Comparing Ritual in Beckett, Hemingway, and ONeill :: comparison compare contrast essays

Ritual in Beckett, Hemingway, and O'Neill "Perhaps the public psyche has simply been overloaded and, like an electrical circuit, has blown its fuse and gone cold under the weight of too many impulses" (Miller, lvi). The modern world is often looked upon as a cold and unfeeling one. And the modern existence is such that it has been called a "Wasteland" by T. S. Eliot. It has also led Camus to parallel it with the ancient Greek myth of Sisyphus, who was condemned to repeatedly push a boulder up a mountain, after which it would roll down the other side, and he would have to start all over again. It is this ritualistic behavior which has become a significant factor in modern life. Although ritualism is a common theme in modern literature, its function had been interpreted differently by modern writers. Many, like Beckett and Hemingway, see ritualistic behavior almost as a form of therapy, a healing action used to cope with internal turmoil. Others, chiefly expressionists like O'Neill, look upon ritual with scorn. They see it as the deadening of society, the mechanization of humanity. "Expressionist drama protested strongly against the system of industrialized production that transformed man into an automaton" (Glicksberg 51). O'Neill's scorn of ritualism, which is typical of the expressionists, is evident in his plays. The expressionists believed that humanity is out of kilter with nature, and man's obsession with materialism and machines is a factor in the deadening of the soul. O'Neill was a man described by Joseph Golden as being a godless, despondent, pessimistic, antisocial creature who was also prone to such exuberance that he could write to a friend "I'm tickled to death with life! I wouldn't 'go out' and miss the rest of the play for anything!"(31). O'Neill's lack of belief in religion was a constant struggle for him. He was disturbed not only by the absence of Christianity, but by humanity's inability to find a replacement for it. He described this feeling in a letter to George Jean Nathan when he wrote, The playwright today must dig at the roots of the sickness of today as he feels it--the death of the Old God and the failure of science and materialism to give any satisfying new one for the surviving primitive religious instinct to find a meaning of and to life in, comfort his fears of death with (qtd in Golden 39).

Don Juan: Lord Byron †Summary and Critical Analysis Essay

Don Juan is a vast creation and it is not always interesting; there are many dull stanzas in which Byron says nothing interesting. But despite some weaknesses in structure, characterization, and philosophy of life, Don Juan is an ‘epic carnival’. It has scope, variety of human experience, common sense, much matter for laughter, clever and witty observation, ease and fluency; that is why Walter Scott said the â€Å"it has the variety of Shakespeare†. Don Juan was intended as a satire on abuses of the ‘present states of society.’ It is a quietly mocking satire on everything, and a serious satire on the hypocrisies of high society, the false glory associated with war, man’s pursuit of fame, the little devices by which people try to deceive themselves, the human penchant for rationalization, It ridicules things in a unique tongue-in cheek manner that strikes, without seeming to, everything on its way. In general, the style, of Don Juan is the easy conversational or epistolary style. See more: how to write a good critical analysis essay Byron has written this poem in the Italian ottava rima, or eight-line stanza, the poetic form favoured by the Italian satirical writers of mock-heroic romances. The rhyme scheme of ‘ottava rima’ is abababcc. But Byron used a lot of a new comic rhyme, forcing slant and unusual rhymes to hint at the incongruity and satires beneath. He has also used the concluding couplet to round off the whole stanza by giving a sudden twist or commentary on the preceding lines themselves. The witticism and the anti-climax, or a swift fall from the lofty-sounding idea to the low, that surprises the reader are also other features in Don Juan. The style of Don Juan is the antithesis of the grand style. It has the easy going laxity of ordinary conversation. In fact, Don Juan has not one style but a â€Å"multiplicity of styles† or tones, the â€Å"medley† style: grave, gay, serious, ludicrous, sentimental, laughing, ironic cynical, urbanely, naughty, wittily outrageous, unexpect edly twisting familiar figures of speech and infusing them with fresh vitality, and accomplishing all these along with the most ingenious poetic devices of rhythm and rhyme imaginable. It stands in debt to the Italian comic-epic poets for its ottava rima verse form, its manner and mood, deliberate lack of coherent construction, length determined by the will of whimsy of the poet, variety of incidents and digressions, and for the startling alternations of mood and pervasive modernity of spirit. The rapid movement from romantic seriousness to burlesque suggests a Chaucerian quality, the same movement between romance and burlesque, chivalry and bawdry, ideal and real. Perhaps the most conspicuous characteristic of the Junoesque style is the conversational and colloquial tone. What the poem most frequently attacks, in love religion, and social relations, are very considerable vices-sham, hypocrisy, complacency, oppression, greed, and lust. Furthermore, the satire constantly though silently assumes as more all positives the qualities of courage, loyalty, generosity and above all, total candor, it merely implies that these virtues are excessively rare, and that the moder n world is not constituted to reward to encourage, or even to recognize them when they make their appearance. The ‘society’ and ‘civilization’ represented by Don Juan’s mother, Julia and their community is the most important object of satire in Canto I. They believe in the ‘morality’ of exhibition; if they appear moral. It doesn’t matter what they do! They suppress in all possible ways the natural impulses of the ‘natural’ child or man. This issue brings us to another crucial thematic concern of Don Juan: Juan’s mother, like a typical ‘civilized’ person tires (though hypocritically and unsuccessfully) to thwart all the natural desires of the child while she tries to teach him all the dead languages, religious sermons that he can’t understand, the art of war to the child (riding, fencing, gunnery and how to climb a fortress – or a nunnery), expurgated classics (which posed problem with filthy loves of the gods and goddesses who roamed in public without proper bodices), and the likes. But one should note that his mother used to read all the filthy stories herself. But a few stanzas later we find that his mother doesn’t care when Juan begins to have immoral relations with her neighbor Julia, because she was angry with Julia’s old husband who had rejected her love in her youth. Where then does a good education go (beyond a hypocritical theory) in this scheme of things in a ‘civilized’ society? Don Juan’s mother is afraid to see him grow up into an adolescent! This tells us how our societies reject the natural processes of life and the realities of natural impulses, and seeming to be better than the nature itself, destroy all potential good in man.

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