His intention in lampooning was for his audience to enjoy the irony and sarcasm of his work while criticizing the foolish view of the upper class. During the time play’s release, many critics wrote about their opinions of the play. Some critics saw his work as a fantasy, others said it was burlesque, but there were also critics who understood Wilde’s purpose for writing this play (Kohl 272). For instance, Norbert Kohl said, “He is made to laugh at the hollow superficiality hidden behind the mask of earnestness, and to mock the rich facade…” (Kohl 272). Khol clearly understood that Wilde’s purpose of writing The Importance of Being Earnest was to publicly and comically criticize the rich.
There are contrasting opinions about Cathy Ames within the characters from Steinbeck’s novel East of Eden, some of which are her neighbors whom she left them behind with "a scent of sweetness” (Steinbeck; Ch. 8); then there are other characters who thought of her as an inhuman monster who manipulates to do evil and destroy someone’s life. Her beauty does not reflect her actions, making her an innocent illusion, sugar coated, with despicable sprinkles, and poisonous filling. She mostly has evil intentions behind every - even good - action. Cathy can be nice and do good actions, but only with a selfish reason behind it, which shows how Steinbeck portrayed distorted evil in a woman and how this façade is all revealed and hated.
Though any character in Shakespeare's Hamlet could easily be the epitome of lunacy, there is no character more obviously unsound that Ophelia, whose personality is the embodiment of codependency. Every time Ophelia speaks the symptoms are apparent as she can not seem to converse about anything but men. This is stereotypical of women at the time,in society as much as in literature. One can not fully blame Ophelia however as she is a product of her time period and used by the other characters. Ophelia’s character not only confirms Hamlet's suspicions about women but serves as pawn in the metaphorical chess game between Claudius and Hamlet.
Tartuffe is an excellent example of a neoclassical drama seeing that to be perfect is to be inhuman. Human nature is complete with many flaws and imperfections, same way as represented in the play "Tartuffe", by Moliere. As a result, “Tartuffe” is a really good example to present the basic flaw in human nature. This flaw is shown through two characters of the play, Orgon and Madame Pernelle , the mother of Orgon. These two are blind to the truth regarding Tartuffe and fall victim to his manipulation.
After the war, France went through a period of rebuilding and regrowth both socially and economically. England was more prolonged in rebuilding due to an engagement in the War of Roses shortly after the end of the Hundred Years War. The war lasted through five kings for both the French and the English, starting between Edward III of England and Phillip VI of France in which neither saw the final
Ironically enough, they declare this to be madness, yet the people, who declare him to be mad are seemingly just as mad. Whether it be Sir Toby Belch’s drinking problem, Sir Andrew’s obliviousness, or Maria who impersonates Olivia through a letter. So although they are all in one sense or another mad, it is only Malvolio who faces the consequences. “An affectioned ass that cons state without book and utters it by great swaths; the best persuaded of himself, so crammed, as he thinks with excellencies, that it is his grounds of faith that all that look on him love him.” (II.III.146-150). He is the most hated character and receives the harshest treatment because of his social rank, as they are trying to send him a message.
For instance, as the play begins, Othello uses attentive words which allows the audience to believe he is good, since he demonstrates how caring and loving he is to Desdemona. On the opposite scale, there is Iago who begins and ends with using revolting language, which further contributes to the malicious character he has created by his diction. However, Othello tragically transforms into another version of Iago. This is evidently shown through the overlapping diction expressed. Othello calls Desdemona a “weed” a “strumpet” and a “whore” which coincides with what Iago would also
Hobbes’s idea of humor built on the ideas of Ludovici (1933) and Rapp (1951). Ludovici proposed that superiority humor results from the awareness and recognition of having adapted to the societal norms in a better way in comparison to the others person who is being laughed at. In other words, it stems from “superior adaptation”. Rapp traces back the origin of superiority theory to human’s primitive self, stating that it is a feeling of pleasure derived from defeating an opponent. Hobbes
In A Tale of Two Cities by Charles Dickens resurrection renews and changes the characters. Charles Darnay shows resurrection through returning. Charles Darnay leaves France and comes to England. Coming to England provided him with the ability to show his innocence in front of court. Upon becoming innocent he is summoned back to his home in France that he left so long ago, “...explaining the strong obligation he was under to go to Paris…” (189).
The role of fool in Renaissance drama with Specific reference to Touchstone Fools in Shakespeare’s plays are unique. The clowns or fool figures are one of the most fascinating stage characters in Shakespeare’s work of art. A few of his fools have major roles in his works. Their importance and personalities may vary according to the play but their frequent appearance shows how noteworthy and relevant they are in Shakespeare’s theatre. Chris Wiley, in his essay, “Fooling Around: The Court Jesters of Shakespeare” divides the fools into three categories: ‘Clowns’, who turn farce into precise science, ‘Dunces’, who use their lack of intelligence as the medium of human and the princes of fooling, and ‘court jesters’ who turn fooling around into a respectable position.
During the end of the sixteenth century to the mid eighteenth century, the Baroque Era prospered in Europe and its provinces. This section studies the Baroque expressions and the political setting against which they created. The writing of this period incorporated various subjects and structures, some recognizable yet numerous new and inventive. As the government developed progressively absolutist the theater entered into a golden age in France. Three playwrights written by Pierre Corneille, Jean Racine, and the comedic satirist Jean-Baptiste Poquelin also known by his stage name Moliere transformed French dramatic literature.
Within the play, Much Ado About Nothing, there is a central theme of deceitfulness, as a way to solve a problem or an issue amongst the characters. Deception, though inherently perceived as evil, it led to positive resolutions after several conflicts throughout the play. In the creation of this theme, Shakespeare uses both negative and positive examples to contribute to his lesson on ruses. Within this specific scene, there is finally disclosure all of the cons that the various characters have put on. This scene highlights that deception is not always evil, nor is it always moral, but can be a means to an end that can be beneficial or detrimental to a character’s arc.
There snarky replies are well crafted such as Benedict’s view on Beatrice’s replies: “she speaks poniards, and every word stabs: if her breath were as terrible as her terminations, there were no living near her; she would infect to the north star.” In the final act, audience find compassion that Benedict and Beatrice hate relationship settles to a love relationship. (Schmoop)