MEG-02(ASSIGNMENT 2)

1.a) Johnsonian comedy, exemplified by Ben Jonson,

emphasizes satire, moral correction, and social realism,
focusing on human follies and types. Shakespearean comedy,
in contrast, blends romance, mistaken identities, and festive
resolutions, emphasizing harmony and reconciliation rather
than critique.

b)*The Playboy of the Western World* subverts traditional

comedic endings. Though Christy gains self-confidence and
autonomy, he is ultimately rejected by the villagers and
Pegeen. The resolution is ambiguous rather than celebratory,
challenging conventional expectations of romantic or social
restoration typical of comedy.

c) The central concern of *Pygmalion* by George Bernard

Shaw is the relationship between language, class, and
identity. It explores how speech and social manners
influence perceptions and opportunities, particularly
through the transformation of Eliza Doolittle from a flower
girl to a lady.

d)T.S. Eliot’s *Murder in the Cathedral* is based on the

historical assassination of Thomas Becket, Archbishop of
Canterbury, in 1170. The play dramatizes Becket’s moral
struggle and martyrdom as he resists royal authority,
affirming spiritual integrity over political obedience.
e) John Osborne was actuated to write *Look Back in Anger*
by his frustration with post-war British society, class rigidity,
and emotional repression. The play expresses
disillusionment and gave voice to the underrepresented
anger of Britain’s dissatisfied, working- and middle-class
youth.

2. a)Christopher Marlowe’s *Doctor Faustus* draws heavily

from the English Morality tradition, where allegorical
characters represent virtues and vices battling for the soul of
a protagonist. Like medieval morality plays, Faustus is
tempted by evil (symbolized by Mephistopheles and the Bad
Angel) and warned by good (the Good Angel, scholars). His
journey reflects a moral lesson about pride, sin, and
damnation. However, unlike traditional morality plays,
*Doctor Faustus* introduces Renaissance individualism and
psychological complexity. Faustus is not just a moral
archetype but a conflicted, ambitious man. The play merges
medieval religious themes with early modern humanist
concerns.

b)*A Midsummer Night’s Dream* is quintessentially a

Romantic Comedy, rich with themes of love, fantasy, and
transformation. Set in a magical forest, it features fairies,
mistaken identities, and lovers’ quarrels that resolve in
harmony. The tone is light-hearted, emphasizing the
irrational and whimsical nature of love. Shakespeare blends
poetic language with humor, exploring romantic
entanglements and social expectations. Despite confusion
and conflict, the play ends with marriage and reconciliation,
hallmarks of Romantic Comedy. Its imaginative setting,
playful spirit, and exploration of love’s complexities firmly
place it within this comedic tradition, celebrating both love’s
chaos and its ultimate harmony.

c) Ben Jonson’s *The Alchemist* adheres closely to the three

classical unities. The **unity of time** is maintained as the
events unfold within a single day. The **unity of place** is
upheld, as all action takes place in a single house in London.
The **unity of action** is strictly observed, with one main
plot: a trio of con artists deceiving a series of gullible victims.
Jonson’s disciplined structure highlights the play’s satirical
focus on human greed and folly. By adhering to these unities,
Jonson emphasizes realism and control, aligning with
classical traditions and showcasing his mastery of comic
form and structure.

d)** In *Pygmalion*, George Bernard Shaw explores the

social implications of different English accents and speech
patterns, asserting that language determines social status
and mobility. According to Shaw, accents serve as markers of
class division, often dictating how individuals are perceived
and treated in society. Through the character of Eliza
Doolittle, he shows how mastering refined speech can
transform a person’s identity and opportunities. However,
Shaw critiques this system, suggesting it is superficial and
unjust. He uses language as a tool to expose class prejudice
and advocates for greater social equality, independent of
one’s manner of speaking.

3.a) The Significance of Hamlet’s Soliloquies (200 words):**

Hamlet’s soliloquies are crucial to understanding the

psychological depth and emotional complexity of his
character. They serve as a window into his inner thoughts,
revealing his moral dilemmas, philosophical contemplations,
and emotional struggles. Through these monologues,
Shakespeare allows the audience to witness Hamlet’s
transformation—from grief and indecision to resolve and
acceptance.

The most famous soliloquy, “To be, or not to be,”

encapsulates Hamlet’s existential crisis. He ponders the
value of life and the allure of death, weighed down by
suffering and uncertainty about the afterlife. This
introspective moment reflects his paralysis and fear of the
unknown.

In other soliloquies, Hamlet wrestles with his duty to avenge

his father’s murder. He questions his own courage, berates
himself for inaction, and gradually resolves to embrace his
role as an agent of justice, as shown in “O, what a rogue and
peasant slave am I” and “How all occasions do inform
against me.”

The soliloquies also enhance the dramatic tension, revealing

Hamlet’s shifting states of mind and drawing the audience
into his personal conflict. They are not just narrative tools
but philosophical explorations that elevate *Hamlet* beyond
a typical revenge tragedy, making it a profound study of the
human condition.

b) Shaw’s Use of Myth in *Pygmalion* (200 words):**

George Bernard Shaw’s *Pygmalion* draws upon the

classical myth of Pygmalion, the sculptor who falls in love
with a statue he has carved, which is later brought to life by
the gods. Shaw reinterprets this myth in a modern social
context to explore themes of transformation, identity, and
class.

In the play, Professor Henry Higgins assumes the role of the

modern Pygmalion, transforming Eliza Doolittle, a Cockney
flower girl, into a lady who can pass in high society through
language training. However, unlike the myth, Shaw’s Eliza is
not a passive creation. She develops independence and
asserts her own identity, challenging Higgins’ control and the
patriarchal assumption embedded in the original myth.

By using the Pygmalion myth, Shaw critiques the rigid

British class system and the superficiality of judging people
by speech and manners. The transformation of Eliza
highlights the performative nature of social identity and the
limitations of external change without inner growth.

Shaw’s mythological reference enriches the play by adding

depth and irony. It allows him to satirize the romantic ideal
of creation and control, emphasizing instead the human
capacity for self-determination. Thus, the myth is not merely
decorative but central to the play’s thematic and dramatic
power.

c) Significance of the Temptation Scene in *Murder in the

Cathedral* (200 words):**

The Temptation scene in T.S. Eliot’s *Murder in the

Cathedral* is a pivotal moment that reveals the internal
spiritual struggle of Thomas Becket. Four tempters confront
Becket, each representing a different allure—pleasure,
power through alliance with the king, political leadership,
and finally, the most dangerous: the temptation to embrace
martyrdom for the sake of personal glory.

While the first three temptations reflect earthly desires and

external pressures, the fourth is deeply psychological and
spiritual. It challenges Becket’s motives, forcing him to
examine whether his path to martyrdom is truly selfless or
subtly driven by pride and a desire for legacy. His rejection
of this final temptation signifies his spiritual triumph and
readiness for martyrdom as a genuine act of submission to
divine will, not personal ambition.

The scene mirrors the biblical temptation of Christ,

reinforcing the play’s religious and allegorical dimensions. It
also dramatizes the moral complexity of sainthood,
suggesting that even spiritual leaders are vulnerable to
vanity and self-deception.

Ultimately, the Temptation scene deepens the audience’s

understanding of Becket’s character and the moral stakes of
his sacrifice. It is a moment of intense introspection and
purification that prepares him to face death with humility
and spiritual clarity.

d) Imagery and Symbolism in *Look Back in Anger* (200

words):**

John Osborne’s *Look Back in Anger* uses vivid imagery and

symbolism to express the emotional and psychological
turmoil of post-war British youth. The most prominent
symbol is the cramped, dingy one-room flat where Jimmy
Porter and his wife Alison live. This confined space
represents the claustrophobia and stagnation of their
personal and social lives, highlighting the frustration of a
generation trapped between old class structures and new
expectations.

Jimmy’s recurring reference to bears and squirrels

symbolizes emotional disconnection. The “bear and squirrel
game” he plays with Alison is a childish fantasy, representing
their retreat from harsh realities and a longing for a simpler,
more affectionate world. However, this fantasy also
underlines the deep emotional void and the failure of adult
relationships in the real world.

Imagery of fire and heat frequently appears in Jimmy’s

angry outbursts, symbolizing his intense passion, inner
conflict, and desire to provoke change. His verbal tirades,
filled with violent and ironic imagery, reflect his bitterness
towards a conformist, apathetic society.

Moreover, the ironing board and mundane household chores

serve as symbols of domestic drudgery and the emotional
suppression of women like Alison. Together, these symbols
reinforce the play’s themes of alienation, class struggle, and
emotional paralysis.

4. a. The character of Dr. Faustus in Christopher Marlowe’s

*Doctor Faustus* can be seen as both heroic and tragic,
depending on how one interprets the Renaissance ideals and
the moral framework of the play. Faustus is a scholar who
strives for limitless knowledge and power, rejecting the
boundaries of traditional learning. In this pursuit, he
embodies the Renaissance spirit of human potential and
intellectual ambition, making him a figure of aspiration. His
willingness to challenge divine authority and embrace
forbidden knowledge reveals a bold, if reckless, defiance that
can be interpreted as heroic.

However, Faustus’s heroism is undermined by his flawed

judgment, hubris, and inability to repent. He makes a pact
with the devil, not for noble causes, but for selfish
desires—pleasure, fame, and magic. His actions lead to his
eventual damnation, showing that his ambition is ultimately
self-destructive. Unlike classical heroes who achieve
greatness through suffering or sacrifice, Faustus gains
nothing lasting and is consumed by regret. His failure to seek
genuine redemption, even when given the chance, strips him
of true heroism.

In the end, Faustus is better described as a tragic hero. He

possesses greatness, but his overreaching ambition and
moral blindness cause his downfall. His internal conflict,
fear, and ultimate despair elicit pity and terror, key elements
of Aristotelian tragedy. Thus, while Faustus may seem heroic
in his pursuit of knowledge, his actions reflect moral
weakness and a failure to transcend human limitations. His
tragedy lies in the wasted potential and the moral lesson his
story imparts. In conclusion, Dr. Faustus is a tragic figure
with heroic aspirations, whose downfall reflects the dangers
of overreaching and the eternal struggle between ambition
and salvation.
b) Samuel Beckett’s *Waiting for Godot* is a seminal work of
the Theatre of the Absurd, a dramatic movement that
emerged in the mid-20th century as a response to the
disillusionment following World War II. This form of theatre
challenges traditional narrative structure, logical dialogue,
and coherent themes, portraying the absurdity and
meaninglessness of human existence.

In *Waiting for Godot*, the two central characters, Vladimir

and Estragon, wait endlessly for someone named Godot, who
never arrives. This endless waiting becomes a metaphor for
the human condition—an existence filled with uncertainty,
repetition, and lack of purpose. The play lacks a conventional
plot, beginning, or resolution. Its circular structure—where
events repeat and no progress is made—mirrors the futility
and monotony of life.

Dialogue in the play is fragmented, often nonsensical, and

full of contradictions, emphasizing the breakdown of
communication and the inadequacy of language to convey
meaning. The characters engage in absurd routines and
meaningless actions, such as putting on and taking off boots
or hats, further reflecting existential despair and the human
need to create structure in a chaotic world.

The absence of Godot, a figure some interpret as God, hope,

or salvation, reinforces the idea of existential uncertainty
and humanity’s futile quest for meaning in an indifferent
universe. The characters' wavering between hope and
despair encapsulates the absurd tension between humanity’s
search for meaning and the silence of the universe.

As a representative play of the Theatre of the Absurd,

*Waiting for Godot* exemplifies the genre’s key elements:
minimalist staging, repetitive action, illogical dialogue, and
existential themes. Beckett’s work invites audiences to
confront the absurdity of life and find meaning—or accept its
absence—within that void.