...emphasizes three major elements of a good play: plot, character, and thought. To be more specific, in an Aristotelian play, thought sets the cause of action with character as emotion developer based on plot as the basic form. Besides these three main factors, the idea that a play should be a complete whole is also the basis of the Poetics (Aristotle 61). Therefore, when comparing the choices Lobby Hero by Kenneth Lonergan and The Philadelphia Story by Philip Barry for the play of the season, unification and regularity of all three elements. After comparing and contrasting both plays, Lobby Hero fits the Aristotle’s model’s three elements, plot, character and thought better than The Philadelphia Story does because Lobby Hero has a more consistent development of action, characters’ personality and emotions. The imitation of one action is very essential to construct a complete plot. Lobby Hero constructs a smooth unity of action in all of its plots while The Philadelphia Story’s imitation is vague. Although both plays have connected actions that make the structural union of all parts, Lobby Hero has a more surrounded action which is the pursuit of right things. Jeff repeatedly shows his ambition of lending help. For example, he praises William’s kindness when William is baffled by his brother’s incident; he also emphasizes his importance as a “safety specialist” to make himself sound superior. These series of repetition and imitation cumulate to an end of telling the truth. To Jeff,...
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...enlightenment in a moral respect, Romantic Heroism transcended as an essential and cardinal influence within Romanticism and the intellectual behaviorism it represented through literary and poetic context. Measured to the degree in which the protagonist reached a complete and full notion of who he was and his purpose, the romantic hero was a representation of the individualist, egotistical, and pompous protagonist whom attained the very ingenious and artistic visions despite the risk, the cost, family, friends, or citizens. The Romantic hero viewed life as a plethora of incidents to break through and be overcome by an act of heroism through visionary will. This very ideal influenced literary romanticism into its respective areas. In regards to the types of imaginative narratives the Romantic period conceived, there were prominently two – The optimistic version and the tragic version both which have sculpted the poetic and literary realms of Romanticism, emphasizing the artistic and philosophical movement which revolutionized the manner in which humans sought knowledge on themselves and of the world around them. Asserting the distinguished and authentic aspect of the individual mind, the Romantic era conceptualized its own unique literary forms of the Romantic hero. The first version which is the optimistic version of the Romantic Hero the protagonist depends on the world around them to mold itself into an answer for the hero or heroine to accept his or her place in. Through Greek Mythology...
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...epic. What do The Iliad, The Odyssey, The Epic of Gilgamesh, and The Lord of the Rings all have in common? They all share typical characteristics of epic adventures in some form or another. Though the motives and reasons may differ, the theme of journeying is common to all epic adventures. In The Epic of Gilgamesh, King Gilgamesh sets out on a perilous adventure with his closest friend Enkidu in order to find enduring fame and glory. In The Odyssey, the main character Odysseus embarks on a 10 year-long journey through trials and tests to find his way back home to his wife and son. Epic hero Achilles, of The Iliad, sets out to fight in the legendary Trojan War. Similarly, Frodo Baggins, unassuming hero of The Lord of the Rings, sets out from his home and place of comfort to destroy the evil artifact, The One Ring, and restore peace and freedom to Middle Earth. Each of these stories centers on a “hero”, or main character, and the brave and virtuous deeds they enact. This praise of the hero’s deeds may be the author’s way of reflecting the characteristics they believe to be virtuous. These heroes are typically characterized as having a close and...
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...Beowulf Essay To be a hero in Anglo-Saxon literature and culture one must be a warrior. In the Anglo- Saxon culture a hero had to be intelligent, valorous, prideful and most importantly strong. Fighting for glory and fighting for his people until death was the duty of a hero. The hero had to be willing to face these odds and Beowulf portrayed this. Beowulf is the perfect example of an epic hero because of his prideful actions and willingness to take on fighting the strongest monster and the other hard deeds. "The seafarers used to say, I remember, who took our gifts to the great people in token of friendship-that is fighting man in his hands grasp had the strength of thirty other men. I am thinking that the Holy God, as a grace to us Danes in the West, has directed him here against Grendel’s oppression. Thus good man shall be offered treasures in return for his courage. " (Line 377) Strength is essential to be being an Anglo-Saxon hero. In these lines we can see Beowulf has massive strength if he has strength of thirty men in his arms. "I have not in my life set eyes on a man with more might in his frame than this helmed lord. He's no hall fellow dressed in fine armor, or his face belies him; he has a head of a hero." ( Lines 247) It is clear that physical appearance is essential to being a hero because it is important that you look the part. Even if Beowulf was not the greatest warrior it is always best to act and look the part so he could give the people hope. But...
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...he is able to see into the future and gaze at the death of Hector. This is a privilege not granted to many heroes even Hector the greatest of all the Trojans is not granted this when Achilles forces him to Hades. Patroclus achieved what all heroes want a glorious death. Death on the battlefield is what a great shoulder need in order to instill his name into history. Even Achilles the greatest of the Greeks was told that he would be forgotten if he did not fight and die in the Trojan war. Through his death Patrolclus was able to achieve his heroism, as he went into battle knowing that he could die, wearing Achilles armour and was even fool people into thinking that he was Achilles. In the end a great death is the only sure way to become a hero in ancient Greece. The Iliad began with Achilles fury but that fury quickly disappeared when Achilles was deprived of his prizes by King Agamemnon. After others fail to Achilles back to the battlefield, Patroclus being Achilles close friend attempts to bring Achilles to the battlefield once again the attempt fails but Patroclus is able to...
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...Throughout human history, society has put standards for what is known as a hero, and just as society puts standards, so do authors. Homer did such a thing when writing the epic poem The Odyssey, where he exhibits through the main character Odysseus’ certain actions that portray what current society believed a hero is meant to be. However time goes on and ideals change, and so does society. In current day society, Odysseus would not be a worthy example of an epic hero in the twenty-first century. This unworthiness can be witnessed by his destructive, blood-thirsty, and dishonest behavior portrayed throughout the story. Blood and chaos is the result of Odysseus’ destructive behavior, and being so, he is not a worthy example of a hero today....
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...In Antigone, Sophocles presents a perfect example of civil disobedience. Antigone does what she feels she morally needs to do, no matter the consequences that she will be faced with afterwards. She disobeys the laws of state in order to be true to herself. Fate deals Antigone a bad hand, but she is able to stand up for what she believes in and give her brother what she feels that he rightly deserves. After Antigone’s brothers kill each other fighting over the power to rule, Creon becomes the new ruler. He sees Polynices as a traitor because Polynices brought in troops to attack Thebes. Creon does not feel he deserves a proper religious burial; He forbids anyone to burying Polynices. Creon thinks his body should just rot instead. Burial was very important in this time because they believed a proper burial was essential for afterlife. Antigone thinks her brother deserves to be buried and she will not let anything stop her from giving Polynices a proper burial. Antigone is following her moral compass and disregarding Creon’s opinions on the matter. It is important that Antigone was a hero and stood up for what she believed. Civil disobedience is doing what is morally justified even if it does break laws of the state. Civil disobedience is necessary for change to occur. Without people, or heroes, like Antigone, government or even life would never improve. Some rules are meant to be broken. Government is meant to be for the people, but sometimes laws can only benefit...
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...written by William Shakespeare, Beatrice and Benedick, and Hero and Claudio, are both in romantic relationships. Their relationships are very different. Beatrice and Benedick have a healthier relationship than Hero and Claudio because Beatrice and Benedick have more respect, they communicate often, and they accept each other's flaws. Although they are both happy within their relationship, Beatrice and Benedick exhibit more of these essential qualities. Beatrice and Benedick have more...
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...separate work, Aristotle’s Poetics, an image of the ideal tragic hero is outlined and analyzed. This same idea was used by Sophocles’ creation of Oedipus the King. Nora and Oedipus can be compared as tragic heroes as they both meet the requirements of this status according to the qualities outlined by Aristotle. There are multiple essential characteristics Aristotle claims create a tragic hero. The first is that the character must be good, but flawed in some way; displayed through Oedipus’ actions as he wants to seek truth and be a savior to the people. When Creon tells him of Apollo’s commands to “drive the corruption from the land”, Oedipus replies, “I am the land’s avenger by all rights and Apollo’s champion too” (Sophocles, 1431). However, he continues with “but not to assist some distant kinsman, no, for my own sake I’ll rid us of this corruption” (Sophocles,...
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...A Jungian analysis of the warrior woman in popular culture and a brief look at what the archetype means culturally and psychologically. The 1990s and the new millennium saw an influx of female action heroes on television from Xena to Scully, Buffy to Sidney Bristow. Countless girls and boys eagerly jumped to their television set each evening to absorb the warrior energy of their new role models. Adults, too, were intrigued by the possibility of a new gender role for women – fighters. These women were not only stereotypically beautiful characters, but, untypically, they were also highly intellectual, courageous and strong – stronger indeed than the men portrayed alongside them, if not their equals. These fighting women usually depended on themselves for rescue and did not always wait around for their men. Some women warriors had martial arts expertise (Xena, Buffy, Sidney, Nikita), some wielded weapons (Dana Scully from The X Files, Samantha Carter from Stargate SG1), while others used magic (Willow from Buffy the Vampire Slayer, the three sisters in Charmed), and then there was the cyborg (Seven of Nine from Voyager and Max from Dark Angel). All nevertheless embodied the warrior archetype: a fighting spirit evoking a new female consciousness, one that reflected a shift of values in Western society's gender norms. C. G. Jung Research Online books, journals for academic research, plus bibliography tools. www.Questia.com/C._G._Jung Jungian Philosophy Analytical psychology...
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...Antigone or Creon? It is still being questioned who the actual tragic hero in the Sophocles Antigone play is. A tragic hero is defined as a great or virtuous character in a dramatic tragedy that is destined for downfall, suffering, or defeat. A tragic hero must possess a few essential traits. Such as, a personality trait that leads to his/her downfall or an error in judgement. The character is accountable for his/her own fate. The character will fall when they realize they had made an irreversible mistake. Lastly, the character should be neither good nor bad, it’s important for the audience to be able to identify with the character. For this is why I believe Creon is the true tragic hero in the Sophocles play Antigone. A tragic hero...
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...The main protagonist of Ralph Ellison invisible man is not the only one who remains unseen as the novel unfolds. Another element also cloaked in invisibility follows our unknown character throughout the novel, changing both beat and tempo as the novel develops. Rather like the invisible man, the ongoing musical beat that runs through out the invisible man’ may not be visible yet it is very clearly felt and heard. It is the distinct incorporation of the inflowing musical beat that allows for an interloping of ideas based upon the visible, the invisible and the creative with the novel. The main theme within the ‘invisible man’ is that of the more obvious theme of invisibility. Ellison explores through the use of music such as in the form of jazz the moments or experiences where invisibility takes control. Such breaks in visibility signify a chance for the protagonist to escape and break the mould of the what can be called ‘constitutional visibility’ allowing for the exploration of ones own identity and individuality. An individuality and identity that is not in any way restricted to what is generally accepted as visible. Our Guarantee To You No Quibble Money Back Guarantee! We are so confident in our ability to produce top level academic work that we are prepared to back it with a "No Quibble, Money Back" guarantee! Such breaks that allow for such explorations to take place within the novel can be seen from the very beginning where in the prologue the protagonist recalls...
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...Deceit, as my title, because, sometimes in true life it’s difficult to determine the two. In this play deceit plays a major role. It first starts one week before the wedding. Hero and her friends decided that Beatrice and Benedick argue too much and did indeed share feelings for each other, And so they plotted a trick to make them fall in love, they included everyone in it, Don Pedro, Hero, Claudio pretended to say things about Beatrice loving Benedick so, that Benedict could hear. And then also pretended to speak alone in the garden, knowing of Beatrice’s presence they continued to say things of Benedick’s Love for Beatrice, which wooed the both of them and they both fell in love, but, had no idea they were being Deceived. But every ones happiness is to soon come to an end, as Don Jon plots to ruin their wedding.. He has Borachio pretend to court and make gestures at Hero, while Claudio and Don Pedro watched, when indeed it was Margaret whom he courted and had sex with. During my research of “Much Ado about Nothing”, I found that this is a perfect example of” Trickery or Deceit”, or both? My studies show that the author has an open mind and left the decision to be made by the audience. In the play Much Ado about Nothing, the word Nothing in the play’s title, pronounced in the Elizabeth English. Suggests a pun on the idea of overhearing, as well as a Musical notation Over hearings are constant, and are essential to the process of both misunderstanding and ...
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... * The Call to Action * The Catalyst Refusal of the Call: The hero refuses to take action hoping his life with go back to normal. Which it will not. Also known as: * Threshold Guardians * Defining Moment * Separation * Reluctance * New Situation * The Debate * Meeting Mentor Crossing the First Threshold: The hero is pushed to a point of no return where he must answer the call and begin his journey. Also known as: * Energetic Marker 1: End of the Beginning * The Point of No Return * Committing to the Goal * Act One Climax * Plot Point One * Break into Two * Turning Point One * The Threshold * Awakening ACT TWO Tests, Allies, and Enemies: The journey through the special world is full of tests and obstacles that challenge the hero emotionally and/or physically. Also known as: * The Fun and Games * Resistance and Struggle * Rising Action and Obstacles * Belly of the Whale * Push to Breaking Point * The Special World * Road of Trials Mid-Point: The energy of the story shifts dramatically. New information is discovered (for positive or negative) that commits the hero to his journey. Also known as: * Energetic Marker 2: Halfway Point * Mid-Act Climax * Moment of Grace or the Mind-Fuck Moment * Moment of Enlightenment * Commitment to the Journey * Progress Approaching Inmost Cave: The hero gets closer to reaching his goal and must prepare for the upcoming battle...
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...tragic plays, he believed they were important because they show how good ordinary people can make terrible mistakes that can lead to their downfall. These events cause the protagonist to suffer or gain insight. The goal of the tragedy is to evoke fear and pity to the audience. Why wouldn't the audience endure a play that makes them feel all these painful emotions? Aristotle explain that pity and fear are natural human responses to pain and suffering. By the end of the play these feelings are replaced by another feeling called catharsis which is an exhilarating sensation feeling of relief which comes after purging these negative emotions . Catharsis is the same kind of guilty pleasure we get after watching a horror film, aristotle lists 6 essential things every good tragedy should have : 1. Plot not the story itself, the structure of the play. A good plot was the result of a cleverly constructed chain of cause and events, which is in his...
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