... Aristotle, one of the greatest men in the history of human thought, interpreted Tragedy as a genre aimed to present a heightened and harmonious imitation of nature, and, in particular, those aspects of nature that touch most closely upon human life. This I think Macbeth attains. However, Aristotle adds a few conditions. According to Aristotle, a tragedy must have six parts: plot, character, diction, thought, spectacle, and song. Most important is the plot, the structure of the incidents. Tragedy is not an imitation of men, but of action and life. It is by men's actions that they acquire happiness or sadness. Aristotle stated, in response ...

... that Macbeth is too nice to kill the king, sayin that he "is too ful o' the milk of human kindness" and when she hears the Duncan will visit their castle that night, she immediately appeals to the evil spirits, to (ironically) give her the strength to kill the king. In Act 1, Scene 7, Macbeth is doubtfull of Lady Macbeth's plot to kill the king. He doesn't think that he will be able to live with the guilt of killing his king while he is staying under his very roof, and then decides that he will not kill the king. This shows that Macbeth is thinking about what he is going to do, and shows that he does feel guilt and is weighing up the situation, unlike Lady Macbeth ...

... and enlightenment; not like the rest of the houses around here which are always dark." Clarisse went on to explain to Montag that her mother, father, and uncle were just sitting around and talking. This was also something that wasn't very commonplace in the city. Fire is an important element of symbolism in Fahrenheit 451. Fire consumes minds, spirits, men, ideas, and books. Fire plays two very different roles in this book. The role of a destructive, devouring, and life ending force, and the role of a nourishing flame. The first role that fire plays in Fahrenheit 451 is apparent from the very beginning of Bradbury's novel. "IT WAS A PLEASURE TO BURN. It was a plea ...

... girl he is being with.He is feeling so full of sorrow that he can’t take it so he locks himself in his room in darkness yet he doesn’t even know if she loves him or not,He is afraid to ask her. His love for Rosaline is great but yet she can not say the same and for that he will continue to be miserable.He has lots of support from his friends and lots of advice given to him but he doesn’t take the time to think of the many opportunities he has to chose from, such as forget about Rosaline and find someone else, or tell Rosaline how he feels and see what happens. After he meets Juliet his love for Rosaline disappears and a new an ...

... different in the revolution. Old Major is compared to Lenin. He was an ideologist who dreamed up a wonderful government where all the animals were equal and the humans, or the czars, were pushed out. Unfortunately his dream would never materialize. Then we are left with his predecessors. The first is Snowball. Snowball believed one hundred percent in Old Majors ideals. He wanted all the things Old Major wanted, such as the welfare of the animals. In the Russian Revolution his counterpart would be Trotsky. Trotsky believed and wanted the same things as Lenin, and wanted to continue what Lenin had started. Then comes Napoleon. Napoleon was selfish and greedy. He ...

... most humans felt the fear of the unknown. When the first object had landed, many noises were heard emanating from within. As time went on the noises gradually faded to nothing and many people felt relief that whatever was living inside, was now dead. It was not until the lid started unscrewing that humans became frantic. "It’s a-movin’, a-screwin’ and a screwin’ out. I don’t like it. I’m a-goin’ ‘ome, I am." (Wells 11) The lid fell off, and a snake-like tentacle emerged from the darkness, firing the deadly heat ray. The snake-like tentacle was an appendage on the almighty Martian fighting machine. The humans had to overcome threats to their existence ...

... wonder why it doesn’t say "Father and son" instead of "father and boy" this implies that maybe the father and son aren't very close, or they have problems between them. The author writes this poem in the order of the life of the father and son., from life to death. The organization of the poem is created so that the readers will feel what is happening as the poem is being read. The literal meanings are said through words like time, voyaging, and seat backs. The metaphorical terms are expressed through the more thoughtful words like white noise, time, and train. The first stanza of the poem begins talking about the relationship between the two ...

... why she left her homeland, why she gave up absolutely everything, only for it to result in Jason taking a new bride. She feels empty and guilty and often "moans to herself, calling out her fathers name, and her land, and her home betrayed when she came away with a man who is now determined to dishonor her" (60). She has only hatred towards Jason, which leads to her miserable being. Jason has a new bride now, "so Jason neglects his children" (62). This causes only more pain for Medea. Jason decided that he wanted to divorce Medea and marry the princess of Corinth, casting Medea aside as if they had never been married. Not only is Medea paying for the divorce, the ...

... It is through, not only the battle scenes that are quite vivid, but also the way the accouterments of battle receive high mention within the poem that this is accomplished. At the start of a battle the author gives the number of forces on each side, while during the individual fights amongst the peers, he gives detailed blow-for-blow descriptions of what occurred. Also, throughout the body of the work the warriors, no matter which side they are on, have significant names for their weapons and war-horses. This holds to the ancient custom that honored weapons with special names as having magical powers that could help its bearer. The battles and heroism of the ma ...

... scene by through his limited roles in the play. Constantly mocked and insulted by Antonio's and others' diatribes, Shakespeare immediately identifies Shylock as a villain. Establishing Shylock's personality through his description that "hath not a Jew hands, … affections, passions" shows that Shylock becomes limited by those descriptions (MV 3.1.56-8). Hence, Shylock conforms "no more than an opportunity for bringing him to life" because Shylock like the other characters, once created, determines the plot and the plot determines them (Palmer 114). With a great importance of first impression or lines of a character in Shakespeare's plays, Shakespeare reve ...