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
In "Much Ado about Nothing", Shakespeare presents us with a conventional and unconventional heroine in Hero and Beatrice. Which do you prefer?
In "Much Ado about Nothing", Shakespeare presents us with a conventional and unconventional heroine in Hero and Beatrice. Which do you prefer? In "Much Ado About Nothing", Shakespeare presents us with both the (Elizabethan) conventional and (the more modern) unconventional heroine in Hero and Beatrice, using a variety of effective literary methods, to demonstrate the extreme differences in character. A central theme in "Much Ado about Nothing" is that of the literary tradition of a heroine within the social conventions surrounding women. The literary tradition of the time (and indeed, in many cases, up to the present day) bestows the conventional heroine with beauty, modesty and etiquette, submissive and obedient to men's will. Literary convention also presents the heroine with a variety of obstacles which, through no fault of her own, she is forced to overcome. Ultimately, she prevails and the Shakespearean tale typically ends with a joyful marriage ceremony, often an alliance between two families. However, modern literary tradition breeds the unconventional heroine, an independent, assertive and articulate young woman, overcoming prejudice and injustice. In "Much Ado About Nothing", Shakespeare presents us with both the Elizabethan conventional and (the more modern) unconventional heroine in Hero and Beatrice, using a variety of effective literary methods, to demonstrate
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
Explore the presentation of Iago in Shakespeare's Othello.
Explore the presentation of Iago in Shakespeare's Othello. "O damned Iago! Oh inhuman dog!" Iago is one of the most central and many-layered of Shakespeare's villains, though he is also the subject of some controversy. Has Shakespeare created a "motiveless malignity," as Coleridge suggested (Shakespearean Criticism, 1960), or is Iago deeper and more destructively sharp and vindictive? Shakespeare presents a deep-rooted paradox within Iago - his single-minded conviction and confidence alongside an uncertainty of motive. Iago's importance and his role as Othello's 'poisoner' is perhaps the first thing to consider. Is he simply a catalyst, aiding the inevitable, or does he deliberately orchestrate Othello's end on his own? The duality of Iago is also a vital device used by Shakespeare to illustrate his character - Iago is such a gifted actor that no other character even has the opportunity to suspect that he is dishonest. The juxtapositioning of honesty and lies, good and evil, jealousy and trust, are also key techniques employed by Shakespeare to demonstrate Iago's power. The depth of both Shakespeare's and Iago's language and use of imagery and extended metaphor is also suggestive of how layered the character is. It is difficult, perhaps impossible, to fathom Shakespeare's original intentions for Iago. What must be noted is how different he is from the character in the tale
'Cleopatra is often interpreted as the designing woman who brings down a worthy soldier and ruler, but this view is simplistic.' How do you, in the 21st century, respond to Shakespeare's dramatic presentation of Cleopatra?
'Cleopatra is often interpreted as the designing woman who brings down a worthy soldier and ruler, but this view is simplistic.' How do you, in the 21st century, respond to Shakespeare's dramatic presentation of Cleopatra? Cleopatra can only be described as 'designing' when her character is examined on an entirely superficial level. Beyond the obvious fluctuations in mood and volatile behaviour she exhibits throughout the play, there lies an intensely vulnerable and accessible woman, more so than ever to a modern audience. She is, in a sense, a woman well ahead of her times, both that of the Imperial Roman Empire and that of James I in which she was originally portrayed. Her volatility, particularly in the early stages of the play, is easily misconstrued as a Machiavellian tendency to manipulate for the satisfaction of her own whims. On first experience of the play, her request of Antony to 'tell me how much' he loves her seems foolish, even embarrassing, a public taunting of an important man. However, on subsequent re-examination, when the depth of her feeling for Antony (particularly in her anguish at his death) has been demonstrated, her 'taunting' gains another dimension. This question is more than trivial to her, however she might behave; she needs his reassurance. She is desperate to cling on to Antony's love, incredibly sensitive when it is threatened. Her first
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
Why does Hamlet still matter?
Why does Hamlet still matter? Rebecca Glover ________________ The play Hamlet composed by William Shakespeare approximately 400 years ago, remains relevant to the contemporary world due to its philosophical contemplations of the human condition, and what it is to be human. Hamlet explores the transience of life, and the consequences madness has in regard to suicidal tendencies and whether it is best “to be or not to be”. Further, Shakespeare integrates the concept of the revenge, tragedy, a factor Hamlet is renowned for; and the physical and psychological obstacles such a deceit one must conquer in their ultimate search for the truth, elements which remain pertinent to society today. Shakespeare’s exploration of the complexity of the human condition is explored through his main character Hamlet’s divided consciousness, and the perpetual calculations of how he sees himself, or how others perceived him to be; all of which are notions present in the adolescent members of society today. It is through the exploration of themes such as filial relationships, Hamlet’s self-perception in regards to his inaction of revenge, Shakespeare’s soliloquies and various literary and drama techniques which demonstrate this to the contemporary audience. Hamlet is contacted by his associates; Bernardo, Marcellus
