Slaughterhouse 5 by Kurt Vonnegut
One of the few times when Billy finally shows raw emotion, is the sudden scene in which the scolding Germans show him the terrible state of the sickly horses. In that scene Billy goes from as happy and content as can be to boo-hooing like a little baby. That the sight of two dying horses, after living through an entire war, the deaths of many of his comrades and the fire-bombing of Dresden, is the only think that makes him cry is a testament to the human condition. Sometimes the mortality rates and the body counts reach so high, that we do not even fathom what kind of pain and suffering that truly causes. Consider Billy when speaking of the tombs of bodies buried beneath Dresden, he speaks of no sign of despair nor remorse, only practicality. Because there are so many bodies, they now just burn them rather than bury them. Throughout this entire town thousands of real human beings had perished, and what upsets Billy the most is the sight of two ill-treated horses. As Vonnegut says, "Billy cried very little, though he often saw things worth crying about" (Vonnegut 197). It is apparent that through all that Billy had seen from the war, he developed a very unrealistic view of death. This view of death protected him from the true finality of it and sugar-coated death into something that could easily be overcome if one were to just think differently. Thus it all goes back to what Vonnegut had said the entire time. 135,000 people were killed in that fire-bombing of Dresden, and so it goes...
Wednesday, April 17, 2013
Billy's Anniversary
Slaughterhouse 5 by Kurt Vonnegut
One of the oddest parts of the book is Billy's 18th wedding anniversary. Now this is saying something considering most the entire book is odd, yet this bit of peculiarity goes on explained and untouched for the rest of the book. It is the scene when Billy listens to the barbershop quartet sing "That Old Gang of Mine". For some reason or other, the actually changing of the notes and the sourness of the song cause Billy to come physically sick. He becomes so sick that in fact many can see it on his face. "They thought he might be having a heart attack, and Billy seemed to confirm this by going to a chair and sitting down haggardly" (Vonnegut 173). Kilgore Trout immediately assumes that Billy had peered through a "time window", which in all honestly is not that to hard to conceive. Then Valencia says to Billy that he looks like he's seen a ghost. However the word "ghost" is italicized. I believe it is italicized for a reason and that both Trout and Valencia's words were not far off. In that moment, it's as if Billy did go through a time window, in which he was reminded of the future in which all those people are dead. This applies even to the barbershop quartet, who were the last one's singing before that plane went down into the mountains.
One of the oddest parts of the book is Billy's 18th wedding anniversary. Now this is saying something considering most the entire book is odd, yet this bit of peculiarity goes on explained and untouched for the rest of the book. It is the scene when Billy listens to the barbershop quartet sing "That Old Gang of Mine". For some reason or other, the actually changing of the notes and the sourness of the song cause Billy to come physically sick. He becomes so sick that in fact many can see it on his face. "They thought he might be having a heart attack, and Billy seemed to confirm this by going to a chair and sitting down haggardly" (Vonnegut 173). Kilgore Trout immediately assumes that Billy had peered through a "time window", which in all honestly is not that to hard to conceive. Then Valencia says to Billy that he looks like he's seen a ghost. However the word "ghost" is italicized. I believe it is italicized for a reason and that both Trout and Valencia's words were not far off. In that moment, it's as if Billy did go through a time window, in which he was reminded of the future in which all those people are dead. This applies even to the barbershop quartet, who were the last one's singing before that plane went down into the mountains.
Derby's Big Moment
Slaughterhouse 5 by Kurt Vonnegut
One scene which may not be as meaningful to most, yet I found much insight and humor in was Derby's little gung-ho speech in the name of democracy. When the traitorous Howard W. Campbell comes to the POW camp to recruit for his American-Nazi company, most of the men do not act. I find that this is less to do with their undying loyalty to the United States and more to the fact that they are all tired and broken and characterless. This point of being a non-character is mentioned a few times during this bit. Vonnegut finally blatantly admits that few of the characters within the story are real, thoughtful, dynamic, characters but "listless playthings of enormous forces" (Vonnegut 164). Yet in this one little scene, Derby does the perfect job of embodying the stereotypical, punch-drunk patriot who tells the evil Nazi commander to shove it. In the movies such an act is usually the big climax, and according to Vonnegut, in Derby's case, it was the climax of his life. However, to the rest of the beaten and used-up men of the American army, they could not care less. I find it intriguing if Vonnegut's portrayal of the men of the US army is truly accurate. So much of us are used to the typical stars and stripes loving American boy who goes off to war, kicks the crap out of Charlie, and comes home to tell the tale. Vonnegut's view is that of apathetic young men just trying to get by and get home to their families.
One scene which may not be as meaningful to most, yet I found much insight and humor in was Derby's little gung-ho speech in the name of democracy. When the traitorous Howard W. Campbell comes to the POW camp to recruit for his American-Nazi company, most of the men do not act. I find that this is less to do with their undying loyalty to the United States and more to the fact that they are all tired and broken and characterless. This point of being a non-character is mentioned a few times during this bit. Vonnegut finally blatantly admits that few of the characters within the story are real, thoughtful, dynamic, characters but "listless playthings of enormous forces" (Vonnegut 164). Yet in this one little scene, Derby does the perfect job of embodying the stereotypical, punch-drunk patriot who tells the evil Nazi commander to shove it. In the movies such an act is usually the big climax, and according to Vonnegut, in Derby's case, it was the climax of his life. However, to the rest of the beaten and used-up men of the American army, they could not care less. I find it intriguing if Vonnegut's portrayal of the men of the US army is truly accurate. So much of us are used to the typical stars and stripes loving American boy who goes off to war, kicks the crap out of Charlie, and comes home to tell the tale. Vonnegut's view is that of apathetic young men just trying to get by and get home to their families.
The diamond and the denture
Slaughterhouse 5 by Kurt Vonnegut
One symbol that comes up consistently in this story is that of the diamond and the denture. Billy comes across this odd duo in the most fortuitous of events. The possessions were on the inside pocket of an old civilian coat that Billy was given to by the Germans on his arrival at the POW camp. The interesting thing is that of all the jackets of the piles of clothes and of all the POW's, Billy just happened to be paired with the most dismal yet most rewarding jacket. For inside, is the ornate denture and a 2 carrot diamond. The significance of these two objects is beyond me, however they do carry on the story and help emphasize Billy's insanity. For one, the reason it took him so long to even know they were in his jacket was because "he was told not to find out what the lumps were" (Vonnegut 137). The mere fact that voices are dictating his actions at this point heighten his sense of lunacy. He is obviously quite memorized by the odd couple. At the point where the German doctor is berating Billy for his clownish outward appearance, Billy's only response is to palm the possessions in front of the man and smile. This simple action makes it appear that Billy believes it to be a much more substantial and meaningful gesture towards the man, as if the possessions hold some sort of higher meaning.
One symbol that comes up consistently in this story is that of the diamond and the denture. Billy comes across this odd duo in the most fortuitous of events. The possessions were on the inside pocket of an old civilian coat that Billy was given to by the Germans on his arrival at the POW camp. The interesting thing is that of all the jackets of the piles of clothes and of all the POW's, Billy just happened to be paired with the most dismal yet most rewarding jacket. For inside, is the ornate denture and a 2 carrot diamond. The significance of these two objects is beyond me, however they do carry on the story and help emphasize Billy's insanity. For one, the reason it took him so long to even know they were in his jacket was because "he was told not to find out what the lumps were" (Vonnegut 137). The mere fact that voices are dictating his actions at this point heighten his sense of lunacy. He is obviously quite memorized by the odd couple. At the point where the German doctor is berating Billy for his clownish outward appearance, Billy's only response is to palm the possessions in front of the man and smile. This simple action makes it appear that Billy believes it to be a much more substantial and meaningful gesture towards the man, as if the possessions hold some sort of higher meaning.
Wednesday, April 10, 2013
Billy's Thoughts on death
Slaughterhouse 5 by Kurt Vonnegut
So Billy's perspective on time is obviously incredibly abstract and hard for the human mind to even fathom. One interesting concept that comes with his extraordinary outlook is his idea of death. It is a much more soothing concept to embrace. Billy states his idea to a little boy in this fashion, "that his father was very much alive in moments the boy would see again and again" (Vonnegut 135). According to the Tralfadorian concept of death, since all time (past, present, and future) exist the same, then those who have died are just in a bad state in that point in time yet are still very much alive in the other points in time. Such an abstract idea does pose as interesting and soothing idea to grasp, however, taking this practically, such an idea could never possibly apply to human beings who are unable to see the fourth dimension that the Tralfadorians do. Such a dimension is what enables them to always be with their loved one's, as long as they were to focus and live the time that they lived. Putting all philosophy aside, this idea is obviously a coping mechanism for Billy's tortured and corrupt mind. As a man who has seen the supposed "worst massacre in World War 2", he obviously has seen much death that he now must cope with. By going along with these wild ideas mitigate the eternalness and finality of death, he understates the concept to himself, making it much more easier to cope. It is all just another fiction of Billy's disabled mind.
So Billy's perspective on time is obviously incredibly abstract and hard for the human mind to even fathom. One interesting concept that comes with his extraordinary outlook is his idea of death. It is a much more soothing concept to embrace. Billy states his idea to a little boy in this fashion, "that his father was very much alive in moments the boy would see again and again" (Vonnegut 135). According to the Tralfadorian concept of death, since all time (past, present, and future) exist the same, then those who have died are just in a bad state in that point in time yet are still very much alive in the other points in time. Such an abstract idea does pose as interesting and soothing idea to grasp, however, taking this practically, such an idea could never possibly apply to human beings who are unable to see the fourth dimension that the Tralfadorians do. Such a dimension is what enables them to always be with their loved one's, as long as they were to focus and live the time that they lived. Putting all philosophy aside, this idea is obviously a coping mechanism for Billy's tortured and corrupt mind. As a man who has seen the supposed "worst massacre in World War 2", he obviously has seen much death that he now must cope with. By going along with these wild ideas mitigate the eternalness and finality of death, he understates the concept to himself, making it much more easier to cope. It is all just another fiction of Billy's disabled mind.
Billy's relationship with the speaker
Slaughterhouse 5 by Kurt Vonnegut
The relationship between Billy and the speaker. Is as confusing and obscured as the events of this book. For the longest time, I even assumed that the speaker had once again changed his name for the book as he said he did in the beginning. Among many things, the speaker and Billy do have some very oddly peculiar moments. Moments that are so short and so insignificant yet as similar as can be. One example is when speaking of their dogs. Back in the beginning of the book, the speaker states, "I let him know I like him, and he lets me know he likes me" (Vonnegut 7). Much later in the book, Billy says something eerily familiar to this same sentence by the speaker. Also the speaker and Billy both share an aurora of lunacy to them. The speaker has his completely irregular and concise sentences, and Billy has the whole being abducted by aliens and time travel idea. However, later on through some very sneaky and inconspicuous hints, one realizes that Billy and the speaker are in no way the same person, considering the speaker exists within Billy's story. Intriguingly their paths cross, and some of the character's, such as Paul Lazzaro and OHare are all present within Billy's version. This possess the question, if the speaker was present through most of Billy's war experience, why did he tell the entire story through through Billy's version Then again, why did Kurt Vonnegut himself even include the initial speaker in his book and why didn't he just have the story told solely from Billy's first person perspective? I guess we may or may not know soon enough.
The relationship between Billy and the speaker. Is as confusing and obscured as the events of this book. For the longest time, I even assumed that the speaker had once again changed his name for the book as he said he did in the beginning. Among many things, the speaker and Billy do have some very oddly peculiar moments. Moments that are so short and so insignificant yet as similar as can be. One example is when speaking of their dogs. Back in the beginning of the book, the speaker states, "I let him know I like him, and he lets me know he likes me" (Vonnegut 7). Much later in the book, Billy says something eerily familiar to this same sentence by the speaker. Also the speaker and Billy both share an aurora of lunacy to them. The speaker has his completely irregular and concise sentences, and Billy has the whole being abducted by aliens and time travel idea. However, later on through some very sneaky and inconspicuous hints, one realizes that Billy and the speaker are in no way the same person, considering the speaker exists within Billy's story. Intriguingly their paths cross, and some of the character's, such as Paul Lazzaro and OHare are all present within Billy's version. This possess the question, if the speaker was present through most of Billy's war experience, why did he tell the entire story through through Billy's version Then again, why did Kurt Vonnegut himself even include the initial speaker in his book and why didn't he just have the story told solely from Billy's first person perspective? I guess we may or may not know soon enough.
Time Travel
Slaughterhouse 5 by Kurt Vonnegut
One compelling mood that Vonnegut is very talented of inducing is this whole notion of timelessness. From the beginning of the book, the idea of time travel and the relativity of time is highlighted and even somewhat explained in parts. The explanations are helpful, yet still quit puzzling. How could someone begin to understand something as perplexing and abstract as a fourth dimension and past, present, and future all coinciding. Well, literary structure seems to do the trick. Through what I've blasted through so far, the entirety of this book is set very complexly and seemingly random where totally unrelated events can happen at any time. You are so easily swept off to so many of Billy's life events no matter if it past or present or future. The truth is, giving the context of this book. There is no past or present or future. By reading this book we are swept through a grand story, with not a true beginning, middle, or end. The reader begins to adapt to this notion of timelessness and then starts to embrace it. A book itself can help describe some of the philosophy of this story. In a book, who's to say what is present. As you read one page, that is presently what you are reading, but just as soon as you are done with that you may move ten pages behind and be presently reading that as well. As the Tralfamadorians say, "What we love in our books are the depths of many marvelous moments seen all at one time" (Vonnegut 88)
One compelling mood that Vonnegut is very talented of inducing is this whole notion of timelessness. From the beginning of the book, the idea of time travel and the relativity of time is highlighted and even somewhat explained in parts. The explanations are helpful, yet still quit puzzling. How could someone begin to understand something as perplexing and abstract as a fourth dimension and past, present, and future all coinciding. Well, literary structure seems to do the trick. Through what I've blasted through so far, the entirety of this book is set very complexly and seemingly random where totally unrelated events can happen at any time. You are so easily swept off to so many of Billy's life events no matter if it past or present or future. The truth is, giving the context of this book. There is no past or present or future. By reading this book we are swept through a grand story, with not a true beginning, middle, or end. The reader begins to adapt to this notion of timelessness and then starts to embrace it. A book itself can help describe some of the philosophy of this story. In a book, who's to say what is present. As you read one page, that is presently what you are reading, but just as soon as you are done with that you may move ten pages behind and be presently reading that as well. As the Tralfamadorians say, "What we love in our books are the depths of many marvelous moments seen all at one time" (Vonnegut 88)
Simultaneously living.
Slaughterhouse 5 by Kurt Vonnegut
The greatest proof of Billy's abduction being totally fabricated through his warped mind comes from the early on in chapter 4. Although the book keeps a consistency in being very inconsistant, it does form somewhat a pattern when referencing the beginnings of his abduction. As he is taken from earth and lead through the process of being captive to the Tralfamadore, a parallel scene is developed as Billy is also run through the process of being captive to the Germans. As he traveled through space being enlightened by the speak box, he simultaneously is being hauled across the whole of Germany as a prisoner of war. As he is stripped of his clothes by the Germans, he also is presented naked in an exhibit to the rest of the Tralfamadore. He is studied and looked down upon as stupid, as seen from the questions asked through the talking box and the pamphlet on American's as prisoners. The fact that both events are so similar posses the idea that Billy fabricated the future scenario in his head to make life easier. In order to produce such vivid events his mind just coupled the ideas he had learned from his science fiction books with events of his real life. One line that seems to sum up this whole idea is, "So they were trying to reinvent themselves and their universe. Science fiction was a big help" (Vonnegut 101).
The greatest proof of Billy's abduction being totally fabricated through his warped mind comes from the early on in chapter 4. Although the book keeps a consistency in being very inconsistant, it does form somewhat a pattern when referencing the beginnings of his abduction. As he is taken from earth and lead through the process of being captive to the Tralfamadore, a parallel scene is developed as Billy is also run through the process of being captive to the Germans. As he traveled through space being enlightened by the speak box, he simultaneously is being hauled across the whole of Germany as a prisoner of war. As he is stripped of his clothes by the Germans, he also is presented naked in an exhibit to the rest of the Tralfamadore. He is studied and looked down upon as stupid, as seen from the questions asked through the talking box and the pamphlet on American's as prisoners. The fact that both events are so similar posses the idea that Billy fabricated the future scenario in his head to make life easier. In order to produce such vivid events his mind just coupled the ideas he had learned from his science fiction books with events of his real life. One line that seems to sum up this whole idea is, "So they were trying to reinvent themselves and their universe. Science fiction was a big help" (Vonnegut 101).
Thursday, March 28, 2013
Acquainted with the Night
Acquainted with the Night by Robert Frost
Throughout this poem, Frost uses the extended metaphor of night in order to describe hardships and struggles in life. Much of these symbols are equated with hyperbole. The "furthest city light" and the "saddest city lane" are metaphors for how dark some times of his life have been (Frost 976). These times were so dark that few could compare. It explains a lot about Robert Frost. I believe that the unearthly clock in the sky truly is the moon in which he speaks of. What may cause people to falter in this idea, is that the moon cannot be used to tell time. However, I believe that is part of the genius of Frost. The consternation that an always mobil, hard to predict moon would create as a clock would be totally off-putting. He does this to symbolize how the times in the night are not just linear. They do not descend from point A to point B to point C. In these dark times, which seem continually present, events and times seem scattered and listless. A common theme for movies, is the one where the protagonist is knocked out of the loop and has lost his wits and all emotion. One example would be in the movie, The Aviator, when Howard Hughes has a mental breakdown and locks himself in his room. The scene is shuffled and obscures as it displays him listless inside his own personal hell, ignorant of the time. It is in times such as these where the moon takes lead as the clock.
Throughout this poem, Frost uses the extended metaphor of night in order to describe hardships and struggles in life. Much of these symbols are equated with hyperbole. The "furthest city light" and the "saddest city lane" are metaphors for how dark some times of his life have been (Frost 976). These times were so dark that few could compare. It explains a lot about Robert Frost. I believe that the unearthly clock in the sky truly is the moon in which he speaks of. What may cause people to falter in this idea, is that the moon cannot be used to tell time. However, I believe that is part of the genius of Frost. The consternation that an always mobil, hard to predict moon would create as a clock would be totally off-putting. He does this to symbolize how the times in the night are not just linear. They do not descend from point A to point B to point C. In these dark times, which seem continually present, events and times seem scattered and listless. A common theme for movies, is the one where the protagonist is knocked out of the loop and has lost his wits and all emotion. One example would be in the movie, The Aviator, when Howard Hughes has a mental breakdown and locks himself in his room. The scene is shuffled and obscures as it displays him listless inside his own personal hell, ignorant of the time. It is in times such as these where the moon takes lead as the clock.
Dover Beach
Dover Beach by Matthew Arnold
This poem by Matthew Arnold, highlights the eternal feelings and sad insights of one contemplating the world's problems. His sad thoughts begin from the presence of the vast English Channel. From its spanning waters, comes a "eternal note of sadness" (Arnold 892). He alludes back to the greek philosopher Sophocles, who also heard this note of sadness. This quick allusion points out how this mournful outlook towards life's mysteries and vastness, has always created a sense of fear and sadness in humans. The speaker then references the loss of faith in his generation. Less and less people find comfort in the knowledge of a higher power. In a higher power we can confide in peace and acceptance, ignoring lives great erie mysteries and dismissing them as God's business to take care of. Without certainty to soothe us, the speaker references the next best things to hold off this sadness, each other. This transition from a people rigid in faith and a superior, mysterious being, and more for the faith and love and equality of fellow humans, has been quite evident. It is a different world, yet not an entirely bad world.
This poem by Matthew Arnold, highlights the eternal feelings and sad insights of one contemplating the world's problems. His sad thoughts begin from the presence of the vast English Channel. From its spanning waters, comes a "eternal note of sadness" (Arnold 892). He alludes back to the greek philosopher Sophocles, who also heard this note of sadness. This quick allusion points out how this mournful outlook towards life's mysteries and vastness, has always created a sense of fear and sadness in humans. The speaker then references the loss of faith in his generation. Less and less people find comfort in the knowledge of a higher power. In a higher power we can confide in peace and acceptance, ignoring lives great erie mysteries and dismissing them as God's business to take care of. Without certainty to soothe us, the speaker references the next best things to hold off this sadness, each other. This transition from a people rigid in faith and a superior, mysterious being, and more for the faith and love and equality of fellow humans, has been quite evident. It is a different world, yet not an entirely bad world.
Sorting Laundry
Sorting Laundry by Elisavietta Ritchie
This whole poem is structured by an extended metaphor. All of her assorted linens and things represent and define her relationship with her man. From her descriptions one can discern that their relationship has not always been perfect, they have endured through it and their bond is stronger than ever. The author writes, "pillowcases, despite so many/ washings, seams still/ holding our dreams" (Ritchie). She obviously holds onto memories and possessions very dearly. She brings up the history of her clearance towels, and speaks of how even shrunken clothes are hard to give to good will. This brings up the more serious possession of the shirt. This shirt of a former lover, is just another example of her trouble to move on. When she contemplates "what if" considering her own relationship, she sounds as if she would have a horrible time letting that go as well. This poem emphasizes the human condition of attachment.
This whole poem is structured by an extended metaphor. All of her assorted linens and things represent and define her relationship with her man. From her descriptions one can discern that their relationship has not always been perfect, they have endured through it and their bond is stronger than ever. The author writes, "pillowcases, despite so many/ washings, seams still/ holding our dreams" (Ritchie). She obviously holds onto memories and possessions very dearly. She brings up the history of her clearance towels, and speaks of how even shrunken clothes are hard to give to good will. This brings up the more serious possession of the shirt. This shirt of a former lover, is just another example of her trouble to move on. When she contemplates "what if" considering her own relationship, she sounds as if she would have a horrible time letting that go as well. This poem emphasizes the human condition of attachment.
The Convergence of the Twain
The Convergence of the Twain by Thomas Hardy
This poem, by Thomas Hardy, takes a unique new view of the infamous sinking of the titanic unlike that of other literature. For one, the poem fixates much less than the actual people aboard, but rather the ship itself and its sinking. With the use of personification, he writes of the inescapable fate of the ship and the iceberg. The poet writes, "No mortal eye could see/ On The intimate welding of their later history" (Hardy 779). He compares the meeting of the Titanic and the iceberg as an intimate relationship. As if by fate these two counterparts would one day diverge and meet. He writes of the whole situation almost with a sense of awe and wonder. This is quite ironic considering that he writes of such a very infamous and horrific event. With the submission of the human side of the story, the speaker is actually quite right by his interpretation. It was quite an awesome event. See what I did there?
This poem, by Thomas Hardy, takes a unique new view of the infamous sinking of the titanic unlike that of other literature. For one, the poem fixates much less than the actual people aboard, but rather the ship itself and its sinking. With the use of personification, he writes of the inescapable fate of the ship and the iceberg. The poet writes, "No mortal eye could see/ On The intimate welding of their later history" (Hardy 779). He compares the meeting of the Titanic and the iceberg as an intimate relationship. As if by fate these two counterparts would one day diverge and meet. He writes of the whole situation almost with a sense of awe and wonder. This is quite ironic considering that he writes of such a very infamous and horrific event. With the submission of the human side of the story, the speaker is actually quite right by his interpretation. It was quite an awesome event. See what I did there?
Thursday, February 28, 2013
My Mistress' Eyes
My Mistress' Eyes by William Shakespeare
To enhance the irony of this realistic love poem, William includes a hefty collection of negative diction. With words describing his mistress as, "dun", "wires", "reeks", he does not paint a very admiring picture of her. He also does many anti-similes. He explains the many things that she is not as good as, such as, the sun, coral, snow, roses, and music. Such a love poem sounds incredibly too honest. However, it displays the realism that love must endure. The speaker does not have an over-whimsical view of his woman. He realizes that she does not have qualities that compare to the many beautiful aspects of nature. Yet he acknowledges how most every girl whom is compared to such things does not as well. In a way he is doing a realistic kindness to his mistress, through honesty and a strong hold on reality. Oddly enough, although he in a way disgraces his woman through negatively portraying her in a normally heralding format, one can still tell that he loves her. Through the end when he states, "I think my love as rare...", he admits that, to himself, she is still perfect.
To enhance the irony of this realistic love poem, William includes a hefty collection of negative diction. With words describing his mistress as, "dun", "wires", "reeks", he does not paint a very admiring picture of her. He also does many anti-similes. He explains the many things that she is not as good as, such as, the sun, coral, snow, roses, and music. Such a love poem sounds incredibly too honest. However, it displays the realism that love must endure. The speaker does not have an over-whimsical view of his woman. He realizes that she does not have qualities that compare to the many beautiful aspects of nature. Yet he acknowledges how most every girl whom is compared to such things does not as well. In a way he is doing a realistic kindness to his mistress, through honesty and a strong hold on reality. Oddly enough, although he in a way disgraces his woman through negatively portraying her in a normally heralding format, one can still tell that he loves her. Through the end when he states, "I think my love as rare...", he admits that, to himself, she is still perfect.
Barbie Doll
Barbie Doll by Marge Piercy
This poem analyzes a woman's usual struggle to cope within a society that nitpicks and ostracizes everything it views. The poem describes a girl and her many good, healthy qualities. However, all anybody ever notices are her "fat nose and thick legs" (Piercy 835). These words are found more than once throughout the poem. Such a reoccurrence points to the importance of there meaning. It distinguishes how these criticisms of her appearance were a constant in her life. The ending of the poem is very sadistic and demented. In desperation, the girl resorts to cutting off her nose and legs to finally achieve happiness. While she lays in her casket, everyone comments on how pretty she looks. This poem is an explicative look on how shallow our culture has become. People no longer see the important inner qualities but are just content with dealing with the outside. When this poor girl has finally passed, the only thing people are able to comment on are her looks.
This poem analyzes a woman's usual struggle to cope within a society that nitpicks and ostracizes everything it views. The poem describes a girl and her many good, healthy qualities. However, all anybody ever notices are her "fat nose and thick legs" (Piercy 835). These words are found more than once throughout the poem. Such a reoccurrence points to the importance of there meaning. It distinguishes how these criticisms of her appearance were a constant in her life. The ending of the poem is very sadistic and demented. In desperation, the girl resorts to cutting off her nose and legs to finally achieve happiness. While she lays in her casket, everyone comments on how pretty she looks. This poem is an explicative look on how shallow our culture has become. People no longer see the important inner qualities but are just content with dealing with the outside. When this poor girl has finally passed, the only thing people are able to comment on are her looks.
A Jury of Her Peers
A Jury of Her Peers by Susan Glaspell
Going along with the theme of this literature packet, this short story centers around the theme of gender roles. More specifically, it men's sexism and thoughts on the stereotypical roles of women. This whole story has a very ironic twist. When conducting an investigation of Mrs. Wright's husband's death, the typical men decide to take on the clues themselves, leaving the women to stay out of the way. However, it is the overlooked women who ironically crack the case. With a womanly instinct and wisdom, they pick up on small clues that the men and their big egos seem to overlook. They point out the many unfinished tasks of Mrs. Wright around the house. Whenever, the women pick up certain clues, the men just dismiss it condescendingly, "Well, can you beat the women! Held for murder, and worrying about her preserves!" (Glaspell 413). Once the woman finally fully realize with certainty that Mrs. Wright was her husband's murderer and even why she did it, they do not reveal the truth. This I find incredibly disturbing. Although the women were mistreated and Mrs. Wright was a neglected wife, that does not justify the actions of either. Mrs. Wright is a murderer, she took someone's life away, she does not deserve to live on the outside. Just because her husband mistreated her does not suddenly nullify her crime. I have hopes that men can take a lesson from this story to dismiss sexism, because the women are much more conniving then we believe.
Going along with the theme of this literature packet, this short story centers around the theme of gender roles. More specifically, it men's sexism and thoughts on the stereotypical roles of women. This whole story has a very ironic twist. When conducting an investigation of Mrs. Wright's husband's death, the typical men decide to take on the clues themselves, leaving the women to stay out of the way. However, it is the overlooked women who ironically crack the case. With a womanly instinct and wisdom, they pick up on small clues that the men and their big egos seem to overlook. They point out the many unfinished tasks of Mrs. Wright around the house. Whenever, the women pick up certain clues, the men just dismiss it condescendingly, "Well, can you beat the women! Held for murder, and worrying about her preserves!" (Glaspell 413). Once the woman finally fully realize with certainty that Mrs. Wright was her husband's murderer and even why she did it, they do not reveal the truth. This I find incredibly disturbing. Although the women were mistreated and Mrs. Wright was a neglected wife, that does not justify the actions of either. Mrs. Wright is a murderer, she took someone's life away, she does not deserve to live on the outside. Just because her husband mistreated her does not suddenly nullify her crime. I have hopes that men can take a lesson from this story to dismiss sexism, because the women are much more conniving then we believe.
Hunter's in the Snow
Hunters in the Snow by Tobias Wolff
The character of Frank is a very close average of Kenny and Tub. While Kenny is brass, hot-tempered, insulting, and foolish and Tub is quiet, tentative, emotional, and wimpy, Frank lies somewhere in between the two. In the beginning, almost symbolically, while Kenny and Tub are on opposite sides of the car, Frank is in in the middle. He is not so much a mediator as he is just two-faced. The beginning of the story it is Frank and Kenny who are very cliquey and very often gang up and abandon Tub. In another scenario when walking up the stream, the more closely-knit duo leave Tub alone, "Frank and Kenny worked one bank and Tub worked the other, moving upstream" (Wolff 189). This shows how Frank has his own macho, assertive side to him when he sides with Kenny. However, after Kenny is shot and taken out of the picture, one witnesses the other side of Frank. He now no longer is a bully to Tub but acts much more like a supportive friend. He no longer is engaging in listless banter and jokes but opening up about serious problems. He lets Tub in on his secret and when tub admits to his eating problem, he accepts it. Had Frank been with Kenny upon hearing Tub's secret, he would have hooted and hollered along with Kenny. However, now that Kenny is not present Frank does not feel compelled to be insensitive towards Tub. Frank is pretty much the chameleon of friends.
The character of Frank is a very close average of Kenny and Tub. While Kenny is brass, hot-tempered, insulting, and foolish and Tub is quiet, tentative, emotional, and wimpy, Frank lies somewhere in between the two. In the beginning, almost symbolically, while Kenny and Tub are on opposite sides of the car, Frank is in in the middle. He is not so much a mediator as he is just two-faced. The beginning of the story it is Frank and Kenny who are very cliquey and very often gang up and abandon Tub. In another scenario when walking up the stream, the more closely-knit duo leave Tub alone, "Frank and Kenny worked one bank and Tub worked the other, moving upstream" (Wolff 189). This shows how Frank has his own macho, assertive side to him when he sides with Kenny. However, after Kenny is shot and taken out of the picture, one witnesses the other side of Frank. He now no longer is a bully to Tub but acts much more like a supportive friend. He no longer is engaging in listless banter and jokes but opening up about serious problems. He lets Tub in on his secret and when tub admits to his eating problem, he accepts it. Had Frank been with Kenny upon hearing Tub's secret, he would have hooted and hollered along with Kenny. However, now that Kenny is not present Frank does not feel compelled to be insensitive towards Tub. Frank is pretty much the chameleon of friends.
Wednesday, February 13, 2013
The End: Iago a failure
Othello by William Shakespeare
So in the end, only a couple of the main characters are dead (disappointing), Cassio somehow still lives (also disappointing), and Iago is found out and is subject to trial (extremely disappointing and kind of lame). This is the opposite a reaction of someone normal, however I have the disposition that if events are to turn wrong in a tragic play, then they better do so with a prejudice. I mean scorched Earth! I expected that all of these fools scurrying around in Iago's little game of mouse trap would all soon befall each other, completely ignorant of Iago's involvement as he slips out the back Keyser Soze style (Usual Suspects reference). Instead only a couple of them die, and most all of them die knowing that it was honest Iago's plan. This was bound to bring him to an end. No one can be so two faced and play so many separate roles and get away from it. While pretending to be Rodrigo's companion but also playing as loyal to Cassio or admitting with Othello as witness to his speaking of the adultery but also not wanting to place himself as someone involved, soon his web of lies all came crashing down. I cringed knowing his plan had come to a fatal roadblock as he admitted to what he told Othello, "I told him what I thought, and told no more Than what he found himself was apt and true" (Shakespeare V.ii.175-176). This failure is most unimpressive. In some way it is not that Iago did a poor deed of planning these events. He is a master of illusion and manipulation. However, he must have foreseen how some unlucky occurrences could inhibit his goal. If he had pulled his plan off covertly, and let Othello die a monster in the eyes of those around him, then Iago could be called the greatest villain ever. However, he failed and was caught. Therefore the final verdict is that Iago is a mediocre Villain. That is the end of Othello.
So in the end, only a couple of the main characters are dead (disappointing), Cassio somehow still lives (also disappointing), and Iago is found out and is subject to trial (extremely disappointing and kind of lame). This is the opposite a reaction of someone normal, however I have the disposition that if events are to turn wrong in a tragic play, then they better do so with a prejudice. I mean scorched Earth! I expected that all of these fools scurrying around in Iago's little game of mouse trap would all soon befall each other, completely ignorant of Iago's involvement as he slips out the back Keyser Soze style (Usual Suspects reference). Instead only a couple of them die, and most all of them die knowing that it was honest Iago's plan. This was bound to bring him to an end. No one can be so two faced and play so many separate roles and get away from it. While pretending to be Rodrigo's companion but also playing as loyal to Cassio or admitting with Othello as witness to his speaking of the adultery but also not wanting to place himself as someone involved, soon his web of lies all came crashing down. I cringed knowing his plan had come to a fatal roadblock as he admitted to what he told Othello, "I told him what I thought, and told no more Than what he found himself was apt and true" (Shakespeare V.ii.175-176). This failure is most unimpressive. In some way it is not that Iago did a poor deed of planning these events. He is a master of illusion and manipulation. However, he must have foreseen how some unlucky occurrences could inhibit his goal. If he had pulled his plan off covertly, and let Othello die a monster in the eyes of those around him, then Iago could be called the greatest villain ever. However, he failed and was caught. Therefore the final verdict is that Iago is a mediocre Villain. That is the end of Othello.
Emilia
Othello by William Shakespeare
With so many outspoken and strong minded characters in this play, it is ironic that Emilia of all people would be the one to finally expose Iago. For one reason, it was bound to happen that one of the pawns in Iago's elaborate chess game would stumble across proof and put two and two together. Othello spoke of how Iago informed him of the adultery and the handkerchief, and Emilia had helped with the stealing of that very same handkerchief. It was not even as subtle as Rodrigo yelling out Iago's name as Iago stabbed him. Anyone could have placed Rodrigo as one of Iago's cronies. They would be like, "Yes, I have seen that guy before, he's the weirdo that Iago always whispers to and then runs off to do God knows what!" Somehow this little flaw in not picked up on. Back to the actual smart one of the play, Emilia. Not only does she catch on right away as she is given this clue, but she has no problem pronouncing it to the council of men around her. Emilia is already a timid woman and now her husband is ordering for her leave in front of many other macho men and she defies him to try to lay out this elaborate truth. After Iago commands her to go home, she denies saying, "I will not" (Shakespeare V.ii.223). She is soon after stabbed by Iago. How ironic is it that the one who exposes Iago is not only the most timid and seemingly unsubstantial of all the characters, but also the villains wife. Most wives would out of shock or loyalty, deny the fact. However, Emilia, Iago's wife, is at the forefront as the blamer. She does not bat an eye towards blaming her husband as the cause of all the misery. Good for her!
With so many outspoken and strong minded characters in this play, it is ironic that Emilia of all people would be the one to finally expose Iago. For one reason, it was bound to happen that one of the pawns in Iago's elaborate chess game would stumble across proof and put two and two together. Othello spoke of how Iago informed him of the adultery and the handkerchief, and Emilia had helped with the stealing of that very same handkerchief. It was not even as subtle as Rodrigo yelling out Iago's name as Iago stabbed him. Anyone could have placed Rodrigo as one of Iago's cronies. They would be like, "Yes, I have seen that guy before, he's the weirdo that Iago always whispers to and then runs off to do God knows what!" Somehow this little flaw in not picked up on. Back to the actual smart one of the play, Emilia. Not only does she catch on right away as she is given this clue, but she has no problem pronouncing it to the council of men around her. Emilia is already a timid woman and now her husband is ordering for her leave in front of many other macho men and she defies him to try to lay out this elaborate truth. After Iago commands her to go home, she denies saying, "I will not" (Shakespeare V.ii.223). She is soon after stabbed by Iago. How ironic is it that the one who exposes Iago is not only the most timid and seemingly unsubstantial of all the characters, but also the villains wife. Most wives would out of shock or loyalty, deny the fact. However, Emilia, Iago's wife, is at the forefront as the blamer. She does not bat an eye towards blaming her husband as the cause of all the misery. Good for her!
The Murder
Othello by William Shakespeare
In the final act, now comes the awkward scene when Othello lovingly murders his wife. He cries and speaks of how it is something he wishes he did not have to do, but out of honor, he must. This is total bologna In all practicality, if he was such a honorable man and still very much loved his wife, he would most likely spare her. He would still dismiss her, but at least let her live. Indeed, Iago did a fine job building Othello up to a head, but would not one dismiss and loose track of his evidence in the midst of one's dire and honest truth. His wife is sitting there weeping telling him over and over again that she does not know what she has done. If she truly were cheating and Othello repeatedly interrogated her as he had done, she probably would have come clean after the second time he asked. However, she is pure and ignorant of any of this and states to him that she has been loyal, "Alas, what ignorant sin have I committed?" (Shakespeare V.ii.70). In a moment such as this, when the wife, who to this point he still loves, weeps and cries out that she has done nothing, one would think that Othello would maybe begin to second guess all those little signs and innuendos that which he tried to associate with as "ocular proof". Many have been there where there mounds of insignificant evidence is all blown away with a simple, confident response.
In the final act, now comes the awkward scene when Othello lovingly murders his wife. He cries and speaks of how it is something he wishes he did not have to do, but out of honor, he must. This is total bologna In all practicality, if he was such a honorable man and still very much loved his wife, he would most likely spare her. He would still dismiss her, but at least let her live. Indeed, Iago did a fine job building Othello up to a head, but would not one dismiss and loose track of his evidence in the midst of one's dire and honest truth. His wife is sitting there weeping telling him over and over again that she does not know what she has done. If she truly were cheating and Othello repeatedly interrogated her as he had done, she probably would have come clean after the second time he asked. However, she is pure and ignorant of any of this and states to him that she has been loyal, "Alas, what ignorant sin have I committed?" (Shakespeare V.ii.70). In a moment such as this, when the wife, who to this point he still loves, weeps and cries out that she has done nothing, one would think that Othello would maybe begin to second guess all those little signs and innuendos that which he tried to associate with as "ocular proof". Many have been there where there mounds of insignificant evidence is all blown away with a simple, confident response.
Victims of Circumstance
Othello by William Shakespeare
Iago is almost like a composure, meticulously planning each and every finite detail and then orchestrating his plot out to perfection. However, in some cases Iago is still offered fortuitous bonuses that aid his success. In the scene where Othello listens in on Iago's conversation with Cassio, he perfectly produces a conversation with Cassio that paints a picture of blame on him. As he speaks of Bianca, boasting and laughing about her, Othello the entire time is under the impression that Cassio is speaking of Desdemona. Cassio mocks and says, "Alas, poor rogue! I think i' faith, she loves me" (Shakespeare IV.i. 109). I do find it quit ridiculous that during all of this cocky talk, Cassio did not once accidentally let Bianca's name slip. Why would he not? He was not aware that he was the only person that Iago could hear and knew nothing of Iago's plan. Also, how easy could it have been if Iago, who is lacking in social graces, either whispered Bianca's name to Cassio either so loud that Othello perceived it or not loud enough that Cassio failed to understand him and then just walked away after that awkward moment when you keep asking a friend what they said and near the third or fourth time cannot understand them and then finally just smile and pretend you heard them. I hate when that happens. Then the lucky incident with Bianca suddenly showing up angry of the handkerchief that she found in Cassio's room. How does everyone know where everyone else is all the time!? This is 16th century venice, not exactly the time of mobile phones and gps!
Iago is almost like a composure, meticulously planning each and every finite detail and then orchestrating his plot out to perfection. However, in some cases Iago is still offered fortuitous bonuses that aid his success. In the scene where Othello listens in on Iago's conversation with Cassio, he perfectly produces a conversation with Cassio that paints a picture of blame on him. As he speaks of Bianca, boasting and laughing about her, Othello the entire time is under the impression that Cassio is speaking of Desdemona. Cassio mocks and says, "Alas, poor rogue! I think i' faith, she loves me" (Shakespeare IV.i. 109). I do find it quit ridiculous that during all of this cocky talk, Cassio did not once accidentally let Bianca's name slip. Why would he not? He was not aware that he was the only person that Iago could hear and knew nothing of Iago's plan. Also, how easy could it have been if Iago, who is lacking in social graces, either whispered Bianca's name to Cassio either so loud that Othello perceived it or not loud enough that Cassio failed to understand him and then just walked away after that awkward moment when you keep asking a friend what they said and near the third or fourth time cannot understand them and then finally just smile and pretend you heard them. I hate when that happens. Then the lucky incident with Bianca suddenly showing up angry of the handkerchief that she found in Cassio's room. How does everyone know where everyone else is all the time!? This is 16th century venice, not exactly the time of mobile phones and gps!
Wednesday, February 6, 2013
Iago is the Devil
Othello by William Shakespeare
Iago has struck with another one of his brilliantly thought out and manipulative plans. He indirectly causes Cassio to maim hes reputation and loose his officer position all from a few convenient lies. He whispers and pressures into the ears of Cassio, Montano, Rodrigo, causing all of them to achieve his bidding, either knowingly or unknowingly. He gets Cassio to act like a fool from those extra drinks. He causes Rodrigo to step up and call out Cassio due to a white lie. All the while he causes these people to commit crimes and sin he just sits idly by and looks as if he is an honest bystander. If Iago reminds me of one character throughout history, it would be the devil. Like the snake in the garden, he pesters and pressures people into doing what they know is wrong. He tricks them and lies to them and causes them to think they are doing the right thing. He ignores Cassio's pleads to not have another drink replying, "Oh, they are our friends. But one cup. I'll drink for you" (Shakespeare Act 2 Scene 3). Iago appears to be the embodiment of the devil. For all we know we possibly could very well be.
Iago has struck with another one of his brilliantly thought out and manipulative plans. He indirectly causes Cassio to maim hes reputation and loose his officer position all from a few convenient lies. He whispers and pressures into the ears of Cassio, Montano, Rodrigo, causing all of them to achieve his bidding, either knowingly or unknowingly. He gets Cassio to act like a fool from those extra drinks. He causes Rodrigo to step up and call out Cassio due to a white lie. All the while he causes these people to commit crimes and sin he just sits idly by and looks as if he is an honest bystander. If Iago reminds me of one character throughout history, it would be the devil. Like the snake in the garden, he pesters and pressures people into doing what they know is wrong. He tricks them and lies to them and causes them to think they are doing the right thing. He ignores Cassio's pleads to not have another drink replying, "Oh, they are our friends. But one cup. I'll drink for you" (Shakespeare Act 2 Scene 3). Iago appears to be the embodiment of the devil. For all we know we possibly could very well be.
Iago and Women
Othello by William Shakespeare
So not only is Iago slightly racist, but extremely sexist. He is beginning to form into what one could relate as the typical narrow-minded American redneck. However, Iago is way too clever to fall into such a faction. He talks to Desdemona and his wife, Emilia, about his thoughts on women. One can understand how much of a sexist pig he is just from hearing him harp on his poor wife. She, a woman who has spoken a total of maybe three lines, is accused and mocked by Iago for being a horrible nag that lets him hear it whenever she can. He attests to women's deceptive nature. He explains how maybe outside in public these women may put on little fronts. However, in doors, they are unbearably loud and nagging. Desdemona, who is listening to Iago rant over all of this is in disbelief, and is shocked even more when he tells her his idea of the perfect woman. He explains their sole purpose, "To suckle fools and chronicle small beer" (Act 2 Scene 1 Line 160). Iago is clearly untrusting of women, which must have a big part to play in his belief that his wife committed adultery.
So not only is Iago slightly racist, but extremely sexist. He is beginning to form into what one could relate as the typical narrow-minded American redneck. However, Iago is way too clever to fall into such a faction. He talks to Desdemona and his wife, Emilia, about his thoughts on women. One can understand how much of a sexist pig he is just from hearing him harp on his poor wife. She, a woman who has spoken a total of maybe three lines, is accused and mocked by Iago for being a horrible nag that lets him hear it whenever she can. He attests to women's deceptive nature. He explains how maybe outside in public these women may put on little fronts. However, in doors, they are unbearably loud and nagging. Desdemona, who is listening to Iago rant over all of this is in disbelief, and is shocked even more when he tells her his idea of the perfect woman. He explains their sole purpose, "To suckle fools and chronicle small beer" (Act 2 Scene 1 Line 160). Iago is clearly untrusting of women, which must have a big part to play in his belief that his wife committed adultery.
Iago's manipulation of Roderigo
Othello by William Shakespeare
One odd relationship existing within the realm of Othello is that of Iago and Roderigo. Roderigo appears to have an extreme man crush on Iago, falling for every bit of Iago's valiant B.S. Being told that their differing motives intertwine, Rodrigo is set to aid Iago in any way he can in order to bring about Iago's master plan. For Iago, the goal is simply to cause mayhem and despair in Othello's life. However for the simple minded Rodrigo, he is possessed by love by Brabantio's daughter, Desdemona. This fair maiden also happens to be Othello's wife. I see a connection! Rodrigo with the hope and naivety of a young child believes that through Iago's plan, he can somehow steal this woman who is far out of his league from a man that leads legions. While Rodrigo believes that Iago holds his best intentions, Iago truly is just using Rodrigo as he uses everyone else. Since Rodrigo is emotional, he is malleable, and since he is malleable he is the perfect servant to do Iago's dirty work. Iago thinks Rodrigo is nothing more than a half-minded knave. After putting on his "honest Iago" facade and consoling Rodrigo from suicide, he says,
"Thus do I ever make my fool my purse" (Shakespeare Act 1 Scene 3 Line 320).
Some friend he is...
One odd relationship existing within the realm of Othello is that of Iago and Roderigo. Roderigo appears to have an extreme man crush on Iago, falling for every bit of Iago's valiant B.S. Being told that their differing motives intertwine, Rodrigo is set to aid Iago in any way he can in order to bring about Iago's master plan. For Iago, the goal is simply to cause mayhem and despair in Othello's life. However for the simple minded Rodrigo, he is possessed by love by Brabantio's daughter, Desdemona. This fair maiden also happens to be Othello's wife. I see a connection! Rodrigo with the hope and naivety of a young child believes that through Iago's plan, he can somehow steal this woman who is far out of his league from a man that leads legions. While Rodrigo believes that Iago holds his best intentions, Iago truly is just using Rodrigo as he uses everyone else. Since Rodrigo is emotional, he is malleable, and since he is malleable he is the perfect servant to do Iago's dirty work. Iago thinks Rodrigo is nothing more than a half-minded knave. After putting on his "honest Iago" facade and consoling Rodrigo from suicide, he says,
"Thus do I ever make my fool my purse" (Shakespeare Act 1 Scene 3 Line 320).
Some friend he is...
Iago's Intentions
Othello by William Shakespeare
In William Shakespeare's play, Othello, the antagonist, Iago is bent on the destruction of his Superior Officer, Othello. Iago and his crony, Rodrigo, lie and manipulate many of Othello's close companions in order to do so. The real question is what is Iago's motives. What seems to be the most likely cause of Iago's hatred would be jealousy. For one, he hates it enough that he must be submissive to Othello, as Othello is his superior. Furthermore, not only is he not Othello's ranking as a captain but two levels below. This all came to be thanks to Othello's proclivity to his friend Michael Cassio, whom Othello found more fit to serve right under him. Iago says to Rodrigo,
"Three great ones of the city
In William Shakespeare's play, Othello, the antagonist, Iago is bent on the destruction of his Superior Officer, Othello. Iago and his crony, Rodrigo, lie and manipulate many of Othello's close companions in order to do so. The real question is what is Iago's motives. What seems to be the most likely cause of Iago's hatred would be jealousy. For one, he hates it enough that he must be submissive to Othello, as Othello is his superior. Furthermore, not only is he not Othello's ranking as a captain but two levels below. This all came to be thanks to Othello's proclivity to his friend Michael Cassio, whom Othello found more fit to serve right under him. Iago says to Rodrigo,
"Three great ones of the city
(In personal suit to make me his lieutenant)
Off-capped to him, and by the faith of man
I know my price, I am worth no worse a place" (Shakespeare Act 1, Scene 1, Lines 9-13)
Despite suggestions by many renowned people to make Iago Othello's second in command, Othello ignored their requests and claimed to have already chosen Cassio. Iago is bitter about these considering how much more experience he has over Cassio, who is truly just a bookworm. Iago also has much hatred for Othello that he believes Othello slept with his wife. The whether this claim is viable or not remains to be seen, however, Othello believes it to be true. All of these reasons that Iago hates Othello are magnified by Othello's biggest difference, he is black. These furthermore ignites Iago's hatred of Othello.
Sunday, January 27, 2013
Getting Out
Getting Out by Cleopatra Mathis
In this poem about a couple splitting up, Mathis adds an interesting aspect to the story by shifting between point of view. At some points the narrator is speaking as if speaking for more than one person, "We've kept to separate sides of the map" (Mathis 896). She then changes her point of view to singular, "I have the last unshredded pictures of our matching eyes and hair" (Mathis 896). This use of ambiguous pronoun usage helps define the ambiguous feelings felt by the couple enduring the breakup. They both wish to stay together, and they try through so many methods to heal their relationship. However, despite their best efforts, the cannot seem to find a thread to keep them strung together. It is as if they wish to stay together just for the idea of being in a relationship together, yet find no connection or longing for each other. Without that natural love between them, it makes their marriage very weak and unstable. Because they wanted so desperately for their relationship to work, they weep together as they are with the divorce lawyer.
In this poem about a couple splitting up, Mathis adds an interesting aspect to the story by shifting between point of view. At some points the narrator is speaking as if speaking for more than one person, "We've kept to separate sides of the map" (Mathis 896). She then changes her point of view to singular, "I have the last unshredded pictures of our matching eyes and hair" (Mathis 896). This use of ambiguous pronoun usage helps define the ambiguous feelings felt by the couple enduring the breakup. They both wish to stay together, and they try through so many methods to heal their relationship. However, despite their best efforts, the cannot seem to find a thread to keep them strung together. It is as if they wish to stay together just for the idea of being in a relationship together, yet find no connection or longing for each other. Without that natural love between them, it makes their marriage very weak and unstable. Because they wanted so desperately for their relationship to work, they weep together as they are with the divorce lawyer.
The Story of an Hour
The Story of an Hour by Kate Chopin
The Story of an Hour is incredibly ironic story that covers the transient emotions of a fresh widow. There is situational irony in how Josephine reacts to the news that her husband has just died. Although she reacts quit normally with grief, she soon finds a refreshed outlook on the future. "Free! Body and soul Free!" she whispers as she ironically rejoices the upcoming years (Chopin). The setting of the story contains irony as well, as it is a warm, pretty spring day. The final bit of situational irony comes as a shocker, when the story ends with Josephine dying as a result of a heart attack at the revelation that her husband is alive. This ironic twist is delivered in the form of one paragraph and a single line. This entire story and the irony that accompanies it, show how the moods and stories of a given hour can change as quickly as they come.
The Story of an Hour is incredibly ironic story that covers the transient emotions of a fresh widow. There is situational irony in how Josephine reacts to the news that her husband has just died. Although she reacts quit normally with grief, she soon finds a refreshed outlook on the future. "Free! Body and soul Free!" she whispers as she ironically rejoices the upcoming years (Chopin). The setting of the story contains irony as well, as it is a warm, pretty spring day. The final bit of situational irony comes as a shocker, when the story ends with Josephine dying as a result of a heart attack at the revelation that her husband is alive. This ironic twist is delivered in the form of one paragraph and a single line. This entire story and the irony that accompanies it, show how the moods and stories of a given hour can change as quickly as they come.
Popular Mechanics
Popular Mechanics by Carver
Popular mechanics holds a stark resemblance to the famous story of King Soloman in the bible. In Soloman's story, two mothers are fighting over a baby whom they both say is theirs. In order to decide the matter, Soloman orders that the baby be cut in half and each mom given a piece. While the fake mother agreed, the real mother relinquished, wishing to rather let the child live with the fake mother than to let it die. Soloman then gives the baby to the real mother. If Carver's story does not match the same theme of the the bible story, it still very much possesses the same conflict. The parents of the child are at a hostile dispute on who is to keep the baby. "The largest differences reside in the conclusion. Instead of some great mediator wisely saving the day and awarding the real mother with the baby, alive, Carver's story ends with the baby being torn in half during the scuffle between the couple. Carver apathetically writes, "In this manner, the issue was decided" (Carver). This story portrays the mindless violence people can succumb to during times of heated emotion.
Popular mechanics holds a stark resemblance to the famous story of King Soloman in the bible. In Soloman's story, two mothers are fighting over a baby whom they both say is theirs. In order to decide the matter, Soloman orders that the baby be cut in half and each mom given a piece. While the fake mother agreed, the real mother relinquished, wishing to rather let the child live with the fake mother than to let it die. Soloman then gives the baby to the real mother. If Carver's story does not match the same theme of the the bible story, it still very much possesses the same conflict. The parents of the child are at a hostile dispute on who is to keep the baby. "The largest differences reside in the conclusion. Instead of some great mediator wisely saving the day and awarding the real mother with the baby, alive, Carver's story ends with the baby being torn in half during the scuffle between the couple. Carver apathetically writes, "In this manner, the issue was decided" (Carver). This story portrays the mindless violence people can succumb to during times of heated emotion.
You're Ugly, Too
You're Ugly, Too by Lorrie Moore
In Lorrie Moore's short story, the plot centers around the life of a single woman from a small town in Illinois named Zoe. Zoe is quit alone and out of place in her world. She feels as though she belongs in the East Coast, where the people are more sophisticated and where she could become married. However, do to her current situation and her odd, sarcastic sense of humor, she finds it difficult to find a man. Although Zoe's life appears lonely and depressing, it is hard to feel sympathy for her. It is not the fact that her sarcastic wit repels people away from her that makes her unsympathetic. That trait of hers, however, is very admiral that she at least acts herself. What makes it hard to feel sympathy for Zoe is that despite her longing to move back to the East Coast and find a man, she shows no such effort in achieving those goals. Instead of taking a few risks and leaving her confort zone, she appears stuck in her situation. It is only by the request of her sister that she ever attempts at meeting new people. Also, with her younger sister soon to be married, Zoe finds much to gripe about this. Her sister responds, "You're only saying that because you're five years older than I am and you're not married" (Moore).
In Lorrie Moore's short story, the plot centers around the life of a single woman from a small town in Illinois named Zoe. Zoe is quit alone and out of place in her world. She feels as though she belongs in the East Coast, where the people are more sophisticated and where she could become married. However, do to her current situation and her odd, sarcastic sense of humor, she finds it difficult to find a man. Although Zoe's life appears lonely and depressing, it is hard to feel sympathy for her. It is not the fact that her sarcastic wit repels people away from her that makes her unsympathetic. That trait of hers, however, is very admiral that she at least acts herself. What makes it hard to feel sympathy for Zoe is that despite her longing to move back to the East Coast and find a man, she shows no such effort in achieving those goals. Instead of taking a few risks and leaving her confort zone, she appears stuck in her situation. It is only by the request of her sister that she ever attempts at meeting new people. Also, with her younger sister soon to be married, Zoe finds much to gripe about this. Her sister responds, "You're only saying that because you're five years older than I am and you're not married" (Moore).
Wednesday, January 9, 2013
Delight in Disorder
Delight in Disorder by Robert Herrick
This poem presents many oxymoron's throughout. This would have to be due to the fact that the title presents an oxymoron as well and that the main point that the speaker is trying to deliver is as well, that there is beauty in disorder. The speaker is obviously looking at a women as he describes many of her different attire such as dress, lace, stomacher, erring and ribbons. He describes all of these pieces of clothing as chaotic or wild in some way. He applies his idea of chaotic beauty to the woman with whom he is enraptured by. To describes her as having "wild civility", another oxymoron (Herrick 979). It is not as though the women is one very attractive babe dressed in a very messy outfit. It is just that the speaker is in such a state of awe that he takes in every little detail. The small, seemingly insignificant things, such as the ribbons in her hair, he notices and describes with loveliness. There is so much to admire that the speaker is "bewitched" by her (Herrick 979).
This poem presents many oxymoron's throughout. This would have to be due to the fact that the title presents an oxymoron as well and that the main point that the speaker is trying to deliver is as well, that there is beauty in disorder. The speaker is obviously looking at a women as he describes many of her different attire such as dress, lace, stomacher, erring and ribbons. He describes all of these pieces of clothing as chaotic or wild in some way. He applies his idea of chaotic beauty to the woman with whom he is enraptured by. To describes her as having "wild civility", another oxymoron (Herrick 979). It is not as though the women is one very attractive babe dressed in a very messy outfit. It is just that the speaker is in such a state of awe that he takes in every little detail. The small, seemingly insignificant things, such as the ribbons in her hair, he notices and describes with loveliness. There is so much to admire that the speaker is "bewitched" by her (Herrick 979).
Bright Star
Bright Star by John Keats
The most evident literary device used by Keats throughout this poem that is the basis of his work is apostrophe. For almost the entire poem the speaker addresses the star as if it were a coherent living, breathing person. Keats writes, "Bright star, would I were steadfast as thou art" (Keats 792). Keats uses this apostrophe to compare the differences of the speaker and the star more easily. For the speaker, addresses that he does not wish to be alone like the solitary star. Unlike the "sleepless Eremite", the speaker is not alone but with his lover (Keats 792). What he feels as he lays with the one he loves is so blissful that he would not change places even with a magnificent star that can witness all the shores and mountaintops. That is the poets main reason of utilizing apostrophe, in order to further intensify the emotion that the speaker feels. One can feel his "pleasant unrest" as he dismisses the star. For simply laying so close to his lover contains all the happiness he seeks.
The most evident literary device used by Keats throughout this poem that is the basis of his work is apostrophe. For almost the entire poem the speaker addresses the star as if it were a coherent living, breathing person. Keats writes, "Bright star, would I were steadfast as thou art" (Keats 792). Keats uses this apostrophe to compare the differences of the speaker and the star more easily. For the speaker, addresses that he does not wish to be alone like the solitary star. Unlike the "sleepless Eremite", the speaker is not alone but with his lover (Keats 792). What he feels as he lays with the one he loves is so blissful that he would not change places even with a magnificent star that can witness all the shores and mountaintops. That is the poets main reason of utilizing apostrophe, in order to further intensify the emotion that the speaker feels. One can feel his "pleasant unrest" as he dismisses the star. For simply laying so close to his lover contains all the happiness he seeks.
#2
Evelyn by James Joyce
Evelyn's present circumstance is one full of loss and lassitude. She feels sadness for the loss of her mother and the her times spent as a blissful child. Now she is just haunted by the ghosts of the past and her current demons, such as her abusive father or her callous supervisor. She writes of remembering a time when her father showed some sign of kindness and humanity towards her, but now all he offers is fear and abuse. It is no wonder why in her present situation, in Dublin of all cities, that Evelyn would desire so heavily to run away. This stifled passion to live is what causes Evelyn's attraction to Frank. He, a sailor, could offer her the chance of a lifetime. The narrator explains Evelyn's thoughts, "Frank would save her. He would give her life, perhaps love, too" (Joyce 221). This quote explains Evelyn's opinion of Frank and why she hesitates to board the ship with him. Although she likes him and is attracted to the fact that he can save her from her current situation, she has no other love for him. This story is not so much a love story much a story of longing.
Evelyn's present circumstance is one full of loss and lassitude. She feels sadness for the loss of her mother and the her times spent as a blissful child. Now she is just haunted by the ghosts of the past and her current demons, such as her abusive father or her callous supervisor. She writes of remembering a time when her father showed some sign of kindness and humanity towards her, but now all he offers is fear and abuse. It is no wonder why in her present situation, in Dublin of all cities, that Evelyn would desire so heavily to run away. This stifled passion to live is what causes Evelyn's attraction to Frank. He, a sailor, could offer her the chance of a lifetime. The narrator explains Evelyn's thoughts, "Frank would save her. He would give her life, perhaps love, too" (Joyce 221). This quote explains Evelyn's opinion of Frank and why she hesitates to board the ship with him. Although she likes him and is attracted to the fact that he can save her from her current situation, she has no other love for him. This story is not so much a love story much a story of longing.
Maturity
How I Met My Husband by Alice Munro
In Munro's short story, How I Met My Husband, the main character, Edie, is quite an immature, naive little girl. However, her foolish thoughts and actions are all admitted and corrected by the narrator, Edie's older and more mature self. In the story, Edie is as naive and innocent as a girl can be. By her decisions such as pursuing Mr. Watters by bringing the cake to his tent while the rest of the household was gone, one can tell she still lacks the foresight to avoid such bad decisions. Her more mature self reprimands her past self for her silly actions and admits that if she had the same experience now, things would be different. For example, when referencing her deceiving of Mr. Watter's fiance she says, "Women should stick together and not do things like that. I see that now, but didn't then" (Munro 143). The presence of Edie's older narration contrasts Edie's whimsical romantic story, and the actual story of how she eventually met her husband. This further shows that love is not always a sappy romantic novel.
In Munro's short story, How I Met My Husband, the main character, Edie, is quite an immature, naive little girl. However, her foolish thoughts and actions are all admitted and corrected by the narrator, Edie's older and more mature self. In the story, Edie is as naive and innocent as a girl can be. By her decisions such as pursuing Mr. Watters by bringing the cake to his tent while the rest of the household was gone, one can tell she still lacks the foresight to avoid such bad decisions. Her more mature self reprimands her past self for her silly actions and admits that if she had the same experience now, things would be different. For example, when referencing her deceiving of Mr. Watter's fiance she says, "Women should stick together and not do things like that. I see that now, but didn't then" (Munro 143). The presence of Edie's older narration contrasts Edie's whimsical romantic story, and the actual story of how she eventually met her husband. This further shows that love is not always a sappy romantic novel.
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