Friel

Explore Shelley’s presentation of the impact of the Creature in the light of this comment. The Creature is described as ‘ a fiend of unparalleled barbarity’, yet many modern readers may sympathise with him. Explore Shelley’s presentation of the impact of the Creature in the light of this comment. It is my view, that the Creature may be seen from two main perspectives, on the one hand he may be seen as a “Monster”, “a fiend of unparalleled barbarity” and on the other he may be seen

Dancing at Lughnasa and Its Relationship With Today’s Issues Since ancient civilizations the world have faced different kind of social, economic and cultural issues. Dancing at Lughnasa is an extraordinary drama that portraits the audience a general vision of how people lived during the 1930s in Ireland. Its context shows their major and relevant issues such as unemployment, poverty, technology development, family importance and values. This essay will explain how this historic drama is related with

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William Yeats and Seamus Heaney are both considered as the best Irish poets. Although, they are both Irish, however, they did not always agree on the same topics. In the poem “ The song of wandering Aengus” written by W.B Yeats which was a one of a kind poem that shared the same theme as the poem“Digging” which was written by Heaney. Regardless of the common theme, these two poems are different for the reason that Yeats’s poem refers more to cultural identity whereas Heaney’s poem talks more about

To what extent do Top Girls by Caryll Churchill and Dancing at Lughnasa by Brien Friel agree on the choices available to women? Caryl Churchill’s Top Girls and Brien Friel’s Dancing at Lughnasa are both plays set in times of great change. The former deals with the implications of the electoral success of Margaret Thatcher, Britain’s first female Prime Minister, while the latter grapples with the consequences of industrialization in Donegal, Ireland. The chief concern of both plays is how political

pro-Irish.’ Consider this comment on the play. The Cultural take over of Ireland by the British Empire is a central issue in Translations. Friel examines this issue by describing the effects that certain changes have on individual characters; Irish and English. One may think a play with this issue could not help being biased towards the Irish. However, Friel ‘did not wish to write a play about Irish peasants being suppressed by English

Wherever there is conflict, there are always those begging for peace, the Irish civil war being no exception. In their respective texts, The Sniper and The Freedom of the City, Liam O’Flaherty and Brian Friel call for peace from this war by arguing that it is futile. Both authors communicate this common message to their audiences through the utilisation of the same stylistic techniques including structure, characterisation, and motif. However, the exact manner in which each technique is used or presented

Is Translations about Language or politics? Friel famously said of Translations, “it is about language and only language.” However, the political statement which Friel denies need not be active, but passive, as seeking an understanding of the situation must consider politics, however Friel actively avoids political comment perhaps due to the volatile situation in the 1980s when the play was first put on. D.H. Lawrence famously said, “ Never trust the teller, trust the tale” and with that

Both Friel and Bryce portray that even through memories one cannot escape their reality and is still trapped in their existence as it is not as one wishes it was. ‘Dancing at Lughnasa’ is a memory play therefore, it is appropriate that memory plays a key theme throughout. Although it does, Friel maintains it as an underlying theme, which is only spoken about at the end of the play. He speaks of memory often through Michaels monologues as he states, ‘What fascinates [him] about that memory is that

In his play, Philadelphia, Here I Come!, Brian Friel creates a manifestation of Gar’s inner thoughts and feelings that go unspoken, and presents them in the form of Private Gar. Friel makes the most out of his use of stage directions to convey the role of Private as Public’s conscience. His use of dialogue between Public and Private, as well as with S.B., illustrates the difference of their opinions to the audience. Additionally, the playwright continues to demonstrate these oppositions through the