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
How effective is the Prologue as an introduction to Romeo and Juliet?
In my opinion, the prologue is a striking and extremely effective introduction to one of the greatest tragedies ever written. One of the most unusual things about the Prologue is its structure; the fact that it is written in the sonnet form is very significant. The sonnet form of poetry is perhaps the most demanding and challenging poetic form that exists. For hundreds of years the sonnet (of which Shakespeare wrote 154) has been recognised as a structure that is only attempted by the greatest of poets such as Shakespeare or Wordsworth. It is often associated with love poetry and the fact that Shakespeare chooses the sonnet format to open Romeo and Juliet suggests his motive to prepare the audience with the love story to come. The sonnet is made up from 3 quatrains each consisting of 4 lines, with the rhyme scheme a,b,a,b, each quatrain telling us something different about the forthcoming play. The sonnet is finished by a rhyming couplet- a pair of lines that have the rhyming scheme c,c. Some might question why Shakespeare chose such a difficult poetic structure to open the play however it is clear to me that he chose the sonnet to grab the audience's attention but also to demonstrate his showcase of literary talent. The sonnet reveals to the audience the degree of Shakespeare's poetic genius to create a language - which in all its diversity can capture the most beautiful
'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
In Tess of the DUrbervilles, how does Hardy present Tess and Angels relationship as one that is destined to fail?
In Tess of the D'Urbervilles, how does Hardy present Tess and Angel's relationship as one that is destined to fail? In Hardy's tragic novel, nothing is as clear as it seems. Although Alec D'Urberville was the ostensible instigator of the protagonist Tess Durbeyfield's downfall, it must be argued that Angel Clare plays just as a significant role in her destruction. Initial contemporary readings saw Tess and Angel's relationship as doomed by Tess' past, while more modern interpretations point to Angel's decision to leave for the failure of the marriage. Throughout the novel, Hardy makes great use of foreshadowing in order to emphasise how the numerous tragedies in his protagonist's life cumulate in disaster. This has never been more apparent than with Tess and Angel: as a keystone of the novel, their relationship is haunted by the spectre of the past all the way through. By introducing Angel almost as soon as he establishes Tess' character, Hardy makes it clear from the outset that this relationship will be more significant than any other.. It is evident that Angel and Tess will fall in love, but what is even more arresting is Angel's initial and lasting impression that Tess is the epitome of purity and maidenhood. Hardy starkly emphasises Tess' virginal aspects through compound nominal phrases such as "white shape" and "pretty maiden", creating the lasting image of her as a
How does Flaubert use the Agricultural fair at Rouen to further his satire of 19th century French society?
WORLD LITERATURE 2 ESSAY: TYPE 2C Candidate number: D-0612-011 Name: Matthew Jackson Text: Madame Bovary by Gustave Flaubert Title: "How does Flaubert use the Agricultural fair at Rouen to further his satire of 19th century French society?" Word count: 427 words. HOW DOES FLAUBERT USE THE AGRICULTURAL FAIR AT ROUEN TO FURTHER HIS SATIRE OF 19TH CENTURY FRENCH SOCIETY? Gustave Flaubert wrote his novel Madame Bovary in the mid-nineteenth century as a satirical comment on the upper middle class, those who were just rich enough to pretend to be rich. Flaubert loathed them and wrote his novel to make them appear as the fools that he thought them to be. His loathing for the upper middle class of 1850's France stemmed from the ideals which they held. Flaubert saw his fellows as a generation lost to the meritless and frivolous dreams of the French Romantic movement.1 French Romanticism was a movement through all the creative arts towards idealising the world which artists constructed. Although equally present in music and visual art, Flaubert focused both his hatred and his satire on the literature of the time, this reactionary nature earned him the title of a "naturalist". This was however something that Flaubert hated; the Naturalistic movement was one that focused on specifics and on realism in a work, whereas Flaubert sought to make his story one that was
Journeying in Hardy's "At Castle Boterel"
After Emma's death Hardy embarked on a journey to some of their old haunts in Cornwall to rediscover their old love. Considering in detail one poem, discuss ways in which Hardy uses the symbol of journeying in his poetry. "At Castle Boterel", one of the greatest of Hardy's Poems of 1912-13, is an intensely personal poem, yet expresses universal truths on the subjects of loss, reclamation and time. An example of Hardy at his most emotionally evocative and philosophically profound, it chronicles his spiritual, intellectual and emotional journey following the death of his wife. The background to the composition of "At Castle Boterel" is that of a physical journey itself - Hardy's pilgrimage to Cornwall. In the poem this journey is juxtaposed with a past journey, separated by time but not space, taken in a parallel March many years before. The comparative weather conditions belie Hardy's nostalgia for the past: the bleakness of the present "drizzle" and "fading byway" draws a sharp contrast with the "dry March weather" of the former journey. The use of the vivid present in "We climb the road" emphasises the clarity of the memory, blurring, as in many of the Poems of 1912-13, the boundaries between past and present, memory and reality. Hardy's pilgrimage was not just a literal journey, for it was a quest to overcome the boundaries of Time and death through his poetry, an
Walker's presentation of Celie and Shug's growing relationship.
Walker's presentation of Celie and Shug's growing relationship Pages 68-70 Alice Walker uses a variety of techniques in 'The Color Purple' to present the growing relationship between Celie and Shug. Using pages 68-70 as a starting point I will be exploring attitudes towards sexuality as well as a number of lexical, grammatical and phonological choices. As soon as Celie encounters Shug Avery, we get the sense that she already has a sub-conscious sexual desire for her. "First time I got the full sight of Shug Avery" she says, "I thought I had turned into a man," and from this description we can see that Shug Avery is a big factor in expanding Celie's mind and feelings towards other desires and ideas. This point in then developed by a subsequent sentence, "I wash her body, it feel like I'm praying." Celie, being a strict believer in God, is obviously moved in new and different ways by the presence of Shug. Celie uses prayer to escape from her life and talk about issues that have, or are currently, troubling her. Thus, the presence of Shug allows Celie to mentally free herself; even though Shug is slightly bitter towards Celie. Later on in the novel Celie discusses her frequent rapes by Alphonso; thus reinforcing the point that Celie is able to discuss private and sensitive issues with Shug only. A close and personal link is created by Celie and Shug's first physical encounter.
The idea of the experiment is to determine which equation is correct. There are 2 equations of CuCo3 and I have to find out which gases are given off when CuCo3 is given off.
INTRODUCTION : The idea of the experiment is to determine which equation is correct. There are 2 equations of CuCo3 and I have to find out which gases are given off when CuCo3 is given off. The two equations are .2CuCo3(s) Cu2O +2CO2 +0.5O2 2.CuCO(s) CuO +CO2(g) I am going to heat the CuCO3 check the colour when it is heated, measure the volume of the gas given off and test whether it is oxygen or carbon dioxide by introducing a glowing splint. Background theory: Copper (ii) trioxocarbonate (IV), CuCo3, only exists as basic salts and occurs naturally as malachite (CuCO3.Cu(OH)2) and azurite Cu(OH)2CuCO3. The basic trioxocarbonate (IV) of copper,CuCO3.Cu(OH)2 is precipitated when NaCO3 is added to any copper (II) salt solution. It is blue green, insoluble solid and decomposes into copper (II) and carbon (IV) oxide on heating. It is also attacked by dilute acids to produce carbon (IV) oxide. Copper is a transition element. Copper is an essential component of several enzymes and is also used in electric wiring and °CuO(Copper (II) oxide): It is commonly known as black copper oxide and is obtained by heating in this case CuCO3 or heating the metal in oxygen. Copper (II) oxide is a hydroscopic black solid which is insoluble in water. It is a basic oxide forming copper (II) salts with acids. It decomposes above 1000ºC into copper (I) oxide and oxygen. CuO 2CuO(s) +CO2
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
Larkin is often portrayed as being obsessed by death, but High Windows is as much about life as it is about death. How true do you find this statement?
Larkin is often portrayed as being obsessed by death, but High Windows is as much about life as it is about death. How true do you find this statement? Larkin was 52 when High Windows was published and the collection is dominated by poems about the loss of youth, time passing and the imminence of death. Even in poems not explicitly based on these themes, they are still hinted at. Although some of the poems are about youth, some about aging and some on death, in a way all these are referring to mortality. I agree that there are poems, such as Show Saturday and To the Sea, which celebrate aspects of life but there are far fewer poems about life than about death. The Building is one of the bleakest poems, where Larkin describes a hospital and the stark inevitability of death. The poem builds up an atmosphere by the enigmatic treatment of the building; Larkin avoids spelling out that the building is a hospital but treats it as an atheistic cathedral, left in the atheistic society. Larkin begins the account outside the building. It can be seen from far away and resembles a 'lucent comb', emphasising the busyness of the workers and the way in which individuals are depersonalised, like bees in a hive. Its height is repeated in the 4th stanza as evidence of its importance within today's society. The comparison with the 'handsomest hotel' suggests that is far more important to
