Works Cited Cohen, Joseph. "Thee roles of Siegfried Sassoon": Rpt. in Poetry Criticism. Ed. Jane Kosek.
Understanding Samuel Beckett. Columbia: University of South Carolina Press. Beckett, Samuel (1954). Waiting for Godot. New York: Grove Press.
He uses the characters to represent different aspects of the theatre, while also using language and scenes to remind the audience that they are watching a play. This play demonstrates the blurring and sharpening of the border between art and reality. Shakespeare uses his art to reflect reality through various lenses, while reflecting his art as well. This self-reflexive play was the ideal outlet for Shakespeare to bid farewell to play writing and the theatre.
Work Cited Beckett, Samuel. Waiting for Godot. New York: Grove Weidenfeld, 1954. Works Consulted Andres, Gunther. Being without Time: On Beckett's Play Waiting for Godot.
Throughout the play, the open-ended element that Bakhtin accrues to the dominant process of novelization (7) is found not only in Godot's ending and characters, but in every dramatic action as well. Beckett infuses each action and speech with uncertainty. A central idea of the play that this paper seeks to explore is that the need to believe that time passes in a linear direction is a consequence of the notion that this concept, the passage of time in linear fashion, lends a sense of meaning to existence. Critical essays on Godot have often highlighted particularly well-known passages in the play (Cormier & Pallister 1998:96-105, Nealon 1998:106-113), such as the ending sequence (Beckett 94), and especially poetic and intense moments where Pozzo or Vladimir expound upon important ideas and then forget them (Beckett 89, 90-91). Yet any extract from the play yields a similar haunting pattern.
Mythology and history are the key components of inspiration for most Greek tragedies. Majority of them reveal the message and meaning of life and characteristic of the Greek gods. The three most acclaimed playwrights of the 5th century are Aeschylus, Euripides, and Sophocles. One of the first poets of tragedy is Aeschylus, known as the father of tragedy. While the theatre world was just beginning to evolve, he incorporated his contemporary dramatization by introducing the second actor to the stage.
Over the years, literature of ancient Greece and Rome has affected art, religion, philosophy, science and mathematics, medicine, drama, and poetry profoundly. It has served as a basic model for the development of later European literatures and, consequently, the writings of the historians, geographers, philosophers, scientists, and rhetoricians are read today as sources of historical information and enjoyment. Alfred Whitehead, the famous British philosopher-mathematician, once commented that: “[A]ll philosophy is but a footnote to Plato” (Comptons Encyclopedia). A similar point can be made regarding Greek literature as a whole. The Greek world of thought was far ranging and ideas discussed today have been previously debated by ancient writers.
Oedipus: The Greek Period Oedipus the King The Greek period, in the fourth and fifth centuries of B.C., evolved from a small city called Athens, Europe. In this era, a sweep of talent and creativity placed a historical advance on theater, that will dominate for years to come. This spirit most likely emerged from the defeat of the Persian Empire, along with the sense of freedom and expression from the Athenian democracy. Four great writers derived from this ancient astonishment. Aeschylus, Sophocles, and Euripides were three writers of tragedy, whereas Aristophanes was a famous comic dramatist.
M. C. Bradbook notes that Armin did influence Shakespeare's writing. "From the time that Armin joined the company Shakespeare very noticeably began to give his clowns the catechism as a form of jesting.... Feste catechizes Olivia on why she grieves and proves her a fool for doing so; later, in the guise of the curate, he catechizes Malvolio" (228). Indeed, Shakespeare seems to have utilized this valuable resource for Twelfth Night, creating a broad spectrum of fools in this play. The actions and words of almost all the play's characters fit the recognized behavior patterns of fools. Feste is, of course, an "allowed" or professional fool; Sir Toby Belch, like Falstaff, is a "Lord of Misrule" who orchest... ... middle of paper ...