In the first scene of Tony Kushner's drama Angels in America (1993), Rabbi Isidor Chemelwitz's eulogy for Sarah Ironson outlines the play's crucial themes and motifs . The rabbi, a member of the “Bronx Home for Aged Hebrews” (Millennium, 9), commemorates Sarah's life and in particular her great journey to America. However, he continues to express his pessimism towards the current world by saying: "You will never be able to make the crossing that she made, for such great journeys in this world no longer exist" (Millennium, 10 ). However, due to the rabbi's age and his obvious bias against today's life in "the crucible where nothing melted" (Millennium, 10), his speech is juxposed with that of the redefinition of the identity of the part. The rabbi may be correct in stating that there are no longer any physical mass migration journeys in the world; However, when it comes to metaphysical journeys, the play's main characters present the antithesis of Rabbi Chemelwitz's theory. Today's life journeys are no longer about physical expansion, but rather about mental expansion, which leads us to discover our personal identities while resisting social expectations and norms. Harper, Louis, and Joe perfectly illustrate this inner expansion of identity despite overwhelming social pressures. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”?Get Original Essay Harper Pitt travels frequently throughout the play in order to find his true identity and escape his marriage. Subsequently, she cathartically breaks free from Joe in order to pursue her individuality. Upon meeting Harper for the first time, the audience is made aware of her strange character and her fear of loneliness. In her first scene, Mr. Lies, her imaginary travel agent, seems to directly reflect her unconscious need to travel away from her husband and his current lifestyle. Additionally, Harper undertakes various journeys with the help of her Valium addiction. She travels to Antarctica and even in Prior's dream during her travels, which further highlights Harper's desire to move away from her current lifestyle. The play also depicts his dependence on Valium as more than just an addiction, but also as a desperate method of escape. When Harper finally breaks free from her marriage to Joe, she reaches a turning point in her journey. She decides to give her entire supply of Valium to Joe because she no longer needs to escape through drugs, but will escape on her own, without the help of the pills or Mr. Lies. Harper is next seen on an airborne jumbo jet, which effectively connects Harper's metaphysical journey with a physical journey. Louis Ironson's identity journey is both dynamic and contradictory, resulting in a journey that is successful in some areas, but still incomplete at the end of the play. As he thinks his inner journey is over and he has accepted the world, he moves from selfishness to a level of extreme remorse. This gives his character contradictory qualities. In Perestroika, Louis criticizes Joe for hiding his sexuality; However, in Millennium, Prior reveals to us that Louis puts on an overtly "butch" facade at family events in an attempt to hide his own sexuality. Louis is an extreme liberal who is somehow attracted to a sexually confused Republican. Additionally, although he was raised Jewish, he considers himself agnostic and cannot seem to find a religion that suits him. These contradictory character traits increase the confusion of Louis' journey. Louis begins the play in fear of Prior's illness, showing his weakness and selfishness; however, as the plot.