By Eugene Ionesco
Rhinoceros is a statement at the absurdity of the human situation made tolerable purely through self-delusion. It indicates us the fight of the person to take care of integrity and identification by myself in a global the place all others have succumbed to the “beauty” of brute strength, ordinary strength, and mindlessness.
Includes Rhinoceros, The chief, the longer term Is in Eggs or It Takes every kind to Make a World
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Additional resources for Rhinoceros and other Plays
To begin with Angelo. 1, when discussing severe law with Escalus, Angelo says justice concerns itself with what it has access to, it cannot treat what is concealed. This concern with concealed crime, broached by Escalus, is unconsciously clothed in sexual language by Angelo: what's open made to justice, That justice seizes . . 68-9) her choice of word influenced by her contradictory feelings about her brother's potency (in connection with his sin) but also perhaps registering the subliminal awareness of Angelo's sudden sexual attraction to her, even perhaps of hers to him.
See the Textual Analysis, p. 208 below. See Alfred Stamp, The Disputed Revels Accounts, 1930, and E. K. Chambers, William Shakespeare, 2 vols. 1930,11, p. 331. 2 of the play to be solely to the peace with Spain, but quotes some significant comment in Stow's Annales on the anxiety among those 'pretended gallants, banckrouts, and vnruly youths' who stood to benefit from continuing war with Spain. Stow speaks of their being 'setled in pyracie', which would be a closer confirmation of Lever's case had it not been first published eleven years later.
3 It is not until the end of Act that an audience is likely to be able to recognise a dramatic pattern in which the sub-plot episodes serve to reflect aspects of the play's central knot of concerns, and it is indeed to falsify experience of the play as it 1 2 3 Robert A. Shedd, unpublished dissertation at the University of Michigan, 1953, cited by David L. Stevenson, The Achievement of Shakespeare's 'Measure for Measure', 1966, who quotes Dudley Carlton's description, p. 161. See also Bennett, ''Measure for Measure' as Royal Entertainment, pp.