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, composite plant situations, and unpredictable endings. The same praises hold true for Edmond Eugene Alexis Rostand. Born of Provencal blood on April 1, 1868, Rostand was well-learned, as evidenced by his extensive childhood learning as a student of the lycee of Marseille. His father was a heavy(p) element of the Marseille Academy. As a direct result of this high influence, Rostand reason his studies at the College Stanislas in Paris. He studied, under the direction of the then-renowned Professor Rene Doumic, the workings 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 assisted Emile Zola in supporting Captain Dreyfus, who was unjustly convicte d 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 or so fame. Rostand generally modeled his plays after traditional, romantic subjects and settings. A vast absolute majority 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 styl us C. Debut III. Precis of Cyrano IV. Commenting on Cyrano A. Length of Play B. Mentality of Cyrano characters C. Examples V. empty words devices A. Tone 1. Commentary-example 1 2. Commentary-example 2 B. Diction 1. Commentary-example 1 2. Commentary-example 2 C. time period of view 1. Commentary-example 1 2. Commentary-example 2 VI. Overall pedestal A. Major Theme B. Subsequent major themes VII. Conclusion A. Issues emphasized B. Rhetoric devices C. Overall finding of Rosatnds work D. Clincher