Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
The influence of the romantic period
The romantic period topics
Middle Ages to the Romantic Period
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: The influence of the romantic period
Cyrano de Bergerac was published by the French poet Edmond Rostand in 1897. This classic tale continues to capture the hearts as well as the attention of artists and audience members. For example, this romantic piece has been adapted into cinema productions, operas, novels, a radio broadcast, an orchestral concert overture and a ballet performance. It also remains the representing piece from the theatrical romantic period. Rostand’s romantic piece depicts a relatable tale by depicting themes such as love, how to overcome bullying, how to woo the girl, and how to remain a man of honor through poetic verse. This paper will concentrate on exploring the person Edmond Rostand, why this play is a representative piece from the romantic period, how it defines the romantic period, as well as review critics’ opinions of this play.
Edmond Eugene Alexis Rostand was born in Marseilles, France during the year 1868. His father was a successful journalist, poet and economist who pushed Rostand to study law. However, Edmond had a thirst to learn French literature and theatre. Therefore, Rostand earned his law degree by studying philosophy, history and literature at the College Stanislas de Paris. In 1890, he managed to publish his first volume of poems at the young age of 22. In 1894, Rostand’s first significant play The Romancers was produced at the Comedie Francaise. His theatrical plays were great successes, so much so the great Sarah Bernhardt stared in his The Faraway Princess and The Woman of Samaria. However, Rostand’s fame was solidified with the success of his most famous play Cyrano de Bergerac. This play was specifically written at the request of the great French actor Benoit Constant Coquelin who also was cast as the heroic Cyrano. ...
... middle of paper ...
...t about by his large nose. The audience’s stirred passions will invite them to individually react or interpret the revealed truth.
According to TheatreMania.com, the world continues to love this production because everyone can relate to Cyrano, Roxane and Christian. A Christian figure needs a dependable friend to be his wingman if he lacks the words to woo a potential lover. If dating service has helped an individual win the affections of a lover it has “deBergeracked”. An audience can weep for Cyrano and Roxane since they too may share a similar experience of “the one who got away”. The plot of the story is used in many modern works such as Steve Martin’s Roxanne. Needless to say, Edmond Rostand’s romantic masterpiece Cyrano de Bergerac can be placed among the great plays such as Romeo & Juliet, The Importance of Being Earnest, and A Streetcar Named Desire.
The plot in both the movie and the book are similar. In both, Cyrano is trying to help Roxanne and Christian fall in love with each other, even though he loves Roxanne. Cyrano writes letters to Roxanne telling her how much he loves her, pretending to be Christian. He loves Roxanne, but feels that he is ugly and could never get her to love him back because of his huge nose.
Superficial passion revolves around outward beauty, but true love is always found in the heart. In Cyrano de Bergerac, Edmond Rostand conveys this truth beautifully. This play follows Cyrano in his quest for love from Roxanne, believing she could not love him due to his oversized nose. Little do they know that she does not truly love the handsome Christian, but rather Cyrano, the master of words.
audience in his play. I will be analysing act one of the play to try
First and foremost is the appeal to emotions. All of the other facets of romanticism can be related to the emotional appeal in Cyrano de Bergerac. Because strong emotional appeal is perhaps the most important method used by the author to create identity with the reader, especially in romantic works, the actions which elicit the emotional responses must, then, show a great deal about the character. The character's motives and philosophies can be determined through his actions. Because Cyrano de Bergerac was written in the romantic style, certain intellectual and emotional principles exist throughout the play, which will now be observed in depth.
One of Cyrano’s most significant traits as a friend was his loyalty. He would always look out for friends in their time of need, which makes the audience feel sympathetic towards him. Because Cyrano is such a loyal friend, the audience feels angry with Roxane for manipulating him, and taking advantage of his loyalty. An example of Cyrano’s loyalty was when Ragueneau’s wife was having an affair with a musketeer, Cyrano confronted her, “Make sure you do./I like your husband, and I don’t intend/To see him made a fool of./Is that clear?”(II.iv.115-118). He stood up for his dear friend, and did not want him be made a joke of. I believe this is important because it shows that he is not only loyal to his friend, but also caring and has strong moral principles. What Lise was doing was wrong, and the author put this part in to emphasize the reader’s sympathy for Cyrano. Later when Ragueneau’s wife left him, Cyrano did not hesitate to support Ragueneau by talking him out of killing himself and providing him with a proper job. Furthermore, as everyone must be aware of, Cyrano was in love with Roxane. But because he was such a trustworthy friend, he agreed to protect Christian...
Set in France in 1904, the stage is a French bar called the “Lapin Agile”, with the action of the plot involving the characters who come into the bar and their relationship to time as well as each other. The script is an abstract look at the chance meeting of historical
If you pay attention to the last scene of each end, it would always end up with Cyrano saying something. The point of view in this play is omniscient which is multiple perspectives. Because this is a play, it is obvious that there will be different point of views. Most of the figurative language is said by Cyrano because of the type of person he is. “ ‘ I’ll be as silent as a tomb. ‘ “ (p. 111). When Roxane didn’t want Cyrano to tell Christian of what he has to do, this is what Cyrano said. This quote is a simile. “ ‘An old acquaintance. We’ve met on the battlefield, among other places. I knew we’d meet again some day, but this time wasn’t the time for it. ‘ ” (p. 195). This quote is a metaphor. Cyrano was about to die, but because he did not want Roxane to worry, he said
Life as humans is anything but perfect. In the book “Cyrano de Bergerac,” Edmond Rostand conveys the aspects of the human condition through Cyrano’s honor and cowardly behavior. As the play progresses, Cyrano experiences the upbringings and downfalls of being human. Since the beginning of the play, the author suggests that Cyrano is a humble man. Cyrano accepts responsibility for ruining the play, and offers all of his money to the actors to keep them from having to take a loss on the night's theatre performance. The author soon reveals that Cyrano has no money when he is asked to dine and responds with, “I have no money,” which suggests that he is generous. Another one of his many gifts is his wit and unique ability to articulate words. Cyrano, a true musketeer, prizes his honor above all else. It is evident that he is admired when Le Bret says, “The most delightful man under the sun!” Later when Valvert insults him, Cyrano does what honor dictates, and kills Valvert while composing a ballade, also demonstrating his skill with a sword. Lastly, in Act Two Scene Three, Cyrano cannot bear to see his good friend Ragueneau be dishonored by his wife, and he
“Everything has beauty, but not everyone sees it.” (Confucius) Cyrano’s insecurity of his nose effects his relationship with Roxane. In Edmond Rostand’s play Cyrano De Bergerac, Cyrano’s insecure and eloquent self-perception results in Cyrano’s companionship & loving in his relationship with both Christian & Roxane. Cyrano’s level of eloquence helps him combat the insults of his nose. Cyrano is a poetic, witty, & eloquent man who is insecure & has trouble showing his true feelings for Roxane .Cyrano and Christian work together to win Roxane’s heart, and at the end Cyrano allows love to kill him, even after Roxane discovers & reciprocates his feelings.
In The play Cyrano de Bergerac, the main character, Cyrano, is a noble idealist who fights against the harsh reality of ordinary life, and creates his own world. On the outside he is a strong man with a hard shell, but inside he is a melancholy poet yearning for love. He feels that the world bases love too much on appearance. He believes that no one will ever love him because of his grotesquely long nose. For this reason Cyrano cuts himself off of true reality and creates a world where love exists without appearance.
Few words can be more humorous, or more upsetting, than a well thought out and witty phrase. The only skill that matches Cyrano’s skill with a sword, is his skill with his tongue. With a wit unmatched by any poet, Cyrano made enemies wherever he went, simply by out-smarting all who came against him. In the first act of the play, Cyrano crashes a performance of the well-known actor Montfluery. After many insults, Cyrano heaps upon them by saying, “I would never venture out in public with a soiled conscience, a tarnished honor, or scruples grimy and dull. I do not adorn myself with gems and ribbons, like you. Instead, I decorate myself with truth, independence, and a clean soul.”
Cyrano has unknowingly created a sort of psychological trap in which women are kept on the outside and men are free to roam within. Lacking confidence around women, he is forced to pour his heart out on to letters and is deprived of any kind of physical contact with the opposite gender. Without confidence, a man's attempts at any kind of a relationship with a woman are almost always thwarted because in order for a woman to be attracted to a man, she must first see confidence in him. Since Cyrano has no confidence in his ability with women, he is stuck in a never-ending cycle of rejection and loneliness.
Cyrano De Bergerac has had an enormous, revolting nose ever since birth. Cyrano is an idealist who fights against the harsh reality of ordinary life. He feels that love is based too much by looks and appearance and thinks that no one will ever love him because of his appearance. Because of this, Cyrano alienates himself from society and lives in a world where love exists without appearance. Throughout the book, Rostand uses the motifs platonic love and beauty to highlight the idea that idealism requires nobility, integrity, courage, and self-sacrifice.
This is one aspect of romanticism which Cyrano most definitely embodies with his characteristics of a tragic hero. He is a man controlled by fate, which is a favorite theme of Rostand. With this theme, Smith emphasizes that Cyrano is a pawn of his fate. Smith then proves this notion by explaining how romantic heros are pawns of “fate and events” (374). This shows how Cyrano, despite his positive qualities, is bound for failure due to the nature of the play. It could be argued that Cyrano is not a failure in the fact that his love for Roxanne does not go unanswered. It is devastating that Cyrano spent so much time trying to obtain this happiness and realises all along that “he could have won Roxanne’s love for himself” (“Debating Deception,” n.p.).
In her play, Les drôlatiques, horrifiques et épouvantables aventures de Panurge, ami de Pantagruel d'après Rabelais, Antonine Maillet recreates beautifully the fantastic and incredible atmosphere present in the original works of Rabelais. She cuts and pastes together the most well known and exceptional selections of Rabelais' original text and creates a new story, adding along the way some finishing touches which give the play its Acadien content. One of the themes quite prevalent throughout in the original works is that of drinking and the insatiable pantagruelist thirst. Maillet preserves this distinctly rabelaisian caracteristic in her play and also uses the plot of the search for the Dive Bouteille, the Holy Bottle, the suject of Rabelais' Le Tiers Livre, Le Quart Livre, and especially Le Cinquième Livre.