.... daughter has speed far greater than the “wind or water rushing by.” The reader learns that she also has the ability to travel “back throughout history and up the stream of time.” By this, the poet suggests that his daughters memories can be passed on through the lives of her children. Frost uses these examples to show that by staying at the “master speed”, stopping, his daughter has the ability to enjoy her existence and the commitment she is about to make. In the second quatrain, Frost tells the reader his daughter was given her “special abilities” so that “in the rush of everything to waste, that [she] may have the p ....

.... it successful for himself. The is about what happened to the American Dream in the 1920s, a time period when the dream had been corrupted by the avaricious pursuit of wealth. The pursuit of the American Dream is the sublime motivation for accomplishing one's goals and producing achievements, however when tainted with wealth the dream becomes devoid and hollow. Jay Gatsby, the central figure of the story, is one character who longs for the past. Surprisingly, he devotes most of his adult life trying to recapture it and, finally, dies in its pursuit. In the past, Gatsby had a love affair with the affluent Daisy. Knowing he could not marry her because of the difference in thei ....

.... enough to try to bring any harm to him, for he was powerful and godlike. However, this train of thought was what led Caesar to his downfall. Many people thought of Caesar as an egotistical and unyielding man who had the heart of a tyrant and who could be expected to crush any remaining liberties of the Romans under his feet. Most of the time, he spoke about himself in the third person which gives an arrogant feeling of Caesar to the reader. This is shown as Cassius spoke to Casca about the upcoming conspiracy. "What trash is Rome, what rubbish and what offal, when it serves for the base matter illuminate so vile a thing as Caesar!" (p.45). Caesar was by no means ....

.... motives of characters within the play and even the motives of Arthur Miller himself and therefore show how conflict stems from certain recognisable human failings including those mentioned above, fear, and hysteria. Reverend Parris is the character that initiates the hysteria of the Salem witch trials, in a community where authorities wasted no time minding the business of it’s citizens, what should have been seen as teen frivolity was blown into one of the ugliest moments in American History. Parris sparks this by firstly acting on his own paranoia, which the reader would find in the introduction “he believed he was being persecuted where ever he went”, a ....

.... denying her inner beauty to come forth, is the way Laura hides from a world lit by ‘lightning.” Tom, on the other hand, relies on self-denial to justify his concerns and feelings of insecurity. By making himself believe that he is a righteous male, he convinces himself that his needs supersede his family’s. Claiming to be an artist of emotions, he projects to the audience a facade of control and masculinity. His biggest dreams flash before his eyes on a screen in a darkened room; yet, in that little apartment he faces only the dimness. Even during his reflections on the “fire escape” he is not really separating himself because that metal frame, however sturd ....

.... erratic mood changes, careless slaughter of those not directly involved in the murder of his father, and interactions with the ghost of King Hamlet. For a man thought to be feigning insanity, Prince Hamlet seems to have very little control of his emotions. In fact, Hamlet admits this to Horatio, when he says, "Sir, in my heart there was a kind of fighting that would not let me sleep"(5.2 lines 4-5). This lack of restraint leads to Hamlet's unpredictable mood swings throughout the play. Hamlet's relationship with Ophelia easily spawns such dramatic alterations in the prince's attitude. For example, when Hamlet first suspects Ophelia acting only as a pawn for her fat ....

.... ignorant of their situation in society. The play also attempted to show how women are taught to play ignorant. She does not realize until the end of the play that men have always controlled her. Her ignorance is apparent through everything in her life. She does not even take the fact that she has children seriously. She has a nurse take care of her children and she visits them when she feels like it. Nora plays with her children like they are some whimsical objects that delight her for one moment and bore her the next. She has no concept of how to raise children or how to be a mother at all. At the end of the play Nora admits to Helmer, “ . . . how am I equipp ....

.... Lucky's neck that Pozzo holds. In terms of the rope, the relationship between these characters is one of consistent domination. The stage directions say that "Pozzo drives Lucky by means of a rope passed round his neck." [15] Lucky is whipped often, and he is essentially the horse pulling Pozzo's carriage in a relationship that seems cruel and domineering. Yet Lucky is strangely compliant. In explaining Lucky's behavior, Pozzo says, "Why he doesn't make himself comfortable? Let's try and get this clear. Has he not the right to? Certainly he has. It follows that he doesn't want to...He imagines that when I see how well he carries I'll be tempted to keep him on in t ....