Will Love Succeed For The End?

By stating that he did not know anyone by the name of Cecily, Jack initiates his own debacle. He has to clarify that Cecily is actual his ward. Nonetheless, Jack bears no anguish to dissembling to his closest companion. Jack’s morality has been impaired by his lies and it implies that his animalistic qualities control him. Yet, he falls in love and he must tell Gwendolen, his sweetheart, of his morally wrong character. In order to do so Jack has to disclose that Ernest was not in fact his real name but a mere alias created to cover up his dastardly ways. He can think of no other way than to “kill” his brother. Wilde shows how Jack’s urbane nature begins to be marred by his animalism since he was willing to kill a man, fictional or not. Ensuing in the play Jack is speaking with Algernon and he begins to ponder on how to commit the murder. He states “My poor brother Ernest is carried off suddenly in Paris, by a severe chill. That gets rid of him” (Wilde 16). Though fictional, Jack’s murder of Ernest still seems to carry the same implications further into the book. This murder eventually skews his reputation once his lies become known. Wilde proves how Jack’s lies soon catch up to him and flaw his esteemed moral persona. Later in the play Algernon sets off on a trip to Jack’s country estate and claims he is Ernest Worthing. Later when Jack arrives Cecily informs her caretaker that his brother Ernest is in his room. Jack replies

Marriage, a broad theme in this book, can be broken down throughout. Emma’s sister has gone off after getting married and left her alone. After her sister’s marriage, Emma proclaimed that she was not destined for love and made herself the town’s unofficial matchmaker. The entire novel is built around relationships and matchmaking, with Emma and Mr. Knightly, Harriet and Robert Martin/ Elton, and Jane Fairfax and Frank Churchill.

Gwendolyn and Cecily act as friends until they learn that they are supposedly engaged to the same person. Then they learn neither of them are engaged to anybody named Ernest, and are friends again. In act three, we discover Jacks history, including that he is Algernon's elder brother. In the end, despite several lies, arguments, and much turmoil, everybody gets married.

The roles of Mr. and Mrs. Bennet in Jane Austen’s novel Pride and Prejudice are contrasted between a father who cares about what’s inside of people and a mother who only worries about vanity and appearance. Mr. and Mrs. Bennet’s parental guidance is unique to their personalities. Because of their two opposing personas, Mr. and Mrs. Bennet’s ideas of marriage are contradictory for their daughters; Mr. Bennet believes in a loving respectful marriage whereas Mrs. Bennet values a marriage which concerns wealth and social status. Their aspirations for Lydia, Jane, Mary, Kitty and Elizabeth mirror their conflicting ideologies. Mr. Bennet seems to have a quiet deep love

insinuates the importance of being honest and truthful, while playing on the male name, Ernest. The pun in the title is a case in point. The earnest/Ernest joke strikes at the very heart of Victorian notions of respectability and duty. Gwendolen wants to marry a man called Ernest, and she doesn’t care whether the man actually possesses the qualities that comprise earnestness. She is, after all, quick to forgive Jack’s deception. In embodying a man who is initially neither

Jack: “If I marry a charming girl like Gwendolen, and she is the only girl I ever saw in my life that I would marry, I certainly won’t want to know Bunbury” – This shows that Jack does want to settle down and is very much in love with Gwendolen. He feels that if he has her in his life, he will no longer need to escape out of where he lives to have fun and be wilder, as he won’t want that anymore.

Jack illustrates the purpose of deception by using Earnest to escape his role of Cecily’s warden. When Algernon finds Jack’s cigarette case, he is shocked to find the name Jack graven inside. Jack attempts to explain by saying, “[M]y name is Ernest in town and Jack in the country” (Wilde Act I). As Jack, he has to be a responsible adult and take care of his niece Cecily but as Ernest he is able to live the wild life of a young bachelor. By pretending to be Ernest in town, Jack is freed from the restrictions of being a caretaker, yet he still fulfills the duties of one as he resides in the country. While explaining why he has two identities to Algernon, Jack states that being a guardian does not “conduce very much to either one’s health or one’s happiness” (Wilde Act I). Jack has to take care of Cecily, be responsible for her, and set rules and guidelines for her to follow. In his role of guardian, he finds himself unable to have fun, so he creates an irresponsible, carefree

Gwendolen and Cecily are both fixated on the name Ernest because the superficial society surrounding them unconsciously causes them to gravitate towards men that they believe have earnest dispositions. Gwendolen asserts her fondness of the name Ernest declaring, “my ideal has always been to love some one of the name of Ernest. There is something in that name that inspires absolute confidence” (Wilde 980). Cecily also admires the name Ernest and makes a statement almost identical to Gwendolen’s when she admits, “it had always been a girlish dream of mine to love someone whose name was Ernest. There is something in that

The three strongest women icons in the play being Lady Bracknell, Gwendolen and Cecily. According to Pestason, the scene where Lady Bracknell tells Cecily that some women in the London society chose freely to remain thirty-five for years is considered to be a remarkable freedom of choice, to be as young or as old, as tall or as short as one declares themselves to be (114-44, 156). This does not only pertain to youth of appearance but it additionally establishes that the women in the play does not only possess power over control but also in choice. Throughout the play, the readers note the domination the women has over the men but does not notice the power over their own choice. “I am told; and my ideal has always been to love someone of the name Ernest.” (P.41) Both Gwendolen and Cecily chooses to only marry a man of the name Ernest; an ideal that they both contain. To further discuss this, Lady Bracknell, an obvious symbol of a strong female character, contains nearly all the efficacy in the play. When Jack proposed to Gwendolen, Lady Bracknell became the judge of the proposal; having the power to declare if they are rightfully to be married. As the discussion of family arouses and she finds out Jack had been adopted, Lady Bracknell says, “You can hardly imagine that I and Lord Bracknell would dream of allowing our

Later, when Lady Bracknell and Gwendolen enter, two more ideas of marriage are brought to the forefront. Lady Bracknell portrays the aristocratic Victorian view of marriage but to a more extreme extent. According to Ziegenfuss, marriage in the Victorian era was not romanticized or fairytale-like. Love actually played a very minor role in the majority of matrimonies that took place. Engagement was entered into as one would approach a business deal, with rules and guidelines (Ziegenfuss). This is blatantly obvious when Lady Bracknell interviews Jack to see if he’s fit to marry Gwendolen. She attacks Jack with questions about family, fortune, and even place of residency and his answers need be appropriate for a union between the two families. (Kupske, Souza, 122). Even when Algernon wants to marry Cecily, Lady Bracknell voices, “I think some preliminary inquiry on my part would not be out place.” (Wilde, 46). Gwendolen, however, has the same view of marriage as Jack but, still has strong ideals about social protocol. This is seen when Jack tries to propose, she replies, “Of course I will darling…I am afraid you have had very little experience in how to propose!” (Wilde, 11)

One thing that Jack and Algernon have in common is that they both have these false faces. Algernon’s alter ego Bunbury is a version of himself used in the country but he uses Ernest to marry Cecily. The story deals with Ernest, this immorally imaginary man that both Cecily and Gwendolyn become engaged to, it exemplifies the irony within the name. Most of the irony comes from this character. One of Wilde's satiric targets is romantic and sentimental love, which he ridicules by having the women fall in love with a man because of his name rather than more personal attributes. Gwendolyn said “No, there is very little music in the name Jack, if any at all, indeed. It does not thrill. It produces

The relationship between Jack and Gwendolen undergoes a parody. Gwendolen laughs when Jack asks how she might feel if his name is not Earnest. "Ah, that is clearly a metaphysical speculation", she says, "and like all metaphysical speculation, has very little reference at all to the actual facts of real life, as we know them."(18) This remark of Gwendolen exactly fits the general theme of the play, but in fact the joke is directed to her. Yet at the end of the play, Gwendolen's conviction that she will marry an Earnest and her faith in the name are justified- we understand that Jack's true name is Earnest. The effect

Jack and Algernon start their friendship with deception and lies. In the beginning of the play, they are alone in the morning-room and the lies, between the two friends, is are brought to the table. They have both been great friends for some time now. Jack visits with Algernon in the city where he goes by the name “Ernest”. He feels that going by a different name will let him live and experience a different lifestyle. When visiting with Algernon, Jack has become very interested in Gwendolen. Jack is expressing his love for Algernon’s cousin, Gwendolen, and tells how he wishes to marry her. Before Algernon gives his consent, he wants to know who Cecily is. Cecily is the name engraved on the cigarette

Jack’s creation of a fictional brother Ernest gives audience an impression that he is a hypocritical person who ignores the consequences of being dishonest. Only when his desire to marry Gwendolen is threatened does he learn that he cannot escape from responsibility or “come up to town as often as [he] like[s]” (Act 1, p.8). Suffering from the dilemma, his hidden sincerity and kindness are discovered. This makes him become a rounder character. As a consequence, the rest of the plot will be affected and advanced by his unique traits and

Thanks to the characters described by Adichie, there are important questions to be raised concerning love and marriage: If today’s man or woman wants to get married, for what reason will he or she walk down that aisle? Is it just a means to an end? Is it the mere fulfilment of societal demands?