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The Role Of Religion On The Growth Of The Ancient...

The Role of Religion What role did religion play in the growth of the Ancient civilizations? Religion can invade, conquer, and rule masses of people far more effectively and efficiently than any empire or conqueror. This is not to spark a heated discussion about religions. Its purpose is, to say that, even though it is highly debatable whether religions are false or true, most of them serve a very basic purpose of establishing morals and values. Early religions were used as a source of power and economic growth. Even if one doesn’t believe in or agree with the teachings of any religion, history shows proof that it creates a sense of order. There are many religions in the past that have brought order and civilized conduct to large numbers of people, not through military conquest, but through the promise of reward or the fear of punishment. Religion is the glue that binds local communities into nationhood and creates common understandings and shared values that are essential to the growth of a civilization. No religion is fully formed at its start, so why did some reli gion play such a big role in growth of the Ancient Civilizations. The rise, development, and spread of monotheism (the belief in one God), is one of the most significant and fascinating dimensions of human civilization. The three major monotheistic faiths are Judaism, Christianity and Islam, these religions have spread to other kingdoms throughout the world by use of missionaries. First of all, the wayShow MoreRelatedThe Common Themes Of Environmental Effects On Religion1565 Words   |  7 Pageshistory of many civilizations, certain characteristics have presented themselves and many of which have been recognized as a commonality in several societies. These frequently seen patterns in history provide important insights to the functions and behaviors of ancient civilizations. There are many commonalities that are existent in many civilizations, but three clearly emerge, as they are fundamental to many societies’ cultures. The common themes of environmental effects on religion, combination ofRead MoreChange over Time Essay: Mesopotamia from 2000 Bce to Current Day1078 Words   |  5 Pagesfrom 2000 BCE to Current Day The earliest civilization in Asia arose around 3500 BCE in Mesopotamia meaning land between the rivers because of its convenient location between the Tigris and Euphrates rivers. This river valley regions rich soil and access to waterways made early civilization thrive on agriculture and trade. Although much has changed since its beginnings, the Mesopotamian River Valley has continued to grow and develop as a civilization to this day. 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The warm temperatures allowed a permanent civilization to begin. Mesopotamia is a region which has a huge variety of geography combined into one expanse of land. There are rivers, valleys, mountains, floodplainsRead MoreThe Marxist Theory Is The Political And Economic Theories Influenced By German Theorists852 Words   |  4 Pagespast history (McIntyre, pg28) These modes of production includes: â€Å"Primitive communism† which had no categorized social class structures or capital growth, â€Å"Asiatic mode† which is allegedly the original form of society where small groups removes social additions through violence directed at settled or unsettled band groups within a domain. â€Å"Ancient mode† is when property is the control of the individual, the forces of production connected with this mode is the widespread use of animals in agricultureRead MorePhilosophy624 Words   |  3 Pagesand motifs originally designed for the European thought. 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Elizebethan/Jacobean drama assignment one Essay Example For Students

Elizebethan/Jacobean drama assignment one Essay For the purposes of this assignment I aim through exploring characterisation and language, themes and imagery to consider the significance of the selected extract to the overall action of the play. The lines included in the chosen extract are taken from Act III sc ii. and form part of the play within a play. The main protagonists are assembled to watch the play; it is Hamlets plan that the performance will provoke Claudius into revealing his guilt. The plays the thing/ wherein Ill catch the conscience of the King (II, ii lines 557-8) The character of the player queen can be compared and contrasted with that of Gertrude. Within the extract we see the player queen swearing that she will not remarry should her husband die. She proclaims that whilst she is married to him in life so shall she be in death both here and hence pursue me lasting strife/ If once a widow ever I be wife. (223-224). The player queens lines provide us with a direct comparison to Gertrudes actions. These lines can be seen to belittle Gertrude and make her actions in remarrying after her husbands death seem heartless and rash. Hamlets line 225 If she should break it now! Immediately follows this proclamation from the player queen, here it can be said that Hamlet is implying that the player queen may not remain true to her word and can be seen to directly refer to Gertrude. Gertrudes judgement on the player queen The lady doth protest too much methinks. (210) refers to Gertrudes disillusionment with the sentiment and insincerity behind the player queens words and can be said to illustrate that she is recognising herself in the play and realising her own guilt. The language used by the player queen is heightened and melodramatic. Her lines are spoken in verse comprising of rhyming couplets thus adding to the theatricality of the lines spoken. The use of verse can also be attributed to showing the player queens status and again shows a direct link between her character and that of Gertrude. The character of Lucianus, nephew to the king can be seen as a direct comparison with Claudius in that lucianuss actions within the play within a play are obviously intended to mirror Claudiuss poisoning of old king Hamlet. The lines spoken by lucianus and the imagery given in them Thoughts black, hands apt, drugs fit (line 231 -235) perfectly illustrate the way in which Hamlet views Claudius and his character. Within this extract we see Claudius beginning to feel his conscience pricked. Claudiuss line 213 Have you heard the argument? Is there no offence int? can be said to reflect that he is trying to justify his marriage to Gertrude. It can in turn also be said to illustrate his growing unease with the way that the plot of the play is unfolding. As the player king is poisoned Claudius rises and leaves calling for lights (244-245) here we can see that the action of the play has stirred his conscience thus revealing his guilt. Again the language used by the Player Lucianus is heightened theatrical language. Rhyming couplets are used to emphasise the melodramatic elements of the play within a play and serve to heighten the reaction of Claudius to the play. Within this extract the most notable element evident concerning Hamlets character is his complete change in demeanour. This is illustrated through the way in which his language can be seen to have changed during this scene. Throughout the play Hamlets language has been in the form of verse displaying iambic pentameter but here we see a dramatic change in that all his lines within the extract are spoken in prose. This can be seen to show that his mood during the players performance is different from at any other time in the play. His departure from verse into prose can be said to illustrate his excitement, he has set a trap and hopes that through the action of the play within a play his suspicions will be confirmed and Claudiuss guilt revealed. .u748cdfc73758e5da044f01352b1ba38f , .u748cdfc73758e5da044f01352b1ba38f .postImageUrl , .u748cdfc73758e5da044f01352b1ba38f .centered-text-area { min-height: 80px; position: relative; } .u748cdfc73758e5da044f01352b1ba38f , .u748cdfc73758e5da044f01352b1ba38f:hover , .u748cdfc73758e5da044f01352b1ba38f:visited , .u748cdfc73758e5da044f01352b1ba38f:active { border:0!important; } .u748cdfc73758e5da044f01352b1ba38f .clearfix:after { content: ""; display: table; clear: both; } .u748cdfc73758e5da044f01352b1ba38f { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u748cdfc73758e5da044f01352b1ba38f:active , .u748cdfc73758e5da044f01352b1ba38f:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u748cdfc73758e5da044f01352b1ba38f .centered-text-area { width: 100%; position: relative ; } .u748cdfc73758e5da044f01352b1ba38f .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u748cdfc73758e5da044f01352b1ba38f .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u748cdfc73758e5da044f01352b1ba38f .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u748cdfc73758e5da044f01352b1ba38f:hover .ctaButton { background-color: #34495E!important; } .u748cdfc73758e5da044f01352b1ba38f .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u748cdfc73758e5da044f01352b1ba38f .u748cdfc73758e5da044f01352b1ba38f-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u748cdfc73758e5da044f01352b1ba38f:after { content: ""; display: block; clear: both; } READ: Twelfth Night - Analysis of Malvolio in Act three, Scene four EssayThis dramatic departure form his usual speech can also be seen to elude to the theory that Hamlet is mad. Here in this extract it is evident that he is not thinking of the words he is saying almost infact slipping up and revealing his knowledge of his fathers murder No, no they do but jest, poison in jest (line214) Hamlets cruel words to Ophelia (lines 225-230) illustrate his contempt toward women who betray their husbands, a direct jibe at Gertrude. The action that takes place inside the play within a play runs parallel to the state of affairs in the court at Elsinore. Thus the themes that run throughout the players performance are a mirror of those of the play as a whole. Murder, death, revenge and conscience are dealt with within this small extract. Hamlet has set up The mousetrap The Mousetrap. Marry how/ Tropically and we that have free souls it touches us not (219) as a trial to unveil his uncles treachery and prove the words of the ghost in Act I sc VI to be true and the need for revenge worthy. The elements of murder and death in turn reflect the disorder within the State of Denmark. The metatheatrical elements also lend themselves to another of the major themes within the play, acting/play acting, the illusion that things are not as they may seem that people take on roles that contradict their true personas. Claudius is now king but he is also a murderer; Hamlet feigns madness. The imagery to be found within this extract also mirrors the imagery used throughout the play as a whole. Within the players speeches we can see the use of the imagery of nature and decay (line 230-35) line 196). Hamlet uses animal imagery in his line to Claudius (line220) comparing himself to a saddle sore horse. Hamlet also uses sexually crude imagery in his harsh taunts to Ophelia (lines221-230) In conclusion it can be said that the extract has great significance to the overall action of the play. The play within a play is a microcosm of the actual play. Within it we see a parallel or mirror to the main action of the play as a whole. The reactions of Claudius and Hamlet to this parallel action help to move the play along and set up for forthcoming scenes.