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Expressionism in Tennessee Williams's Camino Real


(25 صفحه - از 118 تا 142)

خلاصه ماشینی:

"When Williams reworked it in the Camino Real of 1953, he deepened the symbolic meaning of the main character, Kilroy and attempted to give universal significance to the experience of th1is0l7onely misfit trapped in a surrealistic 122 world of decadence (Falk, 1962,p. In this sense, Kilroy is both freedom fighter and a disposed artist just like Williams during the Summer of 1948 when the idea of Camino Real flowered in his imagination"(Ibid. In an extended burst of rhetoric, Esmeralda embraces all the failures and disillusionments of the Camino Real people and gives an incredibly articulate statement which can be described as a resume of the play God blesses all con men and hustlers and pitch men who hawk their hearts on the street, all two time losers who're likely to lose once more, the courtesan who made th1e 2m3istake of love, the 138 greatest of lovers crowned with the greatest horns, the poet who wandered far from his heart's green country…, look down with a smile tonight on the last cavaliers, the one with the rusty armor and soiled white plumes, and visit with understanding and something that's almost tender those fading legends that come and go in this plaza like songs not clearly remembered, oh, sometime and somewhere, let there be something to mean the word honor again! In fact, Williams himself declares that his aim of writing Camino Real was to give the audience "something wild or unrestricted that ran like water in the mountains or clouds changing shape in a gale, on the continually dissolving and transforming images of a dream"(qtd in Falk, 1962,121)."

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