A Rose for Emily

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1. Question no. 2 A large amount of the tension in Eugene O’ Neill’s Before Breakfast stems from the main characters’ poor economic conditions. The audience begins to understand their situation when Mrs. Rowland says to her spouse “Hmm! I suppose I might as well get breakfast ready—not that there's anything much to get. Unless you have some money? Foolish question!” (paragraph 10) Mrs. Rowland, the depressed wife of a penniless poet, spends the entirety of the story complaining about her husband’s infidelity and worthlessness. Amidst her rant, she exclaims “I've a good notion to go home, if I wasn't too proud to let them know what a failure you've been—you, the millionaire Rowland's only son, the Harvard graduate, the poet, the catch of the town—Huh!” (line 16) This quote refers to the fact that when she married Mr. Rowland, he appeared to have a very promising future and was considered, as mentioned above, the “catch of the town.” Her husband’s lack of both financial success and current employment, coupled with his unfaithfulness, are the factors that ignite her frustration and, ultimately, lead to the monologue that induces Mr. Rowland’s suicide. 2. Question no. 4 William Faulkner’s “A Rose for Emily” is presented from the viewpoint of the titular character’s neighbors and fellow townspeople. The narrator begins the story by describing Emily as somewhat of a town spectacle; a mysterious hermit basking in solitude. The first description of Emily by the narrator is “Alive, Miss Emily had been a tradition, a duty, a care; a sort of hereditary obligation upon the town…” (paragraph 3) This ingratiates the audience with the idea that Emily was not particularly personal with anyone within the town and was considered mo... ... middle of paper ... ...e intemperate language to my wife.” (paragraph 6) This makes it seem as if the narrator is trying to tone down how terrible his actions are which, in turn, makes him unreliable. Bonus: Ancient Greek Drama evolved innumerable times within its period. Aeschylus, Sophocles, and Euripides contributed to and ignited many of these contributions. Aeschylus’s plays allowed for a greater number of characters to be introduced, which allowed conflict to arise within the plot. This took the place of previous plays in which characters spoke only to the chorus. Sophocles impacted Greek Drama by both creating a role for a third character and introducing more complex characters into the plot. Finally, Euripides expanded upon the idea of creating complex characters and also introduced characters that were previously unfamiliar to Greek audiences, such as female protagonists.

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