Analysis Of Harold Pinter 's The Lover

Set in a typical mental asylum in the 1970’s during the anti-Vietnam War protests and the feminist movement for women's equal rights, the play 'Cosi' by Louis Nowra deeply explores the themes of love and fidelity, in a society predominantly concerned with war and politics. Throughout the play, Nowra uses the play within a play, 'Cosi Fan Tutte', to convey his key values regarding the importance of love and fidelity in today's world, while questioning the necessity of war and condemning society's perceptions of madness itself. The playwright delivers these messages through a number of subtle implications and symbolic features which are evident in the story,

In Jean-Honoré Fragonard painting The Happy Lovers (appendix: fig. 1), viewers are able to get a glimpse into the light-hearted, playful Rococo period. The Happy Lovers is a 35.5 x 47.75 in. oil painting, that was created between the years 1760–5 in France for an unnamed aristocrat; however, it can now be found in the Norton Simon Museum in Pasadena, California. The Rococo period was a result of artists resisting the stiff monarchy, and desiring open expressionism–this was particularly emphasized through nature. The two great artists from this period are Fragonard and François Boucher, Fragonard’s teacher. A result of Boucher teaching Fragonard, specifically in the continuation of pastoral, Boucher was a great influence. This is obvious when The Happy Lovers is compared to Boucher’s The Bird Catchers (appendix: fig. 2). Both paintings include subjects of women holding bird catchers and doves, ultimately symbolizing woman’s ability to control relationships. More specific to The Happy Lovers, the woman dangles the cage above the boy, who is carrying a dove, a symbol of Venus–the goddess of love. However, in the bottom left quadrant of the painting there is an even larger cage with more doves, hinting at the idea that women can easily capture many men. This further expands the sensual intention Fragonard creates. In placing this scene within a secluded landscape, Fragonard emphasizes the flirtation and secretiveness between the two lovers–creating an unstructured, blissful

“One person's craziness is another person's reality.” – Tim Burton. We people have a tendency to live our life in suffer for the past because it’s terrifying to face the truth. Unaware that it affects our fellow human beings. Stephen King’s short story “The man who loved flowers” manages to blur the lines between normality and insanity while digging down in the fear of love.

The theory of dramaturgy is considered a micro theory, under the category of “interpretive”, which also includes interactionism, ethomethodology, and phenomolohy.

 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

The differences in styles of language truly brings alive the plays' various characters, from the lowliest drawer to the noblest knight. The playwright's audience would have been composed of a similarly diverse spectrum of society, from the groundlings at the foot of the stage, to the members of the court in attendance, and these disparate members of the audience might very well have come away from the plays with different interpretations of

Marriage is presented in Shakespeare?s play The Taming of the Shrew, in a complex manner allowing readers to view the play literally as a brutal taming or ironically as a subversive manifesto. Yet, Shakespeare intends to present marriage to be full of mutual love where neither male nor female dominate but compliment each other thriving together in a loved filled relationship. The portrayal of a deep understanding, which exists in an analogical relationship and the gentle transformation, which occurs in marriage, clearly outlines marriage in the play to be a celebration of a mutual love relationship within the patriarchal foundations of society.

“Beware of your stereotypes and prejudices, they can trap you in a box and make you miss what life has to offer you”─Med Yones. One has to see past the stereotypes in life, just as one should do for A Midsummer Night's Dream by William Shakespeare. This literature masterpiece entails a quarrel of a pair of lovers caught entangled in a treacherous web of tainted love and magic. This comedy, viewed through the archetypal literary criticism lens─which focuses on the stereotypical aspects─, makes the audience wonder and push beyond the boundaries of the stereotypes with the tale. Combined with its other elements, A Midsummer Night's Dream is more entertaining and meaningful when viewed through the archetypal literary criticism lens; such as in Act 1: scene 1; Act 3: scene 2; and Act 5: scene 1 in both the printed text and the 1999 film versions.

The focus of this paper will be to compare and contrast the works of two playwrights. The works that will be considered are Molière’s The Would-Be Gentleman and Beaumarchais’s The Marriage of Figaro. Both considered comedies, Moliere’s is a short play that tells the tale of Monsieur Jourdain, a tradesman who desires to become a gentleman. Beaumarchais’s play, second in the Figaro trilogy, follows the series of event prior to Figaro’s wedding. Figaro and his companions scheme to ensure that his marriage occurs smoothly. Furthermore, the plays are dated 100 years apart from each other, and they deal with the representation of social hierarchy, social mobility, and gender roles in various ways. With that in mind, they become good sources to compare and contrast the changes in society that occurred within those 100 years. This paper will compare both plays to examine how Molière further endorses the social values and ideas of his time, while Beaumarchais’s presents a shift in attitude towards those values and challenges them.

"Nowadays the plays' meaning is usually blurred by the fact that the actor plays to the audiences hearts. The figures portrayed are foisted on the audience and are falsified in the process. Contrary to present custom they ought to be presented quite coldly, classically and objectively. For they are not matter for empathy; they are there to be understood and politely added

“Trifles” a play by Susan Glaspell, emphasizes the thought that women were kept in their homes and their contributions to the home and family went unappreciated and unnoticed. The play gives readers a view of how women were view and treated during the 1900’s. As a female analyzing the play, Mrs. Wright’s motive for killing Mr. Wright was quite clear. Susan Glaspell gives her readers a feminist approach, to demonstrate how Mrs. Wright’s murdering of her husband is justified.

Beauty in art is the essence of detail and Boucher mastered in his painting, “Lovers in a Park.” He was able to create a very colorful garden setting combined with a hint of tension by the figures that quickly goes away with the beauty of the scene. The idea of love being an innocent but beautiful game is being told here. The light textures, silky look, cheerful style contributed to Boucher’s material richness work. The Rocco style was a reactive approach to the Baroque style that embodied light colors, asymmetrical ideas, and playful themes. It was a more graceful approach to the other style. Boucher was a French painter, draughtsman, and etcher who was perhaps the most celebrated painter of the 18th century. His career was hugely successful with many honors received and membership to the Royal Academy. His inspiration from other artists, patrons, and important figures in his life contributed to this style of work. Boucher’s Lovers in a Park captures the true beauty of what a Rocco style painting should look like.

J. Alfred Prufrock constantly lived in fear, in fear of life and death. T. S. Eliot divided his classic poem into three equally important sections. Each division provided the reader with insight into the mental structure of J. Alfred Prufrock. In actuality, Prufrock maintained a good heart and a worthy instinct, but he never seemed to truly exist. A false shadow hung over his existence. Prufrock never allowed himself to actually live. He had no ambitions that would drive him to succeed. The poem is a silent cry for help from Prufrock. In each section, T. S. Eliot provided his audience with vague attempts to understand J. Alfred Prufrock. Each individual reader can only interpret these

The famous play by William Shakespeare, Taming Of The Shrew represented by Franco Zeffirelli and David Richards portrays a contrasting view of the themes of marriage, love, adhering to the social expectation during the time period. Both films of Taming of the Shrew illustrates similar concept of Petruchio marrying Katherina for his own benefits. Yet Zeffirelli portrays his film by basing it off the play it self whilst Richards illustrates his film by modernising the original concept of the play. These ideas change the concept of the play as audience perceive the text differently, depending on the time period the films were made as the social expectations and the themes of love and marriage differentiate.

This function of marriage endured throughout much of human history, even transcending different cultures, so often, in plays from past centuries, marriage plots function not like a familiar Katherine Heigl romantic comedy but rather like a business deal. This disparity leaves modern audiences who grew up on these movies unable to understand the at times strange, clinical nature of marriage in plays such as Goldoni’s A Servant To Two Masters. Furthermore, without this knowledge of the historical practice of marriage, audiences cannot clearly understand the dynamic between fathers and daughters like Pantaloon and