His argument is very reasoning to his defence and he eats so many reason to why the work works in its evil ways of discrimination. He wants everyone to that, it's very easy to not be very discriminated by the way you look but the way your skin color. Mr. King is very descriptive of his words and his meaning for them. He can really make the world change if everyone really did follow. King's reason for the speech is because he is trying to make a difference, he is a very good well taught speaker and he speaks with so much enthusiasm and nothing could really stop him from anything he's doing.His argument is very reasoning to his defence and he eats so many reason to why the work works in its evil ways of discrimination.
The main accessories of the tragedy are “melody” and “spectacle” while Aristotle claimed that the music has to be unified with the play appropriately since Greeks had in their tradition to use musical accompaniment. The “spectacle” mainly deals with the staging of the play and it should be suitable to the subject of the play. The “character” is one of the most important elements of tragedy. Each character has a vital quality or nature which is revealed in the plot. The important thing is that the moral purpose of each character must be obvious to the audience while it should have four qualities.
Obviously, Othello has pride and confidence, he knows his advantages and social position, as Macaulay emphasizes, “Othello presents himself as a man of complete self-assurance not only in himself but also in how others will perceive him” (261). In this case, he uses his advantages which are his foreign stories to persuade Brabantio and the Senate. Psychologically, people are willing to believe in what they clearly know or perceive nothing at all. Therefore, Othello’s stories succeeds not only in gaining Desdemona’s attention but also in her father’s faith. Both adaptations of Shakespearean classic which are Orson Welles’s and Oliver Parker’s “Othello”s demonstrate Othello’s confidence quite well.
According to The Ancient History Encyclopedia, tragedy plays were based on serious topics that taught a moral of right and wrong. An important part of every Greek tragedy was the incorporation of a tragic hero. In the famous play Oedipus the King, the writer, Sophocles, promotes added emphasis on this main character and their trials and hardships throughout the story. In order to understand what playwright, Sophocles, was trying to express through his Greek tragedy, you have to know the definition of a tragic hero. The meaning of a tragic hero is best explained Aristotle’s definition of the term found in the book, Literature: An Introduction to Fiction, Poetry, Drama, and Writing.
2.) Creating an overall prospect that elaborated upon the action of a production was the main objective of inserting a chorus into an ancient tragedy. However elaborate or bare the chorus may be, it served a definite purpose. A play on the other hand, is composed of several different parts, entities, and themes. Some stand on their own, others loosely tied.
The idea of Catharsis occurs throughout the play, "Catharsis was an emotional cleansing felt by the audience where all the emotional tensions of the tragedy would be resolved." (Segal 146). The best tragic plot is another decisive factor for Aristotle to claim that this tragedy is a brilliant representation of a perfect tragedy. Aristotle was fond of "the plausibility of the reversal (peripeteia) and the dramatic irony" (Segal 146). Anagnorisis or truth awareness in the play coincides with the reverse in fortunes of Oedipus (Segal 18).
Creating Tension and Presenting the Themes in A View from the Bridge Miller uses the climax of act 1 to create tension for the audience through the acting and the situation the characters are in, and to present the key themes of the play to the audience. Firstly, he uses dramatic irony to give the audience an insight into how the story is going to end, which creates frustration and tension for them, as although they can see how the story is developing, the characters can’t, this ties in with the theme of a Greek tragedy where there is a predestined conclusion. He uses the fact that in the 1950’s and especially in dockside and urban households, masculinity and being the ‘man of the house’ was a huge part of family life. He combines this with Eddies desire to control and obsession with authority, to put the audience on a knife-edge, as to when one of the characters will lose control and lash out. Miller also expands on the situation of relationships in the play, both within the family, and outside.
According to Aristotle, Plot is considered to be “the soul of tragedy” and very important in a play. Aristotle also implies Character to be second in line when it comes to developing a successful tragedy. A well formed plot should be unified in a way, in
But O'Neill's private struggles seemed to aid him in creating greater dramatic works for the stage, including Desire Under the Elms (1924) andStrange Interlude (1928). Around this time, O'Neill left his second wife and quickly began a relationship with Carlotta Monterey, whom he married in 1929. O'Neill re-imagined the mythic tragedy Oresteia in Mourning Becomes Electra (1931), exchanging ancient Greece for New England in the 19th century. Five years later, he became the first American playwright to receive the Nobel Prize for Literature. He was given this honor "for the power, honesty and deep-felt emo... ... middle of paper ... ...ses to perception to reach the truths of human passion.
Ragtime gives an accurate picture of what New York City was like at that time through the people and events in history. “Fiction by the pointillist method: Drop by drop, color by color, Doctorow builds up a wildly shimmering portrait of New York City at the beginning of the twentieth century. Like many other historical novelists, he mingles real and fictional characters. His originality here is one of scale and energy; several invented families find themselves entwined with (among others) Henry Ford, Emma Goldman, Harry Houdini...,” and “...J. P. Morgan, and Emiliano Zapata (take this part out? ).” (Byrd, Max)