Connection with Tension

Michael Arevalo Alison Dailey English 214 February 18, 2009 Connection with Tension In the two poems "On the Beach at Night Alone" and "Dover Beach" both Walt Whitman and Matthew Arnold are on beaches looking for answers. Both poets have different concerns, Whitman is on a beach looking at the stars and seeming to figure out how everything in universe and nature is connected. Arnold is on Dover Beach questioning love and how much people take it for granted despite the fact we cannot live without it. The beach is the setting ground for both poems which explain that the beach is a place of contemplation for Whitman and Arnold. Both authors express tension in unusual ways that try to inspire the reader either to change, or embrace using different techniques and have different messages to deliver. "On the Beach at Night Alone" is a poem that uses nature and the universe and that develops the idea that everything is connected. Using the word "all" in the beginning of lives five through twelve help create a type of tension that demands the reader's awareness (Whitman 5-12). The tone of the poem helps give a loud, informative tone that will grab your attention in a shocking way. The primary message of the poem is said in the beginning, and at the end of the poem. Whitman after looking up at the stars says "A vast similitude interlocks all" (Whitman 4). In the end he

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  • Subject: Linguistics, Classics and related subjects
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It is misleading to see Ibsen as a critic of society. His plays are best valued for their gradual revelation of character.

"It is misleading to see Ibsen as a critic of society. His plays are best valued for their gradual revelation of character." It is true that a major concern of Ibsen's plays is the development of characters. However, the fact that "A Doll's House" has a backdrop in the form of a flawed society suggests that society dictates the ways in which characters mature. Take the character Nora as a starting point. Torvald defines her character precisely when he says things such as: "Is that my little sky-lark chirping out there?" (1). At the start of the play, Nora is just an object to Torvald. The fact that she laughs and plays along with what can only be described as insults and teases, shows the audience that she is a weak character unable to amount to much. However, as the play progresses, we start to see hints that suggest Nora is not as marginalised as she first appears. Torvald says: "My little sweet tooth surely didn't forget herself in town today?" (5). The fact that she looks Torvald straight in the eye and lies about not eating the macaroons shows that she does have the potential to be subversive and stretch herself beyond what is accepted by her husband: "I assure you Torvald...!" (5). Nora then later on says to Mrs Linde: "But little Nora isn't as stupid as everyone thinks." (9). Again, this sentence reveals just a little bit more about her character and shows

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The treatment of Women in the History of the United States as portrayed American Drama

Jennifer CHUNG Hiu Kei 2005654208 ENGL3032 Advanced Topics in English Studies Title: The treatment of Women in the History of the United States as portrayed American Drama Due Date: 26 May 2008 Professor: Otto Heim Contents . Introduction and Background Page 30 2. Role of Women in American Society Page 13 3. Assimilating as a Woman Page 33 4. Conclusion Page 42 5. Bibliography Page 43 Chapter 1: Introduction and Background Drama is one of the quintessential attributes of English literature and to a certain extent, perhaps one of the more powerful categories as drama has the advantage of extra visuals to connect with the viewers than poetry or novels. With the influential element of props and actions performed with dialogue in scenes and acts, the ending segment of the texts often create a much more personal response among viewers in the form of 'catharsis'. Defined by Aristotle in Poetics at around 350 B.C, he structured tragic plays into four stages: hamartia, hubris, anagnorisis, and lastly catharsis. The first three stages illustrate the tragic hero, who is often the protagonist in the plays, with a flawed personality of some sort which is responsible for their downfall from a high status in their society. Catharsis on the other hand has more to do with the purging of emotions which cause the viewer to experience two particular feelings, pity

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  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
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Simmilarities and Differences between the Vladimir and Estragon and Pozzo and Lucky Pair

Popescu Name: Popescu Irina Adriana Lect. univ. dr. Ludmila Martanovschi English - Spanish, 3rd year English Literature Simmilarities and Differences between the Vladimir and Estragon and Pozzo and Lucky Pair Samuel Beckett is an important representative of the theatre of the absurd. One of his most famous plays is “Waiting for Godot”. “In Beckett’s plays people exist in gloomy, empty, alien environments. They are paralysed by their hopelessness and inability to take action. Their alienation is expressed in concise, syncopated language that dose not help them achieve meaningful communication” (Delaney and Ward 162). The characters wait for Godot at the beginning of the play, wait for Godot in the middle of the play, and wait for Godot at the end of the play. Godot never comes. So they continue to revolve–but never evolve. They are caught in the absurdity of continuously moving but never progressing. “I know no more about this play than anyone who just reads it attentively” (14), Beckett wrote. “I don't know what spirit I wrote it in. I know no more about the characters than what they say, what they do and what happens to them . . . everything I have been able to learn, I have shown. It’s not a great deal. But it’s enough for me, quite enough. I’d go so far as to say that I would have been content with less . . . Estragon, Vladimir, Pozzo,

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An analysis of the dramatic structure of Kalidasa's "Abhinjanasakunthalam"

Dramatic structure of Abhijnanasakuntalam: An analysis Submitted by Sherrin Rajan 11/PELA/002 The Abhinjanasakunthalam is regarded as the very first Indian play to be translated into a western language. After the translation by Sir William Jones, there were about forty six translations in twelve European languages. Some English translations are “The Fatal Ring: an Indian drama” by Sir William Jones, “The Lost Ring: an Indian drama “by Sir Monier Monier Williams and “Sakuntala and other works” by Arthur W. Ryder. In the thesis by Tripti Mund , it is mentioned that the Abhinjanasakunthalam contains over two hundred verses. These verses are mostly uttered by the major characters. The language spoken by them is Sanskrit. The division of language spoken by the character is according to the social status. Vidushaka speaks Prakrit, Maharastri is spoken by high class women, children and royal servants. The other attendants of the royal palace speak Magadhi. The low class people like cowherds, robbers, gamblers speak varieties of prakrit like Abhiri, Paisaci and Avanti. ( Mund 24, 25) The themes for any Sanskrit play are usually from history or epic legend. But the dramatist mixes it up with his own fictitious inventions like Kalidasa has done it many places in his Abhinjanasakunthalam. The play commences with Nandi followed by the prologue wherein the stage manager

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  • Level: University Degree
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Womens Depression; The Other Side of Look Back in Anger

Assignment Women’s Depression; The Other Side of ‘Look Back in Anger’ Submitted by: ANFAL. M, (Roll No: H-1411), MA English Submitted to: Dr. Subrahmanyam sir. PWBD Course, Department of American and Caribbean Literature, School of English Literature, EFL University, Hyderabad ________________ The world of English drama, especially the modern ones, carries many specialties in both themes and structures which could even lead to many literary as well as cultural movements for their credits. Same way, the ‘Look Back in Anger’, a much celebrated as well as highly influenced drama in British society , written by an English middle-class modern writer John Osborn, did spread more views and comments by introducing an ‘angry young man’ living in British society. Certainly, the play did much to kindle a new energy and method of thinking in the middle class British society, after a long period of hesitating rule of unimpressive royal and upper class themes and styles in the British drama. But, whatever actions or influences did the play may had brought in the British middle class society when it presented an educated middle class ‘angry man’ named as Jimmy Porter as symbol of whole depressed middle class people in Britain after the second world war, it bears a never ignorable curse of woman society, who are represented in the play by Alison Porter, an

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Dandyism and Moralism in Oscar Wilde's An Ideal Husband

Dandyism and Moralism in Oscar Wilde's An Ideal Husband Oscar Wilde, An Ideal Husband Oscar Wilde wrote An Ideal Husband in 1895, during the decade known as the "Yellow" or "Naughty Nineties", a movement with its roots in dandyism and decadence, the twilight years of England's Victorian era, reflecting decay and scandal . Some biographers suggest that Wilde might have been inspired by a number of events which occurred in his private life, to write this play , as it is the case for the dandified character of Lord Goring, which one could say is the double of Wilde himself, and who will maybe incarnate the figure of the ideal husband. As the stage notes from Act III indicate, Lord Goring is in "immediate relation" to modern life, making and mastering it. An Ideal Husband emphasizes Lord Goring's modernity by opposing him to his father, Lord Caversham, who is still living the old fashion way, in a number of dialogues, which appear to be comic, when we notice the radical opposition of thinking of the two characters. The meeting of the two produces a clash between the old fashioned and the modern thinking. This is seen in the first part of the third act, in which there is a conversation between Lord Gorging and his father, who came to speak about the importance of getting married, and the fact he can not go one living only for pleasure. LORD CAVERSHAM: […] Want to have a

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Japanese Americans. It is best to examine the Issei, Nesei relationship by looking at the strongest one in John Okadas No-No Boy

Damato 1 Francesca Damato WR100-ES Dr. Kordonowy 22 October 2010 Immigrants and Their Children: Is a Cultural Difference Detrimental To The Well Being of 1st Generation Americans? The hatred thrust upon the Japanese by other Americans during and immediately following World War II made it much more difficult for the Japanese to restore their pre-WWII lives. Japanese Americans were discriminated against based on their appearance alone and had to deal with a great deal of negativity from other raced Americans. However, it wasn’t just the white Americans that kept the Japanese down. In other words, the Japanese were also the root of their demise. Without looking at the effects the Japanese had on people within their own culture, it is impossible to fully understand the strength needed to begin a new, successful life postwar. Ichiro, for example, is a young Nisei with major internal conflict. His mother, a strict Issei, raised her children with as much Japanese influence as possible. This was an issue for many Japanese Americans. The young adults felt caught between their homeland (America) and their parents while their parents felt caught between their homeland (Japan) and their children. Nisei and Issei were two generations that were lost in translation; because of this, many Nisei, including Ichiro, felt lost and unable to escape from a dominant discourse (Ling 367).

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Langston Hughess play Mulatto: A Tragedy of the Deep South, opens on Colonel Thomas Norwood's Georgia plantation.

Langston Hughes's play Mulatto: A Tragedy of the Deep South, opens on Colonel Thomas Norwood's Georgia plantation. We learn his wife has died, and Norwood lives on the plantation with Cora, his black housewife, and their mulatto children. Several of their children are light skinned enough to pass as white. In fact, his oldest girls are going to school to learn typing although Norwood thinks they are learning cooking and sewing. They are secretly preparing for more pleasant and lucrative lives as educated light-skinned negroes who can pass as white than intending to admit their entire heritage. However, Robert, one of Norwood's mulatto sons, begins thinking of himself as "Mr. Norwood" and more important than he should during this time period. He is causing problems at the post office and calling himself Norwood's son in public, causing problems for Norwood and for all the slaves on the plantation. In Act 2, scene 1 Robert has taken his sister Sallie to the train to go to school. Norwood has asked Cora to send Robert to him when he returns. Cora gets Robert to agree with anything Norwood says to him, which Robert says he will unless Norwood tries to beat him. When they meet, Norwood tells Robert that he will address him as an African American should. Robert says he is Norwood's son, and Norwood says Robert has no father. The two fight, and Robert strangles Norwood

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  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
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Metadrama in Jew of Malta

James Bevan Jew of Malta "Much speculation surrounds how the playhouse audience experienced Renaissance drama; rather less attention is paid to onstage audiences. With reference to two plays, consider the significance of moments where characters themselves become spectators or auditors of the action taking place around them". Several moments of self-reflexivity can be found in The Jew of Malta. The use of this dramatic device has several functions with the play. As well as altering the dynamics of the play, it is used by the dramatist to make comment, and blur the boundaries between theatricality and reality. The use of Barabas' asides anchor his relationship with the audience. In breaking the fourth wall, Marlowe fabricates a liminal territory where Barabas can flirt between the world of the text and reality. This achieves a number of things. Barabas appears a lonely character as he fails to build any relations. His soliloquies function as a conduit to voice his social ineptitude and nefarious designs. We soon learn, via these evil soliloquies that his only concerns lie with his daughter, his money and of course, himself, "Let 'em kill all, So they spare me, my daughter, and my wealth"1 The audience is now put in a position of power because they are aware of Barabas' evil intentions before the characters in the text. Accordingly, the audience starts to feel accountable

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  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
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