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Introduction to Write a note on british drama pdf free download

Write Short Note on Christopher Marlowe

The theme of this work is based on the legend of a famous medieval magician. Faust sold his soul to satisfy his heart's desires. In fact, Faust is a true embodiment of the Renaissance spirit. A noble blank poem, full of poetry and passion, is a testament to the author's unparalleled talent. Another of his great plays by Marlowe, The Jew of Malta, was published in 1592. This is an anti-Semitic drama with plenty of melodrama and occasional tragic passion. The opening scene of this play is believed to be as perfect as Shakespeare's, but the acting in the second half is weak and ridiculous. Marlowe's last play was Edward II, written in 1593. It is based on historical events and the play is considered his magnum opus from a technical and artistic point of view. Shows clear progress in dramatic technique. Poetic and less imaginative. Furthermore, it is also notable for its unusual engineering and superb characterization. Edward II is the first historical drama to reach tragic proportions. Marlowe's contribution to British drama

is outstanding. Marlowe introduced characters and passions to heroes of great power and reality. He went on to make the blank verse supple and flexible to match the drama. So he made Shakespeare's work easy. Marlowe brought beauty, majesty and poetic sheen to the drama. Marlowe is called the father of English theater. Marlowe took the blank poetry of the Classical school as hard as a rock and pierced it with a stick until it bubbled with human emotion. He puts aside the old rhymes of romantic drama and makes blank verse the best expression of wit. He uses Shakespearean monologues. What is most notable about Marlowe's work is that the themes he borrowed from the heroes he shaped were nothing more than his mouthpieces. Marlowe's contributions to British drama are remembered to this day. Discuss Dr. Faustus as a Tragedy [verified] Introduction Doctor Faustus is the impeccable creation of the Central Sun of the University of Witz, Christopher Marlowe (1564-1593). Christopher Marlowe was an

Discuss Dr. Faustus as a Tragedy - Write a note on british drama pdf free download - PPUP Important and Previous Year (2019-2020) Questions & Answers from Paper -03 (British Drama)

Elizabethan English dramatist who lived from 1564 to 1593. He is the most famous English tragic poet after William Shakespeare, known for his blank poems. Marlowe has been called his star in the great Elizabethan drama Morning. Possessing an uncanny ability to sell souls to the devil in exchange for power and knowledge, Doctor Faustus is a medieval tragedy in Marlowe's dramatic masterpiece The Tragic History of the Life and Death of Doctor Faustus. A hero, also known as Doctor Faustus. The play, like other classic tragedies, begins with the hero reaching the pinnacle of power and ends with a plunge into misery, death, and ruin. Tragic hero A tragic hero is a type of tragic character, usually the main character. Tragic heroes usually have heroic traits that resonate with audiences, but they can also make weaknesses and mistakes that ultimately lead to their own downfall.

The ancient Greek philosopher Aristotle was the first to define the "tragic hero". According to Aristotle, tragic heroes are usually of noble birth and high social status. He is also a man of good qualities, attitudes and actions. The heroes of tragedy often commit mistakes that, knowingly or unintentionally, lead to their falling from high positions, suffering great suffering, and ultimately dying. The hero of Marlowe's tragedy does not adhere to all the conditions laid down by Aristotle. you partly agree. For example, Faustus is an ordinary German parent who is mainly supported by relatives and goes to Wittenberg for higher education. He is not of noble birth. But he is great because of his scholarship. Like Macbeth, he is an ambitious hero. Dr. Faust is a character that on the surface may not appear to be the archetype of the stereotypical hero. A deeper analysis, however, reveals that Faust is a character that defines many of the defining characteristics that make up the hero of literary tragedy.

choosing Lucifer over God. That's why people want him to find the truth, repent of his sins, and accept his return to God. His fate is miserable and that's why people sympathize with him. His reputation is well known as a respected professional. For example, he gives speeches to students and officials in various scholarship fields. This shows his level of intelligence. Tragic heroism is also reflected in the doctor's wrong choices. Faust. He decided to trade his soul for knowledge from Lucifer. Faust tried to achieve his goal by deciding something for himself. The heroic act marks the manifestation of the Renaissance era, when science obscured most of people's lives. Therefore, he aspired to free himself from fate and decide his own destiny. He makes his own decision to join Lucifer without being forced by anyone. A good example of this is when he demands that Mephistopheles go to inform the devil of his

intentions and desires. Therefore, he cannot choose what is wrong or right. This ultimately leads to Dr. Faust making a deal with the devil, which leads to Faust's downfall. His most tragic mistake was trying to acquire forbidden knowledge. He has only black magic left to learn. Therefore, he decided to explore the realm of necromancy. He believes that such a quest for the forbidden has become powerful and truly grand, but the medieval view holds that human beings have certain limits which they should never attempt to exceed. Another of Faust's tragedies is that he is cocky, careless, and disrespectful to God. He wants to be everyone's boss and wants others to follow him. He also believes that after attaining a superhuman form, he will become like a god. Faust gains the power to learn more about the essential universe. However, after taking power, he uses little tricks and stupidity around the world to unleash his incredible

powers. Necromantic By exerting great power, Faust reveals the true tragedy of his character. Mephistopheles, a demon who once tasted even the greatness of Heaven, warns Faust against selling his soul and making a pact, saying that Hell is a very real place, and more terrifying than he imagines. Faust's blindness to truth and his own vanity ultimately lead to his downfall as a character. Faust can either believe that hell is not "real", or he can argue that he can always repent and change the fate of his destiny. It is only in the last days of his life that he realizes the truth of his death and tries to plead with God to make his fate in hell much lighter. At this point, it's too late for Faust to be saved. Despite his efforts to find repentance at the last moment, he is doomed to hell forever - as the reader witnesses the final scene of Faust's tragic death, he finds Lucifer and his kidnapped to hell by the demons. Conclusion But all his appeals are to no avail. Mephistopheles appears and takes Faust's soul. Finally, we can say

Point out the Aligorical Elements in the Dr. Faustus

that Faust was a great man who accomplished many great things, but by his own conscious will, tragedy and pain fell upon his head. He eventually becomes a pitiful and terrifying victim of his own ambitions. Point out the Aligorical Elements in the Dr. Faustus [verified] Introduction The Tragic History of Doctor Faust by Christopher Marlowe is a play that embodies a moral allegory related to the shape of Faust's property. For better or worse, this moral allegory is of universal importance. The tragic story of Dr. Faustus serves as a religious, more like a Christian preacher, in which those who shy away from the path of virtue condemn God and his laws, forming alliances with the forces of evil has gained limitless power and status, and is doomed to despair, eternal punishment, Doctor Faust as an allegory. The Following lines clearly express the moral Allegory of the play:

An allegory embracing realism Miracles and morality plays have some standard devices, and Marlowe's Doctor Evil A and Faustus are no exception. Good angels and bad angels. The demons, the old man, the seven deadly sins, etc. presented in the play can be interpreted allegorically. The two angels are emissaries of power independent of Faustus, and although Helena is a ghost, she is not merely an imaginary figment of Faustus. Helen represents the eyes of the world and the lust of the flesh. The play is allegorical, but it does not completely rule out realism. Use realism as a tool. Certain characters in the play are chosen to serve a dual purpose. Characters are important as symbols of what they symbolize, but they are also important for what they are. You too ; make sense now not as one, but as the other by some sort of alternation, but continuously and simultaneously as both. The Good Angel and the Bad Angel Good angels represent good principles, which are not affected by whether Faust is loyal to him. Faust

cannot raise or lower his perfection, nor can he create or destroy it. But the good angel also symbolizes part of Faust's nature. Only by being faithful to this part of his nature can Faust achieve his own perfection and thereby peace. Not his own, but his life. A good angel can guarantee lasting happiness, but Helen, being a shadow and not a substance, guarantees temporary happiness. Allegorical devices of space and time The spatial separation between Faust and the good angel is both the event and the temporal separation between Faust's death and his signing of the covenant. The two have been separated for 24 years. This period is significant in its own right, but it is also symbolic of the signing moment, the moment when Faust falls into spiritual death. He kills souls for it. It takes him less than 24 years to weaken or atrophy. But death, whether spiritual or physical, does not perish the soul, so the consequences of signing a contract are not limited to an instant.

Faust is allowed to investigate evil with all patience and caution. During this time, each angel continues to play a dual role. As part of Faust, they express their interests, and as external agents, they encourage or end those interests. Evil angels and demons are more prominent in the early scenes. And Faust can't resist the invitation to evil. Significant of the Seven Deadly Sins Faust is no ordinary human being moved by the seven deadly sins. The Seven Deadly Sins show puts Faust back on the road to hell. The sins are already in Faust's soul and the show brings them out. The whole procession is led by pride. Pride is the worst voice that brings downfall. And Faust, puffed with pride, flew too close to the sun on his waxy wings to bring about his own ultimate doom and doom Already crumbling at Faust's hands. Significant of the Old Man Faust ignores an eternity that can only avenge itself. By choosing evil, Faust not only lost his mental integrity, but also his physical integrity as it was destroyed by the passage of time (fable). The old man reminds him of it. Faust was angry with the old man and asked Mephistophilis to torment

him. But Mephistophilis, unlike Faust, is powerless against those who cling forever. An old man would fly to his god, but Faust has no place to fly except in the remainder of his youth. Conclusion It is important to note that the fable not only creates the materials and equipment for the main parts of the play, but also shapes the play. This work begins with a monologue and ends with a monologue. Only Faust can carry out punishable deeds, so he goes to the crime scene alone so that responsibility can be made clear. He is the only one who can endure punishment, and therefore the only one who can endure it. Between these two points of his, the stage is that of a person who can influence behavior without acting, or without influence, to better demonstrate one's character and function. Then, at the end, the stage is empty and only Faust is with the scholars. The academic is only a matter of convenience, allowing him to speak publicly.

The same applies to fables about time. In the main part of the play, scenes are followed by other scenes, but this is in no particular order and more psychological than chronological. They show possible aspects of a person's condition in contrast to past events. In the final scene the time reference starts to increase. During the closing monologue, a clock is visible on stage. Faust's vision is currently trying to stop time, but succumbing to despair only accelerates it. The overall effect is that he appears to be rushing towards death. The result is also seen in the opening monologue. From there all the drama takes place in the sense that it is the result of actions committed in the play. When the effect is repeated, the entire piece is recorded. But that's not all. According to one interpretation of the metaphor of time, the two are the same in that the result occurs immediately after the action. So the game is not only symmetrical. It's a closed circle. Leave Faustus in the same place and close where you found Faust in the same way.

Throw Light On Supernatural Elements in Macbeth - Write a note on British drama pdf free download - PPUP Important and Previous Year (2019-2020) Questions & Answers from Paper -03 (British Drama)

Throw Light On Supernatural Elements in Macbeth [verified] Introduction Shakespeare used supernatural powers frequently and liberally in his plays. The importance of supernatural powers in Shakespeare's plays cannot be overemphasized. A commentary on the importance of supernatural elements in Shakespeare's plays. The supernatural element plays a very important role in increasing influence and universalization The charm of Shakespeare's plays. Witch, Ghost, Illusion, Hallucination, Malice Fate makes Shakespeare's tragedies powerful and awe-inspiring. These devices are Speak to us in the age of science where all forms of superstition are disappearing over there. But Shakespeare isn't to blame for the bill. He believes in the reality and existence of unseen supernatural beings that operate on the mind, and human behavior. Shakespeare makes great use of the supernatural in his tragedies with high Artistic purpose - to create and enhance an atmosphere of mystery, awe and horror to strengthen the tragic effect.

Take a look at the play 'Macbeth' and you'll see it's supernatural Elements such as witches, ghosts, and hallucinations play an important role in creating tragedy atmosphere . The various supernatural elements Used in Shakespeare’s Macbeth are as follows : The Witches : The first and most terrifying superpower in Macbeth is Represented by three witches. Shakespeare introduced these witches at the beginning of the play. He wrote of their appearance: They generally wore beards. She was languid and terrible." Her appearance was terrifying to everyone. These three witches not only influence and control Macbeth's personality and actions, but also determine the plot of the tragedy. It was her three witches who transformed the kind, noble, patriotic and brave General Macbeth into a cruel and unkind murderer. It was these supernatural powers that touched Macbeth at his weakest point, heralding Macbeth's future becoming "Lord of Cawdor," "Lord of Glamis," and later "King of Scotland." Triggered by this, the life of Macbeth, a noble general, changes completely. H kills his king Duncan to

become king of Scotland. He later kills Banquo and many others, just to save the kingship. Therefore, we can say that the witch occupies one of the most important places in "Macbeth". It is these forces that alter plots and present tragic settings. Ghosts: It is the second most terrifying supernatural power used by Shakespeare in Macbeth. It serves the same dramatic purpose as a witch. Subjective ghosts appear in Macbeth. Banquo's ghost can only be seen by Macbeth, as Macbeth was the only one who brutally killed him just to save the throne. The ghost of Banquo appears in the banquet scene. When Macbeth returns to the banquet after entertaining all three of Banquo's murderers, he finds Banquo's ghost in his chair. Here the atmosphere of the play becomes inexplicably mysterious and frightening. Macbeth begins to tremble with fear. This is how Banquo's spirit creates a tragic environment. Banquo's ghost is often interpreted by critics as a creation of Macbeth's feverish imagination and fearsome mind.

The second ghost, which some critics call Banquo's and others Duncan's, further enhances the drama's tragic tone. Hallucination and Apparitions: This is how Banquo's spirit creates a tragic environment. Banquo's ghost is often interpreted by critics as a creation of Macbeth's feverish imagination and fearsome mind. The second ghost, which some critics call Banquo's and others Duncan's, further enhances the drama's tragic tone. When Macbeth meets the witches again, they present him with a series of apparitions. One is "armed head, another is a 'cursed child', and another is a child with a tree in his hand." Thus, it can be said that Shakespeare uses the supernatural for distinct dramatic purposes.By creating an atmosphere of mystery, awe, and terror, he adds to the intensity of his tragic stories. Without supernatural intervention, his tragedy would not be what it is today.

Discuss Macbeth as a Tragedy Or Character is Destiny in Shakespeare Play 'Macbeth' - Write a note on British drama pdf free download - PPUP Important and Previous Year (2019-2020) Questions & Answers from Paper -03 (British Drama)

Discuss Macbeth as a Tragedy Or Character is Destiny in Shakespeare Play 'Macbeth' [verified] Introduction The Tragedy of Macbeth belongs to the period 1604-1608 of Shakespeare's literary output known as the period of great tragedies like Othello , Macbeth , King Lear , Antony and Cleopatra and Coriolanus . It is probably written in 1605-1606 . The play is mainly based on Holinshed's ' Chronicles ' but Shakespeare has also consulted Buchanan's Latin ' History of Scotland ' for other details . This play was primarily written for performance at court . According to Bradley it is one of the four great tragedies written by William Shakespeare . Definition of Tragedy by Great Authors Aristotle , in his Poetics , has defined tragedy as , " Tragedy is an imitation of an action that is serious , complete , and of certain magnitude ; in language embellished with each kind of artistic ornament , the several kinds being found in separate parts of the play ; in the form of an action , not in narrative ; through

pity and fear effecting the proper purgation of these emotions . " Shakespeare's conception of Tragedy & Macbeth In Shakespearean tragedy , the action takes place in five stages : Exposition - i.e. the beginning of the story or a scene or event that starts the action and triggers later conflict . The Rising Action - a series of events occur that leads to the climax . The Crisis - the turning point . It is the moment when a choice made by the main characters determines the direction of the action . It is a tense moment when the forces of conflict come together . The Falling Action- a conflict between the tragic hero and the avenging forces takes place which results in tragic hero winning or losing . It often contains a moment of suspense. The Catastrophe - final resolution . It unravels the mystery or intrigue and brings towards a logical end .

In a tragedy it could be the death of the protagonist or other main characters . Tragic Hero The Shakespearean tragic hero is usually a great , high born personage , who towers above the rest in character and in action . The action issues mainly from the character . Though the hero possesses great qualities of head and heart , of will and imagination , he has a fatal flaw in his make up . This flaw is , quite often , an error of judgement , a slight particularity of one's character . Owing to this fault or flaw of his character , the tragic hero falls from the greatness . Macbeth himself belongs to the royal family , and is a trusted kinsman and general . Macbeth has " vaulting ambition " as a fatal flaw in his character which causes his destruction . Character is Destiny As it is viewed by certain critics in a Shakespearean tragedy the Character is Destiny i.e. the character of the hero determines his fate and destiny . The

character issues action or action issues out of character . The character of the hero is responsible for his actions , and thus he appears to be the instrument shaping his own destiny. As Bradley points out , " The Calamities and Catastrophes follow inevitable from the deeds of man , and the main source of these deeds is character . " In contrast with the Greek tragedy , in a Shakespearean tragedy the hero is punished by his self - willed actions . In Macbeth , we see , he is himself morally responsible for the crime and its final consequences because the thought of murdering Duncan was his own . Fate and Free will Shakespearean tragedy works by free will. There is a fate that puts the hero in a conspicuous situation, However, this does not control the hero's

actions. People are free to choose, but are chosen if they cannot withdraw or turn back this action. A sense of fate exists in the form of ghosts and witches who live there in the world of Shakespearean tragedy. Even in Macbeth, it was the witches who prophesied for him Whether he believed them or not, kingship was entirely up to him. It was his own ambition that drove him to commit the worst of evil murders. Both freedom and necessity, but the final impression is fate and free will. Tragic Waste • A Shakespearean tragedy is the tragedy of destruction of so much potential goodness in the destruction of evil. • The tragic hero, undoubtedly, has a flaw which causes his doom, but he is an admirable character also- a great warrior, or an exceptionally honest and virtuous person .But all these exceptional human qualities are wasted. • In the end, the evil is expelled but at the cost of much goodness and wholly admirable.

soliloquies and asides are the best examples of the internal conflict going on within him. Role of Supernatural • The supernatural elements play a pivotal role in a Shakespearean tragedy. • They are not mere illusion of the protagonist’s mind ,but have an objective existence as they are seen by others also(as witches were seen by Banquo). • They contribute to the action and often are indispensable part of it. • They give a kind of confirmation and distinct form to the inner working of the hero’s mind(witches in Macbeth are symbolic of the guilt within his soul). • The withes in Macbeth are potential enough for evil and wrecking the human soul. Point Out the dramatic irony from Macbeth [verified] Dramatic irony is a literary term that defines a situation in a play in which the reader knows more than the characters.

Point Out the dramatic irony from Macbeth

William Shakespeare uses dramatic irony to pique the reader's interest and deepen the meaning of the consequences Macbeth ultimately faces. Throughout the play, Macbeth, a literary device that is a dramatic irony, gives the reader the advantage of knowing more than the characters in the play. This creates tension and reinforces the character's weaknesses. In Macbeth, the most memorable example of dramatic irony is the witch and Hecate's use of apparitions to mislead Macbeth and bring about his downfall. I also know that I feel guilty and remorseful.Lady Macbeth only knows Duncan. As far as we know, the first instance of drama is Macbeth unknowingly becoming the new lord of Corder. Ross Macbeth is breaking the news and we are waiting for his reaction. We know that some of the witches' prophecies have been fulfilled. "He was a gentleman in whom I had built absolute confidence." - King Duncan (Act 1, Scene 4). The irony of this excerpt is evident when King Duncan, a noble

As you can see in the play, what was once a small thing for Lady Macbeth quickly became a big deal when the realization of what she had done in Duncan's murder finally began? Shocked after Duncan's murder and thinking that Lady Macbeth must actually be a very evil person, he would be uncomfortable with Lady Macbeth's reaction to her hysteria. However, when Lady Macbeth later had a mental breakdown, the audience felt a somewhat vague sense of dread that Lady Macbeth remembered just how terrible Duncan's murder really had been. However, she soon realized that she had done something terrible, and as a result, she died soon after. In summary, Macbeth is full of dramatic irony. The irony of Macbeth is intended to heighten the tension and malice of the play. For example, if Duncan's visit to the castle took place in the middle of a thunderstorm, with Macbeth turning against him and the witches hunting down Macbeth, the play would lack much suspense and the audience could start to get bored with the play.

Discuss Volpone as a Comedy of Humour

It doesn't change much and it's easy to predict what will happen. If the witches hadn't made a paradoxical prophecy about Macbeth, there wouldn't be a lot of sarcasm in the play, and audiences wouldn't be afraid to watch the play at first, just claiming that Macbeth is insane. In short, without irony, Macbeth's play wouldn't be so interesting, thrilling, and terrifying. Shakespeare clearly wanted the play's irony to build and maintain tension while at the same time instilling a vague sense of dread. Discuss Volpone as a Comedy of Humour [verified] Comedy of Humours refers to a type of drama that focuses on characters, where each character represents some kind of personality. Volpone's characters are stereotypes. They represent character types, not flesh and blood. The play has characters with physical abnormalities like Nano, Castrone, and Androgyny, but not as mentally imbalanced characters as Volpone, Mosca, Voltore, Corvino, and Corbaccio.

Volpone is an unbalanced character. At the beginning of the play, he worships gold as a god. Volpone's worship of gold suggests that Volpone is greedily and completely consumed. In addition to greed, he falls into blasphemy and calls his gold a saint. He also wants to trick inheritance hunters into making his fortune and have sex with the beautiful Celia. He also takes pleasure in tormenting Legacy hunters. All this indicates that he is mentally unbalanced. Volpone's parasite, Mosca, is as greedy as her master. It seems to be a bigger villain than Volpone in the play. He pleases his master and afflicts Legacy hunters to please him. At the end of the play, he reveals his true colors as he tries his best to betray his master and is therefore mentally unstable. Volpone's dominant humor is stingy, which affects all Legacy Hunters (Voltore, Corbaccio, Corvino). Voltore brings an expensive antique plate as a gift to please Volpone.

He is too attached to money and can defy his creator if he pays a fee of 6 sols or more. Corbaccio, the oldest of the legacy hunters, agrees to disinherit his own son, Bonario, in order to inherit Volpone’s wealth. Even he disclaims Bonario as his son. Corvine forces his innocent wife to sleep with Volpone. He also denounces his wife as a whore and says that he has seen his wife with his own eyes in the act of sexual intercourse with Bonario. The humors of Sir Politic Would-be and his wife are not inborn but acquired. The humor of Sir Politic is to affect great political skill and statesmanship. In addition to his political humor, he also suffers from the humor of a stereotypical traveler, who took note of every trivial activity during his visit abroad. Lady Politic Would-be is a medley of various academic disciplines. Her theory of obsession and possession is a crude travesty of Platonic thinking. She is also very greedy. To acquire Volpone’s wealth, she is ready to offer her body.

Give the character sketch of volpone - Write a note on british drama pdf free download - PPUP Important and Previous Year (2019-2020) Questions & Answers from Paper -03 (British Drama)

Volpone's characters are stereotypes. The characters are all unbalanced, have a lot of "humor" and act comically. Volpone is therefore a comedy of humor. Give the character sketch of volpone [verified] Volpone is today Ben Jonson’s most performed play, and its savage portrayal of human greed, self-interest, selfishness and lust is as biting as it was in 1606. Set in Venice, the play is both a city comedy and a type of beast fable, in which the wily and gold-obsessed trickster Volpone, or ‘fox’, dupes a range of foolish Venetians and foreigners with the help of his clever servant Mosca (‘fly’ or ‘parasite’). Volpone pretends to be a wealthy old man who is bedridden and close to death, and courts the attentions of three eager gold-diggers, the merchant Corvino (‘crow’), the lawyer Voltore (‘vulture’) and the elderly gentleman Corbaccio (‘raven’), who believe that they have a shot at being made heir to his immense fortune. He extracts extravagant gifts from Corvino and Voltore, and persuades Corbaccio to disinherit his own son, Bonario, in favour of Volpone. Learning that Corvino has a beautiful wife, Celia, Volpone visits her

in disguise and decides to seduce her. He convinces Corvino that his illness will only be cured by sleeping with a young woman. The greedy Corvino agrees to ‘lend’ him Celia, because Volpone promises to make him his heir. When Celia is not seduced by Volpone’s offers of wealth, he attempts to rape her, but is interrupted by Bonario. In the ensuing court case Mosca and Voltore conspire to acquit Volpone, and it is Celia and Bonario who are arrested for adultery. Bound up in the play’s ‘cross-plots’ (Volpone, ‘Argument’) are a foolish English couple, Sir and Lady Politic Would-Be, and their savvier acquaintance Peregrine, a newly arrived traveller from England. Mosca and Volpone manipulate the vain and easily deceived Would-Bes for their own benefit. As a parting trick, Volpone has Mosca announce his death and that he (Mosca) is his heir, so that he can gloat at the fortune-hunters’ disappointment in disguise. But this last scam spirals out of control. The truth of the earlier court case starts to be revealed, and Mosca refuses to give up Volpone’s fortune: Volpone is ‘dead’, after all! Volpone decides

Write Down the Character sketch of Mosca?

turns out to be motivated by both personal interest and a desire to help Volpone. For when an opportunity presents itself to usurp Volpone's wealth, he seizes it. Mosca herself is obsessed with greed and is transitioning from being a parasite, a harmless fly that orbits around a big beast, to being the big beast itself. However, his attempt fails as Volpone exposes them both. An interesting question is what his failure means in the context of the play, and whether it stems from his greed, deceit, or his attempts to usurp the powers and privileges of the nobility and transcend their social class. Character sketch of Mirabel[verfied] He is the ideal Restoration beau, a combination of the cynical and the gracious. He has the vices and the virtues of his kind. In his day, he has been a successful woman-chaser. As a cover for an affair, he cynically arranged for the marriage of his mistress to a man presumably his friend. He cynically flattered Lady Wishfort, for whom he feels contemptuous amusement.

Character sketch of Mirabel

He devises a plot that would blackmail Lady Wishfort into consenting to her ward`s marriage; it would also humiliate her grossly. And he has no faith in his assistants in his plot; before Waitwell can masquerade and woo Lady Wishfort, he makes certain that Waitwell be married, for he "would not tempt [his] servant to betray [him] by trusting him too far." It is easy to see why he would trust very few people; he has only to consider how he would act under similar circumstances. He can anticipate treachery on Waitwell's part. He can distrust Fainall and forestall his villainy to protect Mrs. Fainall's future. Yet the character is made acceptable even from the point of view of a generation that disapproves. Mirabell handles the situation with dignity and the style of his period. The irony in his comments on other people reveals his common sense; his judgment of Fainall is ruthless, but it is clear-eyed. The comments on young Witwoud are shrewd and accurate, and it is worth observing that he directs little irony against Sir Wilfull Witwoud.

On the other hand, his ironic self-criticism leads him to realize that he is indeed in love with Millamant. In the play, we are most interested in Mirabell as lover. He never loses his control, despite provocation, in his affair with Millamant. He laughs at himself — but his speech indicates the depth of his feeling. He accepts Millamant's mischievous mistreatment with some resentment, but he still manages to remain the polished courtier. Even though he loves her, he does not lose sight of the importance of her money. His love must be seen within the context of the play. Neither he nor Millamant can sink into any sentimental act or mood. The depth and sincerity of the emotion must be conveyed by the manner which is a necessary part of the ideal gentleman. He is in love — but he is still the completely accomplished gallant. Congrieve presents the picture of love, Marriage and sex in the 'The way of the world' Discuss. In the male-dominated patriarchal society of Congreve's time, married women were only property. Her dowry (money, and property) was given to her

Congrieve presents the picture of love, Marriage and sex in the 'The way of the world' Discuss. - Write a note on british drama pdf free download - PPUP Important and Previous Year (2019-2020) Questions & Answers from Paper -03 (British Drama)

husband at the time of marriage, and by law she became his husband's property. Marriage was Arranged according to social status, wealth and surname. In the play, Miramant's dowry is at the center of the battle, pitting her true lover against two adulterers, Fainall and Mrs. Marwood, who plot to control Miramant's fortune and that of Fainall's wife. Mrs. Fainall tactfully deposited most of her property before marriage to prevent her husband from acquiring it. While marriages are important economic contracts, they are also convenient vehicles for protecting social reputations. Mrs. Fainall has made such a marriage, which is socially acceptable and even expected, as long as the pretense of civility is maintained. However, getting caught in an adulterous relationship puts both reputation and fortune at risk. Hence, when the relationship between Fainall and Mrs. Marwood is discovered, the two become social outcasts. Fainall has staked his reputation on a plot to disinherit his wife. As punishment, he will have to

bear the humiliating exposure, continuing to live with his wife and depend on her for his livelihood. Mrs. Marwood's reputation is ruined, her future hopes destroyed. Congreve's intent is to reflect the way of the world in all its manifest greed. The lesson is that those who cheat get their just desserts in the end. In Congreve's play, it is safe to say that in this particular struggle—the high stakes of which are love, money, and social survival—men and women are equally proficient and powerful. Gender behavior is proscribed within the limits of social convention. Thus male and female attitudes and actions are expected to be very different and those differences are to be strictly maintained. The prenuptial "negotiation’’ scene between Mirabell and Millamant amusingly, yet sincerely, establishes the rules by which the couple will manage their marriage, preserving independence and privacy as well as intimacy and love. While the conditions of their agreements seem petty at first glance, it is clear that they reflect prohibitions against the "evil" tendencies of each sex.

The bottom line is that Millamant will not be unduly dominated or possessed by her husband and her husband will not be vexed with the wiles of intrigue or the vain fashions of the time. It is a good exchange: it preserves the respect of each party as well as the distinctions and charms perceived to be natural and unique to men and women. Mirabell and Millamant's union is certainly intended as a corrective to the deceitful adultery of Fainall, the pathetic loneliness of Lady Wishfort, and the emptiness and debauchery of the life of the dandy. Write a critical essay on the nature of the congrieves Bits and Humour in "The way of the world" [verified] Congreve avoids attempting any definition of wit, although, in the dedication, he distinguishes between true wit and false wit, the latter a product of affectation. Another comment of Congreve`s on wit also casts some light on his practice. In "Concerning Humour in Comedy," he writes: Every person in a comedy may be allowed to speak them [pleasant things]. From a witty man they are

Write a critical essay on the nature of the congrieves Bits and Humour in "The way of the world"

expected and even a fool may be permitted to stumble on 'em by chance. . . . I do not think that humourous characters exclude wit; no, but the manner of wit should be adapted to the humour . . . ; a character of a splenetic and peevish humour should have a satirical wit. A jolly and sanguine humour should have a facetious wit. In practice, all of Congreve's characters speak "pleasant things." There is not a speech that does not have its biting edge of wit, satire, or irony. Discussions of style and wit in a play are in some ways simple. Certain kinds of problems do not have to be discussed since they do not exist. Unlike novels, plays have no long passages of description which may or may not be well written; there are no elaborate expositions of motives. There is no reason to consider whether the author is inside his creatures' minds or external to them. The characters speak; what they say can be examined. To talk of style or wit in a play is to talk of the different styles and different kinds of wit of the characters.

Congreve wrote so that his characters were sharply differentiated by their speech patterns and their wit. As Congreve used style and wit as one of his ways of characterization, the material in this section may be considered additional data for study of the characters, collected here so that a rather technical subject can be treated in one place. Mirabell Mirabell's style is not an easy one. We do not feel that he is spontaneous, for his periods are carefully prepared. The sentences are long, flowing, and syntactically intricate. He indulges in no slang or canting expressions. While he can be acid in his judgment, there is no vituperation in his speech. The objects of his disapproval are so deftly lanced in his gracious phrases that they can scarcely feel the knife. Mirabell's wit and irony are also intricate. His observations about others are shrewd, including a mixture of distaste, tolerance, and amusement. Considerable irony is also directed at himself. There is a strong element of self-criticism that makes him a most unusual hero.

Any number of speeches might serve to reveal these characteristics; this famous speech from the first act about his feelings toward Millamant will do: I'll tell thee, Fainall, she once used me with that insolence, that in revenge I took her to pieces, sifted her and separated her failings: I studied 'em, and got 'em by rote. The catalogue was so large that I was not without hopes one day or other to hate her heartily: to which end I so used myself to think of 'em, that at length, contrary to my design and expectation, they gave me every hour less and less disturbance, till in a few days it became habitual to me to remember 'em without being displeased. They are now grown as familiar to me as my own frailties, and, in all probability, in a little time longer I shall like 'em as well. Millamant The ultimate proof of the individuality of Millamant's style is in this — that to read the passage aloud is immediately to sense the manner and mannerisms of the character.

She is flippant, delightfully spoiled, spirited. When, in the fourth act, she reveals a depth that we might not have expected, that, too, is in the style. Her speech in her first appearance is abrupt; she moves not so much from one subject to another as from one feeling to another with an ability to turn anything into wit. Fainall Fainall's style and wit must be differentiated from Mirabell's. His sentences are not as long or as contemplative as Mirabell's, and his wit is more direct and somewhat crueler: "The coldness of a losing gamester lessens the pleasure of the winner. I'd no more play with a man that slighted his ill fortune than I'd make love to a woman that undervalued the loss of her reputation." Perhaps because of the nature of his part, he is more abrupt in accusation, and his lines may depend on a more obvious parallelism and antithesis: "Could you think, because the nodding husband would not wake, that e'er the watchful lover slept?"

And he engages in a more direct attack: "Professed a friendship! Oh, the pious friendships of the female sex!" Young Witwoud Since Congreve himself commented that readers and audience could not always distinguish between Witwoud and his true wits, Witwoud's speeches demand especially careful examination. As Witwoud has no function in the plot of the play, the purpose of his speeches is to characterize him and to provide comedy. The key to his wit is the "similitude." "Truce with your similitudes," says Millamant to him. Each comparison may be clever by itself, amusing, unusual, a little shocking, such as "Friendship without freedom is as dull as love without enjoyment." The lines with which he interrupts Millamant in the second act are each one a comparison, amusing or overburdened. The witticisms are forced; they have been collected and memorized, and at need pulled out of his conjurer's bag of tricks.

Irony, if there is any here, is superficial; no one of the witticisms has any particular point. Nor does young Witwoud even realize it should. Petulant Petulant's style and wit are included in his name. He has a humour to be angry — that is, he is an example of Jonsonian humour, or, perhaps, he affects a humour. Lady Wishfort Lady Wishfort's style, like everything else about her, is of special interest. Her manner is abrupt — a mirror of the arbitrary, petty tyrant she is. Like all Congreve characters, she has, perhaps unconsciously, a fair amount of wit. More than anything else in the play, her verbal attack on others is direct vituperation-"Boudoir Billingsgate," in Meredith's phrase. No unit of thought is longer than a few words. It is clear that she shouts when annoyed or irritated, and she is always in a state of annoyance: No, fool. Not the ratafia, fool. Grant me patience! I mean the Spanish paper, idiot; complexion, darling.

The way of the world is the mirror of society. Discuss.

Paint, paint, paint! dost thou understand that, changeling, dangling thy hands like bobbins before thee? Why does thou not stir, puppet? thou wooden thing upon wires! The way of the world is the mirror of society. Discuss. [verified] “The Way of The World” is a mirror of society in a realistic manner. The infidelity of married women, the scandalous life of people, jealousy, gambling, intrigues, the fast taste of the people have been depicted in this drama. London is the centre of comedy of manners. Whatever happens in coffee houses or clubs of London among the upper class people of the society is described here. In “Way of The World”, Congreve depicts the world of fashion of restoration period. We find that the characters like Lady Wishfort, Mirabell and Millamant are come from the upper class of the society. Life of Women Women are flirtiest and commercialized. They would betray their husbands without any compunction of conscience. The women of the time live in an

atmosphere of social vices which result in jealousy and mutual suspicion. In “The Way of the World” this problem has been solved ultimately by the marriage of Millamant with Mirabell who agree to unit themselves in wedlock after scanning and finally stipulating certain conditions. Love Affairs The chief aspect of the comedy of manners is to depict love and love intrigues. In “The Way of the World”, we find many illicit relations and love affairs. Mirabell says to Mrs. Fainall… “You should have just so much disgust for your husband as may be sufficient to make you relish your love”. We find another love affair between Mr. Fainall and Mrs. Marwood. Though Mr. Fainall is a married fellow, he has illicit relation with Mrs. Marwood. Fainall faces the situation without fear and shame. He says… “If it must all come out, why let them know it is but the way of the world”. Vanities and Fashions

The play makes us aware of the affections, vanities and fashions of women. We find that women talking about ill of men and hatched something against them. They exchange notes of the latest scandals. Lady Wishfort has too much attraction for cosmetics even at the age of fifty-five. In her alluring appearance, we find comic vanity. Even intelligent woman like Millamant, encouraged a crowd of admires together around her. Women were fond of wearing masks. Pregnant women used to wear tight dresses to maintain their own figures. Mrs. Marwood, Mrs. Fainall and Millamant dress up themselves just for show off their beauty. Travelling Travelling was something adventurous in those days. People had much interest in it. They were keen to pick up French as a fashionable language. Sir Wilful is so attractive to travelling. He is always ready to out for travelling. He hardly thinks of advances as desired by his aunt, Lady Wishfort to Millamant. Intrigues

Intrigues were a part of the social and domestic life of the restoration age. A maidservant could be an agent for this sort of intrigues. Women are seduced through intrigues; sometimes for physical appetite and sometimes for economic factor. Fainall marries Lady Wishfort’s daughter for the sake of money. Besides, Mr. Fainall in league with Mrs. Marwood tries to grab Millamant’s legacy as well as Lady Whishfort’s whole property. Mirabell woos Lady Wishfort though he acting wishes to marry Millamant. Thus, the play went on in the form of intrigues prevailing in the society. The Scandalous Places Generally, we find some scandalous places like chocolate house, clubs, parks, coffee house etc. in the play. These scandalous places are the setting of the restoration comedy of manners. In “The Way of the World”, we find this type of places like… ‘Blue Garret’, ‘St. James Park’, ‘Hyde Park’ etc. These are the places where lovers met. The confidential talks took place among them at these places. Moreover, ‘the play houses’ were the places of scandals where the gentlemen and ladies went

of scandals where the gentlemen and ladies went there for some other purpose rather than seeing the plays. Role of Servants The servants play a very vital role in the comedy of manners. Especially the maidservants are loose and without any moral. Their main business is to indulge in intrigues and exchange of secret letters. In the play, Petulant says… “I go to bed with my maid”. We see that the house cleaner belong to very low level to serve the aristocratic people. These prostitutes were dangerous to the moral security of home. The Night Life The nightlife of the restoration period does not appear to be innocent like any civil club life. People met for the reasons of sexual living, drinking and for a company among women. Though the people did not approve of excessive form of drunkenness, yet it seems to have been favoured by the society.

Millamant entertains men at her place. The love life could only be conducted in the night. Sir Wilful is the king to the immoral climate of the night time. Thus, the comedy of manner has been criticized for its licentiousness, obscenity and immorality. Congreve paints a realistic picture of the contemporary society in this play. That is why the present play can be called a mirror of the society because it reflects various shades of life including love, marriage, sex, intrigues, disguises and so on. Character Sketch of Lydia Languish [Verified] Introduction Miss Lydia Languish is the heroine of the play, The Rivals and is exactly what her name suggests, a silly romantic being, languishing in her comfortable sofa longing for secret marriage and elopement. She has a distinct tendency towards what is called sentimental tenderness. She is portrayed as a whimsical lady who lives in her own dreamland. Since she has romantic inclinations, she is always with

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thoughts of romantic adventures and escapades in relation to love and marriage. She has beauty and wealth, that bring a number of gallant lovers round her like a swarm of flies but she is a lady of peculiar tastes. Lydia: A lady of a singular taste At the very outset, Fag describes Lydia as a lady of “a very singular taste” and as a lady who likes her lover better as a half pay Ensign than if she knew he was son and heir to Sir Anthony Absolute, a rich baronet. Her peculiar conception of love and marriage arise out of her excessive reading of cheap romances and novels. Talking about her wealth, Fag says, “She has a lap-dog that eats out of gold; she feeds her parrot with small pearls, and all her thread papers are made of bank notes.” Thus, we get an impression that she is exceptionally wealthy together with having an odd or singular taste as far as love is concerned. Lydia: Her idea of love Her idea of love includes all thrills and sensations–the secret love affairs, the marriage without the

guardian’s consent, elopement the news of it in the papers, forsaking the inheritance due to compliance of the guardian in the marriage, and consequent idealisation of poverty in which to live with her lover. These are the imbecilities of a spoilt child, that Lydia is to her bones. And it is to gratify these whims that Captain Absolute feels compelled to assume the character of an Ensign. And, when Beverley’s true becomes known to Lydia, she feels terribly disappointed. She is highly disappointed to think of a routine marriage in a church. She nostalgically recalls her secret meetings with her lover in the cold January nights when he used to kneel to her in the snow and used to squeeze and cough in such a pathetic manner. This is further proof of her foolish sentimentality in love. Lydia: Her rebellious nature She poses a problem in her rebellious nature to Mr. Malaprop. She is never able to reconcile herself to the ideas and views of her guardian-aunt.

First of all, her foolish copy-book romances lead her to self made troubles, since neither her aunt nor Sir Anthony approves of it. She does not want to abide by her aunt’s wishes who wants to marry her to a rich man in accordance with conventional ideas. Therefore, when Mrs. Malaprop asks her, in Sir Anthony’s presence, if she will promise to forget her lover who is a fellow “not worth a shilling”. Lydia says point blank that she can never forget him. Her rebellious nature is seen even when she turns her face. So that she does not have to see her new suitor. Contradiction in Lydia’s character The fact that Lydia is unable to see her own absurdities while she can perceive the absurdities of Faulkland and Mrs. Malaprop, is highly contradictory, capricious, whimsical and jealous man while she herself was in a possession of all these qualities. She does not realize her flaws and in turns makes fun of Julia’s gratitude towards that man for having saved Julia’s life from drowning.

Similarly, she can see the contradiction in Mrs. Malaprop’s falling in love with Sir Lucius, but is unable to see that her own romantic notions about love and marriage are whimsical and capricious. Lydia: Her Genuine love for Captain Absolute The fact that she reconciles herself at last to a prosaic marriage shows that she has genuine love for Captain Absolute after all. The truth was that, her foolish romantic notions and light heartedness never gave an opportunity to her to find that out. It is only when she rejects him, that she starts realizing his worth and her own love for him. In the end, the news of the duel and the danger to Captain Absolute’s life touches her heart and she at once fully understands her own love for him. On hearing the news of the duel, not only does she start impatiently for the place of the duel, but she also prepares herself in the way for the reconciliation which comes directly and smoothly. Lydia: Her importance in the play

As we all know, Lydia is the female protagonist of the principal love-story in the play and, so is indispensable to it. Beside this important role as the heroine of the love story, she also contributes her share to the comedy in the play by her absurd romantic notions. Lydia’s role was no doubt, intended by the author to be a target satire in the play. Another purpose that Lydia serves in the play is that, she offers a contrast to Julia, who is the heroine of the other love-story. Conclusion On the whole, we can say that to Mrs. Malaprop, Lydia poses a problem in her rebellious nature; to Captain Absolute she is an enigma, because he has after all to reconcile her to his true self of an heir to Sir Anthony. Although, she is depicted as a capricious, whimsical person, living in her own world, she gradually wins the love of Absolute, and the sympathy of all, including the audience.

Describe 'The Rivals' as an anti sentimental comedy

Goldsmith opposed sentimental Comedy because in place of laughter and humour, it provided tears and distressing situations, pathetic Lovers, serious heroines and honest servants. His Work 'She stoops to Conquer' is written as a reaction against Sentimental comedy . R.B Sheridan was another great writer of 18th century who revolted against the trends of Sentimental Comedy. He declared an open revolt against the systematic attempts of advocates of the Sentimental Comedy to kill the comic muse. His works Like 'The School for Scandal', 'The Rivals' and 'The Critic' all three revolted against sentimental comedy with greater force. Sheridan's The Rivals " is regarded as an anti -sentimental Comedy . It is a comedy in which the playwright portrays sentimental characters and situations in such a way that they arouse laughter in the audience. Thus the author does not provide tears but funny Feeling in the heart of audience. 'The Rivals' certainly mirrors the manners of the Contemporary Eighteenth

Every time Faulkland meets Julia, he finds occasion to quarrel with her and Julia has to leave him with tears when She is unable to bear the excess of her lover. Faulkland blames and degrader him when thinking of and waiting for Julia in her dressing Room. He thinks - "I am ever ungenerously fretful and madly capricious ! I am conscious of it - Yet I cannot correct myself !" Julia also show's excessive sentimentality her love affair. Lydia calls her 'slave' to Faulkland and says : "Yet have you Been a slave to caprice, the whim, the jealous of this ungrateful Faulkland who will ever delay assuming the right of a husband, while you suffer him to be equally imperious as a lover." But Julia accepts him as a noble, generous and proud person and says that even if she had not been in love with him before. she would have loved him only for saving her life in water and his being a good swimmer. Thus, Sheridan attacks her sentimentality through Lydia who surprises if a water spaniel would have saved her :

And who Comments - "I should never think of giving my heart to a man because he could swim." Apart from Julia and Faulkland there are other characters also who serve Sheridan's anti- Sentimental purpose. Mrs Malaprop, a widow is Looking for another husband. But she does not allow Lydia Love. Lydia loves a poor, penniles, beggarly young man Ensign Beverly . She Herself loves and wants to marry an Irish Baronet Sir Lucius O' Trigger. She carries her love with him in the name Delia. When Sir Lucius o' Trigger Comes to know that his lovely Delia is Mrs. Malaprop, he rejects, her offer of love and marrige saying : "You, Delia - Pho! Pho! be easy." He then asks Bob Acres to marry her But Bob Acres also refuses to marry her. At this stage ,Sir Anthony Absolute Consoles her by saying: "Come, Mrs Malaprop, don't be cast down - you are bloon yet . Replying to him sharply she says, Oh, Sir Antony - men are all barborous.

Justify the title "The Rivals"

Thus, Sheridan's The Rivals ridicules and the sentimental comedies. The playwright creats the situation in such a way that the emotions and sentiments of the Characters do not create tears but laughter. So, we Can that say that "The Rivals is an anti - sentimental" play. Justify the title "The Rivals" In the choice of Titles, Sheridan exercises great caution. The Title "The Rivals" suggests the main concern of the dramatist. Obviously The Rivals is a Play of situation and intrigue. Intrigue is of the very essense of its dramatic interest. The Title itself suggests the nature of the intrigue. Captain absolute comes to know about Lydia Languish a lady of a very singular taste. Her Romantic Nature like that of Raine in "Arms of the man" and olivia in "Twelfth Night" Makes the behave Foolishly. Her romantic notion feeds on the reading of sentimental novels supplies by the circulating Library. sir anthony absolute says "Circulating Library in a town is an evergreen tree of diabolical knowledge. It Blossoms through the year and depend on it, Mrs.

Maladrop, that they who are so fond of handling the leaves will long for the fruit of last". sir anthony absolute means to say that gust as the fruit of the tree of knowledge polluted the mind of love in the same way the sentimental novels of the circulating library have defited the mind of Lydia Languish. That is her nature is nurtured in romance and fed in tales love smuggled into her study from the circulating library. Like Don Quinote's her imagination is so deeply coloured by them that she is ever Languishing in a dream of romantic escapedes and the perfect bliss of contented love. As she loves a life of adventures, she would rather marry a Half-pay ensign than teh son of a rich Baron. But this she can do only by incurring the displeasure of the aunt Mrs. Maladrop. The displeasure of her aunt will mean the forfeiture of her legacy. Captain Absolute is shrewd and tactful. He wants to win Lydia as his bride but he does not want to lose her legacy.

He must do something to please both the aunt and the niece. He puts on the guise of half pay ensign. so he does not act on the suggestion of faulkland that he should propose to Lydia in his 'own character'. captain absolute says, "I am convinced my little Lydia would elope with me as ensign Beverley yet I am by no means certain that she would take me with the impediment of our own friends consent, a regular humdrum wedding, and the reversion of a good forture on my side." This perhaps is the reason that he disguises himself as ensign Beverly. He courts Lydia, and in doing so he finds himself unwittingly set in rivarlry against his real self. The novelty of the rivalry - of captain absolute against his real self - contributes to the delightfully comic situations in the play. Discuss wit and Humour in the play As you like In Shakespeare's play "As You Like It," wit and humor are prominent themes that are woven throughout the text. These elements serve several purposes in the play, and they help to entertain and engage the audience,

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as well as to deepen our understanding of the characters. One character who consistently uses wit and humor is Rosalind. Rosalind is intelligent, quick-witted, and playful, and she uses these qualities to great effect throughout the play. When she is in disguise as a man named Ganymede, she is able to use her wit and humor to help her friends, such as when she helps the lovesick Orlando to better understand his feelings for Rosalind. In addition, Rosalind's wit and humor often serve as a way for her to deflect unwanted attention or unwanted advances from other characters, such as when she is pursued by the character of Silvius. Another character who uses wit and humor in the play is the fool, Touchstone. Touchstone is a professional fool, and he uses his wit and humor to entertain and amuse the other characters, as well as to comment on the events and situations of the play. For example, Touchstone often uses wordplay and puns to make humorous observations about the characters and their actions.

Wit and humor are also used as a way for the characters to communicate and connect with each other. For example, the characters of Orlando and Rosalind engage in a series of witty exchanges and banter, which helps to establish their connection and affection for each other. Similarly, the characters of Jaques and Touchstone engage in a series of philosophical debates, which are infused with wit and humor. The use of wit and humor in "As You Like It" serves several purposes. First and foremost, it helps to entertain and engage the audience, as the witty exchanges and humorous moments provide a welcome respite from the more serious themes and events of the play. In addition, the wit and humor of the characters serves as a way for them to cope with the challenges and difficulties they face. For example, the characters often use wit and humor as a way to deflect criticism or to deflect unwanted attention, and this helps them to navigate their relationships and their environment.

Finally, the wit and humor in "As You Like It" serves as a way for the characters to express themselves and to connect with each other. Through their witty exchanges and humorous moments, the characters are able to communicate their thoughts, feelings, and opinions in a way that is both engaging and entertaining. As a result, the wit and humor of the characters helps to deepen our understanding of them and to enrich our appreciation of the play. Overall, the wit and humor in "As You Like It" play an important role in the play, and they help to bring the characters to life and to engage the audience. Whether through the clever wit of Rosalind, the entertaining humor of Touchstone, or the witty exchanges between the characters, the wit and humor of the play serve to enrich our understanding and appreciation of the characters and the events of the play. Define the term "Malapropism"[verified] “The misunderstanding of one word for another which is similar in sound.” The term comes from a famous comedy, The Rivals by Richard Sheridan, which features a comic character named Mrs.

Define the term "Malapropism"

Malaprop, a pretentious woman who in trying to sound educated and well-read often ends up using a word which sounds like the right one but isn’t, as when she lauds someone as “the very pineapple of politeness.” She means, of course, “the pinnacle of politeness.” In similar fashion, an Australian politician is reported to have said: “No one, however smart, however well educated, however experienced, is the suppository of all wisdom.” Ow, education can be really painful. No wonder so few people bother. The term malaprop derives from the French phrase mal à propos (“bad[ly] to the purpose”). Here are some examples: • a wealthy typhoon ─ it should be tycoon, right? • she put massacre on her eyes ─ and sometimes mascara does resemble a form of genocide. • you could have knocked me over with a fender ─

you can knock anyone over with the fender. • or this one taken from a handbook on etiquette: “If a young man makes an indecent proposal, the well-bred young lady will politely recline to accept it.” ─ always check for typos! • Children often struggle with the Pledge of Allegiance and end up saying, “I pledge a legion (or ‘I led the pigeons’) to the flag of the United States of America, . . . o “. . . and to the republic for Richard Stans, . . .” ─ lucky guy! ─ o “. . . one nation under guard . . .” o “. . . in a dirigible . . .” o “. . . or “and a vegetable, with liberty and justice for all.” I don’t know about you, but I feel safer. Another good source of malapropisms is the excuse notes parents write for their children’s absence from school, such as: • My son is under a doctor’s care. Please execute him. ─ gladly!

My daughter was absent yesterday because she had her periodicals, or . . . • . . . her first menopause, or … • . . . she was administrating. ─ I’m speechless. • Please excuse Connie from gym. She’s having trouble breeding. ─ good! • Ann could not come to school. She was bothered by very close veins. ─ I’ll bet that hurts. And finally… • Please excuse Tom. He had diarrhea and his boots leak. 4 That last one actually isn’t a malapropism. I just thought it was hilarious and wanted to put it in somewhere.

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Write a note on british drama pdf free download - PPUP Important and Previous Year (2019-2020) Questions & Answers from Paper -03 (British Drama)