themes & characters of (( howard's end((

زائر

Major Themes

Only Connect

Connecting is perhaps the most important theme of the novel, as the words "Only connect" make up its epigraph. Connections are necessary on many levels. Connecting within oneself is highly important, which is seen most clearly in Mr. Wilcox's personal development. Margaret knows Mr. Wilcox could be a better man if he could just connect the prose and the passion inside of himself rather than devoting his life to practicality and business. Forster also demonstrates the importance of connecting with others in a meaningful rather than superficial way. To achieve this, one must penetrate the inner life rather than relying on the outer life. For example, when Leonard Bast speaks with the Schlegels after his all-night walk, he references many authors and books, but the Schlegels are only interested in his personal view of the experience.

The Schlegels and Wilcoxes represent different approaches to life, that which celebrates the inner life, and that which celebrates the outer life. The novel works to bring these two concepts together, and finally unites them through Margaret and Mr. Wilcox's marriage and eventual settling at Howards End. The path to this final connection is fraught with drama and tragedy, but the end result is one of peace, happiness, and stability. Thus, in connecting to each other and embracing differences, Margaret, Mr. Wilcox, and Helen are able to find satisfaction.

Inner Life vs. Outer Life

Margaret and Helen Schlegel celebrate the inner life. In their opinion, the inner life is what defines and shapes a person. Therefore, embracing and understanding it is fundamental to developing identity and confidence. Embracing the inner life encompasses a wide variety of things, such as Margaret working to understand Mr. Wilcox, the celebration of grounding oneself in a home as Margaret and Helen do when seeing their furniture unpacked at Howards End, or expressing one's honest opinion as Leonard finally does when noting the sunrise he witnessed was fairly disappointing. Throughout the novel, the outer life is often portrayed as related to "telegrams and anger." The Wilcoxes, especially Charles, embody existences dominated by the outer life. For instance, after a brief romance with Helen, Paul immediately returns to his outer life focus, and regrets allowing his emotions to rule his action. In fact, the entire Wilcox family, except Mrs. Wilcox, is astounded and upset by Paul's impulsive actions. Similarly, when Helen and Margaret see each other after eight months of not speaking, discussion, explanations, and questions fail to reestablish their bond. To reconnect with each other, they must access aspects of their inner life, which they finally do through seeing their furniture unpacked in Howards End and reminiscing over their childhoods.

At the conclusion of the novel, the concepts of inner and outer life are finally united as Mr. Wilcox, Margaret, and Helen live happily in Howards End. Margaret and Helen embrace the new Mr. Wilcox, who develops an appreciation for the inner life, and Helen, once solely focused on an inner existence, begins to understand the importance of the outer life. Margaret, who has always been open to accepting different approaches to life, acts as the unifier between her sister and Mr. Wilcox, who began the novel at different extremes.

Daily Life; the Unseen vs. the Seen

Throughout the novel, Forster describes daily life with the color grey. Especially for Helen, life is flat and boring when there is no romance, passion, or excitement. Mrs. Wilcox, on the other hand, easily finds magic in daily life, preventing the greyness from dominating her existence. She takes pleasure in small things and makes sacrifices where and when she feels she should. As Margaret grows older, both her friendship with Mrs. Wilcox and her relationship with Mr. Wilcox help her learn to embrace daily life as something special and revered. In a letter, Margaret reminds Helen to cherish the seen as well as the unseen. One of Helen's flaws is that she is unsatisfied with the present. To grow as a person, she must learn to live daily life without such constant passion and without isolating so many people. By the end of the novel, Helen has tamed her approach, and begins to understand her sister's advice. In fact, this unification of the seen and the unseen mirrors the theme of combining the inner and outer life.

Proportion

Balancing the inner and outer life and the seen and the unseen requires accepting the importance of proportion and compromise over extremism. In an early conversation with Mrs. Wilcox, Margaret mentions that proportion should be embraced only as a last resort, but soon learns that she is incorrect. There are in fact several points in the novel when characters are living in an all-or-nothing way. The characters that end up happy in the end, however, have learned that proportion is a necessary element in life. Margaret has found proportion in her roles as Helen's sister and Mr. Wilcox's wife. Mr. Wilcox has learned to set aside some of his more uptight ideals and finally leave Howards End to his second wife and then her nephew, and Helen has learned that passion is important, but should not dominate one's existence. In contrast, Charles is unable to compromise his views. He never trusts Margaret or Helen, and sees Helen's situation as one that can be rectified with violent revenge. For this extreme behavior and inability to respond proportionately, Charles goes to prison.

Regional Politics

Howards End presents an examination of English life shortly before World War I. At the time, England was in the middle of great social change while simultaneously at the height of its global influence. Many have suggested that in writing this novel, Forster was truly trying to answer the question: "Who shall inherit England?" Therefore, in Howards End Forster carefully presents three different classes of English society. The Schlegel family represents the idealistic, literary and cultured upper class, the Wilcox family represents the materialism and excessive intellectualism of certain sections of the upper class, and the Basts represent the lower middle class of English society, struggling to maintain influence and to avoid falling into poverty. At the end of the novel, these three groups are intertwined permanently. Margaret Schlegel marries Henry Wilcox, and Helen Schlegel bears Leonard Bast's child. Margaret, Henry, Helen, and her baby boy end the novel living together peacefully at Howards End. Thus, Forster seems to suggest that all parts of English society must learn to coexist on equal ground.

Class and Culture

There are cultural differences between them, but both the Schlegels and the Wilcoxes are well off enough to live comfortably and pleasurably. However, this is an impossibility for Leonard Bast. He must struggle to gather enough money to attend a single concert, while the Schlegels have attended so many that they have lost count. Leonard longs desperately to be cultured, and is most happy when having intellectual, culturally centered conversations with the Schlegel women.

This disparity between the rich and poor appears many times, and various opinions of how to assist the struggling poor are provided. When Margaret, Helen, and their friends gather for a social occasion, this topic arises in conversation. Margaret says that the less fortunate should be given money - a means to figure out their ideals - rather than have a way of life imposed upon them. Later on, Mr. Wilcox maintains that there will always be rich and poor in the world and that that is not necessarily a bad thing, but simply a way of life. For Helen especially, Leonard humanizes the issue of poverty, and she wants desperately to help him. The novel's conclusion does not provide a final response to if and how the poor should be assisted, as Leonard dies, ironically buried under a pile of books.

Gender Roles; eslamuality

The differences between the Wilcoxes, primarily a family of men, and the Schlegels, consisting mostly of women, are undeniable. There is something harsh and unyielding about the former and a certain softness and romance about the latter, which suggest specific differences in gender roles. Undoubtedly, in the novel, women are expected to behave in a certain way. Mrs. Wilcox, though her true pleasure is Howards End, has learned how to put her family first no matter what. Similarly, Margaret plays the role of the 'silly' female when her actions at Oniton are deemed bizarre, and her mistakes are quickly excused.

Throughout the novel, it becomes clear that in 1910 England, women are expected to submit to men. For example, before staying at Howards End with Helen, Margaret must ask her husband's permission. However, even when he denies her use of the house, she rebels against him and stays there anyway. Margaret appears unwilling to accept a lesser place in society as a result of her womanhood. Similarly, Helen bravely bears an illegitimate child in a time and place where such things are unheard of, while Mr. Wilcox is simply chided for his affair with a prostitute. Clearly, men are permitted far greater liberty than women, but the Schlegel sisters are unwilling to submit entirely to society's expectations

Character List

Margaret Schlegel

Aged twenty-nine at the opening of the novel, Margaret is the oldest of the Schlegel children, making her responsible for her younger siblings after the death of their parents. She is a mother figure for her younger brother Tibby, and is her sister Helen's best friend. Margaret is intellectual and cultured, with a passion for discussion. Understanding the importance of having different kinds of people in the world, she has the ability to be practical, but only in order to strengthen her relationships and connections with others.

Helen Schlegel

Helen, in her early twenties when the novel begins, is the middle Schlegel child. She is romantic and impulsive, which sometimes results in catastrophe. While she shares similar interests with her sister, Helen is the more whimsical of the two, and is also considered more beautiful. She values the superiority of the inner life over the outer life, but her goals are often unrealistic.

Tibby Schlegel

Tibby is just sixteen when the novel begins, and is therefore barely consequential. As he grows older, he becomes more of a presence. He attends Oxford, where he isolates himself in his studies. He sometimes finds it difficult to be looked after by two older sisters, but with his coming of age also sees that he must also look after them.

Henry Wilcox

Henry Wilcox, known throughout the first part of the novel as Mr. Wilcox and throughout the second as Henry, is the patriarch of the Wilcox family. He is eslamist and uptight, but fairly tolerable. His first wife dies, after which he devotes himself to his business and makes a good deal of money. When he becomes a large part of Margaret's life, and eventually her husband, she is able to see the good in him, while her sister thinks his practicality and lack of emotion leaves him beyond hope

Ruth Wilcox

The first Mrs. Wilcox lives only in the first part of the novel, but her spirit lingers throughout. She is selfless and devoted to her husband and children. Her main pleasure is Howards End, the country house where she was born. She firmly believes in the importance and power of a place, which is why she tries to leave Howards End to Margaret upon her death. After she dies, Ruth is referred to in the novel as someone who learned how to both live and die in a hopeful and balanced manner.

Charles Wilcox

Charles is the oldest Wilcox child. He is stern and righteous, feeling a large responsibility towards his family, especially after his mother's death. He does not think highly of the Schlegels and is not afraid to admit it, for he is convinced of the integrity of his position. He lives in a house near Howards End with his wife Dolly and their children.

Paul Wilcox

Paul, the middle Wilcox child, is the young man that kisses Helen, the event that leads to the drama between the two families. Soon after his brief youthful affair, he departs for Nigeria, where he will pursue his fortune, and does not appear again until the very end of the novel.

Evie Wilcox

Evie is the youngest of the Wilcoxes. After Mrs. Wilcox's death, she is the sole companion of her father, as Charles is married and Paul is in Nigeria. A somewhat selfish girl, she is swept off her feet by Percy Cahill and marries him as soon as possible.

Leonard Bast

Leonard Bast begins on the boundary between the very poor and the middle class. His biggest fear is falling into the abyss of poverty and ignorance, thus he tries to culture himself through reading and music. He sees the Schlegels as prime examples of intellect and romance, but envies their privilege. He is younger than twenty-one when the novel begins, but has promised to marry Jacky when he comes of age, as one of his cardinal rules is to never abandon a woman in need.

Jacky BastIn her thirties, Jacky is more than ten years Leonard's senior. She was once a young and attractive prostitute who counted Mr. Wilcox among her clients, but has since been relying on Leonard to marry her and care for her.

Aunt Juley

Aunt Juley, known formally as Mrs. Munt, is the sister of the late Mrs. Schlegel. She represents the English side of the family and feels very strongly about being an influence in the lives of her nieces and nephew, sometimes to their slight annoyance. She sees them multiple times each year and is always more than happy to help them in times of trouble.

Dolly Wilcox

Dolly is the pretty wife of Charles Wilcox. She is prone to saying the wrong things at the wrong times and seems to constantly be with child.

Percy Cahill

Percy Cahill is one of Dolly's uncles. He ends up marrying Evie at Oniton in a lavish but unemotional ceremony.

Miss Avery

Miss Avery looks after Howards End when the Wilcoxes are away. She grew up with Ruth Wilcox and is not afraid to speak disparagingly about Mr. Wilcox and his sons. By unpacking the Schlegel furniture at Howards End she predicts that Margaret will live there and seems resolved to make this happen.

Frieda Mosebach

Frieda is a German cousin of the Schlegels. She is especially close with Helen and tries to entice her to stay in Germany by introducing her to a German man.

Crane

Crane is Mr. Wilcox's chauffeur, a peripheral presence throughout the novel.

Tom

Tom, the little boy who delivers milk and eggs to Margaret and Helen in their first evening at Howards End, comes to be the first friend of Helen's child.

مع تحياتى

Dodda

يا جمالو
هوا دا الشغل
ميرسى جدا يا دوددا بجد
بجد شغل عالى اوى
ومحتاجينهم فعلا
تسلمى يا رب

الف شكر يا دودا ... حاجه من الاخر ....

[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذه الصورة]

تسلم ايدك يا دوددا

جميل بجد ربنا يخليكى وتقريبا ده اللى الدكتورة كانت بتشرحه النهارده [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذه الصورة]

زائر

ميرسى بجد يا جماعه
ومنورنى اوى والله تسلموااااااااا

بقولك يا دودا

هو مفيش ملخص بالعربى كده للقصص دى
انا عايزة حد يحكيهالى بالعربى زى الحدوتة كده [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذه الصورة]

زائر

صعبه دى ياجميل
بس ال old man and the sea
انا عارفاها ممكن احكيهالك خاص
عربى
اما دى لسه هذاكرها

ماشى يا دوددا ربنا يخليكى ابقى احكيهالى بقى

معلش هتعبك معايا علشان انا فى احداث كتير واقعة منى فى الاولى فياريت الحق اعرف التانية بق
شكرا ياجميلة

زائر

ادخلى هنا يا قمر
[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]

بصي يا سماندا (هندي؟) القصه الاولي بتتكلم عن عائلتين ....الاولي اسمهم the schlegels ودي فيها مارجرت وهيلين واخوهم تبي وعمتهم جولي .. العيله دي بتحب الادب والشعر والكلام الفارغ دا وما لهومش دعوه بالشغل .. عندهم ميراث عايشين عليه .. العيله التاني بقي اسمهم the wilcox وبتتكون من مستر هنري ولكوكس الاب والسيده روث زوجته واولادهم وتشارلز ومتزوج من دولي وابنهم التاني بول وبنتهم ايفي ... العيله دي عمليه اوي وناجحين اوي في الشغل وبيجدوا .. العائلتين عكس بعض .... القصه بتبدا لما هيلن بتروح زياره لعائلة ولكوكس في بلد اسمها هوردس اند... وهناك بتعجب بنمط الحياة المختلف اللي العائله التانيه عايشاه ... المهم هيلن بتقابل بول ويدخلوا في علاقه عابره وبعدها هو بيتاسف لها وبيقولها انه مش هايقدر يتجوزها علشان هو ما معاهوش فلوس ولسا هايبدا حياته لما يسافر ... هيلين بتزعل وبتكره العائله دي .. هي كانت بعثت الي مارجرت واخبرتها انها في علاقة حب ... فقامت مارجرت بعتت ليها عمتها جولي علشان تبقي جنبها وتاخد بالها منها وهي في بيت ولكوكس ... ولما عمتها جولي كانت وصلت كان بول قالها الكلام دا .... سابوا بيت ويلكوكس ورجعوا تاني لندن ... وفي يوم كان فيه حفله في قصر الملكه وحضرته هيلين ومارجرت وقابلوا هناك شاب فقير اسمه ليونرد باست ... باست دا كان طموح ( انا لا اكذب ولكني اتجمل ) المهم بعد ما الحفله بتخلص باست بيكون اخد منهم كارت وبيرجع البيت يلاقي الجيرل فريند بتاعته اللي اسمها جاكي بتقوله انت ليه مش مهتم بيا والكلام دا ... فايقولها انه انسان مثقف وانه عايز يكون حاجه في المجتمع وكدا ... ويقولها كمان انه هايتجوزها لما يبقي سنه 21 .. المهم باست بيقابل هيلين تاني في حفله ... وهي مروحه بتغلط وتاخد الشمسيه بتعته ... فهوا بيروح لها بيتها علشان ياخدها ... فيلاقيها مش فاكراه خالص ... وتقوله ان اخدانها للشمسيه دا شئ عادي لان دي طبيعتها ... دي حتي كمان مش فاكره هوا قابلها فين ..... بعد كدا هيلين بتسافر دوله اخري ... وبول كمان بيسافر لنيجيريا .... بعد كدا عيلة ويلكوكس بتعزل وتسكن في لندن بالقرب من بيت عيلة شليجل .... السيده روث بعتت جواب لمارجرت بتدعيها فيه انها تزورهم في البيت الجديد ..بس مارجرت قالتلها كلام مش حلو ..( علشان بول ) المهم السيده روث بعتت ليها وقالت لها انه سافر نيجيريا ... مارجرت ندمت علي انها قالت لها الكلام اللي بعتته في الجواب .. وقالت للسيده روث ان هيلين هي كمان غارت في داهيه ... المهم الاتنين بقيوا اصحاب قوي ... ولما السيده روث جات تموت كتبت البيت اللي في هوردس ان باسم مارجرت

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اكمل بكره بقي

عائلة ويلكوكس قالت ان الورقه اللي سابتها السيده روث مش عقد رسمي ولا حاجه .. وخبوا وما قالوش لحد... المهم ..ماتت روث وراحت ايامها ... وفي يوم كانت مارجرت واختها هيلين بيتمشوا بالليل فقابلوا هنري ولكوكس واتكلموا معاه ...بعدها هنري يعجب بمارجرت ويطلبها للجواز وهيلين تقولها لا ما تتجوزيهوش لان هيلن كرهته بعد اللي حصلها مع ابنه ... المهم ... يجي باست يفضل غايب يومين عن جاكي فهي تفكر انه راح يزور عائلة اشلجل .. فتروح واخده الكارد اللي باست سابه في الجاكت بتاعه وتروح تسال عليه هناك ... يقولولها انهم ما يعرفوش حد بالاسم دا ... بعدها باست يروح عند عيلة اشلجل ويقعد معاهم وكدا تاني ... هما بيعجبوا بشخصه ويفضلوا يتكلموا عنه في الندوات ...يقولوا انه فقير ومحتاج انه يعيش افضل من كدا .... وحكوا لهنري عن باست وقالوا ليه انه صديق العيله وانه فقير وانه بيشتغل في شركه اسمها البروفيرين .. هنري يقولهم انصحوه انه يسيب الشركه دي لانها هاتافلس وهاتفشل ... تروح هيلين بعته دعوه لباست وتدعيه لبيتهم علشان تقوله الكلام دا ... باست بيعمل بكلامهم ويسيب الشركه دي ويروح يشتغل في حته تانيه بس بمرتب اقل وبيعيش في حاله اكبر من الفقر ... بعدها يروح لهيلين ويقولها انها كانت غلطانه لما قالت ليه يعمل كدا ..هيلين وجهت الذنب لهنري ...هنري يقول ان باست انسان مش عاقل لما يعمل كدا وان القانون لا يحمي المغفلين والكلام دا .. هيلين بتدعي باست وجاكي علشان تواجه بيهم هنري ... جاكي لما شافت هنري قالت ليه كلام مش بيبين انها كان بينها وبيه علاقه في الماضي ..مارجرت لما بتسمعها بتشك وتفضل تساله فا يعترف ليها انه عمل علاقه مع جاكي من عشر سنين فاتوا ..مارجرت بتسامحه وبتقبل انها تتجوزه وبيتم الجواز .... بعدها هيلين بتسافر المانيا وبترفض تقابل مارجرت او انها تيجي تشوفها .... وفي مره عمتها جولي جالها التهاب رئوي فكانت عايزه تنزل لندن علشان تشوفها ... بعد كدا هيلين بتطلب من مارجرت انها تدور ليها علي كتب كانت سيباها في البيت من زمان ...فا هنري بيقترح علي مارجرت انها تبعت لهيلين وتقولها تعالي خديها من البيت انتي ...علشان تقدر تقابلها ولو لمره وتحاول تقنعها انها تفضل معاها ...وبيحصل ... مارجرت بتكتشف ان هيلين حامل ... وهنري كمان المهم هنري يقول انه لو عرف مين اللي ارتكب الغلطه دي كان دفعه تمناها .. يجي تشارلز وهو بيتكلم مع تبي فا بيكتشف ان باست هو ابو الولد .. فيقرر انه يعاقبه ... وفي يوم دخل اتشارلز لقي باست موجود مع هيلين ومارجرت في البيت بتاع هولردز اند ... فا بيروح ليه ويضربه بالعصايا ... ويزقه علي ارشيف الكتب فتقع عليه ..
مات باست ... كانوا مفكرين انه مات من ازمه قلبيه .... بس التحقيق بيثبت انه مات بسبب الضربه ... اتشارلز بياخد 3 سنين سجن ... وهنري طبيعته بتتغير وتبدا هيلين تحبه ... وبتستقر هلين مع مارجرت ويعيشوا في هاوردز اند ودي النهايه

زائر

ايه الجمال دا يا احمد
بجد انا كنت عايزاها اوى لان فعلا محضرتش مره وضيعت بقى معايا الاحداث
شكرا بجد

شكرااااااااا اوى يا احمد بجد ربنا يخليك

انا كنت عوزاها ضرورى وانت ظبطتهالى كده جدا

ربنا يكرمك يارب

[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذه الصورة]

حلو الدبدوب الكبير دا .........نورتوني

تمام يا مرسى
هوا دا يا جماعه الشغل

والله يا جماعه بجد انتو بتعملو حجات جميلة
بس الله يخليكم كان عندى استفسار بسيط
مش اهم حاجة فى مذاكرة الدراما والقصة اننا نعرف احدا القصة ومن خلالهم هنعرف نتكلم عن الشخصيات ولا المفروض ايه تانى

[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذه الصورة]

[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذه الصورة]
بقولكو يا جماعه
هو نظام عمو رجب بتاع النقد ده ايه
انا مش عارفة اذاكر فيه ازاى
ياريت تفيدونى افادكم الله

[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذه الصورة]

بصي يا ساماااااااندا ... الدراما هاتعملي فيها ايه .. اول حاجه هاتعرفي تلخيص للمسرحيه الاولي والتانيه - لما يبقي يجي وقت التانيه هانبقي ننزل تلخيصها - وتحفظي شوية كلام عن الشخصيات اللي دكتور مغربي هايحددها ...ودا في المسرحيه الاولي والتانيه ... في المسرحيه الاولي هاتجيبي الكوتيشنز اللي اخدناها وتحطيها جنب الترجمه العربي وتقرنيها بيها علشان لما يجيلك كوتيشن في الامتحان تعرفي هي بتتكلم عن ايه ومين بيقول لمين .... المسرحيه التالته بقي اللي هي بتاعت اميري بركه اللي اسمها the dutchman دي هاتعملي فيها critical analysis

1- تلخيص للمسرحيتين الاول
2- حفظ الشخصيات
3- حفظ التحليل النقدي

كدا يبقي انتي داخله الامتحان حفظاه

القصه بقي هاتقرئي الكوتيشنز ... بسرعه لانها هاتتعبك لو حاولتي تفهميها اوي وترجميها .. تاني حاجه الشخصيات تعرفيها عنها شوية كلام ... بعد كدا الثيمات بس كدا

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اما الدكتور رجب بقي ...لو بتحضري محاضراته ... وكمان بتسجلي ليه ... وبتروحي البيت تقرئي الكتاب ... وتسمعي المحاضره تاني..... فا انا اوعدك انك مش هاتفهمي حاجه خالص
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تعب وفي الاخر ما فيش اي حاجه ... ربنا يخليكي يا سماندا لو عرفتي اي حاجه في النقد
ابقي الحقينا بيها هههههههههههههههههههههههه

زائر

كلنا ضايعين فى النقد
ربنا يستر بجد

هههههههههههههههههههههه انا الحقكم ؟؟؟؟؟؟؟؟

انا والله ما بركز خالص مع رجب ولو حاولت اتابع معاه الاقيه
قرا ورجع يجيب من الاول كأن الكلام هيطير
انا حاليا بكمل فى الكتاب بس لا بسجل ليه ولا بروح اذاكر فى البيت هو انا بسمع صوته اساسا ههههههههههههههه
الله يكرمكو يا جماعه تحطو حل شيت الدراما بالمرة علشان لسة معملتوش

هههههههههههههه شفتو بقى انا مضيعة ازاى وعاوزينى الحقكم

[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذه الصورة]

انا حاسس انك مش معانا يا سماندا.... انتي لسه صغيره ..19 سنه ...وكل الصور اللي بتحطيه بتاعة عيال صغيره .. ...................
بصي انا عملت شيت الدراما كالاتي

اول حاجه تدخلي الصفحة دي وتنسخيها تحت عنوان اميري بركه
[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]
تاني حاجه تنسخي دول كمان تحت عنوان plot

[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]

وشوية الكلام دول بقي تحت عنوان comment

In Amiri Baraka's play The Dutchman, Baraka utilizes metaphor, imagery, and irony to portray society as a machine, the strongest of which is Baraka's emphasis on the subway car as a metaphor for the perpetual forwardgoogle_protectAndRun("ads_core.google_render_ad", google_handleError, google_render_ad);[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذه الصورة]
[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]

motion and inescapability of racist, bigoted societal norms. Clay's death proves that a powerlessness to break away from the social machine is fatal. This complex metaphor, among his other compelling, eloquent devices, is an example of Baraka's own standard set forth in his essay, "The Myth of a 'Negro Literature.'" Baraka urges African American writers to rise out of the rut of mediocrity to produce "high art [...] that must reflect the experiences of the human being, the emotional predicament of the man, as he exists, in the defined world of his being" (167). Baraka challenges the black community to produce art that portrays the human condition, and provides The Dutchman as a paradigm.

In "The Myth of a 'Negro Literature'", Baraka details the faults of African American literature to date, and describes his vision of what it should look like. "It must be produced from the legitimate emotional resources of the soul in the world. It can never be produced by evading these resources" (167). This becomes an outline for Baraka's standards and devices in his own work, making use of his struggle and experiences to convey a message to the world. This mission is evident even as early as the title, The Dutchman, conveying a powerful connotation of the slave ship. The title, recalling slavery in the modern world, fits another of Baraka's standards: "Africanisms do exist in Negro culture, but they have been so translated and transmuted by the American experience that they have become an integral part of that experience" (169). By including The Dutchman in his literary work, both in the sense of the actual play and the cultural memory of the slave ship, Baraka makes his oppression a part of the American experience as a member of the community of high artists.

ولو عرفتي تجيبي الشخصيات وتحطيها ورا بعضها قبل الحبكه تبقي تمام
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وفي النهايه بقي يا سمندودا ..... تخديهم و تروحي تطبعيهم عن اقرب محل جزاره

ههههههههههههههه لا والله انا معاكو بس جايز فى عيب فنى فى تاريخ الميلاد
انا عندى 20 سنة
وشكرا اوى على ال critical analysis
الف شكر يا فندم ومش هحط صور اطفال تانى ههههههههه يمكن لا تجوز شرعا وقانونا

[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذه الصورة]

ههههههههههههههههههه .... جمال اوي الصور يا سماندا

ميرسى اوى على التلخيص والكاركترز انا بجد كنت محتاجاهم لان كان فيه احداث داخلة فى بعضها عندى عرفتها على الرغم ان التلخيص ده فيه شوية تفاصيل ناقصة

احمدي ربنا .....ههههههههههههه

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