How Willy Russel Uses Language and Dramatic Devices to Convey the Relationship Between Frank and Rita in his Play

Willy undermines her authority with the boys. He denies any negative comments out of her mouth when their children are discussed. He interrupts her. He shouts at her. Linda reacts with veiled hostility to Willy?s disrespect. She laughs at the idea of planting a garden, pointing to Willy?s past failures at growing a garden. Every time Linda pokes at his failures, she is retaliating against Willy?s failures and the fact that she has been pulled into Willy?s dead end dream against her will.

Within seconds of his scathing condemnation though, Torvald learns that his reputation will not suffer from Nora’s actions and he “forgives” her with an open and willing heart. How could one not crack under such pressure as this? Willy, like Nora, had a dream. Willy dreamt of success: personal success, success in his family life, and success for his sons. For him, salesmanship was the measure of his success; throughout the many flashbacks he would often exaggerate his sales, boosting his image in the eyes of his children. He felt as though his place as a meaningful member of society hinged on this success. Therefore, he would only admit his shortcomings to Linda, who understood and never judged him. In the eyes of his young children, Willy could do no wrong: he made top sales records; he was “well-liked,” nothing could defeat him, further adding to his societal pressures (Miller 1.509). Willy also had to deal with the pressure from his brother who had struck diamonds in Africa by mistake, constantly living in that shadow, that stigma as the “little brother” who turned down the chance of a lifetime and instead became a salesman. Pressured to pursue his American Dream, Willy gives himself over to the overwhelming waters of society, drowning himself in its expectations and demands.

The reader can see this when The Woman says, “I’ll put you right through to the buyers,” (Miller 39). Thus, Willy has multiple expectations for his sons and The Woman.

The characters of A Streetcar Named Desire and The Glass Menagerie are bound to their own hold on illusions as a means of coping. In A Streetcar Named Desire, the character of Blanche exemplifies the hold of illusion when she says, “I don 't want realism. I want magic!” Blanche exemplifies the idea of delusion as a means of coping. In The Glass Menagerie, the character Tom Wingfield sets the tone of the play with his opening monologue in which he says, “I give you truth in the

Willy is unable to acknowledge any of his failures and completely exaggerates all of his success to the point where he lives a lie, while Blanche rejects her new life by rebelling against the more coarse values of the southern environment around her. In their descent into madness, both Willy and Blanche completely lose grip of reality and become tragic victims of their own delusion, becoming examples of the Aristotelian notion of hamartia in their delusional error. But their characters also demonstrate elements of Aristotle’s notion of anagnorisis, or the epiphany of realizing a tragic error and attempting to rectify it.

Apart from Willy’s delusion of his own success, he also sees his sons as great successes in the business world, and that they will amount to so much in their lives. These boys cannot be successful because they have been “[blown] so full of hot air [they] could never stand taking orders from anybody” (131). Willy’s illusions about his sons not only ruined Willy’s life, but it caused these boys to have a false sense of reality, which is the theme. This false sense of reality leads to their downfall in the business world because Willy had built them up so high that they believed they should be the one giving the orders, not taking them. When Willy tells his boys “together [you] could absolutely lick the civilized world” (64), this is an example of the way Willy falsely sees his boys and fills their

2.) As the play ended the state of Willy and his mindset began to change. He started to relies the type of life he had lived and the type he wanted to live. Early in his life he imagined of becoming a successful business man. “Don’t say? Tell you a secret boy. Don’t breathe it to a soul. Someday I’ll have my own business and I’ll never have to leave home anymore” (23). One who would not have to travel, have his own office, and own a really nice suit. He foreseen all the connections he would have with others in the business world and how they would all remember him from the success he would have. But that idea was far from reality.

Susan Glaspell’s play, Trifles, shows the importance of staging, gestures, and props to create the proper atmosphere of a play. Without the development of the proper atmosphere through directions from the author, the whole point of the play may be missed. Words definitely do not tell the whole story in Trifles - the dialog only complements the unspoken.

is not quite good enough. Rita wants to be of a higher status than her

Throughout this play Miller portrays his main character, Willy Loman, as senile, unsuccessful and slightly insane. Willy’s deranged personality is in part because his father abandoned him at a young age. Willy also feels abandoned by his cherished brother Ben. Ben went off to become a big success and rich. Willy sees this and it helps lead him to feel inadequate as a man

In the opening of the play, flute music plays, symbolizing the overwhelming pressures Willy places on himself, furthering the content as well as the artisanship of the play. The curtains open to a scene of Willy’s house in Brooklyn. Miller writes the following,

Educating Rita is the tale of one working class women 's struggle to find an escape to a boring, repetitive life and to find new things to conquer. To acheive this she begins university on a literature course despite the discouragement from family and baby-obsessed husband Denny. The play features only two characters, Rita and Frank. Frank- a middle class, well-educated, eloquent professor and Rita, an abrupt, crude excuse for a lady with no regard for or more precise, no knowing of social nouce. Throughout the play Rita 's character must reach two social extremities before she can learn to be true to herself. Arriving in Frank 's office loud and sarcastic

have taken place in Rita’s life since we last saw her, in the play we

In the extract of the play Porcelain and Pink by F. Scott Fitzgerald, the characters Lois and Julie’s individual personalities can be uncovered. One can do this through analysation of conversation through turn-taking, cooperative principles, implicature and politeness strategies. We shall discuss these four aspects in detail.

As well as, the capitalism system and the form of money economy are essential themes in the play. Miller argues the absurd false ideas of both father and sons which drive Willy into death (Clark 631-35).