How The Cynical View Of Love In The Beggar's Opera

Gay’s narrative gets lost in the metaphor and presents it as reality to the reader, the transition is smooth and seamless

When Petruchio declares, "I come to wive it wealthily in Padua; / If wealthily, then happily in Padua," (Act 1, Scene 2), he unapologetically links love to wealth. This quote illuminates how, within the misogynistic framework, marriage is viewed through an economic lens, showcasing the societal expectation that happiness in love is contingent upon financial and social status. The connection between love and material wealth underscores the transactional nature of relationships and the impact of societal norms on romantic

Wilde challenges whether high status should be so desired and coveted through analyzing how people achieve that status. For instance, Sir Robert is outwardly an upstanding citizen, who is fighting for the oppressed and is “intensely admired by the few, and deeply respected by the many” (Wilde), but has achieved his status through questionable and illegal methods. Through this conflict of character where a man of high status is not as he appears, Wilde poses the thought that if being wealthy is a superior position in society, but one can attain that status through any means—as per one’s own moral compass—without scrutiny, perhaps that position should not be so coveted. He further challenges this idea with the complication of Mrs. Cheveley. This woman is treacherous in her conduct towards others, which seems an undesirable trait, but is as how she appears, unlike any other character in the play.

“It was the old New York way…the way of people who dreaded scandal more than disease, who placed decency about courage, and who considered that nothing was more ill-bred than ‘scenes,’ except the behavior of those who gave rise to them” (Wharton, Prologue). Because every time period has different beliefs and traditions, setting is vital to a novel. In The Luxe, the young and determined socialites’ lives are greatly affected by the setting. In this novel, teenage elites struggle to decide whether they should follow society’s rules or their hearts. One such example is when a socialite, Elizabeth Holland, falls in love with a coachman. Since her family is in debt, Elizabeth’s mother wants her to marry someone wealthy. However, instead of

The play, The Importance of Being Earnest, by Oscar Wilde was written in the Victorian Age of England. During this time morality was connected with sexual restraint and strict codes of conduct in public. This play hilariously critiques Victorian moral and social values while the characters in the play try to figure out the meaning of “earnestness”. Wilde uses humor and irony to publicly ridicule the self-aggrandizing attitude of the Victorian upper classes, as well as to expose their duplicity and hypocrisy in regards to their social behaviors.

In the drama “The Importance of Being Earnest,” by Oscar Wilde, Lady Bracknell is right to say that “We live, I regret to say, in an age of surfaces” (Wilde 1604). This play emphasizes that the Victorian era did not value sympathy for the underprivileged, responsibility, or even true honesty. Only wealthiness, class status, and style were what the Victorians’ cared about. An example of this would be when neither Lady Bracknell nor Algernon exhibited much compassion when Bunbury had “died.”

Appearance can be misleading. This is explored in “The Great Gatsby”, “The Importance of being Earnest” and “The Rape of the Lock” written by Fitzgerald, Wilde and Pope respectively. All three texts portray appearance as deceitful thus “blinding” the society from ascertaining the true nature of a character. True identity, originally concealed by the façade of the deceptive appearance, is revealed through the language and behaviour of the character resulting in opposing impressions being conveyed. On the surface, the upper class are portrayed in the texts as an expressive and eloquent class but underneath their outward appearance a sense of superficiality and shallowness are shown.

    The meaningful term “love” can be applied to differing relationships in Shakespeare’s tragedy Othello. In this essay let us examine under a microscope the “love” that we find throughout the play.

‘Romeo and Juliet’ is an Elizabethan tragedy, telling the story of ‘two star-crossed lovers who take their life’ due to a family feud as old as time. Over the course of the three-act play, Romeo, the tragic hero, develops from being impulsive and reckless to a more mature individual, beginning to understand the real notion of love. Through this, Shakespeare enlightens the audience about the difference between unrequited, immature love and true love and ultimately encourages them to pity the lovers as they succumb to the inevitable tragedy of their fate . Shakespeare initially presents Romeo as a courtly lover, his immaturity highlighted through his initial unrequited love for Rosaline. Romeo’s first words of the play are ‘Is the day so young?’, revealing there is still time for him to continue mourning over his love

I hoped to find another individual that was a Relator. For me, I was a bit surprised at that result. I thought this attribute solely described the ability to work hard with people close to you in order to achieve a specific objective. However, after reading your post, I focused only on experiences working with colleagues and not my everyday interactions with students. I especially was reminded of this when you used the word “empathy”.

What is love? Is it an object? Is it a feeling? Is it even attainable? Love is everything, it is an object, it is an emotion, and it cannot be bought, stolen, given. Love can only be found. Love is discovered in the most unthinkable places during the most unimaginable times. It can never be predicted who you fall in love with or when you do but all you do know is that you are in love and you would give anything for that person, and for your love to always stay resilient through all other obstacles and distractions. In Shakespeare’s Romeo and Juliet, Montague’s and Capulet’s are know and expected to hate each other until the miracle of love presented its self. Romeo is a Montague and Juliet is a Capulet. They both fell in love when

    There are a variety of loves that exist between the different characters in William Shakespeare’s tragic drama Othello. The most pure love, of course, is that of Desdemona for Othello. Let us in this essay examine the full range of “loves” available for the audience in this play.

You’re a Good Man, Charlie Brown! directed by professor James Bond at the Miami Dade College Kendall Campus was one of the more memorable theatrical plays that I have come across. I attended the play on April 21, 2018, at 8:10 PM. My overall first impressions were fairly confident. No negative hints caught my attention, and if there were (of course nothing is perfect), then these blots were not noticeable. You’re a Good Man, Charlie Brown!

However strong the emotional attitude of prejudices may be in Othello, Love is the most powerful emotion and ironically the emotion that leads to the most vulnerability. Loves of all kinds are tested in the tragedy and ultimately all fail to rectify the horrible situation. Marital love for Othello and Desdemona serve as both a heaven and a hell on earth. As Othello portrays by saying,

Oscar Wilde’s social comedies are often said to have weak plots supported by brilliant dialogue and as far as scholars can exam, this criticism is valid (Ganz, 16). Throughout Wilde’s play, Lady Windermere’s Fan, various characters dialogue proves to be more brilliant and enriching than any depiction of the plot itself. The play is set and written during the Victorian era, and Wilde communicates the behaviour at that time "as it moves ethically toward transformative realizations about the limits of Victorian moral rigidity” (Mackie, 145). The characters Wilde creates are supposed to embody the morality in place during the Victorian Era. The morals at this time are rigid for women, and the various female characters in the play support theses strict standards.