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September 28, 2022

 

The Invisible Man Archetypes

The protagonist of Invisible Man, by Ralph Ellison is a dynamic character. His archetype changes over the course of the novel. At the beginning of the book, he is the archetypal naif character. This can be seen from chapter 6 where he gives himself to Dr. Bledsoe’s influence up to chapter 8 where he gets betrayed, and the author writes:

Due, however, to circumstances the nature of which I shall explain to you in person on the occasion of the next meeting of the board, it is to the best interests of the college that this young man have no knowledge of the finality of his expulsion. For it is indeed his hope to return here to his classes in the fall. However, it is to the best interests of the great work which we are dedicated to perform, that he continue undisturbed in these vain hopes while remaining as far as possible from our midst.

But by chapter 10, the narrator has begun to transform into the archetypal nobody.  Evidence of this is shown in the prologue of the book:

I am invisible, understand, simply because people refuse to see me.

The narrator is no longer the person who was naive and ignorant of the society where he lived.

A reader will recognise that the turning point of the narrator comes when he encounters the police. Page shows this:

 “Let’s go,” I said, listening and remembering and suddenly alive in the dark with the horror of the battle royal, but Clifton looked at Ras with a tight, fascinated expression, pulling away from me.


“Araby” Reflection

In “Araby” by James Joyce, the changes and growth of the narrator develops throughout the story, ultimately contributing to the theme of growing up. Beginning as a young boy with interest in play, school and everyday life, the narrator’s desires and time are consumed with his love and infatuation with Mangan’s older sister. It began as a mere crush, later becoming almost an obsession and religion. The narrator reveals that this new exciting quest for love made life like “child’s play, ugly monotonous child’s play,” a testament to his boredom of his youthful and carefree childhood. Furthermore, the boy’s emotions grew so strong that his “eyes were often full of tears,” leading him to become so desperate as to basically pray to the girl saying “‘O love! O love!’” The end of the short story reveals that the boy’s attempt to do something nice for his crush to win her love failed because he was not able to buy a souvenir for her from the bazaar, leaving him to feel hopeless and angry. Overall, the changes that arise in the narrator’s character demonstrate that a boy living in the boring city of Dublin, Ireland possesses aspirations for new things and excitement of love, ultimately coming of age to discover new realizations in his life.

I believe that I can utilize some of the elements included in the story “Araby” in my capstone project. I can emulate the descriptions of the setting by providing detail of the places that I include in my project. In addition, I can highlight the main character’s emotions and thoughts in order to emphasize the growth and development of the dynamic character in my short story or poem. Also, I think that I will include direct quotes and conversations between characters if I decide to write a short story. Using these elements will allow my creative writing skills to grow and hopefully create a better piece of writing in the process.


Brian from the Hatchets character transformation

 Brian is a dynamic character. His archetype changes over the course of the book. At the beginning of the book, he is the archetype innocent. This can be seen when he is calling the air traffic control that is plane is going down and he is freaking out.

But by page 89, Brian has begun to transform into the archetypal the survivor.  He is forced to learn how to survive in the woods by himself because he is not being rescued.  Evidence of this is on page 103 when he is figuring out how to survive being near a bear.

Brian is no longer the person who Doesn’t know how to fend for themself.

A reader will recognize that the turning point for Brian comes when He sees a plane fly by that doesn’t see him and realizes he won’t be saved. This changes him and makes him want to plan for the long term instead of just getting by long enough to be saved.


The Brave: Harry Potter and The Prisoner of Azkaban

Harry Potter is a dynamic character. His archetype changes over the course of the book. At the beginning of the book, he is the archetypal nobody. This can be seen on page 19, where the author writes: “‘we’ve told Marge you attend St. Brutus’s Secure Center for Incurably Criminal Boys’ ‘What?’ Harry yelled. ‘And you’ll be sticking to that story, boy, or there’ll be trouble’” 

But by page 284, Harry Potter has begun to transform into the archetypal upstander.  Snape found the Mauraders Map and he talks ill about his father because he is comparing both Harry and his father in a bad light and Harry stands up for his father.  Evidence of this is on page 284: “He too was exceedingly arrogant. A small amount of talent on the Quidditch field made him think he was a cut above the rest of us too. Strutting around the place with his friends and admirers … The resemblance between you is uncanny’ ‘My dad didn’t strut,’ said Harry, before he could stop himself. ‘And neither do I’” 

Harry Potter is no longer the person who lets people walk over him and talk ill about the people he loves.

A reader will recognize that the turning point for Harry Potter comes when he is given the choice to either believe Remus and Sirius or Peter as to who actually killed his parents. Page 372 encourages this belief: “‘Believe me, Harry. I never betrayed James and Lily. I would have died before I betrayed them’ And at long last, Harry believed him. Throat too tight to speak, he nodded” 


Harry Potter

Harry Potter is a dynamic character. His archetype changes over the course of the book. At the beginning of the book, he is the archetypal survivor. This can be seen when the author writes about Harry’s mom and dad dying defending their son. So, in the book the author makes Harry the archetypal survivor.   

“Your mother died to save you. If there is one thing Voldemort cannot understand, it is love. He didn’t realize that love as powerful as your mother’s for you leaves its own mark. Not a scar, no visible sign… to have been loved so deeply, even though the person who loved us is gone, will give us some protection forever.”

But by the middle of the story, Harry has begun to transform into the archetypal hero.  The reason why I think he is turning into a hero is that he now has the responsibility to protect his friends and stuff.  Evidence of this is when the book says, “It takes a great deal of bravery to stand up to our enemies, but just as much to stand up to our friends.”

Harry is no longer the person who shakes and quivers away from bullies and danger.

A reader will recognize that the turning point for Harry comes when he plays quidditch for the first time. The reason why I say this is because of the fact that he gets on a flying broom even though he was cared for, which means he faces his fears. Chapter 11 encourages this belief.


Character archetypes of Malcolm X

Malcolm X is a dynamic character. His archetype changes over the course of the story . At the beginning of the story, he  is the archetypal The common criminal. This can be seen on page 100 , where the author writes: “Around Harlem the narcotics squad detectives didn’t take long to find out  that I was out selling reefers”.

But by page 153, Malcolm X has begun to transform into the archetypal saint. when he was in  jail he converted to Islam,, and it distracted him from being a criminal. Evidence of this is on page 156 it says “My first pre- islamic submission had been manifested. I had experienced  for the first time, the muslim teaching, if you will take one step to allah, allah will tak two steps towards you.

Malcolm Xis no longer the person who sells drugs 

A reader might predict that the turning point for Malcolm X is when he becomes more aware of the white man. Page 158 encourages this  prediction when Reginald, Malcolm x is mentor says “the white man is the devil” 


The Lightning Theif

Percy is a dynamic character. His archetype changes over the course of the book. At the beginning of the book, he is the archetypal “the fool”. This can be seen on page 54 , where the author writes:

”I started feeling cranky and irritable most of the time. My grades slipped from D’s to F’s. I got into more fights with Nancy Bobofit and her friends. I was sent out into the hallway in almost every class. Finally, when our English teacher, Mr. Nicoll asked me for the millionth time hy I was too lazy to study for spelling tests, I snapped. I called him an old snot. I wasn’t even sure what it meant, but it sounded good. The headmaster sent my mom a letter the following week, making it official: I would not be invited back next year to Yancy Academy”

But by chapter 20, Percy has begun to transform into the archetypal “the warrior”.  The event that triggers this transformation is Percy realizing that it was Ares who was behind the crimes and Percy fought with him in a one on one duel, and won.  Evidence of this is in chapter 20 where it says, “Ares lowered his sword. ‘You have made an enemy, godling’ he told me. ‘You have sealed your fate. Every time you raise your blade in battle, every time you hope for success, you will feel my curse. Beware, Perseus Jackson. Beware’.”

Percy is no longer the person who gets bad grades and gets kicked out of school for bad behavior.

A reader will recognize that the turning point for Percy comes when he gets mad at Ares . Chapter 20  encourages this belief. 

“The giant boar charged. But I was done running from monsters. Or Hades, or Ares, or anybody.” This quote from the text shows how Percy has grown as a person throughout the story.


Great Responsibility in “Sonny’s Blues”

It was fun to go in-depth into the characters of James Baldwin’s story, “Sonny’s Blues.” This is one of my favorite stories I’ve read. I really liked the depth of the characters and their individual journey stories. This is a story I can re-read many times which is something I don’t really do. But this one catches my attention every time. Great characters. Great depth. You can see all of my comments on the story–some of which I wrote after I published this post–on NowComment here.

The main character is dynamic. His archetype changes over the course of the story. In the beginning, he is almost like a reluctant hero. This can be seen in paragraph 13 the author writes: “You mean about Sonny? Yes, I already know about it. How come they didn’t get you?” He doesn’t want to be involved.

But by paragraph 44 the main character has begun to show more empathy. He starts to change his perception of Sonny’s friend and he starts to come to his senses once he started to talk to him and know his side of the story and the situation overall with Sonny. As he says in paragraph 44: “I didn’t hate him anymore. I felt that in any moment I’d start crying like a child.” Evidence of this more empathic character is in paragraphs 44-46.

The main character is no longer the person who judges before speaking as he did with Sonny’s friend before he found out that he cared about Sonny too and that it wasn’t his fault what happens with his brother.

A reader will recognize that the turning point for the protagonist comes when he reunites with his brother and they start spending time with the family, but especially when he had one last talk with his mother before she passed. Paragraphs 93-112 encourage this belief by stating “you got to hold on to your brother,” and “don’t let him fall, no matter what it looks like is happening to him and no matter how evil you gets with him. You going to be evil With him many a time . But don’t you forget what I told, you hear?”

It sums up the main character’s turning point on how he tries to be a better listener and support more, and it left him with great responsibility, in my perspective, to keep the family together as much as possible.


What Is Life Without Risk

The book “Paper Towns” by John Green is a really interesting and captivating book with things people have or may have gone through in life. The book also adds a bit of mystery to it which keeps you hooked and still interested which you may not find often.

The First few chapters of “Paper Towns” by John Green might leave a reader feeling curious/hooked because so many things happen from the midnight trip to payback to sneaking into seaworld. It’s just very chaotic but not in a bad way. An example of this is on page 74.  “And before I could even say anything, the snake lashed out and bit her left ankle” This is so unexpected and crazy because they never expected this to happen to two kids who wanted to be adventurous and try something new and then this happened it’s just crazy.

We learn something interesting about one of the characters, Quentin on page 70 where it says: “Fine, but when SeaWorld, Incorporated, or whatever  sends a letter to Duke University  saying that miscreant Quentin Jacobsen broke into their facility at 4:30 in the morning….” This is typical of how this character acts in this book, so far. He often seems to be cautious and nt very adventurous. If you are the outgoing type of person you may not want to unless your goal is to break his shell.

After this part of the book, most readers probably will be looking forward to reading the rest of the book because you might want to know what happened after words and how things might change.  What’s probably going to happen next is after they get caught they leave on their way home and have some sort of conversation.


Analysis of Character Archetypes in Lord of the Flies by William Golding

Ralph is a dynamic character. His archetype changes over the course of the book. At the beginning of the book, he is the archetypal leader. This can be seen at the beginning of the book where the author writes: how the kids pick him as a leader.

But by the beginning of the book has begun to transform into the archetypal enemy. I say this because jack and the other boys don’t like Ralph as a leader so they divide and make their own group. 

Ralph is no longer the the leader of the kids because jack and the other kids Hate him and try to kill him.

A reader will recognize that the turning point for Ralph comes when they kill piggy on puporse.


Dynamic Character

Brian Robeson is a dynamic character. His archetype changes over the course of the book. At the beginning of the book, he is the archetypal common man. This can be seen on chapter 1, where the author writes:

The big split. Brian’s father did not understand as Brian did, knew only that Brian’s mother wanted to break the marriage apart. The split had come and then the divorce, all so fast, and the court had left him with his mother except for the summers and what the judge called “visitation rights.” So formal. Brian hated judges as he hated lawyers. Judges that leaned over the bench and asked Brian if he understood where he was to live and why. Judges who did not know what had really happened. Judges with the caring look that meant nothing as lawyers said legal phrases that meant nothing.  

But by chapter 3, Brain has begun to transform into the archetypal survivor. The event that triggered his change was when the plane crashed.  Evidence of this is on chapter 3:

Then a wild crashing sound, ripping of metal, and the plane rolled to the right and blew through the trees, out over the water and down, down to slam into the lake, skip once on water as hard as concrete, water that tore the windshield out and shattered the side windows, water that drove him back into the seat. Somebody was screaming, screaming as the plane drove down into the water.

 Brian is no longer the person who reads a book at a party.

A reader might predict that the turning point for Brian comes when Brain runs out of food. Chapter encourages this belief:

The hunger, always there, had been somewhat controlled and dormant when there was nothing to eat but with the eggs came the scream to eat. His whole body craved food with such an intensity that it quickened his breath.


One of us is Next

What I have been thinking since I last read One of Us is Next, is how this book is going to differ from The first book One of is lying. Is there going to be a new killer? Or is it not going to be a murder mystery at all?

The First Pages of  One of us is Next by Karen M. Mcmanus  might leave the reader feeling excited  because Nate , becoming a dynamic character from skipping school, to applying for community college courses. An example of this is on page 12.  “Cooper had a splashy scholarship to Cal state Fullerton, even Nate was taking community college course” This is exciting because Nate is my favorite character and it’s nice to see hime change for the better

So far, the Browyn in One of Us is Next might remind a reader of Sherlock Holmes. In The Hounds of Baskerville, because they are both extremley intelligent and they both solved mysteries. In the Hounds of Baskerville sherlock holmes solves mysteries and that’s a part of his life, and job but for Browyn this was more of a one time thing.

After this part of the book, most readers will probably Will be looking forward to reading the rest of this book because since it’s a mystery readers including me will like to know what will happen. What’s probably going to happen next is Brownyn will see her sister Maeve finally.


The Glass Menagerie ~ Character Archetypes

Tom is a dynamic character. His archetype changes over the course of the play. At the beginning of the story, he is the archetypal black sheep. This can be seen on page #1, where the author writes: “ I haven’t enjoyed one bite of this dinner because of your constant directions on how to eat it. It’s you that makes me rush through meals with your hawk-like attention to every bite I take.  Sickening – spoils my appetite – all this discussion of – animals’ secretion – salivary glands -mastication! AMANDA [lightly]: Temperament like a Metropolitan star!  [He rises and crosses downstage.]  You’re not excused from the table.  TOM: I’m getting a cigarette. In this part of the book Tom lacks respects towards his mother due to her attempt in trying to educate him how to eat. He responds to her in a bad way as if he would be rejecting to be educated. It is why he is being identified as a black sheep and grumpy child .

But by Scene 6, Tom has begun to transform into the archetypal the ally. Looks like their relations from mother to son was improving involving the plan to get a gentleman caller for his sister Laura. For instance, in scene six, from the Glass Menagerie discusses, “ Tell me yours? I hope you don’t have any! Tom?. TOM [returning]: Yes, Mother?. AMANDA: Is supper nearly ready?. TOM: It looks to me like supper is on the table. AMANDA: Let me look – [She rises prettily and looks through portières.]  Oh, lovely!  – But where is Sister?. TOM: Laura is not feeling well – and she says that she thinks she’d better not come to the table. This evidence means that there is more union between Tom and his mother. In fact, different circumstances in have made them come together as a family and at the same times as allies.

Tom is no longer the person who disrespect Amanda, like in the beginning of the play when he was upset but means that he matured much more than before and they have come up as a more familiarized people.

A reader might predict that the turning point for Tom comes when he and his mother end up improving more their relationship until Tom ask for all bad things and disrespect he has done towards his mother. Page 7 encourages this belief : “TOM: Mother. AMANDA: Yes, honey?. TOM: How about – supper?. A M A N D A: Honey, you go ask Sister if supper is ready!  You know that Sister is in full charge of supper!  Tell her you hungry boys are waiting for it. It may be evident that their treat to each other is weigh different from the beginning to at this point of stage.


Character Archetypes

Laura is a dynamic character. Her archetype changes over the course of the play. At the beginning of the play, she is the archetypal she is the underdog person. This can be seen, where the author writes: “[The back door is pushed weakly open and LAURA comes in. She is obviously quite faint, her lips trembling, her eyes wide and staring. She moves unsteadily toward the table. Outside a summer storm is coming abruptly. The white curtains billow inward at the windows and there is a sorrowful murmur and deep blue dusk. LAURA suddenly stumbles – she catches at a chair with a faint moan.] TOM: Laura!  AMANDA: Laura !217 LEGEND: ‘ AH!’] [Despairingly] Why, Laura, you are sick, darling! Tom, help your sister into the living-room, dear! Sit in the living-room, Laura – rest on the sofa. Well.” Laura have little chance to show that she is a different lady but she is showing her weakness 

But in the same chapter, Laura has begun to transform into the archetypal nobody. She didn’t change her archetypal but she mentioned from the beginning that she wouldn’t sit at the table for dinner. “LAURA: I don’t know, Mother. All I know is I couldn’t sit at the table if it was him!”

Laura is no longer the person who was shy in the beginning of the play. If the reader reads into the end of the play we can find out that Laura talks with Mr.O’Connor as a regular person without feeling embarrassed. 

A reader might predict that the turning point for Laura comes when Jim kisses her. We see that Laura changes automatically after Jim told her that he is going to get married soon. 


Character Archetypes changes

Tom is a dynamic character. His archetype changes over the course of the play. At the beginning of the play, he is archetypal of the coward. This can be seen on page < 159>, where the author writes: “ TOM: I’ m planning to change. [He loans over the rail speaking with quiet exhilaration. The incandescent marquees and signs of the first-run movie houses light his face from across the alley. He looks like a voyager.] I’m right at the point of committing myself to a future that doesn’t include the warehouse and Mr. Mendoza or even a night-school course in public speak”.

But by page < 19>, Amanda has begun to transform into the archetypal the villain. She may say into her words that the mother tries to make everything in an easier way for the daughter, but however, she seems to refuse to that commodity. Amanda is putting all of her efforts just for Laura to be perfect. In my mind, I feel like Amanda really cared about appearance a lot than the reality. Evidence of this is on page <19>: “I don’t understand you, Laura. You couldn’t be satisfied with just sitting home, and yet whenever I try to arrange something for you, you seem to resist it. [She gets up.] Now take a look at yourself. No, wait! Wait just a moment – I have an idea”!

Laura is no longer the person who was shy but as things progress in the play she started to opining up and defended herself. For example in scene six-line, 74-78 she did not respect when her mother tells because was not comfortable. A reader will recognize that the turning point for Tom comes when he started talking about leaving his family at the beginning he was blaming his father for leaving them. I never expected that he will things about it. Page <#> encourages this prediction: “ I’m starting to boil inside. I know I seem dreamy, but inside – well, I’m boiling! – Whenever I pick up a shoe, I shudder a little thinking about how short life is and what I am doing! – Whatever that means, I know it doesn’t mean shoes – except as something to wear on a traveler’s feet! 1[Finds paper.] Look”.


Amanda’s Characters throughout The Play

Amanda is a dynamic character her archetype changes over the course of the play. At the beginning of the play, she is archetypal of the mother. This can be seen in lines 29 to 31, where the author writes: “Amanda said, Tom?  Yes, Mother.  We can’t say grace until you come to the table! Coming, Mother.  [He bows slightly and withdraws, reappearing a few moments later in his place at the table”.]  This quote showed that she is a good mother and she teaches her kids manners and she only wants what makes her kids successful and respectable in life.

But by line 130, Amanda has begun to transform the archetype into a controller. This illustrates that Amanda is being so controlling because she started to check every single thing that her kids do. She suspected that Laura was doing what she was supposed to do. This led Laura to hide important things from her mother. In line 130 Amanda said to Laura, her second kid, “Walking?  Walking?  In winter?  Deliberately courting pneumonia in that light coat?  Where did you walk to, Laura”?

Amanda is no longer the person she was because when she saw that her kids were listening to her advice. She started to show her dark side that would even make them more confused about what they should become better persons.

On page #19th Amanda’s character changed because she started to show to upset her kids by bringing up their father’s discussion. In my mind, I think that’s what led Tomtom go out and smoke. This evidence can be shown in the following: Comb your hair!  You look so pretty when your hair is combed! There is only one respect in which I would like you to emulate your father”.

A reader might predict that the turning point for Amanda comes when she sees that her kids do not realize what is good for them in life. They think that she is only trying to control them because she has the ability to do so. This line indicates that: lines 10 Tom replied to his mother “I’m going out to smoke”. This showed that Tom did not even take on a bit of word that Amanda was saying.


Laura’s Character

Laura is a dynamic character. Her archetype changes over the course of the play. At the beginning of the play, she is the archetypal saint. This can be seen in scene 1, where the author writes that Laura was not a type of girl who will be as her mother. Wanting some callers to come around you, Laura did not want that. For example in line 76 she says, “ I don’t believe we’re going to receive any, Mother.”

But by scene 6, Laura has begun to transform into the archetypal expert. Since she knows that Jim was coming to their house she has been acting weird. She was trying everything possible to ignore making eye contact with him. So she was smart and she was acting to be sick all of that just because she loves the guy but cannot tell him. She is the kind of person that loses their tongue when they see something they want. Evidence of this is on line 213 and 214 it shows, “Outside a summer storm is coming abruptly. The white curtains billow inward at the windows and there is a sorrowful murmur and deep blue dusk. LAURA suddenly stumbles – she catches at a chair with a faint moan.”

Laura is no longer the person who was not this crazy when it comes to men. She even told her mother that she does not like being like her.it was not easy for her to have a crush. But when it comes to Jim she is not herself.

A reader might predict that the turning point for Laura comes when she will definitely fall for him. At a certain point she has to tell Jim about her feelings and maybe before all of that she will be recognized. If everything went well, it may be a conflict between the two friends, Tom and Jim. Based on what I understand, Tom does not want her sister to be heart broken. And it looks like Jim is a kind of person that all the girls want to have. But I think that Laura will be in good hands and I believe that her feelings toward Jim were something that was natural because Jim seems like a nice guy. Line 116 encourages this prediction by showing how Jim’s answer was sweet, “ Must have been playing classical music on it! You ought to play a little hot swing music to warm you up!”


Character Archetype

Tom is a dynamic character. His archetype changes over the course of the play. At the beginning of the play, he is the archetypal expert. This can be seen on page # 60-61, where the author writes: he sneaks from the house to be adventitious and hangs around the city to entertain himself. In the evidence, it says, “ TOM fishes in his pockets for door-key removing a motley assortment of articles in the search, including a perfect shower of movie-ticket stubs and an empty bottle. At last, he finds the key, but just as he”. This is fully explained by how Tom starts to come home late. In addition, his behavior changed by the

But by page three and four, Tom has begun to transform into the archetypal careless. Evidence of this is on page #16: “I guess the fuse has burnt out. Mr. O’Connor, can you tell a burnt-out fuse? I know I can’t and Tom is a total loss when it comes to mechanics.” I think mom is kind of denounced about Tom’s ability when it comes to fixing something. Tom’s dynamic character would be best described by including the conversation between him and his mother. He started to neglect all the chores or responsibilities he was supposed to do. He lost his own world.

Tom is no longer the person who was innocent and responsible. He wants to escape from this. He wants to have his own freedom where he is the king and can run the kingdom. A reader might predict that the turning point for Tom comes when the climax of the play changes over time. Characters start to develop their personality to show how better or worse. It all depends on the character. I predict that all the changes came to Tom’s character because of his mom. Her strict rules made him do something which he would not do if she was being a fair mom.


We Control Macbeth

Act 4, Scene 1, Lines 22 – 34

I picked this passage because is more intriguing because the Macbeth story revolves around the witches.The witches are meaningful to the story because they are the catalyst that causes  Macbeth to have so many conflicts.

In this monologue the speaker is the third witch.She is speaking to the first and second witches.All three witches are on stage and the witches are listening  to each other.They are outside and there’s thunder and rain.The witches circle a cauldron.The witches are a coven.The scene is happening at night time.

In this scene Macbeth approaches the witches to learn how to stay as king forever.Macbeth is nervous because at this point in the story he has already killed Duncan and banquo, but Fleance is still alive.

The central conflict is that Macbeth wanted to be king but he did not want to be the killer of Duncan.Now that he killed Duncan he feels guilty and scared he was also panicking.Macbeth also sees things that aren’t there like Banquo and a knife.He also goes back to the witches to ask them how can he stay king forever.

The third witch is not a dynamic character because nothing happens that changes her personality.Macbeth is the character that keeps changing his personality throughout the story.The fundamental needs of the third witch are all the items she needs is the cauldron.

So what’s basically happening is she’s putting a lot of items in a big bowl to make a witch spell.


Macbeth Soliloquy Analysis

I picked lines 44 through 55 of Act 2 Scene 1 because I thought the flow of  Macbeth’s speech would be easier to remember. There seems to be a pattern in the soliloquy with the choice of words, which would help me memorize where each line goes. I also picked this scene because of the way that Macbeth’s sanity was shown, and how his mood changes.

In this monologue, Macbeth is in his castle during the night when everyone else is asleep, speaking of his thoughts of killing Duncan before he does the deed of the actual murder. He’s seeing a dagger in front of him, when it isn’t actually there. The fact that he is hallucinating right before he murders his king, shows how nervous and how mentally unstable he is at this point.

Macbeth is a dynamic character because he goes through a lot of character development. In the beginning of the book, Lady Macbeth tries persuading him to kill the king while he does not want to and thinks it’s a crazy idea. In this monologue, he is so out of it that he literally imagines a dagger in front of him, right before he pulls his actual dagger out to go and actually murder Duncan. Macbeth says, “Proceeding from the heat-oppressed brain?” In this quote, he is admitting that he is ill, mentally.

I would stage this scene in an area where no one else would be in the middle of the night, because Macbeth is talking to himself and reflecting on how he’s feeling. I might choose to stage him in the bathroom where he is looking at himself in the mirror, possibly washing his face to wake him up a bit before he leaves to kill the king.

One theme that this monologue illuminates is self doubt. Macbeth is doubting his own sanity because he’s hallucinating and questioning himself. Shakespeare uses elements of poetry to get this theme across by using phrases such as “heat-oppressed brain”, “fatal vision”, “false creation” and using rhythm in the soliloquy. It makes the speech seem more intense and meaningful to Macbeth’s state of mind. 


On Hecate’s Monologue

Hecate’s monologue in act three in which she scolds the three Witches shows us much more about her character and her relationship with the three Witches. By understanding Hecate further we can better understand the world of the Witches and their power structure. In this short scene, we see the three witches punished at the hands of their leader as she proclaims herself to be the “mistress of your charms” (3.5.5). As mistress is the feminine term for master, we can infer that the witches are indeed her underlings, or at the very least under her control or in her convent. The place in which they meet is rather vague, but it is night, and there is thunder present in the scene. Out of the three Witches to speak, the first Witch is the only one who has lines in this scene, when they first enter, and when they exit.

 As these four characters are specifically shrouded in mystery and ambiguity we cannot really tell if a change has happened inside the minds of these characters. Hecate, in particular, appears for the first time in the play in this scene, so her character cannot be dynamic or static by this point in the scene as she has such a small role. As for the other Witches, they have not changed their opinions about the current situation as it is not their place as seers in this plot. The Witches are specifically written as static characters as they have no need to change their minds as either they can see the future and the truth to what lies ahead. Alternatively, they are manipulative women, and yet still they are static characters as they need not interfere with plans of their own making. 

The motives behind each of these characters are complex and vague. The motives behind the Witches and Hecate are largely unknown, and most speculation can lead down one of two paths. The first path is one of destiny, magic, and faith. This string of ideas shows us that the Witches are motivated by their ability to see the future and help someone’s destiny be realized. This idea would be maintained by the thought that the Witches do actually use magic, and can accurately see and tell the future. In this version, they would not be acting of their own personal motivations. They would be acting parallel to the idea of destiny, and the will of the future. 

The second option outlines the strictly realistic aspects of Macbeth. In this idea, the Witches are knowledgeable and uncanny wildcards that seek to push Macbeth in one specific direction. This option is centered around their personal motives (whatever they may be) as there is no larger ‘force’ for the Witches to actively maintain or help. This idea is also connected to the idea that Macbeth acted solely on his own accords as the Witches were vague in their prophecies. This is where the story becomes much more personal, and Hecate, as the master of the Witches becomes more of a puppet master than a priestess for fate. 

This monologue shows us some very interesting motifs of power. With the Scotts and their noble families, there is a hierarchy shown as there is a king, his trusted nobles, and everyone else. The Witches, on the other hand, show us another hierarchy. The matriarch, instead of the patriarch, Hecate is the leader of the Witches Coven, and she governs their use of their practice. This also alludes to the themes of Femininity being fae (magical). Lady Macbeth is shown to be more magical or mystic with her chanting, and her insanity later on. Shakespeare often conveys this through the use of prose instead of iambic pentameter. 

While the Witches are said to look very manly with their beards, this may just be an insult to their clothing or class. They are also specifically referred to as the Weird Sisters by Macbeth. Furthermore, Hecate in greek (and roman) mythology is the goddess of witchcraft and many other ghost-like entities. As a goddess, she is feminine, similar to the genders of the other Witches. Therefore we can sufficiently justify that in Macbeth, many female characters (at least four) are closely associated with the art of magic or the occult. 


Macbeth: A Tale of Guilt

✧・゚: *✧・゚:* monologue analysis! *:・゚✧*:・゚✧

For my monologue project, I selected lines from one of the most insightful scenes (in my opinion), from Shakespeare’s play; Macbeth. I chose to learn act 3, scene 2, lines 41-63 as my monologue; since I think it is one of the most revealing monologues regarding the emotional state of the protagonist.

The monologue consists of the main character, Macbeth; speaking to his wife about what is troubling him. This monologue is strictly between Macbeth and Lady Macbeth- since they were speaking in private. The monologue takes place in the Macbeth residence, where after killing the king (Duncan), Macbeth begins to feel uneasy. The main conflict in this scene would most likely be the impact of giult- upon an unstable mind. I say this because after killing the king, Macbeth starts to feel guilty for what he has done- further damaging his mental health as time goes on (which, over time, builds up to be a main conflict in the story of Macbeth).

The character speaking in this scene (Macbeth) is quite a dynamic character. This is because after murdering King Duncan, Macbeth becomes mentally unstable, and paranoid of fate- seemingly contradictory to his previous state of mind. In the monologue, words like “bloody” hand, as well as the word choice in the sentence “good things of day begin to droop and drowse” reflect the murder that Macbeth commited- ridding the kingdom of a peaceful and good authoritarian figure, only to be replaced with himself. The words “O, full of scorpions is my mind” represents the feeling of guilt that Macbeth is experiencing after committing the crime- contributing to his overall decline in mental stability.

If it was up to me to stage this scene, I would most likely make the actors playing Macbeth and Lady Macbeth stand in a darkly-lit place in order to set the mood of an enclosed space (representing Macbeth’s feelings of guilt closing in on him, after he realizes that what he has done was wrong). I would also perhaps add some props to the scene, for Macbeth to perhaps drop or throw against the ground in order to show his declining mental state after killing Duncan. If I was to direct the actors, then I would most likely encourage Macbeth to be a bit dramatic, and give off a feeling of being unhinged in an effort to make his character believable. 

In this monologue, Shakespeare used certain poetic elements to enhance the emotion being portrayed in the scene. The main theme in this scene would be the impact of guilt (as  mentioned before); and the use of poetic elements really enforces the impact of Macbeth’s emotions. For example, Shakespeare used iambic pentameter as a feature in his writing to provide a rhythm to his lines, as well as create depth in certain parts of the dialogue.

All in all, the monologue in act 3, scene 2; is a prime example of an effective piece of Shakespearian writing that develops its characters, gives them depth, and makes the story establish themes that readers can connect to as well as understand on a deeper level. 

*the image for this document is from a graphic novel adaptation of Macbeth- and portrays Macbeth’s final scene of the play*


Dynamic Character Analysis: Huck Finn

The Adventures of Huckleberry Finn, by Mark Twain, displays many intricate parts that make the novel an American classic. Obviously, there is plot development, but Twain does an excellent job in creating characters in the plot. As I read the novel, one specific character stood out. I noticed that out of all the characters that are in the plot, Huck developed the most, changing immensely and has the book based on him.

Huck is a fourteen year-old boy from St. Petersburg, Missouri. He is a medium-sized, skinny boy who enjoys rags over proper clothes, even though he was adopted to a rich widow. He says “The Widow Douglas she took me for her son, and allowed she would sivilize me; but it was rough living in the house all the time, considering how dismal regular and decent the widow was in all her ways; and so when I couldn’t stand it no longer I lit out. I got into my old rags and my sugar-hogshead again, and was free and satisfied” (Twain 1). Rags are preferred by Huck because he grew up under his alcoholic Dad, Pap, and pretty much grew up homeless. So, he took rags for clothes and had really shabby necessities if he ever attained any, making him used to them even though he was adopted to Widow Douglas.

Huck is first seen as a fourteen year-old boy who likes having fun and believes in common thoughts and follows immoral laws in the South, like slavery. As the book progresses, Huck matures, having adult mentally by being serious and make moral decisions and breaks the immoral laws in the South. Through being part of Tom’s Bandit Gang, he could have fun and have “adventures.” When he realizes that the gang doesn’t enact the same adventures like the ones in story books, he becomes disappointed, and seems to have matured. This is disproven when he plays jokes on Jim, like placing a snakeskin near Jim when he was sleeping or trying to trick Jim that he was a ghost in Jim’s dream in the fog near Cairo, Illinois. Until the point Jim talked about his family he didn’t really think of Jim as an equal human. Like previously stated, he treated Jim like a playmate with the jokes that he played on Jim. Also, he tells Jim to get things for him, like when they were salvaging things from the house washed down on the Mississippi, near Jackson island. However, when Jim started talking about his family, saying “En wid dat I fetch’ her a slap side de head dat sont her a-sprawlin’… Huck, I bust out a-cryin’ en grab her up in my arms, en say ‘Oh, de po’little thing! De Lord God Amighty fogive po’ole Jim, kaze he never gwyne to fogive hisself as long’s he live!’ Oh, she was plumb deef en dumb, Huck, plumb deef en dumb-en I’d ben a-treat’n her so!” (Twain 140). Before this, Huck was hesitant to keep Jim safe when people would ask for a runaway slave, feeling confused and questioning himself about his judgement because it was morally right, but wrong in front of the law. After this, Huck realizes that Jim has the same feelings as himself, and thinks like a full human with emotions and having a family. The moral climax and maturity came when Huck wrote a letter to Miss Watson about Jim after Jim gets sold to the Phelpses, but tears it up, marking, “I studied a minute, sort of holding my breath, and then says to myself: ‘All right then, I’ll go to hell’—and tore it up. It was awful thoughts and awful words, but they was said. And I let them stay said; and never thought no more about reforming” (Twain 191). This showed that Huck recognized Jim as a full equal and later rescues Jim from the Phelpses.

At first, Huck leaves St. Petersburg so he could abandon civilization as a whole, like the immoral drinking (so his father), religion, and other parts of that “sivilization.” At this time, he followed the rest of the Southern ideologies, and these principles motivated Huck to run away. However, the reason of running away changes later in the plot, with him running away to free Jim from slavery, motivating Huck to run away, with chapter 36’s title saying “Trying to help Jim” (Twain 219).

This plot also shows Huck’s beliefs changed. From an idle, adventurous, carefree boy, who believed in Southern ideologies like racism, he changed as the plot progresses. Huck at the end, turned into a new person through conflicts and atrocious events that happen on land, with only the river giving peace and sensibility. Huck metamorphosized into a new person by thinking that all men were created equal, via the impact of Jim, he became more serious by being less adventurous, and totally abandons society as a whole. At the end, he says “Aunt Sally she’s going to adopt me and sivilize me, and I can’t stand it. I been there before” (Twain 260). 

He later on impacts Jim and the people at Phelps’ Farm with his moral equality that broke immoral laws of the south and also impacts Jim by showing that not all white men are bad. Also, he impacted Tom by showing that adventures aren’t everything and that they shouldn’t be followed, being serious as well.

I liked how Huck developed throughout the plot. At first, he was ignorant, idle, careless, and followed immoral laws. But through intense trials, he was able to blossom into a new person. He noticed that societal norms aren’t always right, all men were created equal, and that adventures and child’s play is of the past. In my opinion, Huck was a nice example of a kid near our age and that humans can always develop and become better people.

 

Works Cited

Twain, Mark. The Adventures of Huckleberry Finn. Needham, Massachusetts, Prentice Hall Library, 1884.

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