A Midsummer Nights Dream Essays (1927 words) - Demetrius, Hermia

A Midsummer Night's Dream The Underpinning of Demetrius Thesis: A Midsummer Night's Dream character, Demetrius is very difficult to identify except by his relation to the one he loves, or, more particularly, to the one who loves him. Helena's ridiculous chasing after him and his irritation with her are the primary marks of his character. While in this uncharmed state, he even begins to threaten Helena with bodily harm, coming off as not quite the gracious courtly lover he truly means to be. It's simple to discover his unchivalrous character by how easily his eye was distracted from Helena by Hermia in the beginning. He could be a gentle, loving man if he truly desired, but he takes satisfaction being put in his place by others. In the end, still under the spell of fairy magic and therefore not seeing with true eyes, he seems a bit imbecilic laughing at the acted lovers in the play. He doesn't realize it, but he is in a play of his own. Likewise, as with the other characters, what happens to him is far more interesting than the sort of cha racter he is. I.Demetrius' unwelcome deceit and shrewdness and what is discovered A. Since Demetrius only has two lines throughout the entire first act, it shows that he can't stand up for himself, likewise, this lack of speech displays his lack of self-confidence and image: Relent, sweet Hermia, and, Lysander, yield Thy crazed title to my certain right. (Demetrius, 1.1.93-94) Demetrius believes that since he has Egeus' approval, that Hermia should relinquish to him and states that Lysander is going against his privilege. B. Demetrius takes advantage of his stature by claiming Hermia as a right, which truly portrays his instability, but, at the same time shows that in true he loves Hermia. It is absolutely obvious that he is well supported by Egeus: Scornful Lysander, true, he hath my love; And what is mine my love shall render him. And she is mine, and all my right of her I do estate unto Demetrius. (Egeus, 1.1.97-100) He depends on Egeus to display his affection and Egeus concludes by actually enforcing Demetrius' love upon her. C. Initially in love with Hermia, he uses rudeness to ward off Helena's spaniel affection, being very ruthless towards the feelings of Helena: I'll run from thee and hide me in the brakes And leave thee to the mercy of wild beasts. (Demetrius, 2.1.234-235) He cares nothing even for her life and just absolutely crushing her dear emotions. D. It always seems that he is usually taking advantage of the situations he is in, like when he tries to pursue Hermia due to Lysander's absence, but uses harsh words: I had rather give his [Lysander] carcass to my hounds . . . . . . . . . . An if I could, what should Iget therefor? (Demetrius, 3.2.66,80) A privilege never to see me more. And from thy hated presence part I [so.] See me no more, whether he be dead or no. (Hermia, 3.2.81-83) Demetrius displays his awful characteristics with such demoralizing words and complete disrespect for Lysander. He will desire any hopes of attaining her affection. She scorns him after hearing these words, never wanting him to see her again. E. Since Demetrius had indeed made some convincing threats of violence against his unwanted love, Hermia automatically suspects him for murdering Lysander: It cannot be but thou hast murdered him. So should a murderer look, so dead, so grim. (Hermia, 3.2.58-59) F. Helena is so true to Demetrius, but he denounces her to a point of no return, threatening to rape her: You do impeach your modesty too much To leave the city and commit yourself Into the hands of one that loves you not, To trust the opportunity of night And the ill counsel of a desert place With the rich worth of your virginity. (Demetrius, 2.1.221-226) This is such a tremendous insult and Helena accepts by Your [Demetrius] virtue is my privilege. II. The Analogous, Yet Similar: Lysander and Demetrius A. Demetrius and Lysander are somewhat alike, lacking in individuality, virtually indistinguishable. B. Demetrius only seems to love the external beauty of the women and doesn't recognize the inner-beauty with true feelings. As opposed to from Lysander's luring manner, which is based on internal emotions and tries his best to express with passionate words: How now, my love?

Definition and Types of Illocutionary Force

Definition and Types of Illocutionary Force In speech-act theory, illocutionary force  refers to a speakers intention in delivering an utterance  or to the kind of illocutionary act the speaker is performing. Also known as an illocutionary function  or illocutionary point. In Syntax: Structure, Meaning, and Function (1997), Van Vallin and LaPolla state that illocutionary force refers to whether an utterance is an assertion, a question, a command or an expression of a wish. These are different types of illocutionary force, which means that we can talk about interrogative illocutionary force, imperative illocutionary force, optative illocutionary force, and declarative illocutionary force. The terms illocutionary act and illocutionary force were introduced by British linguistic philosopher John L. Austin in How to Do Things With Words (1962). Examples and Observations Illocutionary Act and Illocutionary Force [A]n illocutionary act refers to the type of function a speaker intends to accomplish in the course of producing an utterance. It is an act accomplished in speaking and defined within a system of social conventions. Thus, if John says to Mary Pass me the glasses, please, he performs the illocutionary act of requesting or ordering Mary to hand the glasses over to him. The functions or actions just mentioned are also referred to as the illocutionary force or illocutionary point of the speech act. The illocutionary force of a speech act is the effect a speech act is intended to have by a speaker. Indeed, the term speech act in its narrow sense is often taken to refer specifically to illocutionary act.(Yan Huang, The Oxford Dictionary of Pragmatics. Oxford University Press, 2012) Illocutionary Force Indicating Devices There are different devices used to indicate how an illocutionary force must be interpreted. For example, Open the door and Could you open the door have the same propositional content (open the door), but they represent different illocutionary acts- an order and a request respectively. These devices that aid the hearer in identifying the illocutionary force of the utterance are referred to as the illocutionary force indicating devices or IFIDs [also called illocutionary force markers]. Performative verbs, mood, word order, intonation, stress are examples of IFIDs.(Elizabeth Flores Salgado,  The Pragmatics of Requests and Apologies. John Benjamins, 2011) I may indicate the kind of illocutionary act I am performing by beginning the sentence with I apologize, I warn, I state, etc. Often, in actual speech situations, the context will make it clear what the illocutionary force of the utterance is, without its being necessary to invoke the appropriate explicit illocutionary force indicator.(John R. Searle,  Speech Acts: An Essay in the Philosophy of Language. Cambridge University Press, 1969) I Was Just Saying That Kenneth Parcell: Im sorry, Mr. Jordan. Im just overworked. With my page duties and being Mr. Donaghys assistant, theres not enough hours in the day.Tracy Jordan: Im sorry about that. But just let me know if theres any way I can help.Kenneth: Actually, there is one thing...Tracy: No! I was just saying that! Why cant you read human facial cues (Jack McBrayer and Tracy Morgan, Cutbacks. 30 Rock, April 9, 2009) Pragmatic Competence Achieving pragmatic competence involves the ability to understand the illocutionary force of an utterance, that is, what a speaker intends by making it. This is particularly important in cross-cultural encounters since the same form (e.g. When are you leaving?) can vary in its illocutionary force depending on the context in which it is made (e.g. May I have a ride with you? or Dont you think it is time for you to go?).(Sandra Lee McKay, Teaching English as an International Language. Oxford University Press, 2002) What I Really Mean When I say how are you to a co-worker, I really mean hello. Although I know what I mean by how are you, it is possible that the receiver does not know that I mean hello and actually proceeds to give me a fifteen-minute discourse on his various maladies.(George Ritzer, Sociology: A Multiple Paradigm Science. Allyn Bacon, 1980)