... giving Cassio a handkerchief, which was the first gift Othello gave her. Desdemona tries to explain to Othello that she did not give Cassio the handkerchief but he is too upset so he doesn't believe her. In an act of anger he kills her for no reason. Desdemona tries to show her love for Othello when he kills her. When Lodevico asked Desdemona a question about Cassio Othello takes it the wrong way. An example of this is when Desdemona says, " A most unhappy end. I would do much t' atone them, for the love I bear for Cassio?" Othello gets mad and calls her a "Devil" and slaps her in front of everybody. (Page 859-860) Throughout the whole story the women were ...

... herself escaping life at every turn. She induces sickness in her typing class and even as the Gentleman Caller awaits her in the livingroom. Unable to deal with those difficulties, Laura goes to the zoo and walks aimlessly around the city to waste time. Frightened of interacting with people, she looks to her collection of glass animals as a place of secure acceptance. Laura clings to the fear that she is strange and crippled though she herself exagerates the reality of that. Magnifying her illness, denying her inner beauty to come forth, is the way Laura hides from a world lit by 'lightning." Tom, on the other hand, relies on self-denial to justify his concerns a ...

... and the terrifying «beast», and the conflict between Jack’s band on the one hand and Ralph and Simon on the other. This theme is mostly revealed through symbolism. Ralph is the symbol of good, while Jack is the symbol of evil. This can be seen, for example, by the fact that Ralph is the one providing law and order, and he is constantly involved in several projects for welfare and safety, which he tries to carry through the best he can. Ralph and Simon, who are both good, build shelters and maintain the fire only to preserve a good situation and health for their fellow islanders. Jack is a symbol of evil. He and his choir boys, who are presented almost as an ...

... to be the primary method used in revealing characterization. As we are introduced to the characters we can make fairly accurate assumptions of their personality based on the court room scene at the beginning of the film. For instance, juror number two looks like the prototypical nerd; wearing glasses, looking very awkward and small in stature. Also, juror number six looks very rough and presumably unintelligent; very large in stature with a strong jaw line and wearing his shirt unbuttoned at the top without a tie. We can also make assumptions about Henry Fonda’s character(juror #8) based on his appearance. He looks very intelligent and almost an ...

... to disguise his own thoughts. For example, in Act 1, scene 2, when he is speaking to Othello about his feelings toward Cassio, he uses very strong language of a manly soldier, while at the same time, he lies throughout the whole speech faking loyalty to a fellow soldier and all the while implying that he is reluctantly holding back the full truth: "I had rather have this tongue cut from my mouth/ Than it should do offense to Michael Cassio" (I.ii.21-22). This deception impresses and convinces Othello that his ensign is a good and loyal soldier. Iago also succeeds in deceiving Cassio. After Cassio's drunken fight, Iago counsels him to speak to Desdimona about try ...

... noted that the witches meet after every battle is lost and won, and every battle, whether man against man, man against nature or man against himself it will always be lost by one side and won by another. Eventually Macbeth will lose the battle for his soul. Literary critic, Charles Lamb quotes, "When we read the incantations of the Witches in Macbeth, though some of the ingredients of their hellish composition savour of the grotesque, yet is the effect upon us other than the most serious and appalling that can be imagined? Do we not feel spell-bound as Macbeth was?" (Lamb). After the witches reveal the fate of Macbeth becoming king, he begins to develop an immor ...

... but Gertrude as well as Claudius saw through it, and even the slightly dull-witted Polonius was suspicious. His public face is one of insanity but, in his private moments of soliloquy, through his confidences to Horatio, and in his careful plans of action, we see that his madness is assumed. After the Ghost's first appearance to Hamlet, Hamlet decides that when he finds it suitable or advantageous to him, he will put on a mask of madness. He confides to Horatio that when he finds the occasion appropriate, he will "put an antic disposition on" (I.v.173). This strategy gives Hamlet a chance to find proof of Claudius's guilt and to contemplate his revenge tactic. A ...

... in God or having a deep belief in his teachings, ideas that aggregate Christianity in society. Instead, the old, the poor, and the rich are buying something to have as their own when they have nothing else, whether it be in the material, social, or emotional sense. So-called faith gives them possession, yet places responsibility in the hands of a higher force. And in that, they are hoping to find freedom in knowing that their lives are less empty and without direction. It may seem that we can hardly relate the televangelist audience of the 20th Century to poetic views on Christianity of the 18th Century, but surprisingly, there lies many similarities ...

... is shown upon his ships arrival on the coastline of the Lotus-Eaters. Instead of letting his entire crew off of the ship to explore this mysterious area, Odysseus only allowed two picked men and a runner to learn who lived on the land. After some time, none of the three cared to report, nor to return to the boat. This was because they ate the Lotus plant, which was a drug that the Lotus-Eaters offered to the men. It caused them to lose all desire to reach home again. Singlehandedly, Odysseus forced all three men back, tied them down under the rowing benches, and ordered the crew to row away. In this incident, his strength and care for his men is shown. O ...

... 7). Hawthorne uses descriptive lines like this to turn the house into a symbol of the lives that have passed through its halls. The house takes on a persona of a living creature that exists and influences the lives of everybody who enters through its doors. (Colacurcio 113) "So much of mankind’s varied experience had passed there - so much had been suffered, and something, too, enjoyed - that the very timbers were oozy, as with the moisture of a heart." (Hawthorne 27). Hawthorne turns the house into a symbol of the collection of all the hearts that were darkened by the house. "It was itself like a great human heart, with a life of its own, and full of ri ...