"Earnest" commentary

Ian Decker
Ms. Johnson
Per. 5/ 10 IB
5/21/09

Lines used: (Found on Pg. 135)

Lady Bracknell: I would strongly advise you, Mr.

Worthing, to try and acquire some relations as soon as

possible, and to make a definite effort to produce at any

rate one parent, of either sex, before the season is quite

over.

Jack: Well, I don't see how I could possibly manage

to do that. I can produce the hand-bag at any moment.

It is in my dressing-room at home. I really think that

should satisfy you, Lady Bracknell.

Lady Bracknell: Me, sir! what has it got to do with

me? You can hardly imagine that I and Lord Bracknell

would dream of allowing our only daughter - a girl

brought up with the utmost care - to marry into a cloak-

room, and form an alliance with a parcel? Good morning,

Mr. Worthington!

The play The Importance of Being Earnest by Oscar Wilde serves two purposes, to entertain and to comment on how people lived in the Victorian Age. Wilde uses an abundance of absurd humor in order to entertain his audience. He also uses a small portion of this absurdity to help him comment on the Victorian society. Both of these elements are included in the lines above, which are found on page 135 of an anthology of his plays from Signet Classics.

In his play, Wilde uses absurd humor in order to entertain his audience. This humor is especially apparent in Mr. Worthing's conversation with Lady Bracknell. In this conversation, Jack is trying to convince Lady Bracknell that he is a suitable suitor for her daughter, Gwendolen, but things are not going quite as planned for Jack, "marry into a cloak-room, and form an alliance with a parcel?" (Wilde, Pg. 135). Here, Lady Bracknell is saying that she does not approve of his lineage, which is untraceable due to the fact that he was found in a hand-bag as an infant. The common reference before and in the passage to Jack's being unable to produce a parent is to be considered absurd humor partially because it is implausible and unexpected that a young infant would be found in a hand-bag in a train station. It is also absurd because Lady Bracknell accepts the fact without question, adding to the overall effect.

The reason why Lady Bracknell is even questioning Jack is one of the ways that Wilde comments on the mannerisms of his time; she wants to make sure that her daughter is married off to someone well off and can help her gain more social standing. In the above passage, this is revealed when she demands to know one parent of Jack in order to make sure that Gwendolen would be married into a high-ranking family, "make a definite effort to produce at any rate one parent, of either sex" (Wilde, Pg. 135). Here, she is demanding for Jack to find one of his parents in order for Lady Bracknell to check on their social status. This comments, in a satirical way, on the people of the Victorian Age's apparent need to grab for power and social status, and unfortunately, this habit has still not entirely left by today's society.

In Wilde's The Importance of Being Earnest, he uses a large amount of absurd humor. He does this in order to achieve the play's two goals; to entertain and to comment (often satirically) about the way of life of many in the Victorian Age. Examples of each of these goals can be found on page 135 of a book containing his play. Through the use of this kind of humor, Wilde is able to effectively complete his two goals with laughs to spare.

"Earnest" LRJ #4 (Act III)

Ian Decker
Ms. Johnson
10 IB/ Per 5
5/10/09



Wit: "I also have in my possession... certificates of Miss Cardew's birth, baptism, whooping cough, registration, vaccination, confirmation, and the measles; both the German and the English variety" (Wilde Pg. 178)

"Lady Bracknell: 'After three months her own husband did not know her.' Jack: 'And after six months, nobody knew her.' " (Wilde, Pg. 179)

Absurdity: "I do not propose to undeceive him... I would consider it wrong" (Wilde, Pg. 176)

"I killed Bunbury this afternoon. I mean poor Bunbury died this afternoon" (Wilde, Pg. 176)

Social Conventions: "How absurd to talk of the equality of the sexes" Wilde, Pg. 175)

"This is not the moment of German scepticism" (Wilde, Pg. 174)

In Act III, the uses of wit, absurdity, and social conventions all act together to create humor. Wilde uses wit in order to create a sarcastic mood. He does this by using the snappy comebacks of the character in order to express a dislike for something another character did or said oftentimes in a sarcastic voice. For example, in the first example of wit provided, Jack names off a bunch of papers he supposedly has in order to protest Lady Bracknell's attempt to snoop into the life of his ward, Cecily.
Absurdity is used in a much different way than wit. Wit requires that the reader/playgoer pays attention to what is happening in the story and must think a little bit in order to find it's true hilarity. Absurdity, however is completely random and will usually make no sense, and it is from this lack of sense that the humor is perceived. For example, in the second example of wit provided, Algernon accidentally says that he killed off Bunbury, and Lady Bracknell continues in the conversation without questioning that little slip up. This type of humor allows the brain a break from having to think and because of that will appeal more to the common audience.
The final thing that Wilde uses in order to provide humor is the use of social conventions. He uses little unexpected things that go against what society believes in order to create a humor. For example, in the first example of social conventions provided, Wilde creates humor by pointing out something that happened that is unexpected to people of that society, and in this instance, is the talk of an equality of the sexes, which had just recently been discussed by Cecily and Gwendolen. It is through all these things (wit, absurdity, and social conventions) that Wilde provides much of the humor in not only the third act of this play, but also throughout the entire play. The fact that people living 100+ years after the play was written still find it highly amusing serves as a testament to the genius who wrote it.

"Earnest" LRJ #3 (Act II)

Ian Decker
Ms. Johnson
10 IB/ Per 5
5/10/09

Wit: "Miss Prism has just been complaining of a slight headache. I think it would do her so much good to have a short stroll with you in the park, Dr. Chausable" (Wilde, Pg 143)

"Algernon: This world is good enough for my, cousin Cecily. Cecily: Yes, but are you good enough for it?" (Wide, Pg 147)

Satire: "I am not in favor of this modern mania for turning bad people into good people at a moment's notice" (Wilde Pg. 142)

"Men should be careful; this very celibacy leads weaker vessels astray" (Wilde, Pg. 148)

Farce: "You would have to choose between this world, the next world, and Australia" (Wilde Pg. 146)

"Might I have a button-hole first? I never have an appetite unless I have a button hole first" (Wilde, Pg. 147)

Wilde does not use as much wit or farce in order to make a comment on the Victorian Society, but rather he uses (as is it's definition) satire in order to criticize parts of the society of his time and day. Wilde uses that first satirical quote in order to say that he does not like the ability of the media to make people automatically good in the public eye by showering them with enough good comments that their bad qualities are all buried underneath. The second satirical quote says that he doesn't like the dwindling amount of people that choose to become married. He says that even though married men are less attractive to women, the more mature women will go for the men with "experience".

"Earnest" LRJ #2 (Act I)

Ian Decker
Ms. Johnson
10 IB/ Per 5
5/9/09

Throughout the play, each character comes across several problems. I find each of the problems that the characters face in the first act to be highly ironic. For example, Lady Bracknell runs out of her cucumber sandwiches because Algernon eats them all before she arrives, "Why are there no cucumber sandwiches?" (Wilde, Pg. 126). This is ironic because Lady Bracknell is a greedy individual, as seen in how she asks primarily about money when trying to determine whether or not Jack is a worthy suitor, and to have something materialistic that she cares about taken away by someone who has an apathy towards the feelings of others strikes me as ironic.

Lady Bracknell does not fit into the stereotyping of women from the 1890s at all. She is too proud of a woman to be able to follow anyone's view's but her own. This pride is seen in how she automatically takes charge of the situation when she finds out that Jack and Gwendolen are engaged, "You are not engaged to anyone. When you do become engaged to some one, I... will inform you of the fact" (Wilde pg. 130). This shows that she will only allow something to happen if she approves of it, and will not let anyone else do anything she does not approve of.
Gwendolen, however, fits the role of a woman from the 1890's much better than her mother does. This is seen in how she seems to be a little bit shallow. The reason for her being shallow is that she says that she wants to marry someone who's name is Ernest, and she doesn't name any more requirements for her lover, "My ideal has always been to love some one of the name of Ernest" (Wilde Pg. 128). This is important because women were supposed to be exnentions of their husbands and not think for themselves, which is seen in how the only thing that Gwendolen looks for in a man is a name.

"Earnest" LRJ #1 (Act I)

Ian Decker
Ms. Johnson
10 IB/ Per. 5
5/9/09

In the book, "The Importance of Being Earnest" by Oscar Wilde, the character Algernon is particularly uninterested in marriage, "If ever I get married, I'll certainly try to forget the fact" (Pg. 118). This particular fact helps to reflect on Algernon's character by saying that he does not want to be married in the least bit. This could also be inferred from this that he does not feel up to making a commitment, he enjoys womanizing, and he lives mostly for pleasure.
Also, during the beginning of the book, Algernon and Jack (Ernest) have a spirited conversation on many topics. Throughout this conversation, one can detect a sense of tension between the two. this is seen through how they can hardly agree on anything, "Algernon: Where is that place in the country, by the way? Jack: That is nothing to you, dear boy" (Wilde pg.122). Here, Algernon is asking Jack where he lives, and Jack is saying that it doesn't matter because Algernon will never be invited over anyway. This trading off between them goes on until Lady Bracknell and Gwendolen arrive.

Atsumori Commentary

Ian Decker
Ms. Peifer
10 IB/ Per. 5
5/2/09

Lines used: 101- 116

Chorus: "Oh, reject me not!

One cry suffices for salvation,

Yet day and night

Your prayers will rise for me.

Happy am I , for though you know not my name,

Yet for my soul's deliverance

At dawn and dusk hence forward I know that you will pray"

So he spoke. Then vanished and was seen no more.

Priest: Since this is so, I will perform all night the rites of
prayer for the dead, and calling upon Amida's

name will pray again for the salvation of Atsumori.

Atsumori: Would you know who I am

That like the watchmen at Suma Pass

Have wakened at the cry of sea birds roaming

Upon Awaji shore?

Listen, Rensei. I am Atsumori.

The point of Seami Motokiyo's Atsumori is to show that through the peace of Buddhism, even the greatest of enemies can come to terms of peace. Key aspects that Motokiyo uses to show his point are introduced in lines 101 through 116. In this passage, Rensei promises to pray for the salvation of a wandering Shade who is of Atsumori's bloodline. The shade, in turn is thankful towards Rensei for this merciful deed, and in the end, reveals his identity as Atsumori in order to let Rensei know the extent to which his desire to save Atsumori is fulfilled.
The beginning of the passage starts with The Shade's response to Rensei praying the Namu Amidabu, the Japanese branch of Buddhism's prayer of salvation. Towards the end of this response, The Shade makes it a point to thank Rensei, "Happy am I... [that] for my soul's deliverance... you will pray" (Motokiyo. Trans. Arthur Waley. Atsumori, lines 105-107). This is significant because, as the reader discovers towards the beginning of the story, it was Rensei (the monk) himself who slew Atsumori. The Shade (Atsumori) knows this and still is thankful towards the man who put him into his current state.
Once again, the reason that the Shade is thankful is because Rensei prayed for him the prayer of salvation, "[I] will pray again for the salvation of Atsumori" (Motokiyo. Trans. Arthur Waley. Atsumori, line 111). The fact that he is praying the prayer of salvation is significant because it shows that Rensei is remorseful about what he did. This willingness to try and ease his enemy's pain shows that he is trying to make up for what he's done and is trying to establish a peace between himself and his enemy.
Lastly, in this passage, The Shade reveals his true identity to be Atsumori himself, "Listen Rensei. I am Atsumori" (Motokiyo. Trans. Arthur Waley. Atsumori, line 116). This is significant because it not only shows Rensei that his wish to honor his fallen adversary has been granted, but it also shows that Atsumori has gained enough respect for Rensei that he feels that he needs to reveal his identity to Rensei when he could have stayed anonymous. Mutual feelings of respect is another step towards peace with one's enemies that Motokiyo gladly shows.
The play Atsumori by Seami Motokiyo is a Noh play with a purpose. It uses the story of two soldiers, one living and the other dead, to prove to its reader that through embracing the teachings of the Buddhism faith, even the greatest quarrels can be resolved peacefully. The Lines 101-116 play a key role in getting this point across. They show 3 critical steps that the characters take towards a peaceful resolution. They have the living soldier praying for the redemption of his fallen brother-in-arms and how the fallen soldier reacts with thanks and an act of respect towards his living comrade. These elements help to pave the way for a peaceful resolution for all the characters involved.