Lysistrata The Little Clay Cart Snow in Midsummer The Second Shepherds Everyman Dr. Faustus 12th Night Tartuffe Servant of Two Masters School for Scandal Oeidipus Thyestes

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Literature Analysis

Question One

When describing family and relationships, Lysistrata correctly notes men's weakness in the family and uses their limitations to establish a truce. The women embodied in the play are shown as brave and strong. In their households, they willingly stand up against their husbands and to the magistrate in the play. Aristophanes states that “[Y]ou [man] are fool enough, it seems, to dare to war with [woman=] me, when for your faithful ally you might win me easily.” Based on this quote, it’s apparent that women are less frightened and intimidated by their oath. They also readily defend their Acropolis and their choice. They also comprehend that a war cannot be fought without investing financial muscle, and for some reason, if the oath they took to withhold sex fails to operate, they have options. In essence, they will also use another tool to bargain how they relate and function in the household. In this case, in every relationship, sex functions as the women’s strength, and it is the major weakness for men since many of them may promise women anything to have sex.

The way women are portrayed in Lysistrata is different to how the author in the A Little Clay Cart showcases. In this play love and mistaken identity play a crucial part in explaining family relationships. Although Lysistrata uses sex as the significant defining element, the Little Clay Cart uses love as the primary family relationship engine. It also entails a dramatic development focusing around a love theme of a highborn man for a courtesan. The author mentions that “Where one is filled, and one an empty shell”. The quote implies that the play also uses a dynasty overthrow to explain the dramatic entanglements of family relationships. In this case, money, property, and possessions play an instrumental role in this play. Although the two plays have some varying ways of explaining the issues of family and relationship, in both, the material wealth is the significant defining moment between the relationships between the main protagonists of the play entangled in the Indian caste system's deep state. However, the primary concern is whether they believe that the virtue of integrity and character supersedes the money wealth.

Snow in the mid-summer is a classical and thrilling Chinese drama that explores the modern ghost narrative and the legacy of trauma, the things people do for love, and the heart of justice. The author uses the vengeance of a young woman in the play to explore family relationships. The author commences the act one by stating that “A flower may blossom again, but youth never returns”. In this quote, the chief protagonist of the play swears to exert revenge before her execution, which curses her city to experience a catastrophic drought. When a young woman enters the city to makeover a factory, her daughter is tormented by a plague that forces many people to experience the past that no particular individual wants to remember. In this case, through the daughter's relationship to the mother, the author of the play showcases how historical ties could impact an individual’s beyond the grave.

On the other hand, the Second Shepherd appears to present a stereotypical opinion about women as unpleasant and nagging in a relationship. Its depiction is different to how Lysistrata defines women since it depicts them as strong and rarely intimidated by men. For instance, in the Second Shepherd, the complaints of Gib tend to portray family marriage as a trap. It tends to imply that young men should avoid family relationships, especially marriage. The author indicates that “We seely wedded men suffer mickle woe”. However, in this quote, the author uses Marks’s Wife; Gill, the chief protagonist female character, portrays a different marriage version. In the play, Mark portrays Gill as a drunkard and an alcoholic who can only manage to birth children that her husband cannot take care of because of the poverty that runs through the family. However, Gill tends to deny such allegations since she is seen spinning late at night as soon as the children are asleep. In contrast, mark resorts to stealing because he is unable o feed and takes care of his family.

Question Four

In the first scene, Lystara mentions that “I’m so upset that it feels like my hearts about to burst. Men think we are so shrewd and cunning…But look around you. We were supposed to meet on important business, but instead all the women are lying around, sleeping." The author mentions this in the first scene to express her disappointment in Greek women who fails to show up for the meeting. This sets the mood of the plot. The plot of the Lysistrata is created in such a way that its flow educates the audience. The play was frit performed to an audience likely made up of illiterate individuals who could not read the bible. As such, the plot of the mystery play is set so that it is the best alternative for audiences to learn and get insights about biblical lessons. The twist and turns in the plot teach the audience some morale and religious lessons and hence educate them about biblical phrases and God's life.

Although the playwriting technique in Snow in the Midsummer is not contemporary, it poses undeniable poetic beauty and real comprehension of appropriate staging. There appears to be a narrative exposition directed by the character in the play ion prose to the play's viewer. The author also uses poetic lamentation where there is some reversal element. Although the play is relatively short, through its characterization, the viewer can comprehend women's power in society and vengeance for a crime that they did not commit. The plotting is also engaging and direct .besides, the play has simple characterization, which ensures that the narrative's theme is amplified. One funny element is the diction the play uses since whenever each character enters the stage, they keep introducing themselves and reintroducing their back narrative. Perhaps, the characterization and the diction used in the play show that this is a kind of play where the viewer could leave in the middle of the play whereas others are assumed to join in the process. For instance, the central character of Dou E is fated and forceful. The author of the play uses her character to showcase a conservative virtue in the wake of moral expedience and the apparent corruption during this period.

Characterization is prominent in the little Clay Cart to emphasize the theme of love and mistake identified in the caste system's wake. For instance, the author presents Chrudatta in the play6 as an honorable and young Brahman who is left impoverished after putting others' interests and welfare first. He is condemned to die after being falsely accused of murder. However, the meaning of family relationship and love is reinforced when Vasantasen appears in time to identify the real murder, and in the process, love wins. His fortune is restored, and things start working out for him. The author uses his character to showcase how poverty runs deep in society and the embarrassment it causes because of the lack of economic status in society. However, the only thing clouding his embarrassment is that people know him as a noble and upright man.

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