Five Elements Of Drama

     Drama
is a broad category and includes plays as a macro category or can be a portion of a work in a
sub heading.  Whether discussed in the macro or micro realms, drama has some definite
characteristics.

     Drama, as a work, is characterized due to the focus of
the work which is generally a serious subject matter with little comedy.  It could be argued a
work is either dramatic or comedic and all other works fall within those two divisions.  For
this discussion it will be classified as a work where the majority of the plot focuses on issues
outside comedy.  Scienceand horror are often given their own groupings, but they are in essence
just an intense drama centered around a particular genre.

     Within a work
drama is often played out along the plot of the work.  Body language can give clues to the
intensity of the action.  A person slowly walking down the hallway, heels clicking along a floor
and displays of strong emotions provide the basis for the assumption of drama.  This works
because of similar experiences in real life.

     Vocal ranges are another
clue of dramatic overtures.  The tone can be angry, conspiratorial, or even boring giving rise
to the intended drama.  Often the vocal tone and setting go hand-in-hand in determining the
actual events as dramatic rather than comedy.  A car chase for example could be either dramatic
or comedic depending on the dialogue which often sets the mood.  If dialogue is not present, the
soundtrack can substitute with intense music giving a clue to the nature of the work. 

     Typically the intention of drama is to bring the viewer on an emotional ride
through the scene where comedy had a more narrow intention of drawing a light hearted response. 
Drama uses the focus of the work, dialogue, soundtrack and staging to provide the necessary
context for the dramatic work.

What is the significance of the song the woman in the courtyard sings while Winston waits for Julia?

In Part Two,
Chapter Four, of ,listens to a prole woman singing a song in the courtyard
below his room in Mr Charrington's shop. While this song appears to have no relevance on the
novel, it is, in fact, significant for two reasons.

First of all, theof the
song has some importance. It is composed in English and makes a refreshing change to Newspeak,
the official language of Oceania. Newspeak is designed to make thoughtcrime an impossibility
because it restricts people's ability to think negative thoughts about the party. In contrast,
English remains expressive and emotive, even if the song has been composed by a
"versificator" and does not technically make any sense. The...

Compare the marriage proposals of Mr. Collins and Mr. Darcy in Pride and Prejudice and Elizabeth's responses.

marriage
proposal is arrogant - he is convinced thatwill accept - but it is also flowery and obsequious. 
He over-explains himself, laying out all his reasons for marrying and
explaining the "violence of [his] affection."   He insults
Elizabeth's fortune by insisting that he is "indifferent to it." 
He ends by insisting "no ungenerous reproach shall ever pass my lips when we are
married."  He doesn't even wait for a response.  His he assumes they are already
engaged.

's speech is less flowery and more straightforward.  He actually
proposes, rather...

In The Epic of Gilgamesh, what characteristics do the ancient Sumerians value, as evidenced in their hero, Gilgamesh?

As other
contributors have already expressed, celebrates friendship (via the
friendship between Gilgamesh and Enkidu), as well as personal bravery and strength (via
Gilgamesh's various triumphs). Based on this ancient story, you might expect ancient Sumerian
culture to have a certain aristocratic mentality, which celebrates personal excellence and
achievement.

In addition, however, I get the impression that The
Epic of Gilgamesh also contains a deeply pessimistic vision on the human condition.
Indeed, it's worth noting that Gilgamesh's great quest to achieve immortality ends in failure,
and while he is able to attain a plant that holds restorative powers (which would reverse the
effects of aging), he loses that plant when a snake eats it. For all of his many successes, he
ultimately fails in his greatest and most ambitious endeavor. Thus, the story makes a clear
statement: human lives are transient, and it is impossible for any human being to overcome their
mortal...

In Oedipus Rex, is Oedipus' fate sealed from the start? I need help understanding the question more. Here is some background on the rest of my...

Judging by your
synopsis, you have a good understanding of what the question is asking. However, you are also
right in believing that there is more to this question than a simple consideration of whether or
notis responsible for creating his fate (and if so, to what degree is he
responsible). 

To be clear, the question has three parts. 

• Part one asks, what events or outcomes in the play can be directly
  attributed to Oedipus? One of these would be the falling out he has with his brother-in-law,
  . 
• Part two asks, what events of the play are outside of Oedipus influence
  or control? The prophecy handed down in his childhood was outside of his control and it is this
  prophecy that propels Oedipus into action and toward doom. 
• Part three
  asks, which of these dynamics seems to be the stronger force in determining the action of the
  play (and is Oedipus really responsible for any events in the play if his fate is already
  determined)? 

One way to narrow this whole question down is to
look at some particular instances. Oedipus kills his father on the road. Does he do this because
it is part of his character to be proud and unyielding? If he were a different type of man,
would he have simply gotten out of the way and let the other man pass? Is this murder directly
attributable to Oedipus' attitude/personality?

Or, was Oedipus forced to act
this way because fate and the gods had put him in conflict with this man on the road (who
happened to be his father), thereby creating a situation where a person like Oedipus would act
in a predictable and violent manner? 

After all, Oedipus is fleeing his fate.
This is his intent. The only reason he encounters his father on the road is because he does not
want to kill him. We might say that Sophecles presents us with thisto suggest that Oedipus'
situation on the road is either extremely bad luck or is created by the gods, by his fate, and
outside of his control. 

Indeed, in the end, Oedipus feels that he had no
control over the outcome of his life and that this becomes especially true because of his
efforts to avoid his fate. Though he is not responsible for the prophecy that set his path, he
is the person who carried out all the deeds for which he punishes himself with
blindness:

"Oedipus, damned in his birth, in his
marriage damned, / Damned in the blood he shed with his own hand!"

Comment on the suitability of the title in "Girl" related to its content.

There are a number of
different aspects that we could comment on when we think about the title of this excellent text
and how it relates to the content. Firstly, "" clearly indicates the receiver of the
diatribe or advice that the mother figure gives to her daughter. When we think of the word
"girl," we think of a young girl who is in need of advice and guidance from a mother
figure. This certainly would appear to be the case, as the text basically contains a non-stop
flow of suggestions from the mother to the daughter.

But at the same time,
the word "girl" can also be used as an insult to suggest that the woman is much
younger and more immature than she actually is. There is a sense in which the title also
captures this idea, as the mother, in seeking to give her daughter lots of advice, actually
appears to be incredibly insulting at times, such as when she interprets one of the few things
that her daughter says as sluttish behaviour that would make her a "loose"
woman:

...but what if the baker won't let me
feel the bread?; you mean to say that after all you are really going to be the kind
of woman who the baker won't let near the bread?

The
mother is trying to teach her daughter sexual norms so that she will not be regarded as a slut.
Her quick response to an interjection made by her daughter that could have been uttered out of
frustration illustrates this more insulting and patronising meaning of the title.

Lastly, you could argue that the title reflects a lot about the relationship between
the mother and daughter. The text contains a non-stop list of suggestions that is seemingly
without end, yet never does the mother give her daughter any encouragement or soft words. It
appears the title is relevant to the relationship because the mother is not bringing up her
daughter to be a woman in the way that she would be. The non-stop criticism and advice keeps her
daughter in the place of being a "girl" rather than instilling her with
self-confidence so that she can grow up and be a woman.

Poetry Analysis Can you show me how to analyze a poem?

Here is a
sample analysis of a poem. Consider "The Highwayman" by Alfred Noyes. (A link to the
poem is included below.)

This is a narrative poemit tells a story...it has a
plot. In terms of its structure, there are 11 six-line stanzas: six in Part
One, and five in Part Two. There is end rhyme (where the end of one lines rhymes with the end of
another). The pattern of sound created is A A B C C B. This means
that the first and second lines rhyme (at the last word), the third and sixth lines,
etc.

Repetition is used throughout the poem, giving the piece a musical
sound. (Repetition is only one literary device used for this purpose.) The repetition is found
in either lines four through six, or in lines four and five. Consider the first stanza of Part
One:

The wind was a torrent of darkness among the gusty
trees, ۬

The moon was a ghostly galleon tossed upon cloudy seas,
۬

The road was a ribbon of moonlight over the purple moor, ۬

And the highwayman came riding

۬Ridingriding ۬

The highwayman came riding, up to the old inn-door.

In this stanza, "riding" is used in the last three lines. This emphasis is
not only something that provides a sense of movement by the highwayman, but it also emphasizes
his steady approach or gallophis impending arrivalto the inn. (The last three lines of stanza
three of Part One will also be the last three lines of stanza eleven, the poem's closingand
hauntingsegment.)

Other literary devices are used to capture the reader's
imagination and paint vivid mental pictures in the mind. Metaphors (that describe dissimilar
things with similar characteristics) are found in the first three lines of the first stanza in
Part One.

The "wind" is compared to a "torrent of
darkness;" the "moon" is compared to a "ghostly galleon" (or ship);
and, the "road" is compared to a "ribbon of moonlight."

At the start of stanza three in Part One,is used: it is the repetition of a consonant
sound at the beginning of a group of
words:

Over the cobbles he
clattered and clashed...

The "c"
sound is repeated in
"cobbles,"
"clattered" and
"clashed." This also makes the poem sound more musical.
Without realizing it, these are things the ear picks up, which also gives the poem a lilting
rhythm.

Stanza six of Part One has a the comparison of two dissimilar things,
using "like" or "as."

His face burnt
like a brand...

This is saying that his "face"
glowed like a piece of wood ("brand") in the fire.

In Part Two,
stanza six,is used to convey the sound of horse's hoofs hitting the road's surface. Onomatopoeia
is a word that describes a sound (like the "hiss" of a snake, or the "buzz"
of a bee). The reader can almost hear the sound of the rider approaching with the repeated word,
"tlot-tlot."

Tlot-tlot; tlot-tlot! Had they
heard it? The horse-hoofs ringing clear...

Discussing
these devices is part of the poem's analysis. Here is a plot summary:

This is
a romantic poem: a highwayman falls in love with the innkeeper's daughter (Bess). He visits her
one night, and another man (Tim) who loves the girl hears the highway man's
plan to return. Out of jealousy, Tim shares their secret, and the soldiers wait for his
reappearance. Bess sacrifices her life to warn her sweetheart; however, his
heart is so broken, that he comes back to avenge her death and is shot out on the road. The
ghosts return, meeting again on winter nights at the deserted inn.

href="https://en.wikipedia.org/wiki/Narrative_poetry">https://en.wikipedia.org/wiki/Narrative_poetry
href="https://en.wikipedia.org/wiki/The_Highwayman_(poem)">https://en.wikipedia.org/wiki/The_Highwayman_(poem)