Plastic Theatre in A Streetcar Named Desire

Plastic Theatre in A Streetcar Named Desire 1. Introduction â€Å"I don’t want realism. [] I want [] magic!† (Williams, Streetcar Named Desire 130) It is Blanche DuBois who states this quotation in Tennessee Williams A Streetcar Named Desire. In this drama from 1947, two worlds, embodied by the two characters of Blanche DuBois and Stanley Kowalski, clash. That conflict between realism and a romantic view of things is visible through the whole play, increasing from scene to scene, and reaches its peak in Stanleys rape of Blanche in Scene Ten. After that suppression of the romanticism and with Blanche going to an asylum, one might think that the realistic point of view triumphs, but in my opinion her leaving and her acting, still relying on the kindness of strangers (Williams, Streetcar Named Desire 159), leads to the impression of a survival of her fantasy world. She just escapes from the demonic night world and completes the cycle of romance (Thompson 28). But I dont think that her illusions win over Stanleys realism, as she is a Romantic protagonist committed to the ideal but living in the modern age, a broken world (Holditch 1 47). In Williams play A Streetcar Named Desire, things are not always called by their names, but he creates a sense of indirectness. With the aid of telling names and special attitudes of the characters, he caricatures a truth behind things. However, this is not restricted to the protagonists and their quotations, but also concerns the play itself, including the stage directions. The feeling of hidden truths is supported by effects and motifs, for example the adoption of light and music or the gestures of the actors. This realization of a play on a stage is called the Plastic Theatre, as the audience gets more involved through the use of different senses. This leads to a vivid impression of the feelings and thoughts of the protagonists. Williams himself created the term of the Plastic Theatre in his production notes to The Glass Menagerie. There he writes about a conception of a new, plastic theatre which must take the place of the exhausted theatre of realistic conventions if the theatre is to resume vitality as a part of our culture (Williams, Glass Menagerie 4). 2. Definitions To provide a solid basis for the following thoughts concerning the different characters of A Streetcar Named Desire and their points of view, I want to introduce and explain the two terms of realism and romanticism briefly. Both of them can also been seen as epochs in American Literature, but I just want to focus on the general statement. In addition, I want to expose further information about the idea of the Plastic Theatre. 2.1. Realism In the Longman Dictionary of Contemporary English, realism is described as accepting and dealing with life and its problems in a practical way, without being influenced by feelings or false ideas. This means that one takes things as they are, evaluating situations only with the aid of the visible facts, not relying on false hopes or following non-realistic ideals. The human reason has, from a realistic viewpoint, a higher value and is more important than emotions or spontaneous impressions. 2.2. Romanticism The romantic perspective is in contrast to the realistic one. Romanticism is related to highly imaginative or impractical (Longman Dictionary, Romantic.) attitudes, admiring ideals which are not realistic or even unachievable. In romanticism, feelings and emotions are stated higher than rational thinking and human reason, not only in the context of love issues, but also in the way of dealing with situations and problems. Impressions are not based on visible facts, but on ideal conceptions, and these conceptions might be sometimes quite fictional or utopian. 2.3. The Plastic Theatre To express his universal truths Williams created what he termed plastic theater, a distinctive new style of drama. He insisted that setting, properties, music, sound, and visual effects all the elements of staging must combine to reflect and enhance the action, theme, characters, and language (Griffin 22). Like Griffin, many authors, including Tennessee Williams himself, tried to explain the Plastic Theatre, but it was barely discussed in public. After he established the idea of the Plastic Theatre in the production notes to The Glass Menagerie, Williams never publicly discussed it again. But from that moment on, his plays were very theatrical, with lyrical and poetic language, his scenic descriptions draw on metaphors from the world of art and painting and with quite symbolic use of sound and light (Kramer). 3. A Streetcar Named Desire: The Truth Behind Things In Williams play A Streetcar Named Desire, the audience gets the impression that facts are not just stated within the text, but between the lines. The characters are often described better through their behavior and gestures than through their actual quotations. From scene to scene it gets clearer that Blanche and Stanley are embodiments of two very contrasting viewpoints of life: extreme romanticism and down-to-earth realism. This is also visible through different symbolic motifs, which emerge various times in the play. Connected with a very evocative use of music and light and many telling names from the beginning on, the whole play seems conspicuously allusive. 3.1. Romanticism and Realism in A Streetcar Named Desire We are presented in A Streetcar Named Desire with two polar ways of looking at experience: the realistic view of Stanley Kowalski and the non-realistic view of his sister-in-law, Blanche DuBois (Kernan 17). Williams brings the two views into conflict immediately. 3.1.1. Blanche DuBois as the Romantic Protagonist When the audience meets Blanche, her appearance is described as incongruous to this setting (Williams, Streetcar Named Desire 8). In Scene One she arrives at the Elysian Fields, where her sister Stella and her brother-in-law Stanley Kowalski live. Her clothes are white and fluffy, looking very delicate and as if she were arriving at a summer tea or cocktail party in the garden district (Williams, Streetcar Named Desire 9). She is very shocked about the habitation of her sister and calls it a horrible place (Williams, Streetcar Named Desire 13). The reader is confronted instantly with her deranged self-awareness, as she asks Stella to turn the merciless (Williams, Streetcar Named Desire 13) light off, because she does not want to be looked at in the bright light. This behavior is visible through the whole play. Blanche always tries to avoid over-light and glare. Her vanity about her looks is also remarkable in the way Blanche presents her figure to her sister, fishing for compliments and stating that she has the same figure as she had ten years ago. (Williams, Streetcar Named Desire 18). She often states very romantic quotations through the whole play, e.g. concerning the pretty sky where she ought to go [à ¢Ã¢â€š ¬Ã‚ ¦] on a rocket that never comes down (Williams, Streetcar Named Desire 44). When the relationship between Blanche and Mitch, a friend of Stanley, becomes more intimate, the audience gets an impression of Blanches romantic conception. She calls him her Rosenkavalier and wants him to bow, just like the gentlemen in the Old South would do (Williams, Streetcar Named Desire 90). Although she was married once, she tries to behave like she would be untouched and a virgin, which she is obviously not. When Mitch says that he cannot understand French, she asks Voulez-vous couchez avec moi ce soir? (Would you like to have sex with me tonight?) (Williams, Streetcar Named Desire 95). The information about her past, that she had many men in a hotel called the Flamingo, and the way she speaks about her relationship with Mitch, that she does not love him, but just want a man with whom she can rest, brings certainty for the audience. So Blanches character can be described as a very romantic one. For her, outwardness is very important, and to appear very delicate and pure she is not afraid of telling lies. She is a fake, a person who likes to be better than she actually is, living in a fantasy world which has nothing to do with the real life. Already damaged by [à ¢Ã¢â€š ¬Ã‚ ¦] the harsh realities of disease and death, Blanches Romanticism is reduced in some moments to nothing more than sentimentality (Holditch 155). 3.1.2. Stanley Kowalski as the Realistic Protagonist Stanley Kowalski seems as the embodiment of a real man, opposed to or ignorant of the transcendent, very sexual and physical. When the audience gets in contact with him for the first time, he carries a package of meat and throws it to his wife Stella. He is described as strongly, compactly built. Animal joy in his being is implicit in all his movements and attitudes (Williams, Streetcar Named Desire 24). His relationship to his wife is a very sexual one, as Stanley treats his wife in a very physical way and Stella states that she is very attracted to him. When Blanche leaves to the asylum and Stella cries, he consoles her by touching in a sexual way (Williams, Streetcar Named Desire 160), which is characteristic of their relationship. His view of things is a very realistic one. When Blanche informs Stanley and Stella that she had lost the plantation of their parents, Belle Reve, Stanley thinks that in fact she did not lose it, but perhaps sold it and did not give them their part of the money. For him, this would be an affront against himself, as the property of his wife Stella is his own, too. He thinks Blanche bought jewelry, clothes like a solid-gold dress and Fox-pieces (Williams, Streetcar Named Desire 32) from the returns of the plantation. In reality, the furs are inexpensive summer furs (Williams, Streetcar Named Desire 33) and the jewelry is glass. This mistake is the mistake of the realist who trusts to literal appearance, to his senses alone (Kernan 18). Stanleys view of things, the realistic one, is the one which works in the modern, broken world. He embodies this harsh world with all its physical, material and sexual aspects. His strong appearance and his human reason is all he needs to get along in the real world. 3.1.3. Conflict between Romanticism and Realism The two points of view clash from the beginning of the play on until the end. Blanche embodies the romantic one, whereas Stanley stands for the realism. In the course of the play Williams manages to identify this realism with the harsh light of the naked electric bulb which Blanche covers with a Japanese lantern. It reveals pitilessly every line in Blanches face, every tawdry aspect of the set. And in just this way Stanleys pitiless and probing realism manages to reveal every line in Blanches soul by cutting through all the soft illusions with which she has covered herself (Kernan 18). Kernan explains very descriptive the relationship between the two protagonists. Stanley does not treat Blanche with much respect, which is visible through the way he talks about her bathing and her way of dressing. But also Blanche has an aversion to him, calling him sub-human something not quite to the stage of humanity yet (Williams, Streetcar Named Desire 74). For her, Stanley is a threat, because he is able to destroy her fantasy world and to uncover her past and her real face. The conflict increases from scene to scene and reaches its peak in the rape of Blanche. Stanley has to prove his dominance and therefore rapes her to force his reality on her. But she is not broken after the rape, she is just even deeper in her fantasy world, which is shown by the way she trusts the doctor, holding tight to his arm, still depending on the kindness of strangers (Williams, Streetcar Named Desire 159). Finally the audience gets the impression that the realistic point of view has the advantage of being workable. Blanches romantic way of looking at things, sensitive as it may be, has a fatal weakness: it exists only by ignoring certain positions of reality (Kernan 18). 3.2. The Plastic Theatre in A Streetcar Named Desire Williams tried to communicate circumstances not only by the acting of the protagonists, but also through symbols and various effects. The setting, lighting, props, costumes, sound effects, and music, along with the plays dominant symbols, the bath and the light bulb, provide direct access to the private lives of the characters (Corrigan 50). The many telling names in the play give additional information and enforce the impression of a truth behind things. In the following subchapters I want to discuss exemplary Blanches bathing, the adoption of music and sounds and the use of telling names. 3.2.1. Blanches Bathing Blanche bathes very often in this play. She obviously wants to clean herself from her past. After the bathing, she feels all freshly [à ¢Ã¢â€š ¬Ã‚ ¦] and [à ¢Ã¢â€š ¬Ã‚ ¦] like a brand new human being (Williams, Streetcar Named Desire 35). Every time she is confronted with the real, brutal world, she wants to escape in her dream world, which is strongly connected with bathing. In Scene Three when the men have a Poker Night and Stanley gives a loud whack of his hand on Stellas thigh, she instantly says I think I will bathe (Williams, Streetcar Named Desire 49). In Scene Seven, she bathes again, little breathless cries and peals of laughter are heard as if a child were frolicking in the tub (Williams, Streetcar Named Desire 110), while Stanley tells Stella about Blanches past and her affairs with a seventeen-year-old boy and many other men. The title of the song Blanche sings while bathing is It Only a Paper Moon and it is described as a saccharine popular ballad which is used contrap unctually with Stanleys speech (Williams, Streetcar Named Desire 106). Especially the verse - But it wouldnt be make-believe If you believed in me! (Williams, Streetcar Named Desire 107) is very ironic, because Blanche does not seem very trustworthy at all, and so the song even accentuates her disreputable past. After the rape, she bathes again in Scene Eleven and is very worried about her hair, as if the soap would not be completely washed out. The many baths in the play show that Blanche will never be done with bathing, because she is always confronted with the real world and could not clean herself from her past. It gives her a brand new outlook on life (Williams, Streetcar Named Desire 115), but cannot change her life really. 3.2.2. Music and Sounds The use of music and sounds is also very theatrical in the play. The Blue Piano expresses the spirit of the life which goes on (Williams, Streetcar Named Desire 6) and is always heard when the conflict between real world and Blanches fantasy world seems to increase. It is heard, for example, when Blanche arrives at Elysian Fields and grows louder when she informs Stella about the loss of Belle Reve as well as when Stanley tells her that Stella is going to have a baby. It also suggests the fall of Blanche as it is swelling when Stanley rapes Blanche and afterwards when he consoles Stella, who cries because of Blanches leaving. Another music, which is strongly connected with Blanches past, is the polka music. It is always heard when Blanche talks about her dead husband. It emerges for the first time when Stanley mentions that Blanche was married once (Williams, Streetcar Named Desire 28). She tells Mitch the story about her husbands death, he shot himself after dancing with Blanche in a casino. He was homosexual and she discovered him with another man and said while dancing he disgusted her (Williams, Streetcar Named Desire 103) and therefore he shot himself. It also appears when Stanley gives Blanche a ticket back to Laurel where she lived and when he takes Stella to the hospital and Blanche remains in the flat. So the song predicts Blanches downfall, as it is always heard when she is haunted by her past. 3.2.3. Telling Names There are various telling names in Williams play. Blanches name itself is quite telling, as blanche is French and means white, which is very fitting when looking at her character. The name of her plantation, Belle Reve is also French, meaning beautiful dream. Blanche behaves like she would still live in this dream, refusing to face the truth and the real world. There are many more telling names, but I want to concentrate now on the perhaps most important one, the Streetcar Named Desire as it is the title of the play. Blanche takes the streetcar named Desire (Williams, Streetcar Named Desire 9) to get to the apartment of the Kowalskis. This is very telling itself, as the audience finds out more and more about her past and that she leaved Laurel as a broken woman somehow, but her desire to live her life as an elegant, trustworthy and honest woman is still present. So she tries to live a, for her, desirable life, and she hopes to find that in New Orleans. By the aid of the telling names, which are visible from the beginning of the play on, the use of music and the different symbols which appear often, it seems very theatrical and plastic. The audience gets an impression of the characters and the circumstances in various ways. 4. Conclusion In Tennessee Williams A Streetcar Named Desire, the conflict between Romanticism and Realism, embodied by the two protagonists Blanche DuBois and Stanley Kowalski, is the major theme of the play. With the aid of the characterization of these protagonists and the explanation of the conflict between them I was able to verify this thesis. These two persons are very polarized, visible through their points of view, their behavior and gestures. But in the end, only one point of view is workable, namely the realistic one of Stanley. Blanche lives in her dream world, even in the end after her rape. Stanley is not able to crush her, but she can only survive in her romantic fantasy world, which leads to the impression that she cannot exist in the modern age. The Truth behind things in this play is also visible through the Plastic Theatre. Williams caricatured this hidden truth by the use of music and sounds, symbols and motifs, and telling names. My notions about Blanches bathing, the Blue Piano and the Polka in the play, and the telling names were exemplary for this plastic and sculptural theatre, and therefore I showed the existence of a truth behind things and that the term of the Plastic Theatre fits for A Streetcar Named Desire.

The Hunters: Moonsong Chapter Thirty-Nine

Stefan hadn't had a plan when he agreed to stay in Matt's place. He just knew he had to save Matt, and now he hoped Damon would come for him. Stefan's wrists ached with a dul , throbbing insistent pain that was almost impossible for him to ignore. He tried once more to pul against the ropes that were holding him to the chair, turning his hands from left to right as far as he could to try and loosen his restraints, but it was hopeless. He couldn't shift them. He looked around dazedly. The room looked both serene and mysterious again now, as it had when he first kicked in the door. A good place for a secret society. Torches burned brightly, flowers were arranged around the makeshift altar. The Vitales had taken the time to clean up after binding him and kil ing the pledges. The ropes were crossed over his chest and stomach and wound around his back; his ankles and knees were tied to the chair legs, his elbows and wrists to the arms of the chair. He was Welltrussed, but it was the ones around his wrists that hurt most, because they lay against his bare skin. And they burned. â€Å"They're soaked in vervain so that you'l be too weak to break free, but I'm afraid it must sting a bit,† Ethan said pleasantly, as if he was explaining an interesting element of the secret chamber's architecture to his guest. â€Å"See, I may be new at this, but I know al the tricks.† Stefan rested his head against the back of the chair and looked at Ethan with fervent dislike. â€Å"Not all of the tricks, I suspect.† Ethan was cocky, but Stefan was pretty sure he hadn't been a vampire for very long. If Ethan was stil human, if he had never become a vampire, Stefan guessed he would look more or less the same as he did now. Ethan crouched down in front of Stefan's chair to look up into his face, wearing the same warm, friendly smile as when he'd tried to convince Stefan to join them. He looked like a pleasant fel ow, someone you wanted to relax with and trust, and Stefan glared at him. The smile was a lie. Ethan was a kil er whose mask was less obvious than those of the other Vitale vampires, that was al . â€Å"You're probably right about that,† Ethan said thoughtful y. â€Å"I imagine there are al kinds of tricks you've picked up in, what is it, more than five hundred years? Tricks that I don't know yet. You could be very useful to me in that way, if you decide to join us after al . There are lots of things you can teach us about al this vampire stuff.† He flashed that appealing smile again. â€Å"I've always been a good student.† Vampire stuff. â€Å"What do you want from me, Ethan?† Stefan asked wearily. It had been a long night, a long few weeks, and the vervain-soaked ropes were hurting his arms, muddying his thoughts. Ethan knew how old he was. Ethan knew what to offer him when they first talked about the Vitale Society. It wasn't a coincidence that he was the one in this room, then; Ethan wasn't looking for just any vampire. â€Å"What's your plan here?† Stefan asked. Ethan's smile grew wider. â€Å"I'm building an invincible vampire army, of course,† he said cheerful y. â€Å"I know it sounds a little ridiculous, but it's al about power. And power's never ridiculous.† He licked his lips nervously, showing a flash of thin pink tongue. â€Å"See, I used to just be one of the ordinary little people. I was just like everyone else on campus. My biggest achievements were good grades on exams or the fact that I had the leadership of some secret col ege club. You wouldn't believe how lame the Vitale Society used to be. Just white magic and nature worship.† He made a little self-deprecating grimace: See how silly I was once. I'm telling you something embarrassing about myself, so trust me. â€Å"But then I figured out how to get some real power.† One of the black-clad figures came up behind Ethan, and Ethan held up a finger to Stefan. â€Å"Hang on a sec, okay?† He rose and turned to talk to his lieutenant. After tying Stefan up, Ethan had efficiently gone back to draining the pledges, one after another, dropping the bodies as soon as he finished with them. They had al gone through their transitions now and were back on their feet. They seemed irritable and disoriented, growling and snapping at one another and gazing at Ethan with undisguised adoration. Typical new vampires. Stefan eyed them warily. Until they had fed thoroughly, they would hover on the brink of madness, and it would be easy for Ethan to lose control of them. Then they would be even more dangerous. â€Å"The pledges need to eat,† Ethan said calmly to the robed woman behind him. â€Å"Five of you should take them out and teach them how to hunt. You lead the hunting party and pick whoever you want to go with you. The rest wil stay here and help guard our guest.† Stefan watched as the Vitales sorted themselves out. Eight of Ethan's fol owers remained, stationing themselves by the sides of the room. Stefan had managed to kil one other during the fight, ripping her throat out, but the body had been tidied away somewhere. Stefan gave a little involuntary moan. It was hard to think straight – he was so tired, and the vervain was starting to hurt him al over, not just on his aching wrists, but anywhere the ropes touched him through his clothes. Damon, please come quickly. Please, Damon, he thought. â€Å"You're going to unleash nine newly made vampires on the campus?† he asked Ethan, his mind snapping back to the matter at hand. â€Å"Ethan, they'l kill people. People who were your friends, maybe. You'l draw attention to yourselves. There are already police al over campus. Please, take them to the woods to hunt animals. They can live on animal blood.† He heard a pleading note enter his own voice as Ethan only smiled absently at him, as if he was a child begging to go to Disneyland. â€Å"Come on, Ethan, it hasn't been very long since you were a human, too. You can't want to stand by and have innocent students murdered.† Ethan shrugged, patting Stefan lightly on the shoulder as he started to walk over to confer with another of his henchmen. â€Å"They need to be strong, Stefan. I want them at their peak by the next equinox. And we've kil ed plenty of innocent students already,† he said over his shoulder. â€Å"Equinox? Ethan,† Stefan shouted after him in frustration. He looked frantical y at the door by which the pledges and their escort had left. It would take them a while to select victims. Not as many students were walking the campus alone at night these days. If he could get free, if Damon came now and freed him, they could stil stop the slaughter. If al these brand-new vampires were al owed loose on campus, there would be a massacre. Ethan couldn't have changed the rest of the Vitale Society al at once, he realized. The number of murders they would have committed newly made as a group would have been impossible to disguise as a few disappearances. This must have been the first mass initiation. And who had made Ethan? he wondered. Was there an older vampire somewhere on campus? Damon, where are you? He had no doubt that Damon would come if he could. Despite their rift over Elena, things had changed enough between him and Damon that he knew he could rely on his brother to rescue him. He had saved him before, after al , when they fought Katherine, when they fought Klaus. There was something rock solid between them now, something that wasn't there a year ago, or in the hundreds of years before that. He closed his eyes and heard himself give a dry, painful chuckle. It seemed like an inopportune moment to start having revelations about his own family issues. â€Å"So,† Ethan said chattily, returning to his side and pul ing up a chair, â€Å"we were talking about the equinox.† â€Å"Yes,† Stefan said, an acid bite to his tone. He wasn't going to let Ethan see how he was yearning toward the door, expectant. He needed to keep his cool, so that Damon could have the element of surprise on his side. He should keep Ethan talking, keep him distracted in case Damon came, so he fixed an expression of interest on his face and looked at Ethan attentively. â€Å"At the time of the equinox, when day and night are perfectly balanced, the line between life and death is at its most weak and permeable. This is the time when spirits can cross between the worlds,† Ethan began dramatical y, moving one hand in a wide sweep. Stefan sighed. â€Å"I know that, Ethan,† he said impatiently. â€Å"Just cut to the chase.† He might have to keep Ethan distracted, but surely he didn't have to feed his ego. Ethan dropped his hand. â€Å"You remember Klaus, don't you?† he asked. â€Å"The originator of your bloodline? We're resurrecting him. With him at the head of our ranks, we'l be invincible.† Everything went stil for a moment, as if Stefan's slow-beating heart had final y stopped. Then he sucked in a breath. He felt as if Ethan had punched him in the face. He couldn't speak for a moment. When he could, he gasped, â€Å"Klaus? Klaus the vampire who†¦Ã¢â‚¬  He couldn't even finish the sentence. His mind was ful of Klaus: the Old One, the Original vampire, the mad man. The vampire who had control ed lightning, who had bragged that he had not been made, that he just was. In Klaus's earliest memories, he had told Stefan, he carried a bronze axe; he was a barbarian at the gate, among those who destroyed the Roman Empire. He claimed that he began the race of vampires. Klaus had held Elena's spirit hostage and tortured innocent Vickie Bennett to death for fun. He turned Katherine, first into a vampire, then into a cruel dol instead of a person, changed her until she was vicious and mindless, eager only to torment those she once loved. Stefan, Damon, and Elena kil ed him at last, but it was nearly impossible, would have been impossible without the spirits of a battalion of unquiet ghosts from the Civil War tied to the blood-soaked battlegrounds of Fel ‘s Church. â€Å"Klaus who made the vampire who made you,† Ethan said cheerful y. â€Å"It was another of his descendants who I found in Europe this summer on my trip abroad. I convinced her to turn me into a vampire. She taught me some tricks, too, like how to use vervain, and how lapis lazuli can protect us from the sun. I put lapis lazuli in the pins we wear now, so al the members have it on them at al times. She was very helpful, this vampire who changed me. And she told me al about Klaus.† He smiled warmly at Stefan again. â€Å"See, you should like me, Stefan. We're practical y cousins.† Stefan shut his eyes for a moment. â€Å"Klaus was insane,† he tried to explain. â€Å"He won't work with you, he'l destroy you.† Ethan sighed. â€Å"I real y think I can work it out with him, though,† he said. â€Å"I'm very persuasive. And I'm offering him soldiers. I hear he likes war. There's no reason for him to turn us down; we want to give him everything he wants.† He paused and looked at Stefan, stil smiling, but there was a note now in that wide smile that Stefan didn't like, a false innocence. Whatever Ethan was going to ask Stefan now, he already knew the answer. â€Å"Does this mean you're not interested in joining our army, cousin?† he asked with mock surprise. Gritting his teeth, Stefan strained against the ropes once more, but they didn't budge. He glared up at Ethan. â€Å"I won't help you,† he said. â€Å"Never.† Ethan came closer, bent down until his face was level with Stefan's. â€Å"But you wil help,† he said lightly, a trace of self-satisfaction in his eyes. â€Å"Whether you want to or not. See, what I need most of al to bring back Klaus is blood.† He ran his hands through his curls, shaking his head. â€Å"It's always blood for this kind of thing, have you noticed?† he added. â€Å"Blood?† asked Stefan uneasily. Young vampires were never sane, in his opinion – the initial rush of new senses and Powers were enough to bewilder anyone. He was starting to think, though, that Ethan's grasp on sanity might not have been that strong to begin with. He'd convinced someone to turn him into a vampire? â€Å"The blood of his descendants, specifical y.† Ethan nodded smugly. â€Å"That's why I was so delighted to find that you were right here on campus. I made a hobby of tracking down the descendants of Klaus this summer, after I'd talked the first one I met into changing me into what she was. Some of them gave me blood wil ingly, when they heard what I wanted to do. Not al of Klaus's descendants are as ungrateful as you. I only need a little more, and then I'l have enough. Yours, of course,† and his eyes flicked up toward the door that Stefan had been surreptitiously watching al this time, waiting for Damon, â€Å"and your brother's. I assume he'l be here any minute?† Stefan's heart plummeted, and he stared openly at the door. Damon, please stay away, he thought desperately.

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The Divine Comedy Essay - 728 Words

During the Middle Ages, the church was a powerful institution. It had its own government, courts, system of taxation, and laws. To live a good Christian life guaranteed access to heaven in the afterlife, and a life of sin was to be sentenced to hell. Dante Alighieri was an Italian poet, who had an admirable depth of spiritual vision and was known for his intelligence (Encarta, 1). Between the years of 1308 and 1321, Dante wrote the epic poem, The Divine Comedy,; which described a journey through the afterlife. It takes place during the three days of Good Friday, when Jesus died, and on Easter Sunday when he rose body and soul to heaven. It is a moral comedy, and was written to make readers evaluate their own morals. The journey was to†¦show more content†¦Only then will he join God in Paradise, rather then spend eternity in Inferno. Most people imagine hell as an evil, dark, and scary place, burning with fire. This is also how Dante depicts it, full of violence, gore, and blood. This horrid description is meant to scare people from sin. The inscription on the gate to hell read Abandon every hope, you who enter here. (Alighieri, 5); This inscription does not apply to Dante in the poem because he is still alive, but it does imply horrific despair for some. The inscription implies that anyone who enters this Inferno must abandon all hope of ever escaping. Inferno is for those who consciously choose an evil way of life. Most people believe that if you sin you go to hell, and if you do not sin, you go to heaven. Many people do not acknowledge the existence of Purgatory. Purgatory is a place of discipline, a place for people who either repented shortly before they died, or had not completed all seven sacraments. Purgatory is unlike Inferno because it is not eternal. If you work hard and cleanse yourself in purgatory, you will eventually enter paradise. It is not a place of punishment, and people are grateful to be there because they know they will eventually join God. Paradise is a very Holy and beautiful place, the way it is depicted in Greek myths and in the Bible. It is a place for all who led lives free of sin, it is a reward for their goodness. A person must be completely pure and must haveShow MoreRelatedThe Divine Comedy1705 Words   |  7 PagesCommedia, or more commonly known as The Divine Comedy remains a poetic masterpiece depicting truth and sin. The Divine Comedy, through the journey into the three hells, expresses a universal truth of good versus evil. Alighieri’s life of heartbreak with the influences of other famous poets like Homer and Virgil has affected his writing style, and through reviews by literary experts and their interpretation of Alighieri’s unique use of motifs, The Divine Comedy can be broken down to a epic that expressesRead MoreThe Divine Comedy : Hell808 Words   |  4 PagesThe book, The Divine Comedy 1: Hell, tells the story of Dante Alighieri who has lost his way. Virgil, a great poet, guides Da nte through the many Circles of Hell. As they travel through the circles, they learn the stories of many sinners. The sinners are constantly being punished for their defiance of God. The punishments become more severe as Dante goes deeper into Hell. In the beginning, Dante empathizes with the occupants of Hell, but as he travels deeper, he becomes desensitized to the tormentedRead MoreDante’s, The Divine Comedy1022 Words   |  5 PagesIn Dante’s, The Divine Comedy, Virgil leads Dante through the Inferno, where Dante undergoes changes in his compassion. I am going to argue that Dante expresses less compassion during his journey when Virgil leads him through the Inferno. This essay will prove how Dante shows more feelings at the beginning of the Inferno compared to the end of the Inferno. Dante is being a coward by thinking he is unable to make his journey: I’d be too slow had I obeyed by now. You needRead MoreInferno And The Divine Comedy1834 Words   |  8 PagesInferno (c. 1314) serves as the first part of Dante Alighieri’s poem Divine Comedy which is a journey through Hell, Purgatory, and Heaven. On a broader level, Divine Comedy serves as an allegory for the journey of the soul towards God through the created earth. Inferno and the Divine Comedy serve as a form of scholastic thought, the rational study of religion, as Dante draws on medieval theology to share the modern view on God and the afterlife. This essay explores Dante’s perception of the universeRead MoreThe Divine Comedy Essay1620 Words   |  7 PagesIn Dante Alighieri’s personal narrative poem, The Divine Comedy, he describes a fictional journey that he underwent through hell in the section titled Inferno. He tells the audience that â€Å"midway along the journey of our life I woke to find myself in a dark wood, for I had wandered off from the straight path† (Dante 1:1-3). Dante must go on a journey through hell and purgatory and learn important lessons with his guide, Virgil, in order to reach heaven. Dante integrates â€Å"exemplum†, or examples, andRead MoreThe Myth Of The Divine Comedy2390 Words   |  10 PagesThe traditional myths—stories of legends, undying divine beings, and horrific creatures have been the wellsprings of numerous books, films, plays, and art. Today hordes of books, both scholarly and standard, examine the myths—their histories, conceivable sources, and impacts on a portion of the best writers ever, including Dante Alighieri. This writer composed one of the best works ever. Each part of The Divine Comedy has been dissected, from the reasons, to the plots, to the statement decisionsRead MoreThe Divine Comedy By Dante Alighieri873 Words   |  4 Pagesâ€Å"The Divine Comedy† is an epic poem written by Dante Alighieri. He wrote the epic sometime between 1308 and 1321, the year he died. It i s considered one of the greatest works of world literature. He wrote â€Å"The Divine Comedy† while he was exiled from Florence, Italy (Bishops 182). â€Å"The Divine Comedy† recounts Dante’s idea of the afterlife. It is written in a first person perspective and follows Dante’s journey through Hell, Purgatory, and Heaven. At the time Dante wrote the Divine Comedy, Italy wasRead MoreEssay about The Divine Comedy1224 Words   |  5 Pagesgoing through hell, keep going. If you were to describe Dante’s Divine Comedy as simply as possible you would use this quote. However, Dante’s Divine Comedy has never been that simple. Sure, it is about religion and hell and heaven. But it is also about political ideas. The way spirituality and politics commingle in Dante’s world has interested literature fiends and political theorists alike. So what exactly is Dante’s Divine Comedy? How did Dante’s everyday life affect this piece of lit erature?Read MoreThe Divine Comedy By Dante Aleghiri1648 Words   |  7 Pages Dante Aleghiri s Divine Comedy is widely taught and written about. In it Dante, the author, details his trip through Hell, Purgatory, and then Paradise. The Divine Comedy was written during Dante s exile from his beloved city of Florence Italy. The work itself is read at various different levels. One could read it as a theological work, a political work, simply as a poetic work, or even as a philosophical work. In his work, Dante’s Paradiso: No Human Beings Allowed philosophy professor BruceRead MoreThe Divine Comedy By Dante Alighieri1725 Words   |  7 PagesIn composing the Divine Comedy, Dante Alighieri has created and brought to his readers three examples of literary brilliance. A masterfully written poem that still serves as a preface for contemporary heaven/hell/purgatory imagery, the divine comedy brings readers along for the ride on Dante’s path towards salvation. Depending on how gullible one may be, interpretation of the legitimacy of the Divine Comedy is varied; that is to say, although a few might believe Dante actually did somehow travel