Who’s Afraid of Virginia Woolf? Edward Albee’s play entitled “Who’s Afraid of Virginia Woolf?” revolves around one central theme: the idealization of marriage in modern society. George and Martha are a disturbing couple who communicate through insults. Indeed, they provoke each other as if to animate they marital life; they put on a show in front of their guests, Nick and Honey. Throughout the play, Nick and Honey appear as the younger version of George and Martha, only more naive.
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.
Al Johri Ms. Hamilton English III Honors 14 September 2009 In Arthur Miller's classic play, the Crucible, Act II, Scene II was deliberately removed. This scene largely consisted of a heated conversation between the two protagonists of the play, Abigail Williams and John Proctor. At first, Abigail believes that Proctor has finally come to marry her; however, this misconception is cleared when Proctor releases his wrath upon her due to Abigail's baseless accusation of witchcraft upon his wife, Elizabeth. As the scene progresses, the reader sees how Abigail becomes so wrapped up in her lies and witchcraft, consequently diminishing her intelligence, and what little respect she had in the reader's eyes. The reason the scene was cut from the play lies in both the significance of the conversation and what it revealed about the John Proctor in terms of his affair and his character.
The simile used in this quote emphasises the lack of fidelity within both texts. Even thought the women are portayed as unfaithful in both texts, so are the men. In 'cosi fan tutte' the men do not participate in adultary however they both disguise themselves as albainians. Their deception is a betrayal of their wives trust. As seen in 'cosi', when the stage lights black out, lewis shares a kiss with Julie, however later on it's revealed that julie has a girlfriend she'd rather be with.
She says 'For youth is bought more oft than begged or borrowed' showing her lusting after the young Viola. This sharply contrasts what happens when Malvolio enters, as we can gather that he is a much older character. This reinforces to the audience that we know Malvolio is indeed the opposite to what Olivia wants, reinforcing the dramatic irony of the scene. The way she says 'I am as mad as he, if sad and merry equal be' suggests she believes he will just be sad, but she is mad in love with cesario/viola, showing how she really is not prepared for Malvolio being madly in love with her. When Malvolio enters he is enthusiastic ' Sweet lady, ho ho!'
Therefore she changes dramatically, as she is tired of being treated condescendingly by both her husband, Torvald and her ‘friend’ Christine Linde. This becomes painfully clear to her: “I’ve been your doll-wife, just as I used to be papa’s doll-child.” However, she does know that her ‘childish’ behavior may be in her advantage, as Torvald is used to her acting this way and likes to guide her. “Correct me, lead me, the way you always do, I can’t get anywhere without your help.” This makes Nora a symbol of society at that time: woman deliberately play a role because they otherwise would not be understood or accepted by their environment. Despite Nora’s infantile actions at the opening scenes of this play, Ibsen does show some more mature female characters, even in the male-dominated society they live in. Christine Linde for instance.
For example when he convinces Cassio to drink even though Cassio doesn’t want to, when he convinces Emilia to steal the handkerchief from Desdemona even though she doesn’t want to. • When Brabantio goes to the Duke to tell about Othello having “stolen” his daughter we see how he feels as though he is in control of the situation and he appears to be powerful when the he tells the Duke what happened and the Duke replies “Whoe’er he be that in this foul proceeding hath thus beguiled your daughter of herself and you of her, the bloody book of law you shall yourself read in the bitter letter after your own sense, yea, though our proper son stood in your action” However, once the Duke hears that its Othello, Brabantio loses all the power that he appeared to have in this scene. • The Duke is in a position of power as he calls the shots as to what happens with Othello. He is able to protect Othello from Brabantios accusations because he is in a position of authority. • In Act 2 Scene 3, after the brawl has happened between Cassio, Roderigo and Montano, Iago is put in a position of power when he is asked to speak about what happened to cause this brawl, he pretends as though it hurts him to tell of what Cassio did but in reality we know that he is lying and is manipulating Othello.
Discuss in detail how you would play Nora in the Scene eight of ‘A Doll’s House’. Referring to voice, movement, gesture and facial expression, as well as to how Nora responds to others on stage. During scene eight of Ibsen’s ‘A Doll’s House’ (1879) I would play Nora as a matured, knowledgeable and sensible woman. In this scene she has decided to leave her life and start anew, therefore I would perform responsibly, showing her development throughout the play. The scene starts with Helmer reacting violently to the idea of Nora deserting her ‘position’ as a wife and a mother.
The development of Macbeth in Act 4 Scene 1 In this scene Macbeth has lost his doubt and fear, he is overly bold in his dealings with the witches, daring them and demanding of them. He gains enormous confidence from prophecies that he takes on the face; he believes that there is nothing deeper to what the witches say, and he is incensed when shown Banquo’s heirs (one of which is king James). In act 3, scene 5, Macbeth is suspicious and wary of Macduff, who did not attend the feast, upon debating the meaning of this he decides to meet with the witches for more information. In the following scenes (Act 4 Scene 1) he meets them in an isolated place determined to have his questions answered. Macbeth enters the scene and immediately demands that they (the witches) answer his questions (lines 49-60), he does not ask it of them, nor does he beg, nor is he humble; he is commanding, without fear and doubt.
When Mrs. Mooney is observing Polly’s interactions with young men, she becomes frustrated that “none of [the men] meant business” and considers sending Polly back to her previous job (63). Mrs. Mooney is highly focused on her own aspirations, and therefore compromises her sense of empathy. Mrs. Mooney is a heavy influence on Polly’s actions. Mrs. Mooney acts as if she is unaware of Polly’s affair with Bob Doran; however, Mrs. Mooney and Polly share an unspoken understanding. Mrs. Mooney is the ringleader of Polly’s indecency, and manages Polly under implicit control.