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"Brodie the Broadsword", 2005.
This paper reviews and analyzes the comedic play "Brodie the Broadsword" written by Scottish playwright Alan Richardson.
1,888 words (approx. 7.6 pages), 5 sources, MLA, $ 60.95
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Abstract
This paper opens with a brief biographical profile of author and playwright Alan Richardson who is well known for his numerous publications on a wide variety of topics including: Gender issues and issues of race, colonialism as well as topics related to children. This paper examines the plot and characters in "Brodie the Broadsword" while discussing the author's unique style of writing. Richardson's play is set in an average Scottish community during the 16th century amid old castles and forts. This paper details the personality of the title character Brodie who, for the most part, has been wasting his life engaging in the trivial pursuits of looting and robbery. This paper cites the various scenes in the play which pay homage to Richardson's creative writing and comedic sense.
From the Paper
"The characters in 'Brodie the Broadsword' are all interesting and full of beans. Some of them are: Sir Archibald Brodie, who has been nicknamed 'the Broadsword', Sir Henry Milburn, the illustrious neighbor of Brodie Broadsword, Lady Kate, or rather, lady Catherine, the wife of Brodie, Ina, Lady Catherine's servant, Clarty Sim, the an-of arms of Brodie, Young Effie, another servant, Alison, the daughter of Brodie and Lady Catherine, Stephen Milburn, Sir Henry Milburn's son, and Kirsty Boyd, who is from the nearest village. As the play is set during the early sixteenth century, and close to the English border, which is where Brodie's castle is located, the language and the dress of the characters would be suited to the setting and the period. When Lady Kate starts off with making a very insightful comment about Brodie's deeds and misdeeds, by saying, "A fine mess Brodie's in this time", the audience gets a glimpse of the comedy that is yet to come during the course of the play."
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Brian Friel?s ?Translations?, 2005.
This paper discusses cultural effects of translations upon the central protagonist Owen in Brian Friel's play "Translations" (1980).
1,385 words (approx. 5.5 pages), 0 sources, $ 46.95
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Abstract
This paper explains that the notion of change, both of the Irish nation through colonizing British politics and the character of the central protagonist Owen of Brian Friel's play "Translations" (1980) is continually debated throughout the play, which is set in Baile Beag during the 19th century, then an Irish-speaking community in County Donegal. The author points out that, between Act II and Act III, Owen's attitude towards the Irish begins its most fundamental change as he realizes that the true purpose of the English solicitation of translation is not to modernize or improve Ireland but to make taxation of Irish provinces easier for the Mother Country and to make sites of potential military unrest more easily identifiable in the case of military turmoil. The paper relates that the play "Translations" is presented as a series of conflicts between the Irish and English military as well as between ancient and modern attitudes to the world beyond Ireland.
From the Paper
"Towards the end of the play, as Owen's views begin to change, he also begins to rediscover his Irish roots through his new immersion in Irish culture. The town has changed-it has grown more radically opposed to Britain. At first, Owen is purely frustrated with individuals such as Manus, who can speak English, yet chooses not to, to demonstrate his local rather than national pride and says, "What's 'incorrect' about the place-names we have here?" Magnus rages against the enforced renaming. Manus is far from uneducated-as a student from a local hedge school he can speak Irish, Latin, and Greek. Magnus prefers, however, to dwell in the Classical rather than the present day, something that Owen first believes is simply ludicrous, even while he gradually begins to appreciate the difficulties of translation more fully, as he attempts to give County Donegal English names."
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"Oedipus Rex", 2005.
This paper discusses the use of irony in Sophocles' "Oedipus Rex".
1,045 words (approx. 4.2 pages), 1 source, MLA, $ 36.95
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Abstract
This paper explains that the most tragic destiny is a man having to murder his father and husband of his mother as was prophesied for Oedipus. The author points out that Sophocles artfully sprinkles ironies throughout the tale of Oedipus, which compounds this tragedy that is Oedipus' fate; moreover, Oedipus not knowing until much later in the play causes the reader to have an emotional response to the story as it progresses and the tensions build dramatically. The paper relates that the most bitter of ironies comes when Jocasta scoffs at the art of prophecy, beginning her speech, meaning only to comfort Oedipus, by showing him that the prediction that her son would kill Laius did not come true.
Table of Contents
Introduction
Overview
The Ironies
Conclusion
From the Paper
"Desperate for any clues, Oedipus asks for details of Laius' death. He is told that robbers killed King Laius, but further inquest into the matter was halted. When pressed to why no one would investigate the murder of royalty, it is ironically the Sphinx that compelled them to "let slide the dim past and attend instant needs" (Sophocles). These needs were the establishment of Oedipus as King and consort of the Queen, his mother. If not for this intervention by the Sphinx, who placed Oedipus on the throne, perhaps it would've been discovered that he was Laius' murderer, prior to him becoming the new King of Thebes, and bedding his mother."
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Fantasy in Arthur Miller's Plays, 2006.
A look at the theme of fantasy in the plays "The Glass Menagerie" by Tennessee Williams and "Death of a Salesman" by Arthur Miller.
2,462 words (approx. 9.8 pages), 4 sources, MLA, $ 75.95
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Abstract
This paper examines how the plays "The Glass Menagerie" by Tennessee Williams and "Death of a Salesman" by Arthur Miller share a similar theme in that they both explore themes related to living in reality versus living in a fantasy or a dream life. Both plays feature a main character that is living in a fantasy. In "Death of a Salesman, the main character is Willy Loman, an unsuccessful salesperson who lives in a fantasy world where he believes he is successful. In "The Glass Menagerie" the main character is Laura Wingfield, a young girl who escapes into a fantasy world to avoid the problems of her life. The issues of reality versus fantasy are explored by comparing and contrasting the two main characters of the two plays.
From the Paper
"The first consideration related to the two plays is why people escape into a fantasy world. For both Willy Loman and Laura Wingfield, it is a means of escaping from the real world. For Willy Loman, it is a way of escaping from his own failures, namely his failures in being able to provide for his family. This is especially related to his perception of what a man should achieve. These views are based on the American dream, which he has come to accept as truth. Loman's dream is simply to be a good husband and provide for his family. It must be noted that Loman's dream is not based on a need to achieve great success, power, or a lot of money. He simply wants to be a good provider for his family."
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Iago in "Othello", 2005.
Examines the character of Iago as the evil genius in William Shakespeare's "Othello".
781 words (approx. 3.1 pages), 1 source, MLA, $ 27.95
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Abstract
One of the most popular characters to illustrate the theme of evil is Iago from William Shakespeare's play, "Othello". Iago is the definition of true evil genius. By observing his character and actions, this paper shows that we can understand his philosophy of life, which includes no regard for others. In fact, the more pain and destruction he can cause, the happier he seems to be. The paper shows that, through Iago, Shakespeare has painted the portrait of evil in human flesh.
From the Paper
"Iago also demonstrates his capacity for evil when he tricks Othello. He uses what he knows about Othello against him. In fact, he can manipulate him so easily because he knows him so well. For example, he convinces Othello that he actually cares for him and that he is concerned about his future. He cautions him that being jealous might lead to ruin by telling him, "O, beware, my lord of jealousy!/It is the green-eyed monster, which doth mock/The meat it feeds on" (III.iii.166-9)."
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The Tragic Existence of Willy Loman, 2006.
An evaluation of the character Willy Loman in Arthur Miller's play "Death of a Salesman".
1,100 words (approx. 4.4 pages), 0 sources, $ 38.95
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Abstract
This paper examines Willy Loman, the main character in the play "Death of a Salesman" by playwright Arthur Miller. The paper demonstrates how "Death of a Salesman" -- and in particular its protagonist Willy Loman -- serves as a commentary on the tragedy of the lost American Dream. The focus of the paper is on how Willy suffers because of the internal and external conflicts in his life, and how he is ultimately faced with the dramatic questions that broach the nature of the disintegration of his family.
From the Paper
"The main protagonist of Death of a Salesman is Willy Loman, a traveling salesman. He represents the common American man and is a symbol for every person who has put faith into the American Dream and been betrayed by it. Willy is a ritual head of his family, though his family may or may not actually respect and love him as the husband and father. Willy is the personification of the values that are held in the utmost importance by the civilized men of the twentieth century, being dedicated to his long-standing employer despite unfair treatment, holding materialistic values to prove success to himself, and wanting good things for his football-hero son. Willy is seeking meaning for the events of his life, trying to interpret a design and pattern to life when it seems the most illogical and the most chaotically paradoxical. Willy experiences his life as a whole, not in a linear and separated form, and the way in which events of his life interact as independent entities is both an expression of his removal from logic as well as a force which disrupts reality as he understands it. Willy's ideals are unattainable, for he wants to please everyone all of the time, he wants to be successful in a way that is not possible for him, and he wants to make an impression on the world in a way that a traveling salesman simply is not destined to do. When Willy realizes that he has failed at reaching the American Dream, and that he is not capable of attaining the material things he thinks are vital to proving his personal worth, he projects his own desires onto his son, and sees Biff as a way to redeem himself despite his failings. Unable to provide for his family in the way he sees fit during life, Willy martyrs himself so that his family can receive life insurance benefits, and his son, as a replacement for himself, can reach the American Dream with the money."
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Different Heroic Ideals, 2006.
A comparison of the characters of King Gilgamesh and Odysseus in "Gilgamesh" and Homer's "The Odyssey".
1,700 words (approx. 6.8 pages), 4 sources, MLA, $ 55.95
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Abstract
This paper analyzes the heroes of King Gilgamesh from an unknown author's poem "Gilgamesh" and Odysseus from Homer's epic poem "The Odyssey". The paper examines how both of the men are heroes, but with very different ideals. Given these differences, the paper attempts to compare the characters as men, leaders and wanderers, rather than as heroes. The paper first discusses how both men take epic, life-changing journeys; but while the journey itself is similar for both men, the purposes they serve are very different. Next, the paper studies similarities between the two, such as the authors' early description of the character as heroic, their strength of character to reject women who are not right for them, their industriousness and their morality. The paper concludes with another discussion of the differences between the two characters, focusing on their maturation, in particular the fact that Odysseus is a father.
From the Paper
"First, both men complete difficult journeys throughout their stories. Odysseus takes twenty years to make it home to his wife and family, while Gilgamesh goes on a quest to seek life forever after he loses his friend Enkidu. Their journeys are similar, but they serve very different purposes. Odysseus' journey's ultimate purpose is to return home and reunite with his family, who he loves above all else. His reason for his journey is heroic but also filled with passion and deep love. Gilgamesh's journey is based on his own needs and wants, rather than those of family or loved ones. Grieving after the death of his best friend, he begins a search for everlasting life. In the end, he finds himself instead, and finds happiness in understanding himself, but his journey is far more selfish than Odysseus' journey, and has very different goals. This helps point out a major difference in the two heroic characters - their motivation. Odysseus is heroic in his journey - he saves his men, kills and defeats monsters and evil gods and goddesses, and always has his eye on his family and returning home. He is strong, but he is also motivated, and this adds to his heroism and his high ideals. Gilgamesh is motivated by his own desires, and so his heroism is self-motivated, rather than motivated by others. He is selfish and willful, and sometimes seems like a child when compared to Odysseus."
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?Man and Superman?, 2005.
Examines the genre known as 'New Comedy' in this work by George Bernard Shaw.
2,457 words (approx. 9.8 pages), 12 sources, MLA, $ 74.95
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Abstract
In English literature, George Bernard Shaw represents a manifestation of New Comedy in the British social order, and the comedy in his plays serves as a tool for criticizing the hypocrisy of British society and the direction taken by the social and political order. This paper examines how Shaw uses New Comedy in his famous play, "Man and Superman". It also touches on how Shaw uses New Comedy in several of his other plays.
From the Paper
"The older generation places obstacles in the path of the lovers, difficulties which have to be overcome before the match can take place. The lovers in these comedies represent ideas, movements, or ideologies which serve them in overcoming the obstacles, and thus it is important how they overcome the obstacles because it furthers the themes inherent in the work. The young lovers will be successful, of course--this is comedy and not tragedy--and their success is celebrated. Why this celebration takes place is important--they have proven the worth of themselves and of what they represent. Ultimately, the structure affirms a celebration of life and of the vitality of the young."
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The Globe Theatre, 2005.
A look at the history of the physical and sociological development of the modern theater, focusing on the Globe theater and the involvement of William Shakespeare.
1,850 words (approx. 7.4 pages), 7 sources, MLA, $ 59.95
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Abstract
The origins of theater in the ancient world were centered around religion and the gods and the Globe theater continued that tradition in Elizabethan England with the help of contributions from Shakespeare. The paper examines how the design of the open-air theaters in Athens may have inspired the architecture of theaters, such as the Globe, that were built in England many years later. It also discusses how William Shakespeare was one of the partners from among the actors and how his own money, as well as artistic work, went into the theater.
From the Paper
"In the 1570s, a man named James Burbage obtained for himself a theatrical license, which allowed him to actually lease a piece of land to be used exclusively by a theater. It was a long-term lease which gave him a great deal of control over the land and the freedom to construct or deconstruct buildings on it as he pleased. This was a landmark event all around, for this was the first theatrical license granted in England; The Globe Theatre was a part of many landmark events in English theater. The location was on the north shore of the Thames River, and it sat just outside of London. The location was actually a strategic move for Burbage, for within the city limits of London he would have faced far more scrutiny and protest for building a theater, which was not considered to be an upright establishment, and ranked in many people's minds right along brothels so far as morality is concerned."
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?The Magic Mountain?, 2005.
Explores Thomas Mann's play, "The Magic Mountain" about the forces of thought imposed upon the people of early twentieth century Europe.
1,541 words (approx. 6.2 pages), 1 source, MLA, $ 50.95
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Abstract
In his play, "Magic Mountain", Thomas Mann expresses the intellectual squalor of the pre-World War I era, that would inevitably lead to violence and destruction. The central protagonist of the tale is a young marine engineer who, taken singularly, is of no particular importance. The paper shows that what makes him-Hans Castorp -significant is what he represents for society: he is the embodiment of humanity, caught between the forces poised to crush individual identity and reduce it to mass conformity. The paper shows that, all together, these forces of thought, to Mann, are mere derivatives of nature, which act to shape each person's mind into a particular archetype. In this way, "The Magic Mountain" is a universal warning to the course of history and of the dangerous capacity of unbound rationality.
From the Paper
"Personally, Castorp comes from a reasonably wealthy bourgeoisie family; and although his parents have both died, he remains well positioned and is "obviously on the way to important positions in his life." (Mann, 54). Largely, this is also a consequence of his association with Hamburg-an emerging port city during the early twentieth century. Symbolically, Hamburg's rising prominence comes at the expense of other, older, and better established cities. Accordingly, Castorp's path to important positions rests on the shoulders of the new age: technologies and industrial might. Additionally, Castorp's occupation makes him poised to build Germany into a naval empire, which is also a drive of the new age. Naval dominance, as seen by many of his time, was the only true way to establish Germany's rightful place within the world."
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"Look Back in Anger", 2006.
An examination of John Osborne's 1956 play "Look Back in Anger" and its impact on society.
2,090 words (approx. 8.4 pages), 11 sources, MLA, $ 65.95
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Abstract
This paper examines how John Osborne's 1956 play "Look Back in Anger" is considered one of the revolutionary plays of the time. The play deals with some painful realities of social and political structure of England in 1950s when the country was experiencing some significant shift in terms of cultural and social values. It looks at how it was considered a 'proletarian upsurge' of liberated working class writers rebelling against the establishment and how it turned the theater into an instrument of social change.
From the Paper
"The very success of the play indicated that people were willing to accept new role of theatre. They wanted change and they would accept anything that served as an instrument of social change. British theatre in 1956 became that instrument: 'for a short time at least...a mirror in which the nation could observe, stark and naked, its own image' (Edgar 1981:38). Theatre suddenly found itself at the center of major wider realignment in British society, where people especially new breed of New Wave writers actively began challenging post-war certainties. 'Retrospectively, 1956 has become an annus mirabilis...crudely; Suez and Look Back in Anger seem part of the same event' (Hewison 1981:127)."
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Arthur Miller?s Play "Death of a Salesman", 2005.
This paper discusses the protagonist Willy Loman, in Arthur Miller's play "Death of a Salesman", as the epitome of the modern-day tragic hero.
1,590 words (approx. 6.4 pages), 1 source, MLA, $ 52.95
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Abstract
This paper explains that while Willy Loman, in Arthur Miller's play "Death of a Salesman", is not what Aristotle would consider to be a tragic hero; his character is a everyman's tragic hero and his experiences depict those of ordinary people in post-war America. The author points out that Willy possesses a fatal flaw that causes him to make a series of serious mistakes from which he is unwilling to learn or accept responsibility. The paper relates that, in order for a tragic hero to be truly tragic, he must evoke pity or sympathy from the audience; it is easy to feel sympathy for Willy because he does have dreams and does not intend to fail.
From the Paper
"Here we see how Willy stretches the truth for no real reason at all. Perhaps Willy acts this way because of his need to feel loved and appreciated but, whatever the cause, it certainly evokes sympathy from the audience. To compound things, Willy even lies to Happy later when he tells him that he is well liked in his profession. Willy not only lies to himself, he also lies to everyone else, with exceptional ease. Instead of hating Willy, we are moved to feel pity for him that he must behave this way. It is also pitiful when Biff attempts to tell Willy that he is nothing "but a hard-working drummer who landed in the ash can like all the rest of them!" "
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Margaret Edson's "Wit", 2006.
This brief, yet concise, paper examines the use of role reversal in Margaret Edson's textually rich stage production of "Wit", while also detailing the plot of the story as well as the main characters.
695 words (approx. 2.8 pages), 3 sources, APA, $ 24.95
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Abstract
This paper traces the ordeal of Dr. Bearing, distinguished scholar of 17th-century metaphysical poetry, from her diagnosis of ovarian cancer through her treatment under the watchful eye of Dr. Kelekian, as depicted in Margaret Edson's play "Wit." This paper analyzes Edson's stage production which is rich with word play, inter-textual gestures and most importantly, with irony. "Wit" is built primarily on the complex ironies available through the dramatic strategy of role reversal. The writer of this brief yet concise paper details the plot and main characters of the play.
From the Paper
"This clearly delineated division in Donne's corpus of work reflects Dr. Bearing's own divided self. On the one hand a scholar of renown, she is a woman who has essentially turned away from her own body, relegating social life and personal relationships to a place of minor importance in her life. Without partner, lover, or even close friend, Bearing is, despite her claims to the contrary, negligent in her scholarship, unable and unwilling to even attempt to reconcile Dr. Donne (the spiritual) with John Donne. Ironic, too, is the fact that, in the end, the scholarly lover of the intensely spiritual poems is, like all patients in the ward, a prisoner of a body ravaged by cancer, a body that suffers and fails, and a body that can and does overwhelm even the strongest mind and strongest spirit."
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?Death of a Salesman?, 2006.
Examines the importance of the character, Willy Loman, in this play by Arthur Miller.
1,063 words (approx. 4.3 pages), 0 sources, $ 37.95
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Abstract
In his play, "Death of a Salesman", Miller creates Willy Loman, a character that symbolizes both the best and worst of America. He represents the consistent optimism of America's founders and greatest over achievers, as well as the fanatical day dreaming of would-be failures. The paper shows how Loman became caught up by the illusion of wealth and tried all of his life to achieve it, only to dissolve into insanity when he could not achieve his lofty expectations. The paper shows that Willy Loman's bitterness is a result of external factors that he could not easily control; it is a combination of influences that include his son, his career and the disillusionment as a result of his neighbor's wealth.
From the Paper
"Willy becomes embittered because he falls victim to the very system he respects and wants to be a part of. He sees himself as a man of ability and when his boss fires him he sees that he has been worn out and used by his job and now that he has no tangible benefits he is left out in the cold. This type of vicious business system is exactly the cold hearted reality of the American Dream and Willy becomes a casualty through his blind faith to the system."
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Nora in "A Doll?s House", 2006.
A literary analysis of the character Nora in Ibsen's "A Doll's House".
940 words (approx. 3.8 pages), 1 source, MLA, $ 33.95
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Abstract
This paper studies Henrik Ibsen's "A Doll's House", a three-act play which affords the audience an insightful perspective on one woman's epiphany. The paper's analysis focuses on the character of Nora Helmer who, when the story opens, appears to be the prototypical pampered wife. The paper dissects Nora's relationship to her husband, and comments on the changes in that relationship as a metaphor for the transformation of women's role in society. The paper also analyzes several literary techniques used by Ibsen in the play, including the retrospective technique to reveal important incidents from the past as the play progresses. Finally, the paper explores the feminist undertones of the play, and its commentary on the position of women in the late 19th century.
From the Paper
"One soon learns that Nora is not quite the empty-headed spendthrift she appears. Rather, she has need of money in order to repay a debt owed Nils Krogstad from years past--one incurred in order to save her husband's life, but requiring that she forge her father's name. Her husband, of course, is completely unaware that all this has transpired. When Torvald assumes the bank presidency, Nora's creditor will lose his position there. So Krogstad threatens blackmail in an attempt to convince her to use her influence to save his job. Nora certainly tries, but Torvald is determined to dismiss Krogstad. The desperate man delivers a letter revealing his past association with the woman. After Torvald has read the letter and rejected Nora, Krogstad has a change of heart--at which point, so does Torvald. But it is too late. Nora realizes that her marriage to Torvald has never been a relationship between equals. She has lived with a stranger but cannot bear to continue as his mere toy, a doll in this doll's house. Nora leaves Torvald and her three children."
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Hamlet and the Gravediggers, 2005.
This paper discusses the final act of Shakespeare's "Hamlet" about gravediggers and views on death.
1,180 words (approx. 4.7 pages), 0 sources, $ 40.95
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Abstract
This paper explains that, at the beginning of the final act of "Hamlet", William Shakespeare foreshadows the bloody and carnage-filled conclusion to this tragedy by introducing views concerning the inevitability and finality of death through the dialogue between Hamlet and the two gravediggers. The author points out that, as Hamlet ponders the past profession of a skull, which has been carelessly tossed out of its grave, he is forced to realize that in death there is no social distinction. The paper concludes that, through Hamlet's reversal of opinion about the desirability of death and the discussion with the gravediggers, Shakespeare, who is readying the audience for the slaughter that is soon to commence, uses the scene as a means of commenting on his perception of death, the only lasting condition and the oldest profession.
From the Paper
"With the new light shed upon the dark subject of death, Hamlet forces himself to reevaluate his death wishes. Through out the play, Hamlet sees death as a desirable end, worrying only about where his soul would go if he were to commit self-slaughter. At the height of his misery, he makes known his yearnings, exclaiming "O, that this too too sullied flesh would melt..." (1-2-129). It is clear that his coveted will is for a quick demise. Hamlet explains this further when he reveals his belief that his life is useless. After promising to bend his eye away from Wittneberg and towards Elsinore, Hamlet states "How weary, stale, flat, and unprofitable/Seem to me all the uses of the world!" (1.2.133-134)."
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Creon?s Transformation: From "Oedipus" to "Antigone", 2006.
This paper analyzes the transformation of Creon from innocent spectator to corrupt ruler in Sophocles' "Oedipus the King" and "Antigone."
890 words (approx. 3.6 pages), 2 sources, MLA, $ 31.95
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Abstract
This paper follows the transformation of Creon in two of Sophocles' plays "Oedipus the King" and "Antigone." Throughout the course of the two plays, Creon transforms from an innocent spectator in "Oedipus the King," to a corrupt ruler and tragic figure in "Antigone." Creon's character in "Oedipus the King" depicts a kind, selfless and forgiving person. His good nature allows him to value the opinion of the people of Thebes. Yet in "Antigone," Creon uses his power as a king to punish and dictate laws without the consent of the people of Thebes. The writer contends that Creon's transformation which leads to his own suffering manages to invoke pity from those who dislike his character. A perfect ending for a tragic play.
From the Paper
"Creon's character in Oedipus the King shows a kind, selfless, and forgiving person. His good nature allows him to value the opinion of the people of Thebes. As he expresses in a speech to Oedipus and the citizens of Thebes, "I stand / In all men's favor, I am all men's friend." Creon is loved by the Thebans and they manifest this in their loyalty towards him. In the midst of Oedipus' troubles he accuses Creon of being a traitor. To devise the proper punishment, Oedipus asks the Thebans to decide on Creon's fate: death or banishment. The Thebans respond in Creon's favor."
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"A Streetcar Named Desire", 2005.
This paper discusses Tennessee Williams' "A Streetcar Named Desire"-- especially scene three, The Poker Night.
1,750 words (approx. 7.0 pages), 1 source, MLA, $ 56.95
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Abstract
This paper explains that, in Tennessee Williams' "A Streetcar Named Desire", one of the most recurring images is the overpowering masculinity of the protagonist Stanley and how it pervades the atmosphere in Stella and Stanley's home, which is shown through dialogue, stage direction and description of the surroundings. The author points out that this masculinity serves to highlight the striking difference between Stanley and Blanche, a delicate remnant of the old ways of gentility and femininity and emphasizes not only the contrast between the primitive and the civilized, which is present throughout the play, but also the difference between the Old South and the New South, a difference that Blanche cannot accept. The paper relates that, in scene three, Stella and Stanley's relationship is without tenderness, only a raw feeling that manifests itself in anger or sex; their relationship is contrasted with Blanche and Mitch who calmly sit down to smoke on the steps, looking up at the night sky.
From the Paper
"Scene three opens with a description of the surroundings during a poker night. The kitchen is bathed in a "lurid nocturnal brilliance, the raw colors of childhood's spectrum," (p. 2301). It is not an innocent child's scene, though; the amount of bright color in the room makes it look crude and garish. However, the mention of the colors as "childhood" colors could indicate the immaturity of the men, their childish way of acting during the night to come. The poker players are introduced, and they are described as wearing vividly colored shirts. These men are "at the peak of their physical manhood, as coarse and direct and powerful as the primary colors." These men are strong and powerful, and yet they have a childish aspect to them, in the ways they use this physical strength they possess. The hard alcohol, namely whisky, on the table also underlines the masculinity of these men."
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"Oedipus the King", 2006.
An evaluation of tragedy in Sophocles' "Oedipus the King".
1,300 words (approx. 5.2 pages), 4 sources, MLA, $ 43.95
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Abstract
This paper studies the Greek play "Oedipus the King" by Sophocles. The paper attempts to understand the play within the framework of the traditional tragedy. The paper shows how the main characteristics experience a sense of moral dilemmas associated with Oedipus and his mother's tragic demise within the play. Specifically, the paper demonstrates Sophocles' use of tragedy in classical form with his portrayal of deviant family relations and violent instances of madness. The paper also underscores the stylistic elements, in order to elucidate the play's subtext.
Outline:
I. Introduction
A. Traditional Text Analysis
B. Summary of Text
C. Presentation of Text
D. Thesis: Tragedy in Classical Form, Deviant Family Relations, and Violent Instances in Tragedy
II. Critique
A. Tragedy in Classical Form
B. Deviant Family Relations
C. Violent Instances in Tragedy
III. Conclusion
IV. Works Cited
From the Paper
"The first stylistic theme of using the tragedy as a format is the structure of the characters in the play is easy to be seen. They all seem ignorant of what the other is doing, and this eventually causes the tragic scenes in the play. This forms "the criterion for the tragedy in the textual format of character relations within the plays of Sophocles." (Bloom p.133) By understanding this element of the text, we can see why Sophocles sets a tragic tone by the utter ignorance the characters have of each other. A second point in the stylistic aspects of the text are the pride that causes the characters to act unreasonably. They tend "to refuse the offers of the Oracle of Tiresius," (Jebb p.67) and think they are exempt from this. By adding this sense to the play, we can learn by accepting the destiny handed to Oedipus and his mother, a tragedy will eventually bring them to death and misery."
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