These dramatists had in their plays critiqued America as it moved from "confidence to doubt." In a land of success they wrote obsessively of the unsuccessful. Their characters such as Blanch Du Bois in Street Car Named Desire(1947), Joe Keller in All My Sons (1947), Willie Loman in Death of a Salesman (1949) and Maggie the Cat in Cat on a Hot Tin Roof (1958) all lead "posthumous lives." These are souls that have been lost as a consequence of the national myth of American Dream. In their delineation the authors simultaneously attack and present the potential dangers of "the unquestioned generalized acceptance of and participation" in this myth.
When people act differently or out of our perception of their character we assume something is wrong. We all fester a natural tendency to seek black and white or at least know where people stand. Trust and honesty, declared and respected virtues, are based on this inherent need. Shakespeare again and again breaks these beliefs down by basing all significant action in his plays on people acting out of their perceived characters. Examples include the love quadrangle in A Midsummer Night's Dream; the rejection of Falstaff in Henry IV, Part 2; Othello's struggle with Desdemona's potential promiscuity; Claudio and Prince John's assumption of Hero's whorishness; the Archbishop, Mowbray, and Hastings' belief in the honor of Lancaster's inferred intentions; etc.
Miller highlight the different groups of characters in order to reveal overlying ideas of the play such as: Self preservation, power, and hypocrisy. Self-preservation is an underlying idea throughout the plot of The Crucible. In the society during the witch-hunt, one could only avoid being blamed falsely for non-existing crimes was to claim that others (usually a smaller group of individuals) were the ones to blame as they force the accused to carry out deeds. This led to an era of false accusations just as during McCarthyism where someone’s good name was easily diminished. Miller introduces self-preservation in Abigail’s response to harshly interrogated.
Through his presentation of Birling, he undermines the views for which Birling stands namely capitalism and conservativism. The purpose of his play ‘An Inspector Calls’ was to tell the post war audience of 1945 that the patriarchal Edwardian Era was not a time to be envied, and it was unwise to think of returning to that era. He displays the younger generation as the one which is sympathetic and the one which is prepared to change its ways and admit its wrongs. Priestley’s presentation of Birling highlights his own thoughts on the political issues of the time.
The satire of 19th century society is prominent in characters like Lady Bracknell, evident in her commentary on Algernon, “He has nothing, but looks everything. What more can one desire?” This contrasted the expectations of 19th century standards but affirmed Wilde’s privileging of artificiality over truth. Furthermore, the play creates a sense of the unstable and subsequently liberating nature of performative identity, most evidently in it denouement. Throughout the play Jack has been using the alter-ego of Ernest in the city, thus creating a performed, fictionalised identity. This practice of “Bunburying”, as Algernon calls it, overturns 19th century standards of identity as being unchanging and based on truth.
The Irony Depicted in Shakespeare's Henry V As Norman Rabkin has observed, Henry V is a play which organizes critics into "rival camps" of interpretation (35). It can be seen as a play that is ambiguous; a play that exposes the playwright's own indecision; a play that aggressively takes sides in favour of nationalistic fervour which Shakespeare himself didn't believe in (35). All of these views, writes Rabkin, are wrong since according to him the play's "ultimate power" lies in its ability to "point in two opposite directions, virtually daring us to choose one of the two opposed interpretations" (36). In fact, it is Rabkin that is wrong: not in his supposition that the play "dares" the audience to choose, but rather, that a reading of Henry V cannot simultaneously contain all of the above. Another view would be that the ambiguity, the indecision, the disbelief and the forced choice, are all part and parcel of an urgently ironic reading.
Elizabeth D. Schafer, author of "Harry and History", summarizes how these controversies stem forth and how she disagrees with the protests against the Potter series. Censorship of the Harry Potter books is a vain attempt to maintain control and power over citizens as their rights and freedom of choice is being severely violated by forbidding the viewing of certain sources of entertainment. Schafer believes the attacks on the Harry Potter series are outlandish and irrational. The article further states that Rowling, the author of the series, is being mocked and condemned for her wild fantasies that occur in the stories. According to the article, the protestors of this series imitate the book burners of the past who once condemned Mark Twain's, Adventures of Huckleberry Finn, and J. D. Salinger's, Catcher in the Rye.
Additionally, it will explore the opposing views regarding the love portrayed by examining both, Romeo and Juliet’s idea of love, in which Shakespeare effectively presented through his use of language and technique. Lastly, this essay will study the power of the forbidden love between the main characters and highlight its consequences. Shakespeare wrote the famous tragedy Romeo and Juliet sometime between the years 1594 and 1595, during the Renaissance Period (Mason, 7). The love evident in the play both challenged and fulfilled the social norms of it... ... middle of paper ... ...wever, ironically, it drives them further apart, consequently leading to their tragic deaths. Draper argues that the mishaps of the play were merely ‘by chance’ resulting in the unfortunate death of the heroes of the play (16).
Grebanier states on the foolishness of Polonius’ speech: “Such guidance will do for those who wish to make the world thei... ... middle of paper ... ...speare created Polonius as a very unique and complex character. Scholars argue and will continue to argue over the reasons for Polonius’ foolishness. Throughout the play Polonius tends to act foolish thinking that he knows the reason for Hamlet’s madness, while the audience knows that he is wrong. Shakespeare created Polonius as a controversial character and only he will ever know why Polonius was created so foolish. Bibliography Works Cited Grebanier, Bernard.