T. S. Eliot, The Jew of Malta: Farcical and symbolical elements, anti-christian elements, anti-muslim elements, dramatic technique

Fiction & Literature, Literary Theory & Criticism, British
Cover of the book T. S. Eliot, The Jew of Malta: Farcical and symbolical elements, anti-christian elements, anti-muslim elements, dramatic technique by Katharina Eder, GRIN Publishing
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Katharina Eder ISBN: 9783640915040
Publisher: GRIN Publishing Publication: May 15, 2011
Imprint: GRIN Publishing Language: English
Author: Katharina Eder
ISBN: 9783640915040
Publisher: GRIN Publishing
Publication: May 15, 2011
Imprint: GRIN Publishing
Language: English

Seminar paper from the year 2007 in the subject English Language and Literature Studies - Literature, grade: 2, University of Vienna, language: English, abstract: The Jew of Malta is often amusing and it would be possible to regard it simply as a brilliant theatrical entertainment intended to make one laugh rather than think. The problem here is to maintain the right balance of the 'ludicrous' and the 'terrible'. T.S.Eliot was aware of this problem. Even though he preferred to classify the play as a farce rather than as a tragedy, he was careful to emphasise that its humour was 'terribly serious'. According to Bawcutt, the Jew of Malta is a harsh and disturbing comedy, near to ridicule, not the cheerful laughter which relaxes and heals. It should not distract one from the play´s seriousness, but intensify it, by making us aware of the ludicrous instability of our attitudes and the absurdity of our pretensions to moral superiority. The play may seem at times a parody of normal human behaviour; even so, it is the kind of parody that is uncomfortably close to reality. (Bawcutt 1978:36). Several asides in the main plot of The Jew of Malta assume comic function and devices of double entendre (double meaning) are applied. Several asides are unspoken thoughts of a character or confidentially and silently uttered messages addressed to another character, but most of the asides are examples of dramatic irony, in the way that they reveal the innermost thoughts of the characters in contrast to what they actually say. They may reveal doubledealing and the hypocrisy in this way but sometimes also the true honesty and virtue of a speaker. (cf. Abigail, III.iii). They also may function as a dramatic device to raise suspense, anticipating a forthcoming event, such as for example murder or intrigue. An example of this can be found in II.iii when Barabas is talking to Lodowik: 'The diamond that I talk of, ne´er was foiled'. The diamond will be foiled though when he touches it. Another example can be found in Act I.ii, when Barabas and Abigail are preparing for the retrieval of gold and money from their former home, now confiscated by the governor and turned into a nunnery.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Seminar paper from the year 2007 in the subject English Language and Literature Studies - Literature, grade: 2, University of Vienna, language: English, abstract: The Jew of Malta is often amusing and it would be possible to regard it simply as a brilliant theatrical entertainment intended to make one laugh rather than think. The problem here is to maintain the right balance of the 'ludicrous' and the 'terrible'. T.S.Eliot was aware of this problem. Even though he preferred to classify the play as a farce rather than as a tragedy, he was careful to emphasise that its humour was 'terribly serious'. According to Bawcutt, the Jew of Malta is a harsh and disturbing comedy, near to ridicule, not the cheerful laughter which relaxes and heals. It should not distract one from the play´s seriousness, but intensify it, by making us aware of the ludicrous instability of our attitudes and the absurdity of our pretensions to moral superiority. The play may seem at times a parody of normal human behaviour; even so, it is the kind of parody that is uncomfortably close to reality. (Bawcutt 1978:36). Several asides in the main plot of The Jew of Malta assume comic function and devices of double entendre (double meaning) are applied. Several asides are unspoken thoughts of a character or confidentially and silently uttered messages addressed to another character, but most of the asides are examples of dramatic irony, in the way that they reveal the innermost thoughts of the characters in contrast to what they actually say. They may reveal doubledealing and the hypocrisy in this way but sometimes also the true honesty and virtue of a speaker. (cf. Abigail, III.iii). They also may function as a dramatic device to raise suspense, anticipating a forthcoming event, such as for example murder or intrigue. An example of this can be found in II.iii when Barabas is talking to Lodowik: 'The diamond that I talk of, ne´er was foiled'. The diamond will be foiled though when he touches it. Another example can be found in Act I.ii, when Barabas and Abigail are preparing for the retrieval of gold and money from their former home, now confiscated by the governor and turned into a nunnery.

More books from GRIN Publishing

Cover of the book 'The Park' by James Matthews. Short stories by South African authors in the classroom by Katharina Eder
Cover of the book From Celtic, Etruscan and Roman Hands: The Po River Valley and Modena (Mutina) by Katharina Eder
Cover of the book Media and Terrorism by Katharina Eder
Cover of the book Are the parties in the United States still vehicles for environmental politics? How do they occupy this political field, and what ideological and sociological aspects affect this process? by Katharina Eder
Cover of the book The Chinese People's Procuratorate by Katharina Eder
Cover of the book Literature Review: The Ascent of Money: A Financial History of the World, Niall Ferguson by Katharina Eder
Cover of the book Lesson Plan for Aldous Huxley's 'Brave New World' by Katharina Eder
Cover of the book The origins and evolution of human language by Katharina Eder
Cover of the book How far should Greek Tragedy be regarded as a dangerous genre? by Katharina Eder
Cover of the book Critical success factors and best practices for business succession. by Katharina Eder
Cover of the book Applying Critical Thinking to a Work Related Decision by Katharina Eder
Cover of the book Die Organisationsverfassung der Societas Privata Europaea (SPE) im Vergleich zur GmbH by Katharina Eder
Cover of the book The construction of gender roles in peer groups by Katharina Eder
Cover of the book The Issue of Voyeurism in T.C. Boyles Short Story 'Peep Hall' by Katharina Eder
Cover of the book The Representation of Gender in Walt Disney's 'Mulan' by Katharina Eder
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy