In literature (novels, folk tales, plays, films, etc.), we find two forms of so-called “coming of age” stories. The traditional method is preparation for adulthood. A young person (usually between 10 and 20 years old) passes, through some calamity or other intense situation, from the world of innocence to the world of experience to join the rest of the adults who have made the transition before him. Youth is freed from utopian illusions about life and becomes acquainted with harsh realities in a painful, but never fatal, way. Classic examples of this type of tale include the folk tale "Hansel and Gretel" and the novel David Copperfield by Charles Dickens. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay. Another coming of age or rite of passage presented by literature is preparation for death. In this version, the character is free of the illusions of adulthood and ready to die peacefully. The plot of these stories (like any other literary story) involves a conflict or dilemma that opens the character's eyes to the certainty of death. Once this is done and the character accepts mortality, he is then able to put his affairs in order (usually with those close to him) and eventually pass on his learning to those close to him. An example of this form of literature is Margaret Edson's play Wit (also humorously titled W;t). So what is the purpose of this less often used rite of passage? It is generally about teaching readers/viewers about death in order to allow them a more fulfilling life. Additionally, if they are presented with someone else's mistakes that cause the story's conflict, they may be able to see a reflection of themselves in literature and be able to avoid unpleasant dilemmas which cause death anxiety which can prevent them from living a fulfilling life. life. One of these dilemmas presented in this rite of passage is grappling with the illusion of control. If a person cannot accept that control is an illusion, then they will face a lot of anxiety and unhappiness. Religion has often sought to address this crisis, offering the simple mantra "let go and let God" as well as the more meaningful Serenity Prayer (used by Alcoholics Anonymous, an organization dedicated to helping people regain some sense of control over their lives). The Serenity Prayer attempts to reach out to people: “Lord, give me the serenity to accept the things I cannot change, the courage to change the things I can, and the wisdom to know the difference . A key word used in this prayer is the primary goal of much literature and religion: the acquisition of wisdom. Part of this wisdom is understanding that complete control of life is an illusion. Thwarting control causes anxiety and pain because people feel like something is being taken from them. Literature often seeks to show that it was never there for the taking (true literature, at least). If it is possible and desirable to be the "captain" of one's own soul, this is the extent of control one can achieve in life, and some, the mentally ill for example, do not have not even this control. It is this wisdom that is at the center of the play Wit. Wit's main character is Vivian Bearing, a scholar of 17th-century poetry, particularly John Donne. His life, under control for half a century, is experiencing drastic changes. She was diagnosed with end stage four metastatic ovarian cancer, the cancer beinggone unnoticed when it could have been treated at stages one to three. Up until this point in her life, she had exercised great control over her environment. Regarding her academic career, she at one point describes herself as "a force" in the study of literature (Edson 17). She is the queen of the department and her colleagues, it seems, can't wait for her to leave to take her place, even those who are her former students (32). In the classroom, Vivian demonstrated extraordinary control and composure, never needing grades and never making mistakes in her classes (74). She had enormous control over the subject, saying, "I could whip my students into a frenzy." Every ambiguity, every change of consciousness. I could get so much out of the poems. I could be so powerful” (48). Apparently, she expected others to be in control of their situation to the same extent, without showing pity to students who might have needed a little more time or a little extra help. If a student couldn't control their situation, that was no reason for them to show kindness - ironically, it ended up biting her, with her doctors not showing her the kindness she so desperately needed when she begins to feel as if she has lost control of her life. This perceived loss of control is highlighted in the second half of the play; however, she couldn't lose what she never had. In her life, she felt the illusion of control, but she never really had it. If she had control of her life, some things would have been different. First of all, she would never have had cancer. She didn't tell her cells to behave this way, nor did she have the power to stop them. Additionally, she is not able to control what happens to her body as a result of the treatment. Although she has actively chosen to pursue a particular therapy, she cannot control the hair loss or nausea she experiences. Moreover, she surrendered herself to the care of doctors who treat her not as a person but as research. These doctors may pretend to be trying to help, but they are actually more concerned with seeing the effects of their experimental medicine. Further evidence of this lack of control is that she must submit to hospital rules: she must wear a gown, she must be ready when the doctors are ready, and most importantly, she must undergo tests when they want her to. , No. no matter how embarrassing or humiliating the test may be. For example, at one point, she must (at least, she feels obligated) to undergo a “degrading” pelvic exam by a doctor who is a former student of hers (30-32). This submission to doctors is well characterized by his comments concerning the “great sessions” of doctors. That's when the head researcher, Dr. Kelekian, takes all of his students around the hospital to examine patients to review illnesses, treatments, symptoms, side effects, etc. She says Full of subjugation, hierarchy, gratuitous displays, sublimated rivalries. - I feel at home. It's like a graduate seminar. With one important difference: during the Grand Rounds, they read me like a book. Formerly I taught, now I am taught. It's much easier. I stand still and look cancerous. This requires less and less action each time. (37) This gives us further evidence that Vivian is not in control, but rather must comply with the doctors' wishes. The most striking example to prove this submission to doctors comes a little later in the play when she shows the audience what it was like..,1993.