Changed Future example essay topic

"A drama of lost illusions, of bitter wisdom and fragile hope". How appropriate is this description of the two plays you have studied? Shakespeare and Albee have both used the purging of artifices to create a changed future for all characters. Although forced, these allow the possibility of a greater future based upon truth and reality rather than facades.

The breaking down of illusions is essential in both plays in order to create a new beginning. In 'Who's Afraid of Virginia Woolf' George's exorcism of their illusionary son 'Dominus Vobiscum' removes the symbolic figure they have created in order to cover up their insecurity of not having a child. By purging their lives of this child it forces both George and Martha to confront these inadequacies of being unable to have children. Shakespeare uses a similar exorcism in 'The Tempest' in order to show, akin to Albee, that in using an illusion you are avoiding reality and in this the truth. Prospero orchestrates illusions throughout 'The Tempest' in order to delude the other characters into feeling emotions such as guilt and anxiety. Through the use of his agent, Ariel, he creates a banquet designed to emote remorse for Antonio and Sebastian for their usurpation of the Dukedom.

By renouncing these powers at the end of the play Prospero is accepting a life of reality without his 'secret studies'. Prospero and George are alike in their role as the ringmaster of the removal of the illusions. Both characters felt compelled to act in this way in order to start a new foundation based upon truth. Yet, the reactions of others to these actions are strongly contrasted between the two plays.

In 'Who's Afraid of Virginia Woolf' Martha is unable to cope with life full of veracity 'Truth or Illusion, George. Doesn't it matter to you... at all?' The child enabled her to feel complete and adequate in an American pressurised society she struggles to cope with. In disparity, the female lead in 'The Tempest' Miranda embraces her new way of life 'O Brave New World'. Having lived in a life of illusions (shown in her enforced sleep by Ariel at the outset of the play, to allow Prospero to converse in secret) she welcomes change. In brutally revealing these illusions to all the characters in both plays, Albee and Shakespeare show how for all characters life has changed irreversibly. However, despite being changes based on a good ethos they do not necessarily bring upon good character changes.

In 'The Tempest' the changes allow Prospero to become more loving and accept his child's desire to marry for love. However, Antonio and Sebastian have been forced to accept the knowledge of Prospero being alive and having to submit his powers. By neither character apologising for his actions it can be questioned to what levels will they further scheme to having left the island. Critic Theodore Spencer refers to Antonio as 'a rigid, selfish schemer who can only go on to do worse actions'. Comparing Nick to Antonio reveals how in 'Virginia Woolf' Nick could either change for the better of for worse.

His acceptance of the knowledge that he understands 'Jesus Christ, I think I understand this' could either lead to his further becoming a "George of the future" (Peter Wile ate) or he could change to become more loving a husband in fear of developing to a similar state. Although he doesn't enjoy the experience 'Stop this!' his forced insight has forced upon him a change. The detached nature of his last speech before exiting 'I'd... like... to's hows how the evening has caused within him a stir. When contrasted to his wife Honey's reaction, in her relinquishing of fears of childbirth 'I want a baby!' she may not understand how the child is an illusion, yet it brings upon her maternal instincts and allows her to confront how she is still a child. For the character of Miranda this change has been beneficial in allowing her to understand and accept the realities of a true world which she accepts warmly in both plays, the purging of illusions has led to all the characters having a greater level of wisdom on life. Although forced, this knowledge has led way for the possibility of a greater future.

Both George and Prospero's acceptance and removal of the illusions that shroud both plays have led to a new start, for Prospero in Milan and George in a changed marital life. However, despite both characters choosing their actions it is those of others that fracture and provide the possibility of failure. In 'The Tempest' despite being confronted and forced to face the reality of their actions in usurping Prospero, Antonio never shows any desire for redemption. Upon returning to the island, Antonio may still attempt to remove Prospero and satisfy his ambitions. Despite this, the gleam of hope is present in Prospero's reformed character and promise of being a more attentive duke, in renouncing his power. In 'Virginia Woolf' Martha is forced to accept life without the fantasy of a 'child'.

Martha admits vulnerability and a fear of the future that she has not revealed before, but what lies ahead for her and George remains ambiguous as she is unwilling to accept this change. 'A drama of lost illusions, of bitter wisdom and fragile hope' does firmly convey the message of both plays when compared. Through the brutal removal of illusion and imposed change to reality, both Albee and Shakespeare reveal how this can only lead to the characters inner self being revealed despite for the most place being done unwillingly. By creating a new beginning the possibility of a new, better life is formed but by the natures of those unwilling to accept this change, it is a future built upon unsteady foundations. When both plays are individually reviewed however, this quote does not encompass the power to which each play holds.

As separate entities and not viewed as a comparison, the plays are about something more than just illusions and new beginnings. By placing them in their contexts, they tell greater stories about power, justice, love and genders.