The Love Affair in the Scent of Green Papaya

The retainer girl becomes single-valued function of a triangle, for the young actor has a fiancTe who is jealous of the servant girl even before she and the musician begin their affair. The fiancTe does at last leave once that affair begins, and she leaves behind her former tailored and the servant girl to do whatever they want straight that they are alone.

The world in which this takes place is a old world very different from what exists in the West, at to the lowest degree in the present day or even in the 1950s. The young servant girl starts out in a family headed by a strong male figure who rules the mansion like a king. In the second ho aimhold, the musician takes lots the aforesaid(prenominal) role and selects the servant girl as his mistress. Women in this time and place have little independence and are controlled by males. For Mui, the servant, it makes little difference which male is in charge--she is a servant either way, alone she may feel it is discontinue to be appreciated as a woman by the musician instead of a mere servant in a different household. Her place in this world is make all the to a greater extent puzzling by her refusal to speak--she is intriguing to the musician for much the same reason. The world in which she begins to thrive, however, is also a world that will soon be disappearing, as preserve be noted near the end as we disclose the distant sounds of war coming closer and closer to the house. The gloss of which she is a part has been carefully deline

The film is structured on assumed differences in tender class, with the girl from the country being a servant in part because she is from a different class. This is indeed her only pass to live in such a house. The musician is attracted to her at least in part because she is of a lower class and even more subject to his male prerogatives than would be his fiancTe from his stimulate class. The mixture of differing classes is often a strong dramatic bend that is meant to show relationships not only among the characters at hand but between their different social classes in society at large.

The male servant in the play has more preference than the female servant in the film--the male always has more choice than the female.

Both play and film use class distinctions as a dramatic device.

dungaree makes this clear when he is discussing Miss Julie's broken engagement and wondering why it came some: "Yes, I wonder what the real story was there. He was a gentleman, even if he wasn't rich. Ah! These citizenry have such sentimentalist ideas" (Strindberg 63). He sees himself as a man firmly grounded in reality, and his attitude toward love in particular is set in contrast to that of the upper class. He does not even use the word "love" in his class, finding instead that people come together because it is convenient and may separate for the same reason. He has been with many women and sees this as a realistic system of behavior, to change relationships without regrets and without holding onto what is late(prenominal). This is indeed a central difference between the social classes as seen by Jean and as presented in the play: the upper class holds onto the past and even lives in the past, while the lower class lives in the present and lets the past go. Miss Julie cannot continue without honor, and honor is skip over with family history, social attitudes, and with tying what happens in the present to something that has happened in the past.

ated in the course of the film, and yet it is a cultur
Order your essay at Orderessay and get a 100% original and high-quality custom paper within the required time frame.