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Essay review cyrano de bergerac
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Love, Betrayal, Hubris, and Relationships in Cyrano de Bergerac
French authors and playwrights have been acclaimed worldwide for their dynamic prose, complex situations, and unpredictable endings. The same praises hold true for Edmond Eugene Alexis Rostand. Born of Provencal ancestry on April 1, 1868, Rostand was well-learned, as evidenced by his extensive childhood education as a student of the lycee of Marseille. His father was a prominent member of the Marseille Academy. As a direct result of this high influence, Rostand concluded his studies at the College Stanislas in Paris. He studied, under the direction of the then-renowned Professor Rene Doumic, the works of those creme de la creme authors held in high esteem -- Victor Hugo, Alfred de Musset, and William Shakespeare. His interactions with both Spanish and French cultures helped augment his success as a dramatic poet. Furthermore, Rostand assisted Emile Zola in supporting Captain Dreyfus, who was unjustly convicted of treason (Kahr 186).
As a Meridional, Rostand was heavily inspired by Victor Hugo. In college, Rostand found "a literary world . . . where naturalism and exoticism flourished" (vii). This attitude was formed as a result of the catastrophic Franco-Prussian War of 1870. As a member of the 1880s generation, Rostand was also influenced to become the ideal Romanticist of his time. Rostand's fourth play, Cyrano de Bergerac, afforded him the most fame. Rostand generally modeled his plays after traditional, romantic subjects and settings. A vast majority of the success of Rostand's play can be accredited to an interesting plot, a rich and sophisticated vocabulary, and real-life dialogue (to those of his lifetime). Cyrano de Bergerac, the play, debuted ...
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"Rostand, Edmond." The New Book of Knowledge. 1994 ed.
"Rostand, Edmond." The New Encyclopedia Britannica. 22nd ed. 1994.
Outline
I. Introduction
A. Background
B. Inspiration
II. Leading to Cyrano
A. Reasons
B. Rostand's style
C. Debut
III. Precis of Cyrano
IV. Commenting on Cyrano
A. Length of Play
B. Mentality of Cyrano characters
C. Examples
V. Rhetoric devices
A. Tone
1. Commentary-example 1
2. Commentary-example 2
B. Diction
1. Commentary-example 1
2. Commentary-example 2
C. Point of view
1. Commentary-example 1
2. Commentary-example 2
VI. Overall Theme
A. Major Theme
B. Subsequent major themes
VII. Conclusion
A. Issues emphasized
B. Rhetoric devices
C. Overall conclusion of Rosatnd's work
D. Clincher
“Everything has beauty, but not everyone sees it.” (Confucius) Cyrano’s insecurity of his nose effects his relationship with Roxane. In Edmond Rostand’s play Cyrano De Bergerac, Cyrano’s insecure and eloquent self-perception results in Cyrano’s companionship & loving in his relationship with both Christian & Roxane. Cyrano’s level of eloquence helps him combat the insults of his nose. Cyrano is a poetic, witty, & eloquent man who is insecure & has trouble showing his true feelings for Roxane .Cyrano and Christian work together to win Roxane’s heart, and at the end Cyrano allows love to kill him, even after Roxane discovers & reciprocates his feelings.
Society tends to misjudge people base on their appearances instead of their personality. This can be seen in the play Cyrano De Bergerac by Edmond Rostand. In which Roxane represents that vile aspect of society. Roxane is attracted to Christian based on his looks, and under minds Cyrano because of his appearance. Society misjudgment of people cause oppression on an individual and it is from oppression and misjudgment f character that causes self consciousness to be born. Cyrano exhibits this self consciousness by helping Christian. Such oppression or self conscious aids to form magnificent characteristics attributes such as the ones portrayed by Cyrano throughout the novel. After all of its societies misjudgment that causes Cyrano to be the character that he is.
When we think about the force that holds the world together and what makes humans different from animals, one answer comes to our minds - that humans can love. Love is a state of mind that cannot be defined easily but can be experienced by everyone. Love is very complicated. In fact it is so complicated that a person in love may be misunderstood to be acting in an extremely foolish manner by other people. The complexity of love is displayed in Rostand’s masterpiece drama Cyrano de Bergerac. This is accomplished by two characters that love the same woman and in the course neither one achieves love in utter perfection.
While reading Cyrano de Bergerac, I found myself often wondering whether or not Cyrano had led a happy life. Actually, I never once wondered that, but that is irrelevant, because Cyrano’s happiness is the focus of this essay. Was he happy? Truth be told, I cannot say for sure. If we look upon his life, it would seem that he was a bit of a martyr, always sacrificing his happiness for the sake of others. This is probably the case, but I do not believe that he led his life with his happiness as any sort of goal. That will be a defining case in my argument. What I really believe is that he simply did not care about his happiness. In that sense, he did not so much sacrifice it, as he annexed and divided it when he saw fit. To a further extent, this apathy towards himself probably came from a low self-worth, almost certainly spawned not from his elephantine nose, but the fair maiden Roxanne. Finally, the nose itself, the very icon of de Bergerac, was probably not the problem that Cyrano believed it to be. All of this, however obscure it may seem, is crucial to the question posed of me now.
Zola, Emile. The Dreyfus Affair: 'J'accuse' and Other Writings. Ed. Alain Pagès. Trans. Eleanor Levieux. N.p.: Yale UP, 1996. Print.
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