Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
An essay on SELFISHNESS
An essay on SELFISHNESS
An essay on SELFISHNESS
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: An essay on SELFISHNESS
3. “The Learned Ladies” is a story about a girl named Armande who is in love with a man named Clitandre. All seems right in the world, especially when Armande’s father Chrysale has given them permission to marry, until Armande’s no-nonsense mother decides to marry her off to another man. Armande tries to fight off her mother’s strong will, but the two are no match for her mother who is enthralled with Trissotin, the man she has set her daughter up to marry. Armande is convinced Trissotin is only after their money, and she implores her mother to see reason. At the conclusion of the play Artista plays a clever trick by saying the family has lost all of their money, to which Trissotin immediately bolts, and Armande gets to marry Clitandre. …show more content…
4.
The intended purpose of “The Learned Ladies” was to teach people that almost everyone has ulterior motives. The first example we can see of this is with Trissotin who only wants to marry Armande to get to the family fortune. The second example we can see of people with ulterior motives is with Armande’s sister Henreitte. Henreitte only supports the marriage of her sister to Trissotin because it means she would have another shot with Clitandre, whose advances she previously shot down. The final example we can see with this idea is when Chrysale defends his daughter in marrying the person she wants to marry. Chrysale wants to help his daughter, but his ulterior motive may be having a reason to finally standing up to his …show more content…
wife. 5. What I really enjoyed about this play was the talented acting. One actor that really stood out to me was Belise played by Wendy King. Wendy played very well to her character who was flamboyant and “boy crazy”. 6. Wendy did an excellent job of bringing this character to life on stage with her acting. The first example of her displaying her “boy crazy” personality was in the beginning when she thinks Clitandre is in love with her. The actions and expressions she used in this scene were very funny and fit her character well. The next scene where we see her showy personality is when Trissotin is trying to read his poetry to the ladies. Belise is basically swooning in this scene with Trissotin and the others. The final example of Wendy’s excellent acting showing through was at the end of the play when she is still oblivious that it is not her that Clitandre loves, but Armande. Clitandre makes some sort of statement along the lines of “now I can marry the woman I truly love” to which Belise steps forward. 7. The theme portrayed in “The Learned Ladies” is that you have to stick up for yourself. You will never get what you want in life if you let other people make decisions for you. 8.
The theme of sticking up for yourself is exhibited multiples times throughout this play, but perhaps the character that displays it the most is Armande. Immediately from the start when she hears of her mother’s plant to marry her off to Trissotin, she fights back. She tells her mother she is in love with another man, and that she has no intention of marrying Trissotin. Another character who learns about this theme in the play is Chrysale. Chrysale up to this point has let his wife walk all over him. This is especially true in the case where Martine fires the cook for not speaking proper English. Chrysale knows this is an unreasonable cause to fire someone for, yet he lets his wife do it anyways. Chrysale makes up for this later when he brings back the cook to be reinstated. By the end of the play Chrysale has learned to stand up for his own opinion, not just passively follow his wife’s to keep her
happy.
the women are more observant than the men. The women in the play discover Mrs.
Throughout the plays, the reader can visualize how men dismiss women as trivial and treat them like property, even though the lifestyles they are living in are very much in contrast. The playwrights, each in their own way, are addressing the issues that have negatively impacted the identity of women in society.
She not only lost a newfound love, but she was also being torn away from her father, mother, and sister. However, her troubles had only just begun. Kieu and Scholar Ma left for his home—a brothel he owns and operates alongside a woman named Dame Tu. Kieu was shocked to find out how little she knew about the man she married. After learning of Kieu’s misfortune and the reason she is there, Dame Tu allowed Kieu to live in the brothel, but not be obligated to host guests (Thong 66). After many meaningless, dreary days, a man visited the brothel that appeared to be taken with Kieu (Thong 68). He offered to come under cover of night and rescue her. He came to her as promised, put her on her own horse, and they rode away. Soon into the ride, he abandoned her, and she was left lost and alone. A band of men on horses surrounded her and dragged her back to the brothel (Thong 70). It was then Kieu realized she was set up by Dame Tu, and the man never had any pure interest in her at all. Dame Tu brutally beat Kieu upon her return (Thong 70). Kieu’s heart was broken once again over her twisted fate. After her attempt to run away, Kieu was no longer allowed the privilege of not welcoming guests. Dame Tu taught her the ways to charm and ensnare men,
Shakespeare’s Much Ado about Nothing is, on the surface, a typical romantic comedy with a love-plot that ends in reconciliation and marriage. This surface level conformity to the conventions of the genre, however, conceals a deeper difference that sets Much Ado apart. Unlike Shakespeare’s other romantic comedies, Much Ado about Nothing does not mask class divisions by incorporating them into an idealized community. Instead of concealing or obscuring the problem of social status, the play brings it up explicitly through a minor but important character, Margaret, Hero’s “waiting gentlewoman.” Shakespeare suggests that Margaret is an embodiment of the realistic nature of social class. Despite her ambition, she is unable to move up in hierarchy due to her identity as a maid. Her status, foiling Hero’s rich, protected upbringing, reveals that characters in the play, as well as global citizens, are ultimately oppressed by social relations and social norms despite any ambition to get out.
Les Femmes Savantes The Learned Ladies is an astounding play. As each new character enters time transforms characters are bedazzled, enchanted and wigged we know we are sharing the stage with royalty. The women’s gowns are extremely detailed with hoop shirts to make them puffy the men are wearing exceptionally detailed waistcoats. This comical drama is set in the living room or “salon” of the family. This plays plot is focused on one major couples chaotic and forbidden love. The characters are joined by blood and lead by the controlling wife, Philamonte (Maya Jackson) and her weak spouse Chrysale (Edward Brown III). Jackson’s voice is directing with a profound tone that would have the capacity to stop anybody dead in their tracks. It is not
The power of women is different than that of men. Women display a subtle and indirect kind of power, but can be resilient enough to impact the outside world. In Trifles, Susan Glaspell delivers the idea that gender and authority are chauvinistic issues that confirm male characters as the power holders, while the female characters are less significant and often weak. This insignificance and weakness indicated in the play by the fact that the women had the evidence to solve a murder, but the men just ignored the women as if they had no value to the case at all. This weakness and inability of the female to contest the man’s view are apparent. According to Ben-Zvi, “Women who kill evoke fear because they challenge societal constructs of femininity-passivity, restraint, and nurture; thus the rush to isolate and label the female offender, to cauterize the act” (141). This play presents women against men, Ms. Wright against her husband, the two women against their spouses and the other men. The male characters are logical, arrogant, and stupid while the women are sympathetic, loyal, and drawn to empathize with Mrs. Wright and forgive her crime. The play questions the extent to which one should maintain loyalty to others. Mrs. Peters and Mrs. Hale try to withhold incriminating evidence against Mrs. Wright, and by challenging the reader to question whether
...they represent concerning women’s roles in society. Adele plays to entertain her husband and friends at parties, whereas Reisz plays for the art of the craft, always striving to be more proficient and more artistic. Mademoiselle Reisz easily sees past Edna's front, welcomes Edna into her life, and helps usher in the biggest change of Edna's life. Mademoiselle Reisz and her personality serve as the catalyst for the changes that Edna makes in her life. Edna strives to be Mademoiselle Reisz concerning her element of independence, while Leonce Pontellier, Edna’s husband, would like her to be more like Adele Ratignolle, and it is Edna who is striving to find the delicate balance in the middle.
The female characters in Molière’s Tartuffe display feminist behaviors years before the feminist movement emerged historically. Many of their actions, words and behaviors are completely out of character for women of their time. Moliere makes a strong statement with this play by presenting female characters that go against convention. The gender inequality when the Enlightenment began was extreme. The women in this play try to fight against this inequality and in the end it is the patriarch of the family that is fooled by Tartuffe yet most of the female characters remain un-fooled throughout the play. Two of the female characters in this play, Doreen and Elmire play significantly different roles in the home. They have different personalities, different household duties and drastically different social standing. As different as these women are, they both show signs of early feminism. To various degrees they fight for want they believe is right. Dorine speaks her mind openly and does not hold anything back. Elmire is sneakier and uses her sexuality to get what she wants.
This play brings out the differences between the upper class to that of the middle class and lower class people. Moreover, the characters’ follies and foolishness lies at the core of this drama. Deceit and lies, love and marriage are also some major themes in this drama. There are three acts in this drama, all interlinked with each other. The first act of this drama introduces us to the main characters, their complications and sufferings. There are more complications in the second act. These complications lead the plot to its climax and finally the happy conclusion in the final act. The plot of this play is based on inconsistent actions, unbelievable characters and coincidences. The plot is compact and closely knit but the audiences appreciate the play not because of its unity of scenes but due to the art of characterization employed in the play by Wilde.
Throughout the play, Thomasina makes many immature statements to any conversation associated with sex, but why it is that her great intelligence does not match her level of maturity? There may be many factors that play into the role as to why Thomasina’s maturity does not correlate with her level of intelligence, but what the reader can comprehend and recognize is that these two qualities do not balance each other or work directly with each other. Thomasina’s contradictory nature proves that knowledge plays a larger role in society than maturity, because Thomasina is successful throughout the
The Feminist Subtext of A Midsummer Night's Dream Shakespeare's works have persistently influenced humanity for the past four hundred years. Quotations from his plays are used in many other works of literature and some common phrases have even become integrated into the English language. Most high schoolers have been unsuccessful in their pursuit of a degree and college students are rarely afforded the luxury of choice when it comes to studying the board. Many aspects of Shakespeare's works have been researched but one of the most popular topics since the 1960s has been the portrayal of women in Shakespeare's tragedies, comedies, histories and sonnets. In order to accurately describe the role of women in Shakespeare's A Midsummer Night's Dream, one must first explore the female characters in the text.
His lack of education has deprived him of good manners as well as good sense. The scene itself initially seemed inconsistent with the rest of the play. The prejudice the women tolerate is evidenced by their tendency to dress in men’s clothing in order to be heard or considered (Olson). As women, their voices are inhibited or disregarded; they are overshadowed and overlooked by society. Portia, for example, has little choice but to consent to being the prize in her “loving” late father’s lottery.
In the plays female sexuality is not expressed variously through courtship, pregnancy, childbearing, and remarriage, as it is in the period. Instead it is narrowly defined and contained by the conventions of Petrarchan love and cuckoldry. The first idealizes women as a catalyst to male virtue, insisting on their absolute purity. The second fears and mistrusts them for their (usually fantasized) infidelity, an infidelity that requires their actual or temporary elimination from the world of men, which then re-forms [sic] itself around the certainty of men’s shared victimization (Neely 127).
The Second Mrs. Tanqueray is an effective, well-made play because of its structure and the way it impacts the audience in the end. As the elements of the well-made play entail, we are introduced to all of the characters and have an understanding of their history and the troubles that their history can cause. More precisely, this is a story of a very non-conventional woman of this audience's time and by going through the play I will identify its key representations of the well-made play. Aubery Tanqueray, a self-made man, is a widower at the age of forty two with a beautiful teenage daughter, Ellean whom he seems very protective over. His deceased wife, the first Mrs. Tanqueray, was "an iceberg," stiff, and assertive, alive as well as dead (13).
The play opens with Elesin Oba, the king’s horseman, on the day of his appointed death. The king has died and his chief horseman is expected by law and custom to commit suicide and accompany his ruler to heaven. Walking among the woman of local market, followed by an entourage of drummers and a praise-singer, Elesin proclaims, “This market is my roost. When I come among the women I am a chicken with a hundred mothers. I become a monarch whose palace is built with tenderness and beauty.” Elesin refers to the women generally as mothers. To him, there is no other place that could offer such comfort. Here we see women playing their traditional roles as mothers, not as women who gave birth, but as women who nurture and support morally and spiritually. The women of the market sing his praises, dress Elesin in their richest cloths and dance around him. The women love to spoil their children, just like they love spoiling Elesin.