to the theatre a passionate and convulsive conception of life and it is in this sense of violent rigour and extreme condensation of scenic elements that the cruelty on which it is based must be understood.”45 This placing of the two contrary worlds of violence and tenderness against each other becomes the pivot of the play. The tragedy comprises the truth of the Darwinian Naturalism “struggle for existence and survival of the fittest” as stated in his Origin of the Species, and further shows that the weaklings are ruthlessly crushed by the strong and the mighty in the fiercely competitive society. Physical, moral, and spiritual powers are needed for the safeguarding good and for the annihilation of evil or else, the world would be the most …show more content…
fraught) with sex and violence, again. But he did. Just sixteen months later, he wrote Sakharam Binder. It evoked more resistance from the censor board than Gidhade had.46
Although Tendulkar depicts the evil tendencies of human nature one can easily observe his concern for the brutal and ferocious characters. The vulture-like members of a degenerate Pitale family, abusing each other and speaking in a vulgar, rude language, ready to assault murderously for getting their trivial desires fulfilled, actually signify the angry and frustrated post-war generation. The tender-hearted, generous, innocent, docile persons leading a life like lambs among the wolves designate that virtue always suffers in the company of vice.
The Marathi critic Vasant Dahake looks upon the characters Umakant, Ramakant, and Manik the victims of circumstances. In his article, he states:
Outwardly, the characters Umakant, Ramakant, and Manik in the play
Gidhade, appear indecent, violent, and indifferent. However, they are grief- stricken somewhere in the heart of their hearts. Individually speaking,
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If the world of Ramakant, Umakant, Manik, and Papa symbolizes evil aspects inherent in human nature, the world of Rama and Rajaninath symbolizes its tender aspects. Although Rama’s relationship with Rajaninath is extra-marital one, one should not ignore the fact that it is the only human and genuine one. Tendulkar succeeds here in projrcting the tragedy of Rama and Rajaninath in naturalistic terms. Similarly, by placing of these two worlds of gentleness and aggression against each other, he introduces a new trend of avant-garde movement – the “Theatre of Cruelty” in Marathi. Manchi Sarat Babu precisely
These two plays show dramatically the struggle for authoritative power over the characters lives, families, and societies pressures. The overall tragedy that befalls them as they are swept up in these conflicts distinctly portrays the thematic plot of their common misconception for power and control over their lives.
"An eye for an eye will make the whole world blind"(Gandhi) An eye for an eye, or revenge, has been a theme that has shown up in many literary pieces throughout history. Although revenge is a common theme in many literary pieces, the reason and outcome of the revenge is often very varied. In “A Poison Tree” by William Blake shows that wrath left unattended will cause more damage oneself and others, in this case resulting in death, as it grows and develops into a form of revenge. In “The Cone” by H.G. Wells there is also a theme of revenge brought about by the entrapment of emotions leading to a revengeful death but this death results in the seeker of revenge feeling remorse. This essay will compare how the murderers in both “A Poison Tree” and “The Cone” feel about the deaths they’ve caused and how their emotions affect the overall theme of the text as a whole.
...such that individuals disregard the desires of others, even those who are supposedly close to them, in order to advance their own goals. The combination of subthemes allows her to easily juxtapose Velutha with those who aim to ruin his life. Roy also emphasizes the importance of caste and maintaining social status through her depiction of Velutha’s father’s reaction to his son’s affair with a woman of a higher social class. Roy’s political beliefs can be seen interspersed throughout the story and she repeatedly comments on the post-colonial situation in India through the actions of her characters. The amalgamation of Roy’s views on the moral quality of human beings and the political character of 20th century India come together to support her assertion that those who are overly selfless and spend no time trying to get ahead in life ultimately lose in the long-term.
The Ramayana is the most famous and well-known of all Indian epics, originally based on an epic poem it has taken many variations and forms over the centuries. Traditionally the story centers on the hero Prince Rama, who is the embodiment of virtue and perseverance, as he is wrongfully denied his birthright of being crowned king and instead is unjustly exiled into the forest where he encounters his fair share of dilemma. In R. K. Narayan’s condensed, modern version of The Ramayana the classic conflict of duality is a predominant theme, as Rama faces many instances of uncertainty and trivial chaos which are eventually balanced by order and goodness under the laws of karmic causation and dharma alike which he virtuously strives to uphold. Nina
Through comedy and tragedy Shakespeare reveals the vast expanses and profound depths of the character of life. For him they are not separate worlds of drama and romance, but poles of a continuum. The distinction between tragedy and comedy is called in question when we turn to Shakespeare. Though the characters differ in stature and power, and the events vary in weight and significance, the movements of life in all Shakespeare's plays are governed by the same universal principles which move events in our own lives. Through myriad images Shakespeare portrays not only the character of man and society but the character of life itself.
As a Shakespearean tragedy represents a conflict which terminates in a catastrophe, any such tragedy may roughly be divided into three parts. The first of these sets forth or expounds the situation, or state of affairs, out of which the conflict arises; and it may, therefore, be called the Exposition. The second deals with the definite beginning, the growth and the vicissitudes of the conflict. It forms accordingly the bulk of the play, comprising the Second, Third and Fourth Acts, and usually a part of the First and a part of the Fifth. The final section of the tragedy shows the issue of the conflict in a catastrophe. (52)
Even though this play is focused on the evil in human nature and portrays human nature at its worst, the audience is left with some hope of good triumphing over evil.
Aravind Adiga in his debut novel The White Tiger, which won the Britain’s esteemed Booker Prize in 2008, highlights the suffering of a subaltern protagonist in the twenty first century known as materialism era. Through his subaltern protagonist Balram Halwai, he highlights the suffering of lower class people. This novel creates two different India in one “an India of Light and an India of Darkness” (Adiga, p. 14). The first one represents the prosperous India where everyone is able to dream a healthy and comfortable life. The life of this “Shining India” reflects through giant shopping malls, flyovers, fast and furious life style, neon lights, modern vehicles and a lot of opportunities which creates hallucination that India is competing with western countries and not far behind from them. But, on the other side, the life nurtures with poverty, scarcity of foods, life taking diseases, inferiority, unemployment, exploitation and humiliation, homelessness and environmental degradation in India of darkness.
Lately Indian novelist has shifted from rural to metro India, which is the living soul of the country. The problems of urbanization and the problems faced by the people of metro India find a powerful expression in Indian English fiction.
...ith the lack of closure the author has paved many paths, making one unable to give a proper retelling of the play due to various interpretations. The play has also slyly inserted a philosophy on human life, the uncertainty and how it is a major part of human life is portrayed through this play. All these characteristic together make this play a very good play, it makes one want to live forever as to see what future generations would interpret the play as. In conclusion, this text is written to make the readers think and participate as active members in the reading of the play.
Over the years, the essence of theatre has not only been to entertain, but to also allow the build up of a culture in a quickly growing uncultured generation. Regardless of the existence of so many other forms of entertainment, theatre has always established a commanding niche in most people’s hearts, and is undoubtedly the most realistic form of entertainment (Bruce 12). The acting bit of theatre performances makes things real and in their immediate contexts, allowing the audience to draw conclusions based on what they see. In a majority of cases, also, the play’s setting is such that there is description of definite subjects without which the play cannot make meaning. The above research takes into account A Number by Caryl Churchill. A great deal of issues and aspects can be learnt from the above play with diverse moral lessons, as well. It has long been proved that expression via acting is more direct than when the audience accesses literature in other means. This direct approach gives a broader meaning to a variety of issues in the play, which were not understood, say in videos. Additionally, the play A Number is full of theatrical ideologies with clear depiction and expression of every event. Theatricality and empowerment set this play different from other plays because of clarity in events’ sequence. The author also strives to express the idea of cloning in society as one main means of families’ downfall. This further comes with what literature calls the ‘fate of tragic heroes’, an indication of what is at stake when a person does things out of the ordinary to please him or herself.
Rama demonstrates how one should behave within the hierarchy of one’s family. He is unconditionally loyal to his father to the point that he no qualms over remaining in exile for fourteen years in order to preserve the sanctity of his father’s word, thus protecting his father from “damming himself in this and other worlds” (Narayan 45). Protecting the value of his father’s promise takes precedent over Rama’s other duties as a son, like, for example, partaking in his father’s funeral
Although the author presents the English prejudice in the novel in many situations, he also presents the Indian reaction and behavior. The author demonstration of British behavior vs. Indian behavior gives the readers the field of free thinking and association to decide for themselves which side they would favor. It also questions the validity of criticisms that think of this book as a bias novel that offends British people. However, the author does indicate his favoritism towards Indians throughout the novel by presenting them as the weak and helpless characters that do not have any authority in their own country, but they poses scientific and spiritual knowledge that earns them respect among their society.
An individual’s response to conditions of internal and external conflict is explored throughout literature. In his play, Hamlet, Shakespeare delves into the themes of appearance versus reality, lies versus deceit, rejection versus self doubt and tragedy, and in doing so attacks the frivolous state of humanity in contemporary society. In order to explore these themes, however, he uses several forms of conflict to project his opinions and expand his ideas relating to the themes of the play. Internal conflict, as well as external conflict are dominant features of his works, and in Hamlet are made evident through a succession of dire events which can attack and destroy someone. However perhaps the most captivating form of conflict Shakespeare uses to expand and explore the ideas presented within the text is the conflict between the self and the universe.
...h other or from their situation in general. The optimistic view of the play shows a range of human emotion and the need to share experiences alongside the suffering of finite existence; governed by the past, acting in the present and uncertain of the future.