c. Lear uses alliteration such as "pelting of this pitiless," "houseless heads," and "shake the superflux," which demonstrate his fanciful state of mind and the fact that his serious and kingly side has given way to madness. He uses imagery such as "looped and windowed raggedness" to describe those whose misfortunes are greater than his.
c. The figurative language compares the fluidity of a woman's mind to smoke, which cannot be contained in any way. Rosiland uses alliteration like "the wiser, the waywarder" to denote a playful approach to her subject.
Puck, Touchstone, and Lear's fool all serve comedic purpose, and they are all fools, and yet each character serves his master differently, and serves a different role in the play. Puck, the most independent, is nonetheless bound to Oberon, with some degree of awe and fear for his master. Touchstone, who chooses to follow Rosiland and Celia, also takes the liberty to amuse himself at the expense of other, and is faithful to his mistresses, but with more devotion and less respect. Lear's fool is completely devoted to the King, choosing to suffer beside him with no regard to his own suffering.
Puck's actions have a huge impact on the plot, interfering with most of the mortals' journeys. ...