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Character analysis elizabeth bennet
Elizabeth Bennet Character analysis
Mr. bennet character analysis
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Alan Bennett's A Cream Cracker Under the Settee
How does Alan Bennett reveal Doris’ character, life and attitude in the dramatic monologue “a cream cracker under the settee”?
Many of Bennett's characters are unfortunate and downtrodden, as in the Talking Heads series of monologues that was first performed at the Comedy Theatre in London in 1992, and then transferred to television. This was a sextet of poignantly comic pieces, each of which portrayed several stages in the character's decline from their initial state of denial or ignorance of their predicament, through their slow realization of the hopelessness of their situation, to a typically bleak Bennett conclusion.
The dramatic monologue, “a cream cracker under the settee” is from that group of six. It is from the point of view of an elderly lady called Doris, who is insistent that the world of her time is much better then the present. She dwells on the past and tells of how things were back then, and how it has changed for the worst. She had fallen while cleaning a picture of her husband Wilfred and most of the monologue is from Doris sitting on the floor in her living room where she fell. Her attitude to the modern world is that it used to be better then it is now, this also shows why she is disapproving of her home help, Zulema, who had not cleaned the picture in the first place.
Throughout the play Bennett reviles Doris’ character by showing her affection to the past, she talks to old photographs of her dead husband, Wilfred, and talks aloud to him. This indicates Doris’ apparent loneliness and how she feels “left behind” by the rest of her generation. When talking about the people she new in the past like Wilfred, she takes on there voice, this shows how she...
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...e says it is and sends him away, “police man: are you alright? Doris: No. I’m all right.” This shows how Doris would rather die then loose her independence as she does not want anyone to think that she cannot take care of herself. This also shows how she has worked herself into a state of mind where she cannot allow herself to give in to the hardship of old age, and refuses to except anyone’s help, this could also be because she is embarrassed about the situation she has got herself into.
At the end of the monologue the last stage directions are “light fades” this shows how they are suggesting that Doris’ life has come to an end and she has given up, you can also take this view from her last line, “never mind. It’s done with now, anyway.” This leads us to the conclusion that Doris has given up, and knows it is time for her life to end, and that it is “done with now”.
The play focusses on three generations of Women, Nan Dear, Gladys and Dolly and where they felt as though they belonged. Nan Dear knew where she belonged and that was the humpy in the flats with her daughter and granddaughter. Nan Dear knows that she won't be accepted into white society just because she is an Aboriginal and those of a different colour or foreign country weren't accepted. Gladys and Dolly both wanted to be accepted into white society, they wanted to feel as though they belonged there.
Through persuading the audience to believe that death is a wonderful and relaxing thing, she takes on a very difficult task. A common thought of the end of life is that it is a ceasing of all things good.
The main idea showed in Trifles, the male character, and the empathy described by the females is why the author shows everyone that in every section of this play. Throughout the play, the women were being ignore and belittled by men. With their role, it is showing how back in the early 1900’s men were figured as gods. Women had to give all attention to the children, housekeeping and especially taking care of their spouse. Even though the women think very different as to what men use to think, they still maintain a close relationship in respecting the man 's job. According to Elke Brown, “ As a sheriff 's wife, she is married not only to Mr. Peters, the person but also to his profession”. The women are giving their world just so the men can be satisfied with the job they have and not cause any other problem other than their job. During the play, the men are only looking for hard concrete clues. They seem not to see the reality behind minor things. Mrs. Peters is directed by this belief until she remembers the stillness in her house after a child had died. This memory produces a dominant bond between her and Minnie 's experience of isolation and loneliness. The scene where exactly Mrs. Peters herself attempts to hide the box with the dead canary in it. She is well aware that this action that happens, which can apply to on the society and the way her husband wants the things done. Just because her husband stands
It is the first time that Lizabeth hears a man cry. She could not believe herself because her father is “a strong man who could whisk a child upon his shoulders and go singing through the house.” As the centre of the family and a hero in her heart, Lizabeth’s dad is “sobbing like the tiniest child”She discovers that her parents are not as powerful or stable as she thought they were. The feeling of powerlessness and fear surges within her as she loses the perfect relying on her dad. She says, “the world had lost its boundary lines.” the “smoldering emotions” and “fear unleashed by my father’s tears” had “combined in one great impulse toward
McGlinn addresses the third dialectic taking hold of Blanche: illusion versus reality. McGlinn points out that, like all the women in Williams’s plays between 1940 and 1950, Blanche “refuses to accept the reality of her life and attempts to live under illusion.” [Tharpe, 513]. Although McGlinn is accurate in noting Blanche’s conflict between gentility and promiscuity, the result of which is “self-defeat instead of survival” [Tharpe, 513], she fails to see that Blanche lives in both illusion and reality simultaneously, and it is this dialectic that is the slow poison which destroys her. This death-instinct gives us the fourth and last dialectic in Blanche: her struggle between death and desire.”
The play is about a young woman, Catherine who had been taking care of her father during his last years of life. Anne Heche plays Catherine. Prior to this play, I have never seen Anne Heche in any acting performance. I have to say she did an outstanding job in her portrayal of Catherine. She did a fantastic job of immediately drawing you into Catherine’s world. She aptly portrays the characteristics of a girl who never got a chance to grow up and the slight madness of the genius she inherited from her father. One can easily feel sad for her because after all she gave up all her dreams to take care of her ailing father. Anne Heche plays Catherine so well that it easy for you to fall in love with Catherine and desire only good things for her.
In Part I of the novel, Agee quickly establishes the importance of the father-son relationship. Rufus Follet, Jay's six-year-old son, accompanies his father to the silent film theatre against the objection of Rufus's mother, who finds Charlie Chaplin (one of James Agee's heroes) “nasty” and “vulgar.” This disagreement underscores the marital conflict that underlies Rufus's ambivalent feelings toward both his parents. When Jay takes Rufus to a neighborhood tavern after the picture show, despite the father's warmth and love for his son, it is clear that the father's pride is constrained by the fact that the son's proclivities, even at this early age, follow the mother's interests in “culture” rather than the father's more democratic tastes for athletic ability and social pursuits. Tensions between Rufus's parents are apparent as Jay's drinking and “vulgar” habits become a point of contention in the household, with the child Rufus caught between his sometimes bickering parents. For her part, Mary Follet is a character whose extreme subjection to moralistic attitudes suggests...
To begin, in both plays the men dismiss the women as trivial. In Trifles, when Mrs. Wright is being held in jail for the alleged murder of her husband, she worries about the cold weather and whether it will cause her fruit to freeze which will burst the jars. After the women come across a shattered jar of canned fruit, they converse about Mrs. Wright’s concern about the matter. Mrs. Peters states, “She said the fire’d go out and her jars would break” (Glaspell 918). The women here identify with Mrs. Wright’s concern, because they understand the hard work that goes into canning as part of the demanding responsibilities women endure as housewives. The Sheriff’s reply is “Held for murder and worryin’ about her preserves” (Glaspell 918). In other words, the men perceive the event as insignificant; they clearly see women as a subservient group whose concerns hold little importance. Likewise, the reader can relate to this treatment in A Dollhouse, when Torvald complains to Nora about spending Christmas time the previous year making frivolous ornaments instead of devoting it to family. Torvald says, “It was the dullest three weeks that I ever spent!” (Ibsen 1207). He believes her role i...
Every time the family comes to a confrontation someone retreats to the past and reflects on life as it was back then, not dealing with life as it is for them today. Tom, assuming the macho role of the man of the house, babies and shelters Laura from the outside world. His mother reminds him that he is to feel a responsibility for his sister. He carries this burden throughout the play. His mother knows if it were not for his sisters needs he would have been long gone. Laura must pickup on some of this, she is so sensitive she must sense Toms feeling of being trapped. Tom dreams of going away to learn of the world, Laura is aware of this and she is frightened of what may become of them if he were to leave.
Mrs. Mallard’s repressed married life is a secret that she keeps to herself. She is not open and honest with her sister Josephine who has shown nothing but concern. This is clearly evident in the great care that her sister and husband’s friend Richard show to break the news of her husband’s tragic death as gently as they can. They think that she is so much in love with him that hearing the news of his death would aggravate her poor heart condition and lead to death. Little do they know that she did not love him dearly at all and in fact took the news in a very positive way, opening her arms to welcome a new life without her husband. This can be seen in the fact that when she storms into her room and her focus shifts drastically from that of her husband’s death to nature that is symbolic of new life and possibilities awaiting her. Her senses came to life; they come alive to the beauty in the nature. Her eyes could reach the vastness of the sky; she could smell the delicious breath of rain in the air; and ears became attentive to a song f...
Contrastingly, Mrs. Darling, his wife, is portrayed as a romantic, maternal character. She is a “lovely lady”, who had many suitors yet was “won” by Mr. Darling, who got to her first. However, she is a multifaceted character because her mind is described “like the tiny boxes, one within the other, that come from the puzzling East”, suggesting that she is, to some extent, an enigma to the other characters, especially Mr. Darling. As well as this, she exemplifies the characteristics of a “perfect mother”. She puts everything in order, including her children’s minds, which is a metaphor for the morals and ethics that she instils in them. Although ...
Winterbourne’s aunt is also critical of the way in which Daisy carries herself in social situations with men. In fact, Daisy has become the primary focus of gossip in Mrs. Costello’s circle of friends. Miss Miller has become notorious for the way she carries on with men and openly flirts and goes out in public with them unchaperoned. This is breach of ...
Alan Bennett’s play A Cream Cracker Under The Settee begins (and continues) with the monologue of Doris, the seventy-five years old widow. She appears alone onstage which automatically highlights her, and gives her importance. Having only one character present will inevitably draw the attention to them, which attention might remain until the end of the play despite knowing whether or not she will continue being the only
Clarissa’s memories of Bourton, of her youth, are brought back to her vividly by just the “squeak of the hinges”. . . [and] she had burst open the French windows and plunged at Bourton into the open air” (3). The intensity of these memories is what makes them so much a part of what she is– everything in life reminds her of Bourton, of Sally Seton, of Peter Walsh. Peter and Sally were her best friends as a girl, and “with the two of them”. . . she shared her past.... ...
The writer describes Robyn in opposition to her lover, Charles. He stays at home while she is out with her work. There is a discrepancy between the Victorian and Modernist doctrines, in the latter it seems that the roles of the woman and male are reversed. “Charles led a more subdued and private life. He kept the flat tidy while Robyn was out doing