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
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
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
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
Classics in Friel's Translations
Discuss the importance of the classical content in 'Translations'. How do they contribute to the exploration of colonialism in the play? 'It would not be too much to say that myth is the secret opening through which the inexhaustible energies of the cosmos pour into human cultural manifestation. 1' Translations is a play in which many doors are opened through mythological and classical content. Looking at this content in closer detail allows us to see the play from a different angle, and gives new meanings to many of the themes and ideas presented. Most notably to the theme of colonialism which is at the forefront throughout the play. Jimmy Jack Cassie, for whom the 'world of ancient myths is as real and as immediate as everyday life', provides us with our first examples of the classical content in Translations. He acts as a human 'bridge' between the present worlds of Baile Beag and those of Ancient Greece and Rome, and links many of the themes and events with classical history and mythology. One of the most important thematic links is the development of Jimmy Jack's 'relationship' with the Goddess Athene. Jimmy fails to treat her like a fictional character, even comparing her to women from his village 'no harm to our own Grania... But I would go bull straight for Athene'. His relationship with the mythological character is real to him, and thus the problems he faces
