How important is Osborne both to Stanhope and the rest of the officers in the dugout?
How important is Osborne both to Stanhope and the rest of the officers in the dugout? Osborne is noticeably important to all of the officers in Journey's End, but he is especially important to Stanhope and Raleigh. In this essay, I intend to show this through his various empathic and logical character traits that assist him in his role in the company. Firstly there is Stanhope. Stanhope relies heavily on Osborne for guidance and support, and Osborne is obviously very important in the running of the company. Stanhope often asks Osborne for help and advice, such as when he asks him to censor Raleigh's letter. In fact, Osborne could be construed as a father figure to the young Stanhope. This is demonstrated when he has to 'tuck Stanhope in to bed' after a drinking session. Next is Raleigh. Right from Raleigh's arrival, Osborne tries very hard to make Raleigh feel welcome and to alleviate any fears he might have by taking his mind off the war; 'Let's talk about pigs. Black pigs or white pigs?' With the rest of the officers, his empathic nature really shows through, in that he treats each one differently but equally. For instance, he defends Trotter, the only man to be promoted into officer status. He realises that Trotter is striving for acceptance with the upper class officers. He gives Hibbert the benefit of the doubt by saying that he might actually have
There are several different interweaving plotlines that make up the story of Journey's end, and the relationship between Raleigh and Stanhope is one of the most obvious and easy to follow in R.C Sheriff's Journey's End.
There are several different interweaving plotlines that make up the story of Journey's end, and the relationship between Raleigh and Stanhope is one of the most obvious and easy to follow in R.C Sheriff's Journey's End. It introduces several themes that would otherwise be hard for the author to introduce to a play about life in the trenches. The most interesting issue that the relationship adds to the play, in my opinion, is the picture of youth in war. On one hand we have Raleigh: he has just left school; he plainly has no idea of what trench warfare is like; and he talks often of life back in England and ordinary peacetime things. On the other hand we have Stanhope: apparently the very epitome of a battle-weary warrior, being driven almost to madness and certainly to the bottle by the facts of war. He hasn't gone home on his last leave - in fact, he is incredibly unwilling to talk of home. Raleigh: I never thought it was like that. Osborne: You thought it was fighting all the time? Raleigh: Well, yes, in a way. It is interesting to contrast this with the way that Stanhope feels. Stanhope: ...if I went up those steps into the front line - without being doped with whiskey - I'd go mad with fright. Raleigh is new to the line - he hasn't seen his friends killed yet. When he does, he naturally finds the experience traumatic. Raleigh: Good God! Don't you understand?
In what ways does R C Sheriff re-create the tremendous stress and fear suffered by all the men (Do all the character react in
In what ways does R C Sheriff re-create the tremendous stress and fear suffered by all the men (Do all the character react in this way?) How do they cope with the nightmare of trench warfare? Journey's End is a World War 1 play. An eyewitness called R C Sheriff writes the play. Sheriff re-creates the horror of trench warfare in an extremely descriptive and powerful way even though the play is only set in one scene, the officer's dugout. Trenches in the war where filthy, filling up with dying bodies, 1,000,000's of rats and many germs and diseases. I think that when Sheriff was writing this play in 1928 he thought that he could show himself as one of the officers/characters in play, I think he was imitating himself as Stanhope. The audience that watch play's now day's are very different to the one's who watched play's in 1928, this is because only a certain class of people could afford to go to the theatre. Now day's technology is better and now advanced props are used. Most acts of performing arts are now seen at the cinema. If we were to go and see Journey's End today most of us would be shocked and horrified after watching this play, but back in 1928 people who were watching this play may have been out in the trenches, so they could personally relate to how the characters are feeling. Now days most people haven't witnessed mass death! So they may be more sympathetic
In Journeys End R C Sherriff skilfully orchestrates a complex pattern of tensions. Trace the development of these at key moments showing how they are dramatically effective.
Sam Vincent In Journeys End R C Sherriff skilfully orchestrates a complex pattern of tensions. Trace the development of these at key moments showing how they are dramatically effective. Journeys End was written by R C Sherriff, and is set in a trench during the First World War. The way Sherriff structures this piece of work, is very unusual as it does not stick to one kind of atmosphere, he switches between pathos, humour and many different types of tension. It is a clever the way he manages to write so many tensions into his work, as the background to the story is The War. The plays main characters create these tensions by the way they act around each other, they are; Stanhope, the Companies commander in chief, but still despite this ranking he is still nothing better and a tall, slimly built boy with broad shoulders, he is never without a high percentage of alcohol in his bloodstream and is hiding something from the others, below the surface of his skin, as we are told by Osborne when he speaks "something happened, I am unsure of what it was, a silly little argument, when suddenly he jumped to his feet and knocked the table over, the glasses spilled. He lost all control over himself and then suddenly he came round and cried real tears." Osborne, 'Uncle' to the company members was second in command, just as capable and a lot older than Stanhope. Although he does not like to
The Aspects of Stanhope's Character
The Aspects of Stanhope's Character Stanhope, who is the main character in the play, has, as we have seen, three different sides to his character. On pages 42 to 43 Stanhope is talking about himself and his health. Also Stanhope is talking to Osborne about being in the trenches and what sort of things they do. Whilst they are talking Stanhope comes out with. 'You don't think I'm going Potty?' Osborne replies. 'Oh, Lord, no!' Here what Stanhope is talking about is clinical depression. Which in the 20th century would be known as mental illness. Stanhope is making his illness worse because of the large amounts of alcohol he keeps on drinking. Although Stanhope is a tough man and is a high commander, deep down heart he is really worried about his health and also about going potty. To try and make Stanhope feel better Osborne says to Stanhope that it is just a bit of nerve strain at the moment and also Osborne try's to comfort Stanhope by saying that when people are actually going potty they don't talk about it, but Osborne is wrong because when people are going potty they sometimes do talk about it. The second aspect of Stanhope's character comes when Raleigh wants to send a letter home to his family but Stanhope won't let him send it directly. Stanhope says that he has to read it first to see if it meets his approval. Obviously Raleigh doesn't want Stanhope to read it
Journey's End - Compare and contrast Osborne, Stanhope and Raleigh as people and as soldiers.
Journey's End 2. Compare and contrast Osborne, Stanhope and Raleigh as people and as soldiers. In the play we learn very little of Dennis Stanhope's character as a man and much more of his character as a soldier. One reason for this is that he is the Commander of Infantry Company C and so always has to appear strong, composed and in charge. He feels that he must be very dedicated to his work and present a stern but fair front to the rest of the men. It is important for him to do this as he has only been a commander for a year and is relatively young, as he is just 21 years old. Another reason why we see very little of his character as just a man is that he has been fighting in the war for a long time "Nearly three years. He came out straight from school- when he was eighteen." This has hardened him and he is much more used to the war as an everyday reality, and because of this he has found ways to cope with the stress and horror of war. He uses drink to forget about his life at home and the atrocious war going on around him. He relies on drink a lot and he drinks most of the six bottle of whisky they brought with them in just three days." The last bottle! Why, damn it, we brought six!" He is able to admit to his drinking problems and why it is that he drinks so much: "if I went up those steps into the front line- without being doped with whisky- I'd go mad with fright" His
"The Loneliest Road in America," a chapter from Ghost Rider by Neil Peart exposes both strengths and weaknesses in his abilities as a writer.
"The Loneliest Road in America," a chapter from Ghost Rider by Neil Peart exposes both strengths and weaknesses in his abilities as a writer. Although it can be argued that the success of Ghost Rider is due more to Peart's notoriety as a musician than to his skill as a writer, there are nonetheless strengths in his writing. Peart's writing definitely has weaknesses, but his writing is intended to be a personal journal outlining how he is dealing with grief and confusion. Thus, some of the unorthodoxies and weaknesses in his work are permissible. Conversely, there are definite literary weaknesses in his work that should be noted. Overall, Peart's writing is weak in some areas and strong in others. One strength is that there is a common theme that holds the piece together. The theme is that of the "ghost." Peart refers to the "ghost" throughout the work. This establishes the fact that he feels detached and estranged from the world. "The phantoms I carried with me, the way the world and other people's lives seemed insubstantial and unreal, and the way I myself felt alienated, disintegrated, and unengaged with life around me. 'Oh yes,' I thought, 'that's me alright. I am the ghost rider'" (Peart 104). The above passage flows with an off the cuff and candid rhythm, and this adds a genuine sentiment to Peart's words. The idea of Peart feeling as if he is living as a "ghost"
A Journey Through the Unknown: Raju and Saleem Through the Hero's Journey.
Mary Collins Postcolonial Novels 3/11/03 A Journey Through the Unknown: Raju and Saleem Through the Hero's Journey When examining the word "hero" a great deal of confusion or uncertainty may come over the thinker regarding the actual definition of the word. This sense of indecision has to do largely with the ambiguous nature of the word hero. In truth, a hero can be the protagonist of a story or a person who exhibits a set of ideals and acts in a certain honorable or admirable way. Oftentimes it is difficult to ascertain whether or not a character deserves to be called a hero in the later sense of the word. (Kiley) An excellent device for determining hero-status is following the character through the story using the model of the Hero's Journey. Joseph Campbell first published extensive literature on the idea of the Hero's Journey in his book The Hero with a Thousand Faces where he examines "The Adventure of the Hero:" "The whole sense of the ubiquitous myth of the hero's passage is that it shall serve as a general pattern for men and women, wherever they may stand along the scale. Therefore it is formulated in the broadest terms. The individual has only to discover his own position with reference to this general human formula, and let it then assist him past his restricting walls. Who and where are his ogres? Those are the reflections of the unsolved enigmas of his own
What are the challenges facing someone playing the role of Osborne in 'Journey's End'?
What are the challenges facing someone playing the role of Osborne in 'Journey's End'? Someone taking on the role of Osborne, in the play "Journey's End,' written by R.C.Sherriff, will encounter many different and difficult challenges. There are a few things that actors have to take into consideration to develop their character. For example, an actor will have to consider movement, gestures, voice and appearance. Osborne is an old, aging school master. Therefore you would expect to be looking at a graying man with a face of great detail: wrinkles running along his forehead and definite laugh lines running from the nose to the edge of the lips. This is a challenge for a younger man to look like an elderly man. Being a school master and second in command of a company, Osborne will be of a higher class and this should therefore be conveyed the way he walks and in his posture. This is a challenging task for an actor to perfect. The walking technique and stance should be constant throughout the whole performance, which is not an easy thing to achieve. Osborne should be a dignified character which will have to be conveyed through voice. Because of his class and educational history, Osborne should be well pronounced and should have a large vocabulary. This will be challenging for a person taking on the role of Osborne because they will be required to learn a harder vocabulary of
My Journey.
My Journey My head down, I followed the guide take me through factory into my working area. While I walked, my eyes darted around, watching the other employees already at work. As I walked past them, they seemed to have glanced at me, but not really taking any notice. Suddenly the murmer of the guide seemed to stopped when along with the person almost making me carsh into her, she turned around and stared at me looking as if she was waiting for a reply of some sort, confused, I stared back at her. Realising, she repeated quite forcefully "here's your work area", I forced a smile and thanked her. Not taking much notice, she turned around and called to the talking employees and said (to all against my will) "Everyone, this is George, hope you all make him feel welcome" after a few faint grumbles of hello's a bell rang, obviously meaning that a break was over as al the employees got up and started working at the machines again. My name is Goerge Hwang, after being told to leave my old job, I found a new one but things just didn't seem as easy as I had thought it would. I just didn't seem to fit in, and after almost a whole year of working there; one would imagine that i'd have started to make friends and get used to the place. Not me, after working all this time, I would do almost anything to go back, to get out of this place. Why? Let me tell you my whole journey from rising