The dynamics of how personal distress conveys such larger universal truths through the complexity of interaction are, in fact, located far away from daily goings-on within hearth and home. One of the most fascinating ways that Wit stands apart from the many other stage dramas in which the main character’s long, slow death provides the foundation for all narrative twists and turns to follow is that such family dynamics do not play a major role in the narrative. These distressing personal issues are typically presented within the context of a play whose central theme radiates outward from the long, lingering death of its main character through interaction with a complex web of family members. Of the many themes explored in Margaret Edson’s play Wit, one of the most satisfying is the revelation by play’s end that regardless of how universal applicable all the other themes at play may be, the real engine driving all emotional and intellectual connections between almost inevitably results from distressing personal issues, often a particularly idiosyncratic dimension. We are thankful for their contributions and encourage you to make your own. These notes were contributed by members of the GradeSaver community.
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