Indeed , modernist works attempted to rebel against the corrupted modern world, shake the sensibilities of the reader, and depart from traditional literary styles. As such, modernist literature embodies the experimentation with new literary styles and psychological themes. In literature, the
In act 1, scene 2 Hamlet is left alone on the stage to express his deep depression and yearning for death. As Hamlet fights an internal struggle, he finally speaks his mind in act 2, scene 2 and calls himself a coward in his third soliloquy. The plays most impactful speech occurs during act 3, scene 1, and it is here that Hamlet’s identity crisis is made obvious to the crowd. Shakespeare’s Hamlet, Prince of Denmark, contains three major soliloquies that embody certain themes for the play. Death is inevitable when there is life, and the Prince Hamlet experiences this first hand after his father’s death.
William Shakespeare, the 16th to 17th century English playwright, dwelt on themes dealing with human nature: love, hate, power, jealousy, humour, discrimination and self-respect. He made the often-quoted observation that “our doubts are traitors, and make us lose the good we might oft win by fearing to attempt”, voicing the danger of doubt which could ultimately lead to loss of self-esteem. In his play, Othello, the moor, who was perceived as a courageous military hero, met his downfall due to the erosion of his self-esteem, and as a result, tragedy ensued. In the play, Othello trusted Iago unconditionally, to the extent that he came to seriously question himself and the trustworthiness of Desdemona, his wife, whom he genuinely cared
Shakespeare illustrates these degradations of character through the use of tragic flaws to show the manifestations of power’s grip on the characters. In The Tragedy of Macbeth, Macbeth’s tragic flaw, ambition, introduces the concept that an insatiable thirst for influence can lead to one losing their sense of reality and humanity. As the protagonist plots how he’s going to reach the crown, he begins to consider the people in his way not as individuals, but instead as “a step / on which I must fall down, or else o 'erleap / For in my way it lies” (I.iv.55-58). This inadvertent dehumanization of others is just the first step of his wicked journey on which he finds himself murdering those he once looked up to for their title. The closer Macbeth gets to his goal, the more corrupted he becomes, and even in power, he finds himself tormented by the thought of losing it.
Twentieth Century is also known as the modern era and in those times when everyone was moving towards progression leaving behind the past, T.S Eliot was obsessed with the past. Being a modernist himself, he revolted against the ideas of progression. This revolt and constant clinginess to history and the previous era is evident in his works. In this paper, we are looking at how Eliot projected time and history in his renowned poem “The Wasteland”. Key Words: Modernism, Anti-Modernism, T.S Eliot, Wasteland, Time, History “Time is the moving image of eternity - (Plato)” In the beginning of twentieth century “Modernism” started as a movement/revolt against the past, it dreams of moving forward towards development.
The struggle for honest self expression became more urgent and explicit at this period. The most striking fact in literature of this era is the revolution of poetic taste and practice. The poet is no longer the sweet singer whose function was to render in verse and an imagery drawn with great selectivity from nature and self-indulged personal emotion. He is now the explorer of experience who uses language in order to build up rich patterns of meaning unfolded by using abrupt contrasts and eliminating overt statements. The imagery in W.B.
Abstract Existentialism is an important aspect of modernism in art and literature and as conceived today, it is basically a philosophy of existence which was pioneered by Nietzsche and Kiekegaard and later disseminated by Sartre etc. In the 20th Century, existentialism became identified with a European cultural movement. It implies ‘quest’ of an individual for the assertion of ‘self’, despite his failures and limitations. Amidst grim facts of life, existentialism presents a philosophy of hope, ecstasy and exultation. It stresses on choice of responsibility and freedom for consequences of one’s acts.
Unlike high modernism, late modernism leaves the reader to draw their own conclusions regarding the impacts of modernity. The stylistic differences between Eliot and Auden represent contrasting sentiments regarding approaches to modernity and the poet’s place in a modern society. For instance, high modernists such as Eliot use modernism to explore existential questions. The content of Eliot’s “The Love Song of J. Alfred Prufrock” is cryptic, as the narrator asks the reader a seemingly rhetorical question which drives the poem forward: “’What is it?’” (11). The entirely open-ended question of “What
Mourning Becomes Electra: Morbid Psychology under the "Mask" Xiamen University, Xiamen, Fujian Province, China Gong Yijin Abstract: By giving his main characters all with the "life-like mask", Eugene O 'Neill in his play Mourning Becomes Electra aims to reveal the morbid psychology behind that people at that time were facing. O 'Neill deepens the tragic effect of excessively emotional self-restraint by intentionally making the conflict happen between family members in a puritanical family, and further making it become a family 's doomed and repeated fate. O 'Neill presents the awkward situation but he fails to presents the way out; he indeed leaves the remedy to his audience. Key Words: mask; morbid psychology; emotional self-restrain; family; fate
The Shadow of the Glen (1902) is Synge’s earliest controversial depiction of women. It became the first play to be staged by the Irish National Theatre Society, a company Yeats and Gregory founded. In this work, his character Nora Burke is unhappily married to Dan. Its plot is based on a story Synge first heard on the Aran Islands and narrated in his book The Aran Islands. It is a one-act comedy in which an old man pretends to be dead in order to test his young wife.