Introduction
The source of conflict in Peter’s book titled Equus is the profound envy of Dysart towards the ability of Allan to worship passionately and primitively. According to the writer, the conflict does not lie with regards to what is right or wrong, rather between two rights. In essence, the writer surmises that, Dysart’s professional obligation to treat the boy and the boy's primitive and passionate ability to worship is the center of the tragic conflict. The problem with the boy is the psychosexual union of the horse and boy, as well as, the creation of Equus is the center of the conflict. However, this is termed as the solution to the modern alienation. Alan’s initial response to Dysart's questioning with advertising jingles is his way of relating to outside opinions. He also views Dysart as a customer and himself as a product. Dysart works on it by becoming Alan’s cheerleader through encouraging him to repeat the tune (Peter 15).
Alan dislikes his position as an appliance store attendant and lists appliance manufacturers as his "enemies". He takes a weekend job looking after horses, thus providing him with contentment. Jill informs Alan that the affection of horses fits perfectly as a “substitute" for sex (Peter 90). His actions show he hates horses. In the story behind this book, the satire of Alan Strang’s atheist father marriage to a religious woman is the domesticated cold war. Alan’s father, Frank Strang, realizes that his son has religious tendencies as he replaces Christ’s image with a horse as a punishment for his disobedience in watching television. Frank considers television as a time waster and negative influence on people. Alan begins worshipping the horse. It is essential to note that Equus is Latin ...
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... understands the actions of Alan that makes him confused as he doubts his integrity and vocation. This conflict reflects the current problem in the society since the modern families lack guidance and understanding on the right choices and effects of their choices. Lack of passion and desire at work and in normal life makes Dysart admire Alan’s life. He thinks that the life that Alan leads needs to exemplified, he says, “that boy has known a passion more ferocious that I felt….and I envy it” (p82). In the play's last scene Dysart says, "There exist a certain sharp chain in my mouth at the moment that never stops" accepts that his censored tongue has trapped him in his situation. However, the psychiatrist relates the source of his view change in his overworked status “in a provincial hospital” (p10).
Works Cited
Peter S. Equus. London: Simon and Schuster, 2011.
Through psychological realism in Equus and The Stranger, Peter Shaffer and Albert Camus alienate both characters to show the power of religion through their perceived personal realities.
Characters in the play show a great difficult finding who they are due to the fact that they have never been given an opportunity to be anything more than just slaves; because of this we the audience sees how different characters relate to this problem: " Each Character has their own way of dealing with their self-identity issue..some look for lost love o...
...onnects his audience to the characters and although the play is written for the Elizabethan era, it remains pertinent by invoking the notion of human nature. He implements themes of love, anger, and impulsiveness and demonstrates the influence these emotions have on human behavior. It is evident that because human nature is constant, people have and will continue to be affected by these emotions.
The characters address the audience; the fast movement from scene to scene juxtaposing past and present and prevents us from identifying with particular characters, forcing us to assess their points of view; there are few characters who fail to repel us, as they display truly human complexity and fallibility. That fallibility is usually associated with greed and a ruthless disregard for the needs of others. Emotional needs are rarely acknowledged by those most concerned with taking what they maintain is theirs, and this confusion of feeling and finance contributes to the play's ultimate bleak mood.
of a little boy and an invalid. Despised by, and an embarassment to his older brother,
The greatest realization faced by a character is that of Oedipus who for many years has come to terms with his situation. The Prophet Apollo’s predictions that he will kill his father and have sex with his mother. The course of his life is shaped by this prophecy. What Oedipus has been told from the beginning of his life shaped his thinking, this also allows the reader to grasp that this myth is relevant to their lives. The physical actions of Oedipus are the results of a man with high principles and probing intelligence. The story can be separated into points where Oedipus gathers more information about himself. The “ignorance” that Oedipus faces is the foundation he was brought up by. He has believed that he lived with his birth mother and father and therefore when he learns of Apollo’s prophecy he leaves home so that it cannot come true. Slowly as the story progresses Oedipus discovers bits and pieces of his true-life story, as Oedipus learns that he killed Laius by the story of the shepherd. He continues on his journey to discovering the truth. When he pieces together what he has done he cannot face himself. The chorus best shows his true emotions
...erpreted as dark and significant to the period. The comedy Wilde achieves is at the expense of the characters who are seemingly intelligent adding to the ironic structure that much of the comedy is based on. Many of the comic elements of the play are shown through human reactions to Victorian repression and the effect it has on the men and women of the time. Love seems to be nonexistent within the finds of the fierce and brutal Aristocracy when so many of the qualities they value are not based on human qualities but that of the class’s social norms. Wildes Characters are at often times not subtle about their distaste in marriage and love, Algernon is no exception to this “In aried lie, three is company, two is none” showing that they all have distorted views on many of the social practices that make them morally sound, thus adding to the satire elements of the play.
... is not at all that he imagined. It is dismal and dark and thrives on the profit motive and the eternal lure its name evokes in men. The boy realizes that he has placed all his love and hope in a world that does not exist except in his imagination. He feels angry and betrayed and realizes his self-deception. He feels he is “a creature driven and derided by vanity” and the vanity is his own (Sample Essays).
Humans in the past and present have always strived to blend into their societies and uphold the appearance of normalcy. However, in Act I of his play Equus, Peter Shaffer explores normalcy both the upsides and downsides of normalcy. While Doctor Dysart examines the disturbed child of Alan Strang, Dysart reflects on the detrimental side effects of being normal and his own duties as a doctor. In Dysart’s monologue (Shaffer 62), Shaffer utilizes contrasting diction and antithesis between the good and bad sides of normalcy to emphasize Dysart’s conflict between maintaining mediocrity and maintaining individuality in his patients.
In 1962, writer Mark Esslin took pleasure in composing the novel Theatre of the Absurd and quickly became a major influence on the works of many inspired writers. Esslin subsequently made ensuing plays and stories which focused on nonspecific existentialist concepts and which did not remain consistent with his ideas, rejecting the “narrative continuity and the rigidity of logic.” As a result, the protagonist of these stories is often not capable of containing himself within his or her disorderly society (“Theatre”). Writer Albert Camus made such an interpretation of the “Absurd” by altering the idea into his view of believing it is the rudimentary absence of “reasonableness” and consistency in the human personality. Not only does Camus attempt to display the absurd through studied deformities and established arrangements; he also “undermines the ordinary expectations of continuity and rationality” (“The Theatre”). Camus envisions life in his works, The Stranger and “The Myth of Sisyphus,” as having no time frame or significance, and the toiling endeavor to find such significance where it does not exist is what Camus believes to be the absurd (“Albert”).
Romeo and Juliet by William Shakespeare is often referred to as a classic love story. It is a story of love at first sight and fighting between families. The classic is a true tragedy because of the way it is created. Romeo and Juliet is an Aristotelian tragedy because it clearly follows the model shown by Aristotle. All aspects of the plot and characters perfectly follow way Aristotle defined. The plot follows the events that need to occur and the main characters have a flaw. Pity and fear is felt for the characters throughout the play. Romeo and Juliet by William Shakespeare is a true Aristotelian tragedy because of the characters, plot, and the fact that it triggers pity and fear.
Shakespeare’s Hamlet is arguably one of the best plays known to English literature. It presents the protagonist, Hamlet, and his increasingly complex path through self discovery. His character is of an abnormally complex nature, the likes of which not often found in plays, and many different theses have been put forward about Hamlet's dynamic disposition. One such thesis is that Hamlet is a young man with an identity crisis living in a world of conflicting values.
The perfect lives that make up the routine of the Illyrian citizens portrays a society in which enjoyment, and personal gain are held in utmost priority. Shakespeares mocks the passivity of the Illyrian lifestyle to explain to the audience that excess of such festivity has negative side effects such as ego and lack of true love. He expresses that the pursuit of expression and truth in itself invokes enjoyment. Sir Aguecheek mirrors the uncertainty of a person through lack of self-confidence and the desire to openly reveal his true self when lamenting “Is it a world to hide virtues in?” (1.3.131). While uncovering aesthetic and emotional mysteries, the Illyrians find that disport restrains them from actual enjoyment and love. The play follows the audience to motivate them towards dissemination of feelings and expression of passion as a “locus of growth and self discovery” (Logan 223) and to obtain true happiness by ridding themselves of excessive, meaningless fun.
By including a passage dedicated to the description of the Silenus, Erasmus gives his readers a concrete picture to grasp onto that stands for the novel's link between this pair of opposites, which is that wisdom comes under the wrapping of folly. The passage allows the reader to understand this central concept more easily. The concept, in its many manifestations, c...
Imagine the trauma of those that experienced World War II, were victims of the Nazis and Fascist, and lived under the threat of nuclear bombing. Those events and experiences were significant, challenging the conventional ways people were living their lives. This influenced theatre in a big way, through a type of theatre called Avant-Garde (Franks). Avant-Garde was known to introduce original ideas, forms, and techniques. Often considered Experimental Theatre, it lacked logically-constructed plots and pushed the limits of the stage (Franks). It evolved into a form of theatre, known as the Theatre of the Absurd, which challenged the norm of the post-World War II society (Culik). Through unique methods, the Theatre of the Absurd made a major impact on drama and life, challenging the power that realism had on the theatre and people during the 1950s.