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Even the Anti-Social Plays of Cyrano de Bergerac and Night of the Iguana Cyrano is obviously a much better illustration of an anti play play than Night of the Iguana: Not only is that exhibited from the primary characters and their relationship to each other, but more significant, it is shown from the topics of these two plays. Shannon is unmistakably an ideal character for an anti play play: Though Cyrano may be alienated from society, it is, in a lot of ways, through his option. For instance, he might have a position in court with his ability with poetry, but rather he chooses to follow his own conscience: "What would you have me? . Like a creeping vine on a tall tree, then crawl upward? . No thank you!" Cyrano would like to create himself "in all things admirable," and he is: the stunt fighter, the poet that is exemplary, the strangest buff, an abysmal moralist (he likes meat on Fridays, however, expects to move to Heaven), the very best writer, and the best thinker. Shannon, in contrast, is none of these things. A defrocked minister, he's a lover just of teenage girls, and he is neither a poet nor a writer. Shannon is a warrior and a moralist, but those only bring about his isolation from society: His thoughts on God and morality make him locked from the church where he is the pastor. Cyrano is also in control within his connections: Ragueneau and Le Bret constantly follow Cyrano's guide when he condescends to tell them what to do; actually Roxane might have been his had he not been hindered by his own sense of honour. Shannon, on the other hand, is buffeted this way and that from the stronger characters in Iguana. He appears to get hands over his relationship with Maxine, but ultimately he acquiesces to her wishes. The only rel...