The Importance of Being Earnest - 'We live, as I hope you know, Mr Worthing, in an age of ideals' what are these ideals in the context of the play in Act One, and how does Wilde present them to the audience?
'We live, as I hope you know, Mr Worthing, in an age of ideals' what are these ideals in the context of the play in Act One, and how does Wilde present them to the audience? In 'The Importance of Being Earnest', ideals are a dominant theme, and to that end are critical in determining the actions of the characters. Wilde is typically subtle in his presentation of these ideals, and consequently many of them come to be used as a means for satirising the society depicted. It is important to establish from the outset that Wilde's presentation of ideals utilizes the different characters as bastions for the various ideals, and in doing that subjects them to scrutiny when ridiculing their respective characterizations. One of the most important ideals presented is fittingly one of the first to become apparent; that being the division of the classes and the social status that they entail. On line 1 of the play, Algernon asks Lane, after playing the piano in the adjoining room: 'Did you hear what I was playing. Lane?' Lane's response: 'I didn't think it polite to listen, sir' is indicative of various aspects of his position. Firstly, his butlership requires that he should abstain from partaking in any activity considered to be distracting to his duties, of which listening to the piano would be one. Secondly, his position in society, that of one of the lower classes, demands utter
Tennessee Williams wrote in a letter that It (Streetcar) is a tragedy with the classic aim of producing a catharsis of pity and terror and in order to do that, Blanche must finally have the understanding and compass
Tennessee Williams wrote in a letter that "It ('Streetcar') is a tragedy with the classic aim of producing a catharsis of pity and terror and in order to do that, Blanche must finally have the understanding and compassion of the audience. This without creating a black-dyed villain in Stanley. It is a thing (misunderstanding) not a person (Stanley) that destroys her in the end." In your opinion, to what extent has Williams succeeded in his aims. Although there are many different viewpoints on a conventional tragic heroine, Aristotle made his views clear that a hero must fall from fortune and power, due to a tragic flaw, allowing an audience to feel catharsis at the end of the play. It can be argued that Stanley causes Blanche's downfall, however, it is clear that Blanche had brought this upon herself by creating a conflict between them and ensures her own downfall by other means such as her promiscuity and flux into fantasies. Williams makes it clear that a misunderstanding destroys Blanche in the end. This misjudgement can be seen in her aggressive teasing of Stanley and her uncomfortable belonging in multi-cultural New Orleans. From the beginning of the play, Williams makes it clear that 'the Kowalski and the DuBois have different notions' with Blanche withholding the Southern Belle attitude of 'Belle Reve'. However, it is clear that Blanche cannot cope with the stark
TO WHAT EXTENT CAN A STREETCAR NAMED DESIRE BE CALLED A TRAGEDY?
TO WHAT EXTENT CAN 'A STREETCAR NAMED DESIRE' BE CALLED A TRAGEDY? 'A Streetcar Named Desire' was written by Tennessee Williams in 1947, eliciting the most critical commentary of any of his works, as well as being highly divisive: upon its release, one reviewer defined it as the product of an "almost desperately morbid turn of mind"1; George Jean Nathan criticised the "unpleasant"2 nature of the play, calling it "'The Glands Menagerie'"3. Williams' focus on realism, and the subsequent omission of clear-cut protagonists and antagonists in 'Streetcar', also drew glowing reviews, from the pre-eminent theatre critic Brook Atkinson, for example, who called Williams "a genuinely poetic playwright whose knowledge of people is honest and thorough"4. This difference in opinion does not stop at subjective criticism of the play, but even the specific genre which 'Streetcar' falls into. Many assume it to be a tragedy of some type, and there is indeed much to commend this view. However, the ambiguous nature of many aspects of the play and Williams' inclusion of alternate dramatic devices has led many to believe that 'Streetcar' should not be classified as a tragedy, but as a melodrama. In any tragedy, the tragic protagonist is of vital importance: everything is centred on the protagonist, their flaw and subsequent downfall. However, in 'Streetcar', there is large uncertainty as to who
How does Williams use dramatic devices in A Streetcar Named Desire to heighten the tragic aspects of the play?
How does Williams use dramatic devices in A Streetcar Named Desire to heighten the tragic aspects of the play? Williams uses many dramatic devices to develop the play as a tragedy including: symbolism, stage directions and sounds. A Streetcar Named Desire can be seen as a modern domestic tragedy as the characters are not of noble birth and the play has specific focus on a female protagonist and anti-heroine, in this case Blanche. Blanche is often difficult to have an affinity with as she can come across as snobbish and over dramatising however, her fragility leads her to be a truly tragic figure much like that of Ophelia in Hamlet. Both characters are destroyed by the death of their loved ones and both suffer deaths themselves; albeit, in different ways. Williams uses symbolism to great effect within the play. In scene 1 the stage directions describe Blanche as “a moth”. William’s uses stage directions as a crucial dramatic device, making them highly detailed so when performed on stage it could be exactly as described; they became a signature of his. Instantly, a scene of tragedy is set as a moth is fragile however essentially a creature of self destruction, in its quest towards light it often ends up destroying itself. This sense of foreshadowing intensifies the tragedy from the very beginning, suggesting no matter what Blanche does, or how hopeful things are the
Death of a Salesman: Is Willy Loman a tragic hero or a tragic victim?
Lara Jackman 2AA. Mr. Roberts Is Willy Loman a tragic hero or a tragic victim? Centre No:49005 Candidate No:7244 The "quintessential American tragic hero"1 or "a passive victim of corrupted propagandist society"2; this is just one example of the conflicting views surrounding Arthur Miller's Willy Loman in "Death of a Salesman". Consumed with a flawed vision of the American Dream, this character is certainly a contemporary figure and his life remains symbolic and relevant to this day with regards to the pitfalls of capitalist values, as it was fifty years ago. Indeed, Willy Loman is unique in the sense that it is difficult to categorise him as one particular character stereotype; it depends on the individual's point of view. Some critics argue that he is neither a tragic hero or victim, but rather a "victimizer of himself and others"3 and "a coward"4. Certainly, there are numerous interpretations that have been explored over the years and it is due to the wide scope for analysis Willy offers that "Death of a Salesman" remains a favourite to discuss amongst critics to the present day. The idea of Willy Loman as a "tragic hero" has been the subject of heated debate for decades. Some of the classic features of a tragic hero, as determined by Aristotle, can undoubtedly be applied to Willy Loman and therefore support the idea of a heroic
Social Historical Bacground - A Dolls House
Social and Historical - "A Dolls House" "A Dolls House" was first published in Copenhagen, Denmark in December 1879. The first edition of the play flew of the shelves with 8000 copies sold within the first month. The play was then staged at Copenhagen's Royal Theatre on the 21st of December of the same year. This allowed people who had read the manuscript (men), as well as those people who could not read (women), the chance to see Ibsen's visual representation of his play. Women were less likely to read as they were less likely to attend school. Therefore, when men and women attended theatres a difference of opinion arose. Women were for the independence of Nora whilst men found it scandalous. However, both genders found elements of the play scandalous such as the lack of a happy ending, a sign of naturalistic drama of which Ibsen was a master. Most other playwrights of the time were still writing plays which adhered to the conventions laid out by Ancient Greek tragedy: the play must be in verse and about people of high social status. "A Dolls House" featured simple prose and was about people of different statutory. The Royal Theatre was frequented by both people of high status and low status. This only scandalised audiences even more as the higher status audiences were disgusted whilst lower status audience members applauded Ibsen. "A Dolls House" was the centre of
To what extent can Blanche Dubois be considered a tragic hero?
Blanche DuBois is often referred to as a 'tragic figure.' How does Williams' presentation of this character allow her to be seen in this way? Aristotle defined 'Tragedy' around 330BC: "Tragedy, then, is an imitation of a noble and complete action; . . . and achieves, through the representation of pitiable and fearful incidents, the catharsis of such incidents." In a tragedy, the tragic hero is tested by suffering; as a result they're forced to face the consequences. Some will be crushed by their misfortune and may even die; others will somehow overcome their difficulties. Aristotle also states that the character must be of noble character - defined not by birth but rather by moral choice. This does not mean that they're perfect. There would be a sense of outrage if the individual were not marred in some way and yet still suffered. Conversely, a tragic hero can not be completely heinous. Aristotle felt the best type of tragic hero will fall somewhere between the two extremes - ". . . a person who is neither perfect in virtue and justice, nor one who falls into misfortune through vice and depravity, but rather, one who succumbs through some miscalculation." When the character is presented to the audience, there is empathy as their flaw (Hamartia) humanises them; a sense that it could happen to anyone because of this Hamartia, which while contributing to the character's lack
A Modern Domestic Tragedy Is Tragic Because The Protagonist Is Working Against A Tide Of Unstoppable Changes Discuss This In Relation To A Streetcar Named Desire
'A Modern Domestic Tragedy Is Tragic Because The Protagonist Is Working Against A Tide Of Unstoppable Changes' Discuss This In Relation To 'A Streetcar Named Desire' In Tennessee Williams' 'Streetcar Named Desire', the character of the protagonist Blanche is created by Williams to be facing great change, and is facing the pull between her internal flaws and the external forces pushing this change .By showing this change in accordance within the confines of a modern domestic tragedy, it becomes inherently clear that in the context of this play, what makes it truly tragic is this unstoppable external change that the protagonist is a victim of. The continual emphasis by Williams on Blanche's weaknesses in this time of continual change adds to the tragic portrayal of the character. As early on as the first scene Blanche's refusal to face reality is shown, and begins this irrefutable burden of reality in contrast to the illusory world she has become to indulge herself within. It is symbolised by her inability to face the light. Blanche cries out in scene one to Stella to 'turn that over-light off...I won't be looked at in this merciless glare'. This loaded sentence suggests many connotations towards the character of Blanche. As on one hand this light reflects her inability to face the truth, as the light represents the purity of truth, and shows a possible domestic tragedy
What Issues Of Communication Are Raised In The Play 'Translations'?
What Issues Of Communication Are Raised In The Play 'Translations'? The play 'Translations' by Brian Friel is in many respects an intelligent and enlightening metaphor for the situation in Northern Ireland. Throughout the play Friel uses his satirical twists and mixes of tragedy with comedy to express the vulgarity and hypocrisy in Ireland. Friel introduces a variety of extremely heavy topics dealing with societal problems such as generation gaps, communication and cultural difference. The play centres mostly on the tragedy of English imperialism as well as Irish nationalism. The themes that run through Translations are only an indication of the subject matter Friel begins to base his writings on. Translations may be located both temporally and spatially to a fixed point in Irish history. The characters hail from Baile Beag, renamed with the anglicised title of Ballybeg. The action of the play occurs over a number of days towards the end of August 1833. Before delving into the play it is clear, from these most general of points, that the main plot of Translations is a period of great significance in the colonial relationship between Ireland and England. The issue of communication in particular takes a significant central point in the play 'Translations'. The problems of translations between the languages are a metaphor for the problems of communication between England and
Compare and contrast Williams treatment of the concept of mental instability in A Streetcar Named Desire and The Glass Menagerie in light of the opinion that Williams presents more hope in his presentation of Laura Wingfield than Blanche Dubois.
Compare and contrast Williams' treatment of the concept of mental instability in A Streetcar Named Desire and The Glass Menagerie in light of the opinion that Williams presents more hope in his presentation of Laura Wingfield than Blanche Dubois. Tennessee Williams was the early 20th century playwright of both A Street Car Named Desire and The Glass Menagerie. Williams' work was influenced by his family and it is widely believed that both the characters Blanche Dubois in Streetcar and Laura Wingfield in Glass Menagerie were modelled on his sister, Rose, a schizophrenic. As was common place in 1950s America, she was institutionalized and spent most of her adult life in mental hospitals. Reflecting on America's treatment of the mentally unstable and Williams' own experiences with this issue, both Street Car and Glass Menagerie explore the themes of escapism, abandonment, dependency and their effect on stability. Alcohol is used as a means of escape in Streetcar. Williams presents Blanche as a character who uses alcohol to distract herself from reality and her own mind; "the music is in her mind; she is drinking to escape it". Habitual drinking was bad for a woman's reputation in the 1940s and 50s, so the vice was often hidden or disguised; Williams illustrates this through Blanche's lies such as "No, one's my limit." Conversely, the character Laura's means of escape is through
