What literary elements are used in the play OUr Town?
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Well, I believe that play features a character simply called the "Narrator."  He is a third-person perspective on all events in the 'town.'  I would say that third-person perspective might be considered a literary element.
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"Come, cords, come, nurse, I'll to my wedding-bed,\nAnd death, not Romeo, take my maidenhead!"\nJuliet, Act III, Scene ii, Lines 136-7\n\n"O, tell me, friar, tell me,\nIn what vile part of this anatomy\nDoth my name lodge? Tell me, that I may sack\nThe hateful mansion."\n[Romeo takes out his dagger and offers to stab himself.]\nRomeo, Act III, Scene iii, Lines 105-8\n\n"If all else fail, myself have power to die."\nJuliet, Act III, Scene v, Line 242
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Midsummer Nights Dream\nBetween a Rock and a Hard Place\nThe Bible\nAnimal Farm\nThis Present Darkness\n\nHope this helps!
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Look for the natural breaks and high points in the story and action and they will be your starting points for acts and scenes.  Identify events in the plot that are essential to the story and so must be included.  You may want to identify important introductory scenes, main body scenes and closing scenes.  \n\nYou may have to write dialogue for many of the scenes as there may not be enough dialogue in the original story to make it a play.  You will have to think about the voice of the characters -what would they say?\n\nIf you have a large bookstore in your area, check it out.  It probably has books on script writing.  Your local library might have them also.\n\nThese links may help.  Best of luck with it.
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Heres a short synopsis of the play:\nA bizarre and witty account of marital breakdown\nKenneth is a man with a weakness for fatty foods and skinny women. His mid-life crisis forces him to favour the latter, so he trades in Hilary - his stoic wife of twenty years - for the younger, prettier, slimmer (and more culinary-challenged) Laura. However, he quickly regrets his rash decision and finds himself torn between the delights of Laura's bedroom and Hilary's kitchen. The three eventually meet for a 'let's all be grown-ups' meal round at Hilary's, where Kenneth discovers he can no longer have his cake and eat it, as the women regain control... This play sounds bizarre and is, but it also says a lot about human weakness, loyalty, and the consequences of selfishness. It's also extremely funny, with such classic lines as "go and have deep throat sex and leave me here in my sparkling kitchen!"\n\nand a review:\nOn entering the theatre we were confronted with a setting which in it's Spartan simplicity suggested we were about to witness a Grecian Tragedy, which I suppose in a way we were. \n\nKenneth and Hilary were married for nineteen years. Nineteen years in which Hilary in her spick and span kitchen has prepared, cooked and served gargantuan meals for Kenneth who, to put it mildly, has a healthy appetite. \n\nThen Kenneth meets Laura who seems to represent all the things he thinks he has been missing. They embark on an affair, which quickly descends into a vortex of lies and deceit. Laura is young, sexy and finds Kenneth sexy. There are however a couple of problems – Laura is a bit of a slut and she is a hopeless cook. So Kenneth starts slipping back to Hilary for a little culinary consolation. \n\nWe first meet the three participants at Hilary's house to which she has invited Kenneth and Laura (now three years married) for an anniversary dinner. A dinner which Hilary with murderous and vengeful thoughts has prepared and is in the process of cooking very carefully indeed. \n\n  \nRay Newton & Loretta Freeman  \nSo a play about appetites or more correctly a play about hungry people. From the ageing Teddy Boy glutton Kenneth's constant cry of "I'm STARVING!!" through Hilary's loving, almost lascivious preparation of food and hunger for revenge to Laura who is on a diet anyway and so presumably always hungry not least for (as she elegantly phrases it) nookie. \n\nThere is pain and hurt here and sympathy is not confined to "The Wronged Wife". \n\nAs someone once said, "Every villain has his point of view" so Kenneth and Laura reveal during the progress of the play their own particular needs. \n\nThe play, delivered in a series of flashbacks stemming from the anniversary dinner at the beginning to the climactic last scene when Hilary serves the first course. "Mmmmm, fish for starters, fabulous! Fabulous!!!" Grunts Kenneth and proceeds to wolf not only his own portion but Laura's as well and inevitably starts to choke. \n\nThe play then veers into very black farce as the two budding Borgias from suburbia coolly watch as Kenneth writhes his last over the table and then calmly over a drink or two discuss the disposing of the body. Of course, HH \n\nHilary the cook has the answer! "Turn on the oven, 400 degrees F." she suggests, "We'll have to eat him, flush him down the loo".
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I would definately try out www.sparknotes.com that's where I get most of my info for english class. And they usually have a section called "important quotes explained"
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The story opens with a description of North Richmond Street, a"blind," "cold ... .. silent" street where the houses "gazed at one an-other with brown imperturbable faces." It is a street of fixed, decaying conformity and false piety. The boy's house contains the samesense of a dead present and a lost past. The former tenant, a priest,died in the back room of the house, and his legacy-several old yel-lowed books, which the boy enjoys leafing through because they areold, and a bicycle pump rusting in the back yard-become symbolsof the intellectual and religious vitality of the past. The boy, in themidst of such decay and spiritual paralysis, experiences the confusedidealism and dreams of first love and his awakening becomes incom-patible with and in ironic contrast to the staid world about him.\n\nEvery morning before school the boy lies on the floor in thefront parlor peeking out through a crack in the blind of the door,watching and waiting for the girl next door to emerge from her houseand walk to school. He is shy and still boyish. He follows her, walkssilently past, not daring to speak, overcome with a confused sense ofsensual desire and religious adoration. In his mind she is both a saintto be worshipped and a woman to be desired. His eyes are "often fullof tears," and one evening he goes to the back room where the priesthad died. Clasping the palms of his hands together, he murmurs, "0love! 0 love!" in a prayer not to God, but to the concept of love andperhaps even to the girl, his love. Walking with his aunt to shop onSaturday evenings he imagines that the girl's image accompanies him,and that he protects her in "places the most hostile to romance." Inthe mixed symbolism of the Christian and the Romantic or Orientalmyths Joyce reveals the epiphany in the story: "These noises con-verged in a single sensation of life for me: I imagined that I bore mychalice safely through a throng of foes." He is unable to talk to thegirl. Drifting away from his schoolmates' boyish games, the boy hasfantasies in his isolation, in the ecstasy and pain of first love.\n\nFinally the girl speaks to the boy. She asks him if he is going toAraby. He replies that if he does he will bring her a gift, and fromthat moment, his thoughts upon the mixed imagery of the saintly lightupon her hair and the potential sensuality of "the white border of apetticoat," the boy cannot sleep or study. The word Araby "cast anEastern enchantment" over him, and then on the night he is to go tothe bazaar his uncle neglects to return home. Neither the aunt noruncle understands the boy's need and anguish, and thus his isolationis deepened. We begin to see that the story is not so much a story oflove as it is a rendition of the world in which the boy lives.\n\nThe second part of the story depicts the boy's inevitable disap-pointment and realization. In such an atmosphere of "blindness"-the aunt and uncle unaware of the boy's anguish, the girl not con-scious of the boy's love, and the boy himself blind to the true natureof his love-the words "hostile to romance" take on ironic overtones.These overtones deepen when the boy arrives too late at the bazaar.It is closing and the hall is "in darkness." He recognizes "a silencelike that which prevades a church after a service" but the bazaar isdirty and disappointing. Two men are "counting money on a salver"and he listens "to the fall of the coins." A young lady, bored withhim and interested in two men who are flirting with her, cheapensand destroys the boy's sense of an "Eastern enchantment." His love,like his quest for a gift to draw the girl to him in an unfriendly world,ends with his realizing that his love existed only in his mind. Thus\n\nthe theme of the story-the discrepancy between the real and theideal-is made final in the bazaar, a
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Star-crossed lovers; met at her daddy's rave.\nRome and Jules were diggin' on each other.\nJulie to him her betrothal vow gave.\nTybalt's bad news (cousin, not her brother).\n\nThey hooked up; Friar Laurence on the sly.\nTybalt wasted Rome's boy Mercutio.\nRome's vengeance; to Mantua he must fly.\nJulie and Paris; wedding bells (oh no!).\n\nFriar Laurence's scheme; plan he had laid.\nJules fakes death, will marry Paris never!\nRome's taken in! Julie falls on her blade.\nThe true lovers together forever.
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Quotation\n***********\n"Look how we live, an’ wheer we live, an’ in what numbers, an’ by what chances, an’ wi’ what sameness; and look how the mills is awlus a-goin’, and how they never works us no nigher to onny distant object-‘ceptin awlus Death. Look how you considers of us, and writes of us, and talks of us, and goes up wi’ your deputations to Secretaries o’ State ‘bout us, and how yo are awlus right, and how we are awlus wrong, and never had’n no reason in us sin ever we were born. Look how this ha’ growen an’ growen sir, bigger an’ bigger, broader an’ broader, harder an’ harder, fro year to year, fro generation unto generation. Who can look on’t sir, and fairly tell a man ‘tis not a muddle?"\n********************************************************\nExplanation of quotation\n**************************\n\nStephen Blackpool’s speech to Bounderby, from Book the Second, Chapter 5, is one of the few glimpses that we receive into the lives of the Hands. His long sentences and repetition of words such as “an’” and “Look” mimic the monotony of the workers’ lives. Similarly, Stephen’s dialect illustrates his lack of education and contrasts with the proper English spoken by the middle-class characters and by the narrator. In spite of his lack of formal education, however, Stephen possesses greater insight about the relationship between employer and employee than does Bounderby. Stephen notes that “yo” (the factory owners and employers) and “us” (the Hands) are constantly opposed, but that the Hands stand no chance in the contest because the employers possess all the wealth and power. However, he does not blame the employers solely for the suffering of the poor, concluding instead that the situation is a “muddle” and that it is difficult to determine who is responsible for society’s ills. Stephen also suggests that the monotony of factory labor seems futile to the Hands, who need to strive for some larger goal in order to make the endless round of production seem worthwhile. The “distant object” or larger goal that he mentions here is later symbolized by the bright star on which he gazes while trapped at the bottom of the mine shaft.\n\n*********\n hey,pal you can find all details on  http://www.sparknotes.com/lit/hardtimes/
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Poetry \nDrama \nEssays \nProse fiction \nOther prose literature \nYou may also want to see literary genres.
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Actor, playwright and poet
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http://www.sparknotes.com/shakespeare/merchant/themes.html
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On "Anyone lived in a pretty how town"...\n"anyone lived in a pretty how town"\n\nR. P. Blackmur (1941)\n\nMr. Cummings' poems depend entirely upon what they create in process, only incidentally upon what their preliminary materials or intentions may have been. Thus, above all, there is a prevalent quality of uncertainty, of uncompleted possibility, both in the items and in the fusion of the items which make up the poems; but there is also the persistent elementary eloquence of intension--of things struggling, as one says crying, to be together, and to make something of their togetherness which they could never exhibit separately or in mere series. The words, the meanings in the words, and also the nebula of meaning and sound and pun around the words, are all put into an enlivening relation to each other. There is, to employ a word which appealed to Hart Crane in similar contexts, a sense of synergy in all the successful poems of Mr. Cummings: synergy is the condition of working together with an emphasis on the notion of energy in the working, and energy in the positive sense, so that one might say here that Mr. Cummings' words were energetic. The poems are, therefore, eminently beyond paraphrase, not because they have no logical content--for they do, usually very simple--but because so much of the activity is apart from that of logical relationships, is indeed in associations free of, though not alien to, logical associations. In short, they create their objects.\n\n...I have been one of his admirers for twenty-one years since I first saw his poetry in the Dial; and it may be that my admiration has gone up and down so many hills that it is a little fagged and comes up to judgment with entirely too many reservations. Yet I must make them, and hope only that the admiration comes through.\n\nFirst, there is the big reservation that, contrary to the general belief and contrary to what apparently he thinks himself, Mr. Cummings is not...an experimental poet at all....\n\nMy second reservation...has to do with his vocabulary, which seems to me at many crucial points so vastly over-generalized as to prevent any effective mastery over the connotations they are meant to set up as the substance of his poems....\n\nMy third reservation is minor, and has to do with the small boy writing privy inscriptions on the wall; a reservation which merely to state is sufficiently to expound. Some of the dirt perhaps comes under the head of the poetry of gesture, and some perhaps is only the brutality of disgust. My complaint is meant to be technical; most of the dirt is not well enough managed to reach the level of either gesture or disgust, but remains, let us say, coprophiliac which is not a technical quality.\n\nfrom R. P. Blackmur, "[Review of 50 poems]." Southern Review 7 (1941): 201-05.\n\nhttp://www.english.uiuc.edu/maps/poets/a_f/cummings/reviews.htm\n\n\n\nSome of Cummings's most famous poems do not involve much if any odd typography or punctuation at all, but still carry his unmistakable style. For example, one famous poem begins:\n\nanyone lived in a pretty how town\n(with up so floating many bells down)\nspring summer autumn winter\nhe sang his didn't he danced his did\n\n\nWomen and men(both little and small)\ncared for anyone not at all\nthey sowed their isn't they reaped their same\nsun moon stars rain\n\nhttp://en.wikipedia.org/wiki/E._E._Cummings\n\n\nPoetry as a literary genre is more dependent on the subtleties and nuances of languages than other forms. It depends on every word on the page, its sound and position on the page, the use of figurative language to present a myriad of meanings in a short space. 'O Sweet Spontaneous' and 'anyone lived in a pretty how town' by e.e. cummings are two poems that illustrate this idea.\n'anyone lived in a pretty how town' is set out in quatrains with irregular rhyme and internal rhyme.The conventional stanzaic pattern s
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good luck....\n\nhttp://www.sparknotes.com/lit/greatex/\n\nNext time read the book....it is pretty good.
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a - editorials in local newspapers (supported by facts)\nb - letters to the editor in local newspapers (supported by facts)\nc - elect a new mayor in the next election\nd - town council meetings.
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The Forcefulness of Love \n\nRomeo and Juliet is the most famous love story in the English literary tradition. Love is naturally the play’s dominant and most important theme. The play focuses on romantic love, specifically the intense passion that springs up at first sight between Romeo and Juliet. In Romeo and Juliet, love is a violent, ecstatic, overpowering force that supersedes all other values, loyalties, and emotions. In the course of the play, the young lovers are driven to defy their entire social world: families (“Deny thy father and refuse thy name,” Juliet asks, “Or if thou wilt not, be but sworn my love, / And I’ll no longer be a Capulet”); friends (Romeo abandons Mercutio and Benvolio after the feast in order to go to Juliet’s garden); and ruler (Romeo returns to Verona for Juliet’s sake after being exiled by the Prince on pain of death in II.i.76–78). Love is the overriding theme of the play, but a reader should always remember that Shakespeare is uninterested in portraying a prettied-up, dainty version of the emotion, the kind that bad poets write about, and whose bad poetry Romeo reads while pining for Rosaline. Love in Romeo and Juliet is a brutal, powerful emotion that captures individuals and catapults them against their world, and, at times, against themselves.\nThe powerful nature of love can be seen in the way it is described, or, more accurately, the way descriptions of it so consistently fail to capture its entirety. At times love is described in the terms of religion, as in the fourteen lines when Romeo and Juliet first meet. At others it is described as a sort of magic: “Alike bewitchèd by the charm of looks” (II.Prologue.6). Juliet, perhaps, most perfectly describes her love for Romeo by refusing to describe it: “But my true love is grown to such excess / I cannot sum up some of half my wealth” (III.i.33–34). Love, in other words, resists any single metaphor because it is too powerful to be so easily contained or understood.\nRomeo and Juliet does not make a specific moral statement about the relationships between love and society, religion, and family; rather, it portrays the chaos and passion of being in love, combining images of love, violence, death, religion, and family in an impressionistic rush leading to the play’s tragic conclusion.\n\n\n\n\nLove as a Cause of Violence\n \nThe themes of death and violence permeate Romeo and Juliet, and they are always connected to passion, whether that passion is love or hate. The connection between hate, violence, and death seems obvious. But the connection between love and violence requires further investigation.\nLove, in Romeo and Juliet, is a grand passion, and as such it is blinding; it can overwhelm a person as powerfully and completely as hate can. The passionate love between Romeo and Juliet is linked from the moment of its inception with death: Tybalt notices that Romeo has crashed the feast and determines to kill him just as Romeo catches sight of Juliet and falls instantly in love with her. From that point on, love seems to push the lovers closer to love and violence, not farther from it. Romeo and Juliet are plagued with thoughts of suicide, and a willingness to experience it: in Act III, scene iii, Romeo brandishes a knife in Friar Lawrence’s cell and threatens to kill himself after he has been banished from Verona and his love. Juliet also pulls a knife in order to take her own life in Friar Lawrence’s presence just three scenes later. After Capulet decides that Juliet will marry Paris, Juliet says, “If all else fail, myself have power to die” (III.v.242). Finally, each imagines that the other looks dead the morning after their first, and only, sexual experience (“Methinks I see thee,” Juliet says, “. . . as one dead in the bottom of a tomb” (III.v.242; III.v.55–56). This theme continues until its inevitable conclusion: double suicide. This tragic choice is the highest, most potent expression of
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The literary period the work was written in, such as Romantic, etc.\n\nCountry it was written in/author's home