By William Shakespeare
Helena schemes with Diana to meet Bertram’s conditions and win his love, yet as Bertram’s infidelity and Helena’s deceits are printed, the viewers is left to wonder whether, in love, the tip justifies the potential.
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This interactive ebook variation of SHAKESPEARE MADE effortless: MIDSUMMERS NIGHT'S DREAM permits you to circulation simply from side to side among the unique textual content and the fashionable textual content of the play. by means of clicking on a character's identify within the unique textual content, you're taken to an analogous position within the glossy textual content, and vice versa.
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Additional resources for All's Well That Ends Well: A Comedy (HarperPerennial Classics)
He becomes that unnatural thing, ‘a clockwork orange’ (p. 100) acting without volition. Alex becomes a pawn in the struggle between two political systems, and is subsequently de-programmed so that he can return to a life of gang violence. He is ﬁnally redeemed, not by state intervention, but by the arrival of maturity, which he glimpses, appropriately, in the twenty-ﬁrst (and ﬁnal) chapter, which anticipates his eventual adulthood. (At this point he is just eighteen [p. )24 Showing signs of paternal feeling, and of material acquisitiveness, Alex has lost interest in the cult of violent excess.
Bradbury’s condemnation in Kirk of what, a generation later, came to be known as ‘political correctness’ is made telling by its echo of the ‘one-system world’ projected by Fascism. One character describes Fascism as another ‘sociological construct’ that is opposed to ‘contingency or pluralism or liberalism’ (p. 158). Kirk is a vulgar Marxist, and it should be recognized that Western Marxism, as an intellectual tool for understanding capitalism, is a far more complex phenomenon. 30 Bradbury, then, presents Kirk as a convenient caricature, but he does so in order to align himself with the forces of contingency, pluralism, and liberalism in this debate, and in an attempt to exercise the creative autonomy of the novelist’s art.
220). Despite his disillusionment, he retains (like his creator) the broad humanist stance that his reviewers praise, and this persisting faith in a kind of ‘long revolution’ forms the positive term in his ambivalent identity. This sense of indeterminacy, which may not fully answer the charge of ‘quietism’, is reinforced by the parallel with Socrates implied in the title. Socrates was forced to drink hemlock for corrupting the youth of Athens; Sands’s ‘hemlock’ is the self-knowledge that destroys him, his realization of his moral wavering.