We all are looking for something to complete ourselves. No matter how much time has passed everyone still is on this quest for completion. Just as I said before no matter how old a story is it can always relate to modern times.
In the early 17th century a Spanish monk named Gabriel Tellez also called Tirso da Molina, wrote a play called “The Playboy of Seville”. His play describes Don Juan a man who is focused on achieving sensual experiences. He enjoys pursuing what he believes will satisfy himself, he also gets pleasure in pursuing women. In the narrative Don Juan pursues four women. The first is named Isabela, she is engaged to a man named Octavio, and however she ended up believing that Don Juan is Octavio. Don Juan snuck into her room
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The last is Arminta who is supposed to be getting married, however Don Juan inserts himself between her and her soon to be husband. Don Juan slanders Arminta’s reputation, and her supposed to be husband leaves. Don Juan asks Arminta’s father for her hand and they (Arminta and her father) agree because they desire nobility. However he really doesn’t marry her he sleeps with her and leaves. Don Juan comes back to Seville, passing by a churchyard. An sees the tomb of Don Gonzalo, and Don Juan jokingly invites the statue on the tomb to have dinner with him and laughs about how the hauntings and promised vengeance have not yet come. When Don Juan sat down for dinner at his home, his servants were frightened so he sends Don Juan sends his servant to investigate, and he returns followed by the ghost of Gonzalo in the form of the statue. Don Juan is initially frightened but quickly regains control.In the churchyard, Don Juan tells his servant about how lovely Isabela looks and how they are to be married in a few hours. The ghost of Gonzalo appears again, and he sets out a table on the cover of a tomb. At the end of the meal, Gonzalo grabs Don Juan by the wrist, striking him dead. In a clap of thunder, the ghost, the tomb, and Don Juan disappear, leaving only the servant, who runs away in
...hes her in the face and kicks her. He is disgusted with her. He then turns and leaves. Kino makes his way up the beach as a group of men assault him. Kino struggles to get away and while doing so he stabs one of the men and kills him. Juana finally gets on her feet and begins to make her way home. She sees Kino lying on the group hurt with another man dead next to him. She hauls the dead man into the brush and tends to Kino. She says they must run away immediately because of what a terrible crime Kino committed. Kino refuses at first, but then agrees. Juana runs back to the house grabs Coyotito, while Kino goes to the beach once again to prepare his boat, but realizes that the group of men made a hole in it. He becomes full of rage and kicks at the water. He then tells Juana what happened and they decide to hide at Juan Tomas’s house for a while.
As people went away, they chose my house to store their belongings, but not one of them has ever come back to claim them” (Rulfo, 10). This can be seen as an example of people being in purgatory, as they have been searching for salvation, and have yet to return to recollect their belongings. This idea is later reinforced throughout the novel as the narrator speaks about wandering souls and voices heard by Juan Preciado, which supports how the idea of purgatory is present in the town of Comala. Similarly, the house of Eduviges is a place of death where lost souls may be wandering around after death, as they would in purgatory. This notion is illustrated when, as Juan sleeps in Eduviges’s house, he hears a great scream, and Damiana tells him that, “It may be some echo trapped in here” (Rulfo, 33). She explains the story of a man named Toribio Aldrete
...cattered pile of bones and masonry supplies along with the smiling skulls on the walls. Montressor turned around to open the door but it was locked as to be expected, and he turned around and saw the ghost of Fortunato holding the trowel he was buried with. “Hello friend, I have been waiting for this moment since you killed me and I was not allowed to leave this world”, said Fortunato in a voice laced with murderous anticipation. Fortunato raised the trowel above Montressor and Montressor sank to the floor begging for mercy “Please forgive me! Please!” he yelled. But Fortunato wanted so badly to exact his revenge so he brought the trowel crashing down on Montressor’s head 3 times for each man he had killed. Using all the strength a ghost possibly could, he dragged the body to the very entrance of the vaults and placed a note on it reading “The Work of Fortunato”.
When discussing the notion that “Love can often lead to the creation of an ‘Outsider’." there are cases in our literary examples that would agree with the statement, and some that would not. Outsiders in Much Ado About Nothing, Pride and Prejudice and A Streetcar Named Desire are created by both love and other themes, whether it be class, power, disinterest or a scandal.
The conclusion of the play ends in Scene Nine, when the woman discovers the man attempting to steal away in the dark. She confronts him with their obvious desire for and need of each other, but the man persists in leaving. The woman hangs herself as soon as he is gone. Her death thwarts the man's love for her forever, ensuring that she herself will never have to surrender to a man only to be deserted by him. She is dead and does not see that the man does return to her, his love for her stronger than his fear of love.
but at the end of the first part of the book they make him return to his home by means of a sly stratagem. In the second part the hidalgo leaves for the third time and alternately gives indication of folly and of wisdom in a dazzling array of artistic inventions. But now even his enemies force him to abandon his endeavors. Don Quixote finally recognizes that romances of chivalry are mere lying inventions, but upon recovering the clarity of his mind, he loses his life. The idea that Don Quixote is a symbol of the noblest generosity, dedicated to the purpose of doing good disinterestedly, suggests the moral common denominator to be found in Cervantes' creation.
A Streetcar Named Desire is a classic tragedy written by Tennessee Williams, which earned him the Pulitzer Prize as well as many other awards. This brilliant play explores many important themes and issues. The main recurring theme Williams explores to the readers is the conflict between fantasy and reality, honesty and lies. However, sexuality, violence, and social differences also shape the action of the plot, in which they contribute to the effect of the characters of the play. The three main characters, Blanche Dubois, Stella Kowalski, and Stanley Kowalski, have different ways of dealing with the said conflicts in their harsh surroundings in which they live in, as they all face different crisis. Blanche, who suffers from emotional and inner conflict, is caught between two worlds and tries to escape reality and the truth as much as she possibly can with her imagination. Stella on the other hand, is a naïve and sensitive character, and may be considered to be the protagonist of the play. Stella tries to ignore the truth going on around her, and as harsh as they may be, she accepts them. Stanley, who is an aggressive, dominant, and sexual character, uses violence to receive his desire, no matter the cost. Throughout this play, Blanche, Stella, and Stanley try to survive and deal with reality in different ways in order to satisfy their desire.
Isn't it true the relationship between Stella and Stanley is praiseworthy, since it combines sexual attraction with compassion for the purpose of procreation? Isn't it true that as opposed to Stanley's normalcy in marriage, Blanche's dalliance in sexual perversion and overt efforts to break up Stanley and Stella's marriage is reprehensible? Isn't it true that Stella's faulty socialization resulting in signs of hysteria throughout the play meant that she probably would have ended her life in a mental hospital no matter whether the rape had occurred or not?
The prostitutes Quixote meets inside transform into ladies. Cervantes describes the girls as shocked to be referred to as anything other than prostitutes. He writes, “The girls looked at him, endeavoring to scan his face, which was half hidden by his ill-made visor. Never having heard women of their profession called damsels before, they were unable to restrain th...
Tennessee Williams was one of the greatest American dramatists of the 20th century. Most of his plays take us to the southern states and show a confused society. In his works he exposes the degeneration of human feelings and relationships. His heroes suffer from broken families and they do not find their place in the society. They tend to be lonely and afraid of much that surrounds them. Among the major themes of his plays are racism, sexism, homophobia and realistic settings filled with loneliness and pain.1 Tennessee Williams characters showed us extremes of human brutality and sexual behavior.2 One of his most popular dramas was written in 1947, and it is called A Streetcar Named Desire.
In “The Fortune Teller,” the author, Joaquim Maria Machado de Assis, uses symbolism to prove to one that an affair is not worth a person’s life. He uses the letter to symbolize hate between Villela and Camillo regarding the affair. This very ambiguous letter has terrified Camillo and put an end to his life. The letter enhances the theme of the short story by showing the anger and hate that Villela now had for Camillo. This hate is a focal point in the short story that leads to ending the affair along with Camillo and Rita’s life. Ultimately, the affair caused a large amount of tension between the three. However, the author was successful in grabbing the reader’s attention with the letter as the turning point of the short story.
she was told "to take a streetcar named Desire, and then to transfer to one
Maria Alejandrina Cervantes is a rare dominant female in the novel who by society’s standard should be marginalized due to her career and gender but she refuses to conform and chooses to go against her society. She is shown to be headstrong and fiercely protective of her friends and always accepting others. Through his use of situational irony and characterization, Gabriel Garcia Marquez portrays the town’s madam, Maria Alejandrina Cervantes, as a contradictory character and her fight against her society’s restricting beliefs.
Tennessee William’s A Streetcar Named Desire is one of the most popular plays in American history. The play contains this theme of Old South versus New South where old southern ideals and way of life clashes against newly formed ideals of the late 19th and early 20th century. The distinctions between the Old South’s emphasis on tradition, social class, and segregation versus the New South’s emphasis on hard work can be seen throughout the play. It is manifested in the main characters of the play. Blanche DuBois’s civilized and polished nature makes her a symbol of the Old South while Stanley Kowalski’s brutish, direct, and defying nature represents the New South. Tennessee Williams uses the characters of his play to present a picture of the social, gender role, and behavior distinctions that existed between the Old South versus the New South. Furthermore, the two settings provided in the play, Belle Reve and Elysian Fields can also be seen as different representations of the Old versus the New with the way both places are fundamentally different.
The second person who is affected by the charm of Don Quixote's imagination is his peasant neighbor Aldonza. After he declares himself a knight errant h...