Cyrano de Bergerac a Play Written by Edmond Rostand

From the play Cyrano de Bergerac, two of the main characters are at odds fighting to win the heart of the same girl. Cyrano and Christian play as competing romantic heroes in their story, both hopeless dreamers of love and lust, both bold in their own aspects as well as incredibly insecure all at once. They also share the quality of great loyalty, and willingness to drop anything to come to the rescue of a friend. Physically, they are opposites; Christian is beautiful, and Cyrano thinks himself an atrocity. Their intellectual capabilities are also at completely different ends of the spectrum; Christian is a bumbling fool, and Cyrano can become a master at whatever task he chooses. In the aspect of poetry and the art of words, Cyrano is a true Shakespeare, and Christian is the equivalent of a second grader at best. These characters seem to be foils and, at the same time, they are wildly alike.

True bravery is when you’re aware that the odds are against you, however, you have the ability to persevere through it. Even though you don’t want to complete the task ahead of you, an inner force brings you the motivation to do it. Sincere courageousness doesn’t always entail violence; in fact, courage comes from the choices made within that affect yourself or those around you. The outcome may not always be to your advantage, but

Cyrano was a very brave man even if he was ugly he stood up to people. In act one scene four Cyrano said

    Most people think of a hero as a strong, superior, good-looking person that could never make a mistake. However, in a story called The Odyssey, a connection to real life reveals imperfections to be common in heroes. Each person has their low points and highlights, regardless of their “rank”. The author and epic poet, Homer, exemplifies our main character, Odysseus, to take on this idea of a hero throughout his writing. The time period took place in Ancient Greece, allowing Greek culture to relate to the poem. Different aspects of such culture and history may have influenced the works and creativity of Homer as well. A major point includes The Trojan War because it focuses in on Odysseus’ journey to bring Helen back home by devising a plan to destroy warriors in the city. Acknowledge this factor when reading The Odyssey, for not only evidence of heroism, but also other major points of archetypes, in which the device reflects the insights of readers in modern time and what is seen from Ancient Greek culture.

Cyrano’s own mind tricks himself into thinking his nose is larger than it really is. His nose is obviously not actually as large as a peninsula, though Cyrano still believes it to be absurdly large. Due to his insecurity, he overestimates his nose size, although it is not as significant as he thinks it is. His self-esteem increases the actual scale of his nose.

Cyrano’s level of eloquence helps him combat the insults of his nose. The Meddler is

A famous man by the name of Kahlil Gibran once said, “Beauty is not in the face; beauty is a light in the heart.” It just happens that Cyrano’s heart shined brighter than anyone I have ever known. Through insecurities and heartbreaks, Cyrano would never forget his pride or the feelings of his friends. He never lost his honor and would always bring light into any situation, even when he was near his death. Cyrano displayed many positive traits and values such as loyalty, devotion, selflessness, knowledge, and pride which all contributed to our sympathy towards him.

The reader feels strongly for Cyrano to "go for it!" and is proud and respectful toward him because of his "magnelephant" actions.

One of the most well-known scenes in Cyrano De Bergerac is his monologue about his nose. He makes Jokes about his nose after being insulted about it by Valvert. The insult was not great and Cyrano improved on it with his

On the other hand, the excess of fear yields cowardice, which is certainly not a characteristic of any skilled man in The Odyssey. The strive thus, is to find the mean between deficiency and excess. To temper the attribute of fear into

Bravery is a theme that is common in both, “The Dog of Pompeii” and “Life Doesn’t Frighten Me”. Bravery means to be strong and powerful. In the story

One of the worst fears we have is to try our hardest at something and get nowhere. For example, one might study all night for a test but still do poorly in the end. This applies to famous literary heroes, too, who give full effort to a task only to ultimately fail. In the poem “Orpheus and Eurydice,” poet Czeslaw Milosz demonstrates this common fear through the hero Orpheus. Milosz displays this fear through tension by tormenting Orpheus and causing self-doubt through references to silence, images of Orpheus’s inner turmoil, and details of his powerful music.

In “Hector” its states, “With sword and spear, Hector stopped the whole Greek army by himself with only a sword and spear.” This proves that Hector was brave enough to stop a whole army by himself with only a sword and a spear. The fighters with him were cowards and they were retreating, while Hector was advancing. Odysseus also shows lots of bravery when he was trying to escape the cave in order to not get eaten. Hector states, “I gave the word, ‘Now!’ and my men drove the stake down into the monster’s single eye, while hung from the top to add more force. Odysseus was brave enough to fight a cyclops who is much bigger than him. He showed lots of bravery because the cyclops could eat him in just one bite, but he was brave enough to trick the cyclops and plunge a stick into a huge monster’s one eye. Fighting monsters that are twice someone’s size and defeating a whole army by themselves proves that a lot of bravery was shown by Hector and Odysseus. This also shows that the Greeks valued bravery.

The troubadours that wrote about fin’amor had a certain set of rules for writing poems, but when Chrétien de Troyes began writing, he broke those rules. Chrétien broke the rules of fin’amor to teach the readers about what true love should be using different components that were not expressed in the troubadour’s lais. Many critics wonder what these components are and why Chrétien broke the rules. Critic Kurtis Haas argues that Chrétien was not trying to teach the reader about love but write a story where chivalry teaches wisdom and critic Kathryn Gravdal argues that Chrétien did not break the rules of fin’amor because all of the protagonists wanted joy from maidens, while critic Douglas Kelly argues that honor was the component Chrétien was trying to teach his readers. All these arguments fall short, however, and I argue that Chrétien broke the rules of fin’amor to teach the readers about what true love should be by adding different components into his stories including psychology, fame and different types of violences.

The courageous person and the cowardly person aren't simply black and white. Fearlessness does not necessarily go hand in hand with bravery, and fear does not immediately qualify a person as cowardly. Aristotle, in Nicomachean Ethics, has many guidelines when it comes to what makes a person brave or not, and what can appear as bravery on the surface may not actually be what it seems. This very truth is evident in the Greek tragedy The Oresteia by Aeschylus, specifically in The Liberation Bearers when we examine the role of Orestes. Orestes is not brave, which benefits Aeschylus' main point of the tragedy, as he becomes a more relatable character.