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Analysis of Cyrano de Bergerac as a Romantic Work

Analysis of Cyrano de Bergerac as a Romantic Work

Appeal to emotions, individualism, and intellectual achievement were three important elements of Romanticism. This essay will explore the degree to which Cyrano de Bergerac exemplifies these elements of Romanticism.

First and foremost is the appeal to emotions. All of the other facets of romanticism can be related to the emotional appeal in Cyrano de Bergerac. Because strong emotional appeal is perhaps the most important method used by the author to create identity with the reader, especially in romantic works, the actions which elicit the emotional responses must, then, show a great deal about the character. The character’s motives and philosophies can be determined through his actions. Because Cyrano de Bergerac was written in the romantic style, certain intellectual and emotional principles exist throughout the play, which will now be observed in depth.

The overall feeling which one procures after reading Cyrano de Bergerac is a kind of nostalgic sadness. Because the first half of the play is very up-beat, very elated in style, the rather grim ending is that much more bitter.

As the play opens, there is much merrymaking and festivity in preparation for the play. The sheer happiness of all of the colorful characters is transferred to the reader almost instantly. The mood is portrayed very well as being light and bubbly, an overall good feeling. The next major shift comes when Cyrano enters and, after riding himself of Montfleury, puts on the spectacle wherein he demonstrates not only his impeccable verbal dexterity, but also his fencing abilities – and both at the same time. This whole scene causes a strong reaction from the audience, and in turn, the re…

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…ls of the romantic revolution, the nobility of spirit and individuality must be preserved, and intellect, whether you had it or not, was part of this, because part of being individual was coming up with some of your own ideas, possessing uniqueness of thought. Once again, this evokes a certain emotional response from the person who interprets this pseudo intellectualism, and the feeling the reader has about it is an integral part in the establishment of an identity with the characters.

In conclusion, it has been shown that the primary vehicle for the expression of an authors ideas and concepts about a character is the emotional response which is depicted by the characters actions. In romantic works, because of the importance that emotion played in the romantic revolution, the appeal to emotions is the distinct and definitive factor of a good romantic play.

Reports of God’s Death Are a Bit Premature

The Reports of God’s Death Are a Bit Premature

Arguing the death of God is a debate that will last until eternity. Regardless of exploration or religious zeal there are far too many human viewpoints leaning towards the idea of and the strong need for faith. Believing in God for some is as natural as walking upright and it would seem that through such unquestionable faith God would somehow still be alive. But perhaps He is only surviving with the help of life support.

For example, it would be difficult to tell a passionate Fundamentalist Christian that God was not alive in his or her heart. Therefore, Nietzche’s claim of God’s demise would fall on deaf ears, for he or she would, in a sense, be keeping God alive with their faith. However, for the sake of Nietzche’s favorite subject and perspectivists everywhere, suppose God has in fact died. According to the “madman” we are all responsible (Kaufman 126), but how did it happen and what do we do to solve the problem? Even more curious, is it a problem? So there they are, like some sort of bad movie, standing around with a body lying on the floor. It is nighttime and the classic storm is occurring outside complete with pouring rain, thunder and lightning. Those present stare at the figure in disbelief. Some, however, are not surprised. Others shake their heads at the inevitability of it all. A few cry, but what is on all of their minds is this: who is it?! His death has left him slightly disfigured, not in a morbid sense, but just enough to make him hard to identify, not only for who he is, but what place he held in all of their lives. There is no question that he once held a position of great power and esteem, and that he once had a profound effect on generatio…

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… the first time ever, we as humans hold God’s fate in the balance. Perhaps this is not only Nietzche’sperspective, perhaps this is truth. We are all, in fact, responsible for His survival. But like Mark Twain’s famous quote about himself, the reports of God’s death are a bit premature.

Works Cited

Kaufman, Gordon D., God the Problem Cambridge: Harvard University Press, 1973.

Nietzxche, Friedrich. The Gay Science: With a Prelude in Rhymes and an Appendix of Songs New York: Vintage Books, 1974.

Beyond Good and Evil: Prelude to a Philosophy of the Future New York: Vintage Books, 1989.

Soloman, Robert C. and Kathleen M. Higgens. Reading Nietzsche . New York: Oxford University Press, 1988.

Spinoza, Baruch. The Collected Works of Spinoza Edited and translated by Edwin Curley. Vol. 1, The Ethics Princeton: The Princeton University Press, 1985.

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