d) Blanche puts on airs of class and happiness throughout the play, though internally she is miserable and haunted by her tragic and scandalous past. e) Most have argued (correctly) that the play is about the ways the past haunts our present or (again correctly) that it is about the ways class and sexuality impact our lives. However, few have seen the play for what it is: an allegory for the theater itself. a) cadbe b) adbec c) ceabd d) abdce Ans:
In today’s society many people believe that true romance is dead, but it really isn’t. It’s just not the same as it used to be. Everything is toned down in a way, so they aren’t seen as these huge declarations of love that could get someone killed like they might have been when Cyrano de Bergerac was written. Even though romance isn’t seem in the same way, it’s still alive and kicking. In the play Cyrano, the main character, is constantly going around and making huge gestures, some of them aren’t even for the person he loves, but he does it to help other people find the kind of love he wants.
Though Gatsby’s weaknesses may outbalance his strengths, there is an up and down to everything. To begin, Gatsby is very naïve, his lack of judgement and wisdom do not work to his benefit. His naivety throughout the novel, blocks him from the true reality of who Daisy is. Daisy is a woman who thrives on the attention and wealth of others, she no longer loves Gatsby the way he genuinely loves her. This leads to him into taking the blame for Myrtle’s death, which he would not have done, if he was not protecting Daisy from the backlash.
Romeo and Juliet had just met and they were already bewitched by each other (2.Prologue.6). The word bewitched, as used in the play, means to enchant, charm, or fascinate (2.Prologue.6). Romeo and Juliet did not have the time to get to know each other so they were enchanted by looks not personality. This quote also implies that both Romeo and Juliet are charmed by each other, which means that both of them rushed into the relationship. A rushed relationship is one that is not firmly founded.
character Montfleury in the play Cyrano de Bergerac being a hit with Roxanne. Whenever I looked at Tom, I thought of how Cyrano described Montfleury to his friend Le Bret as “.. That Silenus who cannot hold his belly in his arms, Still dreams of being sweetly dangerous among the women...” Tom had the fewest redeeming qualities of all of the Tech Reps. I couldn’t imagine an unpaid female to whom Tom “came-on” who would not laugh him out of the room. Tom was all mouth. And as for his false bravado, I was certain that he would soil himself in a second if something happened that made him think his life was in any danger.
As a result of this, Lysander is losing his power to Helena. His love for Helena causes him to have no control over his behavior which then results in fighting Demetrius. Overall, characters are losing power in their relationships due to their love for another person making them resort to irrational
The viewers of the play of Ray Bradbury’s, Fahrenheit 451, agreed that the reenactment was very different than what they were expecting, after reading the novel. The play was not the worst thing the audience had seen but it certainly wasn’t the best. For a well known novel that complies censorship, the Fahrenheit 451 play was very unsatisfactory due to its absence of acting skills, unnecessary props and scenes, and erroneous interpretations and plot. The absence of superior acting skills is not something that is wanted out of a play when that is the main component. During this play the actress portraying the character of Clarisse was exceedingly dramatic and too monotone.
Although both the play and the movie is dramatic, the movie was more dramatic. When Mercutio died, it was a lot more dramatic than in the play, when Tybalt killed him he looked like he regretted it a little and Mercutio didn’t want help from Romeo when he tried to help him walk, he kept pushing him away. The love between Romeo and Juliet was more immature than in the play, even the movie made it seem more immature than in the play. Even though they both cared for each other greatly, their love seemed a bit childish. Their love is more of a flight of fancy than serious, they tried to be serious but that didn’t work well.
That said, Voltaire’s Candide and Guy de Maupassant’s “The Necklace” are both good stories that play against the reader’s expectations and end off rather ironically, unexpectedly. In Voltaire’s Candide, the titular character kept going through many obstacles and unusual situations, which conventionally builds up the reader’s expectations, but the story ends rather oddly and unconventionally with Cunegonde, Candide’s love interest, becoming unattractive and unpleasant (chapter 29), with the baron, Cunegonde’s brother, still disapproving of Candide and Cunegonde’s relationship (chapter 29), and with Pangloss no longer truly believing that this world is the best of all possible worlds (chapter 30). Firstly, had Cunegonde had the reverse effect, going from an ugly, disagreeable woman to beautiful and charming, her character would have played to the notion of a happy, conventional
One of the components that may have been the underlying reason for the inconvenience Ophelia wound up in toward the end of the play might be her magnificence. This is portrayed in III, I, 6-7 when Hamlet says, "/that on the off chance that you be straightforward and reasonable,/ought to concede no talk to your excellence." Her magnificence is the reason Hamlet first became hopelessly enamored with her, the reason her dad, Polonius, could control her emotions toward Hamlet. Her dad needed this control over her affection either for progression inside the court through picking up the support of the ruler, or, if one somehow happened to think all the more hopefully, maybe Polonius' objective was just to shield her from Hamlet who, he accepted,