Literature Book Report/Review

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Book Report/Review
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c. Helena uses the imagery of two cherries sharing a stem to describe her shock at what she sees as Hermia's betrayal of her. She doesn't imagine that someone who had been so close to her could have fun at her expense. She uses the figurative expression "two artificial gods" to discuss how they shared the act of creation, trying to elevate their friendship to a holier ground, again to chide Hermia for what feels like being made fun of.

Introduction


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. ...
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