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  • Topic: Love, Plays, Too Much Pain
  • Pages : 4 (1260 words )
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  • Published : March 19, 2013
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Inner journeys are a reciprocation of some sort of pain and personal growth. When comparing texts you often see the dramatic similarities of the experiences undergone by the protagonist, we also see that the pain and personal growth forms at different levels; creating either a diluted or concentrated effect. Cosi by Louis Nowra, the Road Not Taken by Robert Frost and Amadeus directed by Milos Forman, all portray similar kinds of pain and growth through similar experience.

Lewis begins his journey as a typically middle class citizen with radical left wing views, things that he considers so significant that they take priority over more primitive things like love. Here he can be compared to Salieri in Amadeus, before Mozart came to Vienna to play his music, Salieri is the favoured composer, he lives a high life with no qualms with anyone, and Mozart is merely a myth that he only hears about every once in a while. But undergoing pain can alter the way you live your life, which is exactly what happened with these three texts. The three protagonists are plunged into unusual situations they are not used to; Lewis being placed with mental patients, Salieri’s reputation as Court Composer is put at risk with the presence of Mozart, and the speaker in the Road Not Taken as he is placed with a decision he knew he would have to make quickly. The inner journey in these three texts is the way they handle these situations, and if they can grow into a better or worse person.

The main technique Nowra uses is the play within a play to create resonant ironies. This internal play of Cosi is the vehicle and cause of Lewis’ inner journey; his view switches from “love is not so important nowadays” to “where would everyone be without love?” Without the use of this technique, the play within the play, there would be no inner journey to speak of. So therefore, this was an essential element to the inner journey undertaken by Lewis.

Lewis at the beginning of the play states...
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