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The beggar's opera act 1
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David Jephthah Jephthah 1
Dr. Williams Jones
English 105
2/4/2015
The stories of betrayal, cynical criminals, and corrupted beauty.
The more one critically looks at the play and it reception, the less convincing it is to take the play as just a piece of Opera. In John Gay’s 18th century theatrical story “The Beggar’s Opera”, the main characters such as Peachum, Mrs. Peachum, Macheath, Polly, Lucy, Matt of the mint and lockit are each seen respectively exhibiting ironic and cynical attitudes. Just before the beginning of the play, the Beggar and the Player tells the audience that the piece is a true opera; though it possesses no recitative which is not unnatural. The level of sophistication of this piece its words which are
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Macheath has just been arrested and in no way wishes to be there. Jail is not a place Macheath would want to be welcomed to or choose as a place to lay his head. Although, if a prisoner has ample money, the prisoner may have a wonderful stay in prison, since the entire system is based on profit making. Lockit goes on to say, "when a gentleman uses me with civility, I always do the best I can to please him" ( ). In no way has courtesy and respect have anything to do with how a prisoner gets treated in prison but money does. However, Macheath bribes Lockit and in return Lockit hands him give a pair of handcuffs and says, "How genteelly they were made!" ( ). Lockit claims handcuffs are elegant and stylish. He also says of the handcuffs that, "the nicest man in England might not be ashamed to wear them" ( ). Never will a man of high morals wear handcuffs one claims it is, the act of wearing handcuffs is shameful. Criminals, such as Macheath, are what sustain Peachum and Lockit’s system of the business economy. Without this criminals there would be no one to steal from them, no one from whom to collect bribe money, no prisoners to release from jail so they could steal more, and no one to
Romeo and Juliet is a famous play that was first performed between 1594 and 1595, it was first printed in 1597. Romeo and Juliet is not entirely fictional as it is based on two lovers who lived in Verona. The Montague’s and Capulet’s are also real. Romeo and Juliet is one of the ten tragedies that William Shakespeare wrote. In this essay, I aim to investigate what act 1, scene1 makes you expect about the rest of the play.
Many young criminals are less likely to become career criminals if punished through public embarrassment than through prison. Prison can be a sign of manliness or a “status symbol” (Jacoby 197). He says “prison is a graduate school for criminals”, providing evidence that criminals want to be convicted and be in prison, to strengthen their status (Jacoby 197). Jacoby knows how to properly get his view across to the reader, by saying that prison is not as effective now, as it used to be.... ... middle of paper ...
It was difficult for me to find many parallels between this play and the works that we studied in Canadian Literature because this play does not follow a plot line and does not include many elements that could be relatable to the works we studied. It also does not relate to the themes that were emphasized in our course. However, I found the close analysis of the final scene of a play, acted out forty- three different times to be reflective of the close analysis’ we have done many times in class with poetry and prose. It was interesting to watch these close analysis’ to understand all of the possible interactions these characters could have had. It led me to question the endings of the works that ...
Deception is present in Tennessee Williams’s drama ‘A Streetcar Named Desire’, William Shakespeare’s Tragedy ‘Othello’ and L. P. Hartley’s novel ‘The Go-Between’; the writers choose to use characterisation to explore the theme in depth. Often the protagonists of each text are the primary offenders of deceit, though some supporting characters mislead as well; although Iago is the antagonist of ‘Othello’, he is incomparably the most deceitful character in the entire play. Similarly, Williams uses Blanche to develop the plot by misleading the other characters and even herself at times, though arguably, unlike Iago, Blanche is presented as a character who lacks the motivation to hurt anyone. Conversely Leo, although the protagonist and narrator of the novel, is not the most deceitful character – Ted Burgess and Marian Maudsley not only coerce him into the deceit, but they themselves are presented as masters of the game they play, however, this essay will focus on Leo as he is a unique symbol of deceit; he is unaware of the consequences of his actions.
Richard Bean’s ‘One Man, Two Guvnors’ is an adaptation of Carlo Goldoni’s ‘The Servant of Two Masters’. The adaptation relocates the setting for the events to 1963 Brighton, a time which allowed Richard Bean to incorporate a range of dramatic functions to enhance the play’s comedic nature and to modernise it to fit with the the newfound audience of the 21st century. Richard Bean retains many of the elements of traditional commedia dell’arte in his characters and his production of the play. However, he has placed a twist in that there is an absence of masked characters who instead conceal their true identity through language. The plays consists of various conflicts which convey comedy.
words so that the sound of the play complements its expression of emotions and ideas. This essay
In the tremendous play of ‘Romeo & Juliet’, Shakespeare’s ways engages the audience straight away. The astounding methods he uses hooks the audience into the play and allows them to read on, wondering what will happen. The tragic love story of Romeo & Juliet, as mentioned in the prologue, sets a variety of themes throughout Act 1 Scene 5. Many of the recognisable themes are: youth and age, revenge, forbidden love, fate, action and hate. The main idea of the play is a feud that had been going on between two families, The ‘Montagues and Capulets’, the son of the Montagues and the daughter of the Capulets fall in love and the story tells us how tragic, death, happiness and revenge find them throughout the play.
On October 12th, I saw Tosca by Giacomo Puccini held at Atlanta Opera. Tosca is an Italian opera, directed by Tomer Zvulun, accompanied by an orchestra conducted by Arthur Fagen, included a cast of Kara Shay Thomson, Massimiliano Pisapia, and Luis Ledesma (The Atlanta Opera). Opera is an art form in which singers act out drama through a combination of acting and vocal performance. Singers deliver conversation in a musical manner, essentially singing the conversation. Since we recently learned about opera in class, I want to explore the future of opera - where it will go next with the ever advancing modern technology, media and entertainment, and what researches are currently being done at both the industry and academic levels. I will briefly describe what the traditional opera is like using Tosca as an example. Next, I will look at modern opera after the World War II. I will also select one example from the industry and university that are experimenting with opera. At last, I will offer my imagination of what the future of opera may be.
F. R. Leavis discusses the breakdown of sympathy for Othello, arguing that ‘Othello is too stupid to be regarded as a tragic hero’. Other critics also argue that Shakespeare ‘fully exploits the unique cultural opportunity to develop a more complex and sympathetic representation of black experience’ [The Noble Moor – Othello and Race in Elizabethan London, Roger Lees], implying that the sympathy that a contemporary audience would have felt for Othello was based oncultural context, given that the audience were predominantly white. However, it could be argued that it cannot just be the cultural context to Shakespeare’s audiences that has allowed Othello to become one of his most renowned tragedies; if this were the case, the play would have lost all critical interest by the 18th Century. It is Shakespeare’s use of the conventions of tragedy in attributing Othello with hubris that, although making it hard to empathise with at times, in the...
...ed for Antonio to come off as being homosexual or if our modern general definition of homosexuality has influenced how we view Antonio. However, Shakespeare’s plays always seem to have shocking themes that are not meant to be seen without a close analysis. This analysis is able to prove why Shakespeare chose the word “ love” over any other word in order to invoke a certain homosexual feeling regarding Antonio and Bassanio’s relationship. Through this art of placing themes that Shakespeare uses, it is easy to see how homosexuality was intended to be placed as an underlying theme of The Merchant of Venice.
Wrought with double irony and an overall sense of mock-pastoral, English playwright John Gay’s The Beggar’s Opera (1728) has its forefront of irony vividly expressed between the dynamic of the central characters Macheath and Peachum. Even the names of the characters comically resemble their occupations within the play, Peachum’s being a play on the word “peach” which means to bring one to trial, while Macheath’s meaning “son of heath” and being a play on the heaths of London, which were prime places worked on by highwaymen (Tillotson, et al.). While both characters were used as a political satire towards Jonathan Wild and the then Prime Minister Robert Walpole (after all, The Beggar’s Opera was a political satire first and a potential literary
In The Jew of Venice, Granville takes up and refutes the principal "subversions," in The Merchant of Venice that modern and postmodern critics have imposed upon on the play. Without its’ alleged contradictions, the play has a tight formalist structural unity, it focuses on an essentialist Platonic idea, and, resolving all conflicts, it ends in closure. On the topic of Antonio's sadness, Granville picks up a clue that to my knowledge no modern critic has noticed.
Oscar Wilde’s ‘The Importance of Being Earnest’ is a beautifully constructed depiction of nineteenth century Victorian life. The quirky and often irreverent situations presented were often witty and amusing but in many instances revealed a biting critique of traditional expectations and behaviour. Wilde arguably would have used the play to showcase his literary prowess and it is to what extent that Wilde used the play as a platform or used the play to expose hypocritical values that would be questioned by both contemporary and modern audiences.
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
In the present play we find how Benare becomes the victim of sadism of his male counterparts. The audience is made to witness a mere enactment of what is a rehearsal of sorts of a mock-trial to be staged later in the day. But what begins as a harmless game begins to assume a grim aspect before long.