The rich must marry another rich person. Bracknell informed Jack to find out the social status of his parents, “…produce one parent (Wilde 38)” as basis for approving Jack’s marriage to Gwendolyn. The play was a protest to…
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Bracknell affirms, “35 is a very attractive marriage age (Wilde 138).”
The story focuses on the theme of destiny. Gwendolyn feels she is destined to marry only the person named Ernest stating to Jack, “My very own Ernest! (Wilde 26).” Ernest represents a rich family. Jack does not belong to a rich class. Likewise, Jack is characterized as a poor person. Consequently, Jack is eager to marry a rich lady in order grab the money of the rich lady. In the same manner, the author creates an imagery picture that Algernon is an unhappy with his family (Croally 35). Algernon creates a fictitious person, Bunbury. Creation is done to escape from his family. Algernon excuses himself from many important social and family events. He instead prefers staying with Bunbury. Algernon disguises as Ernest to Cicely. Cicely falls in love with Ernest (Algernon). When Gwendolyn learns that Cicely is also being engaged to marry the same Ernest, the two women fight. However when Jack (Ernest) and Algernon (Ernest) appear together, the two women stop fighting and vent their anger on the two men who pretended to be take the name of Ernest. Further, the story ends with Miss Prism, Lady Bracknell’s former maid, stating that Jack was left at a station thinking the child was the book to be published stating, “…placed the baby in the handbag and deposited it on the train to be sent to the publisher (Wilde 144)”. Jack is Algernon’s elder Brother. Since Cicely is wealthy, Bracknell approves the marriage between Cicely and Algernon. Bracknell then approves the marriage between Gwnedolyn and Jack (Ernest). The story ends with the Jack affirming to Bracknell the significance of being earnest. Jack is eager to marry Gwendolyn, “..we must marry immediately (Wilde 26).”
The story shows irony (Turner 84). Gwendolyn and Cicely are both in love with the person named Ernest. Gwendolyn wants to marry only the person named Ernest. However, they find out that Jack and
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Wilde’s final drama The Importance of Being Earnest premiered in 1895 and is today recognized as one of the writer’s greatest works. While it is outwardly a farcical comedy, theorists recognize that Wilde greatly has developed a satire on Victorian society.
Oscar Wilde’s play ‘The importance of being Earnest ‘is a typical Wildean firework giving a clue as to the light nature of comedy that is presented to the audience. Much of the complications of this splendid comedy arise out of the confusions and misunderstandings caused on account of the fictional identity created for his own convenience under the pseudonym ‘Ernest’ by the hero of the play.
Wilde’s plays were largely a critique of the societal norms, which he represented through the actions of his protagonists. Closer analysis of the characters depict that Oscar Wilde has also injected some of his characteristics in the main protagonist. To further elaborate upon this aspect of his characters, the substance of this prose will focus on the protagonists from three of his most major, namely ‘Importance of being Earnest’, ‘An Ideal Husband’ and ‘Lady Windermere’s Fan’.
In this study, the work of Charles Dickens entitled “The Great Expectations” and the work of Oscar Wilde entitled “The Importance of being Earnest” were used as the basis of analysis. One is expected to explore the pieces as to its realist or non-realist technique, vis-à-vis in Victorian British Culture.
According to this article in “The Importance of Being Earnest”, more than one man is found playing at being someone else. “Dr. Faustus” on the other hand, deals with deception in an entirely different light, allowing the main character to carry off a series of mean tricks only to seal his own doom in the end. In both plays, deception may be the main theme, but each shows deception is not all it’s cracked up to be in their own unique way.
For example, women were to be shown high respect but they were not made a real part of society since many professions and positions remained closed to them. The British culture itself had become restrained and
But, instead of focusing on the individual protagonists (for example, Mama, Beneatha, and Asagai in Hasberry’s work, or Jack, Gwendolen, and Cecily in Wilde’s play), we will focus on overall change of the social hero itself in the plays.
However, some analysts said that the play later lost witticism and clarity of the important plot elements. In-depth critics noted that the despite the fact that Wilde changed the play from a four-act play
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