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
How does Shakespeare present ideas of disorder, corruption and decay in Act 1 of Hamlet?
How does Shakespeare present ideas of disorder, corruption and decay in Act 1 of Hamlet? Hamlet was believed to have been written between 1599 and 1601 by William Shakespeare, and is considered one of Shakespeare's most prestigious and renowned plays. It is a tragedy and therefore traditionally ends with a death. The numerous accounts of disorder, corruption and decay throughout the play link with the theme of a tragedy and this may be why Shakespeare made many suggestions of this throughout. The play's opening scene is at night in Denmark, where it is very cold. This immediately gives a sense of anxiousness. There are two sentinels (guards) to stop intruders. This means that the people they are protecting are possibly at war and have enemies. Immediately, Shakespeare is suggesting an unpleasant start to the play, it being at night, very cold, and guards protecting people from enemies. The first line of the scene, 'who's there?' immediately gives a sense of urgency and panic. Barnardo is challenging everyone who approaches. Francisco's words, 'tis bitter cold, and I am sick at heart' gives a sense of death and illness. Then he Barnardo repeats himself when Horatio and Marcellus enter, saying 'Stand! Who's there?' This makes the reader or viewers of the play question why he is so anxious and alert. Not too long after, you find out that Barnardo is on alert because he is
Absolute Power Simply Seems To Corrupt Faustus. Once He Can Do Everything, He No Longer Wants To Do Anything; Discuss.
Absolute Power Simply Seems To Corrupt Faustus. Once He Can Do Everything, He No Longer Wants To Do Anything; Discuss. Marlowe's representation of Doctor Faustus changes direction through the play. We follow the change in ambition and greed of a human being who seeks pleasure so much that he sells his soul to the devil for a number of years. Does the power that Faustus obtains corrupt him or is he merely dissatisfied with the power he has and is greedy for more. At the start of the play, Marlowe uses powerful language when referring to Faustus' search for knowledge. "O, What a world of profit and delight, of power, of honour, of omnipotence, is promis'd to the studious artisan". This is what Faustus wishes to obtain, the forbidden knowledge that he feels he can achieve, however it seems strange that Faustus should want to learn more and to be taught and able to understand this forbidden knowledge as he previously bids a farewell to thinking "Divinity, adieu!". Faustus is striving for a great power and his intentions are on a grand scale. "I'll have them read me strange philosophy and tell the secrets of all foreign kings; I'll have them wall all Germany with brass and make swift Rhine circle fair Wittenberg". This is what Faustus thinks he will have the ability to do, but later in his same speech we see signs of his arrogance and the way in which he is governed by greed
Equivocation in Macbeth
Equivocation in Macbeth In Macbeth, Shakespeare uses the theme of equivocation to effectively illustrate the evil nature of the witches. Equivocation is the use of ambiguous expressions in order to mislead. The prophecies of the witches play a mischief in this play, as they are a form of deception that at times use vague language to dodge an issue. The three influential prophecies, which the witches make in this play, are that the protagonist Macbeth will become the king of Scotland, Banquo will be the father of the king of Scotland, and Macbeth will not be killed until the Birnam wood moves to Dunsinane hill. The sources of these prophecies are the witches who put together the devious words into Macbeth's mind, which demonstrates the evil nature of the witches. In Macbeth, one of the earliest prophecies that the witches make is that Macbeth will become the king of Scotland. "All hail, Macbeth! that shalt be king hereafter!"(I.iii.50) is the prophecy in which no indication of the doom of Macbeth is present. The literal meaning of this apocalypse is that Macbeth will become the king of Scotland. Thus, his ambition to take the pursuit of breaking the natural order to become the king becomes ungovernable. This is evident when Macbeth is shown hallucinating of a dagger before he kills Duncan, the real king of Scotland. Macbeth says, "Is this a dagger, which I see before me, /
It is not only the heros character that feeds into the construction of a tragedy; external events also play a part. Does either one of these components have, in your opinion, an overriding influence on Macbeth, or do they make an equal contr
It is not only the hero's character that feeds into the construction of a tragedy; external events also play a part. Does either one of these components have, in your opinion, an overriding influence on Macbeth, or do they make an equal contribution to his downfall? Tragic plays, according to the rules laid down by Aristotle, should involve several key components; amongst them the idea of 'the catastrophe', a calamitous outcome, which evokes an emotional response in the audience; 'the three unities', i.e. that the action of the play, the location of the play, and the time period during which the play takes place, should all be synchronised; and the idea that the play should be centred on the protagonist of the play, and that an error in the judgement of the protagonist should result in the previously mentioned 'catastrophe'. Aristotle called this fatal error 'Hamartia', which was often brought about due to the 'hubris' of the protagonist, or his excessive pride. Shakespeare, however, having never read Aristotle nor heard of his 'rules', carves his own form of tragedy, wherein the lines between the 'divine punishment' given to people, and the punishment they bring upon themselves, are blurred. Also blurred are the lines between what is truly 'good' or 'evil', and if we can truly take any comfort in either of these terms. From the outset of Macbeth, we are told of the power of
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
Explore the ways in which Iago destroys the relationship between Desdemona and Othello
Explore the ways in which Iago destroys the relationship between Desdemona and Othello It is obvious from the very beginning of the play that Iago plans to get his revenge upon Othello. For instance he comments that "I follow him to serve my turn upon him." However it does not become immediately apparent what Iago is going to do until Act 1 Scene 3 when he states that "To get his place and plume my will...after some time, to abuse Othello's ear that he is too familiar with [Desdemona]." Therefore it is clear that Iago destroys the relationship between Desdemona and Othello because of his immense jealousy of Cassio which is shown by "For 'Certes' says he, 'I have already chosen my officer.' And what was he? ...One Michael Cassio, a fellow [with] mere prattle without practise." Iago is not only jealous of Cassio, but also of Othello because he believes that "he's done my office." In fact this is entirely refuted by Iago's wife Emilia later on in the play. For instance when both her and Desdemona are discussing whether they would "abuse their husbands," Emilia claims that she would "neither [do so] by this heavenly light." Therefore Iago's jealously of Othello is clearly uncalled for as he has no reason to suspect that Emilia has been unfaithful. Nevertheless, Iago still wants to be "evened, with him wife for wife." Another possible reason for Iago's jealousy could be that the
Explore the "loving mother-son" relationship between Gertrude and Hamlet, with focus on language.
Ramya Sr. 4 D Q. Explore the "loving mother-son" relationship between Gertrude and Hamlet, with focus on language. Ans. Very evident in Hamlet is the "loving mother-son" relationship between Queen Gertrude and Prince Hamlet. Their mutual affection for each other can be seen right from the first act when they address each other as "Good Hamlet" and "good mother". This seems rather polite and formal but shows their deep underlying love for each other. However as the play progresses and Hamlet learns through the ghost of his father the truth about his uncle (whom his mother has married), the actual intensity of the mother-son relationship is brought out. This happens as Hamlet learns of his father's murder. Our first impression of Hamlet sets the tone for the whole play. Even without Shakespeare providing an elaborate description of Hamlet's features, we can imagine his pale face, tousled hair, intense, brooding eyes. Dressed totally in black, Hamlet displays all the 'forms, moods and shapes of grief'. His speech is punctuated with harsh sounding words and he repeats the 'd' sound often with words like " dead, sullied, windy, dejected, denote". This shows his extreme despair. Gertrude, as his mother, cannot help but notice Hamlet's outward appearance of mourning, but Hamlet makes it clear that the outward signs of grief do not come close to conveying how much sorrow he
Presentation of Women in Othello
The Presentation of Women in Othello Shakespeare's portrayal of Desdemona, Emilia and Bianca in Othello comes, generally, in two forms which reflect the prevailing opinion of women in Elizabethan times as mysterious and angelic or, whores, determined to cuckold their husbands. When Othello was written a patriarchal society was the norm. Women had clearly defined roles, as housewives and mothers; they were viewed as inferior, not only physically, but also emotionally. It was thought that they needed a male to protect them, if they were married this responsibility would fall to the husband and if the woman were single, it would be the duty of her father or another male relative. References to any of the three women, Desdemona, Emilia or Bianca, by the other characters, seems always either to praise them for their virtue and beauty, or else condemn them as whores that manipulate men to achieve their own ends. All three are rejected by their respective partners/husbands; they love them almost unconditionally, even when confronted with indifferent and callous behaviour. They are engaged in unbalanced partnerships: they feel more for their self-centred men than the men are capable of reciprocating. Bianca serves to represent the latter of the two opinions; she is a courtesan in Cyprus (''Tis such another fitchew' IV.i.145). She is a contrast to Emilia and Desdemona as she is not
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
