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English Lit

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lucy conway

on 23 March 2010

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Transcript of English Lit

Analysis of Extracts
John Dryden
was an influencial poet, critic, translator and playwright. He dominated the Restoration of England period, which was known as the Age of Dryden.
The English Restoration, began in 1660 when the English, Scottish and Irish monarchies were all restored under Charles II after the Commonwealth of England that followed the English Civil War. The term Restoration may apply both to the actual event by which the monarchy was restored, and to the period immediately following the event.

www.wikipedia.com
All for love
All for love is a play, which is an acknowledged imitation of Shakespeare's Anthony and Cleopatra.
At first we are introduced to one of the main characters; Cleopatra.
Form: Play
Charmion - Cleopatra's Maid
Alexas - the Queen's Eunuch
Iras- Cleopatra's Maid
Language
Dryden was from 18th century England and the language used within this extract reflects this 'such virtue punished thus.'In comparison to Shakespeares original version, the dialouge is more detailed, opposed to the conversational tone seen in Anthony and Cleopatra.
Cleo. Charmian!
Char. Madam! 4
Cleo. Ha, ha!
Give me to drink mandragora.
Char. Why, madam?
Cleo. That I might sleep out this great gap of time
William Shakespeare
Othello
Written in approximately 1603, and based on the Italian short story "Un Capitano Moro" ("A Moorish Captain") by Cinthio
Because of its varied themes racism, love, jealousy, and betrayal Othello is widely felt to remain relevant to the present day and is often performed in professional and community theatres alike. The play has also been the basis for numerous operatic, film, and literary adaptations.
Language
Form: Play
There is little stage directions within, which is a main feature of shakespeares plays.
LOVE BETWEEN FRIENDS
Love between Anthony and Cleopatra
There have been many differing views on the character of Othello over the years. A.C Bradley calls Othello the "most romantic of all of Shakespeare's heroes" and "the greatest poet of them all". On the other hand, F.R. Leavis describes Othello as "egotistical". There are those who also take a less critical approach to the character of Othello such as William Hazlitt saying that "the nature of the Moor is noble... but his blood is of the most inflammable kind".
Critical analysis
Like found in Othello, dryden has used very little stage directions, which draws focus to (she pulls out her dagger, anmd they hold her)
In Othello, the villain Iago stokes Othello's sexual jealousy to the point where he murders the innocent wife who loves him. In this extract, Iago confesses his love for Othello 'My lord, you know I love you.' This helps reinforce his claims to Othello and decides that 'passion cannot rule.'
His earlier plays were written in the conventional style of the day. He wrote them in a stylised language that does not always spring naturally from the needs of the characters or the drama. Soon, however, Shakespeare began to adapt the traditional styles to his own purposes.
Religion
Some scholars claim that members of Shakespeare's family were Catholics, at a time when Catholic practice was against the law. Religous references can be seen in his plays, but it is impossible to prove either way.
Middle English
On the line, Judith Pordon
ON THE LINE

In a long thin arc of loneliness
where nothing collides, I wait.

Face flushed, intestines pounding,
minutes and hours drag by.

Alarm cuts the steep silence.
Vertigo bells resound.

Handle to mouth,
this cradle rocks me.

I reach to speak through a thread,
grip your voice with mental muscles.

Flowers burst in my heart.
A laugh of two becomes one.

Not enough time.
Don't hang up.


- Judith Pordon
Central themes to her poetry; multicultural experiences, celebration of various types of love and contemporary social issues.
could have a dual meaning - on the phone line, and also on the line of love.
short sentence structure could represent the continous thoughts of the women on the phone.
Use of punctuation is quite definite - gives it a regular beat. Could relate to a heartbeat.
sense of desperation, the sitting around and waiting for her love.
intense emotions
time scale
the word cradle gives the impression that the phone call is comforting for her.
as if she is hanging onto his every words
floral element is one often associated with love
Their voices momentarily merging, which however this contrasts with the final two lines how there will never be enough time to talk to him.
The Lovely Bones by Alice Seobold
"You aren't leaving, Susie. You're mine now."
"Why don't you get up?" Mr. Harvey said as he rolled to the side and then crouched over me.

His voice was gentle, encouraging, a lover's voice on a late morning. A suggestion, not a command.
as if she is a possession
suggests that he was quite careful towards her even though he had just raped her.
The Lovely bones is the story of Susie Salmon, a young girl watching down from heaven, after being raped and murdered by their neighbour. She sees her happy, suburban family devastated by her death, isolated each other as they try and come to terms with her death. As the book progresses, her friends and siblings grow up, fall in love and do all the things she never had the chance to do herself.
"Mr. Harvey, I really have to get home."

"Take off your clothes."

"What!"

"Take your clothes off," Mr. Harvey said. "I want to check that you're still a virgin."

"I am, Mr. Harvey," I said.

"I want to make sure. Your parents will thank me."

"My parents?"

"They only want good girls," he said.

"Mr. Harvey," I said, "please let me leave."

"You aren't leaving, Susie. You're mine now."
He was inside me. He was grunting.

"We're having string beans and lamb."

I was the mortar, he was the pestle.

"Your brother has a new finger painting, and I made apple crumb cake."

Mr. Harvey made me lie still underneath him and listen to the beating of his heart and the beating of mine. How mine skipped like a rabbit, and how his thudded, a hammer against cloth. We lay there with our bodies touching, and, as I shook, a powerful knowledge took hold. He had done this thing to me and I had lived. That was all. I was still breathing. I heard his heart. I smelled his breath. The dark earth surrounding us smelled like what it was, moist dirt where worms and animals lived their daily lives. I could have yelled for hours.

I knew he was going to kill me. I did not realize then that I was an animal already dying.

"Why don't you get up?" Mr. Harvey said as he rolled to the side and then crouched over me.

His voice was gentle, encouraging, a lover's voice on a late morning. A suggestion, not a command.

I could not move. I could not get up.
as if she was being ground into the earth below them with his heavy form.
There is a contrast between her home environment and also between the setting which she is in at the moment.
Quite an innocent animal compared to the heavy nature of the hammer
Short sentence structure gives the impression that she was havnig fast paced thoughts.
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