By close examination of Act 1, discuss the ways in which Friel explores the importance of the link between language and identity.
By close examination of Act 1, discuss the ways in which Friel explores the importance of the link between language and identity. Friel explores the importance of the link between language and identity very deeply, through the dialogue and stage directions, he reveals and undercurrent of the importance of language and identity. The play opens with a scene between Manus and Sarah who all her life "has been considered locally to be dumb". The simple fact that he has included a character within the play who has a speech defect, clearly reflects Friel's strong beliefs about communication and language and their significance. Throughout act one the audience witnesses Sarah's own language and methods of communication, for example when "Sarah presents the flowers to Manus". She constantly portrays vivid actions for instance miming "Rocking a baby", and Friel shows that this individual language that Sarah uses is very much important to her character and identity, when she offers the flowers to Manus, the audience immediately understands that she is a loving kind, and grateful person. Her actions, and therefore her language instantly portray her to the audience as a seemingly loving and generous person, therefore linking these strong character traits together with great importance. Furthermore, the important link between language and identity that Friel accentuates in Translations
Turn to Act two, scene two and remind yourself of the whole scene. This is a very unusual love scene. How effective do you find it and how does it relate to the main concerns of the play as a whole?
Turn to Act two, scene two and remind yourself of the whole scene. This is a very unusual love scene. How effective do you find it and how does it relate to the main concerns of the play as a whole? In act two, scene two Friel has created a very unusual love scene between Maire and Yolland who have just escaped a dance hand in hand. Soon enough language comes between them and they struggle to understand each other. However the litany of place names, which has no essential or specific meaning, touches the heart of Maire and it somehow mysteriously brings them together. This, only for the audience to discover when they speak in their respective languages, their desire for one another is on entirely different basis. Yolland wishes to stay with Maire in Baile Beag a place where he feels he can live, on the other hand Maire sees Yolland as a way of escaping her homeland and moving to a better life elsewhere. The scene starts by suggesting the communication between the two worlds, two cultures is possible. However ironically the two individuals think and perceive things differently and that promise is never fulfilled. Friel has opened the scene with music rising to a crescendo as Yolland and Maire approach running hand in hand and laughing. They begin to speak to each other after slowing down and eventually stopping. Maire speaks first saying "That leap across the ditch nearly
How does the introduction of themes and ideas in the exploration of Making History(TM) help in the character development of Hugh O(TM)Neill and Harry Hoveden?
How does the introduction of themes and ideas in the exploration of 'Making History' help in the character development of the characters? When directing a performance crucial aims need to be rationalised before actually displaying the play to a target audience. Things like the development of characters and the thesis and notions which shape the ambience of each scene and the characters themselves. This would generate a potential 'identity' for the characters, therefore exhibiting a high quality performance. In this essay I will take a section of act one scene one of Brian Friel's 'Making History' and explore the influence of the themes and concepts on the characters. In the play there are numerous themes that relate to the historical context of Ireland. These are significant as the audience can make a connection to the characters, referencing to the past and how they demonstrate their 'identity' through their body language and words. Brian Friel has used a selection of themes to create his adaptation; religion being one of them. He reveals two types of conflict presented in the play which are external and internal conflict between Catholicism and Protestantism. The fact that Ireland and England are at each others throats gives O'Neill an internal conflict because of his Irish heritage and English upbringing. During the play Friel has shown Hugh to dart in and out of his
Brian Friel's "Translations": In what ways does this scene represent 2 characters crossing boundaries and understanding each other - a meeting of minds?
In what ways does this scene represent 2 characters crossing boundaries and understanding each other - a meeting of minds? The scene automatically has a sense of irony, as both Yolland and Maire both cannot understand a word each other is saying, this means communication was needed to be made in an alternate way, these ways are through the use of identifiable feelings and emotions, as well as paralanguage to indicate the feelings and emotions that the character is trying to express. Throughout their conversation, it would seem unlikely to a person who has just picked up the book that Yolland and Maire do not speak the same language, and therefore cannot fathom what each other is trying to say. This is due to the similarities of speech between the two of them; they always seem to have a vague understanding about what the other person is trying to say. An indication of this is where Maire says, " The grass must be wet. My feet are soaking." straight after Yolland points out, " The grass must be wet your feet are soaking." It is clear to see the similarities in their speech, although the context is just flipped around, but apart from that it is almost identical. Emphasising this collision, linguistically speaking, is the stage directions, expressing the characters body movement. The way they seem very immature when they realise they are holding hands, then immediately
'Our response to Hugh is typical of the way that Friel never allows us to make simplistic assumptions: we are likely to be critical and admiring of him in equal measure.' Discuss.
Claire Gittoes 'Our response to Hugh is typical of the way that Friel never allows us to make simplistic assumptions: we are likely to be critical and admiring of him in equal measure.' Discuss. The character of Hugh is a complex one. He has many qualities, which, allow us to be critical of him, but he also has many admirable traits. Friel creates a very human character, which makes it very easy for us as an audience to identify with. However with the character of Hugh one feels that his admirable qualities are less identifiable making it also very easy for us as an audience to be critical. Hugh is explored through a number of different ways, with almost all of them providing us with a cause to be critical. He likes to interrogate his students. It exemplifies his authoritarian role as he tests his students. Its also a way of showing his vast knowledge of language and his fondness of showing off as seen by the way he greets his class. 'Vesperal salutations to you all'. This idea closely relates to the idea that Hugh lives completely in the past, he is very similar to Jimmy Jack in his attitude. Not only that but he seems to show no signs of changing. He speaks to his class in Latin and randomly asks them to translate, "Caerimonia nominationis- Maire?" So not only is he living and teaching in the past but he is also imposing his outdated attitude onto his students, he is
“The cleverness and subtlety of Sheridan's use of language in ‘The Rivals’ is too easily overlooked.” To what extent do you agree with this statement?
"The cleverness and subtlety of Sheridan's use of language in 'The Rivals' is too easily overlooked." To what extent do you agree with this statement? In The Rivals, Sheridan uses a mixture of very basic humour, for instance in the way the names of the characters reflect their personalities. This might suggest a basic humour in the play, but on closer analysis of the language, it is both subtle and humorous. The stereotyping used in The Rivals forms much of the reason for the play's success, but beneath this rather crude and basic humour lies a subtle and extremely intelligent use of language that can be overlooked in the play. Captain Absolute is a good example of how Sheridan uses his language in a clever yet subtle way. Jack Absolute is adept and changeable in his character, and this is reflected in the language he uses. Absolute is under the guise of Ensign Beverly whilst he is in Bath, in order to impress Lydia Languish, who thinks that it is far more romantic to be in love with an Ensign then a Captain, and wishes to elope with him. Absolute plays the part of the romantic hero very successfully, addressing Lydia in a letter intercepted by Mrs Malaprop as 'My soul's idol, my adored Lydia'. He also plays the role of the dutiful son, telling his father that he resolves to 'sacrifice every inclination of my own to your satisfaction' when he is, in fact, perfectly
How Does Friel Introduce And Present The Themes Of Language And Translation In The Opening Sequence Of The Play?
How Does Friel Introduce And Present The Themes Of Language And Translation In The Opening Sequence Of The Play? Throughout the opening sequence of Brian Friel's " Translations" the themes of language and translation occur frequently and in many different forms. The theme of language comes up in the very first few pages; we are introduced to many different levels of language from different characters. For example, Jimmy reading Greek stories to himself, Manus, who is fairly literate and knowledgeable and then Sarah who is trying to pronounce her name with the aid of Manus. She has a speech defect and has not been able to speak, she communicates via hand signals and "grunts". Sarah has this as her own language and on page 6 she communicates with Manus using this. She is trying to indicate where the master is. Her language requires trial and error and is not very specific thus taking numerous tries to find out where the master has gone and why he is so late. "Sarah goes to Manus and touches his elbow. She mimes rocking a baby." Also "Sarah mimes pouring drinks and tossing them back quickly." He is celebrating the christening of a baby at "Anna na mBreag's" pub. Jimmy however, who can speak Latin, Greek and Irish is used to introduce a different format of language and translation compared to Sarah. Jimmy literally translates from Greek to Irish, whilst doing that he seems to
Compare the presentation of the colonial situation in 'A Passage to India' and 'Translations', paying particular attention to the use of form, structure and language, and evaluate the significance of the contexts to the meanings of the texts.
Compare the presentation of the colonial situation in 'A Passage to India' and 'Translations', paying particular attention to the use of form, structure and language, and evaluate the significance of the contexts to the meanings of the texts. 'Translations' is influenced by Brian Friel's own experience of the troubles in Ireland in the 1980s, and strongly focuses on the colonial aspect of Ireland in the 1830s. In comparison, 'A Passage to India' represents something more philosophical, concentrating less on colonialism and more on individuals' spiritual journeys. Through the use of specific language, form and structure, the authors evoke diverse responses in their readers or audiences. The context of both 'A Passage to India' and 'Translations' is extremely important when comparing their presentations of colonialism. Noticeably, where 'A Passage to India' was written about events in India during Forster's own life, Friel is more inspired by events, which occurred during the 1830 in Ireland, as well as during his own lifetime. Forster greatly celebrates relationships, love, and the importance of the individual over bureaucracy, Imperialism, and the exercise of public power, not surprisingly all of the factors, which 'A Passage to India' condemns. Despite these factors, Forster himself insists " the book is not really about politics...it's about something wider than politics,
'An English historian has claimed that Hugh O'Neill was "a great man as far as savages go." How far does Friel's presentation of O'Neill support this claim?'
'An English historian has claimed that Hugh O'Neill was "a great man as far as savages go." How far does Friel's presentation of O'Neill support this claim?' Charlie Green. The claim by an English historian that Hugh O'Neill was "a great man as far as savages go" shows the historian's opinion that O'Neill was a man of a race and culture below his own. Friel's presentation of Hugh O'Neill in 'Making History' both supports and disagrees with this comment. Friel first stage directions introducing the character of Hugh O'Neill describe him as, 'a private, sharp-minded man...out going and talkative' who speaks in 'an upper-class English accent.' This introduction of O'Neill shows him to be an intelligent and well-educated individual, showing that at the beginning of the Act I, scene I, the audience should not consider him to be a "savage". He also presents O'Neill as a sensitive man, a characteristic not commonly associated with savages. Shortly after his marriage to Mabel, he shows great enthusiasm when planning to, 'make the room upstairs into' their bedroom. This characteristic continues when O'Neill defends his marriage to Mabel in front of Lombard and O'Donnell. He calls her a, 'very talented, a very spirited, a very beautiful young woman'. Further more, he presents her with a 'watch', claiming the only person he knows, 'who has one is Queen Elizabeth'. This gift is hugely
With one extract of your choice, examine how the author uses aspects of real everyday talk in their dialogue.
With one extract of your choice, examine how the author uses aspects of real everyday talk in their dialogue. This extract of Bridget Jones's Diary by Helen Fielding takes place at a party, which in the story, Bridget had been informed was a 'Tarts and Vicars' party. This shows that the conversation is very much public as there are a number of other people around, including the 3 people in the conversation, Bridget, her Aunt Una and Uncle Geoff. The relationship between the speakers is familial yet distant. The language used is very much formal language, despite the informal setting, portraying the upper-middle class the characters are from. This style of language, in this situation particularly, can also show unease, as Bridget has been ridiculed and it is Una's fault. This mirrors everyday talk very well, as people often use a more formal tone when faced with a difficult situation such as this. Una has the most turns in the extract, and also appears to have the power, as she sets the agenda at the beginning of the extract with the line 'Bridget!! Super to see you.' This shows immediately that they have a reasonably close relationship as she addresses Bridget by her first name. The fact that she is hosting the party also gives her power from the beginning. Bridget has only three turns in the extract, showing her embarrassment by speaking only when necessary such as when
