“Nothing is funnier than unhappiness” To what extent does this view of comedy apply to The Importance of Being Earnest People have always found humour in others misfortune, since the first comedy’s in ancient Greece, although in the twentieth century theatre a more became more serious production than in the past, throughout the importance of being earnest, I believe the characters troubles which they often cause for themselves are central to the comedic drama of the play. Jack and Algernon’s unhappiness with their lives leads to them both to come up with personas to escape the harsh constricts of Victorian life and expectations. They see their separate identity’s as normal Algernon says that “A man who marries without knowing Bunbury has a very tedious time of it.” This suggests that Algernon believes that all husbands in Victorian society lead double lives it also continues the long-running marriage gag, which makes a joke out of the Victorian notion of “married bliss”. The use of the false identity is the main cause of all the issues within the play. Lady Bracknell is arrogant, conservative, ruthless, and proper; she represents the Victorian upper-class and therefore is the key to the satire comedy seen within the play.
The Rose-Scented Edith Mikaila Smith In today's world, "image" seems to be the most important element that impacts our lives. Often, when we attempt to portray someone or something we are not, we are faced with misunderstanding and failure. In the short story, "Anointed With Oils", Alden Nowlan, introduced Edith, who was ashamed of her past. Trying to escape the disgrace of her family and her home, Edith moved to a boarding house, where she attempted to conform by dressing and acting like royalty. Despite her efforts to blend in, she went too far and other people saw her as being conceited.
Her boisterousness and hostility is epitomised in the stage direction [She strikes him]. This indicates that Katherina employs physical abuse as a self defense mechanism against Petruchio. Such violent behavior was classed as shrew-like and highly unorthodox in the Elizabethan Era, particularly towards a male suitor of a high social class. Thus, Katherina challenges the values of courtship and marriage, in a way that is relevant to her society. Correspondingly, in 10 Things I Hate About You, Kat rebels against the social expectations of the permeating values of courtship and dating.
Both women are contrasting representations of Hedda. From the opening of the play her [Hedda’s] relationship with Aunt Julie is a strained one. Hedda views Aunt Julie as a symbol of what she herself loathes and could at the same time could quite easily become. Aunt Julie epitomises the idea of the domestic, dutiful woman with no true purpose of her own. She instead finds her purpose through the lives of the male characters and the arguably mediocre success that Tessman has had.
The narrator’s obsession with the wallpaper that surrounds her bedroom begins merely as intrigue and climaxes to a point where reality and what she imagines within the wallpaper becomes blurred. This climax represents her journey from rationality to insanity as the wallpaper becomes more twisted and alive around her. This wallpaper ultimately represents the oppression of her mind that is being caused by her post partum depression, as well as her husband’s ineffective healing methods. At first she finds the wallpaper being “one of those sprawling, flamboyant patterns committing every artistic sin” (Gilman 988). This could be a representation of the beginning of her depression which was initially just an annoyance to her which she does not fully understand.
She has a quick eye to see what is weak or ridiculous in man or woman. “Has Signior Mountanto returned from the wars or no?” This is how we are introduced to this fascinating woman who at first seems spiteful and full of scorn. It is perhaps not a coincidence that her very first dialogue in the play betrays her passion Benedick, although it is masked by sarcasm. Benedick and Beatrice’s lengthened relationship is made known to us over the course of the play. They have always had “a skirmish of wits” between them.
The biggest conflict throughout the whole movie was a major communication issue in all ways. No one listened to each other just said what they had to say and that was it. Jane the daughter I feel kept things to herself afraid to express herself and instead lashed out when confronted, but no one really seemed to care much to reach out and find out about what was really going on inside her, until she met Ricky who took a person interest in her. Ricky was the son of Frank the marine and he seemed to have the same communication
The play is a satire on the attitudes and aspirations of the working class. He shows this through such things as the different characters, relationships, materialism. The focus of events and dialogue centre around Beverley and Laurence’s attempts to present their status in the form of conversation, food, drink and culture and how other characters react to them. The comedy arises from the conflict between the different values of the different characters and culminates in absurd when Laurence has a heart attack in Act 3. A prime example of the working class and their struggle is the character of Beverley, who to tries to maintain a façade of being of a higher class than she is to her neighbours.
The wallpaper is used characterically to reflect the marriage the narrator finds herself ambushed inside. At the start of the short story, the wallpaper is merely seen as an aberrant bore, but as the narrative progresses, the wallpaper becomes much more baleful and frightening. As a site of symbolism, the symbol has three functions in Charlotte Perkins Gilman s ’, “The Yellow Wallpaper”: it reveals the wallpaper including the imagery, imprisonment and symbolism. The imagery of the wallpaper in Gilman’s “The Yellow Wallpaper” transitions as the short story is developed in order to emulate the increasing realization of the monopoly the narrator’s marriage has upon herself. The very first descriptions illustrate her initial animus by describing it as “one of those sprawling flamboyant patterns committing every artistic sin” (Perkins 41-42).
The marriage between her and Torvald was not a true marriage; they never understood each other and never talked about serious matters. Nora knew that they have to transform themselves; otherwise they would not live a joyful life. Therefore Nora left to transform herself; she abandoned her husband and children for everyone’s good. The innate desire to be like a man, to have responsibilities, and to earn money