The use of slapstick by Wilde produces a contrived and absurd plotline that is in every way unrealistic. The lack of morality in the characters defines how undeveloped they are. For example, Algernon uses the aphorism, "The only way to behave to a woman is to make love to her if she is pretty, and to someone else if she is plain" highlighting his ignorance and casual selfishness. Each one of the characters is in some way lacking either true morality or even awareness of reality. Gwendolyn in particular is fond and proud of her education yet in the end she easily forgives Jack for lying to her throughout the play underlying a sense of stupidity.
She continues to argue that as a result such difference presents inequality and has made genuine love between man and women doubtful. Genuine love in de Beauvoir’s recognition would be an equal relationship between man and woman comprising of “the mutual recognition of two liberties” in which “the lover would than experiences themselves both as self and as the other: neither would give up transcendence, neither would be mutilated; together they would manifest values and aims in the world” (De Beauvoir 1983, p. 677). In consideration to her statement she therefore believes that there exists a problem which is preventing the genuine love between man and woman, the problem of inequality. A woman she states is defined and differentiated in accordance to man and not he in reference to her (De Beauvoir 1983, p. 16). Thus a woman’s existence and recognition is dependent on a man’s acknowledgement.
Moliere’s Tartuffe In Moliere’s satire, Tartuffe, the author fires his caustic wit upon the social topics of religious hypocrisy and the inability of obsessed characters to hear the voices of reason around them. At first glance, the focus of this work seems to be religious hypocrisy; however, it is the underlying subplots of obsessive behaviors stay in the mind’s eye until end. Moliere’s portrayal of obsessive characters is certainly exaggerated, but there is a clear note of truth that rings through in their powerlessness to hear reason. Until the spell that binds them to their compulsion is broken, these characters are unable to hear the voices of reason that are shouting the truth to them. The main actor of this play who displays the deafness that comes with obsession is Orgon with his religious fervor that blinds him to his responsibility to his family.
Love however is mutual and realistic, while infatuation requires neither. Infatuation is by nature incompatible with love, due to each others' different bases. Infatuation itself is illusory and vapid. The feelings and thoughts that its puts in our body causes us to have obsessive feelings and do crazy “stunts”. As Jenijoy La Belle writes, “A friend swiped a loofah from the bathroom of a man whom she was keen—though he was barely aware of her existence” (2).
“Sanity” took the form of - Social conform and compliance to society. Insanity or madness was considered - Independent, strong, forward, and radical thinking - Passion a patented mark of an unstable mentality, along with any other notions of extroverted sensuality A bleatingly obvious example of insanity is Bertha, yet other characters too suffer from an unstable mentality: St John though conventional walks a fine line between normality and indifference. His absolute abiding devotion to his faith begs Jane to question if his “wits were touched”. As “if he [was] insane, [he] was a very cool and collected insanity” his questionable intense devotion begs Jane to think his motives are an attempt to escape society; in which itself is an act of madness. Instability of mental health is juxtaposed against Jane.
• Tybalt: Peaceful in tone, contemptuous attitude towards Montagues and their allies. • Although pitted against Mercutio stronger evidence of animosity expressed towards Romeo. • Romeo: Dismissive and good-natured, clearly in an elated mood. • M initially thinks R’s peaceable reaction to Tybalt’s insults is setting up for some sort of prank / retort / joke. Is shocked and disappointed when this is not the case.
Through both direct and indirect character interactions, we learn the importance of looking beyond ones façade to find where the truth lies. The theme of the truth being concealed is portrayed by multiple interactions between Beatrice and Benedick. A significant contributing factor to this was the self-deceit both characters relied on. Shakespeare writes Beatrice and Benedick’s characters as ‘lone wolf’ types, neither is hurrying to fall in love and get married, in fact the idea repulses them. Beatrice and Benedick hide the fact that they love each other- not only from one another, but from themselves.
Scripps affectionately uses colloquialisms, “Oh Poz, with your Spaniel heart,” evoking pathos for Posner. His unrequited love is perceived as juvenile by other characters, particularly Dakin, dismissing his feelings as “his age”, portraying Posner as misunderstood and further rousing pathos. Nevertheless, his rhetorical question, “Who says I want it to pass?” suggests his unrequited love should be taken seriously. It follows that his reserved characterisation (contrasting Dakin, who is characterised by confidence and directness) is key to his conflict with unrequited love as he fails to
She often depends of men to lean on and protect her. She understands that sexual freedom does not fit the pattern of chaste behavior, which Blanche would be expected to conform. Characters: In the beginning of the play, Blanche Du Bois presents herself with an air of poise and elegance. However as the story progresses, Blanche, who is psychologically deluded about her beauty and attractiveness, reveals herself to be a neurotic and an alcoholic. Her flirtatious desires are split from her surface talk and behavior.
The other type of love Pausanias talks about is vulgar, common love. This love is considered bad because as Pausanias states its main focus is “to the body more than to the soul.” The main purpose of this love is simply to satisfy one’s sexual needs. Common love could both involve younger boys or female of any level of intelligence without the intentions of passing on virtue. He highly disapproves of vulgar love that he recommend laws be placed to prevent such acts. Pausanias believes love is only good when it is used for virtue and to increase one’s development and anything else is considered bad.