Satire and Fantasy in Wilde's 'The Importance of Being Earnest' ROBERT J . J O R D A N H E efforts of critics to rescue The Importance of Being Earnest from the triviality that Wilde claimed for it have led in recent years to two approaches. On the one hand Wilde's epigrammatic wit is analysed as an instrument of social criticism and the play is elevated to seriousness as a satire. On the other hand its fantasy is viewed as an expression of the author's aesthetic creed and so is accorded the dignity of a philosophy. The aim of this article is to consider aspects of both the satire and the fantasy, although the greater weight will be given to the latter as the more important of the two elements.
In both of these plays, the playwrights have manipulated the concept of belonging and explored the belonging of humans to create strong characters in their texts. Belonging is found in every text whether it be comedy or tragedy alike, they are all based around belonging, so within the works of these two authors, interest is drawn by the responders through their takes on belonging. Every move made by a character, every word spoken and every decision they make is all the work of the authors themselves. Context is a major feature that is involved with the way these authors have written about belonging, as when the times change, so does the value of certain aspects of society. One idea that coincides with belonging is that of reputation and reputation is held of great importance during both the 1600s and the 60s, the contexts in which Othello was written and the Salem Witch Trials took place, but also includes the year when The Crucible was written.
Four major themes that Shakespeare includes in his play are greed, hatred, revenge, anger, and excessive pride all of which humans express naturally. Shakespeare establishes these themes through the personalities of his characters, their dialogue, and the events that take place throughout the play. These events also reveal the many features of human nature and Shakespeare’s outlook on the way humans behave and interact all of which are reflected within Hamlet. A significant
But when I myself read “Othello” for the first time, I saw Iago as an expert at judging people and their characters and it really shone how he used them to his advantages. And yes I know that the play is titled “Othello” and he has the fatal flaw and his self-absorption, and I can see why others view him as the main cause of his own fall but it never necessarily occurred to me to view the play in any other way than with Iago as the leading villain. I: Yes I completely understand where you’re coming from with that. Especially with the power of Iago’s soliloquies throughout the play, I felt that they were so strong so that the audience could see the true feelings he has for other characters and his motives for his actions throughout the play. And your technique of having Brannagh look
It is a humorous story because one would not think that an office truly runs on the system illustrated in the story. When in truth this is what reality has come to, a circus. The author introduces the story with a skewed sense of humor. He is trying to mock the system by setting up a list of rules that must be abided by or else “you may be let go”(484). “Orientation” meets the criteria for Goldwag’s rule of postmodern fiction story telling due to the way the character contradicts himself within the same sentence, “ This is your phone.
Between both authors it is debatable whether which of these authors has more effectively relayed their messages ORWELL * Both composers represent the immense fears and anxieties of their respective times within their texts through a variety of ways, * Orwell uses a diverse and signature range of language techniques, and symbols to represent his vital message of warning to the audience of the dangers of totalitarian governments/ regimes and the perversion within communist and fascist parties. * Orwell’s lucid writing style is his most powerful tool in revealing his messages to the audience, his employment of striking and vivid language and his organisation of powerful adjectives, verbs and adverbs is what enable him to draw in the audience and present the brutal and oppressed world of Oceania. His clearly expressed and arranged writing style ensures that there is no ambiguity in the reception of his message. This lucid writing style can be seen through the quote “nothing was your own except the few cubic metres inside your skull. * Orwell constantly uses the technique of allusions throughout the novel to comment and communicate his ideals as well, he uses the technique to ensure that the audience follow his own point of view and
Albert Camus’s literary works are widely known for its prose and unique viewpoints of writing. Through his multiple works that he has published; there is always a common line between them, and that is existentialism. Through this reasoning, various critics have branded Camus’s character, Meursault in, The Stranger as existentialistic. There is a reflection of Camus’s existentialistic views in his works, such as A Primer of Existentialism by Gordon E. Bigelow, Existentialist Fiction by Eleanor Clark and Camus and the Existentialist Adventure by Jacques Ehrmann. ‘Existentialism is a philosophical attitude associated especially with Heidegger, Jaspers, Marcel, and Sartre, and opposed to rationalism and empiricism, that stresses the individual's unique position as a self-determining agent responsible for the authenticity of his or her choices,’ (Dictionary.com).
Arthur Miller’s “The Crucible” is an over the top and irrelevant piece of drama. Discuss this comment with close reference to the play. Arthur Miller’s “The Crucible” is a piece of drama that involves a dilemma affecting the town of Salem. The drama can be in some cases viewed as over the top and irrelevant because of the language used, the superficial characters and an outstanding increase in tension. Arthur Miller highlights these themes by using a range of techniques like melodrama, metaphors and different language methods.
Check your notes; below is a succinct synopsis of that introductory discussion: “Waiting for Conventions” In Waiting for Godot, Beckett implements broken conventions of traditional theatre in order to successfully satirize the detrimental nature of the human condition symbolized throughout this absurdist play (which seems to have no plot). A certain level of tension is created by this plays lack of plot which leaves the audience expecting something to happen that never comes. This lack of plot to some overshadows the reasoning behind why Beckett does this. Although these broken conventions can act as a looking glass into the true meaning of the play, they require the audience to do a certain amount of searching to crack the nut which is Waiting for Godot. Waiting for Godot, unlike many plays follows no specific plot, a concept in which most conventional plays ought to have in order to rope in an audience member to the contents and morals of the play.
Before we properly begin, it might be prudent to demolish the possibility of literary laziness or carelessness birthing these loose ends. Any reader of Shaw’s other works will undoubtedly acknowledge him as anything but a lazy writer - great thought and research has evidently gone into his other works and it logically follows this play warrants equal investment. Furthermore, a cursory examination of the text itself indicates high audience awareness evident in the self-censorship Shaw employs in his language. In constructing Mrs Warren’s Profession, he alludes to and hints at Kitty Warren’s profession but never