Pride and Prejudice
Jane Austen
Since the novel has come to a close, it would be an opportune time to reflect on the more general and consistent themes and concepts of the work. Specifically, two motifs that appear in the title (pride and prejudice) obviously relate quite directly to some main themes. Although the development of the relevance of pride and prejudice occurs throughout the novel, the final chapters see their end and what can be gained through disavowing them.
Since the title creates two distinct ideas, I originally believed the duality to translate to the relationship between Elizabeth and Darcy with Darcy representing pride and Elizabeth representing prejudice. However, the two characters exhibit both qualities from time to time largely because one leads to the other. In Elizabeth's case, her pride caused her to side with Wickham without knowing the circumstances and her prejudice caused her to reject Darcy's proposal because she had believed him to be incapable of love-just to enumerate a few examples. Likewise, Darcy's pride caused him to alienate Elizabeth by his attitude and his prejudice against her family caused him to dash Jane's marriage temporarily and make securing his own difficult.
Gradually, both characters gradually overcome their vices. Elizabeth accepts her false and confident accusations while Darcy strives to act more civilly to Elizabeth and her family. Eventually, they abate their pride and prejudice to the point that they can see their love for each other: "Elizabeth...gave him to understand that her sentiments had undergone so material a change, since the period to which he alluded, as to make her receive with gratitude and pleasure his present assurances," (Austen, 289). In these last scenes, the result rather than the action of forsaking pride and prejudice is revealed. Elizabeth reveals that change, the bane of pride and prejudice, brought her to realize all Darcy could offer her. Therefore, Austen's theme is realized: releasing pride and prejudice will bring happiness previously hidden by themselves.
Wednesday, April 17, 2013
Pride & Prejudice: Chapters 55-57
Pride and Prejudice
Jane Austen
It seems there is nothing Mrs. Bennet will not do to get her daughters married. Today, such a characterization might bring with it heart-warming connotations, but "anything" includes all things sinister as well as all things lovely. When Mr. Bingley comes before the girls are ready, a succinct hyperbole reinforces the idea that Mrs. Bennet cares more for wealth than her daughters' happiness.
"Oh! hang Kitty! what has she to do with it? Come be quick, be quick! where is your sash my dear," (Austen, 271).
Apparently, Mrs. Bennet has unwittingly condoned the murder of her daughter. Obviously, this is just an expression, but the hyperbole still reveals her character, especially in the circumstance.
Since Bingley was at the house, it should have been a time for celebration of the impending wedding. However, instead of speaking words of love to match the occasion, she spoke out of anxiety and frustration. If she had only hoped for Jane's happiness, then she would not have fretted at all to get ready for Bingley; it would not be her responsibility to win him over. Instead, she reveals her desire for wealth once again by attempting to take complete control of the situation and eliminating all obstacles. Just like when Jane fell ill at Netherfield, Mrs. Bennet showed little concern for her daughters' well-being if it meant that a fruitful marriage could be secured. She would not let even her own daughters' get in the way of their own wealth.
Jane Austen
It seems there is nothing Mrs. Bennet will not do to get her daughters married. Today, such a characterization might bring with it heart-warming connotations, but "anything" includes all things sinister as well as all things lovely. When Mr. Bingley comes before the girls are ready, a succinct hyperbole reinforces the idea that Mrs. Bennet cares more for wealth than her daughters' happiness.
"Oh! hang Kitty! what has she to do with it? Come be quick, be quick! where is your sash my dear," (Austen, 271).
Apparently, Mrs. Bennet has unwittingly condoned the murder of her daughter. Obviously, this is just an expression, but the hyperbole still reveals her character, especially in the circumstance.
Since Bingley was at the house, it should have been a time for celebration of the impending wedding. However, instead of speaking words of love to match the occasion, she spoke out of anxiety and frustration. If she had only hoped for Jane's happiness, then she would not have fretted at all to get ready for Bingley; it would not be her responsibility to win him over. Instead, she reveals her desire for wealth once again by attempting to take complete control of the situation and eliminating all obstacles. Just like when Jane fell ill at Netherfield, Mrs. Bennet showed little concern for her daughters' well-being if it meant that a fruitful marriage could be secured. She would not let even her own daughters' get in the way of their own wealth.
Pride & Prejudice Chapters 52-54
Pride and Prejudice
Jane Austen
Mr. Bingley is returned to Netherfield! Though all may be pleased to see a man so polite, perhaps nobody's delight can compare to that of Mrs. Bennet who sees a chance to marry off Jane. However, to others, the possibility of such a union seems unlikely as Mr. Bingley had essentially abandoned the village indefinitely. Mrs. Bennet's confidence in Mr. Bingley's unwavering dedication to Jane demonstrates dramatic irony on several counts from several perspectives.
First of all, Mrs. Bennet's glee resulting from Bingley's return contrasts starkly with the girls' understanding of the situation. Mostly, this incongruity is due to the fact that she is unaware that Darcy had convinced Bingley to abandon his hopes of marrying Jane because of the family's status. If she had known that her own lack of connections and her siblings'(-in-law?) acquired wealth posed a threat, she would not have been so instrumental in the processions between her daughter and prospective son. Since the issue of worthiness begetting marriage went largely unperceived by Mrs. Bennet, the dramatic irony of her encounter with it reveals that such pride is so meaningless that it is hardly noticed by those without great degrees of vanity.
Additionally, Jane's own reaction to Bingley displays dramatic irony. After Bingley first left Netherfield, Jane had refused to accept that he was so modest as to take orders from his relations and friends pertaining to his future. Instead, she accepted that he no longer fancied her: "I assure you that I have now learned to enjoy his conversation as an agreeable and sensible young man, without having a wish beyond it. I am perfectly satisfied from what his manners now are that he never had any design of engaging my affection," (Austen, 270). The reader, however, gleans from Elizabeth's insights. She maintains that his flight into the city was caused by Darcy's influence rather than by personal indifference. Moreover, Darcy's love for Elizabeth suggests that he has reversed his influence on Bingley to please Jane and, by extension, Elizabeth. Once again, prejudice (this time Jane's) seems to give way to reason and love.
Jane Austen
Mr. Bingley is returned to Netherfield! Though all may be pleased to see a man so polite, perhaps nobody's delight can compare to that of Mrs. Bennet who sees a chance to marry off Jane. However, to others, the possibility of such a union seems unlikely as Mr. Bingley had essentially abandoned the village indefinitely. Mrs. Bennet's confidence in Mr. Bingley's unwavering dedication to Jane demonstrates dramatic irony on several counts from several perspectives.
First of all, Mrs. Bennet's glee resulting from Bingley's return contrasts starkly with the girls' understanding of the situation. Mostly, this incongruity is due to the fact that she is unaware that Darcy had convinced Bingley to abandon his hopes of marrying Jane because of the family's status. If she had known that her own lack of connections and her siblings'(-in-law?) acquired wealth posed a threat, she would not have been so instrumental in the processions between her daughter and prospective son. Since the issue of worthiness begetting marriage went largely unperceived by Mrs. Bennet, the dramatic irony of her encounter with it reveals that such pride is so meaningless that it is hardly noticed by those without great degrees of vanity.
Additionally, Jane's own reaction to Bingley displays dramatic irony. After Bingley first left Netherfield, Jane had refused to accept that he was so modest as to take orders from his relations and friends pertaining to his future. Instead, she accepted that he no longer fancied her: "I assure you that I have now learned to enjoy his conversation as an agreeable and sensible young man, without having a wish beyond it. I am perfectly satisfied from what his manners now are that he never had any design of engaging my affection," (Austen, 270). The reader, however, gleans from Elizabeth's insights. She maintains that his flight into the city was caused by Darcy's influence rather than by personal indifference. Moreover, Darcy's love for Elizabeth suggests that he has reversed his influence on Bingley to please Jane and, by extension, Elizabeth. Once again, prejudice (this time Jane's) seems to give way to reason and love.
Pride & Prejudice: Chapters 48-51
Pride and Prejudice
Jane Austen
Scandal abounds after Lydia disappears with Wickham. Unfortunately for those anticipating visual conflicts to accompany the climax, this event seems to be one of the most tense scenes of the novel. Nevertheless, Mr. Bennet's reaction to Lydia's disgrace contrasts starkly with his character established in the opening chapters. Even though he has expressed his love for Elizabeth's headstrong nature, especially in regards to marriage, now, even he espouses his society's obsession with honor and reputation that accompanied marriage.
Almost immediately after learning Lydia left Brighton with Wickham, Mr. Bennet set out to find the two and drag them to the altar. Mrs. Bennet even feared that he would challenge Wickham to a duel and will likely lose. In such a moralistic society which denied all human temptations, even Elizabeth's desire to journey through the dirt to see her sickly sister, even staying with someone before marriage overnight without anyone else to attest to chastity was seen as socially fatal. Because Mr. Bennet had established himself as someone who valued Elizabeth's personal happiness over the potential for status with Mr. Collins, he reaffirmed the stigma surrounding fornication. "Say nothing of that. Who should suffer but myself? It has been my own doing, and I ought to feel it," (Austen, 235).
Even though Lizzy herself disapproved of her sister's imprudence, she would have to struggle with others' response to this supposed tragedy of morals. If Darcy had prevented the marriage between Mr. Bingley and Jane just because the Bennet family lacked status, how would society punish the family for being related to someone with no regard for decorum? Mr. Bennet's conforming to society's disgust for fornication demonstrates how prevalent the demand for perfection is in Lizzy's society.
Jane Austen
Scandal abounds after Lydia disappears with Wickham. Unfortunately for those anticipating visual conflicts to accompany the climax, this event seems to be one of the most tense scenes of the novel. Nevertheless, Mr. Bennet's reaction to Lydia's disgrace contrasts starkly with his character established in the opening chapters. Even though he has expressed his love for Elizabeth's headstrong nature, especially in regards to marriage, now, even he espouses his society's obsession with honor and reputation that accompanied marriage.
Almost immediately after learning Lydia left Brighton with Wickham, Mr. Bennet set out to find the two and drag them to the altar. Mrs. Bennet even feared that he would challenge Wickham to a duel and will likely lose. In such a moralistic society which denied all human temptations, even Elizabeth's desire to journey through the dirt to see her sickly sister, even staying with someone before marriage overnight without anyone else to attest to chastity was seen as socially fatal. Because Mr. Bennet had established himself as someone who valued Elizabeth's personal happiness over the potential for status with Mr. Collins, he reaffirmed the stigma surrounding fornication. "Say nothing of that. Who should suffer but myself? It has been my own doing, and I ought to feel it," (Austen, 235).
Even though Lizzy herself disapproved of her sister's imprudence, she would have to struggle with others' response to this supposed tragedy of morals. If Darcy had prevented the marriage between Mr. Bingley and Jane just because the Bennet family lacked status, how would society punish the family for being related to someone with no regard for decorum? Mr. Bennet's conforming to society's disgust for fornication demonstrates how prevalent the demand for perfection is in Lizzy's society.
Wednesday, April 10, 2013
Pride & Prejudice: Chapters 31-34
Pride and Prejudice
Jane Austen
Lizzy uncovers a momentous and significant fact that both overturns her beliefs and reinforces her prejudices. It turns out that Darcy, not Caroline Bingley, who convinced Mr. Bingley to drop dreams of marrying Jane. While this knowledge serves as an entertaining twist, it also provides an insight into the use of prejudice as a motif in the novel.
On one hand, Elizabeth realized the error in her assertions of Caroline's blame in Mr. Bingley's decision not to marry Jane. Since her prejudices against a seemingly hostile Caroline were to blame for these assertions, the reader can start to pick up on one of the themes of the novel: renounce prejudice. If she had simply kept her assertions to herself, negative consequences might have been avoided. However, since she so stubbornly argued her case to Jane, she likely jeopardized Jane's friendship with Caroline.
Although she is not aware, her prejudice has also jeopardized her own prospects for the future. "The agitation and tears which the subject occasioned brought on a headache; and it grew so much worse towards the evening that added to her unwillingness to see Mr. Darcy, it determined her not to attend her cousins to Rosings, where they were engaged to drink tea," (Austen, 148). Dramatic irony lies Elizabeth's predicament because the narrator has noted Darcy's clandestine love for her, but she has learned nothing of the sort. Instead of inquiring into his motives, Lizzy has simply decided to despise and avoid him both because of his first impressions and his latest scheme. Unfortunately, she could be throwing away her chances at a happy and wealthy marriage.
Jane Austen
Lizzy uncovers a momentous and significant fact that both overturns her beliefs and reinforces her prejudices. It turns out that Darcy, not Caroline Bingley, who convinced Mr. Bingley to drop dreams of marrying Jane. While this knowledge serves as an entertaining twist, it also provides an insight into the use of prejudice as a motif in the novel.
On one hand, Elizabeth realized the error in her assertions of Caroline's blame in Mr. Bingley's decision not to marry Jane. Since her prejudices against a seemingly hostile Caroline were to blame for these assertions, the reader can start to pick up on one of the themes of the novel: renounce prejudice. If she had simply kept her assertions to herself, negative consequences might have been avoided. However, since she so stubbornly argued her case to Jane, she likely jeopardized Jane's friendship with Caroline.
Although she is not aware, her prejudice has also jeopardized her own prospects for the future. "The agitation and tears which the subject occasioned brought on a headache; and it grew so much worse towards the evening that added to her unwillingness to see Mr. Darcy, it determined her not to attend her cousins to Rosings, where they were engaged to drink tea," (Austen, 148). Dramatic irony lies Elizabeth's predicament because the narrator has noted Darcy's clandestine love for her, but she has learned nothing of the sort. Instead of inquiring into his motives, Lizzy has simply decided to despise and avoid him both because of his first impressions and his latest scheme. Unfortunately, she could be throwing away her chances at a happy and wealthy marriage.
Pride & Prejudice: Chapters 27-30
Pride and Prejudice
Jane Austen
In order to check in on Mrs. Collins who took her place as the pastor's wife, Elizabeth joined a party destined for Rosings. After Mr. Collin's incessant praises of his parsonage, Lizzy could hardly be shocked by anything on the grounds. However, not all were so jaded as she; in a bout of situational irony, Maria shook the house when she thought Lady Catherine had arrived at the parsonage.
"'La! my dear,' said Maria, quite shocked at the mistake, 'it is not Lady Catherine. The old lady is Mrs. Jenkinson, who lives with them,'" (Austen, 125). Like the reader, Lizzy did not see the merit of such commotion to welcome two women. Even if Lady Catherine had shown up, why would someone cry for all to rush to the door?
Although most readers would share Lizzy's confusion, more people at that time would likely have made such a scene for someone so important in society. However, Lizzy's response to Maria's ironic behavior reveals a significant contrast between Lizzy's values and contemporary society's. To Elizabeth, a person's character makes him or her appealing rather than his or her wealth and status. Because of this conviction, she viewed wealthy Darcy with contempt and Wickham (who appeared to be a perfect gentleman without wealth or status) with admiration. Lizzy's astonishment at Maria's overreaction promotes sensibility rather than intimidation by those privileged by birth.
Jane Austen
In order to check in on Mrs. Collins who took her place as the pastor's wife, Elizabeth joined a party destined for Rosings. After Mr. Collin's incessant praises of his parsonage, Lizzy could hardly be shocked by anything on the grounds. However, not all were so jaded as she; in a bout of situational irony, Maria shook the house when she thought Lady Catherine had arrived at the parsonage.
"'La! my dear,' said Maria, quite shocked at the mistake, 'it is not Lady Catherine. The old lady is Mrs. Jenkinson, who lives with them,'" (Austen, 125). Like the reader, Lizzy did not see the merit of such commotion to welcome two women. Even if Lady Catherine had shown up, why would someone cry for all to rush to the door?
Although most readers would share Lizzy's confusion, more people at that time would likely have made such a scene for someone so important in society. However, Lizzy's response to Maria's ironic behavior reveals a significant contrast between Lizzy's values and contemporary society's. To Elizabeth, a person's character makes him or her appealing rather than his or her wealth and status. Because of this conviction, she viewed wealthy Darcy with contempt and Wickham (who appeared to be a perfect gentleman without wealth or status) with admiration. Lizzy's astonishment at Maria's overreaction promotes sensibility rather than intimidation by those privileged by birth.
Pride & Prejudice: Chapters 23-26
Pride and Prejudice
Jane Austen
Being a 19th century love story, Pride and Prejudice was bound to feature a daughter resisting a forced marriage to the displeasure of her parents. However, Lizzy was much more efficient in avoiding her marriage with Mr. Collins who simply shifted his view elsewhere. Still, Mrs. Bennet's complaints characterize her as conceited, cunning, and callous [accidental alliteration (now assonance depending on accent)].
As the reader has already noticed, Mrs. Bennet's chief concern is the marrying off of her daughters to suitable (read: rich) gentlemen. Her pursuit of cash to offset the possibility of losing the estate to Mr. Collins after Mr. Bennet's death pushed her to push her daughter into rain and illness to snag Mr. Bingley. Now, after two marriage proposals have failed, her lamentations augment her self-centered attitude. To her sister, Mrs. Bennet reflects: "The consequence of it is that Lady Lucas will have a daughter married before I have, and that Longbourn estate is just as much entailed as ever," (Austen, 110).
While earlier events could classify Mrs. Bennet as a conniving plotter, her reaction to unfortunate happenings adds a new dimension to her character. Because she can only think of lost wealth, her thoughts of exploiting her daughters are more habitual. Mrs. Bennet represents the status-crazed society which raised her and her daughters into viewing women as stepping stones to wealth.
Jane Austen
Being a 19th century love story, Pride and Prejudice was bound to feature a daughter resisting a forced marriage to the displeasure of her parents. However, Lizzy was much more efficient in avoiding her marriage with Mr. Collins who simply shifted his view elsewhere. Still, Mrs. Bennet's complaints characterize her as conceited, cunning, and callous [accidental alliteration (now assonance depending on accent)].
As the reader has already noticed, Mrs. Bennet's chief concern is the marrying off of her daughters to suitable (read: rich) gentlemen. Her pursuit of cash to offset the possibility of losing the estate to Mr. Collins after Mr. Bennet's death pushed her to push her daughter into rain and illness to snag Mr. Bingley. Now, after two marriage proposals have failed, her lamentations augment her self-centered attitude. To her sister, Mrs. Bennet reflects: "The consequence of it is that Lady Lucas will have a daughter married before I have, and that Longbourn estate is just as much entailed as ever," (Austen, 110).
While earlier events could classify Mrs. Bennet as a conniving plotter, her reaction to unfortunate happenings adds a new dimension to her character. Because she can only think of lost wealth, her thoughts of exploiting her daughters are more habitual. Mrs. Bennet represents the status-crazed society which raised her and her daughters into viewing women as stepping stones to wealth.
Pride & Prejudice: Chapters 19-22
Pride and Prejudice
Jane Austen
In this section of Section 2, dreams have been dashed. Although Lizzy was the one to dash Mr. Collins' plans to marry her, Jane was on the other side with Mr. Bingley. The Bingley's left Longbourn and declared that they would not return. The theories Elizabeth and Jane put forth as to why Bingley abandoned the country after being so enthralled by Jane reveal the two to be foil characters in regard to how they view others.
Upon reading the letter from Caroline, Jane did not assume that she had lost her potential fiancee. The family declared that they would not return for winter, but Miss Bingley did not declare that they would never return again. Jane detected no hostility from her potential sisters-in-law, so had no reason to believe that they had a role to play in detaining Charles. Even in the face of being torn from her love, Jane revealed herself to be utterly trusting of her friends.
In contrast, Elizabeth detected foul play. Because the Bingley sisters had not approved of her own decorum, Elizabeth held prejudices against their honesty and good will. She related to her sister that she believed Mr. Bingley to be kept in London intentionally by his sisters who wished to see him married to Miss Darcy. Jane conveys her opposition: "'If we thought alike of Miss Bingley,' replied Jane, 'your representation of all this might make me quite easy. But I know the foundation is unjust,'" (Austen, 95). Even in a time of stress and anger, Jane made sure not to pass blame onto others as Elizabeth had. Jane's devotion to her friend's honor contrasted with Elizabeth's stubborn prejudice predicts the difficulties she might face with Mr. Darcy whom she views as unbearably prideful even though he wishes to marry her.
Jane Austen
In this section of Section 2, dreams have been dashed. Although Lizzy was the one to dash Mr. Collins' plans to marry her, Jane was on the other side with Mr. Bingley. The Bingley's left Longbourn and declared that they would not return. The theories Elizabeth and Jane put forth as to why Bingley abandoned the country after being so enthralled by Jane reveal the two to be foil characters in regard to how they view others.
Upon reading the letter from Caroline, Jane did not assume that she had lost her potential fiancee. The family declared that they would not return for winter, but Miss Bingley did not declare that they would never return again. Jane detected no hostility from her potential sisters-in-law, so had no reason to believe that they had a role to play in detaining Charles. Even in the face of being torn from her love, Jane revealed herself to be utterly trusting of her friends.
In contrast, Elizabeth detected foul play. Because the Bingley sisters had not approved of her own decorum, Elizabeth held prejudices against their honesty and good will. She related to her sister that she believed Mr. Bingley to be kept in London intentionally by his sisters who wished to see him married to Miss Darcy. Jane conveys her opposition: "'If we thought alike of Miss Bingley,' replied Jane, 'your representation of all this might make me quite easy. But I know the foundation is unjust,'" (Austen, 95). Even in a time of stress and anger, Jane made sure not to pass blame onto others as Elizabeth had. Jane's devotion to her friend's honor contrasted with Elizabeth's stubborn prejudice predicts the difficulties she might face with Mr. Darcy whom she views as unbearably prideful even though he wishes to marry her.
Thursday, March 28, 2013
Potpourri Unit: Dover Beach
"Dover Beach"
Matthew Arnold
One idea dominates this poem: faith is gone and love is all that is left. However, the speaker's argument is organized like a formal essay more than a poem. The speaker makes an observation, validates the observation, proposes a hypothesis, then proposes a resolution.
The organization serves the poems meaning by expanding the scope affected by the observed misery. First, the speaker calls attention to something that can be seen literally. Dover is a real location and the calmness of the sea can be witnessed as well as the chaotic sounds that accompany the tranquil cliffs.
But to claim that deeper chaos accompanies beauty does not suffice. The speaker expands his theory to include Sophocles' experiences as well: "Sophocles long ago Heard it on the Aegean, and it brought Into his mind the turbid ebb and flow of human misery..." (Arnold, 892). Bringing up an ancient philosopher adds both credibility and urgency to the speaker's claim that the world is filled with suffering. One of the greatest minds of history agrees with him and this turbulent sound in the ocean has always been heard and can be heard all the way in Greece.
Now that the speaker has some credibility, he expands his claim to the metaphorical plane. Faith, to him, is not just a commodity, but a giant sea that surrounds the earth. Like the English Channel and Aegean, this sea is retreating turbulently. So, the speaker implores his lover to love him with intensity to combat the lack of faith. How could the lover decline? This poem was a compelling argument that relied on observations the audience could sense.
Matthew Arnold
One idea dominates this poem: faith is gone and love is all that is left. However, the speaker's argument is organized like a formal essay more than a poem. The speaker makes an observation, validates the observation, proposes a hypothesis, then proposes a resolution.
The organization serves the poems meaning by expanding the scope affected by the observed misery. First, the speaker calls attention to something that can be seen literally. Dover is a real location and the calmness of the sea can be witnessed as well as the chaotic sounds that accompany the tranquil cliffs.
But to claim that deeper chaos accompanies beauty does not suffice. The speaker expands his theory to include Sophocles' experiences as well: "Sophocles long ago Heard it on the Aegean, and it brought Into his mind the turbid ebb and flow of human misery..." (Arnold, 892). Bringing up an ancient philosopher adds both credibility and urgency to the speaker's claim that the world is filled with suffering. One of the greatest minds of history agrees with him and this turbulent sound in the ocean has always been heard and can be heard all the way in Greece.
Now that the speaker has some credibility, he expands his claim to the metaphorical plane. Faith, to him, is not just a commodity, but a giant sea that surrounds the earth. Like the English Channel and Aegean, this sea is retreating turbulently. So, the speaker implores his lover to love him with intensity to combat the lack of faith. How could the lover decline? This poem was a compelling argument that relied on observations the audience could sense.
Potpourri Unit: Sorting Laundry
"Sorting Laundry"
Elisavietta Ritchie
This poem seems to suggest that no action lacks a deeper meaning. Laundry, a chore that accomplishes so little yet takes up so much time, actually understandably can come to define a marriage as a whole. Although folding clothes brings back happy memories, some items stir up deep-rooted fears. Items like hideous towels and old shirts serve as symbols of the dynamics of the speaker's relationship.
As the speaker makes her way to old towels, she reflects on the positive aspects of her relationship. She describes the towels as "gaudy, bought on sale, reserved, we said, for the beach, refusing even after years, to bleach into respectability" (Ritchie, 841). Since her sheets have already been compared to a tablecloth for giants, the towels likely hold deeper meaning than mere existence. Perhaps the gaudiness of the towels suggests a quality about her relationship that others would not find desirably. For instance, she and her significant other could be rather quiet, or loud, or annoying. However, the important aspect of the marriage seems to be that, like the towels, she would never willingly do anything to change it.
Thoughts turn to darker subjects when the speaker reaches her former lover's shirt. Obviously, since this shirt was left behind, it must represent memories of an ex that, for some reason or another, cannot be shaken. Even though the current couple in the poem is still in tact, the seeds of doubt have already been planted in the speaker. The fears of losing her lover cannot be shaken like the regrets of her past relationship.
Elisavietta Ritchie
This poem seems to suggest that no action lacks a deeper meaning. Laundry, a chore that accomplishes so little yet takes up so much time, actually understandably can come to define a marriage as a whole. Although folding clothes brings back happy memories, some items stir up deep-rooted fears. Items like hideous towels and old shirts serve as symbols of the dynamics of the speaker's relationship.
As the speaker makes her way to old towels, she reflects on the positive aspects of her relationship. She describes the towels as "gaudy, bought on sale, reserved, we said, for the beach, refusing even after years, to bleach into respectability" (Ritchie, 841). Since her sheets have already been compared to a tablecloth for giants, the towels likely hold deeper meaning than mere existence. Perhaps the gaudiness of the towels suggests a quality about her relationship that others would not find desirably. For instance, she and her significant other could be rather quiet, or loud, or annoying. However, the important aspect of the marriage seems to be that, like the towels, she would never willingly do anything to change it.
Thoughts turn to darker subjects when the speaker reaches her former lover's shirt. Obviously, since this shirt was left behind, it must represent memories of an ex that, for some reason or another, cannot be shaken. Even though the current couple in the poem is still in tact, the seeds of doubt have already been planted in the speaker. The fears of losing her lover cannot be shaken like the regrets of her past relationship.
Wednesday, March 27, 2013
Potpourri Unit: Batter my heart, three-personed God
"Batter my heart, three-personed God"
John Donne
Aside from the incredibly unsettling images, this poem tells the story of a contrite sinner. But the speaker hints that his debauched nature is not his fault. He is but a prize in the eternal struggle between Satan and God, with Satan being the more frequent victor. A couple of paradoxes sum up the speaker's proposed resolution of utter fealty to God.
The first paradox asks God to free the speaker by revoking his freedom: "Take me to you, imprison me, for I, Except you enthrall me, never shall be free..." (Donne, 840). Even though being with God for eternity would seem appealing, having to be with God for eternity would most likely upset the most devout Christian. Still, in light of the speaker's alternative, his pleas seem reasonable. Earlier in the poem, the speaker compared himself to a usurped town serving only to hold its master. Likewise, there can only be one of two masters of the town. The speaker would rather face subjugation from God to ensure purity than submit to Satan's rule filled with guilt and sin.
The second paradox falls into the metaphor comparing the speaker to a town. The speaker claims he can never be chaste until God ravishes him. Being ravished usually doesn't relate to chastity and celibacy, but reasoning accompanies his... interesting choice of metaphors. If God were to fill the speaker with himself and have his way with him (as ravishing usually refers to a man's subjugating a woman), the speaker would be God's property and puppet. Being literally destined for heaven would be preferable to being filled with Satan and damnation.
John Donne
Aside from the incredibly unsettling images, this poem tells the story of a contrite sinner. But the speaker hints that his debauched nature is not his fault. He is but a prize in the eternal struggle between Satan and God, with Satan being the more frequent victor. A couple of paradoxes sum up the speaker's proposed resolution of utter fealty to God.
The first paradox asks God to free the speaker by revoking his freedom: "Take me to you, imprison me, for I, Except you enthrall me, never shall be free..." (Donne, 840). Even though being with God for eternity would seem appealing, having to be with God for eternity would most likely upset the most devout Christian. Still, in light of the speaker's alternative, his pleas seem reasonable. Earlier in the poem, the speaker compared himself to a usurped town serving only to hold its master. Likewise, there can only be one of two masters of the town. The speaker would rather face subjugation from God to ensure purity than submit to Satan's rule filled with guilt and sin.
The second paradox falls into the metaphor comparing the speaker to a town. The speaker claims he can never be chaste until God ravishes him. Being ravished usually doesn't relate to chastity and celibacy, but reasoning accompanies his... interesting choice of metaphors. If God were to fill the speaker with himself and have his way with him (as ravishing usually refers to a man's subjugating a woman), the speaker would be God's property and puppet. Being literally destined for heaven would be preferable to being filled with Satan and damnation.
Tuesday, March 26, 2013
Potpourri Unit: The Convergence of the Twain
"The Convergence of the Twain"
Thomas Hardy
This poem follows the tragic sinking of the Titanic, but hardly seeks to eulogize the fallen giant. Instead, the speaker conjures two contrasting characters: the ship and the iceberg that sank her. The use of imagery reinforces the idea of the Titanic being a token of human vanity and the iceberg being a supernatural creator's intended mate.
One of the first images presented in the poem is that of an expanse distance. The ship in question already lies at the bottom of the sea in almost complete solitude. In fact, the speaker makes special mention to the fact that the ship is separated from human vanity by the vast ocean. The reader can surmise that the ship illustrates the failure that commonly befalls the greatest of human aspirations and human pride. Furthermore, imagery serves to underline a stark contrast between the splendor of the ship and the environment of her grave: "Dim moon-eyed fishes near Gaze at the gilded gear And query: 'What does this vaingloriousness down here?'..." (Hardy, 778). Despite the decorations of gold, the ship ingloriously came to rest among lowly creatures that can hardly even see the shimmering glory that once draped the vessel. Many works of human vanity succumb to decay even though they were meant to be praised for eternity.
One more vessel is mentioned in the poem: the iceberg which sunk the ship. However, the creation of this character was not due to human vanity, but omnipotent design. In fact, the creation of the iceberg which occurred during the building of the ship, was intended to unite with the ship. The speaker conjures images of the ship and the iceberg being two halves of one praised event and two hemispheres of one globe. That ostentatious displays of human vanity come to face natural demise seems to be the intent of the one who created all.
Thomas Hardy
This poem follows the tragic sinking of the Titanic, but hardly seeks to eulogize the fallen giant. Instead, the speaker conjures two contrasting characters: the ship and the iceberg that sank her. The use of imagery reinforces the idea of the Titanic being a token of human vanity and the iceberg being a supernatural creator's intended mate.
One of the first images presented in the poem is that of an expanse distance. The ship in question already lies at the bottom of the sea in almost complete solitude. In fact, the speaker makes special mention to the fact that the ship is separated from human vanity by the vast ocean. The reader can surmise that the ship illustrates the failure that commonly befalls the greatest of human aspirations and human pride. Furthermore, imagery serves to underline a stark contrast between the splendor of the ship and the environment of her grave: "Dim moon-eyed fishes near Gaze at the gilded gear And query: 'What does this vaingloriousness down here?'..." (Hardy, 778). Despite the decorations of gold, the ship ingloriously came to rest among lowly creatures that can hardly even see the shimmering glory that once draped the vessel. Many works of human vanity succumb to decay even though they were meant to be praised for eternity.
One more vessel is mentioned in the poem: the iceberg which sunk the ship. However, the creation of this character was not due to human vanity, but omnipotent design. In fact, the creation of the iceberg which occurred during the building of the ship, was intended to unite with the ship. The speaker conjures images of the ship and the iceberg being two halves of one praised event and two hemispheres of one globe. That ostentatious displays of human vanity come to face natural demise seems to be the intent of the one who created all.
Thursday, February 28, 2013
Gender Unit: My mistress' eyes
"My mistress' eyes"
William Shakespeare
After all of these exaggerated love poems, it's almost refreshing reading a more realistic description of a lover. In fact, the speaker references such poems and expresses that his lover does not live up to passionate metaphors, similes, and imagery. Nevertheless, the speaker claims that his love is all the stronger because he is able to say such average things about his mistress.
The speaker's mistress is entirely average. Her eyes don't shine, she has little color, her hair isn't pleasant to stroke, she has no sweet fragrance, and her voice doesn't evoke emotion like a music would. The reader might not understand the speaker's motives. Why was the poem written if there is almost no emotion about the subject?
An answer can possibly be found by examining the poem's departure from typical love poems. Perhaps the poem is a stand against the view that all women must be spectacular in every feature in order to get their own poem. Such a meaning also makes sense of the last two lines: "And yet, by heaven, I think my love as rare As any she belied with false compare," (Shakespeare, 885). The speaker claims that his lover, despite lacking the common features of beauty, is equal to the most beautiful woman in his eyes. In other words, looks don't matter to the speaker.
William Shakespeare
After all of these exaggerated love poems, it's almost refreshing reading a more realistic description of a lover. In fact, the speaker references such poems and expresses that his lover does not live up to passionate metaphors, similes, and imagery. Nevertheless, the speaker claims that his love is all the stronger because he is able to say such average things about his mistress.
The speaker's mistress is entirely average. Her eyes don't shine, she has little color, her hair isn't pleasant to stroke, she has no sweet fragrance, and her voice doesn't evoke emotion like a music would. The reader might not understand the speaker's motives. Why was the poem written if there is almost no emotion about the subject?
An answer can possibly be found by examining the poem's departure from typical love poems. Perhaps the poem is a stand against the view that all women must be spectacular in every feature in order to get their own poem. Such a meaning also makes sense of the last two lines: "And yet, by heaven, I think my love as rare As any she belied with false compare," (Shakespeare, 885). The speaker claims that his lover, despite lacking the common features of beauty, is equal to the most beautiful woman in his eyes. In other words, looks don't matter to the speaker.
Gender Unit: Barbie Doll
"Barbie Doll"
Marge Piercy
In this satirical poem, Piercy tackles the issue of female body-image. Specifically, she places blame for the recent crisis on children's toys and people who judge others solely on a few aspects. The use of synecdoche accurately sums up the tragic effect the culture of bodily perfection seemingly manifest in Barbie dolls has on girls.
Throughout the poem, diction seems not to line up. For instance, "magic" is related to "big nose and fat legs." Descriptions like "tested intelligent" are followed by the girl's "apologizing." Despite the puzzling connotations, this mismatched diction serves to highlight the dichotomy of people's perspectives of beauty and what these perspectives actually do. This girl was told explicitly that becoming a woman will be a time of happiness and development and implicitly that this time should bring about typical Barbie-like appearances in her. However, after becoming a woman, she can do nothing but seek forgiveness for fate's decision not to imbue in her what others expected.
Eventually, the failure of the descriptions of womanhood to meet up with its reality drove the girlchild to end her life. Still, her suicide was caused by only a fraction of herself: "So she cut off her nose and her legs and offered them up," (Piercy, 836). The girlchild's insecurities about her body implanted by her Barbie dolls and reinforced by her classmates grew in her mind like a tumor such that she defined herself solely by her nose and legs. Her intelligence and strength meant nothing to her because she thought they meant nothing to everyone else.
Marge Piercy
In this satirical poem, Piercy tackles the issue of female body-image. Specifically, she places blame for the recent crisis on children's toys and people who judge others solely on a few aspects. The use of synecdoche accurately sums up the tragic effect the culture of bodily perfection seemingly manifest in Barbie dolls has on girls.
Throughout the poem, diction seems not to line up. For instance, "magic" is related to "big nose and fat legs." Descriptions like "tested intelligent" are followed by the girl's "apologizing." Despite the puzzling connotations, this mismatched diction serves to highlight the dichotomy of people's perspectives of beauty and what these perspectives actually do. This girl was told explicitly that becoming a woman will be a time of happiness and development and implicitly that this time should bring about typical Barbie-like appearances in her. However, after becoming a woman, she can do nothing but seek forgiveness for fate's decision not to imbue in her what others expected.
Eventually, the failure of the descriptions of womanhood to meet up with its reality drove the girlchild to end her life. Still, her suicide was caused by only a fraction of herself: "So she cut off her nose and her legs and offered them up," (Piercy, 836). The girlchild's insecurities about her body implanted by her Barbie dolls and reinforced by her classmates grew in her mind like a tumor such that she defined herself solely by her nose and legs. Her intelligence and strength meant nothing to her because she thought they meant nothing to everyone else.
Gender Unit: A Jury of Her Peers
"A Jury of Her Peers"
Susan Glaspell
Mrs. Wright almost certainly strangled her husband in the night, yet characters and perhaps the reader feel sympathy for her. In fact, the women who visit her house before her trial with the sheriff uncover the extenuating circumstances surrounding the murder. Moreover, the situational irony of the men's prejudices against the women's ability to solve a murder case hints at the unhappiness of women married to misogynists.
The entire purpose of the visit to the Wright residence was for the men to gather evidence that would ensure Mrs. Wright's conviction. The women only tagged along to collect a few of Mrs. Wright's household possessions and provide support for each other in the scary crime scene. The mere of idea that the women could provide some insight relevant to the case would be greeted with disbelief by the men: "'But would the women know a clue if they did come upon it?'" (Glaspell, 413). The men provide ample reason for the readers to feel sympathy for the wives.
However, the women prove their husbands and the lawyer utterly wrong. Not only did they find evidence pointing to possible motives for the murder, they almost completely solved the mystery surrounding the motives. Using their experiences as housewives, Mrs. Hale and Mrs. Peters found several indicators of an unhappy home: unfinished chores, a tattered quilt, and a dead bird. Eventually, the investigators surmise that Mr. Wright's murder of the bird, the only source of cheerful song and life in the house, finally pushed Mrs. wright over the edge. Instead of barring them from any meaningful discoveries, being women was almost the prerequisite for solving the mystery.
Silent homes, ignorantly insulting husbands, and a doting patriarchy conspire to put men on trial instead of Mrs. Wright in this story.
Susan Glaspell
Mrs. Wright almost certainly strangled her husband in the night, yet characters and perhaps the reader feel sympathy for her. In fact, the women who visit her house before her trial with the sheriff uncover the extenuating circumstances surrounding the murder. Moreover, the situational irony of the men's prejudices against the women's ability to solve a murder case hints at the unhappiness of women married to misogynists.
The entire purpose of the visit to the Wright residence was for the men to gather evidence that would ensure Mrs. Wright's conviction. The women only tagged along to collect a few of Mrs. Wright's household possessions and provide support for each other in the scary crime scene. The mere of idea that the women could provide some insight relevant to the case would be greeted with disbelief by the men: "'But would the women know a clue if they did come upon it?'" (Glaspell, 413). The men provide ample reason for the readers to feel sympathy for the wives.
However, the women prove their husbands and the lawyer utterly wrong. Not only did they find evidence pointing to possible motives for the murder, they almost completely solved the mystery surrounding the motives. Using their experiences as housewives, Mrs. Hale and Mrs. Peters found several indicators of an unhappy home: unfinished chores, a tattered quilt, and a dead bird. Eventually, the investigators surmise that Mr. Wright's murder of the bird, the only source of cheerful song and life in the house, finally pushed Mrs. wright over the edge. Instead of barring them from any meaningful discoveries, being women was almost the prerequisite for solving the mystery.
Silent homes, ignorantly insulting husbands, and a doting patriarchy conspire to put men on trial instead of Mrs. Wright in this story.
Gender Unit: Hunters in the Snow
"Hunters in the Snow"
Tobias Wolff
Three men display their manliness through the manliest of outdoors activities: hunting. However, they neither bag a deer nor live up to the stereotypes surrounding the male gender. Through the characterization of Kenny, Frank, and Tub, Wolff illustrates that not all that grows facial hair is man.
In Kenny's case, his inability to be direct about any serious matters ends up getting him shot. First, he briefly mentions the babysitter Frank plans on running off with without explicitly telling Tub his plans. Then, he fails to tell the other two hunters that the property owner asked him to kill the aging dog. Upon turning his gun at Tub, Tub preemptively puts a bullet in Kenny's side. If Kenny had been direct with his friends, Tub would not have felt the need to defend himself.
In Frank's case, his inability to be serious about life will most likely ruin his marriage and perhaps Kenny's death. As Kenny referenced, Frank reveals to Tub that he plans to leave his wife and kids for a 15-year-old babysitter. Because he has no regard for his obligations to his family (and the law), he is sure to leave his children without a father for a relationship that will be unstable at best. Also, when Tub leaves the directions to the hospital behind, Frank chooses to keep going, justifying his decision only with: "I remember them pretty well," (Wolff, 199). Had he seriously questioned his memory, Frank would have realized he had taken a wrong turn and possible doomed Kenny.
Finally, Tub's imperfections lie in his inability to control himself. Most noticeably, Tub has some sort of eating disorder; he is overweight and feels the need to beguile people into thinking he has a hormone problem. More significantly, his wild impulse forces him to shoot Kenny. If he had more confidence, Tub would have not felt that the other two hunters were literally out to kill him.
Tobias Wolff
Three men display their manliness through the manliest of outdoors activities: hunting. However, they neither bag a deer nor live up to the stereotypes surrounding the male gender. Through the characterization of Kenny, Frank, and Tub, Wolff illustrates that not all that grows facial hair is man.
In Kenny's case, his inability to be direct about any serious matters ends up getting him shot. First, he briefly mentions the babysitter Frank plans on running off with without explicitly telling Tub his plans. Then, he fails to tell the other two hunters that the property owner asked him to kill the aging dog. Upon turning his gun at Tub, Tub preemptively puts a bullet in Kenny's side. If Kenny had been direct with his friends, Tub would not have felt the need to defend himself.
In Frank's case, his inability to be serious about life will most likely ruin his marriage and perhaps Kenny's death. As Kenny referenced, Frank reveals to Tub that he plans to leave his wife and kids for a 15-year-old babysitter. Because he has no regard for his obligations to his family (and the law), he is sure to leave his children without a father for a relationship that will be unstable at best. Also, when Tub leaves the directions to the hospital behind, Frank chooses to keep going, justifying his decision only with: "I remember them pretty well," (Wolff, 199). Had he seriously questioned his memory, Frank would have realized he had taken a wrong turn and possible doomed Kenny.
Finally, Tub's imperfections lie in his inability to control himself. Most noticeably, Tub has some sort of eating disorder; he is overweight and feels the need to beguile people into thinking he has a hormone problem. More significantly, his wild impulse forces him to shoot Kenny. If he had more confidence, Tub would have not felt that the other two hunters were literally out to kill him.
Wednesday, February 13, 2013
Othello: Act V, scene ii
Othello: the Moor of Venice
William Shakespeare
Alas, another Shakespearean tragedy comes to a close. The final death count includes Roderigo, Desdemona, Emilia, and Othello. In reviewing this particular tragedy, several similarities between it and Julius Caesar, another Shakespearean tragedy, emerge.
In Othello, the tragic hero, Othello, succumbs to suicide following a rash decision to murder his love. Several times in the play, Othello claims his hubris to be that he loved too much. "Then must you speak Of one that loved not wisely but too well..." (V.ii.342-343). His love for Desdemona never turned to hate; instead, his intense love forced him to ensure that no other man could ever soil his sweet Desdemona. Of course, this love should never have been tested, but others corrupted his mind. Overall, the message from this play is to approach suspicions suspiciously and with calm thought
Similarly, in Julius Caesar, the tragic hero, Brutus, commits suicide because of inevitable defeat in a civil war following his decision to stab the Consul Julius Caesar. Like Othello, Brutus' hubris was intense love (in his case for his Republic). He could not bear to see his Republic fall to the despotism of a king. However, the suspicions that Caesar would destroy the Republic were founded solely in speculation; in fact, Caesar had rejected the crown. Like Othello's, Brutus' story instructs the reader to avoid mere suspicion and impassioned decisions.
William Shakespeare
Alas, another Shakespearean tragedy comes to a close. The final death count includes Roderigo, Desdemona, Emilia, and Othello. In reviewing this particular tragedy, several similarities between it and Julius Caesar, another Shakespearean tragedy, emerge.
In Othello, the tragic hero, Othello, succumbs to suicide following a rash decision to murder his love. Several times in the play, Othello claims his hubris to be that he loved too much. "Then must you speak Of one that loved not wisely but too well..." (V.ii.342-343). His love for Desdemona never turned to hate; instead, his intense love forced him to ensure that no other man could ever soil his sweet Desdemona. Of course, this love should never have been tested, but others corrupted his mind. Overall, the message from this play is to approach suspicions suspiciously and with calm thought
Similarly, in Julius Caesar, the tragic hero, Brutus, commits suicide because of inevitable defeat in a civil war following his decision to stab the Consul Julius Caesar. Like Othello, Brutus' hubris was intense love (in his case for his Republic). He could not bear to see his Republic fall to the despotism of a king. However, the suspicions that Caesar would destroy the Republic were founded solely in speculation; in fact, Caesar had rejected the crown. Like Othello's, Brutus' story instructs the reader to avoid mere suspicion and impassioned decisions.
Othello: Act V, scene i
Othello: the Moor of Venice
William Shakespeare
Once again, Iago puts his schemes to work and makes life hell for all. Specifically, Iago dispatches Roderigo who attempted to kill Cassio on Iago's behalf. This treachery characterizes Iago finally as a liar and opportunistic traitor.
Throughout the play, Roderigo has complained about Iago's treatment of him. Iago has convinced him to sell all of his possessions and to get attacked by a drunk Cassio in return for no progress with Desdemona. Although Iago's ability to convince Roderigo to remain in Cyprus characterizes him as a clever manipulator, Iago's murder of Roderigo reveals him to be a sinister and unfeeling psychopath.
"(Stabs RODERIGO.) Oh, damned Iago! Oh, inhuman dog!" (V.i.63).
After all of Roderigo's blind working for Iago, Iago throws him aside to appear to be bringing Cassio's murderer to justice. To Iago, Roderigo was simply a pawn to be used only to advance his schemes. There is literally no one who Iago views as a person; all are obstacles.
Ironically, before this point, Roderigo represented the truth in the play. Even though Roderigo took part in Iago's deplorable plans, he was the only one to recognize Iago's dishonesty and pernicious behavior. In killing him, Iago revealed himself to despise truth and stifle it when at all possible.
William Shakespeare
Once again, Iago puts his schemes to work and makes life hell for all. Specifically, Iago dispatches Roderigo who attempted to kill Cassio on Iago's behalf. This treachery characterizes Iago finally as a liar and opportunistic traitor.
Throughout the play, Roderigo has complained about Iago's treatment of him. Iago has convinced him to sell all of his possessions and to get attacked by a drunk Cassio in return for no progress with Desdemona. Although Iago's ability to convince Roderigo to remain in Cyprus characterizes him as a clever manipulator, Iago's murder of Roderigo reveals him to be a sinister and unfeeling psychopath.
"(Stabs RODERIGO.) Oh, damned Iago! Oh, inhuman dog!" (V.i.63).
After all of Roderigo's blind working for Iago, Iago throws him aside to appear to be bringing Cassio's murderer to justice. To Iago, Roderigo was simply a pawn to be used only to advance his schemes. There is literally no one who Iago views as a person; all are obstacles.
Ironically, before this point, Roderigo represented the truth in the play. Even though Roderigo took part in Iago's deplorable plans, he was the only one to recognize Iago's dishonesty and pernicious behavior. In killing him, Iago revealed himself to despise truth and stifle it when at all possible.
Tuesday, February 12, 2013
Othello: Act IV, scenes ii-iii
Othello: the Moor of Venice
William Shakespeare
In these scenes of the play, the reader witnesses the aftermath of Othello's accusations against Desdemona's fidelity. Defending her innocent nature, Desdemona asks Emilia if any women could even bring themselves to commit adultery. Emilia's response provides ample situational irony and foresadowing.
Emilia declares that cheating on one's husband would be a small price to pay if much were offered in return: "...-why, who would not make her husband a cuckold to make him a monarch?" (IV.iii.72-73). Although Emilia advocates infidelity, she appears to do so for the benefit of her husband. After this entire play that has falsely called Desdemona's dedication to her husband in question because of Iago's actions, Iago's wife has admitted to having no problem with cheating on one's husband. Because of this ironic shift, it would seem to suggest that Iago will bear the grief of a cuckold.
Regardless, Emilia places the blame of cheating women on the husbands. Because Iago has treated her as an object, her defense of adultery likely suggests that she has taken revenge on Iago by cheating on him. Emilia's speech also seems to suggest that the men treating their wives as objects will soon face the fury of their wives.
William Shakespeare
In these scenes of the play, the reader witnesses the aftermath of Othello's accusations against Desdemona's fidelity. Defending her innocent nature, Desdemona asks Emilia if any women could even bring themselves to commit adultery. Emilia's response provides ample situational irony and foresadowing.
Emilia declares that cheating on one's husband would be a small price to pay if much were offered in return: "...-why, who would not make her husband a cuckold to make him a monarch?" (IV.iii.72-73). Although Emilia advocates infidelity, she appears to do so for the benefit of her husband. After this entire play that has falsely called Desdemona's dedication to her husband in question because of Iago's actions, Iago's wife has admitted to having no problem with cheating on one's husband. Because of this ironic shift, it would seem to suggest that Iago will bear the grief of a cuckold.
Regardless, Emilia places the blame of cheating women on the husbands. Because Iago has treated her as an object, her defense of adultery likely suggests that she has taken revenge on Iago by cheating on him. Emilia's speech also seems to suggest that the men treating their wives as objects will soon face the fury of their wives.
Othello: Act IV, scene i
Othello: the Moor of Venice
William Shakespeare
In this Act, Othello and Iago get to work seeking vengeance for Desdemona's "infidelity". Although Cassio and Bianca come complaining about each other, Iago cleverly makes sure Othello thinks that Cassio simply is sleeping with both Bianca and Desdemona rather than that Iago is lying. While hiding, in an aside, Othello again mentions his position as a foreigner in an allusion to the Roman Empire.
While Othello is hiding and Cassio is discussing Bianca with Iago, Othello compares Cassio to a Roman general returning to a Triumph: "Do you triumph, Roman? Do you triumph?" (IV.i.116). Once again, Othello is implicitly labeled a slave to his Venetian peers. Since Triumphs were thrown for victorious generals, Othello claims that Cassio has achieved great success at his expense. Furthermore, Roman generals specifically received Triumphs for victories in Africa in which they displayed their African slaves. Thus, Othello states that Cassio has taken everything from him through conflict; he has taken Othello's wife and holds Othello himself captive.
Through this allusion, two motifs are reintroduced to the play. Othello's insinuation that Cassio has robbed him objectifies Desdemona a reveals a degree of misogyny that could turn out to be his hubris. Additionally, referring to Cassio as a victor and an Italian reveals a cultural rift caused by xenophobia that could turn out to be the hubris of several characters, including Othello and Iago.
Wednesday, February 6, 2013
Othello: Act III, scene iv
Othello: the Moor of Venice
William Shakespeare
Finally, Iago's plans start to wedge their way in between Othello and Desdemona. As wine made Cassio quick to anger, Iago's doubts planted into Othello's mind made the Moor quicker. Though Desdemona is the focal point of the scene because of Othello's demands of the stolen handkerchief, Emilia provides an insight to marriage that characterizes Iago and his marriage.
"'Tis not a year or two shows us a man. They are all but stomachs and we all but food. They eat us hungerly, and when they are full They belch us," (III.iv.97-100). Though not unprecedented in Shakespearean plays, Emilia suggests an unsettling theory that, in marriage, men inevitably use and discard women. Emilia's metaphor may have been intended to be humor, but it provides an invaluable insight into the character and motives of Iago.
Since Emilia's views of marriage were undoubtedly influenced by her own marriage with Iago, their descriptions of the husband's role also describe Iago from a perspective he wants others not to know.
Apparently, Iago holds an objectifying opinion on women; Emilia describes men as simply consuming women then discarding them instead of savoring them. This chauvinistic tendency reinforces the assertion that Iago treats others as pawns in his schemes against Othello. Othello is not meant to be a partner in the army, but an enemy in the way of success; Roderigo is not meant to be a partner in a symbiotic scheme, but a money purse. This much can be surmised through superficial analysis, but perhaps deeper insights can be gleaned from Emilia's opinions. Perhaps Iago's unpleasantness stems from his imperial persona; perhaps his character got in the way of his love and his professional schemes are all he has left in the world after all companions are consumed.
William Shakespeare
Finally, Iago's plans start to wedge their way in between Othello and Desdemona. As wine made Cassio quick to anger, Iago's doubts planted into Othello's mind made the Moor quicker. Though Desdemona is the focal point of the scene because of Othello's demands of the stolen handkerchief, Emilia provides an insight to marriage that characterizes Iago and his marriage.
"'Tis not a year or two shows us a man. They are all but stomachs and we all but food. They eat us hungerly, and when they are full They belch us," (III.iv.97-100). Though not unprecedented in Shakespearean plays, Emilia suggests an unsettling theory that, in marriage, men inevitably use and discard women. Emilia's metaphor may have been intended to be humor, but it provides an invaluable insight into the character and motives of Iago.
Since Emilia's views of marriage were undoubtedly influenced by her own marriage with Iago, their descriptions of the husband's role also describe Iago from a perspective he wants others not to know.
Apparently, Iago holds an objectifying opinion on women; Emilia describes men as simply consuming women then discarding them instead of savoring them. This chauvinistic tendency reinforces the assertion that Iago treats others as pawns in his schemes against Othello. Othello is not meant to be a partner in the army, but an enemy in the way of success; Roderigo is not meant to be a partner in a symbiotic scheme, but a money purse. This much can be surmised through superficial analysis, but perhaps deeper insights can be gleaned from Emilia's opinions. Perhaps Iago's unpleasantness stems from his imperial persona; perhaps his character got in the way of his love and his professional schemes are all he has left in the world after all companions are consumed.
Othello: Act III, scenes i-iii
Othello: the Moor of Venice
William Shakespeare
Iago once again proves himself to be the master of manipulation. For once in the play, Othello approaches the truth that Iago is a compulsive liar and his wife is true her husband. Regardless, Iago manages to deflect accusations of falsehood and lament the fate of his good intentions: "Take note, take note, O world, To be direct and honest is not safe. I thank you for this profit, and from hence I'll love no friend, sith love breeds such offense," (III.iii.378-381).
Although the confrontation between Othello and Iago is brief, it contains several complexities. On the surface, Iago's speaker utilizes a paradox to present an image of the world. Although people labor to bring the truth, and Iago's speaker certainly showed hesitance in suggesting an affair to Othello, the truth is met with wrath. How it pained Iago to question Desdemona's fidelity out of concern for Othello, yet the Moor lashes out at Iago and demands proof. Once again, although the reader knows Othello's doubts about Iago's accusations to be rooted in truth, Iago's paradoxical claim holds some truth in the story.
Despite Iago's verbal irony, the roles of honest friend and ungrateful menace are indeed present in the story, though not as Iago's speaker suggested. In reality, Othello is the face of honesty; he courageously exposes his marriage to Brabantio and even heeds Iago's words as though they were infallible truth. Iago has a benevolent superior and dedicated friend. Yet, even though Othello is a paragon of friendship, Iago repays him with deceit and cunning. He has threatened Othello's marriage by revealing it to Brabantio and by making Othello himself question the marriage's ties all while convinced Othello that Iago is his loyal and trustworthy subordinate.
When the reader investigates the paradox further, he realizes that, though from an untrustworthy origin, the account holds true.
William Shakespeare
Iago once again proves himself to be the master of manipulation. For once in the play, Othello approaches the truth that Iago is a compulsive liar and his wife is true her husband. Regardless, Iago manages to deflect accusations of falsehood and lament the fate of his good intentions: "Take note, take note, O world, To be direct and honest is not safe. I thank you for this profit, and from hence I'll love no friend, sith love breeds such offense," (III.iii.378-381).
Although the confrontation between Othello and Iago is brief, it contains several complexities. On the surface, Iago's speaker utilizes a paradox to present an image of the world. Although people labor to bring the truth, and Iago's speaker certainly showed hesitance in suggesting an affair to Othello, the truth is met with wrath. How it pained Iago to question Desdemona's fidelity out of concern for Othello, yet the Moor lashes out at Iago and demands proof. Once again, although the reader knows Othello's doubts about Iago's accusations to be rooted in truth, Iago's paradoxical claim holds some truth in the story.
Despite Iago's verbal irony, the roles of honest friend and ungrateful menace are indeed present in the story, though not as Iago's speaker suggested. In reality, Othello is the face of honesty; he courageously exposes his marriage to Brabantio and even heeds Iago's words as though they were infallible truth. Iago has a benevolent superior and dedicated friend. Yet, even though Othello is a paragon of friendship, Iago repays him with deceit and cunning. He has threatened Othello's marriage by revealing it to Brabantio and by making Othello himself question the marriage's ties all while convinced Othello that Iago is his loyal and trustworthy subordinate.
When the reader investigates the paradox further, he realizes that, though from an untrustworthy origin, the account holds true.
Othello: Act II
Othello: the Moor of Venice
William Shakespeare
Again, the cunning of Iago becomes even more complex. In this instance, Iago once again manipulates others to create a conflict in which Othello's relationship would be threatened. Dramatic irony highlights the manner in which Iago manipulated Cassio and Montano.
The barbaric Turk has been beaten back at sea back to Turkeyland (it's not offensive; that's what Europeans used to call Turkey). It is time to celebrate! However, Cassio knows celebratory drinking will invariably lead to a brawl ending celebration in punishment. Nevertheless, Iago pressures him into compromising his position in the military by taking a drink. One instance of dramatic irony comes in Iago's commission of Roderigo to pick a fight with Cassio which further reinforces Iago's habit of setting traps for others to fall into.
However, the more significant instance of dramatic irony comes when Iago tells Montano of Cassio's supposed alcoholism. Again, Cassio does indeed have a problem with drinking, but drinking habitually is not a factor. Iago's scheme comes to fruition when Cassio brawls with Roderigo and stabs Montano. Then, when Othello interrogates Iago, he once again ingratiates himself to the party he recently jeopardized: "I had rather have this tongue cut from my mouth Than it should do offense to Michael Cassio," (II.iii.200-201). While others act as pawns in Iago's game, he arrogantly avoids suspicion by claiming to be laboring on everyone's behalf. Dramatic irony paints Iago as a puppet master who pulls the strings on the hapless toys.
William Shakespeare
Again, the cunning of Iago becomes even more complex. In this instance, Iago once again manipulates others to create a conflict in which Othello's relationship would be threatened. Dramatic irony highlights the manner in which Iago manipulated Cassio and Montano.
The barbaric Turk has been beaten back at sea back to Turkeyland (it's not offensive; that's what Europeans used to call Turkey). It is time to celebrate! However, Cassio knows celebratory drinking will invariably lead to a brawl ending celebration in punishment. Nevertheless, Iago pressures him into compromising his position in the military by taking a drink. One instance of dramatic irony comes in Iago's commission of Roderigo to pick a fight with Cassio which further reinforces Iago's habit of setting traps for others to fall into.
However, the more significant instance of dramatic irony comes when Iago tells Montano of Cassio's supposed alcoholism. Again, Cassio does indeed have a problem with drinking, but drinking habitually is not a factor. Iago's scheme comes to fruition when Cassio brawls with Roderigo and stabs Montano. Then, when Othello interrogates Iago, he once again ingratiates himself to the party he recently jeopardized: "I had rather have this tongue cut from my mouth Than it should do offense to Michael Cassio," (II.iii.200-201). While others act as pawns in Iago's game, he arrogantly avoids suspicion by claiming to be laboring on everyone's behalf. Dramatic irony paints Iago as a puppet master who pulls the strings on the hapless toys.
Othello: Act I
Othello: the Moor of Venice
William Shakespeare
From the very beginning of the play, the reader easily identifies Iago as the antagonist of the story. Regardless, those familiar with Shakespearean villains know that they often represent unique human flaws: wrath, pride, or greed. In characterizing Iago, the reader realizes that Iago will represent dishonesty and manipulation.
Iago first displays his cunning and manipulative manner in alerting Brabantio of his daughter's marriage to Othello. Obviously, Iago wished this act to enrage Brabantio who would not approve of his daughter's clandestine marriage to an African in an effort to bring controversy to the foreign and, in his opinion, unworthy general. However, this in itself does not display his dishonesty; Othello really did marry Desdemona. His complex cunning is revealed in a more interesting twist.
"Nine or ten times I had thought to have yerked him here under the ribs," (I.ii.4-5). This slight dramatic irony tells the reader that Iago is secretly pitting people against each other in order to achieve his still obscure goal which certainly must involve the downfall of the Moor. Now the reader can characterize Iago further than labeling him as being dishonest. Because Iago skewed Brabantio's opinion of Othello only to ingratiate himself to the latter, Iago is portrayed as being extremely egocentric. It is no matter to Iago how many relationships he destroys as long as Othello is undermined in some way. Perhaps this ego-centrism is the reason for naming him Iago which is close to the word ego which comes from the Latin word for "I".
William Shakespeare
From the very beginning of the play, the reader easily identifies Iago as the antagonist of the story. Regardless, those familiar with Shakespearean villains know that they often represent unique human flaws: wrath, pride, or greed. In characterizing Iago, the reader realizes that Iago will represent dishonesty and manipulation.
Iago first displays his cunning and manipulative manner in alerting Brabantio of his daughter's marriage to Othello. Obviously, Iago wished this act to enrage Brabantio who would not approve of his daughter's clandestine marriage to an African in an effort to bring controversy to the foreign and, in his opinion, unworthy general. However, this in itself does not display his dishonesty; Othello really did marry Desdemona. His complex cunning is revealed in a more interesting twist.
"Nine or ten times I had thought to have yerked him here under the ribs," (I.ii.4-5). This slight dramatic irony tells the reader that Iago is secretly pitting people against each other in order to achieve his still obscure goal which certainly must involve the downfall of the Moor. Now the reader can characterize Iago further than labeling him as being dishonest. Because Iago skewed Brabantio's opinion of Othello only to ingratiate himself to the latter, Iago is portrayed as being extremely egocentric. It is no matter to Iago how many relationships he destroys as long as Othello is undermined in some way. Perhaps this ego-centrism is the reason for naming him Iago which is close to the word ego which comes from the Latin word for "I".
Sunday, January 27, 2013
Love Me Not Unit: February
"February"
Margaret Atwood
As we enter the month of February, I can relate to the speaker's disgust for the month and winter as a whole. Although February is the month of Valentines, the poem discusses the folly of love and the love of fattening food.
The poem opens in the speaker's bed on a February morning with a cat looking to snuggle. However, the speaker will not have any of the smelly beast's self-centered affection. Instead, the speaker turns the cat into a symbol for humanity's problems and potential solutions. Love and sex drive cats to spray houses and fight. Taking away those parts responsible for those feelings and habits solves the problem. Therefore, the same should work with humans. Obviously, the speaker takes a more practical approach to love that includes its complete eradication.
In fact, the only words relating to love are used to refer to fattening foods: "I think dire thoughts, and lust for French fries/ with a splash of vinegar," (Atwood). Usually people think of food and love as being on opposite ends of the spectrum. I can eat these french fries, or I can get a date. The speaker gets around this conundrum by forgetting the date and dating the french fries, because they don't care if there's a gap between your thighs.
The speaker's attitude towards love is obviously one of disgust and mistrust. She expels the cat who wants to cuddle, despises Valentine's month, and supports Nazi-like population control measures. Nevertheless, she recognizes her pessimism and longs for spring when she can embrace life and love.
Margaret Atwood
As we enter the month of February, I can relate to the speaker's disgust for the month and winter as a whole. Although February is the month of Valentines, the poem discusses the folly of love and the love of fattening food.
The poem opens in the speaker's bed on a February morning with a cat looking to snuggle. However, the speaker will not have any of the smelly beast's self-centered affection. Instead, the speaker turns the cat into a symbol for humanity's problems and potential solutions. Love and sex drive cats to spray houses and fight. Taking away those parts responsible for those feelings and habits solves the problem. Therefore, the same should work with humans. Obviously, the speaker takes a more practical approach to love that includes its complete eradication.
In fact, the only words relating to love are used to refer to fattening foods: "I think dire thoughts, and lust for French fries/ with a splash of vinegar," (Atwood). Usually people think of food and love as being on opposite ends of the spectrum. I can eat these french fries, or I can get a date. The speaker gets around this conundrum by forgetting the date and dating the french fries, because they don't care if there's a gap between your thighs.
The speaker's attitude towards love is obviously one of disgust and mistrust. She expels the cat who wants to cuddle, despises Valentine's month, and supports Nazi-like population control measures. Nevertheless, she recognizes her pessimism and longs for spring when she can embrace life and love.
Love Me Not Unit: You're Ugly Too
"You're Ugly Too"
Lorrie Moore
Essentially, "You're Ugly Too" is the short story version of 30 Rock. Zoe's failed career dreams, failed relationships, and tendency to hide her insecurities behind crude jokes led to my envisioning Tina Fey the entire story. Although entertaining, this characterization of Zoe contributes to the insight that some women cannot find love as portrayed in the stories.
On several occasions, Zoe seems to shoot herself in the foot with her deflective sense of humor. For instance, during her double date, she decided to attack the married subject of her date's interest: "'Once at a dinner party I amazed the hast by getting up and saying good-bye to every single person there, first and last names' 'I knew a dog who could do that,' said Zoe, with her mouth full," (Moore, 357). As a result, her date never called back.
However, before completely blaming her, one must observe her past. In her professional life, she deals with critical students in a boring town; in her love life, she has only ever had one decent boyfriend who eventually only wanted to get her pregnant in order to add a new distraction to the relationship; and in her family life, she lives away from all of her relatives and her sister is planning on marrying an uninteresting man. Such a life might not be fitting for a character in a story focused on love, but most would agree that her imperfect existence and humorous coping mechanisms are more realistic. Therefore, her eventual failure to connect with the naked woman at her sister's party reveals that the common ironic armor protects people from finding love.
This theme actually works both ways. Even though Zoe's hiding from herself (jokes, owning a tree, plucking the chin hair, keeping her ultrasound a secret) stands in her way, she was not the only one in the story hiding. The guests at her sister's Halloween party, Earl in particular, literally hid behind costumes. Earl decided to dress as a naked woman most likely to debase the female sex following his divorce. How could anyone expect Zoe to strike a match with a caricatured nude woman with steel body hair? Earl's mask deepens the meaning of the story: many people fail to find love because both parties hide from themselves.
Lorrie Moore
Essentially, "You're Ugly Too" is the short story version of 30 Rock. Zoe's failed career dreams, failed relationships, and tendency to hide her insecurities behind crude jokes led to my envisioning Tina Fey the entire story. Although entertaining, this characterization of Zoe contributes to the insight that some women cannot find love as portrayed in the stories.
On several occasions, Zoe seems to shoot herself in the foot with her deflective sense of humor. For instance, during her double date, she decided to attack the married subject of her date's interest: "'Once at a dinner party I amazed the hast by getting up and saying good-bye to every single person there, first and last names' 'I knew a dog who could do that,' said Zoe, with her mouth full," (Moore, 357). As a result, her date never called back.
However, before completely blaming her, one must observe her past. In her professional life, she deals with critical students in a boring town; in her love life, she has only ever had one decent boyfriend who eventually only wanted to get her pregnant in order to add a new distraction to the relationship; and in her family life, she lives away from all of her relatives and her sister is planning on marrying an uninteresting man. Such a life might not be fitting for a character in a story focused on love, but most would agree that her imperfect existence and humorous coping mechanisms are more realistic. Therefore, her eventual failure to connect with the naked woman at her sister's party reveals that the common ironic armor protects people from finding love.
This theme actually works both ways. Even though Zoe's hiding from herself (jokes, owning a tree, plucking the chin hair, keeping her ultrasound a secret) stands in her way, she was not the only one in the story hiding. The guests at her sister's Halloween party, Earl in particular, literally hid behind costumes. Earl decided to dress as a naked woman most likely to debase the female sex following his divorce. How could anyone expect Zoe to strike a match with a caricatured nude woman with steel body hair? Earl's mask deepens the meaning of the story: many people fail to find love because both parties hide from themselves.
Saturday, January 26, 2013
Love Me Not Unit: Popular Mechanics
"Popular Mechanics"
Raymond Carver
I can say confidently that this has been the most confusing piece of literature for me this year. From what I can surmise, the story revolves around a feud between a separating couple over ownership of the child. Apparent to anyone who is familiar with Solomon, "Popular Mechanics" resembles the legal battle between two women over legal guardianship over a baby, but neither parent in this story has the love to allow the other to raise the child. Nevertheless, I cannot figure out what mechanics have to do with babies torn asunder.
What I can analyze is that the baby serves as a prominent symbol for the couple's happiness. Although at first I believed the baby to symbolize the possessions, the mother didn't care what the father took as long as he left and neither cared that their fights destroyed the pot in the kitchen. Moreover, their disregard for the baby's crying during the fight proves that neither parent desired guardianship for the child's future. In fact, the baby is only ever referred to as an inanimate object: "She would have it, this baby," (Carver).
All the evidence suggests that the parents are fighting for something only they can have. A child can represent many things for his or her parents: love, future, success as a person. Therefore, each parent was fighting for what the child represented in order to withhold those things from the other. Unfortunately, the baby's role as symbol revealed a troubling theme: when parents quarrel over a child, it is the child, not the losing legal party, that pays the ultimate price.
Raymond Carver
I can say confidently that this has been the most confusing piece of literature for me this year. From what I can surmise, the story revolves around a feud between a separating couple over ownership of the child. Apparent to anyone who is familiar with Solomon, "Popular Mechanics" resembles the legal battle between two women over legal guardianship over a baby, but neither parent in this story has the love to allow the other to raise the child. Nevertheless, I cannot figure out what mechanics have to do with babies torn asunder.
What I can analyze is that the baby serves as a prominent symbol for the couple's happiness. Although at first I believed the baby to symbolize the possessions, the mother didn't care what the father took as long as he left and neither cared that their fights destroyed the pot in the kitchen. Moreover, their disregard for the baby's crying during the fight proves that neither parent desired guardianship for the child's future. In fact, the baby is only ever referred to as an inanimate object: "She would have it, this baby," (Carver).
All the evidence suggests that the parents are fighting for something only they can have. A child can represent many things for his or her parents: love, future, success as a person. Therefore, each parent was fighting for what the child represented in order to withhold those things from the other. Unfortunately, the baby's role as symbol revealed a troubling theme: when parents quarrel over a child, it is the child, not the losing legal party, that pays the ultimate price.
Friday, January 25, 2013
Love Me Not Unit: The Story of an Hour
"The Story of an Hour"
Kate Chopin
Although brief, as the title might suggest, "The Story of an Hour" packs incredible tension into a very specific event. Mainly through situational irony, Chopin conveys the woes of an unloving marriage by presenting both the joys of its termination and lethal nature of its return.
The story commences as many other tragedies might. Minor characters report the untimely demise of the main character's spouse and the widow retreats in grief. However, several eccentricities stand out. The spring setting typically promises new life, not death, and Josephine Mallards reaction to her husband's death comes without disbelief. Eventually, the purpose of these incongruities is revealed. Instead of grief, Josephine rejoices in her loss: "'Free, free, free!' The vacant stare and the look of terror that had followed it went from her eyes," (Chopin).
This sudden irony unlocks one of the central themes of this story: unhappy marriages imprison those trapped. Josephine clarifies her dreadful engagement by declaring that her marriage had rarely been happy and his funeral would free her forever to a life dedicated to her. The seemingly out of place spring weather now serves a purpose; her husband's death granted her new life.
Nevertheless, Chopin decided to extend the irony once more to illustrate the other side of the coin. As Josephine ventured out of her room into a new great unknown, a too familiar face reappeared. Her husband Brently returned home unaware that people thought him dead. In place of hugs or kisses, Josephine greeted him with a cry and a heart attack which took her new life. The final paradox, "joy that kills", which the doctors meant to reassure Brently that her relief put too much stress on her frail heart, in fact describes unhappy marriages as having the appearance of loving union while destroying the hearts and hopes of the miserable participants.
Wednesday, January 9, 2013
Love Unit: A Valediction: Forbidding Mourning
"A Valediction: Forbidding Mourning"
John Donne
From the title itself, it can be inferred that the speaker of the poem is about to leave his lover. However, it is not clear whether the speaker is simply departing on a journey or about to die.
The last three stanzas of the poem seem to imply that the speaker is simply embarking on some journey. First, diction of navigation and motion are used: "If they be two, they are two so As stiff twin compasses are two; Thy soul, the fixed foot, makes no show To move, but doth, if th' other do," (Donne, 802). In analyzing this stanza, the reader would assume that the speaker is imploring his lover to follow him. However, it can be argued that the speaker is referencing the fact that, when one lover dies, the other is sure to follow.
Furthermore, the very last stanza raises two words that suggest death is in store for the speaker. First, the speaker's lover is described as one "who must" follow the lover. This would imply that the lover's following is inevitable, like death. Finally, the speaker is described as ending. If he were simply to go on a journey, the lover would stay stationary and force him to return from where he sent out. But since he is ending where he began in a larger sense, the poem most likely describes his death.
Love Unit: Delight in Disorder
"Delight in Disorder"
Robert Herrick
Obviously, tidiness is not among the preferred characteristics of the speaker. Through oxymoron, the contrast between what society demands from a woman and what the speaker desires is made clear.
Throughout the poem, the speaker develops a favorable tone almost entirely through diction and structure. Words describing a woman's dress like "wantonness", "thrown", "distraction", and "confusedly" describe qualities of spontaneity and wildness. Additionally, these qualities are glorified through words like "sweet", "winning", and "deserving". Along with explicit glorifications, the structure of the poem itself reflects the speakers favorite carefree qualities. Even though the poem itself was short, a relatively high amount of lines are present. Like the woman's dress, the poem has a wild structure with multiple enjambments that still allow the poem to flow.
Even now, society tends to pass judgment on wild dress. During the time the poem was written, elaborate dresses and precise matching were required by the upper classes. Likewise, the contemporary media tends to favor fashions that are precisely designed by professionals with decades of study and practice. However, the speaker contradicts this timeless demand: "A careless shoestring, in whose tie I see a wild civility..." (Herrick, 979). Although wild and civil contain almost opposite connotations, the speaker relates the two. He claims that the wild dress he finds beautiful is not that of barbarians, but that of sophisticated society.
Robert Herrick
Obviously, tidiness is not among the preferred characteristics of the speaker. Through oxymoron, the contrast between what society demands from a woman and what the speaker desires is made clear.
Throughout the poem, the speaker develops a favorable tone almost entirely through diction and structure. Words describing a woman's dress like "wantonness", "thrown", "distraction", and "confusedly" describe qualities of spontaneity and wildness. Additionally, these qualities are glorified through words like "sweet", "winning", and "deserving". Along with explicit glorifications, the structure of the poem itself reflects the speakers favorite carefree qualities. Even though the poem itself was short, a relatively high amount of lines are present. Like the woman's dress, the poem has a wild structure with multiple enjambments that still allow the poem to flow.
Even now, society tends to pass judgment on wild dress. During the time the poem was written, elaborate dresses and precise matching were required by the upper classes. Likewise, the contemporary media tends to favor fashions that are precisely designed by professionals with decades of study and practice. However, the speaker contradicts this timeless demand: "A careless shoestring, in whose tie I see a wild civility..." (Herrick, 979). Although wild and civil contain almost opposite connotations, the speaker relates the two. He claims that the wild dress he finds beautiful is not that of barbarians, but that of sophisticated society.
Tuesday, January 8, 2013
Love Unit: Eveline
"Eveline"
James Joyce
Throughout the story, Eveline balances her desire to escape her fading home and dedication to her family. Through imagery, the speaker conveys the idea that she is losing much of what she enjoyed during her childhood but still feels inexplicable attachment. Despite the expected grandeur of running off with Frank, the speaker argues that home's imperfections can never sever one's attachment to his or her childhood.
From the very first sentence, an atmosphere of defense is assumed. "She sat at the window watching evening invade the avenue. Her head was leaned against the window curtains and in her nostrils was the odor of dusty cretonne. She was tired," (Joyce, 218). The opening imagery foreshadows the coming descriptions of Eveline's current life.
Whereas once she played in a field with all of the other children and her siblings, the field is now filled with houses build by a foreigner and her sister has passed. Whereas once Eveline's mother shielded the children from their father's violence, she was now dead and her father threatened Eveline herself. New situations had begun to invade Eveline's life. The open spaces and peace of her childhood had given way to modern accommodations and fear.
Frank seemed to be the only stability in her life with his promises of adventure and societal status in Buenos Aires. However, like the subjects of her lamentations, both Frank and Buenos Aires were foreign and unknown.
Like the dust in her nostrils, some memories of happiness from a bygone era remained for some reason. Eveline had promised her mother to care for the house as long as she could. Although her family was in turmoil, memories of peaceful picnics and her father's bedtime stories gave her hope of happiness to come.
When Eveline refused to leave, she suggested to the reader that family is all anyone has that can guarantee true peace and safety.
James Joyce
Throughout the story, Eveline balances her desire to escape her fading home and dedication to her family. Through imagery, the speaker conveys the idea that she is losing much of what she enjoyed during her childhood but still feels inexplicable attachment. Despite the expected grandeur of running off with Frank, the speaker argues that home's imperfections can never sever one's attachment to his or her childhood.
From the very first sentence, an atmosphere of defense is assumed. "She sat at the window watching evening invade the avenue. Her head was leaned against the window curtains and in her nostrils was the odor of dusty cretonne. She was tired," (Joyce, 218). The opening imagery foreshadows the coming descriptions of Eveline's current life.
Whereas once she played in a field with all of the other children and her siblings, the field is now filled with houses build by a foreigner and her sister has passed. Whereas once Eveline's mother shielded the children from their father's violence, she was now dead and her father threatened Eveline herself. New situations had begun to invade Eveline's life. The open spaces and peace of her childhood had given way to modern accommodations and fear.
Frank seemed to be the only stability in her life with his promises of adventure and societal status in Buenos Aires. However, like the subjects of her lamentations, both Frank and Buenos Aires were foreign and unknown.
Like the dust in her nostrils, some memories of happiness from a bygone era remained for some reason. Eveline had promised her mother to care for the house as long as she could. Although her family was in turmoil, memories of peaceful picnics and her father's bedtime stories gave her hope of happiness to come.
When Eveline refused to leave, she suggested to the reader that family is all anyone has that can guarantee true peace and safety.
Love Unit: How I Met My Husband
"How I Met My Husband"
Alice Munro
Throughout the story, the speaker reflected on several instances of naivete. On one instance, her own naivete frequently played a negative role while her husband's belief that she anticipated his coming to deliver the mail presented a more positive view of being in the dark. In all situations, situational and dramatic irony served to present a character's lack of awareness.
The speaker's first major run in with naivete in the story occurs after Chris had abandoned Alice. Specifically, the speaker misunderstood what it meant to be intimate with a person. Through this use of dramatic irony in which other characters and the reader understood the connotation of intimacy, the speaker revealed her lack of experience and knowledge when it comes to love. In this case, the speaker at least suggests that naivete inevitably casts young adults into awkward and potentially violating experiences if not advocates becoming more aware by recounting Alice's attempted inspection of her virginity. My reluctance to type those words reflects the unsettling effect created as a result of the speaker's incorrect assumptions.
Although the speaker's trusting character led her to wait for Chris to write for her, she eventually realizes how much she has misunderstood things relating to relationships. However, the naivete simply transfers to her husband. "He always tells the children the story of houw I went after him by sitting by the mailbox every day, and naturally I laugh and let him, because I like for people to think what pleases them and makes them happy," (Munro, 146). Naturally, the reader and speaker know that she sat out waiting for Chris, but the speaker's reaction to her husband's pride shows how she reacted to her past love life. Interestingly, since she allowed her husband to believe inaccurate observations on their love as Chris did when he said he would write, the speaker actually accepts that naivete is inevitable and harmless.
Alice Munro
Throughout the story, the speaker reflected on several instances of naivete. On one instance, her own naivete frequently played a negative role while her husband's belief that she anticipated his coming to deliver the mail presented a more positive view of being in the dark. In all situations, situational and dramatic irony served to present a character's lack of awareness.
The speaker's first major run in with naivete in the story occurs after Chris had abandoned Alice. Specifically, the speaker misunderstood what it meant to be intimate with a person. Through this use of dramatic irony in which other characters and the reader understood the connotation of intimacy, the speaker revealed her lack of experience and knowledge when it comes to love. In this case, the speaker at least suggests that naivete inevitably casts young adults into awkward and potentially violating experiences if not advocates becoming more aware by recounting Alice's attempted inspection of her virginity. My reluctance to type those words reflects the unsettling effect created as a result of the speaker's incorrect assumptions.
Although the speaker's trusting character led her to wait for Chris to write for her, she eventually realizes how much she has misunderstood things relating to relationships. However, the naivete simply transfers to her husband. "He always tells the children the story of houw I went after him by sitting by the mailbox every day, and naturally I laugh and let him, because I like for people to think what pleases them and makes them happy," (Munro, 146). Naturally, the reader and speaker know that she sat out waiting for Chris, but the speaker's reaction to her husband's pride shows how she reacted to her past love life. Interestingly, since she allowed her husband to believe inaccurate observations on their love as Chris did when he said he would write, the speaker actually accepts that naivete is inevitable and harmless.
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