Nama : Tsania Widiani Putri

Npm: 201612500501

CHAPTER VIII

FURTHER DIMENSIONS AND DEVICES

I. Dramatic Irony
Dramatic irony is the situation in which character does not fully understand the
significance of his actions or statements, the character’s actions have relevance to him which he
does not perceive. Dramatic irony is used very widely bythe playwrights off all ages, primarily
because it is a device means of which the audience and the playwright can be brought into a
shared secret, we acquire an immediate knowledge of the characters and revel in knowing
things which they do not.

II. Pathos
Pathos is quality which moves the audience to pity, tenderness, or sorrow. Usually we
observe pathos in situations where there is a helpness character, one who suffers because of
underserved sadness. When the character is caught up in sorrow and we pity her more often
“her” than “him” we consider her pathetic.

III. Sentimentalism
Sentimentalism is when a playwright tries to produce or reflect an overabundance of
emotion. In addition, excessive emotionalism, sentimentalism also means excessive goodness.
The weepy-eyed, honest, faithful, chaste, virtuous daughter is often a sentimental character
because she is filled with uncontrolled emotions of tendersness, honesty, etc.

IV. Cynicism
Cynicism is basically an attitude of superiority, an individual sets himself above his society
and considers himself of far greater value. The cynical playwright is one generally distrustful of
any and all conventional ideas or theories of the goodness of human nature, and his plays he is
apt to have cynical characters become seccessful.

V. Denouement
Denouement is the final revelation of play is usually referred to as the denouement, this
both a necessity and advice in almost all plays. Denouement appers in both comedy and
tragedy, in tragedy it is often a catastrophe.

VI. Parody
Paradoy is a play which is an obvious burlesque of another play, usually of a serious
nature.
VII. Reversal
Reversal is the term we use to describe the dramatic turning point in the fortune of the
plays hero, reserval is the exact point in the plot when suddlenly the hero isdirected toward a
different fate, toward a fate which up untill this exact point in the play he had no idea was in
store for him also known as peripety.

VIII. Didaticism
Didaticsm is playwright consciously “lecturing” to us on certain moral pricples and
generally the superiority of moral good he is usually didactic. Some playwrights have some
lesson to teach us and thorough both the actions and the speeches of the characters the
playwright presents his argument.

IX. Domestic Tragedy

Domestic tragedy is the appearances of tragedies which are based on the lives or common
of ordinary people of England. In the eighteenth century, domestic tragedy reappeared, largely
as a compensatory reaction against the heroic dryden, and was filled not only with the problem
of everyday marriages but with vast sentimentalism.

X. Blank Verse
Blank verse is the lines in most of the speeches are unrhymed and contain ten syllables
alternating unstressed and stressed ones, consider these lines by lucius from a play Addison’s
Cato.

XI. Interpreting the play

On analyzingthe play the ultimate task is always explaining what the play means, what the
significance is attached to the action, the characters, or what the imageries that exist in the play
are. There is also the basic discovered that is central theme. One of the truly exciting aspect of
literary criticism is the diversity of interpretations which can be inferred from awork of art.
A. Man an Nature
On this aspcet the interpretation of the play refers to the exploring of relationship
between man and natural world in one way or another.
B. Man and society
The interpretation of the play is interpreted by zooming out the aspect of the
relationship between man and society.
C. Universal themes of an abstract nature
The interpretation of the play much discusses about abstract terms, such as, love,
death, revenge, jealousy, etc.
D. Family relationship
The interpretation discusses about the relationship in family.
E. Elements of Autobiography
The interpretation of the play relates to autobiographical story or statements.
F. Historical Background
The interpretation of the play contains of the historical background.

CHAPTER IX
 PRESENTING A FULL ANALYSIS
I. Establishing the Component of the Analysis
There are several components that can be considered before presenting the analysis of the play
those are:
A. Definision of the world of the play
B. Explanation of the importance of the major characters
C. Explanation of the significance of the action of the characters
D. The ways in which the actions are interwoven
E. How the process of interweaving allows for the gradual development of the major
theme of the play
F. Further interpretation of the theme
G. Conclusion relates the characters to the theme in a summary statement

II. The Arrangements of Components

The arrangement of a full analysis can be looked in the following arrangements they are:
A. Statement that will analyze the play in two basic ways
B. Formal analysis
1. Structure of the play
2. The characters
3. The actions of the characters
4. The rhetorical usage of the characters
C. Interpretations of the play
1. Most common interpretation
2. Other conventional interpretations
3. A few more unconventional
4. The interpretations which we think is the most accurate

III. The Basic Pattern of Analysis

After preparing the component of analysis there are also several basic patterns of analysis they
are as follows.
A. An introduction to the paper explaining that this is to be full analysis of all aspects of
the play.
B. Definition of the world of the play its location, atmosphere,emotional framework.
C. Explanation of the structure of the play
D. Discussion of the characters
E. The language and rhetoric of the play
F. Interpretation of the play, emphasis on the own view of the play, even if it is largely
similiar to another critic
G. Evaluation and criticism this forms, in effect, conclusion to the paper and should stand
not as an isolated component but rather than as the crowning section of the paper, to
some extent dependent upon, an to some extent a summary of everything else in the
paper.

Analysis Romeo and Juliet

  SETTING

Verona, Italy
We might be in Verona, but don't think you're reading a travel guide:
Shakespeare's setting of Verona is more like a shorthand for "exotic and crazy"
than a real setting.
What we think is super cool about the setting is how Shakespeare shows us that
Romeo and Juliet have such different worlds. We always meet Romeo in the
streets, never in his own house—even though we do hear that he likes to spend a
lot of time moping around his bedroom. But in general, Romeo is part of a
freewheeling and masculine world, wandering around the streets with the
other hot-headed violent street youths from both families.
Not Juliet. She's a sheltered daughter, almost never allowed outside the walls of
her father's house. Almost all of her scenes take place inside; we never see her
on the street. Romeo has to actively invade her world in order to meet Juliet by
crashing the Capulet's party and then climbing up to her balcony.
And then there's Friar Laurence's church, a neutral place where Romeo and
Juliet's world can overlap. This seems to be the only place Juliet is allowed to
go outside of her home, (for purposes of confessing sins—presumably not to
commit them). Friar Laurence is Romeo's confessor as well. What does it say
that this religious setting is the only neutral place in the play? Does it set up the
Catholic Church as a force for good, or as a secretive and destructive power?
(Hint: the Catholic Church was not super popular in England in the sixteenth
century.)
Like most of Shakespeare's plays, the setting is so vague that theatrical and film
interpretations of the play can go wild: from West Side Story's1950s New York
City, which is divided by ethnic tensions, to the futuristic "Verona Beach" of
Baz Luhrmann's film version of Romeo + Juliet. What most interpretations keep
is the sense of a hot climate that provokes the passions, as Benvolio tells us:
"For now, these hot days, is the mad blood stirring" .

 GENRE

Tragedy

 TONE

Romantic, Passionate, Violent

"Here's much to do with hate, but more with love," Romeo says at the play's
beginning, and the dynamics of extreme emotion define the tone of the play
(1.1.180). Romeo and Juliet deals in extremes that overlap or transform into each
other. The Friar's lone voice of moderation is drowned out by storms of passion
and violence; the insults tossed back and forth between the Montagues and
Capulets alternate with Romeo and Juliet's loving exchanges of vows.
Even the play's highly sexualized language is often discussed in violent terms: "If
he be marrièd, / my grave is like to be my wedding bed," Juliet says before she
learns Romeo's identity (1.5.148-149), and then, "I should kill thee with much
cherishing" (2.2.198). All this strong emotion demands resolution—and it doesn't
seem to much matter whether we get that resolution through kiss or through a
sword.

 PLOT ANALYSIS

Initial Situation

Family Feud

The play opens with a public brawl. A simple hand-gesture from a Capulet
servant to a group of Montague servants spirals into a full-out fight, but the
Prince is so over it. From this point onwards, he announces, anyone who fights
in public will be put to death. Obviously, this is setting up a big confrontation
later in the play.
Meanwhile, we meet our two lovahs. On the Capulet side, thirteen-year-old
Juliet has just gotten her first proposal from some way older dude she's never
met. On the Montague side, Romeo is supposedly head over heels in love with a
girl named Rosaline who won't give her the time of day. We're all set up for a
rousing …
Conflict
Forbidden Love

Romeo crashes a Capulet party in hopes of seeing Rosaline, but instead he sees
Juliet. It's love at first sight. Literally: they talk for, like, five minutes before
they're making out. (We know this is classic lit and all, but seriously? Have
some self-respect, kids.) So, where's the conflict? Romeo finds out that Juliet is
a Capulet. Then Juliet finds out that Romeo is a Montague. Dun dun dun.

Complication

Get Him to the Church on Time

When the two lovers finally get some alone time later that night, they decide
that the family feud doesn't matter—they have to be together. So, they enlist the
help of some adults who really should know better: Juliet's nurse and Romeo's
confessor, a priest named Friar Laurence. Less than twenty-four hours after
they've met, Romeo and Juliet are tying the knotin secret at Friar Laurence's
church.
Okay, this is unexpected but still fairly straightforward: what's the
complication? Tybalt is so furious that Romeo crashed the Capulet party that
he's decided to challenge Romeo to a duel. Yep, this is going to be a problem.

Climax

Murder! Sex! Murder!

The big rumble goes down, and here's how it plays out: Tybalt kills Mercutio;
Romeo kills Tybalt; and then Romeo flees the scene just before the Prince
shows up to pronounce him banished. Oops. Sounds pretty climactic to us.
But then we have to have a literal climax (sorry—it's Romeo and Juliet. There's
a lot of sex). Both Romeo and Juliet are hysterical about the whole banishment
thing, so the Friar and the Nurse figure out a way for Romeo and Juliet to spend
one night together before Romeo leaves for Mantua, a nearby city. We don't get
to see it on stage, but trust us: it happens.

Suspense

Arranged Marriage

But Romeo has barely climbed out the window before Juliet is being forced into
marriage with Paris. Everyone thinks this marriage is a good idea, so Juliet runs
to the Friar and, um, threatens to commit suicide if he can't help her figure a
way out of the mess that she's in. Solution? Juliet will drink a weird potion that
will make her appear as if she's dead. But when she wakes up in her family
tomb, he and Romeo will be there waiting for her. Great idea.

Denouement

Can You Hear Me Now?

When Romeo arrives at the Capulet tomb, Paris is there, mourning over his
dead almost-wife. Paris gets in the way, so Romeo kills him. Then he breaks
into the tomb and embraces his dead wife. She still looks as if she's alive,
Romeo says, which almost kills the audience. But he has no way of knowing the
truth, so he kisses Juliet farewell and drinks the poison.
The Friar shows up about one minute too late, just in time to watch Juliet wake
up from her drugged sleep. She immediately looks for Romeo—and finds him
lying dead next to her. The Friar hears noise from outside, and tries to convince
Juliet to run away. But Juliet refuses to leave Romeo's side. The Friar exits, and
Juliet takes Romeo's dagger and stabs herself.
Conclusion

Friends Forever

When the citizens of Verona—including Romeo and Juliet's parents—come in,

the two lovers are lying side by side, both dead. The families decide that maybe
this whole thing has gone on long enough and decide to be friends. Happy
ending?

 THREE ACT PLOT ANALYSIS

Romeo and Juliet fall in love, only to realize that they are on opposite sides of an
ongoing war between their families. Act I ends with the lovers pursuing their affair
in the famous balcony scene. Swoon!

Romeo is banished from Verona for—oops!—killing Juliet's cousin Tybalt, so the

Friar has Juliet fake her death so she can join Romeo in Mantua. Great plan,
right? Well, it might have been—except that Romeo doesn't get the message that
she's actually still alive.

Romeo kills himself next to Juliet's comatose body; when she awakes, she kills
herself in response to finding his corpse. The one upside? The families finally end
their cycle of hate.

Analysis Hamlet

• Themes

A kingwhodiedmysteriously, then his widowmarried his brother.

• Mandate

We should not commit a fraudulentandevildeedtothedetrimentofothers.

• Background

BackgroundTime: Hundredsofyearsago.

BackgroundPlace: Denmark.

• Plot

This drama is a continuousorprogressivegroovethatprogressescontinuouslyandpeaks.

 Characteristic List
Hamlet - The Prince of Denmark, thetitlecharacter, andtheprotagonist.
Aboutthirtyyearsoldatthe start oftheplay, Hamletisthesonof Queen
Gertrudeandthelate King Hamlet, andthenephewofthepresentking, Claudius.
Hamletismelancholy, bitter, andcynical, fullofhatredfor his
uncle’sscheminganddisgustfor his mother’ssexuality.

Claudius - The King of Denmark, Hamlet’suncle, andtheplay’santagonist. The

villainoftheplay, Claudiusis a calculating, ambitiouspolitician, drivenby his
sexualappetitesand his lustforpower, but he occasionallyshowssignsofguiltand human
feeling—his loveforGertrude, forinstance, seemssincere.

Gertrude - The Queen of Denmark, Hamlet’smother, recentlymarriedtoClaudius.

GertrudelovesHamletdeeply, butsheis a shallow, weakwomanwho seeks affectionand
status moreurgentlythan moral rectitudeortruth.

Polonius - The LordChamberlainofClaudius’scourt, a pompous, connivingoldman.

PoloniusisthefatherofLaertesandOphelia.

Horatio - Hamlet’sclosefriend, whostudiedwiththeprinceattheuniversity in

Wittenberg. Horatiois loyal andhelpfultoHamletthroughouttheplay. After
Hamlet’sdeath, HoratioremainsalivetotellHamlet’sstory.

Ophelia - Polonius’sdaughter, a beautifulyoungwomanwithwhomHamlet has been in

love. Opheliais a sweetandinnocentyounggirl, whoobeysherfatherandherbrother,
Laertes. Dependentonmentotellherhowtobehave, shegives in
toPolonius’sschemestospyonHamlet. Even in herlapseintomadnessanddeath,

sheremainsmaidenly, singingsongsaboutflowersandfinallydrowning in
theriveramidtheflowergarlandsshe had gathered.

Laertes - Polonius’ssonandOphelia’sbrother, a youngmanwhospendsmuchoftheplay

in France. Passionateandquicktoaction, Laertesisclearly a foilforthereflectiveHamlet.
Fortinbras - The young Prince ofNorway, whosefathertheking (alsonamedFortinbras)
waskilledbyHamlet’sfather (alsonamedHamlet). NowFortinbraswishestoattack
Denmark toavenge his father’s honor, making himanotherfoilfor Prince Hamlet.

The Ghost - The specterofHamlet’srecentlydeceasedfather. The ghost,

whoclaimstohavebeenmurderedbyClaudius, callsuponHamlettoavengehim. However,
itis not entirelycertainwhethertheghostiswhatitappearstobe,
orwhetheritissomethingelse. Hamletspeculatesthattheghostmightbe a
devilsenttodeceivehimandtempthimintomurder,
andthequestionofwhattheghostisorwhereitcomesfromisneverdefinitivelyresolved.

RosencrantzandGuildenstern - Two slightlybumblingcourtiers,

formerfriendsofHamletfromWittenberg, who are
summonedbyClaudiusandGertrudetodiscoverthecauseofHamlet’sstrangebehavior.

Osric - The foolishcourtierwhosummonsHamletto his duel withLaertes.

Voltimandand Cornelius -
CourtierswhomClaudiussendstoNorwaytopersuadethekingtopreventFortinbrasfromatt
acking.

Marcellus andBernardo - The

officerswhofirstseetheghostwalkingtherampartsofElsinoreandwhosummonHoratiotowi
tnessit. Marcellus ispresentwhenHamletfirstencounterstheghost.

Francisco - A soldierandguardsmanatElsinore.

Analysis Othello

 SETTING

The play starts in Venice and moves to Cyprus when the Turks invade.
  GENRE

Tragedy
 TONE

The tone of Othello is dominated by Iago's voice. He is the only one in the play
who speaks to the audience, and his bitter rants about Othello and Cassio, his
casual dismissal of women as worthless prostitutes, and his gleeful self-
congratulation about the nasty things he's doing are the foundation of how we
view the story:
IAGO
Virtue? A fig! 'Tis in ourselves that we are thus or
thus. Our bodies are our gardens, to the which our
wills are gardeners. So that if we will plant nettles
or sow lettuce, set hyssop and weed up thyme,
supply it with one gender of herbs or distract it
with many, either to have it sterile with idleness or
manured with industry, why the power and corrigible
authority of this lies in our wills. (1.3.361-368)
Othello even starts to mirror Iago's bitter tone in his own rants about jealousy
and sexual impurity—that's just how pervasive (and persuasive) Iago's tone is in
this play.

 PLOT ANALYSIS

Othello and Desdemona fall in love and run away together to get married.
Everything's peachy! Until Desdemona's father finds out

The conflict comes in a few different forms. First, you've got Desdemona's dad all
angry that his daughter secretly married a black man. Next, it looks like war with
the Turks. Last and most importantly, you've got a livid Iago itching to wreak
some havoc.

While some of our conflicts go away (like the war and Brabantio, at least for the
time being), others (Iago wanting to wreak havoc) lead to further complication.
Iago is no longer an angry man; he's now an angry man with a plan. Not to
mention, the convoluted machinations he devises are complicated enough in their
own right, even without a classic plot analysis.

The intrigue of Othello is watching Iago work his manipulative magic.The

deceptions grow, bit by bit, until Othello is quite ensnared by his own jealous
thoughts. The plot thickens and thickens, and the complications twist and turn
until we finally arrive at the psychological climax: Othello's declaration that he'll
kill his wife. We chose this as the climax, rather than the actual killing, because
we are building toward Iago's defeat of Othello's mind, not Othello's defeat of
Desdemona's body.
Now that we know Othello's going to kill Desdemona, we get all worked up in the
suspense of when it's actually going to happen. We're also not sure how things
will work out for Iago. Will he get away with his plan?

The denouement starts as soon as Desdemona dies. Minutes after she dies,
Emilia figures out that Iago is responsible for the whole mess. When she shares
this with Othello and his men, Iago kills her. Othello, broken by grief and guilt,
stabs himself.

Cassio survives. So does Iago, who refuses to explain why he did what he did
and swears he will never speak again. It's an unsatisfying conclusion, since we
wanted the cash-in moment where the detective explains whodunnit, and how he
did it.

Analysis Merchant of Venice

 SETTING
Venice is an exciting, cosmopolitan setting for the play because it's a hotspot
for trade. While Jews had been legally banned from England since 1290,
Venice had laws in place to protect non-Venetian traders who supported the
 city's economic well-being. When the Jewish moneylender Shylock seeks his
bond, for example, Antonio admits:
The Duke cannot deny the course of law.
For the commodity that strangers have
With us in Venice, if it be denied,
Will much impeach the justice of his state;
Since that the trade and profit of the city
Consisteth of all nations
In other words, the Duke can't make an exception for Antonio by denying
Shylock his rights; it would have a negative affect on the city's livelihood.
Although people from all kinds of nationalities and religious backgrounds
did business in Venice, Shakespeare's setting is chock-full of religious strife,
especially between Christians and Jews. This culminates in a big legal
showdown over whether or not Shylock should be able to collect his pound
of flesh from Antonio. We should also point out that, although 16th-century
Venice was more tolerant of foreigners than Elizabethan England, Jews in
Venice were confined to ghettos at the time Shakespeare wrote The
Merchant of Venice. (Shakespeare, however, doesn't ever acknowledge this
in the play.)
Belmont is presented as a contrast to the city. It's also a place of easy wealth,
beauty, and peace, which makes it a great refuge from the cosmopolitan
world of Venice. Actually, Belmont's a lot like the forest of Arden in As You
Like It. We might even say that life in Belmont is a kind of fairy-tale version
of real life. Real life is gritty, more like Venice.

 GENRE

Comedy; Drama

 PLOT ANALYSIS

Everything is in a relatively uncomfortable place to begin with. In Venice, Antonio

is sad, likely because he knows he's losing Bassanio to Portia. Portia, meanwhile,
is not in her natural state either. Her father has died, and her biggest problem is
this awful lottery he's set up, rendering her unable to choose her own husband.