Category: Short Essays

Introduction to Aristotle’s Three Unities

Poetics is a remarkable critique about Aristotle’s three unities on the contemporary poetry, tragedy and epic of the Greek time and all the times to come. He defines poetry as the imitative and mimetic use of language. He calls it a representation and reflection of ideas. In the same vein, Aristotle defines tragedy as the most refined interpretation and version of poetry. He says, “Tragedy is an imitation not of men but of actions”.  This is the reason why it attracts audience and is most appealing to the senses. He also says that it is imperative for a tragedy to observe three unities namely, unity of time, place and action which means that the tragedy should have continuity of time and action and its place should not be shifted in order to keep the audience in control. These are called Aristotle’s three unities. Its action must also follow cause and effect. He regarded Euripides, Aeschylus and Sophocles as the great playwrights who tried to follow the rules of Greek tragedy. But according to him the coming tragedians paid more emphasis on characters than on plot itself. So for him these two and Sophocles were the tragedians who tried to observe the tradition of three unities which to him was the essence of a tragedy. Aristotle defined poetry in general; epic and tragedy in particular and also underlined the necessity to use the three unities in the tragedies as was used by Aeschylus, Euripides and Sophocles in their works to make them comprehensive units for the understanding and entertainment of their audience.

Oedipus, Agamemnon and Aristotle’s Three Unities

In Oedipus the whole action takes place in twenty four hours. The unity of time is strictly observed by the writer. The action does not exceed twenty four hours. Most of the action takes place just before the mansion of Oedipus. Some of the action is already supposed to be understood by the audience and that is not acted upon on the stage thus it saves the time. In Agamemnon, the tragedy by Aeschylus, the action also takes less than twenty four hours because the time starts when he comes back from the war and is received by his wife who wants to kill him. So within a span of one night the things come to an end. So in both these plays we find the unity of time which does not let the audience deviate their attention. This is one of the unities of Aristotle’s three unities.

Oedipus and Unity of Place

Among Aristotle’s three unities, the tragedy of Oedipus also observes the unity of place. The action does not move from one place to another. It remains within the residence of Oedipus. So the locale of the action does not shift or change. In the tragedy of Aeschylus Agamemnon, the action takes place just before the palace of the king Agamemnon. The previous action of war and Agamemnon’s adventure of ten years has not been shown on the stage. The story starts when he is back and is received by his wife with a malicious intent.

Unity of Action in Oedipus and Agamemnon

Among Aristotle’s three unities , unity of action also plays an important role in Greek tragedy. Unity of action means the flow of action without any break. There is a cause and effect relationship with all the actions.  In the play Oedipus, we see all the evens are intertwined with each other. Nothing is superfluous. He is being chased by fate and he is running away from it. However, with his own error of judgment he brings about his own downfall. In the same way, in Agamemnon, the action or events follow each other. Agamemnon remains away for ten years which give an opportunity to his wife to find another man. Moreover, he kills his daughter, Iphigenia and in response he is going to be avenged by his wife. In both these plays action begets action and there is a chain of actions.

In short, Poetics is a book which studies poetry in all its forms such as epic and tragedy. To him tragedy is an imitation of action and it is a part of epic tradition. It clearly mentions Aristotle’s three unities. He says that poetry represents ideas while philosophy gives ideas. In this sense, poetry is more appealing to the senses as tragedy is. He appreciates some old playwrights like Euripides, Aeschylus and Sophocles because they followed all the rules and regulations in writing their tragedies.  He lays down certain rules for a good piece of tragedy. It should have a good plot. He complains that new tragedians were focusing their attention on characters rather than their plots. There should be a good protagonist, an environment arousing pity and fear and then the catharsis of those emotions. Moreover, a tragedy should have three unities—unity of time, unity of action and unity of place. Without these unities, the tragedy loses its exaltation and grandeur.

Works Cited

1. Aristotle. Poetics. Translated by Malcolm Heath, Penguin Classics, 1996.

Relevant Questions about Aristotle’s Three Unities

1. How do Aristotle’s Three Unities of time, place, and action influence the structure and presentation of a dramatic work? What are the benefits and limitations of adhering to these unities in terms of storytelling and audience engagement?
2. Can you provide examples from classical Greek plays that effectively demonstrate the application of Aristotle’s Three Unities? How do these examples showcase the unity of action, the unity of time, and the unity of place, and how do they contribute to the overall impact of the drama?
3. In what ways have playwrights and theater practitioners throughout history embraced or deviated from Aristotle’s Three Unities in their works? How does the evolution of theater and storytelling techniques impact the relevance of these unities in contemporary drama?

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Introduction to Creon’s Speech in Antigone

In Sophocles’ play, Antigone, the chorus of the Theban elders speaks these lines in the praise of man defying Creon’s speech in Antigone. These lines explain the wonders achieved by human beings. It states, “Many things cause terror and wonder, yet nothing / is more terrifying and wonderful than man” (Sophocles 332-333). This ode explains further that man has conquered not only beasts but also the forces of nature, praising his wisdom and power, and adding that “He has power through his ways over the beast who traverses / the mountains and haunts the open sky” (348-350). This is a very important ode that comes after the second episode, summing up the whole argument of the play. The analysis of the play in terms of this ode shows Creon’s speech in Antigone and how he becomes clever in the use of language by mixing religion with laws, terming his own commands as divine fiats.

Wisdom and Creon’s Speech in Antigone

The reference to wisdom in the ode actually points towards the ingenuity of Creon. Although at first, it refers to human beings in general as how he has conquered the seas and faced, it refers to the wisdom that he must learn after Creon’s speech in Antigone. Tiresias clearly supports the Chorus after this ode when he says, “I give you sound advice. / It is best to learn from a good adviser” (1140-1141). His point is clear that Creon is going out of the control of his patience. Therefore, he should be reasonable as he is not only threatening Antigone, but also not letting her brother to have a proper burial. On the top of it, he is making his common threats as commands. In fact, this is his ingenuity of making his command as respectful as divine laws though they are not accepted and questioned constantly. However, his cleverness in turning blind eyes to Chorus and Tiresias further exacerbates his situation when Antigone also steps forward saying “These laws – I am not about to break them” (509). Ode clearly voices this, “And speech and thought, quick as the wind.” (395-396) as Creon reacts at Antigone’s charge. The Chorus comments on it further “Man the master, ingenious past all measure / past all dreams, the skills within his grasp—“ (405-406) to show a way out after Creon’s speech in Antigone.

Laws and Creon’s Speech in Antigone

The law has been repeated several times by Creon at several different places. However, it is his ingenuity that he has given it different connotations and different shades of meanings, insisting that what he says is law while others must obey him. The ode beautifully refers to his ingenuity saying that only having laws in his hands can bring glory to the city. Creon is insisting that what he says is law whether he says right or wrong but the Chorus denies this declaring that he should live by the divine laws that are eternal and old, although there is difference in their opinions. It is because Antigone has put up resistance before his ingenuity of inventing his own interpretations. She says, “Such, I hear, is the martial law our good Creon / lays down for you and me” (36-37). If Creon is a master in the use of language, she is equally master. She is also ingenuous as she says “It was not Zeus, not in the least, /  who made this proclamation – not to me. / Nor did that justice, dwelling with gods / beneath the earth, ordain such laws for men.” (449-451). When she puts up resistance after such a long argument, the Chorus also sides with her saying that commands of the king are to be respected but not in case they are doubtful. That is why the Chorus casts doubt on his ingenuity of mixing religion with his own sayings, stating that it is law that he is dictating to others. Therefore, the Chorus states that this is not the case and that Creon must abide by the divine laws ordained by Zeus and his daughters.

Personal Commands and Creon’s Speech in Antigone

When he terms his own commands as divine fiats, Creon’s speech in Antigone shows clear arrogance that the Chorus has pointed out in the ode as a “wonderful” thing. This is a reference to Oedipus and his arrogance that led to his downfall. Tiresias points out to this fault of Creon at which the Chorus comments on it saying that haughty and arrogant lose the right path. The reference is very much clear. It is the arrogance of Creon, who is terming his own commands as divine fiats in order to force Antigone to surrender her every right of burying her brother. When Creon asserts his authority, “But that man / the city places in authority, his orders / must be obeyed, large and small / right and wrong.” (748-751), he is clearly saying it as himself that it is his right to government the land as he wants and what he says is law. However, on the contrary, the sane voice of the Chorus points out that a wise man continues learning and does not assert his wisdom. The point is to use language or words cautiously. In fact, this is appraisal of the Sophoclean idea that man has found out language to defy divinely ordained laws and he should not defy gods by making his own words supreme instead of the divine words. However, the reference is clear to the ode after having Creon’s speech in Antigone as how ingenuous has he become.

Conclusion

 In a nutshell, his character in the light of this ode becomes very much clear after Creon’s speech in Antigone in that he asserts his right to government through his ingenuity of using the language. He makes his words as divine laws and asks others to accept what he sees, though the Chorus does not agree with him or his interpretation. Although he tries very much that his words, if lost on deaf ears, would create chaos and disorder in the city as he is ordained by gods to rule the land, this does not make any difference. In fact, his ingenuity of using the language backfires and he loses his worth in the face of the sanguine thinking of the Chorus and the resistance of Antigone.

Works Cited

1. Robert Fagles, trans. The Three Theban Plays: Antigone; Oedipus the King; Oedipus at Colonus by Sophocles. New York: Penguin, 1984. Print.

Relevant Questions about Creon’s Speech in Antigone

1. How does Creon’s speech in Antigone shape the central arguments and justifications for his decision to prohibit the burial of Polynices? How do these arguments reflect his beliefs and values as a ruler?
2. Within the context of the play, how does Creon’s speech in Creaon, its rhetorical tone and style during his speech about the burial prohibition convey his authority and unwavering resolve as the king of Thebes? Are there moments in Creon’s speech where his language becomes more emotional or less authoritative, and what might these moments reveal about his character?
3. What is the dramatic impact of Creon’s speech in Antigone on the other characters in the play, particularly Antigone and Haemon? How does Creon’s speech contribute to the escalating conflict and tragic events that unfold in the play?

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Introduction

When the author “David Sedaris” moved to Normandy, France, he wrote a number of essays among which “Jesus Shaves” is one in his compilation Me Talk Pretty One Day. From the essay “Jesus Shaves”, it can be easily gathered that the knowledge of all characters is based upon their personal beliefs, cultures and their experiences. However, due to the obvious language barrier, the students within the classroom are unable to transfer their knowledge to others. It gets hard for them to explain their exact thoughts and what comes out in speech seems far too ambiguous for the rest of the classroom. It cannot be denied that the language barrier was one of the reasons why the Moroccan woman could not understand the significance of Easter. However, what Sedaris fails to understand in “Jesus Shaves” is that the different cultural beliefs and religious views and the lack of their complete knowledge were also contributing factors to the entire story.

Assumptions of David in “Jesus Shaves”

When the topic of Easter was touched in the classroom, a Muslim Moroccan woman had no idea about what Easter really was. David assumed in “Jesus Shaves” that “Despite her having grown up in a Muslim country, it seemed she might have heard it mentioned once or twice”, but she really had no idea about what this occasion really was (Sedaris). This is when “The rest of the class jumped in, offering bits of information that would have given the pope an aneurysm” (Sedaris). The language barrier was indeed a barrier. The students tried to explain what this day really was based on their own cultural knowledge such as according to the Poles, “”It is a party for the little boy of God who call his-self Jesus” while the other one added “He call his self-Jesus, and then he be die one day on two morsels of lumber” (Sedaris). The other students then continued to deliver their knowledge based on the culture they were brought up in but the Moroccan Muslims woman was still very confused and did not really understand the true meaning and the significance of Easter in Christianity. When everyone was unable to explain the actual importance of Easter and why it is celebrated, the class did “what any self-respecting group of people might do. We talked about food instead” (Sedaris). The discussion in “Jesus Shaves” then led to the dinner parties and the celebration of Easter rather than focusing on the exact impact or importance of this day in Christianity.

Discussion of Easter in “Jesus Shaves”

While this discussion was going on, the Italian woman claimed that “Easter is a party for to eat of the lamb. One, too, may eat of the chocolate” (Sedaris). This is where the argument between the teacher and Sedaris started off. The teacher asked the class where does that chocolate come from and to which Sedaris responded “The Rabbit of Easter. He bring of the chocolate” (Sedaris). However, David’s response was welcomed with shock and astonishment by not only the teacher but the entire classroom. Even though majority of the classroom belonged to Christianity, their cultural beliefs and knowledge was the major barrier to their understanding and not the fact that they all did not speak the same language. Even the teacher was not open to the idea of accepting knowledge of different cultures and countries and that can be seen when she asked David about the rabbit: “”A rabbit?” The teacher, assuming I’d used the wrong word, positioned her index fingers on top of her head, wiggling them as though they were ears. “You mean one of these? A rabbit rabbit?”” (Sedaris). The teacher was clearly disappointed with what David had tried to deliver in the class and claimed that in France it is actually the Easter Bell that brings the chocolate. Instead of respecting the different cultural beliefs, the essay portrays how every individual believed that their culture was perfect and what their country follows is the perfect ritual. A simple question asked by a woman who did not even belong to the same religion made it very obvious how people cannot communicate their knowledge only because of their difference in cultural beliefs and rituals. The factor of language barrier also played some role, but the arrogance of not accepting each other’s culture was the major obstacle in delivering the knowledge to the Muslim woman.

Ideas in “Jesus Shaves”

            Another aspect in “Jesus Shaves” that was clear was that even though the students and the teachers had different ideas, concepts and beliefs about Easter, not a single person had the clear and exact knowledge of what their culture really was. It might be that they were unable to explain the exact matters due to the language barrier but the fact that their own knowledge was not clear is also very evident from the essay. The teacher only explained that the chocolates are brought by the Easter Bell in France but she did not give any information regarding the entire history of the Easter Bell or how exactly was it that people started believing in this? David and the teacher were both pretty confident that their culture is the right one and the Muslim woman should know about their culture rather than the other one. It is very evident because when the teacher said that how can a rabbit know where one lives, to that David writes in his essay that “but at least a rabbit has eyes. That’s a start. Rabbits move from place to place, while most bells can only go back and forth–and they can’t even do that on their own power. On top of that, the Easter Bunny has character; he’s someone you’d like to meet and shake hands with. A bell has all the personality of a cast-iron skillet. It’s like saying that come Christmas; a magic dustpan flies in from the North Pole, led by eight flying cinder blocks” (Sedaris). From these lines of “Jesus Shaves”, it is pretty evident that David could not even think that his culture was wrong and the teacher believed that the culture and beliefs followed in France or what was taught to her was right. However, none of them were able to explain their point precisely, not because of the language barrier but because of their lack of knowledge with regard to the Easter Bunny and the Easter Bell.

Language Barrier in “Jesus Shaves”

            What started off as a mundane and usual class of learning about the French culture and the language in “Jesus Shaves”, it turned to be rather unusual that day; when people were asked to explain about Easter, they were unable to do so because of the language barrier and their lack of knowledge as well? Every individual in the classroom believed that their culture and knowledge was the correct one. However, the Muslim woman was still very ambiguous about the Easter day and the author believes that it is due to the language barrier and his classmates and he were unable to deliver their knowledge to their class fellow. However, the major problem behind this entire scene was that nobody had complete and solid knowledge about the Easter Rabbit or the Easter Bell and hence they were unable to explain this concept to the Muslim woman.

Works Cited

1. Sedaris, David. “Jesus Shaves.” Seattle Central. Seattle Central. n. d. Web. 04 Feb. 2016.

Relevant Questions about “Jesus Shaves” by David Sedaris: Analysis

1. How does David Sedaris use humor in “Jesus Shaves” to highlight the challenges of language and cultural differences? What specific comedic techniques or anecdotes contribute to the essay’s humor?
2. What does the essay reveal about the complexities and misunderstandings that can arise when individuals from different cultural backgrounds attempt to communicate? Are there any moments in the essay where cultural stereotypes or assumptions play a role in these misunderstandings?
3. In “Jesus Shaves,” Sedaris and his classmates are attempting to explain the concept of Easter to their French teacher. What does this exchange reveal about the cultural significance of holidays and rituals, and how does it illustrate the difficulties in translating such concepts across languages and culture

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Introduction to Odysseus’s Adventures in Odyssey

Odysseus’s adventures in Odyssey shows him a hero, who carries on wandering for ten years after the Trojan war facing different challenges, where his ingenious ploy of coming up with the Trojan horse idea won the Greeks the war in Troy. During his return journey, he faced numerous incidents where he faced temptations, was tricked and forced to overcome obstacles that he must face if he is to return to his kingdom to take his rightful position at the throne. He had invariably invited the anger of two gods but remained steadfast and using his intelligence, discernment, bravery and strength, he overcame whatever came his way. Besides his own will power, he also had the help from the goddess Athena, who selected him as one of her chosen heroes and thereafter ensured he had her blessings, helping him overcome three formidable obstacles that blocked his path on his journey back to his home which had he not won, he would surely have faced stark reality of failure.

Obstacle and Odysseus’s adventures

The first big obstacle Odysseus’s adventures come across on his journey back home comes when Hecuba falls to him. He was tempted by her beauty but he hurled down her grandson from a wall that she did not tolerate.  Athena, the Goddess, heard her screaming and wailing and created fierce tornadoes of tremendous strength that they were forced to finish off Hecuba or else would have faced destruction.  The second obstacle came his way when he conquered Cicones, a city, and was served wine which made him and his men fall asleep and in the meantime a bunch of his fighters were killed as they were attacked while asleep. Odysseus forced his men awake to be able to escape successfully. The third obstacle was when they arrived at the island where Cyclops resided and ended up trapped with the Cyclops in his cave. Using his quick thinking, Odysseus got him drunk from the earlier wine and blinded him thereafter. Odysseus succeeded in moving the wheel away from the entrance of the cave from where he and his men escaped from there as Cyclops, enraged, hurled a huge stone at them to stop them from escaping but they managed to get away. Bad for them however it proved that the Cyclops was the son of Poseidon and the sea god got angry with Odysseus for blinding his son. He began to create trouble for him afterwards. Odysseus’s adventures in Odyssey, in fact, bring him obstacle this time on Aeolus Island which Odysseus successfully overcomes.

Incidents During Odysseus’s Adventures in Odyssey

The other two incidents came in the form of cannibals and the island of Circe, the sorceress. He managed to survive the incident with the cannibals but he was overcome with lust for Circe and it was only after the help of a goddess that he was able to overcome his desire. There were several temptations he had to overcome. First he traveled to the underworld to meet Hades. He saw several ghosts over there even of his dead mother who had died waiting for him to return from Troy. He wanted to stay there but he consulted Tiresias, the blind seer, on how to win the favor of Poseidon, the sea god, and got his answers. He also saw other notable ghosts of kings and other important people but decided to return. He then returned to Circe and asked her how to cross the sirens successfully. Odysseus and his men managed to avoid the whirlpool Charybdis and the six headed monster Scylla, by rowing directly in between the two to avoid both of them. He was tempted once again by a nymph Calypso, who fell in love with him and wanted him to stay with her forever. He stayed with her for 7 long years but eventually his longing for home overcame him. He wanted to eventually return.  Poseidon was busy elsewhere in Ethiopia which provided him a chance to leave. Zeus helped him make preparation to depart and he ordered Hermes to tell Calypso to allow him return. Third time he was tempted was with Nausicaa, her being a princess of Phaeacians. Competitions were held routinely there and life was never boring in this kingdom but soon after Odysseys got homesick again.  The Phaeacians helped him make preparations and soon after he departed for home leaving Odysseus’s adventures to end.

Conclusion to Odysseus’s Adventures in Odyssey

His troubles were not over yet. He was tempted and tested many times during his return journey. But even then he constantly used his wit, quick thinking, mental ingenuity and courage to overcome these obstacles and temptations. It was also he had the favor of the gods on his side. One other thing that helped him resist these temptations was his strong love for his family that being his wife and son, his home land and his people which drew him back and made him be able to aptly resist his desires. Even when he was getting complacent and stayed with the nymph for 7 long years, his love for his homeland suppressed his desire and temptation and he wanted to return home. It may be assumed that his love for his homeland fueled his determination to return home and overshadowed other temptations.

Works Cited

1. Homer. Odyssey. Harper & Row Publishers, Inc., 1977.

Relevant Questions about Odysseus’s Adventures in Odyssey

1. How do Odysseus’s encounters with various supernatural beings and mythical creatures, such as the Cyclops Polyphemus, Circe, and the Sirens, serve to illustrate the themes of cunning and resourcefulness in the face of seemingly insurmountable challenges?
2. The journey of Odysseus is marked by a strong sense of longing for home and family. How does this theme of nostos (homecoming) and the role of Penelope, Telemachus, and Ithaca contribute to the narrative’s emotional depth and resonance?
3. In “The Odyssey,” Odysseus faces numerous moral dilemmas and choices that test his character. How do his actions, including the blinding of the Cyclops and his interactions with the suitors in Ithaca, reflect the concept of heroism in ancient Greek culture, which often involved complex moral decision-making?

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Introduction to “Bunty in the Light of a Hero”

This extract under analysis through narratological lens of Meike Bal has been taken from the chapter ten “Bunty in the Light of a Hero” of the novel, Seven Little Australians, by Ethel Turner. When the theoretical terms enunciated by Bal in her book are applied to this extract of two pages, it demonstrates that stories are “structured whole composed of signs” (Bal, p. 6) which show different shades, perspectives, interpretations and aspects to different audiences and readers. If this extract is analyzed in the light of these views through narratological strategies, it shows the complexity of fabula elements of events, actors, time location as well as of description, dialogue and perspectives using the narrator and focalizer.

“Bunty in the Light of a Hero” as a Fabula

If this extract “Bunty in the Light of a Hero” is taken as a complete fabula with event/s given, it shows a logical and chronological order (Bal, p. 6). The third person omniscient narrator shows the character of Bunty and Judy in the loft. Bunty is already hiding there when Judy arrives playing truant from school. Both agents (Bal, p. 6) perform this action of the event that takes place in the location of the “loft” as stated by the third person narrator or external narrator. As the duration of the act and its exact timing is not given, the third person narrator has shown that as they are in the loft, it is probably day light, and there is some darkness in the loft. The second actor, Judy, tells the other character, Bunty, that it is the “loft” (Turner, p. 64-65) where they are meeting, and that she will stay there “for a time” (Turner, p. 64) which is not specified.  Therefore, the location is clearly stated that it is the loft at home that is beyond other rooms where both the characters are hiding. It also shows that both are children and are using this location to hide themselves from the authority of the elders.. Other locations such as Lawson, Springwood and Katoomba are just for reference but they show that the characters are far away from these locations in this loft. Judy is asking the other character, Bunty, that she has run away from school that is located at a great distance. It also points to this location that is the “loft” (Turner, p. 64-65) and that it is in the building of the house.

Events in “Bunty in the Light of a Hero”

As the events happen at this place in “Bunty in the Light of a Hero”, the first event is the hiding of Bunty in the loft and his thinking about other animate objects, second is the arrival of Judy, third involves their conversation and the fourth departure of Bunty to bring something to eat for Judy. Other than these two, there are some characters who are absent from the events but are present through the impact they have had on both children. The first impact is invisible as is clear from the sound that Bunty makes after terrified of something like rat and second is the clear names that he shrieks out such as “Meg – oh! Father—Esther” (Turner, p. 64), There is another character that Judy refers to which is of Miss Burtons, who seems to be a teacher. It appears that Miss Burtons will come to know about her whereabouts when she is back to school. Whereas Bunty is somewhat naughty and playing hide and seek though terrified at this place, Judy, too, seems not much less, for she has stated that she has played truant from school and has asked Bunty to bring for her sometime to eat. Therefore, both the characters are distinct and individualized.

Description in “Bunty in the Light of a Hero”

As far as the description of the text of “Bunty in the Light of a Hero” is concerned, it has been applied by the external third person narrator as pointed out with “He.” It is his perspective about the characters that the readers would have. He makes the characters to show the naughty, clever, terrifying or fearful side of their individualities, and it is he who describes their traits with specific images. He states about Bunty when opening the text “He fancied…” (Turner, p. 63) which is an exact wording for a naughty boy and also states the location of the place as “second loft” (Turner, p. 65) and where it is located. This external narrator also makes the boy to say “Shoo” (Turner, p. 64) by which the narrator means the readers to understand that the boy is fearful of something, and then makes the boy think that it is “rat” (Turner, p. 64) where the objective is clear that it is intended to show to the reader. The argument here is to show how two naughty and clever children can plan to move away from the adult and authoritative world to hide their activities.

Narrator in “Bunty in the Light of a Hero”

Whereas the narrator and the focalizer are in “Bunty in the Light of a Hero” concerned, they, too, have played an important role. The text uses the narrator and focalizer both at the same time as the third person narrator is also the focalizer. The main task of the narrator here in this passage is to describe and show how actors act and move the act forward (Bal, p. 167). However, the focalizer, though, he is the same makes the readers think about the specific vision that he wants to show (Bal, p. 167) which is that children often play truant and that the readers should understand the specific perspective of the children. As both the perspectives are interspersed with dialogues, it becomes clear that focalizer and narrator shift the text to dialogue when it becomes necessary to show the action of the agents/characters. They are involved again when they want to show the specific perspectives and aspects of the situation of Judy and Bunty to the readers. This constant shift moves the text from one event to another, building logic and chronology in the text to make it credible. In this way, the narrator /focalizer build characters by first giving a vision to the readers what the specific character such as Judy or Bunty is going to appear, and then announcing through the dialogue of the character how he is going to act, and how it is going to impact the act or the event. For example, third person narrator / focalizer here announces constantly within the text how Judy arrives and how she surprises Bunty when he is hiding in the loft as when she puts her hand “over his mouth” (Turner, p. 64). The narrator could have stated that she has put her hand on her shoulders, but the focalizer wants to build readers’ vision that it is a moment of surprise and that Bunty could shriek out loud in that case.

Conclusion

By using description and then dialogue of “Bunty in the Light of a Hero”, the third person narrator builds the characters and then events and moves them forward chronologically to build a vision through focalization that the readers see clever and naughty children of a household hiding in a loft where they think that they can hoodwink the world of adults. This also gives a very good clue to the readers that they must expect something hard for these naughty boy and girl who are hiding in the loft. The final description by the narrator the emotions of Bunty which are foreshadowing that he would go to bring something to eat. This foreshadowing by the readers is the impact of the gradual progression of the events. 

Bibliography

1. Turner, E., 2005. Seven Little Australians. National Library Australia.
2. Bal, M., 2009. Narratology: Introduction to the Theory of Narrative. University of Toronto Press.

Relevant Questions about “Bunty in the Light of a Hero”: Narratological Analysis

1. How does the narrative perspective and focalization in the story “Bunty in the Light of a Hero” affect our understanding of the characters and events? How does the choice of a first-person narrator influence the reader’s perception of Bunty and her actions?
2. Explore the use of narrative structure and time in the story. How does the author employ flashbacks and shifts in chronology to reveal Bunty’s character development and the underlying themes of the narrative? What effect does this temporal manipulation have on the reader’s engagement with the story?
3. Analyze the role of narrative voice in conveying Bunty’s emotional and psychological experiences. How does the narrator’s tone and language contribute to our understanding of Bunty’s internal struggles and her transformation over the course of the story?

Introduction

Literature has always witnessed transformations according to the society it is created in, its culture, and its values as Glengarry Glen Ross seems a postmodern answer to Miller’s Death of a Salesman. The modern period which started quite lately in literature, as compared to modernity, reached its peak following WWII, and then after further evolution it entered into the postmodern world where cultural values, beliefs, and morals witnessed sea changes. The transformation in these values, morals, and beliefs could be seen in the respective literary pieces. Not only that the literary ideals such as tragic heroes and their representations have changed, but also themes and structures, language, and moral values have gone through massive changes. Written by Arthur Miller, Death of a Salesman presents a modern literary piece that presents modern tragedy, values of the society, modernist language structures and themes of faith, hope and dreams, while contrary to it, its supposed sequel Glengarry Glen Ross seems a postmodern answer demonstrating postmodern trends of literature sans tragedy, sans morality, transparent and language to be inferred by the audience.

Tragedy and Glengarry Glen Ross

As far as the idea of tragedy is concerned, the debut of Death of Salesman created a stir in the literary circle regarding presentation of a common man as a tragic hero, for which Miller has to write an essay to explain his idea of tragedy in this play which he states, “the common man is as apt a subject for tragedy in its highest sense as kings were” (Miller 3-7) and Willy Loman is a down-to-earth common American who is disillusioned by the mythical American dream. Contrary to the classical idea of Aristotelian definition of tragedy, having heroes with grand stature, Miller has touted that “The commonest of men may take on that stature to the extent of his willingness to throw all he has into the contest, the battle to secure his rightful place in his world” (Miller 3-7) which in Willy’s case is his two sons, his whole career and family that he bets in order to make himself equal to either Ben or his own father that Ben mentions or others in his familiar circle. However, none is achieved. In other sense, everything seems to him in “disorder” (Klages) through which Miller has tried to bring out the “order” (Klages) of the moral values that is to dig out “meaning which has been lost in the most of modern world” (Klages) which Biff states at the end that “He had the wrong dreams. All, all, wrong” (Miller). He is followed by his younger son Happy, who says that “I’m gonna show you and everybody else …that …he had a good dream” (Miller) which is that Willy wants to bring order by realizing his dreams that were not right according to Happy, but he could not, which is why he seems to be a common tragic hero of Arthur Miller. However, opposed to this modern view, there are no morals, no scruples and no values whatsoever in Glengarry Glen Ross. There is only “talk” (Mamet) about “leads” (Mamet), “close and sales” (Mamet) devoid of all morals that shows Glengarry Glen Ross seems a postmodern answer. If Levene seems to the central character, he acts just like a common salesman but unlike Willy, he is devoid of any dream and therefore no order exists for him.

Glengarry Glen Ross Seems a Postmodern Answer to Morality and Values

Whereas the question of morality or moral values is concerned, in Aristotelian and Elizabethan tragedies, the protagonist is always on the guard to set right that “Something is rotten in the state of Denmark” (Shakespeare 90) and takes the entire onus of doing this on himself and the piece presents a “clear-cut moral position” (Klages). However, in modern literature, this does not mean that the common man, as a hero, is morally upright similar to the classical heroes, but that “if it is true that tragedy is the consequence of a man’s total compulsion to evaluate himself justly, his destruction in the attempt posits a wrong or an evil in his environment” (Miller) which Willy sees in the shape of situation and his own ideal of achieving the American dream. Even his affair does not mean that there is no morality, but it means that he realizes that he has done due to which he could not achieved his desires and expectations which Miller has presented a modern view of “clear-cut moral position” (Klages) that this cut-throat competition takes its toll form the people involved in the rat race for money.  Also, there does not seem to be any morality in it, Glengarry Glen Ross seems a postmodern answer and the characters are living in world where stealing, lying, cheating, burglaries, sex, and drinking are the order of the day in which man has become a machine as Roma says about Levene “That’s the “Machine.” That is Shelly “The Machine” Lev…” (Mamet).  It is on the audience to deduce the meanings from the situation presented to them. At least there is a faith, hope and dreams in Death of Salesman which Willy demonstrates but there is no such thing in Glengarry Glenn Ross, a typical postmodern feature of the literature. In fact, it is Roma who seems to be the epitome of the postmodern era whose lengthy and baffling monologue regarding absence of “an absolute morality” (Mamet) in this world shows a world sans conscience.

Glengarry Glen Ross Seems a Postmodern Answer to Transparency of Language

As far as the question of language is concerned, there is a modern idea that “language is transparent, that words serve only as representations of thoughts or things, and don’t have any function beyond that” (Klages) which seems to be true in the case of Willy Loman and he has “Big” (Miller) ideas, “contacts” (Miller) and above all the idea of “well-liked” (Miller) through which we could assess his dreams. He is the “signified” in which the “reality resides” (Klages). However, the case of Glengarry Glen Ross seems a postmodern answer. There is no idea and “only surfaces” (Klages) and only “signifiers, without no signifieds” (Klages) which is clear from the language used by Levene, Roma and Williamson. Contrary to Death of a Salesman, where language is a vehicle to communicate the reality, the characters in Glengarry Glenn Ross do not use language for communication but for hiding, manipulating and exploiting truth and hooking the customers and others of their ilk. Miller’s ideas are clear that he wants to show the other side of capitalism and he presented it through Willy but Mahmet has left everything on the reader to deduce from the use of language.

Conclusion

In nutshell, the difference lies in the periods in which both plays have made their debuts where Death of Salesman represents the modern idea of tragedy as expounded by the author himself. On the other hand, Glengarry Glen Ross does not present any tragedy, hence no catharsis of any emotions in it. Whereas Death of a Salesman is a journey toward the realization of a moral system, beliefs, and hopes or better to say order, Glengarry Glen Ross is the epitome of a world sans moral values, beliefs, or creeds except material gains by hook or by crook. If Death of Salesman uses transparent language to point out the reality, the same reality disappears as Glengarry Glen Ross seems a postmodern answer. It is true that both have the same theme and one seems to be the sequel of the other, but both present a world poles apart from each other where one is a modern play and the other is a postmodern one. 

Works Cited

1. Klages, Mary. “Postmodernism.” Postmodernism. N.p., n.d. Web. 30 May 2014.
2. Mamet, David. Glengarry Glen Ross: A Play. New York: Grove, 1984. Print.
3. Miller, Arthur. Death of a Salesman. Oxford: Heinemann, 1994. Print.
4. Miller, Arthur. “Tragedy and the Common Man.” The Theater Essays. New York: Viking, 1978. 3-7. Print.
5. Shakespeare, William. “Hamlet”. Shakespeare Online. 1999. Web. 29 May 2014

Relevant Questions about Glengarry Glen Ross Seems A Postmodern Answer

1. How do the themes of disillusionment and the American Dream in Glengarry Glen Ross and Death of a Salesman reflect the postmodern critique of traditional values and narratives in American society?
2. In what ways do the characters in Glengarry Glen Ross and Death of a Salesman challenge or subvert the conventional portrayal of the salesman figure in American literature, and how does this reflect postmodern perspectives on identity and success?
3. Both Glengarry Glen Ross and Death of a Salesman depict the harsh realities of the capitalist system and its impact on individuals. How do these plays engage with the postmodern notion of a fragmented and uncertain reality, and how does this influence their portrayal of the characters’ struggles and aspirations?

Introduction to Accountant in Heart of Darkness

Although it is a work of fiction and comprises fictional characters, it has much to do with the reality of that time as shown by the accountant in Heart of Darkness. Colonialism was expanding far and wide into Africa as well as Asia at the time when Conrad penned this novel. The novel mostly deals with the machinations of the colonial powers to plunder the resources of the other lands by keeping the natives subjugated and illiterate. The hero of the novel, Marlow, explores the farthest land of the Congo to find out that the real intention touted by the European nation of educating the natives is a myth and farce. This he finds out through the observation of several characters, stations he visits, and the real situation in the country. Marlow sees imperialism and colonialism running rampant everywhere and comes across two important characters, emblems of imperialism, which are related to accounting. The first is the accountant in Heart of Darkness whom Marlow meets at the Nellie, the cruising yacht and the second is the chief accountant of the first station towards Congo (Conrad 3-26).  My opinion is that both the characters not only show their maximum professional restraint, but also orderly professional behavior in everyday settings and in conversation.

Restraint and Accountant in Heart of Darkness

As far as the restraint is concerned, both the accountants show maximum restraint, because it is the demand of their profession. The first accountant appears shortly when Marlow boards the Nellie. He sees that the Accountant brings out a box of dominoes and starts “toying architecturally with the bones,” as his profession demands that he should do only what he is supposed to do which is do accounting (3). The second character is the chief accountant whom Marlow comes across when he lands at the first station. This typical accountant is also a thoroughly professional who keeps himself to himself which means restrains himself from exposing the secrets of the trade. He only comes out “to get a breath of fresh air” (27). In this connection, Harold Bloom says that it is necessary for the accountant to stay rigid in order to “imply that certain cold, unfeeling, rigid lines of conduct must be observed” to run the business of the office (Bloom 57). That is the very reason for their restraint that both accountants are only accountants and Marlow never mentions their names at any place. It is actually their professional requirement to keep themselves to themselves and not be frank with anyone as is common in the accounting profession.

Professionalism and Accountant in Heart of Darkness

Both first and the second accountant in Heart of Darkness are professional in their behavior as well as everyday life. Although there is not much about the first accountant; however, the first initial of his professional name is enough to announce that he is a professional accountant. The second is mentioned as chief accountant which Marlow has described in detail. Marlow says that “in great demoralization of the land he kept up his appearance” that is a hint to his professional setting and professional behavior that he must keep up with (Conrad 27). He carries on saying that even in his everyday life at that station he has taught a woman to do domestic work for him though he was thoroughly professional “devoted to his books, which were in apple-pie order” (27). It is because he was to be accountable for his profession. That is why not only he keeps himself in order, but also keeps his ledgers and books in order. Due to both of these qualities, Marlow, the hero of the novel, calls him a miracle, for everything over there was in muddle. His professionalism is shown through his conversation when he tells Marlow that even the groans of the natives dying over there distract his attention. He says that without showing his fury to the locals, it is “difficult to guard against the clerical errors in this climate” (28). This shows how he is professional in his ordinary as well as in his working behavior.

Conversation and Accountant in Heart of Darkness

Where the conversation of and about accountant in Heart of Darkness is concerned, it is not frank, but it is highly secretive. The first accountant does not talk to Marlow and anybody else. However, when Marlow stays for ten days at the inner station, the accountant does not talk much to him. He only shows, but when Marlow becomes quizzical, he just tells him to that there is a person Kurtz, who is very important for the authorities sitting in Europe. In other words, he exposes that there is a person who is very capable financially, for he keeps the record. Mohit Kumar Ray argues that that is the very reason that “he is obliged to see Kurtz through the eyes of the accountant” (Ray 61). It could be that the accountants are more aware of every business than the ordinary people and even highups. That is why he paints the real picture of Kurtz to show Marlow who could be his next boss in the depth of the Congo.  He wins the confidence of the accountant who tells him briefly about Kurtz. This is what an accountant can do in his professional life to inform the middle authorities about the highups and their demands.

Conclusion

Therefore, the accountant in Heart of Darkness by Joseph Conrad shows a true professional. As the first accountant is not very senior, he keeps himself to himself and does not talk to Marlow at all. However, the chief accountant is a senior and knows everything about the business of the company. Therefore, he tells Marlow what is very important for him to know. However, about the other things, he keeps his mum and does not let him know what the business actually is. He keeps himself professional even in this squalid corner of the world and has learned how to live professionally by grooming a local lady. He also mentions heartlessly that the groans of the dying person distract his attention which destroys his clerical tasks of keeping the accounts correct. In short, both the accountants are highly professional, trained, and well-conversant with their status as well as situations.

Works Cited

1. Conrad, Joseph. Heart of Darkness.  Planet Ebooks. Online ebook. 2009.
2. Bloom, Harold. Joseph Conrad’s Heart of Darkness. New York. Infobase Publishing. 2009. Print.
3. Ray, Mohit Kumar. Joseph Conrad’s Heart of Darkness. New Delhi. Atlantic Publishers and Distributors. 2006. Print.

Relevant Questions about Accountants in Heart of Darkness by Joseph Conrad

1. How do the accountants in Heart of Darkness symbolize the bureaucratic and administrative machinery of European colonialism, and what role do they play in the broader critique of imperialism presented in the novella?
2. In what ways do the accountants’ meticulous record-keeping and adherence to rules contrast with the chaotic and morally ambiguous world of the Congo, and how does this tension contribute to the overall themes of the novella?
3. Considering the accountants’ limited presence in the narrative, what can we infer about their attitudes and beliefs regarding the African natives and the exploitation of the Congo? How does their perspective align with or differ from that of other characters in the story?

Introduction to Imperialism in Heart of Darkness

Joseph Conrad has mixed feelings and conflicting ideas about the concept of imperialism in Heart of Darkness that could be termed ambivalence. The novel which shows a journey from within and from without also divides itself into two parallel and conflicting ideas which are often associated with imperialism. Conrad being a white and also a westerner watches the oppression with his own eyes but being a non African also seems to detach himself from what actually happens with the Africans. There are so many examples where his protagonist seems to be divided in his view point and his inclination to blacks or whites become doubtful. Therefore, it can be said that the writer’s deep ambivalence about imperialism in Heart of Darkness regarding ambivalence in the consciousness, ambivalence in the treatment of blacks and whites and ambivalence in the mode of description thus making it a novel which apparently sides the Africans but inwardly reflects the superiority of the west.

Marlow and Imperialism in Heart of Darkness

The hero of the novel goes out to explore the unexplored lands of Africa. His travel is also on two levels. One is physical travel and the other is spiritual and inner travel. The learning and exposure go on both levels. Apparently it looks that his experiences are making him enlightened and well informed as compared to his previous understanding. However, the ambivalence of the situation is that his enlightenment is in other words an experience of the more negative things and as if he were going back to the primitive age. So his description of the protagonist’s development is at the same time forward and backward. So the protagonist suffers from a split personality with conflicting ideas which oscillate him between the civilization of the west and African primitivism.  In this way the description shows the conflict and ambivalence between the unconsciousness subsequently sub consciousness and the depiction of consciousness. This conflict is evident in the narrative related with wilderness, the African landscape, its society and its people. The wilderness again has two contradictory angles. One angle of it can be captured by Europe while the other aspect of supernatural type can only be left to die. This could be termed a drive exposing imperialism in Heart of Darkness.

Africa and Imperialism in Heart of Darkness

Conrad starts his assessment of Africa with the introduction of the Congo River and its comparison with the river Thames.  The Thames symbolizes the purification, civilization and intelligence whereas the Congo River shows darkness and under civilized society which is still not developed. Marlow seems to mention the Thames with reverence and great care while his description of the Congo River makes him a little pessimistic. Congo River is shown as “ the mystery of an unknown earth”. (Heart of Darkness 3). Moreover, during the course of the novel we find that the Congo River has so many difficult spots around it. It passes through many dark and dangerous places. The scenes around are rough and are not maintained as if nobody had touched them.  It unfolds that Africa is a place to be invaded and this mystery is to be solved and resolved and only white people can solve this mystery.  Here the narrator who is the mouthpiece of the writer is ambivalent about the concept of imperialism in Heart of Darkness.

Primitivism and Imperialism in Heart of Darkness

Conrad describes African people as he had described the Congo River and associated it with ignorance and primitiveness. He declares them barbarous liable to be kept under subjugation. They need to be taught, modernized and enlightened according to the standards set by the west. Sometimes he favors these Africans by saying that they live with nature which is a positive thing. Therefore they get a supernatural power with their association with nature. He also feels a kind of association with them as a human being.  On the other hand, the African people have been treated as devils as if they have come from hell” catch “im,”—”Give’im to u.”— what would you do with them? ““Eat’im!” he said curtly…. (42). In these examples we see that he identifies himself with the Africans and also detaches himself from them at the same time deeming himself as a superior person and mentioning their so called inhuman act. This shows how he in reality looks at the African people. So his purpose does not seem to be the expansion, but to take pity on the natives. So in this way his description shows how he has an ambivalent description of African people.

European Progress and Imperialism in Heart of Darkness

The word the whited sepulcher is used in the novel for the cities of the west. These cities are apparently very advanced, refined and civilized but inwardly there is evil and hypocrisy prevalent in them. This is the double standard of the so called civilized world which Marlow indicates. In the same vein, Conrad depicts Belgium as a country or city full of death or hypocrisy and we also know that Belgium was the centre of imperialism.  The city shows as if it is devoid of emotions and there is no civilization left there. We can also cite example of the two women who were knitting wool because it is associated with man’s doom as we remember “ Charles Dickens’s A Tale of Two Cities, where Madame Defarge  knits “with the steadfastness of fate” (103). In this way, the description of the city has ambivalence as every one of them represents darkness and light, death and peace.

Conclusion

In the novel, the writer describes the details of Africa, its wilderness, the Congo River and the inhabitants of that area in a way as to compare them with the civilized world of the west in an attempt to expose imperialism in Heart of Darkness. The journey within versus journey without goes on showing the differences between the attitude of the writer towards the native Africans and the white westerners. Marlow has mixed feelings for both the Africans and the Europeans. It can be said that he has attached and detached feelings for both the Europeans and the Africans simultaneously. His identification with nature and affiliation with superior Europe makes him ambivalent toward imperialism. 

Works Cited

1. Conrad, Joseph. Heart of Darkness. CSP Publishing. 2011.Print.

Relevant Questions about Imperialism in Heart of Darkness

1. How does the character of Kurtz exemplify the ambivalence towards imperialism in “Heart of Darkness”? What aspects of his journey and actions reflect the complex relationship between colonization and the corrupting effects of power?
2. In “Heart of Darkness,” how does the narrative structure, particularly the framing of Marlow’s story within the story, contribute to the ambivalence towards imperialism? How does this layered storytelling highlight the contradictory perspectives on colonialism?
3. Explore the symbolic significance of the Congo River in “Heart of Darkness.” How does the river itself represent the ambivalence surrounding imperialism, and how does Marlow’s journey along the river reflect the moral and ethical dilemmas associated with European expansion and exploitation in Africa?

You may read more on Short Essays below:

• Accountant in Heart of Darkness by Joseph Conrad
• Glengarry Glen Ross Seems A Postmodern Answer
• “Bunty in the Light of a Hero”: Narratological Analysis
• Odysseus’s Adventures in Odyssey

Introduction to Comparison Between Death of a Salesman and Glengarry Glen Ross

Literature has always witnessed transformations in culture shown through similarities between Death of a Salesman and Glengarry Glen Ross. The modern period which started quite lately in literature as compared to modernity reached its peak following WWII and then after further evolution it entered into the postmodern world where cultural values, beliefs, and morals witnessed sea changes. The transformation in these values, morals, and beliefs could be seen in the respective literature. Not only that the literary ideals such as tragic heroes and their representations changed, but also themes and structures, language, and above all moral values have witnessed massive changes. Written by Arthur Miller, Death of a Salesman presents a modernist literary piece which shows presents modern tragedy, values of the society, modernist language structures, and themes of faith, hope, and dreams, while contrary to it, its supposed postmodernist sequel Glengarry Glen Ross by Mamet demonstrates postmodernist trends sans tragedy, sans morality, transparent and audience-centered language to be inferred in any way. It means despite several similarities between Death of a Salesman and Glengarry Glen Ross are entirely different plays.

Tragedy and Death of a Salesman

As far as the idea of tragedy is concerned, the debut of Death of Salesman created a stir in the literary circle regarding presentation of a common man as a tragic hero, for which Miller has to write an essay to explain his idea of tragedy in this play which he states, “the common man is as apt a subject for tragedy in its highest sense as kings were” (Miller 3-7) and Willy Loman is a down-to-earth common American who is disillusioned by the mythical American dream. Contrary to the classical idea of Aristotelian definition of tragedy, having heroes with great stature, Miller has touted that “The commonest of men may take on that stature to the extent of his willingness to throw all he has into the contest, the battle to secure his rightful place in his world” (Miller 3-7) which in Willy cases is his two sons, his own career and family that he bets in order to make himself equal to either Ben or his own father that Ben mentions or others in his familiar circle. However, none is achieved. In another sense, everything seems to him in “disorder” (Klages) through which Miller has tried to bring out the “order” (Klages) of the moral values that is to dig out “meaning which has been lost in the most of modern world” (Klages) which Biff states at the end that “He had the wrong dreams. All, all, wrong” (Miller) while Happy says that “I’m gonna show you and everybody else …that …he had a good dream” (Miller) which is that Willy wants to bring order by realizing his dreams that were not right according to Happy, but he could not which is why he seems to be a common tragic hero of Arthur Miller. However, as opposed to this modernist view, there is no morals, no scruples and no values whatsoever in Glengarry Glen Ross. There is only “talk” (Mamet) about “leads” (Mamet), “close and sales” (Mamet) devoid of all morals. If Levene seems to the central character, he acts just like a common salesman but unlike Willy devoid of any dream and therefore no moral values at the end. However, despite similarities between Death of a Salesman and Glengarry Glen Ross are different in this sense.

Whereas the question of morality or moral values is concerned, in Aristotelian and Elizabethan tragedies, the protagonist is always on the guard to set right that “Something is rotten in the state of Denmark” (Shakespeare 90) and takes the entire onus of doing this on himself and the piece presents a “clear-cut moral position” (Klages). However, in modernist literature, this does not mean that the common man, as a hero, is morally upright similar to the classical heroes, but that “if it is true that tragedy is the consequence of a man’s total compulsion to evaluate himself justly, his destruction in the attempt posits a wrong or an evil in his environment” (Miller) which Willy sees in the shape of situation and his own ideal of achieving the American dream which he could not. Even his affair does not mean that there is no morality, but it means that he realizes that he has not achieved his desires and expectations in which Miller has presented a modernist view of “clear-cut moral position” (Klages) that this cut-throat competition takes its toll form the people involved in the rat race for materialism.  However, there does not seem to be any morality Glengarry Glenn Ross and the characters are living in world where stealing, lying, cheating, burglaries, sex, and drinking are the order of the day in which man has become a machine “That’s the “Machine.” That is Shelly “The Machine” Lev…” (Mamet).  It is on the audience to deduce the meanings from the situation presented to them. At least there is a faith, hope and dreams in Death of a Salesman which Willy demonstrates but there is no such thing in Glengarry Glenn Ross, a typical postmodern feature of the literature. In fact, it is Roma who seems to be the epitome of the postmodern era whose lengthy and baffling absence of “an absolute morality” (Mamet) in this world shows a world sans conscience. This shows a great difference between Death of a Salesman and Glengarry Glen Ross.

Language in Death of a Salesman and Glengarry Glen Ross

As far as the question of language is concerned, there is modernist idea that “language is transparent, that words serve only as representations of thoughts or things, and don’t have any function beyond that” (Klages) which seems to be true in the case of Willy Loman and he has “Big” (Miller) ideas, “contacts” (Miller) and above the idea of “well-liked” (Miller) through which we can judge his dreams. He is the “signified” in which the “reality resides” (Klages). However, the case of Glengarry Glen Ross is quite different. There is no idea and “only surfaces” (Klages) and only “signifiers, without no signifieds” (Klages) which is clear from the language used by Levene, Roma and Williamson. Contrary to Death of Salesman, where language is a vehicle to communicate the reality, the characters in Glengarry Glenn Ross do not use language for communication but to hide, manipulate and exploit truth and manipulate the customers and their own brethren. Miller’s ideas are clear that he wants to show use the other side of capitalism and he presented it through Willy but Mahmet has left everything on the reader to deduce from the use of language.

Conclusion

In nutshell, the difference between Death of a Salesman and Glengarry Glen Rosslies in the periods in which both plays have made their debuts where Death of Salesman represent the modern idea of tragedy as expounded by the author himself, Glengarry Ross does not present any tragedy, hence no catharsis of any emotions. Whereas Death of Salesman is a journey toward the realization of a moral system, beliefs and hopes, Glengarry Glen Ross is an epitome of a world sans any moral value, belief or creed except material gain by hook or by crook. If Death of Salesman uses transparent language to point out the reality, the same reality itself disappears in Glengarry Glenn Ross of the postmodern ear. It is true that both have the same theme and one seems to be sequel of other, but both presents world pole apart from each other where one is a modern play and the other is postmodern. 

Works Cited

1. Klages, Mary. “Postmodernism.” 30 September 2005. Willaim Mette. <http://www.willamette.edu/~rloftus/postmod.htm>. Accessed 24 Nov. 2020.
2. Mamet, David. Glengarry Glen Ross. New York: Grove Press, 1984.
3. Miller, Arthur. Death of Salesman. Oxford: Heinemann Educational Publishers , 1994.
4. ____. “Tragedy and the Common Man.” Miller, Arthur. Theater Essays. Viking Penguin, 1978. 3-7.
5. Shakespare, William. Shakespearen Plays. 1999. Shakespeare Online <http://www.shakespeare-online.com/plays/hamlet_1_4.html>. Accessed 24 Nov. 2020.

Relevant Questions about Death of a Salesman and Glengarry Glen Ross

1. In Death of a Salesman and Glengarry Glen Ross, how do the characters navigate the American Dream’s illusion and their harsh realities?
2. In both plays, how does workplace culture shape the characters’ identities and self-worth?
3. How do power dynamics and competition impact the characters’ moral choices in Death of a Salesman and Glengarry Glen Ross?