Tutor name Date The Revolutionary Content in Literature: A Case of Selected Plays and Sonnets Literature has a capacity to be revolutionary, and in this essay, the revolutionary content in literature will be explored. This will involve evaluating revolutionary content in Samuel Beckett’s Endgame, William Shakespeare’s play The Tempest and The Sonnets…
It is also respond to the disappearance of the old religious perspective and ushering in of contemporary life. The play’s format does not lend itself to the classical analysis of drama. As such, the play defies the reader’s conventional assumptions regarding drama. Endgame eschews a defined plot in that it lacks definitive action. Even when the characters seem to take definitive action, they undercut that action. Hamm, for instance, insists on being returned to the centre of the room and Clov never makes up his mind to leave Hamm. The play’s lack of definitive action is accentuated by its lack of driving conflicts. In addition, the play does not have a clear resolution. Even the one conflict that seems to dominate Clov’s life; his leaving Hamm is not definitively resolved. Beckett’s play is revolutionary in its uncanny treatment of time. In the beginning of the play, Clov enigmatically declares “Finished, it’s finished ...” (Backett 1). The end is placed at the start of the play and, therefore, the reader gets the impression that the end has already happened. The play treats beginning and ending as if they are intertwined. This style implies that the characters are stuck in a repetitive existence that does not come to a closure. Significantly, the play’s dialogue does not serve to illuminate on meaning, but inadvertently obscures meaning and prolongs an epiphanic ending that Clov and Hamm hope will be found in their death. This embracing of death is also significant because it underlines Absurdist Drama’s tendency to subvert logic and relish a world that is illogical and unrealistic. Therefore, Hamm and Clov view living as the only obstacle standing between them and the much desired death. The play’s treatment of time as if it does not matter also imposes a kind of stasis on the plot. This stasis is enhanced by repeated actions like Clov’s constant threats that he will leave and Hamm’s insistence that he be taken back to the centre of the room. When Hamm asks Clov what time it is, for instance, Clov enigmatically replies that it is “same as usual” (Backett 1). This answer effaces the contours of time and emphasizes the fact that the characters’ lives are static with no hope of definitive action. William Shakespeare’s play, The Tempest (2006) is another play whose revolutionary content is found in its portrayal of the triumph of justice, forgiveness and reconciliation over betrayal, greed, hatred, and revenge. At the end of the play, the goodness of humanity triumphs over evil. Prospero forgives his brother Antonio for forcefully removing him as the Duke of Milan even when Antonio does not repent of his deeds. Although Prospero holds immense supernatural power against his enemies, he does not use it vindictively, but he relinquishes it after he restores a sense of justice in the play. However, Prospero’s idea of justice is ambivalent considering that he enslaves Caliban and Ariel. But Prospero’s sense of justice; “Lie at my mercy all thine enemies:”…seems, if not perfect, at least sympathetic (Shakespeare 118). The various machinations that Prospero uses to bring the play to a happy ending point towards a celebration of humanity and art. Prospero’s morality is affirmed by his eventual forgiveness of his enemies, the release of Caliban and Ariel, and the relinquishing of his magical powers and ...
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