Perhaps both Inferno and Julius Caesar reveal a nostalgia through their portrayals of the character of Marcus Brutus, Dante for a single Roman Empire, and Shakespeare for an ideal Roman Republic. Recognizing the nostalgia in both texts helps us understand the human tendency to idealize the past, perhaps to set impossible goals for society, yet therefore still improving civilization through the attempt. Continue reading
Cleopatra’s traits of both motherly, natural love and masculine, lustful passion in Shakespeare’s Antony and Cleopatra are demonstrated through the contrast between Cleopatra’s masculine obsession with status and war and her natural feminine and motherly attributes. Both her masculinity and femininity unite in her death. Continue reading
Bernard’s contemplative process progresses in that one progresses from first loving himself for his own sake to, for his own sake, loving God; then one comes to love God for God’s sake, and in the final stage, he comes to love himself only for God’s sake. Dante uses Bernard’s contemplative process within his journey through The Divine Comedy in order to demonstrate how Christians must restore their likeness to God, to show us the difference between hellish pride and heavenly pride, and to explain that the only way to God is through both the intellect and love. Continue reading
By examining the language used as each scene progresses in Top Girls and studying the dialogue between Roma/Lingk and Roma/Aaronow in Glengarry Glen Ross, it can be interpreted that the characters struggle with an underlying alternate identity which is surfacing and competing with their current one. This struggle for balance explains their hypocrisy and confusion throughout the plays.