Throughout Edmond Rostand’s classic play, Cyrano de Bergerac, the title character, Cyrano, is a passionate writer whose complex and rich personal qualities are the foundation of his peerless eloquence. Cyrano’s unrivaled sense of humor is a defense against those who humiliate him for his outlandish appearance. For example, during the “nose” speech, Cyrano challenges Valvert with twenty stunningly varied and complex alternative suggestions, one more stinging than the next, to replace Valvert’s banal attempt at insult. Cyrano's retaliation against Valvert's feeble attempt at embarrassment backfires as Cyrano destroys his opponent with a tirade of ingenious examples of how better to insult "the nose": “It’s a rock, a peak, a cape! No, more than a cape: a peninsula!” (41). In addition to Cyrano’s wit, his language is deeply thought-out and rich with poetic imagination. Cyrano amplifies upon a single word by using concrete words to spin a simple concept into a memorable poetic experience. Cyrano illustrates the value of Christian’s need for a kiss from Roxane: “After all, what is a kiss? A vow made at closer range, a more precise promise, a confession that contains its own proof, a seal placed on a pact that has already been signed; it’s a secret told to the mouth rather than to the ear, a fleeting moment filled with the hush of eternity…” (126). Furthermore, it is in compensation for Cyrano’s great suffering that his verbal style is so sensitive and brilliant. He will always love in vain:
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“Look at me and tell me what hope this protuberance might leave me!…I go into a garden, smelling the fragrance of spring with my poor monstrous nose, and watch a man and a woman strolling together in the moonlight. I think how much I, too, would like to be walking arm in arm with a woman, under the moon” (51). Incorporating cleverness and eloquence into his language, Cyrano replies to Le Bret’s sympathy with the response that he would never let a “sublime” tear be lowered by having to run down such an ugly 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.
“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.
Appeal to emotions, individualism, and intellectual achievement were three important elements of Romanticism. This essay will explore the degree to which Cyrano de Bergerac exemplifies these elements of Romanticism.
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...
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.
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.”
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.).
...ce, possesses admirable traits and characteristics, and has a tragic downfall. He’s strong and intelligent, however with a weakness over his sense of pride. His nose and how seriously he takes himself, makes him a tragic hero. He cannot believe that anybody is able to see beyond his physical characteristics. Cyrano de Bergerac does what he pleases and most actually says whatever is on his mind. He speaks through prideful actions, always thinking of how to make himself stand out or to look intelligent. He never backs down from a fight or a confrontation, and this is often where his pride will continuously persuade his sense. Cyrano only grows in pride, and his temper grows shorter, through the play so the characters don't even say the word 'nose' anywhere near him. Cyrano was a good tragic hero that the audience loves who sadly has tragic flaws that cause his demise.
While reading Cyrano de Bergerac, I found myself often wondering whether or not Cyrano had led a happy life. Actually, I never once wondered that, but that is irrelevant, because Cyrano’s happiness is the focus of this essay. Was he happy? Truth be told, I cannot say for sure. If we look upon his life, it would seem that he was a bit of a martyr, always sacrificing his happiness for the sake of others. This is probably the case, but I do not believe that he led his life with his happiness as any sort of goal. That will be a defining case in my argument. What I really believe is that he simply did not care about his happiness. In that sense, he did not so much sacrifice it, as he annexed and divided it when he saw fit. To a further extent, this apathy towards himself probably came from a low self-worth, almost certainly spawned not from his elephantine nose, but the fair maiden Roxanne. Finally, the nose itself, the very icon of de Bergerac, was probably not the problem that Cyrano believed it to be. All of this, however obscure it may seem, is crucial to the question posed of me now.
Ragueneau, a baker, watches for Cyrano. Cyrano had told Montfleury not to appear onstage for a month, yet Montfleury appeared onstage anyway. Cyrano shows up and interrupts the play. He forces Montfleury to leave the stage and in the process of doing so he insults forty-eight people. Valvert insults Cyrano by making a remark about his nose so they duel. While dueling, Cyrano recites a ballade he created and wins the duel. Everyone was delighted and congratulated him.
First, no matter what is represented on stage, the fact that boys are actually playing cross dressing men and women is insistently metaphorical; the literal fact of trans-vestism (that is, the boy actor impersonating either a woman, a woman cross dressed as a man, or a man cross dressed as a woman, not the represented character) is divided between the homoerotic and the blurring of gender. On the other hand, the represented female character who cross dresses functions literally to relieve the boy actor, at least for a time, from impersonating a woman. Represented characters who cross dress may pre-sent a variety of poses, from the misogynist mockery of the feminine to the adroitly and openly homoerotic. In the case of the title character of Jonson's Epicoene, the motif is utilized as disguise intended to effect a surprise ending for Morose and his heterosexual audience, for whom the poet also pr...
In the book, The Seven Principles for Making Marriage Work (1999) John M. Gottman provides insight on the seven fundamental tools to construct positive relationships. Through long years of research, Gottman studied married couples and noted degenerative behaviors that hindered the formation and attainment of a long and healthy marriage. Gottman research focused on several key behavioral predictors of divorce, which he calls the “The Four Horsemen”; Criticism, Contempt, Defensiveness, and Stonewalling.
The language of a text helps to define the drama of a play, create suspense and provide subtle clues and similes to involve the reader in the sub-context of the play. In “Trifles”, Susan Glaspell uses language and simile with particular skill to define the major themes of the play: gender dominance and subjugation, confinement and
Molière’s play “Tartuffe and Oscar Wilde’s play “The Importance of Being Earnest” both demonstrate a comical portrait of hypocrisy. In “Tartuffe”, the main character Tartuffe is seen as a religious hypocrite who takes advantage of Orgon’s wealth and agrees to marry his daughter, Mariane against her wishes. In “The Importance of Being Earnest”, Jack and Algernon both lie about their identity to get the woman of their dreams. The authors use the concept of double personalities in the play to reveal the deceit and lies to represent the theme of hypocrisy. In fact, hypocrisy is not only displayed in the characters but in the play as a whole. Additionally, the plays are both hypocrital in ways that they do not follow the structure of comedy.