NARRATOR: Introduce characters and introduce the myth we are putting forward. OPENING SCENE: - (Seth is conspiring against Osiris) SETH: "I know what I'll do to get rid of him, I must kill him. I will build an inescapable box for Osiris and shut him in it, but how do I get him in? I know, at the party! I'll get him to climb in and then I shall lock it!" (evil smirk and laugh). SCENE 2: - (at the party, raising a toast) SETH: (raising glass) "I shall make a proposition, any man who fits this chest exactly can claim it for his own." (people acted shocked and surprised) NARRATOR: "Many men tried but none prevailed, lastly after many persuasions Osiris tried the chest." SCENE 2 CONT: Osiris gets in the chest, quickly Seth commands his guards to close and lock up the chest with molten lead. The chest is carried out of the palace to much surprise of all the guests and is thrown into the Nile hoping to never be seen again. SCENE 3: Seth has now crowned himself as king and Isis, Osiris's wife Isis returns to the palace unaware of what has actually happen. She walks around the palace trying to find her husband but he is nowhere to be found. She asks one of her servants what has happened to Osiris and to her surprise she finds out what Seth has done and in rage cuts off a lock of her hair and promises vengeance on her brother Seth. "Damn that bastard for crowning himself king! I must go and find my husband and bring him back!" Isis heads off through Egypt in search of this chest. NARRATOR: "Isis ended up heading down the Nile trying to find Osiris and came across many people who said they had seen a beautiful chest...
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The stage was covered with straw or rushes. There may have been a painted wall with trees and hedges, or a castle interior with practicable furniture. A placard announced the scene. The audience was near and could view the stage from three sides, so that no "picture" was possible. Verbal cues given for location and setting as there was no props or scenery Whatever effects were gained were the result of the gorgeous and costly costumes of the actors, together with the art and skill with which they were able to invest their rôles. Costume was contemporary to the theme, costly, elaborate and often symbolic (use of colour) Public performances generally took place in the afternoon, beginning about three o'clock and lasting perhaps two hours. (very fast paced, Hamlet took 2 hours to perform) Candles were used when daylight began to fade. The beginning of the play was announced by the hoisting of a flag and the blowing of a trumpet. There were playbills, those for tragedy being printed in red. Often after a serious piece a short farce was also given; and at the close of the play the actors, on their knees, recited an address to the king or queen. The price of entrance varied with the theater, the play, and the actors; but it was roughly a penny to sixpence for the pit, up to half a crown for a box. A three-legged stool on the stage at first cost sixpence extra; but this price was later doubled. Purpose built theatres appeared in 16th century No expectation of naturalism. Bold, declamatory style of acting which focused on language. Duelling fascinated audience- Hamlet sword fight took a lot of time practising. A lot of fake blood used....
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1800-1900 Theatre of the Time o Much larger theatres – Drury Lane (3000) Acting space diminished meaning actors moved behind the proscenium arch o Huge size necessitated slower, more demonstrative acting technique o Less audience involvement due to the large distance from the stage o 1817 introduction of gas light o Auditorium now in darkness during production o Free standing props and hydraulic machinery o Henry Irving – famous actor o Introduction of foolights (using lime) o Emphasis on the spectacle rather than the spoken word o !rvings 1878 production of Hamlet run at the London Lyceum, used period costume and settings, ran for 200 nights o Introduced a psychological Hamlet in keeping with Romantic movement o Victorians reverted to original Shakespearean text Middle class support for the theatre diminished between 1820 and 1850. Actors were 'rogues and scurvy vagabonds' and audiences were often rowdy during the performance. The production standards were shabby and sets and costumes were thrown together from stock scenery and wardrobes. From the mid 19th century, there was a conscious effort by the theatre to throw off its rowdy associations and win acceptance by the new middle classes. Victorian theatre was in essence spectacular and the advances in stage technology and lighting had a great effect on production styles. Pictorial theatre with its lavish and detailed sets and costumes reflected the Victorian obsession with history and archaeology and appealed to the educated middle classes. Theatres were redesigned and the cheap benches near the stage were replaced by comfortable padded seats. The rowdier audience members were moved up into the galleries. Carpets were laid in the aisles and the pit was renamed the stalls. By the 1890s theatres such as Drury Lane under Augustus Harris were spending enormous amounts on design and costume. From the middle of the 19th century the theatre began to take on a new respectability and draw in more...
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A Struggle to Survive in the Play "A Raisin in the Sun" The play A Raisin in the Sun was generating from a poem. This poem is talking about the everyday struggles of African Americans and making it in the real world. Also about dreams and how they can easily turn into nightmares. But no matter what the outcome of the dream is, it is reality. The poem is like a vision of a big question, asking, what happens to a dream that is deferred? In the end it kind of gives the reader a vague answer. Which gives the reader a sense of optimism. Hansberry was both a realist and optimist, viewing the world with what she described as "sighted eyes and feeling heart" (Wilkerson 12). This aspect in the poem gives the reader a sense of truth and it really sets the stage for the reader about the play they are about to read. She believed "the human race does command its own destiny and that destiny can eventually embrace the stars" (Wilkerson 12) For the author, Lorraine Hansberry, this play helped her become one of the many great African American authors today. Her accomplishment on this play at age twenty-nine was stupendous. In 1959, Hansberry was the youngest American, the fifth woman, and the first black playwright to win the Best Play of the Year Award of the New York Drama Critics. She was able to let us see through her eyes of how a black family lived and how much of a struggle it was to be a minority in the forties. This story had so much truth to it of black peoples' lives at that particular decade and she might have been trying to send a message to everyone what she, and her fellow African American brothers and...
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Analysis and semiotics in Harold Pinter's the Homecoming Hamed Jamal pour English Literature (M.A) +9809126756043 email@example.com As Hamed Jamal pour discussed in Harold Pinter's "The Homecoming" one of the important themes is power. Many of the characters try to exert power. Many of the characters try to exert power over others through various means such as sexuality and intelligence. The use of violence within the household is believed by the men to be the most important tool of power. However, when Ruth, the only woman in the play, enters, she appears to defeat the men's power, but not with violence. Her sexuality and apparent intelligence become part of the way in which she takes control of the house. Power itself is the ability to take control and exert authority over others. Violence is a physical form of this. It usually takes the form of a display of force and this could be an unjust or even unlawful action. There could be a use of violent language or an element of threatened violence. However, the degree of power this holds is determined by the reaction of those threatened, or whether or not anything comes of the threat. Teddy introduces his wife, Ruth, into his childhood home that is a scene of tense threats and reports of violence - both sexual and physical. As soon as the play begins there is conflict between Lenny and his father, Max. Having been insulted by Lenny, Max threatens him with his stick, saying "Don't you talk to me like that. I'm warning you". However, nothing comes of this threat. The only element of power that can be inferred comes from the way in which Lenny makes no response. Perhaps he has previous experience of Max's anger, or it could be that both parties know that there is no point in pursuing the...
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Numerous times a piece of literature is changed into a movie or musical it's plot and or theme has been changed to suit the director's thought of what would appeal to the public. One such example is Bernard Shaw's play Pygmalion. In this play Shaw's purpose and ideas were horribly misconstrued to the point at which he was forced to write an Epilogue to try to reconcile the injustice done to his masterpiece. In the Epilogue he bluntly expressed his points and purposes so that the ignorant public could no longer discount Shaw's theme of the play and change it in to a happy ending love story. Shaw's outrage was set off by the director's construction of characters and dialogue. Character's roles were strengthened and belittled according to the director's purpose. This was accomplished by added scenes, songs and changed dialogue accompanied with omitted scenes and minimizing other characters roles. One such character's role that was altered and changed from Shaw's entire purpose was Henry Higgins. The two main things that were altered in Henry Higgins character were his outlook on life and his profession accompanied closely by his relationship with Eliza. Higgins outlook on life and profession and over all character was enhanced and did little to change the over all-purpose of Shaw. But nonetheless in multiple and added and omitted scenes accompanied by songs explaining his thought process strengthened and changed his character. One such scene was on the street corner when Higgins told the crowd their origin and dialect. This was emphasized to show Higgins profession and abilities. Also a dialogue is added to voice Higgins extremist opinion on poor grammar and speech. It is best said in the quote, not found in the play, "A woman who utters such disgusting and depressing noises has no right to...
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Describe how and why your own experience of watching (rather than participating in as a performer ect) ONE piece of drama (e.g play, film, programme or event) has contributed significantly to your decision to read drama at university. Abigail's Party by Mike Leigh 20th September 2003 Birmingham Repertory Theatre, Birmingham Directed by David Grindley Lead Performers: Elizabeth Hopley, Simon Wilson David Grindley's production of Abigail's Party came to the Birmingham Repertory Theatre in Sept 2003. It was widely reviewed and met with critical acclaim. The production was so thought provoking that upon leaving the auditorium the noise in the foyer was deafening as the audience discussed the play. I found that I also had much to say and discuss with my companions: from set interpretation to acting, from costumes to direction. In reading a variety of reviews about the touring production, I found the range of opinions was vast: From "Grindley's direction retains the magic of the original, even down to all the embarrassing pauses" British Theatre Guide to "So often attempts at 'period' pieces on stage are let down by visual, verbal or other inconsistencies or misplaced details" Hampstead Theatre Reviewer. I believe that by reading drama at university I would have the opportunity to formally review works such as Abigail's Party with like minded people. I believe that this would deepen my understanding of the play and allow me to explore different points of view. For me one of the attractions of the theatre is that there are so many different interpretations of a play. Every spectator has a different experience and viewpoint. One of the aspects of the play that I particularly admired was the director's production concept. Set firmly in the 1970s, David Grindley has chosen to keep the play in its original environment. The attention to detail and obvious care that had...
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John Proctor is a good man. He is a puritan, a husband, a citizen, and an all around valuable member of the community. All of this is represented by his name. The name of John Proctor could be considered his most prized possession. It is his most priceless asset. Proctor is very strong-willed and caring. He does not set out with any intentions of hurting anyone. He is a farmer and village commoner who is faced with incredible inner turmoil. He has committed adultery and had absolutely no intentions of joining in the witch trials. After his wife got involved and eventually was set free due to the fact that she was pregnant, he feels that he can't sit back and accept what is happening to the town. John Proctor is a good and noble man and because of this he believes that he can't be hanged and die a martyr when he has this sin blooming over him every waking moment. Early on in the play, the reader comes to understand that John Proctor has had an affair with Abigail Williams while she was working in his home. Abigail believed that if she got rid of Elizabeth Proctor, then John Proctor would become her own. John Proctor had an affair with Abigail, but for him it was just lust, while Abigail believed it to be true love. She told John Proctor that she loved him, and once she destroys Elizabeth, they would be free to love one another. John is horrified at this, but can do nothing to convince Abigail that he is not in love with her. Because of Abigail's twisted plot to secure John for herself, Elizabeth is arrested. John Proctor has to wrestle with the decision of what to do. He knows that he has sinned; yet...
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"We're headed for collapse, if you want my opinion, Missy. I can see it in the fallin' off of the quality of vagrants. There was a time you could find real good company in almost any jungle you'd pick, men who could talk, men who'd read a book now and then; and now, what do you find, a lot of dirty little guttersnipes no decent tramp would want to associate with. Well, it's been that way all through history." In Kosovska Mitrovica during February 2001, the city library, after 130 years of work no longer exists. More than 11 thousand books in Serbian language were destroyed, recycled as old paper at the Factory of Waste Paper in Vladicin Han. Any books regardless of language with topics related to Serbian culture were not spared. Luckily by pure chance, the last bundle to be thrown into the melting pot fell apart saving around a thousand books. It is alleged that the present director Mr. Harjrullah Mustafa, who is an ethnic Albanian is responsible for the destruction of the books in an attempt to eradicate the Serbian culture. This is evidence supporting that the destruction of cultures continues today. We have seen the effects of civilization's deterioration in the West. With the collapse of values, what remains is a mass of hollow men falling away from articulation into the abyss of uncertainty. Christian traditions of 1900 years has dissolved into nothing. Values that once determined behaviour, motivated the weak to be strong, and encouraged right from wrong have become nonexistent. Men lack activity; conversations are bleak; time stands still. Without a center to provide a strong foundation, things fall apart. Without a God and pronounced values, cultures collapse. Total collapse into meaninglessness would never be conceived as a possibility of a creature made in His...
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Martin Luther's advice to the peasants goes unheeded for several reasons. His ideas are far too pessimistic for the peasant, an everyday "slave;" after all revolution is what built today's world. The peasants are tired of doing the dirty work of everyday life and having to listen to princes. They are ready for action, and Luther doesn't want any action. All the peasants need is a reason, and they find it in Luther's Temporal Authority. It is in his very own writing that Martin Luther undermines his goal. He leaves his work open for interpretation and it is used improperly. Although people know that Luther condemns the peasants for misinterpreting his ideas, most don't know why the peasants misinterpret; ironically, Luther empowers their (mis)interpretation. As Martin Luther writes, he sets up at least two standards. God is the ultimate authority. Temporal authority must be followed unless it encroaches on the soul. However, he also seems to contradict himself at times. First he tells the peasants that it is their duty to god to obey the laws made by the princes regardless of the fact that most princes are terrible tyrants. He claims "there is no authority except from God; the authority which everywhere else exists has been ordained by God" (Luther, "Temporal Authority" 85). He also says that the majority of people are un-Christian, meaning they don't follow God by nature. "the world and the masses are and always will be un-Christian; even if they are baptized and Christian in name" (Luther, "Temporal Authority" 91). If the world is mostly un-Christian, most princes and peasants are un-Christian. So why would they follow Luther's advice? If they are not going to heaven, why live as slaves? It is their duty, to better their lives not only for themselves, but for their progeny. If they...
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In a sense, The Crucible has the structure of a classical tragedy, with John Proctor as the play's tragic hero. Honest, upright, and blunt-spoken, Proctor is a good man, but one with a secret, fatal flaw. His lust for Abigail Williams led to their affair (which occurs before the play begins), and created Abigail's jealousy of his wife, Elizabeth, which sets the entire witch hysteria in motion. Once the trials begin, Proctor realizes that he can stop Abigail's rampage through Salem but only if he confesses to his adultery. Such an admission would ruin his good name, and Proctor is, above all, a proud man who places great emphasis on his reputation. He eventually makes an attempt, through Mary Warren's testimony, to name Abigail as a fraud without revealing the crucial information. When this attempt fails, he finally bursts out with a confession, calling Abigail a "whore" and proclaiming his guilt publicly. Only then does he realize that it is too late, that matters have gone too far, and that not even the truth can break the powerful frenzy that he has allowed Abigail to whip up. Proctor's confession succeeds only in leading to his arrest and conviction as a witch, and though he lambastes the court and its proceedings, he is also aware of his terrible role in allowing this fervor to grow unchecked. Proctor redeems himself and provides a final denunciation of the witch trials in his final act. Offered the opportunity to make a public confession of his guilt and live, he almost succumbs, even signing a written confession. His immense pride and fear of public opinion compelled him to withhold his adultery from the court, but by the end of the play he is more concerned with his personal integrity than his public reputation. He still wants...
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The Role and Character of Fool in King Lear The usual method of analyzing Shakespeare's characters is to tabulate what they say and do, and add what other characters say about them. Though this is possible method and one which occupies a prominent place in the Shakespearean critical tradition known as 'character criticism', it can be misleading as it starts from the wrong end. Shakespeare did not begin by inventing characters and then search for a suitable plot to embody them. His characters are largely defined by their roles or by their functions in the plot. This definition of a role by circumstances is obvious with the fool in King Lear, who is basically the traditional Fool, a truth-teller. He is also, equally obvious, a splendid part of the comic actor of Shakespeare's stage, Robert Armin, fresh from his triumphs in as You Like It and Twelth Night. Our impressions of the characters depend very largely on the close relationship between him and Lear. Shakespeare does not tell us everything; for example, we are not told what happens to him after the storm scenes in Act III. During the storm the Fool labours to outjest Lear's injuries, but in earlier scenes his devotion to Cordelia makes him harp on Lear's foolishness in distinguishing her. Lear's response to Cordelia's non-rational rejection of an assessing process that would have made her rich is to brand his daughter 'foolish' in the extreme. By that token, he is also links her with 'official' representative of foolishness in the play. Terrence Hawkes has pointed out that two kinds of reasons are in operation in the world of King Lear; instrumental reason and a process which is intuitive. This instrumental reason is the one applied by lear to judge cordelia's refusal to outbid her sisters in expressing love...
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In the play A Doll's House, Henrik Isben brings out the character of Nora. Ruled her whole life by either her father or husband, Nora must question the foundation of everything she believes in when her marriage is put to the test. Having borrowed money from a man of bad reputation named Krogstad, and by forging her father's signature, she was able to pay for a trip to Italy to save her sick husband, Torvald's, life. Her husband was unaware of the loan and Nora led him to believe it came from her father. Since then, she has had to contrive ways to pay back her loan without her husband's knowledge, growing particularly concerned with money and deceit. The main theme brought out in this play is that sometimes people seek outlets to freedom when they feel suppressed. This is supported through symbols and irony. The title A Doll's House has significant irony throughout the play. Torvald views himself as the dominant person in the house who has to think for Nora because she does not have a head of her own. Torvald's pet names for Nora reveal that he does not see her as an equal by any means; rather, Nora is at times predictable and acts like a silly doll at times. Throughout the play, there are references to Nora's father who treated her just like Torvald. When Nora was younger she only conversed with the servants. As an adult she mainly talks to her friend Linde and family physician Dr. Rank. She never felt she could talk to her father or husband because they never would listen to what she had to say. Nora's quest for freedom was brought out in a conversation with Linde, "… it was a tremendous pleasure to sit there working and earning money....
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Colonel Redfern and Class Change 'In Look Back In Anger' By John Osborne The class change is present in almost every country that ever existed. In its essence, it represents a logical continuation of the existence of the state, country, or any sovereign realm under altered circumstances. And when new conditions are established, logically, new moral values are set, social matters are seen as new qualities, even sometimes, new vocabularies are recognized, thus changing the priorities of the society. In the play of John Osborne, " Look Back in Anger", we can sense this social change that originates from the aftermath of The Second World War." Look Back in Anger " is an outcome of that change. It reflects, for the first time, the real issues of real people, who suffered the consequences of the war and the immediate class change of the society that followed. The play itself represents a turn point of the modern British drama. One of the characters I am going to elaborate, which is directly con-cerned with the class change, is the colonel Redfern, Alison's father. Colonel Redfern obtained and formed his attitudes towards the world was the late Victorian Age. A period when there was an enormous increase in wealth in the Empire and also a period when the British Empire reached its climax in the development of the outcomes gained with the Industrial Revolution – the non-evitable zenith – imperial colonialism. A rather differ-ent set of values, which emphasized hard work, thrift, religious observance, family life, an awareness of one's duty, absolute honesty in public life, was established at the time. The British considered themselves rather superior to the other people. It was the period of "the white man's burden" when the British, as a leading nation in the world came to see themselves as having a...
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"A drama of lost illusions, of bitter wisdom and fragile hope." How appropriate is this description of the two plays you have studied? Shakespeare and Albee have both used the purging of artifices to create a changed future for all characters. Although forced, these allow the possibility of a greater future based upon truth and reality rather than facades. The breaking down of illusions is essential in both plays in order to create a new beginning. In 'Who's Afraid of Virginia Woolf' George's exorcism of their illusionary son 'Dominus Vobiscum' removes the symbolic figure they have created in order to cover up their insecurity of not having a child. By purging their lives of this child it forces both George and Martha to confront these inadequacies of being unable to have children. Shakespeare uses a similar exorcism in 'The Tempest' in order to show, akin to Albee, that in using an illusion you are avoiding reality and in this the truth. Prospero orchestrates illusions throughout 'The Tempest' in order to delude the other characters into feeling emotions such as guilt and anxiety. Through the use of his agent, Ariel, he creates a banquet designed to emote remorse for Antonio and Sebastian for their usurpation of the Dukedom. By renouncing these powers at the end of the play Prospero is accepting a life of reality without his 'secret studies'. Prospero and George are alike in their role as the ringmaster of the removal of the illusions. Both characters felt compelled to act in this way in order to start a new foundation based upon truth. Yet, the reactions of others to these actions are strongly contrasted between the two plays. In 'Who's Afraid of Virginia Woolf' Martha is unable to cope with life full of veracity 'Truth or Illusion, George. Doesn't it matter to you…at...
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In The Crucible, conflict is explored through a variety of means as each scene is presented and it is also portrayed through the different characters. The challenge between two characters in particular, Proctor and Hale, reflects the conflict that is central to the trials in Act III. There are also many private conflicts among the lesser characters, conflicts arise too within characters themselves. On a primary level the feeling of conflict is felt by the oppressing décor of each of the scenes. At the beginning of Act I the setting is centered on a small bedroom in reverend Parris's house. The narrow window of leaded panes (allowing little light and a poor means of escape), the burning candle (a flickering 'life'), the clean sparseness (no hint of moral compromise), and the raw wood of the rafters (roughly hewn timber) gives us the impression of conflict. The conflict explored in this setting is of closed-mindedness. In a similar way conflict is explored in Act II '…low ceiling and the darkness of the interior…' In Acts III and IV, even the safety of being inside your home is no longer there and the issues of the conflict are presented to the public. However there still is the sense of confinement…'the ante-room to the court is like a prison cell'. The conflict central to the play is that between conformity to the religious practices of the community and individual conscience. The Salem community enjoys its monotonous lifestyle and frowns upon eccentric behavior. It is not open to change. In Act III, the conflict reaches its climax, Danforth takes the role of the enforcer of the stability of the state. Everyone must be in church on the Sabbath; all children must be baptized; no one should plough the fields on a Sunday; private reading is suspect. Moreover, people who...
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A Greek tragedy is a story, which involves a character with a tragic flaw that leads to his or her downfall. In the American tragedy Death of a Salesman by Arthur Miller, Willy Loman displays many traits, which lead to his downfall. Willy Loman displays a great deal of stubbornness and a warped sense of success as well as a lack of parenting skills. Throughout the play, Willy reveals many bizarre and uncommon characteristics that in the end contribute to his suicide. Willy's stubbornness and pride plays a major role throughout the play in major scenes. The pride and stubbornness, which Willy possesses, hinders him throughout the play. One of the most prominent scenes in which Willy's pride gets to him is when Charley offers him a job. Willy's response to Charley's first push to get Willy to take the job is, “I – I just can't work for you, Charley."(97) After Willy turns down the first offer, Charley again tries to get Willy to take the job and Willy responds by saying, “I can't work for you, that's all, don't ask me why."(98) Even though Willy lost his job and cannot afford anything, he still refuses a job offer from Charley. Willy has too much pride to accept anything from anyone. Another prominent example of Willy's excessive stubbornness is when he sees Linda mending her stockings. When Willy sees her mending stockings, he tells her to throw them out with the idea that he will just buy new ones. Willy is too stubborn to realize that he cannot afford to buy new stockings and the only way to keep the stockings in wearable condition is to mend them. Linda realizes what their economic situation is but Willy cannot swallow his pride and accept the fact that he cannot afford anything....
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Thornton Wilder was born on April 17, 1897 in Madison, WS. He lived in Shanghai and Hong Kong for four years when his father had been appointed American Consul General. He received his B.A. from Yale University in 1920 and went to Rome, where he studied archaeology. By 1926 he had received an M.A. degree in French literature from Princeton University. In the same year appeared his first novel, The Cabala. From 1930 to 1937 he taught literature and classics at the University of Chicago. Wilder won the Pulitzer Prize for Our Town, The Bridge of San Luis Rey, and The Skin of Our Teeth. In 1962 Wilder also received the first "National Medal for Literature" at a special White House ceremony. That was the last award Wilder received before his death on December 7, 1975 in Hamden, CT. Our Town, written by Thornton Wilder in 1938, is sometimes known as one of his best works. "Beautiful and remarkable-one of the sagest, warmest and most deeply human scripts to have come out of theatre...A spiritual experience" (Burbank 151). The play deals with at least three themes. The first theme appears in the first act dealing with daily life. A second theme shows up in Act II dealing with love and marriage. The third theme appears in act III having to do with death. Set on May 7, 1901, the play is told by the omniscient stage manager whose purpose is to provide exposition of background facts. In the first act the stage manager introduces two families: the Gibbses and the Webbs. In act I, Wilder shows us the "activities that go on in the day-to-day life of average people" (Gallup 32). The mother's of the two families get up and get their children ready for school, prepare breakfast for them and do...
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Throughout The Metamorphosis, there are many scenes in which Gregor's father acts very aggressive and violent. However, there are other scenes where Gregor's father seems lazy and weak. Gregor's father changes throughout the whole book, but for the most part, the author portrays him as a power-hungry, and lethargic tyrant. During the countless hours in his room, Gregor recalled the days before his metamorphosis. "Now his father was still healthy, certainly, but he was an old man who had not worked during these five years…he had gained a lot of weight and as a result had become fairly sluggish." (Kafka pg. 28) After Gregor's transformation, there were many incidents where Gregor's father was described as being more aggressive and intimidating. Above the high stiff collar of the jacket his heavy chin protruded; under his bushy eyebrows his black eyes darted bright, piercing glances; his usually rumpled hair was combed flat, with a scrupulously exact, gleaming part. He threw his cap…in an arc across the entire room onto the couch, and with the tails of his long uniform jacket slapped back, his hands in his pant pockets, went for Gregor with a sullen look on his face. (Kafka pg. 38) Gregor had been attacked many times by his father in this book. Each time, his father acts just as violent, using many tools like apples and canes as weapons. Despite his father trying to act as a tyrant of the house, he also places a burden upon the family at times. "As soon as the clock struck ten, his mother tried to awaken his father with soft encouraging words…not until the women lifted him up under his arms did he open his eyes…leaning on the two women, he could get u laboriously, as if he were the greatest weight on himself, and let...
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In it always good to stand up to adversity and tell the truth? Should you always have the courage to stand up and do the right thing? Well I believe it is, someone's life may depend on your courage to tell the truth as it did in the play 12 Angry Men by Reginald Rose. I have always come to find that telling the truth is always to go. You can never lose by telling the truth, I hope to prove this to you. In this play a boy's life was solely on the shoulders of 12 jurors. In the jury room 11 men vote guilty but one man juror no. 8 voted not guilty. Eight states "he's not guilty until he's guilty" (14). This was the truth and he had the courage to stand up against 11 angry men for the truth and in the end it saved an innocent life. If juror no. 8 wouldn't have told the truth a young man's life would have been gone. However the jurors would have gotten out of there a lot quicker You see telling the truth saves lives in some cases. Three and ten were very intimidating people, in the play they were stuck on the idea of guilty, they weren't very logical thinkers. All's they believe is that a kid from the slum is definitely a killer. There are many reasons to stand up and tell the truth. First you feel a lot better. Second it may save lives. Third if you keep lying you will get caught up in a web of lies. Finally you will be trusted a lot more, also it's very respectful. So in conclusion to this wonderful essay I would like to add a few things. First if you read this essay you should be convinced that the...
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