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The beggars opera related topics
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The Beggar’s Opera by John Gay introduced a new theatrical structure in 1728. The comical play included well known balled interlaced with new melodies recognizable to most upper and lower classmen. This revision of the ballads was also a revision for operatic structure, composed of hidden satire. The play deliberately disregards all morality in order to deliver the expectations of an opera’s “happy ending.” With a compelling play, Gay definitely delivered a statement about the reflection of society. He reflected that theatergoers were easily seduced by an overtly sentimental storyline and had no interest in learning any moral lessons. The language proves the irony of the play, conveying which ever type of man, rich or poor, it is human nature …show more content…
This is an irony in its own because the person who opens the act is a beggar who defends his honor and reputation as a virtuous and honorable one. Despite his roots, he hints with a sign of arrogance that he will honor the elite audience expectations. This degree of assertion demonstrates an opposing form that a beggar instead of an elite classman is the center of entertainment setting forth this message. The characters in this play are schemers who only posses self-interest. Peachum is absurdly cruel and cements his status on the basis of dishonesty and betrayal. His businesses consist of prostitutes, highway men, and theft from others. However, Peachum is quick to dispose anyone who is no longer of use to him even at the expense of their death as the example with …show more content…
The appealing part about these lines is that it does not highlight or ridicule the characters for being immoral and irrational beings, but that Gay does not pass criticism on any of the characters for their actions and having these personal sentiments. Gay allows the audience to enjoy the state of moral corruption along with the characters because they are not punished or disciplined. Instead of Peachum realizing his wrong doing, the audiences is suppose to accept him being truthful about his character and not dwell on the immorality of it. Since the ballads were songs that were heard on the streets by all class members, Gay’s idea of putting these ballads into melodies that were easily recognizable to all, sends the message that every man is hypocritical because they can all relate to the streets despite their status. While the elite is trying to prove himself noble, in actuality there is no difference in the nature between him and the beggar since they are both corrupt. The language in the ballads, demonstrate these characters are duplicitous.
Despite the change in contexts, the values presented in Shakespeare’s play are wholly relevant to a twentieth century audience. The idea of ambition overriding the values of integrity and honesty, the struggle of the composer to attract a mainstream audience and the religious beliefs of the audience are all made evident in both texts. By comparing the two texts, the shift in context can be distinguished and the different representations of values are illustrated and an insight into the lifestyle of people past is
...the betrayal and dishonesty that is omnipresent in the play. Not only do they simply embody this concept, but they also serve to conclude the events of the play, by being the ending to what started the beginning.
created the play as a comedy, showing how the world might be in the times of the
I think the playwright hopes to teach people that money isn?t everything and that people who are arrogant and selfish will get their comeuppances eventually. The moral of the play still, applies to today?s society because it makes us think about the things we do that involve ignoring people less fortunate than us when we realise that there are Eva Smiths all around us just waiting for a chance to make it through the cruel world we live in.
...up the question of the value of truth, and whether the pain of knowing an awful truth is more important than the bliss of ignorance. This also applies to Death of a Salesman: while Oedipus chooses to pursue the truth, Jocasta and the Lomans try to live in naïveté and not face reality. The play also questions the increasingly proud leaders of the Athenian society who challenge the higher powers, i.e. men against the gods, when Oedipus reviles the oracles. The gods, he indicates, will always triumph when men, using their intellect, oppose them. One of the themes is that the course of things is partly based on the character's actions but mostly fate.
Lately, it would be difficult to find a person who speaks in the elaborate way that nearly all of Shakespeare’s characters do; we do not describe “fortune” as “outrageous” or describe our obstacles as “slings and arrows,” neither in an outward soliloquy or even in our heads. Lately, people do not declare their goals in the grandiose fashion that members of royal family of Thebes proclaim their opposing intentions: Antigone’s to honor her brother and Kreon’s to uphold his decree. Lately, people do not all speak in one unified dialect, especially not one that belongs specifically to the British upper class; Jack and Algernon’s dialogue is virtually identical, excepting content. Unlike the indistinguishably grandiose, elaborate, fancy way characters speak in Shakespeare’s plays, Antigone, The Importance of Being Earnest, and other plays written before the turn of the twentieth century, more recently written plays contain dialogue that is more unique to its speaker. This unique dialogue indicates a change in the sort of characters which drama focuses on which came with a newly developed openness to those who are different from us. Moving away from recounting tales of nobility, royalty or deities brought the lives of a common, heterogeneous populace to the stage and, with these everyday stories, more varied speech patterns.
The poem Ballad of the Landlord tells a story while bringing up a social injustice that existed in America. The poem begins by the tenant listing off broken aspects of the house that he had asked the landlord to fix. The landlord ignores these problems and insists that the tenant pay his ten dollar rent. The tenant says he will not pay until the problems are fixed. The landlord then threatens eviction and the tenant threatens to hit the landlord to quiet him. The poem ends with the reading of a headline “MAN THREATENS LANDLORD/ TENANT HELD NO BAIL/ JUDGE GIVES NEGRO 90 DAYS IN COUNTY JAIL” (Volume 1, page 1316, lines 31-33). This poem brings up the social injustices. The landlord, police and judges are all white and the tenant is black, this leads to an unfair and racist ruling of the case. The idea of storytelling or folklore in poems was a way to bring up injustices in the American society. This technique in early African Americans poems was a precursor for the later poetry of the Harlem
Here we run up against the bugbear of historically informed performance. So many of the treatises (in music and dance as well as in acting) depend on the student's imitation of an admired master, and a gradual perfection of "good taste" as his society constructed that elusive quality. We cannot recreate those apprenticeships, those saturations in a period aesthetic. However, by constructing exercises along the lines of a Renaissance aesthetic, we may expose some of the differences between what the Shakespearean audience saw, and what the North American audience sees today.
Many would perceive madness and corruption to play the most influential role in Hamlet. However, it could be argued that the central theme in the tragedy is Shakespeare's presentation of actors and acting and the way it acts as a framework on which madness and corruption are built. Shakespeare manifests the theme of actors and acting in the disassembly of his characters, the façades that the individuals assume and the presentation of the `play within a play'. This intertwined pretence allows certain characters to manipulate the actions and thoughts of others. For this reason, it could be perceived that Shakespeare views the `Elsinorean' tragedy as one great puppet show, "I could see the puppets dallying".
Titus Andronicus is a play marked by acts of horrific violence and littered with death and the destruction of others. Each violent act, however, serves to explain and sometimes encourage the motives of the play's memorable characters and impart a very tightly knotted plot. The structure of the play employs well-defined heroes and villains. Revenge is their key motivating factor. All of these elements combine to form a cohesive plot and contribute to the overall success of the story.
...did not want to go through the same consequences Oedipus went through. This shows that ignorance to the truth can affect ones self and others. The play is strengthened as a tragedy because the audience does not want to be like Oedipus and let their actions determine their destruction.
context of the piece and the society in which the characters are living in. Everything
The theatricality of everyday life is explored throughout the play. The world, as it may seem, is indeed one giant theater. Each individual goes through stages of their lives, conforming to a certain part of society in distinctive ways. Everyone is a victim of his or her own disguise, suggesting that subversion to a certain appearance can eventually become the reality. This is shown through one of the most dominant characters in the play, Rosalind. When she becomes banished from the court in which she resided, she leaves not with dismay but with strong idiosyncratic opinion of the male dominated court.
Upon an initial examination of William Shakespeare’s play, The Merchant of Venice, a reader is provided with superficial details regarding the moral dilemmas embedded in the text. Further analysis allows a reader to recognize the multi-faceted issues each character faces as an individual in response to his or her surroundings and/or situations. Nevertheless, the subtle yet vital motif of music is ingrained in the play in order to offer a unique approach to understanding the plot and its relationship with the characters. Whether the appearance of music be an actual song or an allusion to music in a mythological or social context, the world of Venice and Belmont that Shakespeare was writing about was teeming with music. The acceptance or denunciation
Shakespeare’s Antony and Cleopatra is aptly named, not just because the play centers around these two characters, but also because it encompasses the play’s fixation on the lovers’ oppositional relationship. On the surface level, Antony embodies the Roman ideals of a good, noble man, while Cleopatra represents the hyper-sexualized, dangerous Eastern woman. However, upon further examination both Antony and Cleopatra display complicated internal conflicts that effectively reverse these polar positions repeatedly throughout the play. In this way, the opposition between Antony and Cleopatra that exists on a simple, interpersonal level is echoed by more complicated, internal conflicts within each of these characters on a deeper, more individual level. The tension between the title characters creates the love that draws them together at the same time as it drives them further apart, thus establishing yet another layer of antagonistic relationships within the play. The importance of these oppositional relationships is underlined most starkly in Act II.2. In particular Enobarbus’ speech describing Cleopatra’s beauty functions as one of the greatest statements of the play’s conflicting themes. This speech reflects the antagonistic nature of the play’s central relationships through the invocation of equivalent antagonistic relationships between the violent descriptors used to depict Cleopatra.