My Mistress' Eyes

In Shakespeare's poem, "My Mistress' Eyes", the speaker compares his mistress' characteristics to various objects that are typically used in poetry. However, he does not compare her in a complimentary light. He states that she is not like these things. Again and again, he seemingly criticizes the mistress. Her lips are not red like "coral". Her skin is not as the snow; her cheeks do not resemble roses. These observations seem to castigate the mistress for being all that poetry says that she should be. However, he states, "As any she belied with false compare (885)." He disputes the rationalizations through which he already processed. He says that although she is not these things, she is still a goddess.

Barbie Doll

In the early stages of childhood, adults and peers alike expect others to conform to a certain type of beauty. This beauty plagues the world, and the speaker believes that it is not true beauty. We do not look at a girl's beneficial traits, such as, "healthy", "intelligent", and "strong arms and back" but criticize the bad ones, especially their aesthetic appearance like "a fat nose on thick legs (835)". This girl transforms into a Barbie doll to society. She wants to be liked to be accepted, so she heeds the advice of her peers. She tries to "play coy", excercise, and diet. However, she loses herself to maintain the wanted appearance of society. She loses her true individuality to assume a mask of cosmetics. Finally, she attains everyone's praise, but how much has she actually gained? She lost herself but gained public affirmation.

A Jury to Her Peers

In the short story, "A Jury to her Peers", Susan Glaspell creates an extended metaphor between the yellow canary and Minnie Foster. A canary sings beautifully like Minnie had before marrying Mr. Wright. Mrs. Hale reminisces on her, saying, "I wish you'd seen Minnie Foster when she wore a white dress with blue ribbons, and stood up there in the choir and sang (423)." After her marriage, Minnie had been caged by Mr. Wright. She could not be herself as she lives in her own house. Mr. Wright is a man that dislikes extra noise and color. They did not have children and live far away from Mrs. Hale, who did not visit in the past year. Finally, Mr. Wright killed the bird by strangulation because it sang. Finally, Minnie could not handle her situation and decided to kill her husband. Her revenge is strangulation, the same act that killed her bird. Now, the metaphor shifts. The bird now is compared to Mr. Wright, and Minnie set herself free.

Hunter's In the Snow

In the short story "Hunter's in the Snow", Tobias Wolff creates a character named Tub. This nickname characterizes him because he is corpulent. He attempts to show his friends that he only eats a hard-boiled egg and a stick of celery. However, the reader knows that he has other food stashed somewhere else to eat later. He has cookies and at least sandwiches that were dropped earlier when Tub is almost ran over by Kenny. His friends most likely gave him the nickname, and since the weight stayed on Tub's body, it has been kept. Also, it represents the relationship that his friends and Tub have. Instead of being sympathetic, Kenny and Frank watch Tub as he tries to climb fences, leave him behind, and call him a "fat moron" (195). They do not respect Tub. He allows himself to be ridiculed by his friends until he shoots his friend.

Othello part 2: 4

In Shakespeare's Othello, the Moor of Venice, two dynamic characters are Emilia and Othello. Othello, who is calm and rational at the beginning of the tragedy, warps into a jealous, rash man. He blames and kills his wife because he cannot see the truth through Iago's lies. On the other hand, Emilia changes for the better. At the beginning, she is quiet and foolish. She does not question her husband's wishes for the handkerchief. Although she asks after she relinquishes it, Iago dismisses her, and she does not think to argue. After Emilia realizes that she had an indirect part in her friend's death, she becomes outspoken and confident. She will not allow Iago to hide the truth to everyone. She declares, "No, I will speak as liberal as the north. (V. ii. 219)" Her action leads Othello to realize his wrongdoing. He repents and kills himself because of his guilt and desire to be with his love Desdemona.

Othello part 2: 3

In the last act of Shakespeare's Othello, Othello makes a pun on the word light. He says, "Put out the light, and then put out the light (V. ii. 7)." He wants to turn off the candlelight. Then, he will kill his wife's light, which is her life. However, he has doubts about performing the act. If he kills her and regrets it, it will be too late to save her. She will be dead like a light cannot be revive. He also makes an allusion to Promethean light. Prometheus was man within a Greek myth who stole the first fire from the gods. He states that after he kills her that he will not be able to revive her because they cannot cheat death.

Othello Part 2 (2)

Speaking in Shakespeare's tragedy Othello, the Moor of Venice, Othello compares Desdemona to a sweet weed. He has finally confronted her about her affair with Cassio, but he rants about her lost honesty and love. Othello declares, "O thou weed, who art so lovely fair and smell'st so sweet that the sense aches at thee, would thou hadst ne'er been born! (IV.ii. 67-69)" In this extended metaphor, Desdemona is a weed that entices a person's mind to love her. Each sense draws a man into her trap. Her beauty and smell drew Othello in. However, he believes that he now knows what she really is. He calls her a weed because a weed is something that is not desired by anyone. A person typically kills weeds to allow flowers to grow. Similarly, he does not wish to have her anymore as a wife and wishes to end her life.

Othello: part two

Within Shakespeare's tragedy Othello, the handkerchief reappears again in act four. Bianca returns it to Cassio because she believes it is "some minx's token" (IV.i.145). However, Othello sees it as a symbol of his and Desdemona's love. Now, Othello has ocular proof of Cassio's and Desdemona's misconstrued romance. After the proof that he demanded from Iago happens, Othello still hesitates to kill her because he looks upon her fondly. "No, my heart is turned to stone, I strike it and it hurts my hand (IV. i. 171)." He wants to forgive her because it will hurt him to kill the one that he loves. However, Iago urges him to stop the fond thoughts. Finally, Othello reaches the point of no return in his decision to kill his wife, which begins to plot. He demands that both Cassio and Desdemona are killed.   This handkerchief becomes the last straw for Othello. He cannot deny his jealousy and rage that sweet Desdemona is not as pure as he thought. As this handkerchief passes hands with multiple characters, Othello's love for Desdemona dirties and warps into a foul, dirty rag.

Othello IV

In Act II of William Shakespeare's play,  Othello, the Moor of Venice, Emilia simply has three lines. The final line is "how if fair and foolish " when Iago and Desdemona speak of the compliments for each type of women (II.i.135). She does not respond afterwards and exits the stage. It seems like a small bit of information just characterizing Iago distaste for women's manipulations. However, it also characterizes Emilia. She is fair but foolish to a certain extent. Shakespeare did not mention anything about her fairness, but she cannot be ugly because Cassio gave his attention to her by kissing her upon the mouth. Secondly, she demonstrates her senselessness within the third act by handing Iago the handkerchief, which seems like a random token for which to ask without a reason. She asks what he wants to do with it, and he refuses to divulge his plot to her. Then, she allows him to take it without further questioning. Iago even declares, "to have a foolish wife (III.iii.305)."

Othello III

Within the three acts of Shakespeare's Othello, the Moor of Venice, many characters label Iago as trustworthy, noble, and honest. However, he has a darker, more sinister side, which only the audience can see. He thrusts his honesty and can play a part so well. In Act III, Iago declares, "Men should be what they seem, Or those that be not, would they might seem none!" (III.i.128-129). If he actually believes this statement, he himself would be revealed. His smooth and trustworthy exterior would be discovered. The verbal irony still grows, but this declaration gave Iago Othello's admiration and trust. It strengthens Othello's conviction that Iago will never lie to him. Othello falls into quickly into Iago's snare; now, Iago can tell Othello anything with the knowledge that Othello will believe him. He manipulates this conviction by making Othello see Desdemona's concocted affair.

Othello II

Throughout the first three acts of Shakespeare's play Othello, the Moor of Venice, Iago has about various soliloquies and asides. Each time, he divulges to the audience another facet of his plan to ruin Othello. Iago shows his true colors that cannot be seen by anyone but the audience. These techniques give Iago the ability to demonstrate his honest, noble facade to the other characters but to the audience, he reveals his true thoughts. Also, he foreshadows the next manipulation, whether it be to Othello, Mantano, Cassio, and even Roderigo. He formulates plots to make Cassio lose his position of power, make Othello jealous, and make Desdemona look unfaithful. However, he gives merely an outline of what he will do. In Act I, Iago states, "He holds me well/The better shall my purpose work on him" (I.iii.370-371). In the next act, Othello looks to him for the truth of the scuffle between Montano and Cassio. Again, in the next soliloquy  Iago says, "And bring him [Othello] jump when he may Cassio find soliciting his wife (II.iii.349-350)." This is fulfilled again in the third act.

Othello I

Within the play Othello, the Moor of Venice by William Shakespeare, the characters dehumanize Othello by depicting him as a black old ram, a Barbary horse, and a Moor. They typically do not refer to him as Othello but inferior labels that designate he is not of the proper Venetian descent. For example, Iago states, "Even now, now, very now, an old black ram is tupping your white ewe (I.i.88-89)." Iago eludes that the ram is Othello. He is older than the ewe, who is Desdemona. Also, he inherits his black skin from his Moroccan descent. Also, the color has a symbolic meaning. He implies that Othello is dark and evil; whereas, Iago describes the ewe as white. Desdemona is pure and fair. Hence, this extended metaphor would be taken woefully by Brabantio.