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Imagery in 'Hamlet', 2006.
A review of the use of imagery in William Shakespeare's 'Hamlet'.
1,234 words (approx. 4.9 pages), 5 sources, MLA, $ 42.95
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Abstract
This paper reviews and discusses Shakespeare's use of imagery in his play 'Hamlet'. According to the paper, imagery has always played an important role in the work of Shakespeare and as much as the appearance of various motifs and interplay of images interest us, not many of us are familiar with what imagery really is.
From the Paper
"Hamlet indeed offers very vivid, brilliant and vibrant imagery- mostly through Hamlet's own words and thoughts. It must be made clear that other characters including Claudius have made use of imagery but their imagery is neither as strong nor as free flowing as that of Hamlet's. According to Spurgeon, Hamlet's imagery mainly emerges from the use of symbols and metaphors derived from such bleak things as sickness and blemishes. The dominating image is thus that of tumor or ulcer.
When referring to his mother's incestuous crime, Hamlet calls it a blister on 'fair forehead of an innocent love'. Every word and line that he utters in that emotionally charged scene (Act 3, Scene 4) with his mother Gertrude is full of colorful images. For example instead of saying that heavens must be disgusted with her, Hamlet says: "Heaven's face doth glow....Is thought-sick at the act." And drawing her attention to his uncle, Hamlet says: "....Here is your husband, like a mildew'd ear Blasting his wholesome brother." Look at the rich adjectives that add meaning to the otherwise ordinary emotions of anger and shame. Hamlet then goes on to say that the appearance of his father's ghost should not be blamed on his madness but it is also a result of Gertrude's guilt. "
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Oedipus Rex, 2007.
An analysis of the flaws of the character Oedipus Rex, in "Oedipus the King" by Sophocles.
1,116 words (approx. 4.5 pages), 1 source, MLA, $ 38.95
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Abstract
The paper introduces, discusses, and analyzes the play "Oedipus the King" by Sophocles. Specifically, it interprets the play and the main character, Oedipus Rex, and his inability to listen to those around him. The paper examines how Oedipus is a tragic hero with a fatal flaw. He does not listen to the advice of those around him, and this is his downfall by the end of the play. The paper concludes that he is a brave and good leader and ruler, but his flaw keeps him from being truly great, and causes the city of Thebes hardship and great misfortune.
From the Paper
"The lesson from Oedipus is that pride can get in the way of common sense and the good of the many. Oedipus is prideful, and will not listen to the voices of the people around him. Many different characters give him excellent advice, but he chooses to ignore it and follow his own path that eventually leads to doom. If Oedipus had just taken the time to listen to the words of older, wiser individuals, he might not have suffered the fate he did. He let his pride get in the way of common sense, and it led to tragedy for his family and his people. He lost his real mother and father, fathered two children in incest, and ended up blind and alone."
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Beijing Opera and Chinese Martial Arts Training, 2006.
An in-depth look at the correlation between two, seemingly different, forms of art, the Beijing Opera and Chinese martial arts.
5,455 words (approx. 21.8 pages), 11 sources, MLA, $ 133.95
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Abstract
This paper looks into the parallels between actor training in the Peking and Beijing Opera and the training for Chinese martial arts. The paper consults historical and present day material in an attempt to make meaning of the training requirements for these two different, yet very closely related, artistic expressions of form, method, technique, and performance. The paper discovers that much more is involved than simply repetitious physical training and indeed that without the alignment of mind and body, the performer simply will not and cannot realize true mastery or excellence of performance.
Outline:
Abstract
Objective
Introduction
Elements of the Beijing Opera
The Importance of Symbolism in the Beijing Opera
The Music of the Beijing Opera
Spoken Dialogue of the Beijing Opera
Use of Color in the Beijing Opera is Symbolic
I. The Beijing/Peking Opera and Training Requirements and Regimen Examined
II. David Wright - Experiential View of Training Requirements for Beijing Opera
III. Chinese Martial Arts Training Examined
Different Classification of Wushu
Ten Fundamental Skills in Chinese Martial Arts
Mental Skills Practice
IV. Examination of Similarities in Martial Arts and Beijing Opera Training
Characteristics of the Beijing Opera - Excess, More is More
V. Findings of this Study of the Similarities Shared by Chinese Martial Arts and Opera Training and Performing Skills
Summary and Conclusion
From the Paper
"Physical training for these performers is "structured around repetition" (Wright, 2000) and "over the course of the workshop a range of key movement patterns were developed and refined in this way." According to Wright: "The movements would be demonstrated, the actors would copy movements and then repeat them..." over and over, and then over again. Wright relates that "Further movements and combinations of movements and developments upon movements would then be introduced. Repetition was used, not simply to get the movement right, the repetition of physical action is regarded in the Peking/Beijing Opera, according to Sussman, as a way of absorbing information. She states that there is a deliberate attempt, in this training, not to engage the actor in thought. The actor needs only to 'learn' the action in order to repeat it. Hence, the principal form of learning is the learning of the body. The body learns, then contains the information that comprises the style and the role and therefore the performance. It is the body that enters most fully into the research. And as the body learns, the body changes as a result of that learning. " (Wright 2000)"
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"The Glass Menagerie", 2007.
A discussion on Tennessee Williams' "The Glass Menagerie".
1,515 words (approx. 6.1 pages), 5 sources, APA, $ 49.95
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Abstract
This analysis of the play, "The Glass Menagerie", shows how Tennessee Williams' own life experiences are reflected in the play and includes an explanation of the play's setting, plot and characters, as well as the meanings of various symbols used by the author.
Setting of the Play
Plot
Characters
The Symbols
Works Cited
From the Paper
"The plot of the play revolves around the memories of its narrator (Tom Wingfield) and his anguished struggle between the call of duty towards his mother (Amanda Wingfield) and sister (Laura Wingfield) and his desire to 'live his own life.' The father (Mr. Wingfield) has abandoned the family and the son (Tom) is now working reluctantly in a warehouse to support the family. The daughter (Laura) is extremely shy and fragile--seeking solace in taking care of her glass animals while the mother is a former Southern "belle" who is still living in the past and desperately trying to make Laura an independent woman and/or to find her a suitable husband. She nags Tom to bring a suitor home who would marry Laura. Tom finally reins in his co-worker (Jim O'Connor) to have dinner with the family. Jim's visit proves to be a disaster--as he clumsily leads Laura on by dancing with her and kissing her and then breaking her heart (and her precious glass unicorn) by telling her that he is engaged."
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Betrayal and Revenge in 'Medea', 2006.
A discussion regarding the emotions and pain that the character Medea endures, in the Greek myth 'Medea'.
1,587 words (approx. 6.3 pages), 1 source, MLA, $ 51.95
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Abstract
This paper discusses how betrayal always begins with a relationship of trust. The paper explains how the person who becomes the victim initially trusts the person who does the betraying. The paper uses this explanation of betrayal to understand the position of the Greek mythical legend, Medea, a woman who is exceptionally intelligent and also very angry.
From the Paper
"At first, Medea reacts to Jason's betrayal with extreme grief and even suicidal thoughts: "That lightening from heaven would split my head open. Oh, what use have I now for life? I would find my release in death and leave hateful existence behind me" (747:142-145). What begins as a terrible and unexpected blow producing pain and grief then progresses to murderous rage and a burning desire for revenge. As the children's nurse describes it, "...now there's hatred everywhere. Love is diseased" (744:16).Because Medea lives in a patriarchal culture where women have no rights, she cannot fight back openly (as a woman might do in Court today, for instance). Instead, she has to scheme and manipulate. The nurse describes her nature as full of "wildness," with a "bitter nature," and "proud hearted" (746:103-104). "
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Wilde Visions of Paterian Aesthetics, 2007.
This paper analyzes works by Oscar Wilde and Walter Pater, examining parallels with regards to ethics and aesthetics.
19,650 words (approx. 78.6 pages), 25 sources, MLA, $ 249.95
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Abstract
In this work, Oscar Wilde's plays are partially taken into deep consideration as an analysis of his playwright identity. In the process of the discovery of his decadent resentment of the late nineteenth century orders, the influential figures of the new movement are also indicated. Oscar Wilde and Walter Pater have important parallels among their Epistemologies, ethics and aesthetics. The writer uses extensive examples primarily regarding to Pater's first book, Marius The Epicurean: His Sensations and Ideas (1885) and Wilde's plays of 1894, An Ideal Husband, and The Importance of Being Earnest, to display their aesthetic ideology to demonstrate the precise link between the two, for it has never been convincingly interjected. The main question underlying this paper is of how Wilde perceives art. While exploring his conception of art, dandy-ism is comprehensibly touched in order to reveal his aesthetic identity. However, this paper discusses his aesthetic ideology in the context of individualism through the referencing of some of his works, particularly his aforementioned plays. The question at the basis of this preoccupation is of how Wilde displays the expressing of individuality and idiosyncrasies through art and in particular the value of art.
From the Paper
"The use of Puns is another concept that pars to both the aesthetic identity of Walter Pater as well as the aesthetic identity of Oscar Wilde. In this play "The Importance of Being Earnest", the pun, which is generally believed to be the lowest structure of oral humor, is hardly ever just a humor on words. The duality of the title in itself is proof of that. One example of such a notion lies in the earnest/Ernest humor that is utilized to hit the very truth of all the Victorian ideas and rules regarding propriety and responsibility. Gwendolen wants to be betrothed to a man named Ernest, without giving a thought to whether the man bearing such a name bears its qualities too or not. She, nevertheless, immediately exonerates Jack's dishonesty in personifying a man who is originally neither "earnest" nor "Ernest," and who, because of forces stronger than his own power, consequently develops both "earnest" and "Ernest." Jack is a perfect paradox and a compound emblem of Victorian duplicity."
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"The Odyssey" and "The Aeneid", 2007.
A comparison of the acquisition of power in "The Odyssey" by Homer and "The Aeneid" by Virgil.
1,337 words (approx. 5.3 pages), 2 sources, MLA, $ 44.95
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Abstract
This paper explores the concept of power in both "The Odyssey" by Homer and "The Aeneid" by Virgil. The paper suggests that within "The Odyssey", power comes to Odysseus through a combination of bravery, versatility, patience and virtue and the approval of the gods. In contrast, it suggests that in "The Aeneid", power comes to Aeneas through piety and the consequent approval of the gods.
From the Paper
"Further, Aeneas is sincerely rather than falsely or conveniently pious toward the gods, which is another of his strengths. We know this because Aeneas is not ever prompted by Venus, his mother, or by any of the other gods or goddesses that are in the Aeneid to be pious or to display piety. Instead, he is simply deeply, sincerely pious, in all circumstances, good ones and bad ones. Aeneas's piety therefore is eventually noticed by all: gods; goddesses, and mortals. Throughout the Aeneid, Aeneas in fact accomplishes all that he eventually does, as a result of his faith; forbearance; and self-control - qualities that are ultimately substantially rewarded by fate within the poem, and that are major sources of Aeneas's power as well."
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"The Iliad", 2007.
An analysis of imagery, destiny and sexuality as portrayed in Book 22 of Homer's "The Iliad".
1,496 words (approx. 6.0 pages), 0 sources, $ 49.95
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Abstract
This paper discusses Book 22 of Homer's "The Iliad". Specifically, the paper discusses the final duel in which the prince of Troy, Hector, is killed by the greatest warrior of the Greek army, Achilles. The paper describes the imagery, particularly the symbolism of prey and predator, destiny and sexuality that is expressed in "The Iliad" and the way that these concepts are portrayed in Book 22.
From the Paper
"However, when Zeus weighs the destiny of both Achilles and Hector on the golden scale, it is shown that Hector's fate is to die, and Apollo leaves his side, (Book 22, Lines 180-200) When Hector realizes that Achilles will indeed prevail in their battle, he proclaims that his time to die has come as it was decided it would long ago by the gods. (Book 22, Lines 295-310) After Hector dies, Achilles responds to the Trojan's last words of how he will be cursed by welcoming his own destiny as the gods will make it. (Book 22, Lines 355-365) The gods are seen to play an integral role in the fulfillment of destiny. The gods interfere with the happenings of the mortals, for example Apollo taunting Achilles and aiding Hector in fleeing, or Athena tricking Hector into standing his ground in battle. Even the gods, however, are subject to the destiny that is determined by the golden scales, and even Apollo backed off and allowed Hector to die when it was shown this was his fate."
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The Musical: "Les Miserables", 2006.
This paper analyzes six crucial songs in the musical "Les Miserables".
870 words (approx. 3.5 pages), 0 sources, $ 30.95
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Abstract
This paper explains that, in Act I of the musical "Les Miserables", the entire company, who represent factory workers, sings "At the End of the Day", which sets the scene of the misery and poverty of the majority of the French populace and helps explain why the revolution will occur later in the musical. The author points out that the song "Master of the House", sung by the Thernardiers, provides a welcome note of comic relief from the tragedies of the play. The paper relates that, in "Bring Him Home", Jean Valjean prays by the half-alive body of Marius for God to "bring him [Marius] home", to bring the "boy" home to health and happiness, so that Valjean's adopted daughter Cosette can marry and live a happy life.
Table of Contents:
"At the End of the Day" (Community)
"I Dreamed a Dream" (Fantine)
"Master of the House" (Thernardiers)
"Stars" (Javert)
"On My Own" (Eponine)
"Bring Him Home" (Valjean)
From the Paper
"In this Act I song, ["Stars" ]the audience gains an important bit of insight into the psychology of Inspector Javert. Without this song, the audience might see Javert only as a cruel and relentless persecutor of Jean Valjean. However, Javert explains that he thrives upon the idea of order in the cosmos, like the stars "filling the darkness." Javert clearly sees the misery of the world around him, but rather than revolution, he hopes that a law and order society will bring about a better world. Javert is not an aristocrat, benefiting from the system, ..."
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Forgivable Sin, 2006.
A discussion regarding the idea that all sin is forgivable with the exception of not believing in God.
1,417 words (approx. 5.7 pages), 6 sources, MLA, $ 47.95
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Abstract
This paper presents the argument that all sin is forgivable with the exception of blasphemy. The paper uses the play 'Everyman' as a backdrop to the argument that turning one's back on God is the one sin that will not be forgiven, however, with that single exception there is nothing that cannot be forgiven by God.
From the Paper
"The play portrays what many religions believe occur in life. One has to answer for the deeds done and the deeds ignored while on the earth. In the instance of Everyman, God tells Death that he is not happy with the way mankind sins without conscious. If all sins were not forgivable then Everyman in the play would not be given the opportunity to find a companion to accompany him and death and speak to God about all of his good work and virtues while spending his time on earth. The play is set up so that the audience watches Everyman go to several virtues and asks them to come with him and he is refused. However, when Everyman asks Good Deeds, Good Deeds finally agrees to go. The moral of the play is that without Good Deeds, everyone would be condemned to eternal damnation. The play itself addresses sin and its underlying message that all sin can be forgiven if one has also committed good deeds while here on earth and sinning. "
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Hamlet and his State of Madness, 2006.
A look at Hamlet's apparent madness in the play 'Hamlet' by William Shakespeare.
1,650 words (approx. 6.6 pages), 4 sources, MLA, $ 53.95
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Abstract
This paper discusses the uncertainty surrounding Hamlet's apparent state of melancholy and madness. The paper describes his madness, reviewing how it develops, why it develops, and what purpose it serves for Hamlet.
From the Paper
"Yet, in marrying his mother so quickly, Claudius has done something that Hamlet's conscious cannot forgive. This leaves Hamlet at a point of inaction, where his desire to seek revenge is not great enough to overcome his cowardice. The ghost of his father and the message that he brings is then a way for Hamlet to force himself to take action. In short, Hamlet cannot choose to take revenge on Claudius willingly. Instead, he has to create a scenario for himself where he believes that he has no choice. When he imagines he sees his father's ghost and is told to take revenge, he has given himself such a scenario. Another important point that reveals Hamlet's madness is the actions he takes after he is told to take revenge. After speaking with the ghost, Hamlet swears that he will take revenge. However, he does not immediately choose to take revenge. Instead, he considers his actions and falls into a state of melancholy and madness."
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'A Raisin in the Sun', 2006.
A review of Lorraine Hansberry's 'A Raisin in the Sun'.
992 words (approx. 4.0 pages), 2 sources, MLA, $ 35.95
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Abstract
This paper reviews the play 'A Raisin in the Sun', by Lorraine Hansberry. According to the paper, 'A Raisin in the Sun' is about the dreams that people have. More specifically, it is about the dreams of people who do not have the opportunity to pursue those dreams. The paper reports how the main theme of the play is deciding what to do with a large sum of money that is won by one of the characters.
From the Paper
"He then describes the life his son will have. This description is partly about material possessions like their house with a gardener and a black Chrysler. However, Walter also describes how his son will be able to go to any school that he wants to and that his son will be able to be anything that he wants to be. As Walter says, "Just tell me, what it is you want to be--and you'll be it" (Hansberry 94). This shows that Walter's dream is linked to his desire for his son to be proud of him and for his son to have opportunities in life. Mama's dream is not to change as much as the others. Instead, she just wants her family to live in a safe neighborhood and have a home they can be proud of. The interesting thing about all of these dreams is that they are all worthwhile. All three of the characters have valuable uses for the money and want to use it to better their own futures. "
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The Supernatural in Shakespeare's Plays, 2007.
Examines how the supernatural is presented in plays by William Shakespeare.
1,375 words (approx. 5.5 pages), 4 sources, MLA, $ 45.95
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Abstract
William Shakespeare was in many ways a man of his time regarding his own beliefs in regards to religion, magic, and the supernatural. This paper examines how Shakespeare's family and historical environment clearly influenced the way that the supernatural was deployed in his later plays.
From the Paper
"All of these conflicting ideas about the supernatural and religion Shakespeare infused into his plays. For example, in Shakespeare's plays, the supernatural often appears during times of great national torment. In "Hamlet," after the murder of the king, the ghost of Hamlet's father comes back from purgatory to demand that his son avenge his death. Even before anything evil happens in "Macbeth," the witches prophesize doom for Scotland. In Julius Caesar, supernatural occurrences occur before Caesar's assassination."
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Faith in 'Oedipus Rex', 2006.
A discussion regarding the theme of faith in the play 'Oedipus Rex' by Sophocles.
1,824 words (approx. 7.3 pages), 3 sources, MLA, $ 58.95
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Abstract
This paper takes a look at the play 'Oedipus Rex' by Sophocles. According to the paper, 'Oedipus Rex' is based on a famous Greek myth about the king of Thebes, Oedipus, who fulfilled a prophecy that he would marry his mother and kill his father, despite a lifetime of trying to avoid it. This paper reviews the idea of faith and fate, both which are prevalent throughout this play.
From the Paper
"Jocasta, Oedipus' biological mother, and Laius, his biological father, both had faith in the gods' prophecy that their son was going to destroy them both, and therefore they took action to remove that possibility by attempting to kill him. However, this act of faith cannot be undone later, when it turns out that Oedipus actually survived, and despite their belief that they were safe from the prophecy's predicted doom. After Oedipus has been revealed by Tiresias to be the killer, he goes to Jocasta and tells her that the blind prophet had accused him. Jocasta attempts to comfort him by telling him that all prophets are false, using her own experience with the oracle that prophesied that her husband would be killed by his own son as an example of this. However, Jocasta does not realize that this part of the prophesy has already come to pass. Although she is denouncing her belief in prophesies, she has already acted out of faith in them, or else she would not have attempted to kill her son in the first place, and when she realized the fault of her choice, she will again have faith in prophesies. Jocasta tells Oedipus, "Fear? What should a man fear? It's all chance, chance rules our lives. Not a man on earth can see a day ahead, groping through the dark. Better to live at random, best we can. And as for this marriage with your mother--have no fear. Many a man before you, in his dreams, has shared his mother's bed. Take such things for shadows, nothing at all-- Live, Oedipus, as if there's no tomorrow!" (Sophocles) The audience knows that her faith that Oedipus would not kill his father and marry his mother will be overcome by a tragic return to faith in the gods."
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The Evil of Lady Macbeth, 2007.
This paper examines the wicked character of Lady Macbeth in Shakespeare's "Macbeth."
1,355 words (approx. 5.4 pages), 1 source, MLA, $ 45.95
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Abstract
The paper analyzes Lady Macbeth and discusses how we see her evil throughout the play. The paper shows how she manipulates her husband and how she decides to murder Duncan and then plans the murder. The paper discusses how she is not willing to commit murder herself so that she does not need to take any responsibility and also examines how she responds to the murder. The paper highlights how she is more evil than her husband; while Macbeth completes an evil action, Lady Macbeth shows that she is evil in her actions and in her character. The paper discusses how this evil stems from her lack of regard for other people and her focus on what she wants at the expense of others.
From the Paper
"The first way that Lady Macbeth's evil is seen is in the way that she is willing to manipulate her husband. This occurs in Act 1, Scene 7, where she convinces Macbeth to commit the murder. At the start of the scene, Macbeth is applying reason to the situation and talking himself out of committing the murder. When Lady Macbeth enters he states his decision not to continue saying "We will proceed no further in this business" (I, vii). His reasons include that Duncan has been good to him. At this point, Macbeth seems like a good and reasonable man. Lady Macbeth then replies. Rather than acknowledge Macbeth's goodness, she chides him and calls him a coward."
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Shakespeare's "A Midsummer's Night Dream", 2007.
This paper compares and contrasts Shakespear's original version of "A Midsummer's Night Dream" with the film version.
990 words (approx. 4.0 pages), 2 sources, MLA, $ 35.95
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Abstract
The paper discusses how both the film and the original version of William Shakespeare's romantic comedy "A Midsummer's Night Dream" use the same words to tell a tale of temporarily thwarted young love. Yet, there are many differences the paper illustrates. The paper explains that because the film uses visual images to illustrate the words of the Shakespearean play and makes use of selective cutting to emphasize certain scenes over others, the film offers a more selective view of dreams and dreaming as opposed to the play that is viewed in its complete and uncut form.
From the Paper
"The nature of cinema allows the director of "A Midsummer's Night Dream" to make the fairies, such as Titania, Oberon, and Puck seem much more fantastical in contrast to the earth-bound mortals. The fairies float; strange, beautiful lights surround them. Yet in this rendition, they lose some of the earthier, humorous, and more interesting mortal qualities in contrast to the warring fairy characters in the play."
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William Shakespeare's "Othello", 2006.
This paper discusses the theme of jealousy in William Shakespeare's "Othello".
1,865 words (approx. 7.5 pages), 5 sources, MLA, $ 59.95
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Abstract
This paper explains that "Othello", like Shakespeare's other "big" plays, abounds in spectacular examples of theatrical effect, such as the brawls and the big pageantry;however, the theatrical effect of the rest of the play represents communication by gesture and look, the eloquent silences and whispered, spoken and shouted language. The author points out that jealousy in Shakespeare's "Othello" is a mask for the fear of death because what the jealous lover fears is that there will not be time or space enough for him. The paper relates that one of the peculiar splendors of "Othello" is that Othello's belated jealousy cannot be understood without first understanding Iago's primal envy of Othello, which is at the hidden center of the drama.
From the Paper
"Shakespeare's Iago appears in two aspects: his external appearance, as he reacts with others and his inner life as revealed by the soliloquies. Forget the soliloquies for a moment, and examine the face that Iago turns to the world. Here is a clever, ambitious man coolly manipulating others for his own ends. The current theories of will and reason he voices belong to his character both "psychologically" and dramatically. He denies the reality of loving feelings, they are only a lust of the blood, a permission of the will; he asserts the supremacy of the will and intelligence, ..."
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Theater Genres, 2007.
This paper discusses genres of the theater, both past and present.
1,509 words (approx. 6.0 pages), 4 sources, MLA, $ 49.95
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Abstract
In this article, the writer discusses that, as noted by Alvin Goldfarb and Edwin Wilson in the text 'Theater: The Lively Art', quite often it is difficult to identify a play as either tragic or comic, simply based upon its plot. The writer points out that the way that the author of a play chooses to depict certain events determines the audience's reaction, whether viewers will gasp in horror or roar with laughter. Further, the writer notes that the difficulty in determining the genre of the play based upon plot alone, however, is best illustrated, perhaps in comparing some of Shakespeare's plays with exactly the same plots. The writer concludes that when classifying the genre of a play, one must consider the overall texture of the work, as the playwright usually cannot, nor wants, to create a seamless effect of laughter or sadness.
From the Paper
"Goldfarb and Wilson point out that the genres of tragedy and comedy themselves have undergone substantial reconfiguration over the course of the history of drama. Classical tragedy used to only involve august personages, like kings and great heroes, along the lines of Oedipus Rex or Jason. Later, in modern tragedy, ordinary men and women's lives were given epic scope and drama, like Arthur Miller's tragic figure of the salesman Willy Loman in "Death of a Salesman," or the Iceman Hickey, the man who murders his wife in Eugene O'Neill's "The Iceman Cometh." These modern characters were not heroes or gods. Their actions were deemed worthy by the modern playwright of the audience's interest, and the main character's tragic fall is viewed with great sadness, even though the men are quite ordinary."
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"Steel Magnolias", 2007.
An examination Robert Harling's play "Steel Magnolias".
881 words (approx. 3.5 pages), 0 sources, $ 31.95
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Abstract
The paper discusses Robert Harling's play, "Steel Magnolias", about six Southern women and how their lives interact. The paper explores how the events center around the marriage and early married life of Shelby, M'lynn's daughter. The paper further explores the subplots, which revolve around people and events related to Truvy's hair salon. The paper includes a detailed character analysis of Oiser, one of the main characters.
From the Paper
"The sound system made sure the audience realized that things are not always what they seem by the occasional sound of shotgun blasts, as someone tried to drive a large flock of birds out of a tree so they wouldn't spoil Shelby's outdoor wedding. The sound was harsh, unexpected, and even with a character's explanation, unsettling. It prepared the audience for the fact that this play, which at first appears to be a superficial and humorous look at small town Southern life, would include a terrible tragedy."
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