Outcry Against Conformity in Who's afraid of Virginia Woolf? Who's afraid of Virginia Woolf? may be viewed as a criticism of American society in the 1960s. Edward Albee saw 'the responsibility of the writer...to be a sort of demonic social critic': thus the play became a reaction against the illusionary plays of its time. Two lines from the play are directly lifted from the works which Albee is mocking: 'Flores para los muertos' is from A Streetcar named Desire and Martha's speech - 'Awww, tis the refuge we take...' - is from a play by Eugene O'Neill.
American Imago 31 (Summer 1974): 159-205. Holland, Norman N. Psychoanalysis and Shakespeare . New York: McGraw, 1966. Kovel, Joel. ?Othello.?
The Hesitation/ Indecision within Hamlet Hamlet, the hero in Shakespeare’s dramatic tragedy of the same name, goes to great lengths to establish the absolute guilt of King Claudius – and then appears to blow it all. He hesitates at the prayer scene when the king could easily be dispatched. Let’s discuss this problem of hesitation or indecision on the part of the protagonist. In “Acts III and IV: Problems of Text and Staging” Ruth Nevo explains how the protagonist is “confounded” in both the prayer scene and the closet scene: In the prayer scene and the closet scene his [Hamlet’s] devices are overthrown. His mastery is confounded by the inherent liability of human reason to jump to conclusions, to fail to distinguish seeming from being.
In the process of pursuing Daisy, Gatsby betrays his morals and destroys himself. Through the eyes of the narrator, Nick, one sees the extent of the corruption Gatsby is willing to undertake in order to achieve his dream. Although Fitzgerald applauds the American Dream he warns against the dangers of living in a world full of illusions and deceit; a trait common during the Roaring 20s. The language and plot devices Fitzgerald uses convey that lies and facades, which were common during the Guided Age, destroys one’s own character and morals. Through Fitzgerald use of symbolism, expectations, and relationships, he explores the American dream, and how it is an illusion that corrupts and destroys lives.
Theories of American Literature. New York: Macmillan, 1972. Smith, Anthony D. The Ethnic Revival. Cambridge: Cambridge U P, 1981. Thumboo, Edwin (ed).
New York: Penguin, 1957. Literary Companion to British Authors: William Shakespeare. San Diego: Greenhaven, 1996 Mehl, Dieter. Shakespeare's Tragedies: An Introduction. New York: Cambridge, 1986.
Shakespeare’s Romeo and Juliet should be regarded as an Aristotelian tragedy because catharsis is exhibited in the play, Juliet’s blindness of love is shown, and Romeo’s impetuousness is the tragic flaw that leads to his demise. Catharsis is shown throughout the play in many different ways, making it an Aristotelian tragedy. To begin, the audience feels the purging of catharsis directly after Romeo delivers his soliloquy in Act I, scene iv: “I fear, too early; for my mind misgives/Some consequence yet hanging in the stars/Shall bitterly begin his fearful date” (I, iv, 106-108). This soliloquy leaves the audience with fearful anticipation of coming events and how they will affect Romeo later on in the play. Another example of catharsis is exemplified when the two lovers, Romeo and Juliet, meet for the first time.
American Colonists You wil be amazed to learn that which has been occurring in the American colonies. Chaos reigns where once there existed reverence; rage has displaced peace. Some wick ed force has corrupted the colonists’ hearts against their own king and, therefore, against their own best interests as wel. Moreover, the fuel for this sinful fire, in a large part, emerges from a tiny pamphlet, writen anonymously – and for this and li tle else, I give its author credit for inteligence. If identified, I imagine that this traitor would suffer greatly for the outrageous views he presents in Common Sense, which strikes me as anything but common sense.
While he was writing the play, one of Arthur Miller's key purposes was to produce a piece of writing that would articulate and expose the foolish and twisted ways of McCarthyism. "I was in opposition to McCarthyismâ€¦ the playwriting part of me was drawn to what I felt was a tragic process of underlying the political manifestation". This was achieved by emphasizing how hysterical and absurd this fantasy world that he created was: "Husbands and wives turned into stony enemies, loving parents into indifferent supervisors". Then, once he had shown the audience that this place was unconventional, he changed his portrayal of this primitive world into a metaphor of the current world, i.e. its resem... ... middle of paper ... ...d to send was ingeniously conveyed.