drama 343

[toto-1988]

السلام عليكم

هذه مناشدة لمن لديه حساب في enotes انه ينزل التحليل(themes , chracters, plot) لمسرحيتي
the emperor jones,and the play boy of the westren world


عجزت وأنا أبحث عنهم, فياليت المساعدة

[HaMaD2oO8]

بعد اذن اخوي الفتى سطيت علي حسابه لمساعدتك اخوي


The Emperor Jones takes place on an island in the West Indies and opens in the elegant throne room of the island’s ruler or ‘‘emperor,’’ Brutus Jones. It is late afternoon and no one is present except for an old black peasant woman sneaking through the palace. A white trader named Smithers enters and interrogates the woman, asking her why the palace is deserted. Smithers learns that the natives of the island, led by a former native chief named Lem, have stolen all the horses and have headed to the nearby hills to plan a revolt against their oppressive emperor.
When the Emperor, Brutus Jones, enters, Smithers gradually reveals this news, but Jones remains calm. He arrived on the island two years earlier from the United States, where he had worked as a porter on a fancy Pullman train before going to prison for killing a man named Jeff over a craps game. Escaping prison, Jones had come to the island and found Smithers cheating the black natives with his trade goods. After briefly joining Smithers as an associate, Jones eclipsed Smithers and named himself Emperor. Convincing the natives that he had magical powers and could only be killed by a silver bullet, Jones felt secure. He continues to feel secure in the face of this native revolt because he has carefully planned a response to it. He has money stashed in a foreign bank account, an escape route through the woods mapped out in his mind, and food buried at the edge of the forest. Jones has even made for himself a good luck charm out of what he thinks is the only silver bullet on the island.
But as Jones outlines his escape plan to Smithers, a drum begins to beat in the distant hills, and Jones is initially startled by it. Smithers informs Jones that the natives have begun a war dance to work up their courage for killing their ‘‘emperor.’’ Smithers tells Jones that the natives will send ghosts after him into the dark forest, but Jones asserts that he’s not afraid of ghosts and that by nightfall he will have gotten such a head start on Lem’s troops that they will never catch up to him. At 3:30 in the afternoon, Jones casually sets off on foot for his getaway through the dense forest.
Scene II
Night has fallen sometime after 6:30 pm, and Jones has reached the edge of the dense forest. Fatigued from his afternoon hike in the hot sun, Jones rests, listening to the steady beat of the drum, pulsating at a little more than 72 beats a minute, the rate of the normal heart beat. However, Jones can’t find the food he so confidently hid near this spot. As he lights a match to see more clearly, the rate of the drum beat increases and ‘‘the Little Formless Fears’’—hallucinations that represent Jones’s rising doubts—slide silently out of the darkness like black, shapeless grubworms ‘‘about the size of a creeping child.’’ When the Formless Fears laugh at Jones’s consternation, Jones notices them, pulls his pistol, and fires. In a flash, the Formless Fears are gone, and the drums begin beating more rapidly. Jones reassures himself and hurries into the dark forest.
Scene III
It is 9:00 at night and the beams of the newly risen moon create an eerie glow on the dark forest floor as Jones enters a small triangular clearing. There, the figure of black Jeff, the man Jones killed in a crap game in the United States, seems to be mechanically throwing dice. Jones enters the clearing, his face scratched and his elegant clothes torn from forcing his way through the thick underbrush in the dark. He hears the increasingly rapid beat of the distant drums, sees Jeff, and fires another shot. The hallucinated image of Jeff disappears with the pistol shot and Jones leaves the forest path to plunge wildly into the underbrush.
Scene IV
It is an hour before midnight and from the forest Jones stumbles onto a wide dirt road running diagonally across the stage. His uniform is now ragged and torn, and he begins to discard parts of it to ease himself from the stifling heat. Exhausted, he throws himself down to rest but soon begins to hallucinate again. A small gang of black convicts in striped suits are working with picks and shovels. The white prison guard, armed with rifle and whip, demands that Jones join the convict group, and for a moment the nearly hypnotized Jones does. But when the hallucinated guard beats him, Jones responds by trying to hit the guard with his imaginary shovel. Realizing his hands are actually empty, Jones fires another shot from his pistol and all the imagined figures disappear. Jones plunges again into the forest, the drum beats increasing in volume and rapidity.
Scene V
It is an hour after midnight and Jones enters a large circular clearing and sits on a dead stump. In his exhaustion and misery, Jones hallucinates again and sees the stump as an auction block from the 1850s where a crowd has gathered to watch slaves bought and sold. When Jones becomes the slave being auctioned off, he fires at the auctioneer and planter trying to buy him, once again causing the images to disappear. Again Jones plunges into the forest as the drum beats quicken and increase in volume.
Scene VI
It is 3:00 in the morning and in a cleared space no more than five feet high under dense tree limbs Jones settles for another rest. The moonlight is shut out by the canopy and only a ‘‘vague, wan light filters through.’’ Jones’s silver bullet is all that remains in his gun. His clothes have all been torn away and what remains is no more than a breech cloth. Gradually, two rows of seated figures appear behind Jones in his next hallucination. The small space in the forest becomes a ship at sea and Jones a member of a slave group being carried to the new world. As this hallucination fades, the drum begins to beat even louder and quicker.
Scene VII
It is 5:00 in the morning and at the foot of a gigantic tree near a river Jones imagines an African witch-doctor dancing and chanting before him. As the drum beat reaches a frenzied pitch, Jones is hypnotized by the Witch Doctor’s performance. He begins to sway with the shaman and joins in the chanting. At the culmination of the dance, the Witch Doctor indicates that Jones must be sacrificed to the sacred crocodile river god, but Jones rouses a final defiance and fires his remaining silver bullet into the crocodile apparition.
Scene VIII
It is dawn and the final scene takes place in the identical spot at the foot of the forest where Jones started his journey in Scene II. Lem enters with his small band of soldiers, followed by Smithers. They examine Jones’s tracks, Smithers complaining that they have wasted their evening beating the drum and casting spells, Lem confident that they will still ‘‘kotch him.’’ The sound of snapping twigs in the forest s the soldiers and they shoot Jones, who has simply run in a circle all night. The sound of the drum abruptly ceases and Lem reveals that part of the evening’s ceremonies involved making their own silver bullets from melted coins. The soldiers show Jones’s dead body and exit, leaving Smithers to sneer at ‘‘the lot of ’em.’’


الشخصيات


Jeff
The black man Brutus Jones killed over a crap game in the United States before the action of the play began. Appearing in Scene III as one of Jones’s hallucinations, Jeff is brown rather than blackskinned, thin, middle-aged, and dressed in a Pullman porter’s uniform. In Jones’s hallucination, Jeff tosses the dice like a robot.
Brutus Jones
The main character in The Emperor Jones, Brutus Jones is a tall and powerfully built American negro man of middle age. Formerly a Pullman (train) car porter in the United States, Jones comes to the West Indian island where the play takes place and becomes ‘‘emperor’’ after convincing the natives that he has magical powers. Before coming to the island, Jones had escaped from an American prison, where he was being confined for killing a man over a crap game. Jones exudes a strength and confidence that commands fear and respect from all around him even while he reigns quite ruthlessly as Emperor. His eyes indicate extraordinary cunning, intelligence, and a careful shrewdness.
To make himself appear regal, Jones wears a light-blue uniform decorated with brass buttons and heavy gold chevrons and braids. His pants are bright red with a light-blue stripe down the side and he wears patent leather boots with brass spurs and a holster with a long-barreled, pearl-handled revolver. In the play he speaks with a strongly marked black dialect, as in, ‘‘who dare whistle dat way in my palace?’’ Jones is filled with contempt for the former exploiter of the islanders, the white man, Smithers.
Lem
A former chieftain on the island and the leader of the natives who finally rebel against Jones’s dictatorial rule. The heavy-set Lem appears on stage only in the last scene, where he is dressed in a loincloth with a revolver and cartridge belt around his waist. Lem hates Jones and once hired another native to shoot him, but when the gun misfired in the assassination attempt, Jones proclaimed that only a silver bullet could kill him. As the play opens, Lem has finally convinced the rest of the natives to forge their own silver bullet, and they spend the night working up the courage to attack Jones. Lem and his men finally kill Jones in the forest where Jones had desperately run in circles trying to escape.
Little Formless Fears
In the second scene of the play, these fanciful creatures represent Jones’s first hallucinations in the forest and they stand for his general anxieties. These ‘‘fears’’ are ‘‘black’’ and ‘‘shapeless,’’ like ‘‘a grubworm about the size of a creeping child,’’ and ‘‘only their glittering little eyes can be seen.’’ These shapes ‘‘move noiselessly, but with deliberate, painful effort, striving to raise themselves on end, failing and sinking again.’’ When these fears mock Jones with their laughter, Jones shoots at them and they disappear.
Henry Smithers
Smithers is the tall, bald, stoop-shouldered Cockney Englishman, about forty-years-old, who was successfully exploiting the black natives before Brutus Jones arrived on the island. Smithers has a long neck with an enormous Adam’s apple, which looks like an egg. Deeply tanned, Smithers’s naturally pasty face has taken on a sickly yellow color, and his nose is red from extensive drinking of native rum. Smithers has small, sharp features, including a pointed nose and little, red-rimmed eyes that dart around like a ferret’s. He is mean, cowardly, and dangerous—afraid of Jones but openly defiant, as far as he dares to be, and is clearly delighted with Jones’s downfall.
Smithers carries a riding whip and is dressed in a dirty white suit with a white cork helmet and a cartridge belt and revolver around his waist. Smithers speaks in a (British) Cockney dialect, which O’Neill indicates with idioms and spelling like ‘‘I got me ’ooks [hooks or hands] on yer غير مسجل.’’
Witch Doctor
Jones’s last hallucination, in Scene VII, includes this dancing and chanting shaman or medicine man of primitive African society. The Witch Doctor is shriveled, old, and ‘‘naked except for the fur of some small animal tied about his waist, its bushy tail hanging down in front.’’ His body is stained a bright red, he has antelope horns on his head, and he carries a bone rattle and a ‘‘charm stick’’ made of white cockatoo feathers. The Witch Doctor finally indicates that Jones must serve as the ritual sacrifice for a crocodile god that rises from the nearby river. However, Jones’s last act is to defy the sacrifice and shoot his pistol and the remaining silver bullet into the crocodile apparition.

الثيمات


Race and Racism
The Emperor Jones examines race and racism on a number of levels. Most simply, it calls attention to the racial oppression that actually existed in America in 1920. In Scene I, Smithers expresses skepticism over Jones’s claim that he killed a white man before coming to the island: ‘‘from what I’ve ’eard, it ain’t ’ealthy for a black to kill a white man in the States. They burn ’em in oil, don’t they?’’ And though Smithers is an Englishman, he clearly represents racist attitudes that were present in O’Neill’s contemporary society. At times Smithers reveals his racism somewhat subtly, as in the opening moments of the play when he assumes that the peasant woman sneaking through the throne room must have been ‘‘stealin’ a bit.’’ At other times, Smithers is much less subtle, as when he delivers the vicious curtain line at the end of the play, dismissing all dark-skinned people as ‘‘Stupid as ’ogs, the lot of ’em! Blarsted niggers!’’
And as Jones re-enacts in the forest the horrors of the slave trade that brought Africans to America, O’Neill’s implication is that Jones is also a victim of American racism. However, at this point O’Neill takes the racism theme to another level of complexity: he reveals that Jones himself has become a racist on this distant isle. After he becomes ‘‘emperor,’’ Jones thinks of himself as being separate from and superior to the natives of the island, whom he characterizes as ‘‘de low-flung bush niggers,’’ ‘‘dese fool woods’ niggers,’’ and ‘‘black trash.’’ He sees himself as civilized, and he is contemptuous of ‘‘dis raggedy country.’’ In Scene IV, as he is recovering from his vision of Jeff, Jones says to himself, ‘‘Is yo’ civilized, or is yo’ like dese ign’rent black niggers, heah?’’ And Jones is also contemptuously racist toward Smithers: ‘‘Talk polite, white man! Talk polite, you heah me! I’m boss heah now, is you forgettin’?’’ The suggestion that O’Neill seems to be making is that anyone who succumbs to the temptations of power is susceptible to racism, even those who themselves have so poignantly suffered from it.
But the most extraordinary feature of this theme is that even as O’Neill is attempting to expose the horrors of racism he seems himself to be guilty of it to some extent. His representation of the black dialect throughout the play, though an attempt to capture a unique vocal quality, perpetuates linguistic stereotypes about black speakers. And in Scene IV, when Jones sees the gang of prison convicts, O’Neill says of Jones in his stage directions that ‘‘his eyes pop out,’’ relying on a stereotypical image of fear that is seldom applied to white characters. O’Neill’s characterization of Lem in the final scene is especially insensitive. He describes Lem as ‘‘a heavy-set, ape-faced old savage of the extreme African type, dressed only in a loin cloth.’’ And Lem’s naive belief in the magic of the silver bullet is expressed in words that make him sound like a caricatured Native American Indian: ‘‘lead bullet no kill him. He got um strong charm. I took um money, make um silver bullet, make um strong charm, too. . . . Yes. Him got strong charm. Lead no good.’’ Charles Gilpin, the original actor playing Jones, was so sensitive to the implied racism of the play that as the production continued he changed many of the lines, refusing at times to use the frequently repeated word ‘‘nigger.’’ When United Artists made its 1933 movie version of the play they even cut Smithers’s last line, a clear concession to the play’s excessively vivid racism.

[white rose]

وعليكم السلام ورحمة الله وبركاته
اطلع على هذا الرابط وحمل الملفات :
http://www.skaau.com/vb/showpost.php...33&postcount=6
وبالتوفيق :)

[toto-1988]

المشاركة الأصلية كتبت بواسطة hamad2oo8 بعد اذن اخوي الفتى سطيت علي حسابه لمساعدتك اخوي the emperor jones takes place on an island in the west indies and opens in the elegant throne room of the island’s ruler or ‘‘emperor,’’ brutus jones. It is late afternoon and no one is present except for an old black peasant woman sneaking through the palace. A white trader named smithers enters and interrogates the woman, asking her why the palace is deserted. Smithers learns that the natives of the island, led by a former native chief named lem, have stolen all the horses and have headed to the nearby hills to plan a revolt against their oppressive emperor. When the emperor, brutus jones, enters, smithers gradually reveals this news, but jones remains calm. He arrived on the island two years earlier from the united states, where he had worked as a porter on a fancy pullman train before going to prison for killing a man named jeff over a craps game. Escaping prison, jones had come to the island and found smithers cheating the black natives with his trade goods. After briefly joining smithers as an associate, jones eclipsed smithers and named himself emperor. Convincing the natives that he had magical powers and could only be killed by a silver bullet, jones felt secure. He continues to feel secure in the face of this native revolt because he has carefully planned a response to it. He has money stashed in a foreign bank account, an escape route through the woods mapped out in his mind, and food buried at the edge of the forest. Jones has even made for himself a good luck charm out of what he thinks is the only silver bullet on the island. But as jones outlines his escape plan to smithers, a drum begins to beat in the distant hills, and jones is initially startled by it. Smithers informs jones that the natives have begun a war dance to work up their courage for killing their ‘‘emperor.’’ smithers tells jones that the natives will send ghosts after him into the dark forest, but jones asserts that he’s not afraid of ghosts and that by nightfall he will have gotten such a head start on lem’s troops that they will never catch up to him. At 3:30 in the afternoon, jones casually sets off on foot for his getaway through the dense forest. Scene ii night has fallen sometime after 6:30 pm, and jones has reached the edge of the dense forest. Fatigued from his afternoon hike in the hot sun, jones rests, listening to the steady beat of the drum, pulsating at a little more than 72 beats a minute, the rate of the normal heart beat. However, jones can’t find the food he so confidently hid near this spot. As he lights a match to see more clearly, the rate of the drum beat increases and ‘‘the little formless fears’’—hallucinations that represent jones’s rising doubts—slide silently out of the darkness like black, shapeless grubworms ‘‘about the size of a creeping child.’’ when the formless fears laugh at jones’s consternation, jones notices them, pulls his pistol, and fires. In a flash, the formless fears are gone, and the drums begin beating more rapidly. Jones reassures himself and hurries into the dark forest. Scene iii it is 9:00 at night and the beams of the newly risen moon create an eerie glow on the dark forest floor as jones enters a small triangular clearing. There, the figure of black jeff, the man jones killed in a crap game in the united states, seems to be mechanically throwing dice. Jones enters the clearing, his face scratched and his elegant clothes torn from forcing his way through the thick underbrush in the dark. He hears the increasingly rapid beat of the distant drums, sees jeff, and fires another shot. The hallucinated image of jeff disappears with the pistol shot and jones leaves the forest path to plunge wildly into the underbrush. Scene iv it is an hour before midnight and from the forest jones stumbles onto a wide dirt road running diagonally across the stage. His uniform is now ragged and torn, and he begins to discard parts of it to ease himself from the stifling heat. Exhausted, he throws himself down to rest but soon begins to hallucinate again. A small gang of black convicts in striped suits are working with picks and shovels. The white prison guard, armed with rifle and whip, demands that jones join the convict group, and for a moment the nearly hypnotized jones does. But when the hallucinated guard beats him, jones responds by trying to hit the guard with his imaginary shovel. Realizing his hands are actually empty, jones fires another shot from his pistol and all the imagined figures disappear. Jones plunges again into the forest, the drum beats increasing in volume and rapidity. Scene v it is an hour after midnight and jones enters a large circular clearing and sits on a dead stump. In his exhaustion and misery, jones hallucinates again and sees the stump as an auction block from the 1850s where a crowd has gathered to watch slaves bought and sold. When jones becomes the slave being auctioned off, he fires at the auctioneer and planter trying to buy him, once again causing the images to disappear. Again jones plunges into the forest as the drum beats quicken and increase in volume. Scene vi it is 3:00 in the morning and in a cleared space no more than five feet high under dense tree limbs jones settles for another rest. The moonlight is shut out by the canopy and only a ‘‘vague, wan light filters through.’’ jones’s silver bullet is all that remains in his gun. His clothes have all been torn away and what remains is no more than a breech cloth. Gradually, two rows of seated figures appear behind jones in his next hallucination. The small space in the forest becomes a ship at sea and jones a member of a slave group being carried to the new world. As this hallucination fades, the drum begins to beat even louder and quicker. Scene vii it is 5:00 in the morning and at the foot of a gigantic tree near a river jones imagines an african witch-doctor dancing and chanting before him. As the drum beat reaches a frenzied pitch, jones is hypnotized by the witch doctor’s performance. He begins to sway with the shaman and joins in the chanting. At the culmination of the dance, the witch doctor indicates that jones must be sacrificed to the sacred crocodile river god, but jones rouses a final defiance and fires his remaining silver bullet into the crocodile apparition. Scene viii it is dawn and the final scene takes place in the identical spot at the foot of the forest where jones started his journey in scene ii. Lem enters with his small band of soldiers, followed by smithers. They examine jones’s tracks, smithers complaining that they have wasted their evening beating the drum and casting spells, lem confident that they will still ‘‘kotch him.’’ the sound of snapping twigs in the forest s the soldiers and they shoot jones, who has simply run in a circle all night. The sound of the drum abruptly ceases and lem reveals that part of the evening’s ceremonies involved making their own silver bullets from melted coins. The soldiers show jones’s dead body and exit, leaving smithers to sneer at ‘‘the lot of ’em.’’ الشخصيات jeff the black man brutus jones killed over a crap game in the united states before the action of the play began. Appearing in scene iii as one of jones’s hallucinations, jeff is brown rather than blackskinned, thin, middle-aged, and dressed in a pullman porter’s uniform. In jones’s hallucination, jeff tosses the dice like a robot. Brutus jones the main character in the emperor jones, brutus jones is a tall and powerfully built american negro man of middle age. Formerly a pullman (train) car porter in the united states, jones comes to the west indian island where the play takes place and becomes ‘‘emperor’’ after convincing the natives that he has magical powers. Before coming to the island, jones had escaped from an american prison, where he was being confined for killing a man over a crap game. Jones exudes a strength and confidence that commands fear and respect from all around him even while he reigns quite ruthlessly as emperor. His eyes indicate extraordinary cunning, intelligence, and a careful shrewdness. To make himself appear regal, jones wears a light-blue uniform decorated with brass buttons and heavy gold chevrons and braids. His pants are bright red with a light-blue stripe down the side and he wears patent leather boots with brass spurs and a holster with a long-barreled, pearl-handled revolver. In the play he speaks with a strongly marked black dialect, as in, ‘‘who dare whistle dat way in my palace?’’ jones is filled with contempt for the former exploiter of the islanders, the white man, smithers. Lem a former chieftain on the island and the leader of the natives who finally rebel against jones’s dictatorial rule. The heavy-set lem appears on stage only in the last scene, where he is dressed in a loincloth with a revolver and cartridge belt around his waist. Lem hates jones and once hired another native to shoot him, but when the gun misfired in the assassination attempt, jones proclaimed that only a silver bullet could kill him. As the play opens, lem has finally convinced the rest of the natives to forge their own silver bullet, and they spend the night working up the courage to attack jones. Lem and his men finally kill jones in the forest where jones had desperately run in circles trying to escape. Little formless fears in the second scene of the play, these fanciful creatures represent jones’s first hallucinations in the forest and they stand for his general anxieties. These ‘‘fears’’ are ‘‘black’’ and ‘‘shapeless,’’ like ‘‘a grubworm about the size of a creeping child,’’ and ‘‘only their glittering little eyes can be seen.’’ these shapes ‘‘move noiselessly, but with deliberate, painful effort, striving to raise themselves on end, failing and sinking again.’’ when these fears mock jones with their laughter, jones shoots at them and they disappear. Henry smithers smithers is the tall, bald, stoop-shouldered cockney englishman, about forty-years-old, who was successfully exploiting the black natives before brutus jones arrived on the island. Smithers has a long neck with an enormous adam’s apple, which looks like an egg. Deeply tanned, smithers’s naturally pasty face has taken on a sickly yellow color, and his nose is red from extensive drinking of native rum. Smithers has small, sharp features, including a pointed nose and little, red-rimmed eyes that dart around like a ferret’s. He is mean, cowardly, and dangerous—afraid of jones but openly defiant, as far as he dares to be, and is clearly delighted with jones’s downfall. Smithers carries a riding whip and is dressed in a dirty white suit with a white cork helmet and a cartridge belt and revolver around his waist. Smithers speaks in a (british) cockney dialect, which o’neill indicates with idioms and spelling like ‘‘i got me ’ooks [hooks or hands] on yer غير مسجل.’’ witch doctor jones’s last hallucination, in scene vii, includes this dancing and chanting shaman or medicine man of primitive african society. The witch doctor is shriveled, old, and ‘‘naked except for the fur of some small animal tied about his waist, its bushy tail hanging down in front.’’ his body is stained a bright red, he has antelope horns on his head, and he carries a bone rattle and a ‘‘charm stick’’ made of white cockatoo feathers. The witch doctor finally indicates that jones must serve as the ritual sacrifice for a crocodile god that rises from the nearby river. However, jones’s last act is to defy the sacrifice and shoot his pistol and the remaining silver bullet into the crocodile apparition. الثيمات race and racism the emperor jones examines race and racism on a number of levels. Most simply, it calls attention to the racial oppression that actually existed in america in 1920. In scene i, smithers expresses skepticism over jones’s claim that he killed a white man before coming to the island: ‘‘from what i’ve ’eard, it ain’t ’ealthy for a black to kill a white man in the states. They burn ’em in oil, don’t they?’’ and though smithers is an englishman, he clearly represents racist attitudes that were present in o’neill’s contemporary society. At times smithers reveals his racism somewhat subtly, as in the opening moments of the play when he assumes that the peasant woman sneaking through the throne room must have been ‘‘stealin’ a bit.’’ at other times, smithers is much less subtle, as when he delivers the vicious curtain line at the end of the play, dismissing all dark-skinned people as ‘‘stupid as ’ogs, the lot of ’em! Blarsted niggers!’’ and as jones re-enacts in the forest the horrors of the slave trade that brought africans to america, o’neill’s implication is that jones is also a victim of american racism. However, at this point o’neill takes the racism theme to another level of complexity: He reveals that jones himself has become a racist on this distant isle. After he becomes ‘‘emperor,’’ jones thinks of himself as being separate from and superior to the natives of the island, whom he characterizes as ‘‘de low-flung bush niggers,’’ ‘‘dese fool woods’ niggers,’’ and ‘‘black trash.’’ he sees himself as civilized, and he is contemptuous of ‘‘dis raggedy country.’’ in scene iv, as he is recovering from his vision of jeff, jones says to himself, ‘‘is yo’ civilized, or is yo’ like dese ign’rent black niggers, heah?’’ and jones is also contemptuously racist toward smithers: ‘‘talk polite, white man! Talk polite, you heah me! I’m boss heah now, is you forgettin’?’’ the suggestion that o’neill seems to be making is that anyone who succumbs to the temptations of power is susceptible to racism, even those who themselves have so poignantly suffered from it. But the most extraordinary feature of this theme is that even as o’neill is attempting to expose the horrors of racism he seems himself to be guilty of it to some extent. His representation of the black dialect throughout the play, though an attempt to capture a unique vocal quality, perpetuates linguistic stereotypes about black speakers. And in scene iv, when jones sees the gang of prison convicts, o’neill says of jones in his stage directions that ‘‘his eyes pop out,’’ relying on a stereotypical image of fear that is seldom applied to white characters. O’neill’s characterization of lem in the final scene is especially insensitive. He describes lem as ‘‘a heavy-set, ape-faced old savage of the extreme african type, dressed only in a loin cloth.’’ and lem’s naive belief in the magic of the silver bullet is expressed in words that make him sound like a caricatured native american indian: ‘‘lead bullet no kill him. He got um strong charm. I took um money, make um silver bullet, make um strong charm, too. . . . Yes. Him got strong charm. Lead no good.’’ charles gilpin, the original actor playing jones, was so sensitive to the implied racism of the play that as the production continued he changed many of the lines, refusing at times to use the frequently repeated word ‘‘nigger.’’ when united artists made its 1933 movie version of the play they even cut smithers’s last line, a clear concession to the play’s excessively vivid racism.

الله يساعدك ورفع الله قدرك دنيا وآخرة

[toto-1988]

المشاركة الأصلية كتبت بواسطة white rose وعليكم السلام ورحمة الله وبركاته اطلع على هذا الرابط وحمل الملفات : http://www.skaau.com/vb/showpost.php...33&postcount=6 وبالتوفيق :)

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