house, all alone. Piglet deals with this as it would be expected of a child, while he doesn’t understand the concept of the flooding, he desperately wishes for someone to be there with him.
In the beginning of the chapter, Piglet is wishing for someone to be with him through this time not because he needs help, but because he desires comfort. It is only when the flood water starts to rise up closer to his window that he realises that he may have a problem. He is unable to help himself and is dependent on his friends to come rescue him. Piglet also shows his innocence throughout the chapter, especially to do with the nature of the flood.

A.A. Milne’s use of language, grammar and the characters actions in chapter nine helps to add emphasis to the extent of which the characters, and specifically Piglet, are dependent and innocent beings. A perfect example of dependancy is seen within the first paragraph of chapter nine, with Piglet stating, ‘If only... I had been in Pooh’s house, or Christopher Robin’s house, or Rabbit’s house when it began to rain, then I should have had company all this time, instead of being here all alone, with nothing to do except wonder when it will stop.’ (p.98)

Piglet’s desire for company shows how dependent he is on his friends to entertain him, and to comfort him.Piglet’s dependancy is also shown when he realises that he needs help, the only way he thinks he can get out of his situation is by having someone come rescue him, ‘somebody else will have to do something, and I hope they will do it soon.’ (p. 101)
Throughout the whole flooding situation Piglet fails to realise how much danger he is actually in, and all he can think about is how it will be ‘more friendly with two.’ (p.101)

When Piglet is finally rescued and looks back on the flood he still fails to see the danger, stating ‘In after-years he liked to think he had been in Very Great Danger during the Terrible Flood, but the only danger has really been in was the last hour of this imprisonment.’(p.108) In the last-hour of his ‘imprisonment’ Owl had been telling him a boring story, this is a perfect representation of how children view conversations with ‘adults,’ and really does show his innocence. A.A. Milne has effectively used language, grammar and the characters actions to construct his version of childhood.

Throughout the chapter there are illustrations to add emphasis to what A.A. Milne is writing about and also to keep children’s attention. In chapter nine there are several illustrations of Piglet, depicting him as a small animal. In the picture on page 99, it shows the tree house in which Piglet lives, and Piglet sticking out of a little window on the side. The contrast between Piglets small stature and the immense size of the tree represents what a child would feel like in the world, being so small with everything around them being so big. Piglets innocence is also shown in the picture on page 99, by the ‘no trespassers’ sign next to his tree. It is expected that Piglet would have no idea what sign means, as he doesn’t even know how to spell his own name, and therefore means that he would have copied it from someone else. This is seen a lot in society today by children, copying what adults have done in order to seem older, even if they have no idea what it means. The images in Winnie the Pooh are therefore also of importance to the overall construction of childhood in the book.

In A.A. Milne’s Winnie the Pooh, there is a carefully constructed version of childhood, in which it is a time of innocence and dependancy. Milne’s use of language and the characters actions show how co-dependent each character of the novel are on each other and also lets their innocence shine through. As well as the language Milne’s uses illustrations to effectively back up what he has written.

Homework: Weeks 4/5

Homework: Weeks 4/5

Second body and conclusion

The introduction and first paragraph have been reworded.

A hero, as defined by the Oxford dictionary, is a "person, typically a man, who is admired for their courage, outstanding achievements, or noble qualities." In Othello there are no characters which have successfully completely filled this criteria and have therefore rightly deserved the title of 'hero.' Othello, in his public life could be seen as a hero, based on his military prowess, though he is the opposite in his private life. Emelia, however, does show the characteristics of a hero in her private life but not in her public appearance. Emelia's actions in the last scene of the play would put her closer to the title of 'hero' than any other character in Othello, it is her actions in the first part of the play, however, that tarnishes Emelias image. Being the wife of the villain, Iago, gives the assumption she too is evil, Emelia is also accused of being a cuckold in Iago first soliloquy, and then steals her mistress', Desdemona's, handkerchief. The significant events in the beginning of the play that position the reader to see Emelia as evil far outweigh the risk she took in the final scene.

Emelia is portrayed in Othello as an evil yet unimportant character, her actions in the first four acts are either unimportant or malicious. The stealing of Desdemona's handkerchief was one of the key points in the play that was the only reason Iago's plan worked, it was also done as an evil act by Emelia. Desdemona and Emelia had a very close relationship, Desdemona treated Emelia with respect and Emelia trusted Desdemona. When Emelia stole Desdemona's handkerchief and then continued to deny that she did so, the trust was broken. Emelia intentionally caused trauma to Desdemona, this is something that a hero would definitely not do, therefore Emelia is not a hero.

In the final scene of Othello the only evidence that Emelia is a hero is seen. During this scene, she risks her life to let everyone know that Othello murdered Desdemona, she then sacrifices her self to tell the people that Iago made her steal the handkerchief and he is the actual one behind it all. In no doubt is this a brave and noble thing to do, two characteristics of a hero, but it does not outweigh her actions in the first four scenes. Emelia's actions in this scene could also be dismissed a guilt and a heavy conscience.

Emelia's actions throughout the play, both good and bad, are not significant enough to be considered actions of a hero or a of a villian, but that of a normal human being. Emelia made both wrong and noble decisions, and it is for the wrong decisions that she can not be considered a Hero.

"Emelia is the real hero of Othello".

Write an introductory paragraph which presents your thesis and at least two main points in support of this, as well as one of the body paragraphs.

In Othello there are no characters which have rightly deserved the title of 'hero.' Even though Emelia was the most heroic of all characters she was in no way a hero. In the first part of the play Emelia is presented as the wife of the villain, Iago, and therefore is seen as a villain also. She cements this view of her being a villian by stealing Desdemonas handkerchief, she then confirms it a second time by not telling Desdemona that she stole the handkerchief after she saw how upset it made her. The only time that Emelia seems like she is a Hero is in the last scene, she stands up to Othello and reports Desdemonas murder, although this can just been seen as guilt, of being the root of all these problems.

Desdemona and Emelia's relationship should have been one of mutual respect and trust, but Emelia betrays this trust and subsequently causes Desdemonas death. By stealing Desdemonas handkerchief, which she knew she loved very much, she could not have meant anything good out of it and therefore had not good intentions. A hero can not be a person who intentionally causes trauma to another person close to them, therefore in no way is Emelia a hero.