A Streetcar Named Desire essay-Jackson Atwater

In A Streetcar Named Desire, by Tennessee Williams, there is a heavy focus on characters-- their emotions, their actions, and how they influence each other's emotions and actions. The characters that Williams has created are so textured and engaging that it's easy to ignore the implications the play has about culture, as well. The characters clash upon contact, but what really makes them act this way is the clash between cultures they experience.

During the time that A Streetcar Named Desire is set, people do not live on huge plantations with hundreds of slaves, but some remnant of the culture that went along with this lifestyle remains in existence. Blanche and Stella grew up in a large mansion, Belle-Reve, somewhere in the rural south. Although it is not explicitly discussed, they surely recieved treatment during their childhood that was aimed not at readying them for life in a rough and tough city, but to be prim and proper ladies in a society that values chivalry and ladyhood more than anything else. This explains why Blanche is so shocked when she learns where Stella lives; she can't believe that her sister is living in such spartan accomodations in the heart of a bustling city, where femininity is essentially the last thing on everyone's minds. She is unable to adjust to the new and unfamiliar nature of this masculinst culture, and this contributes greatly to her eventual mental breakdown.

The greatest conflict of all, the one between Stanley and Blanche, is also a result of the inability of classes to mix. Stanley has his entire personality built around being a man in the big city, Blanche has hers built around being a woman in a rural setting. This means that the characters are worlds apart, and essentially share only a connection through their sexuality and through their respective relationships to Stella. In Blanche's world, women are supposed to be ladylike and submissive in some regards, but are also to be treated as sacred cows; to beat a woman would be unheard of. From Stanely's point of view, women are to be submissive in all regards. He thinks that they should be helpful and romantic, but should also take anything, even a beating, as though they deserve it. The initial sexual tension between Blanche and Stanley sets up the whole situation for disaster: they are brought close together by this, but then the tension breaks, and they have to live together while Blanche tries to find a home. Their clashing immediately becomes evident, and Blanche's feminism is contrasted more and more with Stanely's unflinching and aggressive masculinity. Stella becomes more and more sensitive and emotional in her quest to get someone to love her, and Stanley becomes more and more infuriated with her because of this. Niether side in this altercation can even remotely see where the other is coming from, and this eventually results in Stanley raping Blanche.

A Streetcar Named Desire is an intriguing play with deep characters that are easy to pay attention to. More importantly, though, it is a window into the class strife that was present in the United States during the 1920s and 1930s, and the terrible things that can result from it.

The Misanthrope Essay

Through Celimene and Arsinoe's battle of wits and insults, Moliere relates a deep "thoughtful" laughter" that reveals the follies of society and the rich in Moliere's The Misanthrope. As both women vehemently spew insults in thinly veiled polite banter, the judgemental, vanity, and superficial qualities of the French society during the Enlightenment is revealed.

As Arsinoe begins her remarks of Celimene's coquett-ish ways with her many suitors and imposes a deep negative tone to Celimene's actions, the high regard for a woman's status in marriage is seen. Through Celimene's flirtacious ways, readers understand the society as one interested in social standing and the appeal of having many suitor. Celimene's retorts back with Arsinoe's old age, lack of suitors, and bitterness with ones who are younger and more attractive. Celimene and Arsinoe's remarks elicit a "thoughtful laughter" as they argue over trivial and superficial matters with great zeal. The thoughtful laughter comes from the complete unremarkableness of their argument, as Celimene praises beauty and young age while Arsinoe jealously points out Celimene as worthless once she ages. Their trivial argument initially causes laughter from the portrayal of an "Enlightenment cat fight", then draws out the broad, superficial way of society as a whole, which is the whole ponit of The Misanthrope. Moliere attempts to highlight the trivialness of the French high class through satire and comedy, through trivial events themselves, such as Arsinoe and Celimene's argument over beauty, youth, and suitors.
Moliere intends for readers to scoff and laugh at the vain personalities of Celimene and Arsinoe, as well as to understand the ridiculousness and trivialness of such superficial beliefs.

(Cece Zhu) period 3

Macbeth Essay

Shakespeare demonstrates his perception of fate in Macbeth with his use of characterization. The witches in Macbeth tell of a prophecy of how Macbeth will become king and Banquo’s children take the thrown after him. Then the witches add, later, that Macbeth should beware Macduff, Macbeth cannot die from a man born from a woman and that Macbeth will be unharmed until the forest of Birnam moves toward his castle. Shakespeare’s ideology on fate is expressed through the actions and reactions of Macbeth and Lady Macbeth.

Lady Macbeth is first introduced when she receives a letter from Macbeth explaining the witch’s prophecy. She is immediately intoxicated by the idea of becoming royalty and her reaction is to plot against the king. Then she wishes her mind to be taken over by evil in order to commit this action. Lady Macbeth believes that becoming royalty is only obtainable through evil acts and manipulation.

Macbeth identifies fate in a different fashion, but his morals become tainted. Fate is unavoidable to him as he first refuses to be part of the treachery, but he becomes easily manipulated. His wife challenging his manhood and forces him to murder to the king. Once he involves himself in his wife’s method on fulfilling the prophecy, his morals begin to shift. He tries to change fate by killing off Banquo and his son Fleance, but only further provokes a growing resistance against him. Also, during the battle on Macbeth’s castle, the Birnam forest begins to move toward the castle led by Macduff. He continues to fight because he is confident that everyone was born by a woman and is convinced that Macduff has no influence on him.

I believe that Shakespeare characters believe in fate when the prophecies about them are influential for them. When they are not attractive to them, they will either be disregarded or tried to be changed. Macbeth kills Banquo and tries to kill his son in order to prevent the prophecy from coming true. In addition, he fights Macduff even though he was warned that Macduff would be trouble. I want to conclude by saying that if the characters did believe in prophecies, then why would they feel they must do corrupt deeds in order to accomplish them?

Wylie P5 Le Misanthrope Timed Essay

Le Misanthrope Timed Essay Audrey Ford P.5 Wylie

In Moliere’s Le Misanthrope, the main character, Alceste, excites ‘thoughtful laughter’ in readers as he experiences the major ironies of the play. Laughter that inspires thought is similar to irony in that both devices are meant to maintain a light, comedic tone, while encouraging readers to think, and thereby effectively translating the meaning of the play. Alceste displays irony, and in turn, engenders ‘thoughtful laughter’, when he mocks French society and human nature, when he falls in love with Celimene, and when he must live a life of solitude upon being found guilty of a crime.

Alceste opens the play with a rant regarding the flaws inherent in French society and human nature. His criticisms, while extreme and motivated by frustration, are quite observant and accurate. In this way, Alceste’s opinions inspire thought because readers are lead to question the societal norms they base their very lives on. The laughter, or comedy, comes into play when the audience sees that Alceste is both a member of French society, the French aristocracy in fact, as well as the human race. The laughter prompted by this blatant irony, in addition to the ideas presented in Alceste’s tirades contribute to the meaning of the play as the as the present one of it’s central ideas: Alceste, the misanthropist, is, in fact, a member of the very group he despises.

A second theme that promotes ‘thoughtful laughter’ while contributing to the meaning of the play is Alceste’s deep affection for Celimene. This plot point awakens thought in the mind of the reader because it provides an example of how tricky the human heart can really be. Alceste continually expresses his hatred for French society and the human race, yet he is madly in love with Celimene, a woman who is an archetype of the very people Alceste hates. Here in lies the humor as well. Alceste’s head and heart are at war with one another: he truly despises everything that Celimene is, but he cannot deny his heart’s truest desire. This conflict, and the ‘thoughtful laughter’ it excites, contributes to the ply as a whole because it is an irony present throughout the entire work.

A final event that awakens ‘thoughtful laughter’ in the reader is Alceste’s decision to live a life of solitude after being found guilty of a crime. The irony of this situation is that Alceste has always expressed a desire to live in solitude away from the society he despises so, and now that fate has been decided for his as punishment for a crime. Furthermore, this laughter is thoughtful because it shows that the world works in mysterious ways, and it contributes to the meaning of the work as a whole because it concludes the play with what can be observed as a veiled, but honest, happy ending: each character got what they truly wanted.

In Le Misanthrope by Moliere, the main character, Alceste, inspires ‘thoughtful laughter’ in the reader as he experiences three major ironies: he is a member of the society he openly hates; he is in love with a woman who represents everything he detests; after being found guilty of a crime, he is sentenced to live a life of solitude, but this is something he has always wanted. Each one of these events promotes ‘thoughtful laughter’ in that they deliver an important message in an ironic and comedic tone, and at the same time manage to contribute to the meaning of the entire work as each event contains major plot points and key lessons that Moliere hopes to convey to his readers.

Misanthrope Essay- SID VYAS

The Misanthrope by Moliere is a satirical play that critiques two major aspects of the 17^th century: the French society and human nature. The main character Alceste further illuminates these critiques. Alceste is a man who believes in honesty, and as such points out the flaws in others. He constantly criticizes others for their fake personalities, insincere comments and sycophancy, all of which he despises, The thoughtful laughter in he play is derived through two instances if irony: Alceste’s relationship with Celiemine and the complex arrangement that Moliere creates.

Throughout that play it is evident that Alceste is a man that abides by his ethics. He does not tolerate insincere comments and lies that society was accustom to producing. Yet, he falls in love with Celiemine, a woman who possesses every quality Alceste despises. She is a superficial woman who gossips continuously and criticizes people behind their backs Moliere displays a contrast and in turn develops irony by making Alceste in love with Celiemine, However to understand the laughter that is invoked in the situation on must dig in further into the irony that is presented. Without understanding the values that they both symbolize, one cannot truly interpret the comical aspect to their relationship. Both initially contrast each other as their differences in values clash, yet towards the end of the play realized that they have learned something from the other. Moliere carefully distinguishes both Alceste’s and Celimine’s qualities in turn enabling him to illuminate their individual personalities

Furthermore, Moliere strikes an intricate balance between the various characters and their role in society. Alceste, although considered the protagonist of the play is not depicted as the traditional protagonist, but rather an outcast of the French society. The French society rejects Alceste, not becayse his values are wrong, but rather because he is ignorant of peoples feelings and human shortcomings. The supporting character Phillinte serves as an archetype of Molieres theory for proper social function. Philente recognizes Alceste with superficial people, but he on the other hand realizes that venting these frustrations only causes havoc.  This entire arrangement creates irony due to the fact that although Alceste is the title character, Moliere places his prime values that one must adapt to society in Philinte. This intricate system arises thoughtful laughter in the reader.

Moliere creates a satirical play primarily through irony. He strongly resides with the core values that he places in Alceste, yet knows that these values are not sustainable. Moliere ultimately shows that one must adapt to the norms of society that he so viciously mocks, yet he must strike a balance between abiding by your principles and fitting with society, as depicted by Phillinte. Through detailed irony, Moliere creates a distinct comedy that is unique to The Misnathrope. 

Macbeth Essay(Sarp Elaziz, p3, t1, Asher)

In Macbeth, Shakespeare uses the device of characterization to clarify “man’s perception of fate affects man’s actions” by utilizing Macbeth’s thoughts, actions, and comments. At the beginning of the play when Macbeth comes across three witches, he is told a prophecy that one day he will become the thane of Cawdor. Macbeth questions how this is possible since the thane of Cawdor lives. Later on the play when Macbeth becomes king, he understands that nothing threatens him except Banquo and Fleance. Macbeth hires killers to destroy them so that he can live safely without the worries of Banquo and Fleance threatening his position. Toward’s the end of the play when Macbeth’s castle is surrounded by the army, Macbeth fights off the soldiers bravely, thinking that none of “woman born” can harm him. Shakespeare uses Macbeth’s actions, thoughts, and comments to clarify and drive the perception forward.

In Act I, Scene III, Macbeth is told by the witches that he will become the king of Cawdor and Glamis. He is left in turmoil. Macbeth inquires the witches how it is possible for him to become the king of Cawdor when there is already a thane, but the witches disappear. This leaves Macbeth nothing but questions wondering in his mind. In Act I, Scene VII, Macbeth gives his soliloquy: “If it could all be over with once the deed was done, then it should be done right away.”. Shakespeare shows us through Macbeth’s thoughts that he is facing a dilemma, which is whether to kill Duncan or not. Shakespeare drives this action forward by having Lady Macbeth be the iniquitous driving force behind the assassination of Duncan.

After king Duncan is dead, Macbeth becomes the thane of Cawdor. However, Macbeth is facing an obstacle, Banquo and Fleance. Since the prophecy states to be aware of them, Macbeth knows the issue he is going to be facing. Out of frustration and fear, Macbeth orders to killers to assassinate Fleance and Banquo. He tells the killer “To be king is nothing, unless I am safely king... I fear Banquo deeply.”. Shalespeare uses the device of characterization by using Macbeth’s comments to clarify and drive this perception.

In Act IV, Scene I, Macbeth visits the witches and they inform him that noneof woman born can harm him. The 2nd Apparition says “ Be bloody, bold, and determined; laugh to scorn the power of man, for no one born of woman shall harm Macbeth.” Later on, in Act V Scene VI, when Macbeth defeats young Siward, he says “You were born of woman. But I smile at swords and laugh with scorn at weapons brandished by a man that is born of woman.” Macbeth is fearless since the prophecy has told him that no man can harm him. We can see that Macbeth’s perception affects his actions. If it was not for the witches telling him that no man can harm him, Macbeth’s perception would have been different and as a result he would have been more cautious when battling soldiers.

Misanthrope Essay (Ree-Ha, p4, t1, Asher)

“The Misanthrope” by Moliere reflects the French society’s belief and culture of the importance of having a good reputation. Through the characterization of Arsinoé, Moliere shows how crucially valued self-esteem, honor, and pride are.

Arsinoé is a woman of old age who cannot accept the fact that she has gone beyond the point in her life where men are attracted to her. She is jealous of a young, coquettish woman named Celiméne who has the physical beauty and the young age to attract a man named Alceste, whom she takes interest in. Because reputation is so highly important in the society of that time, she tries extremely hard to build her self-esteem by obtaining Alceste all for herself, away from Celiméne. She aspires to crush Celiméne and gain ¨honor from being the victor with the man. She takes extreme measures to achieve this by arrogantly condescending Celiméne and falsely misleading Alceste to think that Celiméne does not love him so that he would turn his eyes on her. Little did she know, this sweet taste of self-esteem she had and the glorious honor she aspired to gain slips away from her very soon.

Arsinoé wanted to prove to herself that her attractiveness did not die out yet. For many women in general, being gorgeous and attractive keeps them alive. Once they grow old, they not only lose their femininity, but their souls die out. Arsinoé simply wanted to keep herself feeling alive. Her primary goal was to make Alceste fall in love with her, or at least have him turn away from Celimene; however, when Alceste directly tells her that he will never fall in love with her regardless of Celiméne loving him or not, her plan fails and quickly shifts to saving her soul in a different way’ by keeping her pride. When she hears Alceste´s crushing remark, she fires back at him saying he would never be able to have a woman of such great standards like her. Though she did not become the victor of the battle for Alceste, she managed to keep her stance as a prideful woman.

Moliere portrays these most highly regarded aspects of the French society through the characterization of Arsinoé. No matter how brutal or immoral an act may be, people of the French society did anything it took to keep their reputation high by maintaining their self-esteem, honor, and pride.

Macbeth Essay- Zach gershman P2

Characterizations: the creation and representation of fictitious characters. In Macbeth, Shakespeare’s representation of the protagonist Macbeth describes how man’s perception of fate affects such a man’s action. Such perception is shown to be either active or passive, forcing one’s own fate to come around, or allowing fate to take its “natural” course. This perception of fate is ultimately tied in with such a man’s character, their own ideals and moral justifications. These ideals and moral justifications involving the realm of fate are represented by Shakespeare most prominently in the form of the characterization of Macbeth, revealed through both his own appearance to both his subjects and rivals, as well as through Macbeth’s own treacherous and sometimes delusional actions towards personal fulfillment.

Macbeth is first mentioned and heralded by the injured captain in the second scene of the play, who proclaimed Macbeth to be a selfless man who had fought with honor for the kingdom. This former instance of characterization, however, was far from the truth behind Macbeth’s character. Macbeth, through the prophecies of the witches, came to believe that his fate in life was to be the sole King. To this end, Macbeth actively pushed forward his own fate; those he had once been loyal too, such as Malcolm, came to revere him with nothing but disgust, calling him at points a “tyrant” taking refuge in a ruined empire. Macbeth’s pull towards his fate, outlined not by him but by supernatural forces, induces a wild, new sensibility from his inner soul, a change from a selfless, loyal lord to that of a paranoid, tyrannical maniac worried only upon his own being and his own fate. Shakespeare clarifies through this change in both the character’s and the audience’s change in perception of Macbeth that, men who actively seek out an artificial fate are doomed to senseless worries of both achieving and maintaining grandeur, and thus are predisposed to act in illogical means that can only lead to failure.

Macbeth's tendency towards homicide is a reoccurring action throughout the play that makes clear a central point of characterization. Macbeth, on the active path towards his own artificial fate, murders the King Duncan, and all those who might otherwise oppose his rule, all for the supernatural prophecy. This characterization revealed again both to the audience and supporting characters within the play reveals a ruthless character that, like the stark change in power dictated by the prophecies given to the eventual king, is willing to break the morality he had been living by for absolute power. Macbeth reveals himself as a character more interested in potential than in the present, a character willing to risk everything for a single bet, and give in to the lust of power. Macbeth’s perception that his supernatural fate of becoming king would only be possible through active participation inspired the original cause for homicide. This participation within his own artificial fate inspired Macbeth to never falter back into the world of men, and give in to the desires of man over both morality and loyalty.

Shakespeare maintained throughout Macbeth that the desire of power contains enough ill-will to temper the souls of men to change and bend to meet its needs. This desire came to bear upon the mind of Macbeth throughout the play, burdened by the Witches’ prophecies, and took over both Macbeth’s perception of self and eventual actions. This active need to complete his own fate is what drove Macbeth’s character to tyrannical actions, although there had once been loyalty, driving Macbeth to his eventual artificial fate a far different man than when he had begun.

Macbeth Essay Period 4 Makenna Sidle

Makenna Sidle :)

Period 4, Team 1

In Shakespeare's Macbeth, the characterizations of his characters are largely revealed by Shakespeare's perception of fate. Using the characters' actions, comments, and their thoughts, Shakespeare weaves into his story the perception that fate affects man's actions, and that fate is inescapable.

An example of Shakespeare using characterization to further his perception would be Lady Macbeth. When she hears about the Weird Sisters' prediction that her husband will be king, she is overcome by greed and ambition. This is an example of her reaction to fate. She is also often underwhelmed by her husband's lack of authority, but she takes advantage of this. In doing so, she cements her and her husband's fates as royalty but also drives herself to madness.

Banquo is more resistant than Macbeth is to the Weird Sisters' prediction. Macbeth repeatedly reassures him, saying "Do you not hope your children shall be kings when those who have given thane of Cawdor to me promised to less to them?" Banquo realizes how seriously Macbeth is taking the prediction, but does not make an effort to stop it. This ultimately leads to his demise. Because Banquo was not a very ambition-driven character as well as apprehensive about the prophesies, he can be seen as a foil to Macbeth. This makes Shakespeare's message about fate clearer as well: no matter the characterization of man, they cannot escape fate. Banquo was not naïve about what the prophesy foretold, knowing that Macbeth was the one to kill Duncan, and his loyalty to his friend disallowed him to change fate.

Macbeth immediately believes in the prophesy, exciting himself and immediately giving him a newfound thirst for ambition and power. He had previously been a fierce warrior, but when the opportunity to become thane of Cawdor as well as king arises, he cannot help but become greedy. He begins to lose his mind when he loses his ethical side about killing Duncan for profit, and because he is submissive to his wife, he is driven to action that fulfills the fateful prophesy. Because Macbeth learned his fate, he could not help but fulfill it, continually growing more and more confident as he found that every deed that was promised occurred. This confidence led to blindness; he didn't foresee any other possibilities that the prophesies may have meant. His confidence was fueled by power, and with power comes responsibility, but he didn't embrace it. Instead, he became power-drunk and believed he was invincible. This character flaw led to his demise as well as his dethroning.

In conclusion, the characterizations of Banquo, Lady Macbeth and Macbeth all are carefully constructed to show that fate affects man's actions, and that fate is inescapable.

Romanticism Synthesis (P4, T1, Asher)

PERIOD 4
TEAM 1

In the Romantic era, there was a definite change of focus towards the ennobling of the common man. The Rococo art movement was much more frivolous in comparison to the earlier eras. It began as interior design in France, and influenced a large part of the Romantic period towards the latter half of the 18th century. Rococo focused on curves and on the decorative arts, and is often credited for the revival of interest in Gothic architecture in England.

But Rococo was outdated by the Romantic era, and artists like Jacques-Louis David stepped in and created paintings that were non-religiously affiliated and focused upon man. One of David's most famous paintings, La Mort de Marat, has oft been credited as the first modernist painting. While Marat in the painting is very idealized, he is portrayed as a martyr of revolution instead of a martyr of religion.

Music also changed during the Romantic era. Secular choral music gained popularity. Part-songs were short in length and very secular (it is a form of choral music arranged for several vocal parts, usually a chorus composed of the soprano, alto, tenor and bass). Mozart and Haydn composed pieces without any religious effects, with simply the power of man's orchestrations dominating their music. Classical music is said to have 'reached its zenith' during the Romantic era. The six leading composers of the later Romantic era were Berlioz, Chopin, Mendelssohn, Schumann, Liszt, and Verdi. Compositions had much more emotion infused in them. The songs were powerful and awe-inspiring, instead of hymns.

http://library.thinkquest.org/15413/history/history-rom-voc.htm

http://myhomepage.ferris.edu/~norcrosa/18thcWebsite/PPT/RococoSecArch.pdf

http://www.naxos.com/education/brief_history.asp

^ Baker (2007). A Dictionary of Musical Terms. Read Books. ISBN 140676292X.