The truly tragic figure in Shakespeares Antony and Cleopatra is Cleopatra. Discuss

The truly tragic figure in Shakespeares Antony and Cleopatra is Cleopatra. Discuss Barbara Everett rightly claims that the play ‚‘is continually suggestively of different kinds and categories of drama.‚ This is not simply a tragedy and no character is simply and ‚‘truly‚ tragic. However, Cleopatra, Antony and Enobarbus have tragic elements ‚ grandeur, nobility, fateful misjudgements and a fall from the heights ‚ as well as lesser qualities. It would be true to add, though, that Cleopatra is the dominating presence in the play.Even the hard-bitten Enobarbus is captivated by her, telling Antony he is ‚‘blest‚ to have met her. In his great speech in Act 2:2, she is presented as queen, ricer goddess, rival to Venus and exquisite work of art. Gold, silver, mermaids, nymphs, perfumes and the enchanting sound of flutes combine to create a sensual paradise. This picture-painting is one f the chief means whereby Shakespeare establishes Cleopatra‚s greatness; not moral or spiritual, but into the realm of myth: ‚‘Age can not wither her, nor custom stale/ Her infinite variety.‚English: The Battle of Actium, 2 September 31 BC, ...

Dynamic Character vs. Static Character How Are They Different

Dynamic Character vs. Static Character How Are They Different Dynamic Character vs. Static Character: How Are They Different? A common piece of criticism you'll hear in fiction is that characters are "too static." Modern audiences can tell when a character isn’t interesting or realistic, based on their own lack of emotional investment in that character’s journey. As a result, authors feel compelled to ensure that their protagonist is a dynamic character - and that many of their other characters are, too.And we want to help them out! Which is why in this article, we'll take a look at the different types of dynamic characters and how authors can write them into their books. We'll also examine static characters and why authors should avoid them most (but not all) of the time.As a fun bonus, we've created an exciting new infographic that illustrates three common narratives associated with these characters. To jump straight to the infographic, click on Infographic: "The Book Deal" in the table of contents to your left! You can also watch our video on how to create dynamic characters below. Otherwi se, let's dive in. What is a dynamic character?A dynamic character  is a character who undergoes substantial internal change - in personality, attitude, or worldview - over the course of the narrative. This change usually happens gradually, though sometimes a character will have a revelation that changes everything about them very suddenly.Most well-developed characters are naturally dynamic. After all, characters who don't change at all typically don't have book-worthy adventures. And no matter what the story, readers almost always prefer reading about dynamic characters over static ones. That's why some of the most classic tales of all time feature distinctively dynamic protagonists: Ebenezer Scrooge, Elizabeth Bennet, Don Quixote, the list goes on and on.Keep in mind that protagonists, antagonists, and minor characters can all be dynamic. For the sake of focus, this article deals with main characters. However, everything we cover re: how to write a dynamic protagonist can also apply to supportin g characters. Ebenezer Scrooge - one of the most famous dynamic protagonists ever. (Image: Walt Disney Studios)The difference between "dynamic" and "well-rounded"Many people mistakenly believe that a dynamic character is exactly the same as a well-rounded character. But "dynamic" simply means that the character changes, while "well-rounded" means that they're fleshed out with a backstory, motivations, strengths, weaknesses, etc.There's a great deal of overlap, and most well-written protagonists are both dynamic and well-rounded. However, it's possible to have a character that changes throughout the story, but otherwise lacks substantial development (though this is a pretty unusual occurrence).You'll more commonly see well-rounded characters who change very little (if at all) in a story - usually to serve as a constant for another character. For example, in To Kill a Mockingbird, Atticus Finch is clearly well-rounded. But that doesn't mean he's dynamic; indeed, his attitude and views remain the s ame through the story. His steadfast morality serves to teach his daughter, Scout, about right and wrong. Consequently, she is the dynamic protagonist, while he facilitates that change. Dynamic character = well-rounded character: true or false? Find out here! What is a static character?As you might expect, a static character does not develop or change throughout a narrative. Their beliefs do not evolve, their personalities remain the same, and their worldview does not expand or adapt whatsoever.So why do static characters even exist? The answer is twofold. Firstly, static characters exist because not all authors know how to write a good character arc. Particularly in shorter pieces of fiction, you'll often see a character who seems  like they should undergo some kind of development or change, but ultimately doesn't.But secondly, sometimes static characters are written that way intentionally, to make a point or poke fun at a certain type of person. For example, Mr Collins in Pride and Prejudice is a static character. However, he acts as an example of a silly society man, and his foolishness and pomposity contrast humorously with Lizzy's perceptive wit.Static characters may be used as foils or even enemies to the dynamic protagonist, such as the Dursleys in Harry Potter, or just about every Disney villain ever. Finally, static characters can sometimes be positively symbolic or instructive, as in the TKAM example above. But this is relatively rare compared to the other types of static characters, who tend to be stupid and/or malevolent.The important thing to remember about static characters is that they should almost always be accompanied by dynamic characters. Dynamic characters give static characters purpose; without them, our static friends would just be languishing in a plotless wasteland. The sole exception to this rule is satire - if the entire story functions as a critique, all the characters may be unchanging in order to demonstrate their unintelligence or weakness. The wicked stepsisters are static character "foils" to the sweet, kind Cinderella. (Image: RKO Radio Pictures)How to write a dynamic characterIn a creative writing course, you could spend weeks learning different approaches for writing dynamic characters. This guide won't provide you with "the key" to creating a dynamic protagonist, but it will offer questions and considerations to guide you toward that goal.We also won't talk about how to write static characters, as you want to avoid them most of the time. However, if you're hoping to create a static character to serve some significant purpose in your story, know that most of the steps are basically the same - you'll just stop short of actually setting them on a journey.We recommend downloading this free character profile template before you start. Then read on for some helpful tips!Character creationThe first step to writing  any  character, but especially a dynamic one, is to get their essentials down first. For this, many au thors find it useful to create a character sheet. This is  a little dossier that answers some basic questions about each individual in your story, both physically and personality-wise.So let's say your protagonist is a doctor. Her character sheet might answer these questions:What kind of medical school did she go to, and what kind of student was she?How is her relationship with her family? Does she currently have a partner?What is her religious faith and how does it affect her work (if at all)?Does she have any bad habits  or strange quirks?How self-conscious or confident is she?How frugal is she with her money?And so on. The answers to these questions might not always make it onto the page, but knowing even seemingly inconsequential details about your characters can have a big impact on your story. These kinds of character development exercises really help build believable people to populate your book - characters who readers want to follow, even before they begin to change.Ch aracter motivationAnother critical component of dynamic character creation is  motivation.  In order for a protagonist to go on a journey of self-discovery, they have to pursue something that they want, need, or are otherwise compelled toward.For instance, your main character might be a jet-setting career man who wants romance and a family; an army medic who wants to survive the war; or a retired gunslinger who wants to be left alone. This desire don’t have to be grand and philosophical! There have been great stories told about no more than a young boy who wants a new pair of shoes. There's that retired gunslinger. (Image: Warner Bros)A protagonist’s desires will become a driving force in the story. How close or far a character comes to achieving a goal creates tension and moves their journey along. Typically, in order to change, a character must either A) reach their goal, or B) fail to do so, but realize something greater in the process.Here are a few questions to help you determine your characters' motivations and trajectories:Will the character get what they  want, but at a dear cost?What personal obstacle(s) must they overcome before the desire is reached/obtained?How will securing this goal - or failing to do so - alter them as a character?What if your protagonist’s greatest desire is simply impossible?Internal character conflictWhile conflict is often interpreted as "protagonist vs. antagonist," it’s far more important to consider a character’s internal conflict. When telling the story of your character’s personal jo urney, it's important for them to encounter conflict, as they  themselves  hinder their own success. Here are a few examples of dynamic characters' inner conflicts to show you what we mean:Dumbo is a story about fighting fears and self-doubt. Dumbo’s buddy, Timothy Mouse, gives him a "magic feather" to help him fly. He loses this feather in the final scene, and must overcome his internal fear and self-doubt to save the circus.In Great Expectations, it is only when Pip realizes his worldview has been wrong - that Miss Havisham is not his benefactor, that Estella has not been promised to him, and that he has treated his closest friends and family terribly in order to "become a gentleman" - that he can start to make things right.Elizabeth Bennet has feelings for Darcy, but before she can find happiness, she must overcome her own wounded pride. Likewise, Darcy must grapple with his class-bred prejudices before he can successfully woo Ms. Bennet. These internal conflicts are the essence of Pride and Prejudice.Before you write your first draft, consider how your protagonist’s flaws or specific worldview will work as an obstacle between them and their goal. Likewise, consider how the resolution of these issues will bring your protagonist closer to their desires - and ultimately to a different state of being.Use external conflict to show internal strugglesMost novels can’t unfold in an entirely internal, psychic landscape. Authors need to find ways to move their protagonists through time and space as they undergo internal changes. In other words, you have to show character development via external conflict, instead of just letting characters sit around thinking about self-improvement 24/7.Jay Gatsby’s extravagant parties and upper-class affectations show his desire to rewrite his history and transcend the American class system. If Gatsby’s fatal flaw is his refusal to accept that the past is past, the external conflict that re flects plays out in his pursuit of and affair with Daisy, and the fatal repercussions it has.Fitzgerald more extensively shows this conflict by putting Gatsby at odds with Tom Buchanan. A cruel, unlikable figure, Tom is nonetheless everything Gatsby aspires to: an old-money WASP married to Daisy, Gatsby’s childhood crush. But because Gatsby cannot turn this desire into a change he can actually make - i.e., he can't go back in time and change the circumstances of his birth - he becomes increasingly desperate, careless, and ultimately meets his karmic maker. Jay Gatsby, Daisy Buchanan, and Tom Buchanan from The Great Gatsby (Image: Warner Bros)Can they change for the worse?Growth is subjective, as is morality. Characters sometimes fall to the "dark side" over the course of a story, like Walter White in TV’s Breaking Bad. Walter White is a family man and high school chemistry teacher with terminal cancer. To make money before his death, he starts manufacturing drugs and becomes involved with the criminal underworld.Over the course of the series, Walter White's morality is put to the test in ever more extreme ways. Each external conflict Walter faces has an internal result, and throughout the series we watch him toe the line between good and evil. His original intentions - to protect his family even after his death - are noble, but his means to this end are nefarious. As a result, Walter must â€Å"break bad† in what has become a modern exemplar of character evolution.But what if the protagonist doesn’t really change ?If the mark of an interesting lead character is their personal growth, then their story will chart a journey from the person they were in chapter one to the person they are on the final page. But surely there are plenty of compelling characters who encounter conflict, yet do not change all that much over the course of a narrative?As we've discussed previously, it's definitely possible for a character to be well-rounded without changing very much. But what about a main character? Let's look at a few examples here.From the outside, Katniss Everdeen in The Hunger Games wouldn’t be your first example of a dynamic character. She starts out courageous, resourceful, and principled, and stays that way throughout the story. Even after the Games put her ideals to the ultimate test, it's only through her selflessness and resourcefulness can she beat the system and leave with them intact.In Andy Weir’s The Martian, supremely chill botanist Mark Watney is trapped on Mars. He quick ly realizes that only his ingenuity and knowledge of science can save him. He encounters a chain of disasters that threaten to break his resolve. Instead of finding some internal flaw that needs resolving, it’s only by maintaining his trademark cool and returning time and again to science, that Watney is able to escape the Red Planet. Matt Damon as Mark Watney in The Martian (20th Century Fox)Don't worry: they're still dynamicBoth Katniss and Mark Watney find the strength to survive by sticking to their guns and having faith in their beliefs. But this doesn't mean they haven't changed at all - it's just that the primary change they've undergone is a strengthening of their core beliefs, rather than a fundamental alteration. They also experience smaller, more subtle changes, such as becoming more hardened to their surroundings and wary of danger.In other words, Katniss and Watney aren't what you'd call "exemplary" dynamic characters, but they're not static characters either. And clearly their journeys were compelling enough to engage readers, since both The Hunger Games  and  The Martian  became mega-hit bestsellers and blockbuster movies!Speaking of which, let's take a look at this awesome infographic (featuring some of your favorite characters) to really nail down the arc of a dynamic character.Infographic: "The Book Deal" Infographic: What does a dynamic character's arc look like? To see how a protagonist's wants, strengths, and flaws will  influence  how a story plays out, we took three familiar characters and placed them in an unfamiliar setting. Let's see how they develop over the course of a  narrative: Failure to change results in tragedyWhen your protagonist grapples with inner and outer conflict,  but fails to adapt, they are almost always punished - by themselves, another person, or the universe. This is what we call  tragedy.In Cyrano de Bergerac,  the titular character is in love with Roxane. However, his self-doubt prevents him from revealing that he has written the words that have won her heart. Cyrano does not overcome this doubt in time, and becomes mortally injured before Roxane realizes that she loves him.And in an example we've already covered, Jay Gatsby learns too late that â€Å"there are no second acts in American lives.† He wants to force his way into the upper classes, but he’s unable to see that this world will not allow him in. He refuses to divert his course so, in the end, we find him bleeding out, alone, in his swimming pool.Both of these characters encounter conflict and grapple with their flaws in a fascinating way. But in the end, thei r failure to change themselves results in their tragic deaths.How much change is too much?Assuming you want your book to remain within the realm of believability, your character’s change should be relatively small. Human beings are capable of great change, but only a bit a time.Again, Ebenezer Scrooge is perhaps the most classic example of a dynamic protagonist. But if we’re being honest, the man at the end who buys 300-pound turkeys for the poor does not remotely resemble the penny-pinching miser in the first scene. However, nobody questions the psychological truth of Scrooge’s overnight transformation because A Christmas Carol is a moralist fable. It's not meant to be realistic, only to instruct.That said, if you’re writing a modern series, you should also be conscious of changing your characters too quickly or drastically. Let’s say that your breakout character is an irreverent, womanizing highwayman. You can have him confronted by a victim of h is crime or philandering - something that forces him to reassess his lifestyle choices.Yet you don’t want him to learn too much. Otherwise you run the risk of turning your series into the ongoing narrative of a former highwayman, who now very much respects property rights and does not flirt with women quite so aggressively. The key is balance: don't stray too far from your character's original personality, but allow them to change in an organic way, at a reasonable pace.Remember: there's no formula for great charactersShould your story not follow one of these common patterns, you may find it’s harder to nail down exactly how internal flaws and external conflicts play out over the course of your book. But even in unconventional narratives, always remember to think of the basics: What does your character want? What’s stopping them from getting it? And will they find the strength to change? These questions will help you - and your characters - find the right way .If you have any questions, thoughts or observations, please share them in the comments below.

Arab-Israeli Conflict and its impacts on International relations Research Paper

Arab-Israeli Conflict and its impacts on International relations - Research Paper Example That action immediately led to the first military conflict between Israel and few Arab countries, followed by a series of major Wars as well as minor conflicts between them throughout the second part of the 20th century. Among these conflicts, the Suez Crisis and the Six Day War were considered to be the important wars, because those wars not only impacted the geographical ‘make-up’ of the area but also impacted the international relations of various countries. That is, the international relations of the involved Arab states, Israel as well as then superpowers, United States and Soviet Union underwent changes, with alignments and realignments happening. USA and Soviet Union played ‘major’ roles in impacting or even ‘dictating’ many countries’ international relations in that period. Because of that role, equations between them, as well as their relations with the Arab states and Israel evolved maximally due to the Arab-Israeli conflicts impacting the International relations from 1945. Although, during the First Arab-Israeli conflict, USA and Soviet Union sided with Israel, realignment started happening before the Suez crisis and during the Six Day War, wit h Soviet Union siding with the Arab states, while USA supported Israel and also tried its best to maintain its neutral stance. This paper will discuss how Arab-Israeli conflicts reached the crescendo during the Suez Crisis and the Six Day War impacting the international relations of not only the involved countries but also other major countries. Genesis of the Conflict Before the World War I (1914-1918), the present day territories of Israel and Palestine were under the control of the Turkish Ottoman Empire.1 However, with the Arabs feeling discriminated under Turkish control, they fought and drove out the Ottomans with the aid of the British, who were against the Ottomans for their support of Germany. British elicited the support of the Arabs to fight against the Ottomans by promising to give them, the conquered land. In 1916, the British Commissioner in Egypt, Sir Henry McMahon gave a promise to the Arab leadership that in the aftermath of the war, former Ottoman provinces can be given to them. â€Å"I am empowered in the name of the Government of Great Britain to give the following assurances†¦Great Britain is prepared to recognise and support the independence of the Arabs in all the regions within the limits demanded by the Sherif of Mecca.†2 However, in 1917, the British Foreign Minister Arthur Balfour gave another commitment to the leading Zionist leader, Lord Rothschild that Britain is committed to â€Å"the establishment in Palestine of a national home for the Jewish people†, which came to be referred as the as the Balfour Declaration. 3 When the British got the territories through the League of Nations in the aftermath of the First World War, they minimally allocated the territories to the Arabs, and kept Palestine under their control.4 This mixed stance of the British continued for years to come. During these years, there was heightened inflow of the Jews into these territories. The Jewish Immigration to the Holy Land, which was go ing on since the 1880s