The Winter’s Tale and Cardenio Evaluating and Attributing Shakespeares Lost Play - Literature Essay Samples

When a transcript of Cardenio emerged and was soon labeled one of Shakespeare’s â€Å"lost plays,† several critics and scholars nodded their heads in a unified disagreement while others became instantly interested in analyzing its contents. Throughout the years just as many agree that is in fact one of Shakespeare’s lost plays as those who dismiss it as someone who was trying to duplicate Shakespeare and thus capitalize on this respected and well-liked style. Whatever the case, specific attention must be given to the erroneous ways in which Cardenio deals with setting in the context of Shakespeare’s later works, language and style, characters and stage direction, which when examined weaken any claim that Cardenio was indeed written by the world’s most famous playwright himself. Shakespeare’s later plays, which include Pericles, Cymbeline, The Winter’s Tale and The Tempest, are all notable for distinguishing characteristics common in varying degrees to them all. They all, with the exception of The Tempest which stays in one setting, have scenes in many places and countries, and their events take place over a lengthy period of time. The Winter’s Tale, for instance goes from Sicily to the Bohemian coast then back to Sicily then to Paulina’s house in the country, all in the midst of a sixteen year jump in the play’s middle. Cymbeline follows its characters on a long trek throughout Britain and Italy, showing the play’s passage of time through the changing age of the characters, and Pericles finds its setting in half a dozen different kingdoms. Shakespeare during this time obviously had an attraction to movement and settings. He is particularly interested at this time in giving his characters room to run around in, which is not the case for his earlier works or more notably in Cardenio, which is thought to have been written by Shakespeare during his later period. If one were to make the case that Cardenio is in fact a work of Shakespeare, one must note that the theme of movement is not present. Cardenio has one setting and lacks a feeling of time relapse. Although several houses are accounted for, many of the settings are repeated throughout the play. Hence, Cardenio lacks the depth in setting that is so pivotal to Shakespeare’s last works. As an interpreter of Shakespeare’s language, one must pay close attention to the style and language Shakespeare uses. In The Winter’s Tale, the play is mostly blank verse with some prose, the only rhyme being in the speech of Time and the songs. The style, in the more emotional passages, is heightened. It becomes grandeur, sometimes wild, swelling. It is also more concentrated, rapid, varied and less regular in its construction. It is not easy or lucid and is sometimes in the more ordinary dialogue obscure. On the other hand it is always full of life and movement and in more of the dramatic passages produces sudden, strange, electrifying effects. For instance, in the Shepherd’s speech about Doricles: â€Å"†¦for never gaz’d the moon / Upon the water as he’ll stand and read / As ‘twere my daughter’s eyes: and, to be plain, / I think there is not half a kiss to choose / Who loves another best† (IV, IV, 99). Although mostly in blank verse, the language does not lose its lyrical charm that Shakespeare is so fond of using. The unity of The Winter’s Tale in style and language is not simply that of a play mainly in blank verse: it is a profound and rhythmic unity in which the language not only occurs with plot, theme, character and incident, but also characterizes, helps to fix, all these; and it also characterizes and produces a dramatic effect. Language in itself is subtle enough when used ordinarily, yet with The Winter’s Tale its subtlety is profound. It flows in a dreamlike way across the page, cosmic and mysterious. Its difficulty is submerged so that one may have to spend the right amount of time on a passage to understand its full meaning, but so is the case for most of Shakespeare’s works. Cardenio, on the other hand, once again lacks this characteristic that is a crucial section of Shakespeare’s style. The language is sloppy and is more telling than showing. Such is the case for a particularly condescending line by Sophonirus, in which he states, â€Å"How quickly now my death will be revenged, / Before the king’s first sleep! I depart laughing / To think upon to deed† (III, 1112-1113). Even more humorous is the line uttered by the servant in the same scene, which reads, â€Å"Their eyes still fixed upon the doors and windows† (III, 1124). Not only does this not sound like s omething Shakespeare would write at all, but it certainly seems to not belong to this time period in the least. Other particularly stupid or unclear phrases, which include â€Å"All-ass† (III, 1252), or alas, a terrible pun, and â€Å"hide that book† (I, 187), prove to go against any claim that Shakespeare penned this play. Another case is the frequency at which minor characters speak. In most of Shakespeare’s plays minor characters speak one or two words and are never seen again, whereas in Cardenio, two men who are named first fellow and second fellow babble on for several lines across several pages. Shakespeare has never given more than a few lines to his minor players, so it would be peculiar that if one were to make a case for Cardenio to not mention the speech, style and language as counteracting that claim. A final comment on the authenticity (or lack of) of Cardenio is the stage directions. Shakespeare’s other works have stage directions that are limited to exits and entrances and little action (such as stabbing or falling). The Winter’s Tale is limited to speech; nowhere do you see the words, or something like the words, â€Å"Enter Tyrant, wondrous discontentedly† (IV, II), â€Å"wondrous passionately† (IV, IV, 1714), (whatever that means), â€Å"Enter Lord Anselmus, the deposed king’s brother, with his friend, Votarius† (I, II) and most importantly a lengthy stage direction which reads, â€Å"On a sudden, in a kind of noise like a wind, the doors clattering, the tombstone flies open, and a great light appears in the midst of the tomb; his Lady as went out, standing just before him all in white, stuck with jewels, and a great crucifix on her breast† (IV, IV, 1746-1751). These directions cheapen the play and make it weak and borderline ridiculous. If Shakespeare were to put two friends in a scene together, he would not have to tell us they were friends. Instead, he would let their dialogue speak for itself because he has the audacity and talent to do so. It seems that whoever wrote this play was trying to copy Shakespeare’s work and not doing a very good job of it; thus, the stage directions are just another instance that speaks against Cardenio as being Shakespeare’s work. These weighty cases against Cardenio as a part of Shakespeare’s canon are important claims and can certainly be a start in this argument. However, there is no way for sure we can say this isn’t Shakespeare unless we had huge circumstantial evidence. Although the setting, language and style do not match up, that is not to say this isn’t an early draft (we cannot assume Shakespeare wrote a perfect draft his very first try) or a starter draft and that Shakespeare later would have revised and carved it out to a perfect work like his other plays. Shakespeare cannot be duplicated. Upon reading Cardenio, the typical reader may not get the feeling that there is anything that ranks it, in terms of transcendent imagination or insight, among Shakespeare’s masterpieces. Simply, it generates a certain admiration for speech and style, and nothing more.

Trinity College Acceptance Rate, SAT/ACT Scores

Trinity College is a private liberal arts college with an acceptance rate of 34%. Located in Hartford, Connecticut on a 100-care campus, Trinity College has the countrys eighth-oldest chapter of the prestigious  Phi Beta Kappa  Honor Society. Trinity has a 10-to-1 student/faculty ratio, and the mission of the college emphasizes the close interaction between students and their professors. Majors in the humanities and social sciences are most popular with Trinitys undergraduates. In athletics, the Trinity College Bantams compete in the NCAA Division III New England Small College Athletic Conference. Considering applying to Trinity College? Here are the admissions statistics you should know, including average SAT/ACT scores of admitted students. Acceptance Rate During the 2017-18 admissions cycle, Trinity College had an acceptance rate of 34%. This means that for every 100 students who applied, 34 students were admitted, making Trinitys admissions process competitive. Admissions Statistics (2017-18) Number of Applicants 6,098 Percent Admitted 34% Percent Admitted Who Enrolled (Yield) 28% SAT Scores and Requirements Trinity College has a test-optional standardized testing policy. Applicants to Trinity may submit SAT or ACT scores to the school, but they are not required. During the 2017-18 admissions cycle, 31% of admitted students submitted SAT scores. SAT Range (Admitted Students) Section 25th Percentile 75th Percentile ERW 630 710 Math 670 750 ERW=Evidence-Based Reading and Writing This admissions data tells us that of those who submitted test scores during the 2017-18 admissions cycle, most of Trinitys admitted students fall within the  top 20% nationally  on the SAT. For the evidence-based reading and writing section, 50% of students admitted to Trinity scored between 630 and 710, while 25% scored below 630 and 25% scored above 710. On the math section, 50% of admitted students scored between 670 and 750, while 25% scored below 670 and 25% scored above 750. While the SAT is not required, this data tells us that a composite SAT score of 1460 or higher is competitive for Trinity College. Requirements Trinity College does not require SAT scores for admission. For students who choose to submit scores, note that Trinity participates in the scorechoice program, meaning that the admissions office will consider your highest score from each individual section across all SAT test dates. Trinity does not require the essay section of the SAT. ACT Scores and Requirements Trinity College has a test-optional standardized testing policy. Applicants may submit SAT or ACT scores to the school, but they are not required. During the 2017-18 admissions cycle, 23% of admitted students submitted ACT scores. ACT Range (Admitted Students) Section 25th Percentile 75th Percentile English 29 35 Math 27 31 Composite 29 32 This admissions data tells us that of those who submitted scores during the 2017-18 admissions cycle, most of Trinity Colleges admitted students fall within the  top 9% nationally  on the ACT. The middle 50% of students admitted to Trinity received a composite ACT score between 29 and 32, while 25% scored above 32 and 25% scored below 29. Requirements Note that Trinity College does not require ACT scores for admission. For students who choose to submit scores, Trinity participates in the scorechoice program, meaning that the admissions office will consider your highest score from each individual section across all ACT test dates. Trinity does not require the ACT writing section. GPA Trinity College does not provide data about admitted students high school GPAs. Self-Reported GPA/SAT/ACT Graph Trinity College Applicants Self-Reported GPA/SAT/ACT Graph. Data courtesy of Cappex. The admissions data in the graph is self-reported by applicants to Trinity College. GPAs are unweighted. Find out how you compare to accepted students, see the real-time graph, and calculate your chances of getting in  with a free Cappex account. Admissions Chances Trinity College, which accepts just over a third of applicants, has a competitive admissions pool. However, Trinity also has a  holistic admissions  process and is test-optional, and admissions decisions are based on much more than numbers. A strong  application essay, optional supplemental essay,  and  glowing letters of recommendation  can strengthen your application, as can participation in meaningful  extracurricular activities  and a  rigorous course schedule. The college is looking for students who will contribute to the campus community in meaningful ways, not just students who show promise in the classroom. While not required, Trinity strongly recommends optional  interviews  for interested applicants. Students with particularly compelling stories or achievements can still receive serious consideration even if their grades and scores are outside of Trinity Colleges average range. In the graph above, the blue and green dots represent accepted students. You can see that most students who got into Trinity had averages of B or higher, SAT scores (ERWM) above 1250, and ACT composite scores of 26 or higher. Many successful applicants had solid A averages. Since Trinity has test-optional admissions, grades are much more important than test scores. If You Like Trinity College, You May Also Like These Schools Boston UniversityVassar CollegeYale UniversityBoston CollegeBowdoin CollegeTufts UniversityGeorge Washington UniversityAmherst College All admissions data has been sourced from the National Center for Education Statistics and Trinity College Undergraduate Admissions Office.

Breast Cancer A Common Disease - 1910 Words

Cancer is a common disease in today’s society, more specifically breast cancer. We see people with little pink ribbons or a dedicated shirts to it on the street, stickers on cars, we even have a whole month dedicated to raise awareness about it, but what really is breast cancer? How long has it been around? How does it affect its victim? Breast cancer is not a modern discovery and has been documented since ancient times, in almost every period of history. Unlike internal cancers, breast cancer is not as difficult to identify since the breast lumps turn into visible tumors in later stages. Even though breast cancer is more easily identified, it was left unmentioned and was considered an embarrassment therefore it was left undiagnosed. Only†¦show more content†¦Surgery was never suggested because at this time breast cancer was a disease that affected the whole body. Galen’s theories on breast cancer were believed until the 17th century when a French physician, Francois de la Boe Sylvius, challenged the humoral theory of cancer. In 1680, Sylvius suggested that cancer did not come from an excess of black bile, but rather was a chemical process that transformed lymphatic fluids from acidic to acrid. In 1713 Bernardino Ramazzini’s hypothesized that breast cancer was so regular in nuns was because of lack of sex. Ramazzini’s said that without regular sexual activities reproductive organs, such as the breasts, would start to decay and acquire cancer. Later on Friedrich Hoffman of Prussia suggested that woman who have regular sex but still developed breast cancer were partaking in vigorous sex, therefore causing lymphatic block. In the 1730’s Clause-Desphais Gendron, a Paris physician, hypothesized cancer was developed when nerve and glandular tissue mixed with lymph vessels. Twenty years later it was suggested by leading French physician Henri Le Dran, to surgically remove the tumor and the infected lymph nodes of the armpit as treatment. Cluade-Nicolas Le Cat thought the only way to treat breast cancer was surgically. This view was held until the twentieth century and led to radical mastectomy, the extensive removal of the breast. Surgery was an available treatment option for breast cancer by the

Ethos, Pathos, Logos

Ethos, Pathos, Logos- an American Slave Essay Usage of Ethos, Pathos, and Logos in An American Slave How can ethos, pathos, and logos change a human’s perspective on an important event? The right balance of ethos, pathos, and logos would lead to a heartwarming story of any kind; an example would be Fredrick Douglass’ An American Slave. Douglass’ autobiography has shown a certain amount of ethos, pathos, and logos in order to sustain a full autobiography that has changed the perspective of America. Fredrick Douglass, once a â€Å"chained† slave, has expressed his personal experiences about slavery through one of America’s most beloved autobiographies. In his work, he showed his beliefs appealing to logos, ethos, and importantly, pathos. Douglass had expressed logos through several personal accounts during his time as a slave. He would explain the logic meaning of how a master would treat his slave and the punishment of the master when he kills his own slave. For example, Mr. Gore, an overseer, killed a slave after the slave refused to get out of the creek. In response, Mr. Gore shot the slave right in the head, but was never punished for this terrible crime as he argued if one slave did wrong, the other slaves would copy. Fredrick Douglass would soon explain other masters who would kill their slaves in the most horrifying way, and never received punishment. Douglass would also use an example that had happened to him from his wife’s family, when his wife’s cousin was killed in the goriest way. The examples shown here proves â€Å"logic argument†, but also a sign of ethos and pathos. Ethically speaking, Douglass proved several points to include not only his ideals of the consequences of slavery, but the foreshadowing of abolitionism. Douglass would also frequently mentions religion and his beliefs on Christianity, and how it affected slavery. Ironically, the entire appendix is dedicated to persuade the context and how religion had an effect through slavery and himself. For example, Douglass retold a popular hymn from the south that revolves around White cruelty and enslavement towards slaves. However, in the eyes of the White worshiper, it was considered a â€Å"Heavenly Union†. Throughout the book, Douglass expresses his emotions throughout the entire book. The book explained Douglass’ emotions changing from progressing, regressing, and progressing again. Douglass loved talking about the enjoys of learning how to read and write, the way he felt â€Å"freed†, and the way he felt utter joy. He would described that being a slave, reading and writing were luxuries, and how he was yelled at for his desire for knowledge. His education, led to his relaxation of the great and many opportunities laid out for him, if he was free. An example would be when Douglass described his profession of loading oil into sloops, â€Å"It was new, dirty, and hard work for me; but I went at it with a glad heart and a willing hand. I was now my own master. â€Å" Douglass may have the right balance of the usage of ethos, pathos , and logos, but he used pathos more than the rest as he felt that his emotion was important. The over usage of pathos was probably one of the reasons why his narrative sold so well as people would want to understand the life of a slave. Importantly, Douglass wanted to educate the whole world of abolitionism, and let his audience understand the life he went through.