Recent Posts - page 67
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Hispanic Drama
The history of Hispanic drama in what is now the United States begins in 1598 in present-day New Mexico with a theatrical recreation of Cortés’s conquest of Mexico staged by Juan Oñate and his followers entitled Los Moros y los… Read More ›
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The Group Theatre
Founded in 1931 by Harold Clurman, Cheryl Crawford, and Lee Strasberg, the Group Theatre was an ensemble theater formed as a response to the old-fashioned theater of light entertainment that prevailed in the late 1920s. During its 10-year existence, the… Read More ›
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Gay and Lesbian Theater
The definition of what exactly constitutes “gay and lesbian theater” determines where one begins an examination of its place in American drama. Gay and lesbian drama is generally regarded as a contemporary phenomenon, denoting those plays specifically written or performed… Read More ›
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African-American Drama
The history of African-American theater and performance has been tied to the social and cultural circumstances of African-American existence. Because of the particular historical conditions of African-American life, the representation of African Americans on stage has contained profound political, social,… Read More ›
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Analysis of Dante’s Inferno
Dante’s Hell is a diorama of sin, enacted as both moral exhortation and poetic prophecy. Change is no longer possible here, and damnation is the irrevocable, total removal from God—a separation that is more terrible for being freely willed by… Read More ›
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Analysis of Shelley’s The Triumph of Life
Written in the early summer of 1822, Shelley left “The Triumph of Life” unfinished when he died on July 8, 1822, when his boat Don Juan capsized. Indeed, Shelley had written part of the poem while sailing in this very… Read More ›
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Analysis of Shelley’s Adonais
Written and published on October 4, 1821, “Adonais” memorializes the death of Shelley’s friend and fellow poet John Keats, whom he regarded as being one of the poets of “the highest genius” of the age. Keats died in Rome on… Read More ›
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Analysis of Shelley’s To a Skylark
To a Skylark Hail to thee, blithe Spirit! Bird thou never wert, That from Heaven, or near it, Pourest thy full heart In profuse strains of unpremeditated art. Higher still and higher From the earth thou springest Like a cloud… Read More ›
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Analysis of Shelley’s Ode to the West Wind
Ode to the West Wind I O wild West Wind, thou breath of Autumn’s being, Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing, Yellow, and black, and pale, and hectic red, Pestilence-stricken… Read More ›
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Analysis of Shelley’s Ozymandias
Ozymandias I met a traveller from an antique land, Who said—“Two vast and trunkless legs of stone Stand in the desert. . . . Near them, on the sand, Half sunk a shattered visage lies, whose frown, And wrinkled lip,… Read More ›
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Analysis of Sylvia Plath’s Ariel
Ariel Stasis in darkness. Then the substanceless blue Pour of tor and distances. God’s lioness, How one we grow, Pivot of heels and knees!—The furrow Splits and passes, sister to The brown arc Of the neck I cannot catch, Nigger-eye… Read More ›
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Analysis of Sylvia Plath’s Lady Lazarus
Lady Lazarus I have done it again. One year in every ten I manage it—— A sort of walking miracle, my skin Bright as a Nazi lampshade, My right foot A paperweight, My face a featureless, fine Jew linen. Peel… Read More ›
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Analysis of Sylvia Plath’s Daddy
Daddy You do not do, you do not do Any more, black shoe In which I have lived like a foot For thirty years, poor and white, Barely daring to breathe or Achoo. Daddy, I have had to kill you…. Read More ›
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Analysis of Robert Browning’s Andrea del Sarto
Andrea del Sarto But do not let us quarrel any more, No, my Lucrezia; bear with me for once: Sit down and all shall happen as you wish. You turn your face, but does it bring your heart? I’ll work… Read More ›
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Analysis of Robert Browning’s Fra Lippo Lippi
Fra Lippo Lippi [Florentine painter, 1412-69] I am poor brother Lippo, by your leave! You need not clap your torches to my face. Zooks, what’s to blame? you think you see a monk! What, ’tis past midnight, and you go the… Read More ›
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Analysis of Robert Browning’s My Last Duchess
My Last Duchess FERRARA That’s my last Duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now; Fra Pandolf’s hands Worked busily a day, and there she stands. Will’t please you sit… Read More ›
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Analysis of W. B. Yeats’s The Second Coming
One of the most famous poems in the English language, The Second Coming is the definitive vision of the Yeatsian apocalypse. It incorporates and intensifies ideas of cyclic creation and destruction already articulated in poems like “The Magi,” “On Woman,”… Read More ›
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Analysis of W. B. Yeats’s Easter 1916
The Easter Rising of 1916 catalyzed the final phase of the Irish struggle for independence and forced Yeats to recant the stinging assessment of “September 1913” that “Romantic Ireland’s dead and gone, / It’s with O’Leary in the grave.” In… Read More ›
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Analysis of Robert Frost’s Snow
Snow (1916) The three stood listening to a fresh access Of wind that caught against the house a moment, Gulped snow, and then blew free again—the Coles Dressed, but dishevelled from some hours of sleep, Meserve belittled in the great… Read More ›
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Analysis of Robert Frost’s Skeptic
The speaker moves between two positions: belief and disbelief. He addresses the “Far star” that “tickles” his “sensitive plate” and whose heat is so intense that it can fry black atoms white. He refers to his body as his armor… Read More ›
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