Love, Betrayal, Hubris, and Relationships in Cyrano de Bergerac Essays

Love, Betrayal, Hubris, and Relationships in Cyrano de Bergerac French authors and playwrights have been acclaimed worldwide for their dynamic prose, multiform situations, and unpredictable endings. The same praises hold true for Edmond Eugene Alexis Rostand. Born of Provencal course on April 1, 1868, Rostand was well-learned, as evidenced by his extensive childhood didactics as a student of the lycee of Marseille. His father was a fully grown phallus of the Marseille Academy. As a direct result of this high influence, Rostand cerebrate his studies at the College Stanislas in Paris. He studied, under the direction of the then-renowned Professor Rene Doumic, the whole shebang of those creme de la creme authors held in high esteem -- Victor Hugo, Alfred de Musset, and William Shakespeare. His interactions with both Spanish and French cultures helped augment his success as a dramatic poet. Furthermore, Rostand assist Emile Zola in supporting Captain Dreyfus, who was unjustly c onvicted of treason (Kahr 186).As a Meridional, Rostand was heavily inspired by Victor Hugo. In college, Rostand found a literary world . . . where naturalism and exoticism flourished (vii). This attitude was formed as a result of the catastrophic Franco-Prussian War of 1870. As a member of the 1880s generation, Rostand was also influenced to become the ideal Romanticist of his time. Rostands fourth play, Cyrano de Bergerac, afforded him the almost fame. Rostand generally modeled his plays after traditional, romantic subjects and settings. A vast bulk of the success of Rostands play can be accredited to an interesting plot, a rich and sophisticated vocabulary, and real-life dialogue (to those of his lifetime). Cyrano de Bergerac, the play, debuted ... .... Rostand, Edmond. The New Book of Knowledge. 1994 ed. Rostand, Edmond. The New cyclopedia Britannica. 22nd ed. 1994. Outline I. Introduction A. Background B. Inspiration II. Leading to Cyrano A. Reasons B. Rostands demeanor C . Debut III. Precis of Cyrano IV. Commenting on Cyrano A. Length of Play B. Mentality of Cyrano characters C. Examples V. grandiloquence devices A. Tone 1. Commentary-example 1 2. Commentary-example 2 B. Diction 1. Commentary-example 1 2. Commentary-example 2 C. headland of view 1. Commentary-example 1 2. Commentary-example 2 VI. Overall shank A. Major Theme B. Subsequent major themes VII. Conclusion A. Issues emphasized B. Rhetoric devices C. Overall proof of Rosatnds work D. Clincher