ENG3704
Assignment 3 2025
Unique #
Due Date: 15 September 2025
Detailed solutions, explanations, workings
and references.
+27 81 278 3372
, QUESTION 1
Introduction
Harvey Fierstein’s Torch Song Trilogy (1978) is a seminal work of American queer
theatre that portrays both the joys and the hardships of gay life in the late twentieth
century. Structured in three parts—International Stud, Fugue in a Nursery, and
Widows and Children First!—the play chronicles the emotional journey of Arnold
Beckoff, a Jewish gay drag performer navigating the search for love, family, and self-
respect. Read through the lens of the bildungsroman, the trilogy presents Arnold’s
movement from self-deprecating insecurity to self-acceptance and maturity. Fierstein
situates Arnold’s personal growth within a hostile social environment where
homophobia, familial expectations, and cultural norms shape his experiences. By
examining Arnold’s evolving relationships, grief, and confrontations with authority
figures, the play invites audiences to view queer life not merely as struggle but as
resilience and affirmation. Arnold’s growth is therefore both a deeply personal
narrative and a wider social critique (Fierstein, 1978: 3-5).
Does Torch Song Trilogy Apply as a Bildungsroman?
A bildungsroman traces a protagonist’s psychological and moral development, often
beginning with youthful longing and ending with mature self-awareness. Arnold fits
this pattern from the first scene of International Stud, where his direct address to the
audience reveals both humour and vulnerability: he jokes about singing to strangers
but admits to feeling lonely when the applause fades (Fierstein, 1978: 5). His
yearning for authentic connection reflects the bildungsroman’s focus on identity
formation.
The trilogy follows key stages of personal growth. Arnold’s initial insecurity is evident
in his desperate desire for validation through casual encounters and fleeting
relationships. His romantic disillusionment with Ed is a classic coming-of-age
catalyst: Ed enjoys their intimacy privately but cannot commit publicly, saying he is
―scared that someone will find out‖ (Fierstein, 1978: 22). This betrayal forces Arnold
to examine his own expectations of love and self-worth. Later, Arnold’s decision to
Varsity Cube 2025 +27 81 278 3372
Assignment 3 2025
Unique #
Due Date: 15 September 2025
Detailed solutions, explanations, workings
and references.
+27 81 278 3372
, QUESTION 1
Introduction
Harvey Fierstein’s Torch Song Trilogy (1978) is a seminal work of American queer
theatre that portrays both the joys and the hardships of gay life in the late twentieth
century. Structured in three parts—International Stud, Fugue in a Nursery, and
Widows and Children First!—the play chronicles the emotional journey of Arnold
Beckoff, a Jewish gay drag performer navigating the search for love, family, and self-
respect. Read through the lens of the bildungsroman, the trilogy presents Arnold’s
movement from self-deprecating insecurity to self-acceptance and maturity. Fierstein
situates Arnold’s personal growth within a hostile social environment where
homophobia, familial expectations, and cultural norms shape his experiences. By
examining Arnold’s evolving relationships, grief, and confrontations with authority
figures, the play invites audiences to view queer life not merely as struggle but as
resilience and affirmation. Arnold’s growth is therefore both a deeply personal
narrative and a wider social critique (Fierstein, 1978: 3-5).
Does Torch Song Trilogy Apply as a Bildungsroman?
A bildungsroman traces a protagonist’s psychological and moral development, often
beginning with youthful longing and ending with mature self-awareness. Arnold fits
this pattern from the first scene of International Stud, where his direct address to the
audience reveals both humour and vulnerability: he jokes about singing to strangers
but admits to feeling lonely when the applause fades (Fierstein, 1978: 5). His
yearning for authentic connection reflects the bildungsroman’s focus on identity
formation.
The trilogy follows key stages of personal growth. Arnold’s initial insecurity is evident
in his desperate desire for validation through casual encounters and fleeting
relationships. His romantic disillusionment with Ed is a classic coming-of-age
catalyst: Ed enjoys their intimacy privately but cannot commit publicly, saying he is
―scared that someone will find out‖ (Fierstein, 1978: 22). This betrayal forces Arnold
to examine his own expectations of love and self-worth. Later, Arnold’s decision to
Varsity Cube 2025 +27 81 278 3372
