مسرحية the importance of being earnest

[اتعبني غروري]

ياليت اللي عند ملخص لهذي المسرحية واسئلة والشخصيات

يحط لي وجز الف خير

الله يخيليكم ضرووووووووووووووووري لانو احسة صعبة موووووت

[الغزاله]

تحياتي لك

ونحن بالخدمة

المقدمة

The Importance of Being Earnest opened in the West End of London in February 1894 during an era when many of the religious, social, political, and economic structures were experiencing change—The Victorian Age (the last 25–30 years of the 1800s). The British Empire was at its height and occupied much of the globe, including Ireland, Wilde’s homeland. The English aristocracy was dominant, snobbish and rich—far removed from the British middle class and poor.

Many novelists, essayists, poets, philosophers and playwrights of the Victorian Age wrote about social problems, particularly concerning the effects of the Industrial Revolution and political and social reform. Dickens concentrated on the poor, Darwin wrote his theory of evolution describing the survival of the fittest, and Thomas Hardy wrote about the Naturalist Theory of man stuck in the throes of fate. Other notable writers such as Thackeray, the Brontes, Swinburne, Butler, Pinero, and Kipling were also contemporaries of Oscar Wilde. In an age of change, their work, as well as Wilde’s plays, encouraged people to think about the artificial barriers that defined society and enabled a privileged life for the rich at the expense of the working class.

American writer, Edith Wharton, was also writing about the lifestyles of the rich during the same period. Her novels, such as Ethan Frome, The Age of Innocence, or The House of Mirth, explore the concepts of wealth and privilege at the expense of the working class on the American side of the Atlantic.

Although the themes in The Importance of Being Earnest address Victorian social issues, the structure of the play was largely influenced by French theatre, melodrama, social drama, and farce. Wilde was quite familiar with these genres, and borrowed from them freely. A play by W. Lestocq and E.M. Robson, The Foundling, is thought to be a source of Earnest, and it was playing in London at the time Wilde was writing Earnest. The Foundling has an orphan-hero, like Jack Worthing in Wilde’s play. A farce is a humorous play using exaggerated physical action, such as slapstick, absurdity, and improbability. It often contains surprises where the unexpected is disclosed. The ending of Earnest, in which Jack misidentifies Prism as his unmarried mother, is typical of the endings of farces. Farces were usually done in three acts and often included changes of identity, stock characters, and lovers misunderstanding each other. Wearing mourning clothes or gobbling food down at times of stress are conventions that can be traced to early farces.

Norwegian playwright, Henrik Ibsen also strongly influenced Wilde. Ibsen’s innovations in A Doll’s House, which had played in London in 1889, were known to Wilde. Wilde also attended Hedda Gabler and Ghosts, two other plays by Ibsen. While in prison, Wilde requested copies of Ibsen plays.

The theatre manager of the St. James where Earnest opened, George Alexander, asked Wilde to reduce his original four-act play to three acts, like more conventional farces. Wilde accomplished this by omitting the Gribsby episode and merging two acts into one. In doing so, he maneuvered his play for greater commercial and literary response. (Visit www.cliffsnotes.com for commentary on the Gribsby episode.)

Marriage plots and social comedy were also typical of 1890s literature. Jane Austen and George Eliot were both novelists who used the idea of marriage as the basis for their conflicts. Many of the comedies of the stage were social comedies, plays set in contemporary times discussing current problems. The white, Anglo-Saxon, male society of the time provided many targets of complacency and aristocratic attitudes that playwrights such as Wilde could attack.

Earnest came at a time in Wilde’s life when he was feeling the pressure of supporting his family and mother, and precariously balancing homosexual affairs—especially with Lord Alfred Douglas. The Importance of Being Earnest opened at George Alexander’s St. James Theatre on February 14, 1895. On this particular evening, to honor Wilde’s aestheticism, the women wore lily corsages, and the young men wore lilies of the valley in their lapels. Wilde himself, an outside observer by birth in the world of elegant fashion, was festooned in a glittering outfit. It was widely reported that he wore a coat with a black velvet collar, a white waistcoat, a black moiré ribbon watch chain with seals, white gloves, a green scarab ring, and lilies of the valley in his lapel. Wilde, the Irish outsider, was dramatically accepted by upper-class London, who loved his wit and daring, even when laughing about themselves.

The aristocracy attending Wilde’s play knew and understood the private lives of characters like Jack and Algernon. They were aware of the culture and atmosphere of the West End. It had clubs, hotels, cafes, restaurants, casinos, and most of the 50 theatres in London. The West End was also a red-light district filled with brothels that could provide any pleasure. It was a virtual garden of delights, and the patrons could understand the need for married men to invent Ernests and Bunburys so that they could frolic in this world.


About the Play
List of Characters
شخصيات المسرحية


John (Jack) Worthing—A young, eligible bachelor about town. In the city he goes by the name Ernest, and in the country he is Jack—a local magistrate of the county with responsibilities. His family pedigree is a mystery, but his seriousness and sincerity are evident. He proposes to The Honorable Gwendolen Fairfax and, though leading a double life, eventually demonstrates his conformity to the Victorian moral and social standards.

Algernon Moncrieff—A languid poser of the leisure class, bored by conventions and looking for excitement. He, too, leads a double life, being Algernon in the city and Ernest in the country. Algernon, unlike Jack, is not serious and is generally out for his own gratification. He falls in love and proposes to Jack’s ward, Cecily, while posing as Jack’s wicked younger brother, Ernest.

Lady Bracknell—The perfect symbol of Victorian earnestness—the belief that style is more important than substance and that social and class barriers are to be enforced. Lady Bracknell is Algernon’s aunt trying to find a suitable wife for him. A strongly opinionated matriarch, dowager, and tyrant, she believes wealth is more important than breeding and bullies everyone in her path. Ironically, she married into the upper class from beneath it. She attempts to bully her daughter, Gwendolen.

The Honorable Gwendolen Fairfax—Lady Bracknell’s daughter, exhibiting some of the sophistication and confidence of a London socialite, believes style to be important, not sincerity. She is submissive to her mother in public but rebels in private. While demonstrating the absurdity of such ideals as only marrying a man named Ernest, she also agrees to marry Jack despite her mother’s disapproval of his origins.

Cecily Cardew—Jack Worthing’s ward, daughter of his adopted father, Sir Thomas Cardew. She is of debutante age, 18, but she is being tutored at Jack’s secluded country estate by Miss Prism, her governess. She is romantic and imaginative, and feeling the repression of Prism’s rules. A silly and naïve girl, she declares that she wants to meet a “wicked man.” Less sophisticated than Gwendolen, she falls in love with Algernon but feels he would be more stable if named Ernest.

Miss Prism—Cecily’s governess and a symbol of Victorian moral righteousness. She is educating Cecily to have no imagination or sensationalism in her life. Quoting scripture as a symbol of her Victorian morality, she reveals a secret life of passion by her concern for the whereabouts of her misplaced novel and her flirtation with the local vicar. She becomes the source of Jack’s revelation about his parents.

Rev. Canon Chasuble, D.D.—Like Miss Prism, he is the source of Victorian moral judgments, but under the surface he appears to be an old lecher. His sermons are interchangeable, mocking religious conventions. Like the servants, he does what Jack (the landowner) wants: performing weddings, christenings, sermons, funerals, and so on. However, beneath the religious exterior, his heart beats for Miss Prism.

Lane and Merriman—Servants of Algernon and Jack. Lane says soothing and comforting things to his employer but stays within the neutral guidelines of a servant. He is leading a double life, eating sandwiches and drinking champagne when his master is not present. He aids and abets the lies of Algernon. Merriman keeps the structure of the plot working: He announces people and happenings. Like Lane, he does not comment on his “betters,” but solemnly watches their folly. His neutral facial expressions during crisis and chaos undoubtedly made the upper-class audience laugh.

[الغزاله]

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تستطيعين شراء note lk من مكتبة جرير

وهذا الرابط لكل مايخص المسرحية من نقد وعرض كامل لمجرى الحوار
شامل ومفيد
http://www.cliffsnotes.com/WileyCDA/LitNote/id-29.html
دمت بخير
الغزاله

[اتعبني غروري]

تسلمين يالغالية

[ميس]

ماشاءالله عليك غزالتي
دائماً سباقة لفعل الخير
غفر الله لك

[Try To Reach]

بارك الله فيكِ اختي الغزالة ,,
والى الأمام ,,

كلنا يستفيد منكِ اختي

وجزاك الله خير

[dremy-girls]

جزاااااااااك اللف الف خييييير

[daffodils]

ياليت اللي عند ملخص لهذي المسرحية واسئلة والشخصيات

يحط لي وجز الف خير

الله يخيليكم ضرووووووووووووووووري لانو احسة صعبة موووووت


Analysis of Major Characters
Jack Worthing
Jack Worthing, the play’s protagonist, was discovered as an infant by the late Mr. Thomas Cardew in a handbag in the cloakroom of a railway station in London. Jack has grown up to be a seemingly responsible and respectable young man, a major landowner and Justice of the Peace in Hertfordshire, where he has a country estate. In Hertfordshire, where he is known by what he imagines to be his real name, Jack, he is a pillar of the community. He is guardian to Mr. Cardew’s granddaughter, Cecily, and has other duties and people who depend on him, including servants, tenants, farmers, and the local clergyman. For years, he has also pretended to have an irresponsible younger brother named Ernest, whom he is always having to bail out of some mischief. In fact, he himself is the reprobate brother Ernest. Ernest is the name Jack goes by in London, where he really goes on these occasions. The fictional brother is Jack’s alibi, his excuse for disappearing from Hertfordshire and going off to London to escape his responsibilities and indulge in exactly the sort of behavior he pretends to disapprove of in his brother.More than any other character in the play, Jack Worthing represents conventional Victorian values: he wants others to think he adheres to such notions as duty, honor, and respectability, but he hypocritically flouts those very notions. Indeed, what Wilde was actually satirizing through Jack was the general tolerance for hypocrisy in conventional Victorian morality. Jack uses his alter-ego Ernest to keep his honorable image intact. Ernest enables Jack to escape the boundaries of his real life and act as he wouldn’t dare to under his real identity. Ernest provides a convenient excuse and disguise for Jack, and Jack feels no qualms about invoking Ernest whenever necessary. Jack wants to be seen as upright and moral, but he doesn’t care what lies he has to tell his loved ones in order to be able to misbehave. Though Ernest has always been Jack’s unsavory alter ego, as the play progressesJack must aspire to become Ernest, in name if not behavior. Until he seeks to marry Gwendolen, Jack has used Ernest as an escape from real life, but Gwendolen’s fixation on the name Ernest obligates Jack to embrace his deception in order to pursue the real life he desires. Jack has always managed to get what he wants by using Ernest as his fallback, and his lie eventually threatens to undo him. Though Jack never really gets his comeuppance, he must scramble to reconcile his two worlds in order to get what he ultimately desires and to fully understand who he is.
Algernon Moncrieff

Algernon, the play’s secondary hero, is closer to the figure of the dandy than any other character in the play. A charming, idle, decorative bachelor, Algernon is brilliant, witty, selfish, amoral, and given to making delightful paradoxical and epigrammatic pronouncements that either make no sense at all or touch on something profound. Like Jack, Algernon has invented a fictional character, a chronic invalid named Bunbury, to give him a reprieve from his real life. Algernon is constantly being summoned to Bunbury’s deathbed, which conveniently draws him away from tiresome or distasteful social obligations. Like Jack’s fictional brother Ernest, Bunbury provides Algernon with a way of indulging himself while also suggesting great seriousness and sense of duty. However, a salient difference exists between Jack and Algernon. Jack does not admit to being a “Bunburyist,” even after he’s been called on it, while Algernon not only acknowledges his wrongdoing but also revels in it. Algernon’s delight in his own cleverness and ingenuity has little to do with a contempt for others. Rather, his personal philosophy puts a higher value on artistry and genius than on almost anything else, and he regards living as a kind of art form and life as a work of art—something one creates oneself.
Algernon is a proponent of aestheticism and a stand-in for Wilde himself, as are all Wilde’s dandified characters, including Lord Goring in An Ideal Husband, Lord Darlington in Lady Windermere’s Fan, Lord Illingworth in A Woman of No Importance, and Lord Henry Wootton in The Picture of Dorian Gray. Unlike these other characters, however, Algernon is completely amoral. Where Lord Illingworth and Lord Henry are downright evil, and Lord Goring and Lord Darlington are deeply good, Algernon has no moral convictions at all, recognizing no duty other than the responsibility to live beautifully.
Gwendolen Fairfax
More than any other female character in the play, Gwendolen suggests the qualities of conventional Victorian womanhood. She has ideas and ideals, attends lectures, and is bent on self-improvement. She is also artificial and pretentious. Gwendolen is in love with Jack, whom she knows as Ernest, and she is fixated on this name. This preoccupation serves as a metaphor for the preoccupation of the Victorian middle- and upper-middle classes with the appearance of virtue and honor. Gwendolen is so caught up in finding a husband named Ernest, whose name, she says, “inspires absolute confidence,” that she can’t even see that the man calling himself Ernest is fooling her with an extensive deception. In this way, her own image consciousness blurs her judgment.
Though more self-consciously intellectual than Lady Bracknell, Gwendolen is cut from very much the same cloth as her mother. She is similarly strong-minded and speaks with unassailable authority on matters of taste and morality, just as Lady Bracknell does. She is both a model and an arbiter of elegant fashion and sophistication, and nearly everything she says and does is calculated for effect. As Jack fears, Gwendolen does indeed show signs of becoming her mother “in about a hundred and fifty years,” but she is likeable, as is Lady Bracknell, because her pronouncements are so outrageous.
Cecily Cardew
If Gwendolen is a product of London high society, Cecily is its antithesis. She is a child of nature, as ingenuous and unspoiled as a pink rose, to which Algernon compares her in Act II. However, her ingenuity is belied by her fascination with wickedness. She is obsessed with the name Ernest just as Gwendolen is, but wickedness is primarily what leads her to fall in love with “Uncle Jack’s brother,” whose reputation is wayward enough to intrigue her. Like Algernon and Jack, she is a fantasist. She has invented her romance with Ernest and elaborated it with as much artistry and enthusiasm as the men have their spurious obligations and secret identities. Though she does not have an alter-ego as vivid or developed as Bunbury or Ernest, her claim that she and Algernon/Ernest are already engaged is rooted in the fantasy world she’s created around Ernest. Cecily is probably the most realistically drawn character in the play, and she is the only character who does not speak in epigrams. Her charm lies in her idiosyncratic cast of mind and her imaginative capacity, qualities that derive from Wilde’s notion of life as a work of art. These elements of her personality make her a perfect mate for Algernon.

[غلا كلى حلا]

المسرحيه مره سهله واحداثها مترابطه

درستها الكورس الماضي

والشخصيات حلوين


دمتم بود ومحبه

[نوره صالح]

اللي عنده الفلم ياليت يزودنااااااااا

[: قمر الزمان :]

جزاكم الله خيييييييييييير

استفدت منكم الله يحفظكم ^^

[: قمر الزمان :]

جزاكم الله خير

استفدت منكم

[توماا]

استفدت مرة جزاك الف خيررر

[M.o_o.N]

الله يرحمها و يغفرلها و يوسع عليها في قبرها

[بي بي 00000]

الله يبارك فيك

[بي بي 00000]

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