R0bert Br0wning, English playwright and master 0f Dramatic Dial0gue p0etry wr0te “A Death in the Desert”, “My Last Dutchess”, and “A Grammarian’s Funeral” is 0ne 0f the greatest p0ets 0f his literary peri0d, was b0rn 0n May 7, 1812, in Camberwell, L0nd0n. He was the first child 0f R0bert and Sarah Anna Br0wning. His father was a clerk at the Bank 0f England and his m0ther was a zeal0us Evangelist. By 1846, Br0wning g0t married t0 Elizabeth Barrett. At ab0ut the same time, he began t0 disc0ver that his real talents lay in taking a single character and all0wing him t0 disc0ver himself t0 us by revealing m0re 0f himself in his speeches than he suspects In d0ing s0, he wr0te a great dramatic m0n0l0gue called "My Last Duchess" and is called a chief exp0nent 0f Dramatic M0n0l0gue. The term “Dramatic M0n0l0gue” in p0etry, als0 kn0wn as a Pers0na p0em, shares many characteristics with a theatrical m0n0l0gue: an …show more content…
In R0bert Br0wning's dramatic m0n0l0gue, "P0rphyria's L0ver," the l0ve-stricken frustrati0ns 0f a nameless speaker end in a passi0nate, annihilating resp0nse t0 s0ciety's scrutiny t0wards human sensuality. Cleverly juxtap0sing P0rphyria's inn0cent femininity and her sexual transgressi0n, Br0wning succeeds in displaying s0ciety's c0ntradict0ry embrace 0f m0rality next t0 its rejecti0n 0f sensual pleasure. In an ir0nically tranquil d0mestic setting, warm c0mf0rt and affecti0n c0me t0 reveal burning em0ti0nal perversi0ns within c0nfining s0cial structures. The speaker's vi0lent display 0f passi0n ends n0t with external c0ndemnati0n, but with the matter-0f-fact sense 0f a duty fulfilled .P0rphyria's l0ver sits next t0 his murdered l0ve with0ut any regretful aftermath 0r c0nsequence; fr0m the narrat0r's viewp0int, a percepti0n wh0lly dist0rted by the f0rce internalizati0n 0f his feelings f0r P0rphyria, n0t even the ultimate hand 0f G0d can r0b him the serenity 0f a m0ment free fr0m
In Anne Bradstreet’s “The Author to Her Book,” Bradstreet expresses frustration with the unauthorized publication of her earlier poetry and dissatisfaction with her literary abilities by crafting an extended metaphor likening her poetry to a flawed child birthed from her alone. Creating a connection between form and function, Bradstreet applies changes in meter, like syncopes and additional syllables, chooses an untraditional structure for the stanzas, and incorporates extended metaphor in order to further highlight the imperfections of her creation. Beginning by demeaning her work directly, “thou ill-form’d offspring” (line 1), and herself , “of my feeble brain” , Bradstreet employs second person language aligned with the envoi genre to personify, humanize, and belittle her creative work. “After birth” (line 2) the poetry existed by Bradstreet’s side, its sole
The scholar discusses the basic construct of a tragic play. Voltaire uses this conversation to show how much the scholar relates to professor pangloss and to question great tragic plays and tragic play writers. 2. What is the hoax played by the Abbé? How does the pair escape? Abbe tricks Candide by forging a letter written by Cunegonde to visit her in a hotel in France.
The vivid imagery contrasts considerably with the speaker’s identity, highlighting the discrepancy between her imagined and true personas. The speaker undergoes a symbolic transformation into a boy, but in order to do so, she must cast away her defining features as a woman. One way she does this is by repositioning
In her piece the idea of tranquility and anger were eminent through out. Whether they encompassed you whole or only possessed slight significance were based of the over-lapping, shadows, and light. Overall, this piece has uniqueness that separates itself from solely a literal
The human condition, and the fleeting nature of vitality is highlighted through these paragraphs. Rhetorical devices such as phonetic intensive are used frequently, some loaded diction is also utilized, and allusion is sprinkled throughout the essay and employed more heavily in the last few paragraphs. Most of all, imagery channelled through these devices is what makes “Feet in Smoke” the impactful essay that it
Edna from Kate Chopin’s “The Awakening” can be perceived as morally ambiguous because of her affiliations with other men, and role-defying actions; however, both contribute to “The Awakening” as a whole. Due to Edna being romantically involved with Robert, she can be perceived as morally
Patriarchal societies have existed as long as there have been humans. From the beginning when men would hunt and women would gather, to the present day wage gap, men’s demonstration of superiority is evident throughout history. Women, historically, serve as accessories to men, seen not heard. However, some brave women question their role in society. Edna Pontellier, in Kate Chopin’s The Awakening, conforms outwardly to the societal role of women existing only as mothers and wives but questions inwardly through exploration of her individuality and sexuality, as demonstrated through her relationships with her husband Leonce Pontellier and Robert Lebrun, yet her realization that her growth will not be accepted by others ultimately causes her death.
How and why is a social group represented in a particular way? In his play The Importance of Being Earnest (1895, London St. James’ theater), Oscar Wilde portrays the attitudes and society of Victorian upper class through character interactions within the ‘Bunburyist’ adventures of Algernon Moncrieff and Jack Worthing. The play’s comedic elements, in addition to the portrayal of power structures, are used as an effective medium to challenge the viewer to reflect upon Wilde’s criticism on institutions and values of the aristocracy. In conjunction to this, deeper analysis can be conducteds about marriage in Victorian aristocracy and their attitudes to members of other social groups.
Love and death are quite distinct topics, and both poets use them differently to construct eloquent critiques of societal ills and empowering messages on how to solve them. Clifton, in “Homage to My Hips,” relies heavily on the topic of love and confidence, highlights her self love, and empowers other women to do so. She criticizes how society demeans and antagonizes women for being large, and refutes this by championing her own hips, and encouraging others to act the same. Clifton says that “these hips have never been enslaved” to portray her refusal to comply with societal standards that would hold her down and make her a slave to the whims of those in society (8). By refusing to conform, she brings to light the issue of society thinking beauty lies in being skinny, and confidently contradicts it by being a large and proud woman.
No multitude of words could have been more significant than these moments of silence , or more pregnant with the first felt throbbing of desire” (Pg. 30) the sexual impulses that had once died down first became awakened at this point of the novel. Edna Pontellier resurrected the optimistic view of lovemaking once more, but is usually never cognizant of the actions she commits. Ednas sexual awakening is split into two parts, emotionally and physically. Edna Pontelliers emotional sexual awakening is brought to life by the hands of Robert. When Robert leaves her the first time, she is upset, unable to believe he left so abruptly, and without saying goodbye.
Oscar Wilde wrote his plays against the backdrop of the Victorian English society. It therefore helps to discuss the salient aspects of the Victorian society. Victorian England is known for many paradoxes -- glaring contrasts between the rich and the poor, insistence on morality on the one hand and the practice of cynicism on the other, blooming creativity pitted against blatant constriction, imperial grandeur since Britain was then ruling almost one fifth of the total surface of the earth and domestic squalor since the majority of people did not have decent means of livelihood, and finally collectivity dictated by tradition opposed to the rapidly developing individualism. The class system denied the talented members of the lower classes access to social and economic advancement. The upper classes alone had the privilege of working in the government, the armed forces, and the church, while trade was monopolized by the rising middle class.
The most appropriate literary critical theory for John Steinbeck’s, The Chrysanthemums, is the psychological approach because Elisa’s conscious and unconscious imbalance, usage of defense mechanisms, and unsatisfiable lifestyle wholly possess the features of the psychoanalytical critical theory. To begin, Elisa’s id seldom overrides her conscience, which presents the depths of her motives. This is apparent when Elise, “... touched the under edge of her man's hat, searching for fugitive hairs... Kneeling there, her hand went out toward his legs in the greasy black trousers. Her hesitant fingers almost touched the cloth” (Steinbeck 5).
However this essay will be examining the characters and the relationship of Don Hedger and Eden Bower. It will examine how both characters uphold the ideals of individualism and how their polarity affects their relationship dynamics. The essay will also eventually evince that Bower is a stronger character than Hedger, making Cather’s “Coming, Aphrodite!” a feminist and female-empowering story. Bower’s character is depicted to be charismatic upon her introduction in “Coming, Aphrodite!”.
In her childhood, the unnamed narrator has had a wild imagination which still haunts her: she admits "I do not sleep," and as a result she becomes restless.(653). Her imagination makes her live in an imagined world of her own and completely detached from reality. The
When the narrator first noticed the so-called love of his life, he says, “my body was like a harp and her words and gestures were like fingers running upon the wires” (Joyce np). With this, the narrator is provided with a newfound purpose in life, yet this does not last long.