Frankenstein by Mary Shelley
Early in Frankenstein, Shelley characterizes Elizabeth as the "living spirit of love" among the Frankenstein family (Shelley 20). She certainly proves the characterization to be accurate as the novel progresses and she embodies love within the family during troubling times like Caroline's sickness and Victor's depression. However, toward the end of the novel, Elizabeth displays herself to represent much more to Victor and his remaining family; she represents hope. As long as Elizabeth lives, Victor has some hope for a joyful, somewhat normal life with a woman he loves dearly. Victor's union with Elizabeth gives Alphonse Frankenstein hope for the future and for happier times to come. Quite literally, all hope for happiness within the Frankenstein clan emanates from Elizabeth, so her death comes as a devastating, even fatal, blow. After Elizabeth dies, Victor recounts how, having lost all hope for happiness, his father "was unable to rise from his bed, and in a few days he died in my arms," (Shelley 147). Victor too takes the agonizing loss of his beloved Elizabeth harshly. Without his wife, Victor laments, "I lost sensation and chains and darkness were the only objects that pressed upon me," (Shelley 147). Having lost touch with all positive sentiments, Victor lives out the rest of his days fueled solely by rage. In removing all hope for happiness from Frankenstein and his family, Elizabeth's death removes all possibility of a positive conclusion and sets the stage for Frankenstein's tragic close comprised of Victor's death and the creature's righteous suicide.
Thursday, November 29, 2012
Storms
Frankenstein by Mary Shelley
Shelley utilizes storms as an interesting motif to signify a scene as portraying an especially negative plot twist. As the novel progresses, so too does the severity of these storms, eventually culminating in the most unfortunate, melancholy scene in the entire novel. The first storm Shelley includes, if it can really claim to be a storm, is the downpour during Victor's creation scene. This rain shows how negative this creation will be for Victor. Furthermore, a storm rages as Victor visits the site of William's murder and catches a glimpse of the creature, William's murderer. However, none of these storms hold as much significance as the storm preceding Elizabeth's death. On their wedding night, Victor and Elizabeth took a leisurely stroll to enjoy themselves when "Suddenly a heavy storm of rain descended," (Shelley 144). This storm, coupled with the creature's promised appearance on that night, elicits a feeling of anxious apprehension as Elizabeth unwittingly awaits her inevitable fate. Thus, not only do the storms link several extremely negative events in the novel, but they also serve as another method Shelley implements to build suspense. Furthermore, they add to the overall melancholy, morose tone of the work as a whole. Without the inclusion of these storms, Shelley would lose an incredibly powerful literary tool.
Shelley utilizes storms as an interesting motif to signify a scene as portraying an especially negative plot twist. As the novel progresses, so too does the severity of these storms, eventually culminating in the most unfortunate, melancholy scene in the entire novel. The first storm Shelley includes, if it can really claim to be a storm, is the downpour during Victor's creation scene. This rain shows how negative this creation will be for Victor. Furthermore, a storm rages as Victor visits the site of William's murder and catches a glimpse of the creature, William's murderer. However, none of these storms hold as much significance as the storm preceding Elizabeth's death. On their wedding night, Victor and Elizabeth took a leisurely stroll to enjoy themselves when "Suddenly a heavy storm of rain descended," (Shelley 144). This storm, coupled with the creature's promised appearance on that night, elicits a feeling of anxious apprehension as Elizabeth unwittingly awaits her inevitable fate. Thus, not only do the storms link several extremely negative events in the novel, but they also serve as another method Shelley implements to build suspense. Furthermore, they add to the overall melancholy, morose tone of the work as a whole. Without the inclusion of these storms, Shelley would lose an incredibly powerful literary tool.
Filling the Reader In: Foreshadowing
Frankenstein by Mary Shelley
In the second half of her novel, as she did in the first, Shelley incorporates foreshadowing quite skillfully to build suspense and allow the reader to infer what will happen later on in the story. For example, upon reading Paradise Lost, the creature vocalizes his desire for a female companion, an Eve of his own. This statement, coupled with the fact that Victor is the only individual capable of making beings similar to the creature, hints that the creature will request a companion of Victor later on. Furthermore, when Henry and Victor travel to England, the effect Henry has on Victor foreshadows his imminent demise. Henry helps Victor combat his loneliness and depression while also allowing him to once again enjoy the beauty of his surroundings. As such, Victor clings to Henry in an attempt "to protect him from the fancied rage of his destroyer," (Shelley 118). He knows that because Henry brings him joy, the creature will target him. However, by incorporating the phrase "his destroyer" in Victor's narrative about protecting Henry, Shelley utilizes diction to convey to her audience that Henry's fate has already been sealed. Finally, the most obvious instance of Shelley's foreshadowing lies in the creature promising Victor, " . . . I shall be with you on your wedding-night," (Shelley 123). Issuing this statement after having killed several of Victor's other loved ones and after witnessing Victor rip his future bride to shreds, the creature obviously intimates eventually killing Elizabeth. Shelley's ability to interestingly foreshadow future events without completely giving away what will happen adds appeal and suspense to her novel.
In the second half of her novel, as she did in the first, Shelley incorporates foreshadowing quite skillfully to build suspense and allow the reader to infer what will happen later on in the story. For example, upon reading Paradise Lost, the creature vocalizes his desire for a female companion, an Eve of his own. This statement, coupled with the fact that Victor is the only individual capable of making beings similar to the creature, hints that the creature will request a companion of Victor later on. Furthermore, when Henry and Victor travel to England, the effect Henry has on Victor foreshadows his imminent demise. Henry helps Victor combat his loneliness and depression while also allowing him to once again enjoy the beauty of his surroundings. As such, Victor clings to Henry in an attempt "to protect him from the fancied rage of his destroyer," (Shelley 118). He knows that because Henry brings him joy, the creature will target him. However, by incorporating the phrase "his destroyer" in Victor's narrative about protecting Henry, Shelley utilizes diction to convey to her audience that Henry's fate has already been sealed. Finally, the most obvious instance of Shelley's foreshadowing lies in the creature promising Victor, " . . . I shall be with you on your wedding-night," (Shelley 123). Issuing this statement after having killed several of Victor's other loved ones and after witnessing Victor rip his future bride to shreds, the creature obviously intimates eventually killing Elizabeth. Shelley's ability to interestingly foreshadow future events without completely giving away what will happen adds appeal and suspense to her novel.
Parallel Characters: Victor and his Creation
Frankenstein by Mary Shelley
Throughout the novel, Shelley includes a multitude of parallel character pairs, the most striking of which being Victor and his abomination. As much as Victor may hate to admit it, both he and the creation share several key personality traits. First, just as Victor hungered for knowledge and pursued it throughout his life, so did the creature. Such an intrigue with learning novel information appears most vividly in the creature's early years. Second, the creature shares Victor's sentiments when Victor says, " . . . no creature had ever been so miserable as I was," (Shelley 146). Both beings believe themselves to be the most wretched life forms to ever exist. Furthermore, both characters believe the other to be the cause of their misery. The most important parallel between the creature and Victor, however, lies in their obsessive natures. In secluding himself indefinitely to create the creature, Victor displayed his obsessive side and the creature first showed his in observing the DeLacey family. Additionally, the creature explicitly acknowledges his obsessive nature when he states, "The completion of my demoniacal design became an insatiable passion," in referring to his pursuit of all that Victor loved (Shelley 164). The parallelism between these two dynamic characters helps reinforce the detriment in their character flaws. As both Victor and the creature progress throughout the novel and consume themselves with different passions, be they academic pursuits or murderous rampages, they slowly deteriorate toward death as a result of their obsessions.
Throughout the novel, Shelley includes a multitude of parallel character pairs, the most striking of which being Victor and his abomination. As much as Victor may hate to admit it, both he and the creation share several key personality traits. First, just as Victor hungered for knowledge and pursued it throughout his life, so did the creature. Such an intrigue with learning novel information appears most vividly in the creature's early years. Second, the creature shares Victor's sentiments when Victor says, " . . . no creature had ever been so miserable as I was," (Shelley 146). Both beings believe themselves to be the most wretched life forms to ever exist. Furthermore, both characters believe the other to be the cause of their misery. The most important parallel between the creature and Victor, however, lies in their obsessive natures. In secluding himself indefinitely to create the creature, Victor displayed his obsessive side and the creature first showed his in observing the DeLacey family. Additionally, the creature explicitly acknowledges his obsessive nature when he states, "The completion of my demoniacal design became an insatiable passion," in referring to his pursuit of all that Victor loved (Shelley 164). The parallelism between these two dynamic characters helps reinforce the detriment in their character flaws. As both Victor and the creature progress throughout the novel and consume themselves with different passions, be they academic pursuits or murderous rampages, they slowly deteriorate toward death as a result of their obsessions.
Man's Greatest Sin
Frankenstein by Mary Shelley
One of the many themes that pervades Frankenstein is humanity's sinful desire and attempts to be like God. The desire to be like God does not describe a want for holy behavior and purity, but rather a human craving for power and wisdom beyond mankind's ability. Shelley develops this theme by drawing a recurring comparison between the creature and characters from the creation story as told in Paradise Lost. In giving the creature life, Victor tried to act as God did in creating Adam and Eve. The creature confirms this role when he compares himself to Adam. However, at the end of the novel, Shelley reveals the futility in Victor's efforts. As a mere man, he could never hope to independently create life as complex, beautiful, and pure as God can. Accordingly, Victor's creation, flawed due to human imperfections, more accurately compares himself to Satan in saying, " . . . crime has degraded me beneath the meanest animal," and following up with, " . . . the fallen angel becomes a malignant devil," (Shelley 165). The creature's allusions display the inevitable result of man's aspirations for divinity. Instead of creating a virtuous being, Victor brought to life a vengeful murderer. As such, Shelley warns against man's greatest and first sin, desiring to be like God, by showing that such a desire brings evil, the creature, into the world.
Thursday, November 15, 2012
Switching Perspectives
Frankenstein by Mary Shelley
As a frame story, Frankenstein incorporates many different points of view to give the audience several different understandings of what happens during the novel. Shelley begins the novel writing in Robert Walton's first person point of view. This perspective provides the audience with an initial, third party vantage point from which to be introduced to Victor Frankenstein and, briefly, his creation. When Walton describes seeing "a being which had the shape of a man, but apparently of gigantic stature" pass by on a sledge, the creature enters the novel for the first time (Shelley 8). Walton's viewpoint, followed by a shift to Victor's first person point of view, lets the reader know that neither Victor or the creature will die during Victor's tale. As Victor tell his story, the perspective shifts, in letter format, to that of Elizabeth or his father. These changes in point of view provide a refreshing break from Victor's narrative in addition to allowing Shelley to segue into the next portion of her novel. For example, Alphonse Frankenstein's letter informs Victor of William's death and transitions the story into Justine Moritz's murder trial. Finally, after Victor regains control of the story, he passes narrative power off to the creature who gives his perspective of the novel's happenings in contrast to Victor's. With her dynamic use of perspective and point of view, Shelley keeps Frankenstein interesting and forces her audience to read on. A linear narrative of this frightening tale would no doubt be enthralling, but Shelley transforms a good work into a masterpiece by seamlessly shifting from one character's viewpoint to the next.
As a frame story, Frankenstein incorporates many different points of view to give the audience several different understandings of what happens during the novel. Shelley begins the novel writing in Robert Walton's first person point of view. This perspective provides the audience with an initial, third party vantage point from which to be introduced to Victor Frankenstein and, briefly, his creation. When Walton describes seeing "a being which had the shape of a man, but apparently of gigantic stature" pass by on a sledge, the creature enters the novel for the first time (Shelley 8). Walton's viewpoint, followed by a shift to Victor's first person point of view, lets the reader know that neither Victor or the creature will die during Victor's tale. As Victor tell his story, the perspective shifts, in letter format, to that of Elizabeth or his father. These changes in point of view provide a refreshing break from Victor's narrative in addition to allowing Shelley to segue into the next portion of her novel. For example, Alphonse Frankenstein's letter informs Victor of William's death and transitions the story into Justine Moritz's murder trial. Finally, after Victor regains control of the story, he passes narrative power off to the creature who gives his perspective of the novel's happenings in contrast to Victor's. With her dynamic use of perspective and point of view, Shelley keeps Frankenstein interesting and forces her audience to read on. A linear narrative of this frightening tale would no doubt be enthralling, but Shelley transforms a good work into a masterpiece by seamlessly shifting from one character's viewpoint to the next.
Dying Parents
Frankenstein by Mary Shelley
Within the first twelve chapters of Frankenstein, almost every parental figure suffers death. From the beginning, Robert Walton explains how his mother died and he grew up under the care of his uncle. Furthermore, once Victor begins to tell his tale, he shares how his parents met because his mother, Caroline, was left to fend for herself after her dad died. Also, Elizabeth Lavenza, Victor's "more than sister" was orphaned after her mother died giving birth to her (Shelley 18). Eventually, when Justine Moritz enters the novel, she becomes part of Victor's family due to her mother's death. As if all of these parents dying was not enough, Victor's mother goes on to die of scarlet fever after helping Elizabeth to recover from the disease. The only parental figure that manages to survive the first twelve chapters is Victor's father. Such a multitude of dying parents must foreshadow the unfortunate death of an important parental figure later in the novel. Victor stands as the most prominent candidate. Having given life to his monstrosity, essentially becoming its father, Victor remains the only important parental figure alive, besides Alphonse Frankenstein, in the novel. Additionally, Victor himself supports the theory of his eventual demise when he states that "the Angel of Destruction" has set him on the path to his destiny, creating the monster (Shelley 25). If an entity of destruction set in motion Victor's creating his monstrosity, then that creation must itself end in destruction. Therefore, Shelley could be foreshadowing Victor's imminent death.
Within the first twelve chapters of Frankenstein, almost every parental figure suffers death. From the beginning, Robert Walton explains how his mother died and he grew up under the care of his uncle. Furthermore, once Victor begins to tell his tale, he shares how his parents met because his mother, Caroline, was left to fend for herself after her dad died. Also, Elizabeth Lavenza, Victor's "more than sister" was orphaned after her mother died giving birth to her (Shelley 18). Eventually, when Justine Moritz enters the novel, she becomes part of Victor's family due to her mother's death. As if all of these parents dying was not enough, Victor's mother goes on to die of scarlet fever after helping Elizabeth to recover from the disease. The only parental figure that manages to survive the first twelve chapters is Victor's father. Such a multitude of dying parents must foreshadow the unfortunate death of an important parental figure later in the novel. Victor stands as the most prominent candidate. Having given life to his monstrosity, essentially becoming its father, Victor remains the only important parental figure alive, besides Alphonse Frankenstein, in the novel. Additionally, Victor himself supports the theory of his eventual demise when he states that "the Angel of Destruction" has set him on the path to his destiny, creating the monster (Shelley 25). If an entity of destruction set in motion Victor's creating his monstrosity, then that creation must itself end in destruction. Therefore, Shelley could be foreshadowing Victor's imminent death.
Importance of Characterization
Frankenstein by Mary Shelley
Shelly does an excellent job of introducing and characterizing her principle characters. As a result, each character assumes a distinguishable, unique personality that supports the novel as it progresses. For example, when Shelley first writes about Elizabeth Lavenza, she expresses her beauty by eloquently describing her as "fairer than a garden rose among dark-leaved brambles," (Shelley 17). Shelley goes on to directly characterize Elizabeth as "the living spirit of love to soften and attract" in order to convey her gentle, mild-mannered nature (Shelley 20). This incredibly detailed characterization of Elizabeth as a loving, beautiful young woman heightens the sorrowful emotional mood Shelley tries to elicit when she later depicts Elizabeth as distraught at the deaths of Justine and William. Aside from Elizabeth, Shelley spends considerable time characterizing Victor throughout the novel. She includes an abundance of passages on Victor's studies, his education, and his goals for the future. These sections indirectly characterize Victor as a determined, intellectual, ambitious young man in search of accomplishing something much bigger than himself to achieve glory. This characterization makes Victor's attitude toward his work understandable. In accordance with his character, Victor refuses to do anything else "until the great object, which swallowed up every habit of [his] nature, should be completed," (Shelley 33). Furthermore, the obsession Victor displays with his work supports one of the novels important themes: a man's passions can become his downfall. Overall, Shelley utilizes characterization adroitly to support future sections of the novel and important themes.
Shelly does an excellent job of introducing and characterizing her principle characters. As a result, each character assumes a distinguishable, unique personality that supports the novel as it progresses. For example, when Shelley first writes about Elizabeth Lavenza, she expresses her beauty by eloquently describing her as "fairer than a garden rose among dark-leaved brambles," (Shelley 17). Shelley goes on to directly characterize Elizabeth as "the living spirit of love to soften and attract" in order to convey her gentle, mild-mannered nature (Shelley 20). This incredibly detailed characterization of Elizabeth as a loving, beautiful young woman heightens the sorrowful emotional mood Shelley tries to elicit when she later depicts Elizabeth as distraught at the deaths of Justine and William. Aside from Elizabeth, Shelley spends considerable time characterizing Victor throughout the novel. She includes an abundance of passages on Victor's studies, his education, and his goals for the future. These sections indirectly characterize Victor as a determined, intellectual, ambitious young man in search of accomplishing something much bigger than himself to achieve glory. This characterization makes Victor's attitude toward his work understandable. In accordance with his character, Victor refuses to do anything else "until the great object, which swallowed up every habit of [his] nature, should be completed," (Shelley 33). Furthermore, the obsession Victor displays with his work supports one of the novels important themes: a man's passions can become his downfall. Overall, Shelley utilizes characterization adroitly to support future sections of the novel and important themes.
The Infant Monstrosity and Observational Learning
Frankenstein by Mary Shelley
Contrary to Victor Frankenstein's perceptions, his creation possesses many similarities with human beings, save outward appearance. In fact, in recounting his tale, the creature reveals himself to have been initially quite like an infant human child. He recalls having great difficulty trying "to distinguish between the operations of my various senses," (Shelley 71). Babies, too, struggle for quite some time to fully develop and distinguish between their senses, especially sight and hearing. Furthermore, the creature, when telling the story of his early life, includes many periods of elongated sleep. This excessive need for slumber coincides with that of a human infant, who sleeps for a large majority of the day. Also, within the creatures anecdote, a frame story within a frame story, he reveals the manner through which he learned about his surroundings and language. Upon discovering a small campfire, the creature witnesses a small breeze fuel it with oxygen into a greater conflagration. He describes how he "observed this and contrived a fan of branches" in order to build the fire up further (Shelley 72). Thus, as human beings do everyday, the creature utilized observational learning to gain knowledge about the world around him. The creature goes on to describe how he observed a small family of three in his attempts at gaining the ability to speak and articulate his feelings. The monster draws upon these many instances of human behavior to try to convince Victor that he was not an abomination upon coming to life, but a soul which "glowed with love and humanity," (Shelley 69). He hopes to demonstrate his true character to Victor so that he, and all of mankind, will accept him lovingly into society.
Contrary to Victor Frankenstein's perceptions, his creation possesses many similarities with human beings, save outward appearance. In fact, in recounting his tale, the creature reveals himself to have been initially quite like an infant human child. He recalls having great difficulty trying "to distinguish between the operations of my various senses," (Shelley 71). Babies, too, struggle for quite some time to fully develop and distinguish between their senses, especially sight and hearing. Furthermore, the creature, when telling the story of his early life, includes many periods of elongated sleep. This excessive need for slumber coincides with that of a human infant, who sleeps for a large majority of the day. Also, within the creatures anecdote, a frame story within a frame story, he reveals the manner through which he learned about his surroundings and language. Upon discovering a small campfire, the creature witnesses a small breeze fuel it with oxygen into a greater conflagration. He describes how he "observed this and contrived a fan of branches" in order to build the fire up further (Shelley 72). Thus, as human beings do everyday, the creature utilized observational learning to gain knowledge about the world around him. The creature goes on to describe how he observed a small family of three in his attempts at gaining the ability to speak and articulate his feelings. The monster draws upon these many instances of human behavior to try to convince Victor that he was not an abomination upon coming to life, but a soul which "glowed with love and humanity," (Shelley 69). He hopes to demonstrate his true character to Victor so that he, and all of mankind, will accept him lovingly into society.
Making the Fictional Seem Real
Frankenstein by Mary Shelley
Throughout the first twelve chapters of Frankenstein, Mary Shelley alludes to countless well-known works of literature. She also includes, instead of merely referencing, a couple poems in the novel itself. These allusions, displaying Shelley's intellectual and well-read nature, lend credence to her writing. Additionally, they provide a medium through which Shelley's fictional, horror story may relate to reality and thus appear even more frightening. For example, Shelley's including the manuscripts of the natural philosophers Agrippa, Parcelsus, and Magnus in Victor's early studies makes his journey toward creating an abomination more believable and scary. Also, some of Shelley's allusions, especially her poetic references, heighten the emotions she seeks to convey. In describing Victor's creation, Shelley writes, ". . . it became a thing such as even Dante could not have conceived," (Shelley 36). Dante refers to the protagonist in Dante's Inferno who travels through hell, witnessing the most grotesque demons, fiends, and tortured souls ever to exist. If the creature would alarm even Dante, he is disturbing beyond belief. Additionally, as stated, Shelley includes poems to clarify and more accurately describe the emotions of her characters. Depressed and sorrowful after Justine Moritz's death, Victor travels into the mountains as he contemplates the whirlwind of emotions he feels. To convey Victor's ever-changing sensibilities, Shelley includes a passage from one of her husband's poems that reads, "Nought may endure but mutability!" (Shelley 67). This passage brings both the novel and Victor's character to life by giving meaning to his emotions.
Throughout the first twelve chapters of Frankenstein, Mary Shelley alludes to countless well-known works of literature. She also includes, instead of merely referencing, a couple poems in the novel itself. These allusions, displaying Shelley's intellectual and well-read nature, lend credence to her writing. Additionally, they provide a medium through which Shelley's fictional, horror story may relate to reality and thus appear even more frightening. For example, Shelley's including the manuscripts of the natural philosophers Agrippa, Parcelsus, and Magnus in Victor's early studies makes his journey toward creating an abomination more believable and scary. Also, some of Shelley's allusions, especially her poetic references, heighten the emotions she seeks to convey. In describing Victor's creation, Shelley writes, ". . . it became a thing such as even Dante could not have conceived," (Shelley 36). Dante refers to the protagonist in Dante's Inferno who travels through hell, witnessing the most grotesque demons, fiends, and tortured souls ever to exist. If the creature would alarm even Dante, he is disturbing beyond belief. Additionally, as stated, Shelley includes poems to clarify and more accurately describe the emotions of her characters. Depressed and sorrowful after Justine Moritz's death, Victor travels into the mountains as he contemplates the whirlwind of emotions he feels. To convey Victor's ever-changing sensibilities, Shelley includes a passage from one of her husband's poems that reads, "Nought may endure but mutability!" (Shelley 67). This passage brings both the novel and Victor's character to life by giving meaning to his emotions.
Thursday, November 1, 2012
I Would Prefer Not To
"Batleby, the Scrivener" by Herman Melville
Immediately upon introduction, Bartleby sets himself apart from the narrator's other copyists. He displays a mild manner, works extraordinarily quickly, and rarely pauses to take a break from his copying. Observing these traits, the narrator believes Bartleby to be the best assistant he has ever hired, but that belief soon changes. In addition to Bartleby's many positive characteristics, he also possesses an inhuman, almost mechanical air about him, he displays absolutely no emotion, and he frequently refuses to do anything but copy documents. The latter of these negative traits is the most troubling to the narrator, as each time he requests a simple, reasonable task of Bartleby, the scrivener responds, "I would prefer not to," (Melville 649). The consistent mild-mannered repetition of this phrase throughout the story characterizes Bartleby as the quintessence of apathy. In response to Bartleby's recurring, emotionless refusals, the narrator bounces back and forth between caring, sympathetic friend to indignant, frustrated boss resolved to eviction. These emotional shifts toward Bartleby also affects how the audience views Bartleby. When the narrator sympathizes with Bartleby's alienation and lonesome existence, he calls the audience to do the same. In contrast, when the narrator sees Bartleby as a stubborn, hard-headed employee defiant of authority, he influences the audience's perception to match his. It is not until after Bartleby dies in a prison so adequately named "The Tombs" that any true deduction can be made of why Bartleby is the way he is (Melville 672). After Bartleby's death, the narrator shares that he used to be a "subordinate clerk in the Dead Letter Office at Washington" where he destroyed letters, packages, and gifts that could not be delivered because their intended recipients died prematurely. Thus, Bartleby had been constantly surrounded by sentimental gifts ruined by the power of death. As such, Bartleby failed to see the merit in sentimentality anymore and became the eerily mild-mannered Bartleby employed by the narrator. He resolved himself to a life of isolation and alienation from all other people so that he could avoid the possibility of pain that comes with emotion.
Immediately upon introduction, Bartleby sets himself apart from the narrator's other copyists. He displays a mild manner, works extraordinarily quickly, and rarely pauses to take a break from his copying. Observing these traits, the narrator believes Bartleby to be the best assistant he has ever hired, but that belief soon changes. In addition to Bartleby's many positive characteristics, he also possesses an inhuman, almost mechanical air about him, he displays absolutely no emotion, and he frequently refuses to do anything but copy documents. The latter of these negative traits is the most troubling to the narrator, as each time he requests a simple, reasonable task of Bartleby, the scrivener responds, "I would prefer not to," (Melville 649). The consistent mild-mannered repetition of this phrase throughout the story characterizes Bartleby as the quintessence of apathy. In response to Bartleby's recurring, emotionless refusals, the narrator bounces back and forth between caring, sympathetic friend to indignant, frustrated boss resolved to eviction. These emotional shifts toward Bartleby also affects how the audience views Bartleby. When the narrator sympathizes with Bartleby's alienation and lonesome existence, he calls the audience to do the same. In contrast, when the narrator sees Bartleby as a stubborn, hard-headed employee defiant of authority, he influences the audience's perception to match his. It is not until after Bartleby dies in a prison so adequately named "The Tombs" that any true deduction can be made of why Bartleby is the way he is (Melville 672). After Bartleby's death, the narrator shares that he used to be a "subordinate clerk in the Dead Letter Office at Washington" where he destroyed letters, packages, and gifts that could not be delivered because their intended recipients died prematurely. Thus, Bartleby had been constantly surrounded by sentimental gifts ruined by the power of death. As such, Bartleby failed to see the merit in sentimentality anymore and became the eerily mild-mannered Bartleby employed by the narrator. He resolved himself to a life of isolation and alienation from all other people so that he could avoid the possibility of pain that comes with emotion.
Respect a Soldier's Service
"APO 96225" by Larry Rottman
With this poem, Rottman intends to convey his consternation at the American public's reaction to the Vietnam War, especially in how the American people treated their own soldiers. To do so, he fabricates an exchange of letters between a soldier and his parents. Throughout the letters, Rottman incorporates situational and dramatic irony to show how American soldiers were mistreated. First, the soldier's initial letters include optimistic responses like, "The sunsets here are spectacular!" (Rottman 846). These responses display situational irony because one would not normally expect a soldier to comment positively on the war-torn landscape around him. Furthermore, these ironic responses represent the American soldiers' trying to make the best out of a bad situation. Insensitive to the soldier's attempts at optimism, the parents in this letter correspondence implore the soldier to share with them how the war has actually been going. When he does as asked by saying, "Today I killed a man. Yesterday, I helped drop napalm on women and children," the father reprimands his son for depressing his mother with such horrendous stories of the deeds he has done (Rottman 846). This exchange displays situational irony as one would assume a parental figure to console a child at war. Furthermore, the exchange displays dramatic irony by depicting the soldier's parents as horrified by their son's intentionally committed atrocities whereas, in actuality, the soldier most likely had no desire whatsoever to kill a man or torture women and children. Therefore, as a whole, the poem aims to communicate how inappropriate the misguided negative sentiments of the American people were toward their soldiers.
With this poem, Rottman intends to convey his consternation at the American public's reaction to the Vietnam War, especially in how the American people treated their own soldiers. To do so, he fabricates an exchange of letters between a soldier and his parents. Throughout the letters, Rottman incorporates situational and dramatic irony to show how American soldiers were mistreated. First, the soldier's initial letters include optimistic responses like, "The sunsets here are spectacular!" (Rottman 846). These responses display situational irony because one would not normally expect a soldier to comment positively on the war-torn landscape around him. Furthermore, these ironic responses represent the American soldiers' trying to make the best out of a bad situation. Insensitive to the soldier's attempts at optimism, the parents in this letter correspondence implore the soldier to share with them how the war has actually been going. When he does as asked by saying, "Today I killed a man. Yesterday, I helped drop napalm on women and children," the father reprimands his son for depressing his mother with such horrendous stories of the deeds he has done (Rottman 846). This exchange displays situational irony as one would assume a parental figure to console a child at war. Furthermore, the exchange displays dramatic irony by depicting the soldier's parents as horrified by their son's intentionally committed atrocities whereas, in actuality, the soldier most likely had no desire whatsoever to kill a man or torture women and children. Therefore, as a whole, the poem aims to communicate how inappropriate the misguided negative sentiments of the American people were toward their soldiers.
Young at Heart
"Miss Brill" by Katherine Mansfield
In this short story, protagonist Miss Brill depicts a lively old French lady who loves to visit the park on Sundays to listen to the band, observe people, and eavesdrop on conversations. During the first half of the story, Brill fails to understand the melancholy attitudes of the elderly who like they come from "dark little rooms--even cupboards", but exudes happiness as she observes the young park visitors reveling in life (Mansfield 184). Living vicariously through her observations, Brill feels like she's part of something bigger, like she belongs. Eventually, she perceives herself to be in a play, with all of her fellow park guests helping to comprise the cast each and every Sunday. In describing this unique sensation, Brill embodies the stereotypical lovable, old grandma who thrives on the smallest semblances of affection and companionship. Being in this social play at the park gives her a sense of belonging. Playing this role, Brill brings a light-hearted, emotional tone to the story, encouraging the reader to connect with her. This emotional connection with Brill amplifies all sentiments felt during the story's conclusion. After Brill concludes her joyful discourse at feeling like an actress in a play, she begins to eavesdrop on a couple of young lovebirds. Much to Brill's chagrin, the couple mocks her, calling her a "stupid old thing" and questioning why she even comes to the park (Mansfield 186). As a result, an emotionally wounded Brill retires to a "little dark room" of her own and adopts the melancholy attitude of the elderly people she could not understand in the beginning of the story (Mansfield 186). She loses all sense of belonging and purpose, becomes alienated, and wallows alone in her depression.
In this short story, protagonist Miss Brill depicts a lively old French lady who loves to visit the park on Sundays to listen to the band, observe people, and eavesdrop on conversations. During the first half of the story, Brill fails to understand the melancholy attitudes of the elderly who like they come from "dark little rooms--even cupboards", but exudes happiness as she observes the young park visitors reveling in life (Mansfield 184). Living vicariously through her observations, Brill feels like she's part of something bigger, like she belongs. Eventually, she perceives herself to be in a play, with all of her fellow park guests helping to comprise the cast each and every Sunday. In describing this unique sensation, Brill embodies the stereotypical lovable, old grandma who thrives on the smallest semblances of affection and companionship. Being in this social play at the park gives her a sense of belonging. Playing this role, Brill brings a light-hearted, emotional tone to the story, encouraging the reader to connect with her. This emotional connection with Brill amplifies all sentiments felt during the story's conclusion. After Brill concludes her joyful discourse at feeling like an actress in a play, she begins to eavesdrop on a couple of young lovebirds. Much to Brill's chagrin, the couple mocks her, calling her a "stupid old thing" and questioning why she even comes to the park (Mansfield 186). As a result, an emotionally wounded Brill retires to a "little dark room" of her own and adopts the melancholy attitude of the elderly people she could not understand in the beginning of the story (Mansfield 186). She loses all sense of belonging and purpose, becomes alienated, and wallows alone in her depression.
Madmen Make the World Go 'Round
"Much Madness is divinest Sense" by Emily Dickinson
This poem skillfully explains, utilizing paradoxes, a social phenomenon that many great revolutionary men like Galileo and Columbus suffered from. According to Dickinson, "Much Madness is divinest Sense" which means that insanity, or questioning that which is accepted as true, is actually the best gauge of sanity and good sensibilities (Dickinson 830). However, she also reasons that only wise men with "a discerning Eye" will realize this (Dickinson 830). The majority of people, lacking this special ability of discernment, will see a questioning of the truth as madness. Thus, when Galileo and Columbus argued the theories of heliocentricity and a spherical planet, respectively, they were thought mad because they had gone against the accepted knowledge of the time. The majority of their contemporaries had seen their "Much Sense" as "the starkest Madness" (Dickinson 830). Therefore, this poem encourages all people to question what is blindly accepted, but to do so cautiously. The final three lines of the poem offer a warning to accompany its call to action. Line nine, put simply, says that those who agree with the majority will be thought sane. In contrast, line ten acknowledges how insane one will be thought if he challenges accepted knowledge. The poem goes so far as to say those who question the norm will be "handled with a Chain" (Dickinson 830). However, no new discoveries or advancements would be made if the world was void of these supposedly insane men.
This poem skillfully explains, utilizing paradoxes, a social phenomenon that many great revolutionary men like Galileo and Columbus suffered from. According to Dickinson, "Much Madness is divinest Sense" which means that insanity, or questioning that which is accepted as true, is actually the best gauge of sanity and good sensibilities (Dickinson 830). However, she also reasons that only wise men with "a discerning Eye" will realize this (Dickinson 830). The majority of people, lacking this special ability of discernment, will see a questioning of the truth as madness. Thus, when Galileo and Columbus argued the theories of heliocentricity and a spherical planet, respectively, they were thought mad because they had gone against the accepted knowledge of the time. The majority of their contemporaries had seen their "Much Sense" as "the starkest Madness" (Dickinson 830). Therefore, this poem encourages all people to question what is blindly accepted, but to do so cautiously. The final three lines of the poem offer a warning to accompany its call to action. Line nine, put simply, says that those who agree with the majority will be thought sane. In contrast, line ten acknowledges how insane one will be thought if he challenges accepted knowledge. The poem goes so far as to say those who question the norm will be "handled with a Chain" (Dickinson 830). However, no new discoveries or advancements would be made if the world was void of these supposedly insane men.
Loneliness, Depression, Death
"I felt a Funeral, in my Brain" by Emily Dickinson
In Dickinson's "I felt a Funeral, in my Brain", the speaker describes a metaphorical funeral from the traditional showing of the body all the way to the burial. Stanzas one, two, and three depict the funeral taking place: mourners pay their respects, the funeral ceremony proceeds, and men bury the deceased. During these stanzas, the speaker is imaginatively located inside the coffin and experiences the entire funeral from that perspective. The speaker's being located within the coffin elicits alienating feelings of being dead or worthless towards others. As such, the first three stanzas all emphasize the speaker's feelings of loneliness and isolation. Then, in stanza four, the speaker, utilizing several clever metaphors, adroitly describes an intense depression resulting from loneliness. The speaker laments that if "the Heavens were a Bell, And Being, but an Ear," then "I, and Silence," would be "solitary, here," (Dickinson 776). Through the speaker and these metaphors, Dickinson compares heaven to a bell and life to hearing. Therefore, when the speaker describes himself as being alone with silence, he expresses feelings of death, despair, and hopelessness, all resulting from his loneliness described in the first three stanzas. At this point, the speaker has become distraught, depressed, lonely, and emotionally unstable. As such, following the progression toward an even deeper form of sadness, the fifth stanza illustrates the speaker's mental collapse and suicide. The phrase, "a Plank in Reason, broke," depicts the speaker succumbing to insanity and the final line, " . . . Finished knowing--then--", having been left unfinished allows one to infer that the speaker has killed himself due to his mental degeneration (Dickinson 776).
In Dickinson's "I felt a Funeral, in my Brain", the speaker describes a metaphorical funeral from the traditional showing of the body all the way to the burial. Stanzas one, two, and three depict the funeral taking place: mourners pay their respects, the funeral ceremony proceeds, and men bury the deceased. During these stanzas, the speaker is imaginatively located inside the coffin and experiences the entire funeral from that perspective. The speaker's being located within the coffin elicits alienating feelings of being dead or worthless towards others. As such, the first three stanzas all emphasize the speaker's feelings of loneliness and isolation. Then, in stanza four, the speaker, utilizing several clever metaphors, adroitly describes an intense depression resulting from loneliness. The speaker laments that if "the Heavens were a Bell, And Being, but an Ear," then "I, and Silence," would be "solitary, here," (Dickinson 776). Through the speaker and these metaphors, Dickinson compares heaven to a bell and life to hearing. Therefore, when the speaker describes himself as being alone with silence, he expresses feelings of death, despair, and hopelessness, all resulting from his loneliness described in the first three stanzas. At this point, the speaker has become distraught, depressed, lonely, and emotionally unstable. As such, following the progression toward an even deeper form of sadness, the fifth stanza illustrates the speaker's mental collapse and suicide. The phrase, "a Plank in Reason, broke," depicts the speaker succumbing to insanity and the final line, " . . . Finished knowing--then--", having been left unfinished allows one to infer that the speaker has killed himself due to his mental degeneration (Dickinson 776).
Sunday, October 21, 2012
Do Not Go Gentle, Father
"Do Not Go Gentle into That Good Night" by Dylan Thomas
In this poem by Dylan Thomas, the phrase "good night" refers to old age and death. Accordingly, as the poem was written for Thomas' dying father, the central message is to hold on to life relentlessly and to live well as one dies. Thomas reinforces his paradoxical message of living to the fullest in one's death with phrases like "dark is right" and "Curse, bless, me now" (Thomas 968). Being paradoxes themselves, these phrases add to Thomas' message. Additionally, Thomas implores his father to live on by describing four sets of men: the wise, the good, the wild, and the grave. Wise men, according to Thomas, willing accept that death is imminent but live on because it is not yet time for death. Good men continue to perform good deeds as death nears, sorry only that their deeds are not as influential as they were in youth. Wild men live freely with nature and the sun only to realize death once it has actually come. Grave men fight death, cognizant of life still within them. Therefore, Thomas begs his father to "Curse, bless, me now" by assuming the characteristics of all these men in fighting his imminent death (Thomas 968). His father curses him by suffering in front of Thomas, but blesses him by remaining alive a little longer.
In this poem by Dylan Thomas, the phrase "good night" refers to old age and death. Accordingly, as the poem was written for Thomas' dying father, the central message is to hold on to life relentlessly and to live well as one dies. Thomas reinforces his paradoxical message of living to the fullest in one's death with phrases like "dark is right" and "Curse, bless, me now" (Thomas 968). Being paradoxes themselves, these phrases add to Thomas' message. Additionally, Thomas implores his father to live on by describing four sets of men: the wise, the good, the wild, and the grave. Wise men, according to Thomas, willing accept that death is imminent but live on because it is not yet time for death. Good men continue to perform good deeds as death nears, sorry only that their deeds are not as influential as they were in youth. Wild men live freely with nature and the sun only to realize death once it has actually come. Grave men fight death, cognizant of life still within them. Therefore, Thomas begs his father to "Curse, bless, me now" by assuming the characteristics of all these men in fighting his imminent death (Thomas 968). His father curses him by suffering in front of Thomas, but blesses him by remaining alive a little longer.
Sailing Home
"Crossing the Bar" by Alfred, Lord Tennyson
Employing sailing and night imagery, Tennyson implements a speaker describing an ideal death. He views the perfect death as a sailing expedition during the night. During this expedition, there should be no "moaning of the bar" which refers to mourning over his death (Tennyson 886). The speaker describes his death as the moment he has "crossed the bar" (Tennyson 886). The bar the speaker refers to, further accentuating the sailing theme in the poem, is a sandbar in the water. Furthermore, the night setting of the sailing trip points to the speaker's desire for a peaceful, quiet passing in his sleep. Also, the speaker says that he does not want any "sadness of farewell" when he embarks because he hopes "to see [his] Pilot face to face" once he has completed his journey (Tennyson 886). Therefore, death should be a joyful event as the speaker begins his journey to see his Pilot. Pilot's capitalization allows one to infer that the word refers to God. Therefore, the poem could be read as having a religious facet as well. From this perspective, the poem incorporates sailing and night imagery to describe an appropriate death as a peaceful, quiet passing back home to meet God.
Employing sailing and night imagery, Tennyson implements a speaker describing an ideal death. He views the perfect death as a sailing expedition during the night. During this expedition, there should be no "moaning of the bar" which refers to mourning over his death (Tennyson 886). The speaker describes his death as the moment he has "crossed the bar" (Tennyson 886). The bar the speaker refers to, further accentuating the sailing theme in the poem, is a sandbar in the water. Furthermore, the night setting of the sailing trip points to the speaker's desire for a peaceful, quiet passing in his sleep. Also, the speaker says that he does not want any "sadness of farewell" when he embarks because he hopes "to see [his] Pilot face to face" once he has completed his journey (Tennyson 886). Therefore, death should be a joyful event as the speaker begins his journey to see his Pilot. Pilot's capitalization allows one to infer that the word refers to God. Therefore, the poem could be read as having a religious facet as well. From this perspective, the poem incorporates sailing and night imagery to describe an appropriate death as a peaceful, quiet passing back home to meet God.
I Won't Die, Death Will
"Death, be not proud" by John Donne
"Death, be not proud" provides an excellent example of apostrophe as the entire poem addresses death as an individual. In doing so, the speaker of "Death, be not proud" gives death the power of a tangible being. Therefore, the speaker shows fear of death and his insulting comments reveal themselves to be nothing more than self-assurances of safety due to death's powerlessness. The speaker attempts to degrade death by denying his might and associating him with "poison, war, and sickness," (Donne 971). Furthermore, the speaker metaphorically refers to death as sleep and rest. According to his logic, because sleep and rest bring much pleasure and death can be considered the epitome of sleep and rest, death must bring about as much if not more pleasure than restful sleep. Acquainting death with sleep also allows the speaker to deny the absolute nature of death. He reasons that, eventually, because death is a simple bout of sleep, he will awake from it into eternal life. Accordingly, once all people awake from death, "death shall be no more; death, thou shalt die" (Donne 972). This final self-assurance in the poem clearly displays the speaker's fear. He is desperately trying to convince himself that in the end, it will not be he who dies, but death itself.
"Death, be not proud" provides an excellent example of apostrophe as the entire poem addresses death as an individual. In doing so, the speaker of "Death, be not proud" gives death the power of a tangible being. Therefore, the speaker shows fear of death and his insulting comments reveal themselves to be nothing more than self-assurances of safety due to death's powerlessness. The speaker attempts to degrade death by denying his might and associating him with "poison, war, and sickness," (Donne 971). Furthermore, the speaker metaphorically refers to death as sleep and rest. According to his logic, because sleep and rest bring much pleasure and death can be considered the epitome of sleep and rest, death must bring about as much if not more pleasure than restful sleep. Acquainting death with sleep also allows the speaker to deny the absolute nature of death. He reasons that, eventually, because death is a simple bout of sleep, he will awake from it into eternal life. Accordingly, once all people awake from death, "death shall be no more; death, thou shalt die" (Donne 972). This final self-assurance in the poem clearly displays the speaker's fear. He is desperately trying to convince himself that in the end, it will not be he who dies, but death itself.
Grand Prize: Death
"The Lottery" by Shirley Jackson
In "The Lottery", Shirley Jackson disguises a barbaric ritualistic practice as a modern game of chance. Each year on June 27th, Mr. Summers conducts a lottery drawing of the villagers from an old, decrepit black box. Normally, as a lottery usually implies the possibility to earn great wealth and luxury, the villagers should be excited. However, displaying situational irony, the villagers show apprehension, anxiety, and fear at the possibility of winning the lottery. Furthermore, Old Man Warner reveals the lottery to be a traditional harvest ritual when he recalls the maxim, "Lottery in June, corn be heavy soon," (Jackson 268). Seeing as, historically, harvest rituals have been associated with sacrifice, the villagers' anxiety becomes understandable. The winner of the lottery will likely be killed. Mrs. Hutchinson's stoning at the end of the story validates this inference. In portraying such a primitive act under the pretense of a modern lottery, Jackson elucidates an unfortunate aspect of human nature. Humanity shrouds its barbarism with notions of civility, society, order, and tradition. According to Middle Eastern tradition, husbands may beat their wives for any number of disciplinary reasons. This tradition protects the physcial abuse of women as justified and necessary. Likewise, the villagers, having lost all knowledge of the original reasons for the lottery, justify it as a part of harvest tradition that must continue.
In "The Lottery", Shirley Jackson disguises a barbaric ritualistic practice as a modern game of chance. Each year on June 27th, Mr. Summers conducts a lottery drawing of the villagers from an old, decrepit black box. Normally, as a lottery usually implies the possibility to earn great wealth and luxury, the villagers should be excited. However, displaying situational irony, the villagers show apprehension, anxiety, and fear at the possibility of winning the lottery. Furthermore, Old Man Warner reveals the lottery to be a traditional harvest ritual when he recalls the maxim, "Lottery in June, corn be heavy soon," (Jackson 268). Seeing as, historically, harvest rituals have been associated with sacrifice, the villagers' anxiety becomes understandable. The winner of the lottery will likely be killed. Mrs. Hutchinson's stoning at the end of the story validates this inference. In portraying such a primitive act under the pretense of a modern lottery, Jackson elucidates an unfortunate aspect of human nature. Humanity shrouds its barbarism with notions of civility, society, order, and tradition. According to Middle Eastern tradition, husbands may beat their wives for any number of disciplinary reasons. This tradition protects the physcial abuse of women as justified and necessary. Likewise, the villagers, having lost all knowledge of the original reasons for the lottery, justify it as a part of harvest tradition that must continue.
'Til Death Do Us Part....And then Some
"A Rose for Emily" by William Faulkner
Faulkner incorporates the first-person plural point of view in "A Rose for Emily" in order to narrate a perspective of Emily that encompasses all the townspeoples' thoughts and feelings. As such, the word "we" in the short story refers to the townspeople as a whole. Additionally, this first-person plural viewpoint supplements Faulkner's separation of the story into five individual parts. Each part stands to illustrate the progression of the townspeoples' view of Emily. In the early sections, the town sees Emily as "a sort of hereditary obligation", a pretentious woman, living a monotonous existence in her late father's home, free from paying taxes due to a previous agreement with a former mayor (Faulkner 282). Then, as Emily falls ill in section three, the townsfolk grow to pity her, calling her "Poor Emily" and speculating about her seemingly imminent suicide after she purchases arsenic from the druggist (Faulkner 286). In section four, Emily becomes a complete recluse, playing the role of creepy old lady for the townsfolk. Previously, the entire town had thought that Emily would marry the new contractor in town, Homer Barron, but he disappeared suddenly, leaving the townsfolk to conclude Emily had driven him away. Thus, the town expects nothing more than a lonely existence for Emily, wandering her house until her death in old age. As such, section five's dark twist brings a surprisingly grotesque, psychopathic aspect to Emily's character. Following Emily's death, the townsfolk enter her home to hold her funeral and cannot help but pry into a room kept shut for the past forty years. In the room, they find Homer Barron's corpse. Emily, wanting a husband desperately, had poisoned Homer, placed him on a bed in this room, and slept next to him for the past forty years. Thus, the townspeoples' view of Emily shifted radically from lonely sickly, old lady to insane murderous psychopath.
Faulkner incorporates the first-person plural point of view in "A Rose for Emily" in order to narrate a perspective of Emily that encompasses all the townspeoples' thoughts and feelings. As such, the word "we" in the short story refers to the townspeople as a whole. Additionally, this first-person plural viewpoint supplements Faulkner's separation of the story into five individual parts. Each part stands to illustrate the progression of the townspeoples' view of Emily. In the early sections, the town sees Emily as "a sort of hereditary obligation", a pretentious woman, living a monotonous existence in her late father's home, free from paying taxes due to a previous agreement with a former mayor (Faulkner 282). Then, as Emily falls ill in section three, the townsfolk grow to pity her, calling her "Poor Emily" and speculating about her seemingly imminent suicide after she purchases arsenic from the druggist (Faulkner 286). In section four, Emily becomes a complete recluse, playing the role of creepy old lady for the townsfolk. Previously, the entire town had thought that Emily would marry the new contractor in town, Homer Barron, but he disappeared suddenly, leaving the townsfolk to conclude Emily had driven him away. Thus, the town expects nothing more than a lonely existence for Emily, wandering her house until her death in old age. As such, section five's dark twist brings a surprisingly grotesque, psychopathic aspect to Emily's character. Following Emily's death, the townsfolk enter her home to hold her funeral and cannot help but pry into a room kept shut for the past forty years. In the room, they find Homer Barron's corpse. Emily, wanting a husband desperately, had poisoned Homer, placed him on a bed in this room, and slept next to him for the past forty years. Thus, the townspeoples' view of Emily shifted radically from lonely sickly, old lady to insane murderous psychopath.
Wednesday, October 3, 2012
Jim O'Connor, The Wingfields' Hope
The Glass Menagerie by Tennessee Williams
Throughout the play, the idea of having a gentleman caller visit the house consumes the Wingfield family. Therefore, when Tom announces that he has invited a man from work to visit for dinner, Amanda and Laura lose it. Amanda immediately begins preparations for the caller's arrival and Laura becomes overwhelmed with anxiety because she has never had a gentleman caller before, let alone Jim O' Connor, her high school crush. Upon arrival, Jim begins his series of profoundly affecting the family members with Tom. Tom confesses to Jim that he has become a member of "The Union of Merchant Seamen" and plans to leave his family for more ambitious pursuits (Williams 1268). Before, Tom had thoughts about leaving and dreamed of having his own adventures, but he never vocalized it or did anything to make those adventures happen until Jim visited. With respect to Amanda, Jim's presence transforms an overbearing, overprotective, paranoid, controlling mother into the perfect Southern belle. She immediately assumes a Southern accent and behaves as hospitably as any host could, much different from her normal behavior. Finally, concerning Laura, Jim succeeds in warming her up to interaction with the outside world. Jim recognizes Laura's introversion, self-consciousness, and "inferiority complex" and works to instill self-confidence in her to replace all three (Williams 1279). In fact, in Tom, Amanda, and Laura, Jim instills some type of confidence. Tom gains the confidence to pursue adventure, Amanda gains confidence in her beauty and charm as a host, and Laura, finally developing some sense of self-worth, gains general confidence in herself. Even though Jim ended up being engaged and could not completely satisfy the Wingfield dream for a gentleman caller, he did immense good for the family.
Throughout the play, the idea of having a gentleman caller visit the house consumes the Wingfield family. Therefore, when Tom announces that he has invited a man from work to visit for dinner, Amanda and Laura lose it. Amanda immediately begins preparations for the caller's arrival and Laura becomes overwhelmed with anxiety because she has never had a gentleman caller before, let alone Jim O' Connor, her high school crush. Upon arrival, Jim begins his series of profoundly affecting the family members with Tom. Tom confesses to Jim that he has become a member of "The Union of Merchant Seamen" and plans to leave his family for more ambitious pursuits (Williams 1268). Before, Tom had thoughts about leaving and dreamed of having his own adventures, but he never vocalized it or did anything to make those adventures happen until Jim visited. With respect to Amanda, Jim's presence transforms an overbearing, overprotective, paranoid, controlling mother into the perfect Southern belle. She immediately assumes a Southern accent and behaves as hospitably as any host could, much different from her normal behavior. Finally, concerning Laura, Jim succeeds in warming her up to interaction with the outside world. Jim recognizes Laura's introversion, self-consciousness, and "inferiority complex" and works to instill self-confidence in her to replace all three (Williams 1279). In fact, in Tom, Amanda, and Laura, Jim instills some type of confidence. Tom gains the confidence to pursue adventure, Amanda gains confidence in her beauty and charm as a host, and Laura, finally developing some sense of self-worth, gains general confidence in herself. Even though Jim ended up being engaged and could not completely satisfy the Wingfield dream for a gentleman caller, he did immense good for the family.
Tom's Memories
The Glass Menagerie by Tennessee Williams
Several aspects of the play support the conclusion that the entire play, save Tom's final monologue, actually consists of a string of Tom's memories connected together. First and most obviously, Tom narrates the play and explicitly states that the play consists of memories. Who else could be able to identify certain instances as memories but the owner of those memories himself? Secondly, many of the stage directions during the play occur at Tom's cue, implying that Tom has some control over the scenes as he would his own memories. For instance, when Amanda recalls all of her gentlemen callers in scene one, Tom "motions for music and a spot of light on Amanda" to dramatize the event as he had seen it (Williams 1238). Other stage directions correspond to Tom's inner thoughts or personal epiphanies. In scene four, when Laura asks who could ever accomplish such a feat as escaping a nailed coffin, "the father's grinning photograph lights up," to explain what Tom thinks in reply to her question (Williams 1249). Finally, Tom's reflective monologue which concludes the production removes any doubt that the play consists of his memories. Tom thinks of Laura and how he tried to abandon all feelings of obligation in supporting her, but realizes, "I am more faithful than I intended to be!" and thus feels guilty at leaving her (Williams 1289). This guilt explains the obnoxious frequency in the play of Amanda accusing Tom of being selfish. These instances occur in Tom's memories because he still feels guilt over selfishly leaving the family altogether. However, Tom still wishes to disassociate himself with his family, and therefor urges Laura to blow out her candles and erase all memory of him so that he can truly say goodye.
Several aspects of the play support the conclusion that the entire play, save Tom's final monologue, actually consists of a string of Tom's memories connected together. First and most obviously, Tom narrates the play and explicitly states that the play consists of memories. Who else could be able to identify certain instances as memories but the owner of those memories himself? Secondly, many of the stage directions during the play occur at Tom's cue, implying that Tom has some control over the scenes as he would his own memories. For instance, when Amanda recalls all of her gentlemen callers in scene one, Tom "motions for music and a spot of light on Amanda" to dramatize the event as he had seen it (Williams 1238). Other stage directions correspond to Tom's inner thoughts or personal epiphanies. In scene four, when Laura asks who could ever accomplish such a feat as escaping a nailed coffin, "the father's grinning photograph lights up," to explain what Tom thinks in reply to her question (Williams 1249). Finally, Tom's reflective monologue which concludes the production removes any doubt that the play consists of his memories. Tom thinks of Laura and how he tried to abandon all feelings of obligation in supporting her, but realizes, "I am more faithful than I intended to be!" and thus feels guilty at leaving her (Williams 1289). This guilt explains the obnoxious frequency in the play of Amanda accusing Tom of being selfish. These instances occur in Tom's memories because he still feels guilt over selfishly leaving the family altogether. However, Tom still wishes to disassociate himself with his family, and therefor urges Laura to blow out her candles and erase all memory of him so that he can truly say goodye.
Tuesday, October 2, 2012
The Glass Menagerie and Symbolism
The Glass Menagerie by Tennessee Williams
Laura's glass collection in the play symbolizes in many ways Laura's own being. The glass embodies oddity, fragility, and beauty simultaneously. Laura, too, behaves peculiarly, lacks self-confidence, and yet exudes a unique "unearthly" beauty all the while (Williams 1271). Furthermore, Laura acknowledges this symbolism when she indirectly identifies herself with the glass collection. In speaking to Jim O' Connor about her figurines, Laura employs anthropomorphism to ascribe human feelings, her own feelings, to the glass figurines. She says, "Put him [unicorn] on the table. They all like a change of scenery once in a while!" (Williams 1281). Previously in the play, Laura walked around many different places and enjoyed the changes in scenery instead of going to school. Moreover, when Jim leaves the Wingfield family, Laura utilizes the glass figurines to give Jim something of herself. Before he departs to pick up Betty, Laura places the unicorn piece Jim broke in his hand and closes his fingers around it. That unique glass piece represents Laura and its being broken represents the significant affect Jim had on Laura. Accordingly, Laura gives Jim the unicorn so that he will remember her and their evening together.
Laura's glass collection in the play symbolizes in many ways Laura's own being. The glass embodies oddity, fragility, and beauty simultaneously. Laura, too, behaves peculiarly, lacks self-confidence, and yet exudes a unique "unearthly" beauty all the while (Williams 1271). Furthermore, Laura acknowledges this symbolism when she indirectly identifies herself with the glass collection. In speaking to Jim O' Connor about her figurines, Laura employs anthropomorphism to ascribe human feelings, her own feelings, to the glass figurines. She says, "Put him [unicorn] on the table. They all like a change of scenery once in a while!" (Williams 1281). Previously in the play, Laura walked around many different places and enjoyed the changes in scenery instead of going to school. Moreover, when Jim leaves the Wingfield family, Laura utilizes the glass figurines to give Jim something of herself. Before he departs to pick up Betty, Laura places the unicorn piece Jim broke in his hand and closes his fingers around it. That unique glass piece represents Laura and its being broken represents the significant affect Jim had on Laura. Accordingly, Laura gives Jim the unicorn so that he will remember her and their evening together.
Monday, October 1, 2012
Like Father, Like Son: Foreshadowing
The Glass Menagerie by Tennesse Williams
An abundance of foreshadowing indicates that Tom will most likely follow in his father's footsteps and leave his mother and sister. First, Amanda constantly warns Tom of becoming like his father, but treats him as if he has already succumbed to his father's selfish tendencies. In reality, Tom cares for the family selflessly, and yet Amanda commands of him, "Overcome selfishness! Self, self, self is all you ever think of!" (Williams 1254). Thus, inadvertently, Amanda drives Tom toward becoming like his father. Additionally, Tom somewhat marvels at how his father "got himself out of one [coffin] without removing one nail," after he attends a magician's act (Williams 1249). The coffin Tom refers to is the suffocating atmosphere of the Wingfield family that hinders dreams and leads to argument, while the nails are the family members themselves. Tom hopes to escape his own personal family coffin without removing, or hurting, one of his family members. In doing so, Tom would emulate his father's actions. Lastly, Tom proves in scene four that all promises he makes to his mother, even those about staying with the family, have no merit behind them. He does this when he agrees at his mother's request to never be a drunkard. In a fit of dramatic irony, Tom makes a baseless promise as he knows that just the other night he had gone out and drowned his sorrows in alcohol. If Tom so easily makes faulty promises to his mother about something so simple as alcohol, how can the audience trust that he will maintain his promised fidelity to family? Certainly, by the end of the play, Tom will abandon the Wingfield family as his father did.
An abundance of foreshadowing indicates that Tom will most likely follow in his father's footsteps and leave his mother and sister. First, Amanda constantly warns Tom of becoming like his father, but treats him as if he has already succumbed to his father's selfish tendencies. In reality, Tom cares for the family selflessly, and yet Amanda commands of him, "Overcome selfishness! Self, self, self is all you ever think of!" (Williams 1254). Thus, inadvertently, Amanda drives Tom toward becoming like his father. Additionally, Tom somewhat marvels at how his father "got himself out of one [coffin] without removing one nail," after he attends a magician's act (Williams 1249). The coffin Tom refers to is the suffocating atmosphere of the Wingfield family that hinders dreams and leads to argument, while the nails are the family members themselves. Tom hopes to escape his own personal family coffin without removing, or hurting, one of his family members. In doing so, Tom would emulate his father's actions. Lastly, Tom proves in scene four that all promises he makes to his mother, even those about staying with the family, have no merit behind them. He does this when he agrees at his mother's request to never be a drunkard. In a fit of dramatic irony, Tom makes a baseless promise as he knows that just the other night he had gone out and drowned his sorrows in alcohol. If Tom so easily makes faulty promises to his mother about something so simple as alcohol, how can the audience trust that he will maintain his promised fidelity to family? Certainly, by the end of the play, Tom will abandon the Wingfield family as his father did.
Effects of an Absentee Father
The Glass Menagerie by Tennessee Williams
While The Glass Menagerie only has four official characters, a fifth character, Mr. Wingfield, plays a critical role in characterization and the production of conflict. In the first scene, Amanda, with a tinge of resentment, reveals to the audience that Mr. Wingfield has long sense abandoned the family and left her alone to raise their children. This abandonment profoundly affects Amanda, disposing her to paranoia and obsession. Accordingly, in the third scene, Amanda acts upon her paranoia. After interrogating Tom about where he goes at night, Amanda replies, dissatisfied with Tom's answer, "I don't believe that you go every night to the movies," (Williams 1246). The paranoia resulting from Mr. Wingfield's departure has forced Amanda to distrust her son. Furthermore, responding to such paranoia, Tom becomes enraged and verbally attacks his mother with hurtful names and overly sarcastic rants. Thus, Mr. Wingfield, even though not physically present in the play, influences the work strongly. Without his actions, Amanda and Tom could have been two completely different characters rather than their paranoid and emotionally reactive selves. Also, Wingfield's abandonment indirectly drives the external conflict between Amanda and Tom. Finally, had Mr. Wingfield remained with his family, almost all conflict in the play would not exist, except for Laura's need for a gentleman caller. However, that need would be lessened as Amanda would not obsess over Laura's future as much knowing that she had a provider, her father, to support her in times of need.
While The Glass Menagerie only has four official characters, a fifth character, Mr. Wingfield, plays a critical role in characterization and the production of conflict. In the first scene, Amanda, with a tinge of resentment, reveals to the audience that Mr. Wingfield has long sense abandoned the family and left her alone to raise their children. This abandonment profoundly affects Amanda, disposing her to paranoia and obsession. Accordingly, in the third scene, Amanda acts upon her paranoia. After interrogating Tom about where he goes at night, Amanda replies, dissatisfied with Tom's answer, "I don't believe that you go every night to the movies," (Williams 1246). The paranoia resulting from Mr. Wingfield's departure has forced Amanda to distrust her son. Furthermore, responding to such paranoia, Tom becomes enraged and verbally attacks his mother with hurtful names and overly sarcastic rants. Thus, Mr. Wingfield, even though not physically present in the play, influences the work strongly. Without his actions, Amanda and Tom could have been two completely different characters rather than their paranoid and emotionally reactive selves. Also, Wingfield's abandonment indirectly drives the external conflict between Amanda and Tom. Finally, had Mr. Wingfield remained with his family, almost all conflict in the play would not exist, except for Laura's need for a gentleman caller. However, that need would be lessened as Amanda would not obsess over Laura's future as much knowing that she had a provider, her father, to support her in times of need.
Thursday, September 20, 2012
Cold Father, Warm Love
"Those Winter Sundays" by Robert Hayden
With "Those Winter Sundays", Hayden describes a seemingly cold relationship between a father and son, at least from the child's perspective. Accordingly, cold imagery pervades the poem. The father dresses "in the blueblack cold"; the son heard "the cold splintering" at his father's efforts; eventually, the father "had driven out the cold" from the house (Hayden 782). Such frequent implementation of the word "cold" emphasizes the child's perspective of his father as a distant, emotionally hardened man. Operating under this mindset rather than analyzing everything his father was doing for him, the boy never offered any word of gratitude. Even worse, the boy spoke "indifferently to him", showing that in addition to his failure to appreciate his father's attempts at keeping him warm, he did not care about his father at all (Hayden 782). The boy could not appreciate the warmth behind his father's coldness. He got up early to drive cold out of their home so that the boy could live comfortably. The stress of doing so produced "chronic angers" in the father that put off the boy (Hayden 781). However, in the final lines of the poem, the boy, most likely a man now, perceives the love in his father's actions. He laments at his misbehavior, asking, "What did I know of love's austere and lonely offices?" (Hayden 782).
With "Those Winter Sundays", Hayden describes a seemingly cold relationship between a father and son, at least from the child's perspective. Accordingly, cold imagery pervades the poem. The father dresses "in the blueblack cold"; the son heard "the cold splintering" at his father's efforts; eventually, the father "had driven out the cold" from the house (Hayden 782). Such frequent implementation of the word "cold" emphasizes the child's perspective of his father as a distant, emotionally hardened man. Operating under this mindset rather than analyzing everything his father was doing for him, the boy never offered any word of gratitude. Even worse, the boy spoke "indifferently to him", showing that in addition to his failure to appreciate his father's attempts at keeping him warm, he did not care about his father at all (Hayden 782). The boy could not appreciate the warmth behind his father's coldness. He got up early to drive cold out of their home so that the boy could live comfortably. The stress of doing so produced "chronic angers" in the father that put off the boy (Hayden 781). However, in the final lines of the poem, the boy, most likely a man now, perceives the love in his father's actions. He laments at his misbehavior, asking, "What did I know of love's austere and lonely offices?" (Hayden 782).
Patricide in the First Degree
"Edward" by Anonymous
"Edward" describes a deranged man murdering his father after being advised by his mother. Edward did not wish to kill his father. This much can be seen in the first two stanzas when his mother asks why his sword is bloodied, and Edward states, "I have killed my hawk so good, and I had no more but he," and, "I have killed my red-roan steed, that once was so fair and free," (Anonymous 977). Edward compares his father to a precious hawk and a fair, free steed to emphasize his self-disgust at having killed a man he cared for very much. Edward also inveighs against his mother for convincing him to kill his father. This verbal assault, showing what Edward has done and why, manifests at the two most climactic points in the poem: stanzas three and seven. In stanza three, Edward reveals explicitly, "I have killed my father dear, alas, and woe is me," (Anonymous 978). This first climax in the poem solidifies the image of Edward as penitent and distraught over his mother's commanded actions. The second climax displays Edward's inner rage. In the seventh stanza, speaking to his mother, Edward says, "The curse of hell from me shall ye bear, such counsels you gave to me," (Anonymous 978). The counsels he speaks of are his mother's homicidal urgings, the motivation behind Edward's horrendous act. For these counsels, Edward damns his mother to hell, distancing himself completely from her and the evil he has committed.
"Edward" describes a deranged man murdering his father after being advised by his mother. Edward did not wish to kill his father. This much can be seen in the first two stanzas when his mother asks why his sword is bloodied, and Edward states, "I have killed my hawk so good, and I had no more but he," and, "I have killed my red-roan steed, that once was so fair and free," (Anonymous 977). Edward compares his father to a precious hawk and a fair, free steed to emphasize his self-disgust at having killed a man he cared for very much. Edward also inveighs against his mother for convincing him to kill his father. This verbal assault, showing what Edward has done and why, manifests at the two most climactic points in the poem: stanzas three and seven. In stanza three, Edward reveals explicitly, "I have killed my father dear, alas, and woe is me," (Anonymous 978). This first climax in the poem solidifies the image of Edward as penitent and distraught over his mother's commanded actions. The second climax displays Edward's inner rage. In the seventh stanza, speaking to his mother, Edward says, "The curse of hell from me shall ye bear, such counsels you gave to me," (Anonymous 978). The counsels he speaks of are his mother's homicidal urgings, the motivation behind Edward's horrendous act. For these counsels, Edward damns his mother to hell, distancing himself completely from her and the evil he has committed.
Wednesday, September 19, 2012
Like Father, Like Son
"The Drunkard" by Frank O'Connor
In "The Drunkard", Father is a hard working, caring parent of two boys that saves money diligently in order to get ahead in life. However, Father's hubris, his alcoholism, drains any excess income he makes and prevents him from achieving his goals. Therefore, when Mr. Dooley, Father's good friend, dies, Mother becomes concerned because she knows Dooley's funeral will give Father ample opportunity to embrace his vice. Accordingly, she sends her son, Larry, with Father to ensure his hubris does not consume him. As one could expect, Father and Larry end up at a pub following Dooley's funeral. When Father has his back turned, Larry downs his glass of porter out of curiosity and the humor begins. Utilizing stream of consciousness, O'Connor displays the deterioration of Larry's sobriety with phrases like, "I felt pleasantly philosophic," which transform into, "I found it hard to put back the glass, the counter seemed to have grown so high," (O'Connor 347). Realizing his son's inebriation, Father guides Larry out of the pub and toward home. Once home, Father endures Mother's invective against him for allowing Larry to reach his current state. However, Mother actually feels pride and affection for what her son has done. Inadvertently, Larry prevented Father from succumbing to his hubris by consuming the alcohol first. Thus, Larry did just what Mother intended him to do. Quite humorously, Mother describes Larry as Father's "guardian angel" (O'Connor 351). How fitting that a drunkard's guardian angel protects him by drinking his booze!
In "The Drunkard", Father is a hard working, caring parent of two boys that saves money diligently in order to get ahead in life. However, Father's hubris, his alcoholism, drains any excess income he makes and prevents him from achieving his goals. Therefore, when Mr. Dooley, Father's good friend, dies, Mother becomes concerned because she knows Dooley's funeral will give Father ample opportunity to embrace his vice. Accordingly, she sends her son, Larry, with Father to ensure his hubris does not consume him. As one could expect, Father and Larry end up at a pub following Dooley's funeral. When Father has his back turned, Larry downs his glass of porter out of curiosity and the humor begins. Utilizing stream of consciousness, O'Connor displays the deterioration of Larry's sobriety with phrases like, "I felt pleasantly philosophic," which transform into, "I found it hard to put back the glass, the counter seemed to have grown so high," (O'Connor 347). Realizing his son's inebriation, Father guides Larry out of the pub and toward home. Once home, Father endures Mother's invective against him for allowing Larry to reach his current state. However, Mother actually feels pride and affection for what her son has done. Inadvertently, Larry prevented Father from succumbing to his hubris by consuming the alcohol first. Thus, Larry did just what Mother intended him to do. Quite humorously, Mother describes Larry as Father's "guardian angel" (O'Connor 351). How fitting that a drunkard's guardian angel protects him by drinking his booze!
Analyzing a Crazy Old Woman
"A Worn Path" by Eudora Welty
To narrate her short story, Eudora Welty chooses to utilize the third person omniscient point of view. This allows for her audience to analyze the actions of her protagonist, Phoenix Jackson, objectively as well as through the perspectives of several other minor characters in an attempt to better understand Jackson's character. First, Welty includes passages of Jackson speaking to herself and experiencing hallucinations to emphasize Jackson's feeble mental integrity. For example, after she crossed a creek, Jackson rested and "a little boy brought her a plate with a slice of marble-cake on it . . . but when she went to take it there was just her own hand in the air," (Welty 224). Secondly, Welty includes dialogue between Jackson and a white hunter to characterize her bold, fearless, determined nature. After the hunter aims his weapon at Jackson and asks if she is scared, she replies, "No, sir, I seen plenty go off closer by," (Welty 227). Through the hunter, Welty also reveals why Jackson has been travelling through the woods: she needs to reach the local town. Once Jackson arrives in town, she visits a nurse's office to acquire medicine for her grandson. However, from what the nurse says to Jackson, one may reasonably infer that the boy has already died. She talks of how routinely Jackson makes this trek, how sad it is that the boy's throat will not heal, and reaffirms the cause of his plight: swallowing lye. In sufficient quantities, ingesting lye becomes deadly; the boy has died, but Jackson refuses to let go. Instead, she leaves the nurse's office, painted as a bold, loving, headstrong, yet grief-stricken old woman, to purchase a Christmas gift for the boy, or rather the boy's memory, that she loves so dearly.
To narrate her short story, Eudora Welty chooses to utilize the third person omniscient point of view. This allows for her audience to analyze the actions of her protagonist, Phoenix Jackson, objectively as well as through the perspectives of several other minor characters in an attempt to better understand Jackson's character. First, Welty includes passages of Jackson speaking to herself and experiencing hallucinations to emphasize Jackson's feeble mental integrity. For example, after she crossed a creek, Jackson rested and "a little boy brought her a plate with a slice of marble-cake on it . . . but when she went to take it there was just her own hand in the air," (Welty 224). Secondly, Welty includes dialogue between Jackson and a white hunter to characterize her bold, fearless, determined nature. After the hunter aims his weapon at Jackson and asks if she is scared, she replies, "No, sir, I seen plenty go off closer by," (Welty 227). Through the hunter, Welty also reveals why Jackson has been travelling through the woods: she needs to reach the local town. Once Jackson arrives in town, she visits a nurse's office to acquire medicine for her grandson. However, from what the nurse says to Jackson, one may reasonably infer that the boy has already died. She talks of how routinely Jackson makes this trek, how sad it is that the boy's throat will not heal, and reaffirms the cause of his plight: swallowing lye. In sufficient quantities, ingesting lye becomes deadly; the boy has died, but Jackson refuses to let go. Instead, she leaves the nurse's office, painted as a bold, loving, headstrong, yet grief-stricken old woman, to purchase a Christmas gift for the boy, or rather the boy's memory, that she loves so dearly.
An Ironic Frame Story
"Once Upon a Time" by Nadine Gordimer
"Once Upon a Time" serves as Nadine Gordimer's clever retort to a man requesting that she write a children's story. Gordimer introduces her "children's story" with a frame story describing her discomfort at feeling as if her house had been invaded by a burglar. To cope with her discomfort, Gordimer begins to tell herself a bedtime story, a tale which would normally entail adventure, wonder, and happiness. Therefore, when she begins her tale with a happy, suburban family living wonderfully in a lovely city, the story seems to follow the traditional archetype. However, Gordimer adds her own dark twist by surrounding the suburb with crime, violence, and death. As such, "Once Upon a Time" displays its first bit of irony by distorting a normally comforting bedtime story into something morose. Furthermore, within the tale, the suburban family seeks protection from ubiquitous danger. In doing so, the mother and father fortify their protective walls, add electronic gates, and install barbed wire fences not only to protect themselves, but also their young son. However, the boy ventured into the barbed wire and as he "screamed and struggled deeper into its tangle" he maimed himself severely, leaving his body a grotesque bloody mass (Gordimer 236). Irony presents itself once more; the barbed wire aimed to protect the boy ends up destroying him. Additionally, in recounting this gruesome bedtime story, Gordimer writes the children's story asked of her. Unfortunately for the people asking for it, the tale ironically takes on a much more gothic, dark quality than any true children's story should.
"Once Upon a Time" serves as Nadine Gordimer's clever retort to a man requesting that she write a children's story. Gordimer introduces her "children's story" with a frame story describing her discomfort at feeling as if her house had been invaded by a burglar. To cope with her discomfort, Gordimer begins to tell herself a bedtime story, a tale which would normally entail adventure, wonder, and happiness. Therefore, when she begins her tale with a happy, suburban family living wonderfully in a lovely city, the story seems to follow the traditional archetype. However, Gordimer adds her own dark twist by surrounding the suburb with crime, violence, and death. As such, "Once Upon a Time" displays its first bit of irony by distorting a normally comforting bedtime story into something morose. Furthermore, within the tale, the suburban family seeks protection from ubiquitous danger. In doing so, the mother and father fortify their protective walls, add electronic gates, and install barbed wire fences not only to protect themselves, but also their young son. However, the boy ventured into the barbed wire and as he "screamed and struggled deeper into its tangle" he maimed himself severely, leaving his body a grotesque bloody mass (Gordimer 236). Irony presents itself once more; the barbed wire aimed to protect the boy ends up destroying him. Additionally, in recounting this gruesome bedtime story, Gordimer writes the children's story asked of her. Unfortunately for the people asking for it, the tale ironically takes on a much more gothic, dark quality than any true children's story should.
Thursday, September 13, 2012
Beneatha's Contrasting Suitors
A Raisin in the Sun by Lorraine Hansberry
The two men that Beneatha Younger courts in A Raisin in the Sun diametrically oppose each other in manner and perspective. The first, George Murchison, comes off as a pretentious, rich snob inflated by arrogance and appropriately condescending. He discounts Beneatha's valuing her African heritage as idiotic reverance for "a bunch of raggedy-assed spirituals and some grass huts!" (Hansberry 481). As one may tell from the previous sentence, George does not respect Beneatha either. Overall, George values the superficial aspects of life and seeks to impress others with his pomp, grandeur, and supposed sophistication. Therefore, George represents the life Beneatha wants to leave behind, the life she is displeased with. In contrast, Joseph Asagai presents himself as a humble, ambitious, well-mannered young African man that Beneatha met during her studies. Asagai strongly supports Beneatha's search for her African identity. In fact, he instigated the search by sharing with Beneatha her heritage as a member of the Yoruba tribe. Also, Asagai displays much affection and respect for Beneatha when he refers to her as Alaiyo, meaning "One for Whom Bread Is Not Enough", to emphasize her ambition and drive in pursuing a medical career and a better life (Hansberry 468). Asagai seeks to help others, stand up for justice, and change the world in a positive way. Embodying morally based living based on the pursuit of meaningful, Asagai represents the life Beneatha wants to live. Additionally, the many major differences between Murchison and Asagai make them perfect foil characters for each other.
The two men that Beneatha Younger courts in A Raisin in the Sun diametrically oppose each other in manner and perspective. The first, George Murchison, comes off as a pretentious, rich snob inflated by arrogance and appropriately condescending. He discounts Beneatha's valuing her African heritage as idiotic reverance for "a bunch of raggedy-assed spirituals and some grass huts!" (Hansberry 481). As one may tell from the previous sentence, George does not respect Beneatha either. Overall, George values the superficial aspects of life and seeks to impress others with his pomp, grandeur, and supposed sophistication. Therefore, George represents the life Beneatha wants to leave behind, the life she is displeased with. In contrast, Joseph Asagai presents himself as a humble, ambitious, well-mannered young African man that Beneatha met during her studies. Asagai strongly supports Beneatha's search for her African identity. In fact, he instigated the search by sharing with Beneatha her heritage as a member of the Yoruba tribe. Also, Asagai displays much affection and respect for Beneatha when he refers to her as Alaiyo, meaning "One for Whom Bread Is Not Enough", to emphasize her ambition and drive in pursuing a medical career and a better life (Hansberry 468). Asagai seeks to help others, stand up for justice, and change the world in a positive way. Embodying morally based living based on the pursuit of meaningful, Asagai represents the life Beneatha wants to live. Additionally, the many major differences between Murchison and Asagai make them perfect foil characters for each other.
Materialistic Boy to Proud Family Man
A Raisin in the Sun by Lorraine Hansberry
Walter Younger, for a majority of the play, focuses intently on the value of wealth and the good it will do for his family. While Walter's perspective was born out of good intentions, his materialistic views fuel his frustration and division within the Younger family. Ruth and Walter argue over Walter's dreams of business, wealth, success, and how Ruth hinders each of them. At one point, Walter goes so far as to tell Mama, "[Money] is life, Mama!" as she questions why he focuses so much on external possessions (Hansberry 475). Accordingly, when Walter realizes his materialistic dreams have been crushed by a conniving Willy Harris, he snaps. Seeing no other solution the suddenly horrible fiscal situation, Walter shares with his family the plan to grovel before Mr. Lindner and accept his business proposal at the cost of pride. In doing so, anger and sorrow emanate from Walter. His life has been destroyed. However, when Lindner arrives and the time comes for Walter to sacrifice his manhood for the sake of wealth, he refuses. Instead, after explaining the Younger family's rich history of proud members, he stares Lindner in the face and says, "We don't want your money" (Hansberry 532). Making this decision, Walter assumes a clear identity as a dynamic character because of his mental shift from obsessive materialism to dignity and family pride. He also, in speaking to Lindner, takes on his manhood, at least according to Mama.
Walter Younger, for a majority of the play, focuses intently on the value of wealth and the good it will do for his family. While Walter's perspective was born out of good intentions, his materialistic views fuel his frustration and division within the Younger family. Ruth and Walter argue over Walter's dreams of business, wealth, success, and how Ruth hinders each of them. At one point, Walter goes so far as to tell Mama, "[Money] is life, Mama!" as she questions why he focuses so much on external possessions (Hansberry 475). Accordingly, when Walter realizes his materialistic dreams have been crushed by a conniving Willy Harris, he snaps. Seeing no other solution the suddenly horrible fiscal situation, Walter shares with his family the plan to grovel before Mr. Lindner and accept his business proposal at the cost of pride. In doing so, anger and sorrow emanate from Walter. His life has been destroyed. However, when Lindner arrives and the time comes for Walter to sacrifice his manhood for the sake of wealth, he refuses. Instead, after explaining the Younger family's rich history of proud members, he stares Lindner in the face and says, "We don't want your money" (Hansberry 532). Making this decision, Walter assumes a clear identity as a dynamic character because of his mental shift from obsessive materialism to dignity and family pride. He also, in speaking to Lindner, takes on his manhood, at least according to Mama.
Chicago. Trash Heap or Safe Haven?
A Raisin in the Sun by Lorraine Hansberry
In A Raisin in the Sun, all of the action takes place in Chicago's Southside sometime after World War II. This setting, viewed from two entirely different perspectives, elicits two entirely different responses from Walter and Mama. Walter sees the Southside as a slum, a run-down section of Chicago that he has been forced into because of his low social status. Walter's outlook on Chicago's Southside and the apartment he lives in manifests through his wife Ruth when she says, "LET'S GET THE HELL OUT OF HERE!" (Hansberry 533). To an extent, Mama sympathizes with Walter's view. She knows that her family must leave the area they live in now if a better future is to be had, but she does not see Chicago's Southside as completely negative. Located in a northern state, Chicago represents freedom and opportunity to Mama who grew up oppressed in the racist American south. Therefore, even though Mama recognizes the slum-like qualities of the Southside, she lives relieved that her children have the opportunity for much more than she could ever dream of. As such, Mama carries herself with an optimistic disposition as opposed to Walter's occasional pessimism and frustration. Really, the only negative responses Mama has to the setting come from living in a beat-up apartment, not Chicago's Southside. Accordingly, Mama purchases a quaint home for the family to create an ideal setting for Walter, Ruth, Beneatha, and Travis to pursue their dreams.
In A Raisin in the Sun, all of the action takes place in Chicago's Southside sometime after World War II. This setting, viewed from two entirely different perspectives, elicits two entirely different responses from Walter and Mama. Walter sees the Southside as a slum, a run-down section of Chicago that he has been forced into because of his low social status. Walter's outlook on Chicago's Southside and the apartment he lives in manifests through his wife Ruth when she says, "LET'S GET THE HELL OUT OF HERE!" (Hansberry 533). To an extent, Mama sympathizes with Walter's view. She knows that her family must leave the area they live in now if a better future is to be had, but she does not see Chicago's Southside as completely negative. Located in a northern state, Chicago represents freedom and opportunity to Mama who grew up oppressed in the racist American south. Therefore, even though Mama recognizes the slum-like qualities of the Southside, she lives relieved that her children have the opportunity for much more than she could ever dream of. As such, Mama carries herself with an optimistic disposition as opposed to Walter's occasional pessimism and frustration. Really, the only negative responses Mama has to the setting come from living in a beat-up apartment, not Chicago's Southside. Accordingly, Mama purchases a quaint home for the family to create an ideal setting for Walter, Ruth, Beneatha, and Travis to pursue their dreams.
Working for a Better Future
A Raisin in the Sun by Lorraine Hansberry
The theme of searching for and pursuing a better future pervades A Raisin in the Sun. Two of the main characters, Walter and Beneatha, embody that theme with their actions throughout the play. Walter, a hard-working chauffeur, has had enough of forcing his family to deal with such a poor standard of living and resolves to give them, and himself, more in life. He wants Ruth, Mama, and Beneatha to be able to relax, enjoy life, and forgo working themselves to death as his father did. Specifically, Walter says, "You wouldn't understand yet, son, but your daddy's gonna make a transaction . . . a business transaction . . . You just name it, son . . . and I hand you the world!" (Hansberry 502). As such, Walter takes money he received from Mama and attempts to start a business with men by the names of Willy Harris and Bobo. Eventually, Willy disappers with the capital and Walter's business dreams, as well as his dreams of a changed life, disappear. In contrast, Beneatha seeks for a better future through education, finding herself, and becoming a doctor. All of Beneatha's goals can be tied a man named Asagai. Asagai attends the university Beneatha studies at and thus shares her search for knowledge. Also, through Asagai, Beneatha learns of her African heritage and thus furthers her search for identity. Finally, in speaking with Asagai, Beneatha explains, with a childhood anecdote, how she knew she wanted to be a doctor. Therefore, in associating with Asagai and making an effort to receive a quality education, Beneatha attempts to revamp her quality of life as well as that of her family.
The theme of searching for and pursuing a better future pervades A Raisin in the Sun. Two of the main characters, Walter and Beneatha, embody that theme with their actions throughout the play. Walter, a hard-working chauffeur, has had enough of forcing his family to deal with such a poor standard of living and resolves to give them, and himself, more in life. He wants Ruth, Mama, and Beneatha to be able to relax, enjoy life, and forgo working themselves to death as his father did. Specifically, Walter says, "You wouldn't understand yet, son, but your daddy's gonna make a transaction . . . a business transaction . . . You just name it, son . . . and I hand you the world!" (Hansberry 502). As such, Walter takes money he received from Mama and attempts to start a business with men by the names of Willy Harris and Bobo. Eventually, Willy disappers with the capital and Walter's business dreams, as well as his dreams of a changed life, disappear. In contrast, Beneatha seeks for a better future through education, finding herself, and becoming a doctor. All of Beneatha's goals can be tied a man named Asagai. Asagai attends the university Beneatha studies at and thus shares her search for knowledge. Also, through Asagai, Beneatha learns of her African heritage and thus furthers her search for identity. Finally, in speaking with Asagai, Beneatha explains, with a childhood anecdote, how she knew she wanted to be a doctor. Therefore, in associating with Asagai and making an effort to receive a quality education, Beneatha attempts to revamp her quality of life as well as that of her family.
Act I: Characterization!
A Raisin in the Sun by Lorraine Hansberry
Centered around character personalities and dramatization, plays, like A Raisin in the Sun, need excellent characterization to develop into more than just scripts of dialogue. As such, "Act I" provides an immense amount of details concerning characters introduced, characterizing them indirectly through dialogue and stage actions and directly through the included stage directions.
For example, Ruth conveys her authoritative, yet loving nature when she scolds Travis as he eats breakfast but goes on to give him a loving farewell before he leaves for school. The dialogue between Ruth and Travis reveals her strict parenting methods, but the stage action of Ruth embracing Travis depicts her as affectionate. Furthermore, Walter characterizes himself quickly in his interactions with Ruth. Walter frequently insults Ruth, stating that "colored women . . . don't understand about building their men up" and implying that she is the reason he has not been able to pursue his business dreams to lift their family up (Hansberry 444). Walter's mentioned dream at getting his family out of its financial slump reveals that he is an extremely ambitious man, but a frustrated one at that. This quality proves important to Walter's character throughout the novel, especially as he changes toward the conclusion, but could not have been reveled without indirect characterization from "Act I". Concerning direct characterization, the most appropriate example would be the introduction of Mama. Preceding Mama's entrance, Hansberry includes stage directions that read, "She has, we can see, wit and faith of a kind that keep her eyes lit and full of interest and expectancy" (Hansberry 447-448). These directions paint Mama as a visionary. The interest and expectancy in Mama's eyes describe her desires for the future of her family. In equating Mama with wit and faith, Hansberry exposes the audience to Mama's extremely clever, religious, and moral character. All of the qualities revealed in "Act I" carry with the characters in an important way as the novel progresses.
Centered around character personalities and dramatization, plays, like A Raisin in the Sun, need excellent characterization to develop into more than just scripts of dialogue. As such, "Act I" provides an immense amount of details concerning characters introduced, characterizing them indirectly through dialogue and stage actions and directly through the included stage directions.
For example, Ruth conveys her authoritative, yet loving nature when she scolds Travis as he eats breakfast but goes on to give him a loving farewell before he leaves for school. The dialogue between Ruth and Travis reveals her strict parenting methods, but the stage action of Ruth embracing Travis depicts her as affectionate. Furthermore, Walter characterizes himself quickly in his interactions with Ruth. Walter frequently insults Ruth, stating that "colored women . . . don't understand about building their men up" and implying that she is the reason he has not been able to pursue his business dreams to lift their family up (Hansberry 444). Walter's mentioned dream at getting his family out of its financial slump reveals that he is an extremely ambitious man, but a frustrated one at that. This quality proves important to Walter's character throughout the novel, especially as he changes toward the conclusion, but could not have been reveled without indirect characterization from "Act I". Concerning direct characterization, the most appropriate example would be the introduction of Mama. Preceding Mama's entrance, Hansberry includes stage directions that read, "She has, we can see, wit and faith of a kind that keep her eyes lit and full of interest and expectancy" (Hansberry 447-448). These directions paint Mama as a visionary. The interest and expectancy in Mama's eyes describe her desires for the future of her family. In equating Mama with wit and faith, Hansberry exposes the audience to Mama's extremely clever, religious, and moral character. All of the qualities revealed in "Act I" carry with the characters in an important way as the novel progresses.
Wednesday, August 29, 2012
A Dark Secret
"Interpreter of Maladies" by Jhumpa Lahiri
Lahiri depicts natural human selfishness with "Interpreter of Maladies". In the story, Mr. Kapasi, an Indian tour guide, accompanies the Das family as they travel around India and see many beautiful sights including sacred primates and a Hindu temple. Almost immediately, Kapasi observes the poor relationship between Mr. and Mrs. Das and begins to envision himself with his eldest female passenger. Kapasi acts selfishly, thinking not of how his actions could ruin the Das family and his own, but of how personally gratifying living with the young Mrs. Das would be. His motivation for admiring Mrs. Das, her recognition of his intellectual ability and the difficulty of his career, can be seen as selfish as well. Later in the novel, Mrs. Das acts even more self-centered than Kapasi's musings paint him out to be. She recalls a dark secret, "He's [Bobby] not Raj's son", to Mr. Kapasi, a complete stranger, and thus places an incredible burden on him (Lahiri). Should he inform Mr. Das of his wife's infidelity? Should he try to help Mrs. Das divorce her husband and move on with her life? Is any interference in the situation justifiable? All of these thoughts and more must have raced through Kapasi's head, but Mrs. Das was only concerned with how Kapasi could help her fix this "eight years . . . in pain" she had gotten herself into (Lahiri). These selfish human acts, centered around depreciated love and affection, that Lahiri depicts reinforce the need for selflessness in relating to others. If one wishes to experience long-lasting positive relationships, he must overcome his selfishness and instead behave selflessly in caring for others and maintaining his affection for them.
Lahiri depicts natural human selfishness with "Interpreter of Maladies". In the story, Mr. Kapasi, an Indian tour guide, accompanies the Das family as they travel around India and see many beautiful sights including sacred primates and a Hindu temple. Almost immediately, Kapasi observes the poor relationship between Mr. and Mrs. Das and begins to envision himself with his eldest female passenger. Kapasi acts selfishly, thinking not of how his actions could ruin the Das family and his own, but of how personally gratifying living with the young Mrs. Das would be. His motivation for admiring Mrs. Das, her recognition of his intellectual ability and the difficulty of his career, can be seen as selfish as well. Later in the novel, Mrs. Das acts even more self-centered than Kapasi's musings paint him out to be. She recalls a dark secret, "He's [Bobby] not Raj's son", to Mr. Kapasi, a complete stranger, and thus places an incredible burden on him (Lahiri). Should he inform Mr. Das of his wife's infidelity? Should he try to help Mrs. Das divorce her husband and move on with her life? Is any interference in the situation justifiable? All of these thoughts and more must have raced through Kapasi's head, but Mrs. Das was only concerned with how Kapasi could help her fix this "eight years . . . in pain" she had gotten herself into (Lahiri). These selfish human acts, centered around depreciated love and affection, that Lahiri depicts reinforce the need for selflessness in relating to others. If one wishes to experience long-lasting positive relationships, he must overcome his selfishness and instead behave selflessly in caring for others and maintaining his affection for them.
Dee's Struggle for an Identity
"Everyday Use" by Alice Walker
In "Everyday Use", Walker juxtaposes two groups of characters: the humble, caring duo of Maggie and Mama and the intellectually egotistical hipsters Dee (or Wangero) and Asalamalakim (or Hakim-a-barber). Throughout the story, Mama and Maggie care for their family, their home, and the memories made in it. Their affection is genuine and pure. Dee, however, after having left a life with Mama and Maggie for college and the outside world, values her deep African heritage over sentimentality toward her relatives. This concern for her far-reaching roots in African culture came from a social movement encouraging African Americans to embrace their true cultures to get revenge against white oppression. However, in joining this movement, Dee became even more of an arrogant hipster and lost sight of what truly matters: her family, Mama and Maggie. Accordingly, Mama and Dee come into conflict when Dee, overlooking all sentimental value these objects might hold, wants to take some things from around the house so that she can "think of something artistic to do" with them to promote her new movement and identity (Walker). Mama draws the line when Dee attempts to take two personally crafted quilts intended for Maggie simply because they are "priceless" representations of the African culture Dee is so engrossed with (Walker). Dee, or Wangero if going by her African name, has simply lost sight of what shaped her into who she is. Having refused to give the quilts to Dee, Mama embraces Maggie and watches as her other daughter departs. From this story, Walker emphasizes that to find one's true identity, he or she must not go searching for. One's identity can be found in one's childhood, family, upbringing, and sentimental memories. In her search to find herself, Dee lost sight of all of those things.
In "Everyday Use", Walker juxtaposes two groups of characters: the humble, caring duo of Maggie and Mama and the intellectually egotistical hipsters Dee (or Wangero) and Asalamalakim (or Hakim-a-barber). Throughout the story, Mama and Maggie care for their family, their home, and the memories made in it. Their affection is genuine and pure. Dee, however, after having left a life with Mama and Maggie for college and the outside world, values her deep African heritage over sentimentality toward her relatives. This concern for her far-reaching roots in African culture came from a social movement encouraging African Americans to embrace their true cultures to get revenge against white oppression. However, in joining this movement, Dee became even more of an arrogant hipster and lost sight of what truly matters: her family, Mama and Maggie. Accordingly, Mama and Dee come into conflict when Dee, overlooking all sentimental value these objects might hold, wants to take some things from around the house so that she can "think of something artistic to do" with them to promote her new movement and identity (Walker). Mama draws the line when Dee attempts to take two personally crafted quilts intended for Maggie simply because they are "priceless" representations of the African culture Dee is so engrossed with (Walker). Dee, or Wangero if going by her African name, has simply lost sight of what shaped her into who she is. Having refused to give the quilts to Dee, Mama embraces Maggie and watches as her other daughter departs. From this story, Walker emphasizes that to find one's true identity, he or she must not go searching for. One's identity can be found in one's childhood, family, upbringing, and sentimental memories. In her search to find herself, Dee lost sight of all of those things.
Don't Mess with Hazel
"Hazel Tells LaVerne" by Katharyn Howd Machan
Several key surface features of "Hazel Tells LaVerne" contribute to its relaxed, natural flow and allow one to truly listen to Hazel as she shares a story with LaVerne. First, the lack of any punctuation or capitilization immediately highlights the informal nature of the poem and sets a comfortable tone. Moreover, the intentional implementation of colloquialisms like "sohelpmegod" and misspellings like "hitsm" furter accentuate the relaxed tone and add an aspect of friendly dialogue to the poem (Machan). Also, the misspellings and informal phrases coincide with a southern American dialect, so one may assume Hazel originates from a southern State. Furthermore, the combination of Hazel's southern heritage with the fact that she works as a maid that cleans the "howard johnsons ladies room" leads to the conclusion that Hazel is black domestic helper living in the south. With that identity, Hazel manifests as a stereotypically serious, passionate, hot-headed southern black woman. Add the dialect incorporated into the poem, and one can almost imagine the comical, manerism filled conversation between Hazel and LaVerne. However, Hazel, the speaker in "Hazel Tells LaVerne", does not attempt to be funny; her comedy lies in her seriousness. For example, when the frog tells Hazel how she "can be a princess", she refuses his jest. Hazel knows she will never be a princess or anything of the sort. That hard-headed realist attitude plays into the aim of the poem: to promote realism over idealism.
Several key surface features of "Hazel Tells LaVerne" contribute to its relaxed, natural flow and allow one to truly listen to Hazel as she shares a story with LaVerne. First, the lack of any punctuation or capitilization immediately highlights the informal nature of the poem and sets a comfortable tone. Moreover, the intentional implementation of colloquialisms like "sohelpmegod" and misspellings like "hitsm" furter accentuate the relaxed tone and add an aspect of friendly dialogue to the poem (Machan). Also, the misspellings and informal phrases coincide with a southern American dialect, so one may assume Hazel originates from a southern State. Furthermore, the combination of Hazel's southern heritage with the fact that she works as a maid that cleans the "howard johnsons ladies room" leads to the conclusion that Hazel is black domestic helper living in the south. With that identity, Hazel manifests as a stereotypically serious, passionate, hot-headed southern black woman. Add the dialect incorporated into the poem, and one can almost imagine the comical, manerism filled conversation between Hazel and LaVerne. However, Hazel, the speaker in "Hazel Tells LaVerne", does not attempt to be funny; her comedy lies in her seriousness. For example, when the frog tells Hazel how she "can be a princess", she refuses his jest. Hazel knows she will never be a princess or anything of the sort. That hard-headed realist attitude plays into the aim of the poem: to promote realism over idealism.
Dreams are like.....
"Dreams Deferred" by Langston Hughes
In this poem, Hughes heavily employs similes to describe the types of dreams people may have. He also takes care to juxtapose a negative analogy with a positive one to express the duality of dreams; not all of them are pleasant. Hughes initial similes relate happy, quickly forgotten, fleeting dreams to "raisins in the sun" and bothersome dreams to "a sore" (Hughes). He goes on to compare nightmares to "rotten meat" and dreams of ecstasy to a "syrupy sweet" (Hughes). All of these similes utilize organic imagery which could emphasize the vitality and infinite possibility that dreams embody. Hughes' final simile, however, does not seem to address dreams quite so literally. To say a dream "sags like a heavy load" would be saying that it depresses a person and hinders his happiness (Hughes). As such, Hughes might be referring to dreams as ambitions that people hold onto. The heavy load would be a challenging ambition while the raisin, sore, rotten meat, and syrupy sweet would all represent passing desires, ambitions unrealized, ambitions proven impossible, and ambitions come to fruition, respectively. The ambiguity of Hughes' usage of dream and the similes he utilizes allow for his audience to interpret the poem in different ways. As such, the two techniques contribute significantly to the meaning of the work.
In this poem, Hughes heavily employs similes to describe the types of dreams people may have. He also takes care to juxtapose a negative analogy with a positive one to express the duality of dreams; not all of them are pleasant. Hughes initial similes relate happy, quickly forgotten, fleeting dreams to "raisins in the sun" and bothersome dreams to "a sore" (Hughes). He goes on to compare nightmares to "rotten meat" and dreams of ecstasy to a "syrupy sweet" (Hughes). All of these similes utilize organic imagery which could emphasize the vitality and infinite possibility that dreams embody. Hughes' final simile, however, does not seem to address dreams quite so literally. To say a dream "sags like a heavy load" would be saying that it depresses a person and hinders his happiness (Hughes). As such, Hughes might be referring to dreams as ambitions that people hold onto. The heavy load would be a challenging ambition while the raisin, sore, rotten meat, and syrupy sweet would all represent passing desires, ambitions unrealized, ambitions proven impossible, and ambitions come to fruition, respectively. The ambiguity of Hughes' usage of dream and the similes he utilizes allow for his audience to interpret the poem in different ways. As such, the two techniques contribute significantly to the meaning of the work.
Mr. Z and Irony
"Mr. Z" by M. Carl Holman
Throughout "Mr. Z", Holman describes a self-loathing individual that rejected his ethnicity because at an early age he learned that "his mother's skin was the sign of error," and he refused to be judged racially (Holman). As such, Mr. Z's entire life centered around disassociating himself with all things related to his race. He abandoned his people's culture, music, and food in favor of their superior "Anglo-Saxonized" counterparts (Holman). However, in doing so, Mr. Z inadvertently and quite ironically committed that crude act which he refused to fall victim to: judging someone or something based on his race or its associated race. Furthermore, Holman goes on to describe Z as being "careful whom he chose to kiss," further displaying his ironic, hypocritical tendency to judge based on race while spurning racism. The irony implemented by Holman provides a scolding tone to the poem. Through this tone, Holman calls for an end to all racial prejudices, even strange cases of prejudice against one's own race. Nevertheless, Holman's most powerful example of irony does not manifest until the final lines of the poem. Mr. Z, a man who vehemently opposed all aspects of his own ethnicity, dies after living completely immersed in what he believed to be a superior culture. To honor (or dishonor) this man, the writers of his obituary penned him the title, "One of the most distinguished members of his race," (Holman). Ironically, that which Mr. Z ran from so passionately, identification by race, was given to him post mortem. Therefore, the entire poem can be seen as decrying Z's behavior and satirizing those that behave as he does.
Throughout "Mr. Z", Holman describes a self-loathing individual that rejected his ethnicity because at an early age he learned that "his mother's skin was the sign of error," and he refused to be judged racially (Holman). As such, Mr. Z's entire life centered around disassociating himself with all things related to his race. He abandoned his people's culture, music, and food in favor of their superior "Anglo-Saxonized" counterparts (Holman). However, in doing so, Mr. Z inadvertently and quite ironically committed that crude act which he refused to fall victim to: judging someone or something based on his race or its associated race. Furthermore, Holman goes on to describe Z as being "careful whom he chose to kiss," further displaying his ironic, hypocritical tendency to judge based on race while spurning racism. The irony implemented by Holman provides a scolding tone to the poem. Through this tone, Holman calls for an end to all racial prejudices, even strange cases of prejudice against one's own race. Nevertheless, Holman's most powerful example of irony does not manifest until the final lines of the poem. Mr. Z, a man who vehemently opposed all aspects of his own ethnicity, dies after living completely immersed in what he believed to be a superior culture. To honor (or dishonor) this man, the writers of his obituary penned him the title, "One of the most distinguished members of his race," (Holman). Ironically, that which Mr. Z ran from so passionately, identification by race, was given to him post mortem. Therefore, the entire poem can be seen as decrying Z's behavior and satirizing those that behave as he does.
Sunday, August 19, 2012
Logic in Poetry? Thank God for Perrine!
Reading Perrine's take on the interpretation of poetry forced me to see the study of language in a new light. I had previously questioned quite often, as Perrine mentioned in his writing, why poems couldn't take on any number of equally correct meanings. After all, language arts had always been the subject explained to me as requiring abstract thought and diverse perspectives to fully understand its many solutions. Accordingly, I, someone obsessed with logic, order, and the linear, analytical thought processes that mathematics encourage, hated language class. However, Perrine argues that to interpret any poem correctly, one must combine logic with abstract thought in order to remove all of the outlandish, "farfetched" interpretations that people produce and identify the correct one. Logic in poetry? Thank God for Perrine! Knowing that some of the ridiculous interpretations out there can be logically refuted with Perrine's strategies makes me feel exponentially better about language arts. I can rest assured knowing that the understandings English professors teach actually have some method behind them. This method, Perrine's strategy, is actually fairly simple.
The gist of Perrine's method is this: explain the details without contradicting any explanation and don't assume any outside variables. Such a simple strategy provides for an easy understanding of poetry and I love Perrine for presenting it to me. Also, when I read Perrine's statement, "A poem - in fact, any pattern of words - defines an area of meaning, no more," I felt like I had an epiphany in studying poetry (Perrine 4). As long as multiple interpretations explain a poem's details without contradiction and reliance on outside assumptions, they can both be correct if the stay within the area of meaning defined by the poem. Therefore, language becomes like math. As in mathematics, a language student follows a logical process to form a poetic interpretation. Given that the student follows that process well and remains within the area defined by the poem, his interpretation must be correct. However, another's interpretation, produced in the same way, could also hold true. The only difference between the two subjects, language and math, lies in the number of acceptable answers. Language has become logical! Next comes the apocalypse.
The gist of Perrine's method is this: explain the details without contradicting any explanation and don't assume any outside variables. Such a simple strategy provides for an easy understanding of poetry and I love Perrine for presenting it to me. Also, when I read Perrine's statement, "A poem - in fact, any pattern of words - defines an area of meaning, no more," I felt like I had an epiphany in studying poetry (Perrine 4). As long as multiple interpretations explain a poem's details without contradiction and reliance on outside assumptions, they can both be correct if the stay within the area of meaning defined by the poem. Therefore, language becomes like math. As in mathematics, a language student follows a logical process to form a poetic interpretation. Given that the student follows that process well and remains within the area defined by the poem, his interpretation must be correct. However, another's interpretation, produced in the same way, could also hold true. The only difference between the two subjects, language and math, lies in the number of acceptable answers. Language has become logical! Next comes the apocalypse.
Thursday, August 9, 2012
The Great Gatsby, Chapter 9, Pages 171 - 180
The Great Gatsby by F. Scott Fitzgerald
Throughout the novel, through Nick's thoughts, words, and actions, Fitzgerald delivered a plethora of clever maxims conveying his adroit observations of life's general truths. I shared one those aphorisms on relationships in a previous blog and even went so far as to discuss it with everyone I encountered the day I read it. Fitzgerald's final observation, however, I cannot accept. In closing his novel, he makes an overwhelmingly pessimistic, generalization about humanity that, if true, would equate to our lives being desolate, hopeless, meaningless existences because we are inevitably doomed to failure. Fitzgerald writes, "So we beat on, boats against the current, borne back ceaselessly into the past," emphasizing the human tendency to "stretch out our arms further" in pursuit of an ideal, a goal, or a dream until "one fine morning" we find ourselves defeated (Fitzgerald 180). This accepted truth of Fitzgerald's angers me to no end! How can one live genuinely believing that despite any efforts he makes, success will forever elude him? Such a depressive resignation to failure is not human; hope for the future fuels our ambitions and desire to live. Living with the mindset embodied by Fitzgerald's closing words could not be considered living at all. Therefore, I offer a counter maxim, opposing thinking to challenge Fitzgerald's words. The secret to achieving success, experiencing happiness, and attaining goals lies in choosing to do so. Fitzgerald believes that success can only be found in the realization of all goals and dreams, an impossible feat, so success becomes unachievable. However, in choosing to live commensurate with one's ambitions and engaging in acts that will push one toward a goal, whether achieved or not, one CAN find success and happiness. I may have failed to explain myself correctly, so I offer this article Schopenhauer's Big Mistake to support my thoughts. The gist of my rambling is this: the journey toward success is success in itself.
Throughout the novel, through Nick's thoughts, words, and actions, Fitzgerald delivered a plethora of clever maxims conveying his adroit observations of life's general truths. I shared one those aphorisms on relationships in a previous blog and even went so far as to discuss it with everyone I encountered the day I read it. Fitzgerald's final observation, however, I cannot accept. In closing his novel, he makes an overwhelmingly pessimistic, generalization about humanity that, if true, would equate to our lives being desolate, hopeless, meaningless existences because we are inevitably doomed to failure. Fitzgerald writes, "So we beat on, boats against the current, borne back ceaselessly into the past," emphasizing the human tendency to "stretch out our arms further" in pursuit of an ideal, a goal, or a dream until "one fine morning" we find ourselves defeated (Fitzgerald 180). This accepted truth of Fitzgerald's angers me to no end! How can one live genuinely believing that despite any efforts he makes, success will forever elude him? Such a depressive resignation to failure is not human; hope for the future fuels our ambitions and desire to live. Living with the mindset embodied by Fitzgerald's closing words could not be considered living at all. Therefore, I offer a counter maxim, opposing thinking to challenge Fitzgerald's words. The secret to achieving success, experiencing happiness, and attaining goals lies in choosing to do so. Fitzgerald believes that success can only be found in the realization of all goals and dreams, an impossible feat, so success becomes unachievable. However, in choosing to live commensurate with one's ambitions and engaging in acts that will push one toward a goal, whether achieved or not, one CAN find success and happiness. I may have failed to explain myself correctly, so I offer this article Schopenhauer's Big Mistake to support my thoughts. The gist of my rambling is this: the journey toward success is success in itself.
The Great Gatsby, Chapter 9, Pages 163 - 170
The Great Gatsby by F. Scott Fitzgerald
In light of Gatsby's death and funeral preparations, a major shift in perspective occurs in the most prominent dynamic, round character, Nick Carraway. Earlier in the novel, Nick voiced his disapproval of Gatsby, disapproval that I did not share, because of his criminal activity or lack of compassion for Myrtle Wilson. Maybe Nick's distaste stemmed from some other source; I cannot really say because I did not understand it in the first place. However, upon realizing, when most people refuse to attend Gatsby's funeral, that he could be the only person offering Gatsby genuine affection, Nick "began to have a feeling of defiance, of scornful solidarity between Gatsby and me against them all" (Fitzgerald 165). Nick's indignation at the people surrounding Gatsby is completely justified. Gatsby offered all of them parties, entertainment, hospitality, altruistic care, sympathy, and compassion, but when it comes time to pay their respects to the great man, every single one of his guests chose to let him die alone. Not even Daisy could attend the funeral! The only man Nick successfully convinced of attending the funeral was a Mr. Henry C. Gatz, Gatsby's father. This develeopment allowed me to clear up confusion with an earlier section of Gatsby. James Gatz, the young reporter mentioned earlier in the book, was Jay Gatsby before he became the man he grew up to be. Gatsby's having a father, a father that displays great sorrow at seeing his perished son nonetheless, means that he does in fact have caring family members alive and well. Why did Gatsby lie about his family being dead and why have they been so out of touch? Just as Gatsby does not deserve to be abandoned in death, his family does not deserve to be abandoned in life.
In light of Gatsby's death and funeral preparations, a major shift in perspective occurs in the most prominent dynamic, round character, Nick Carraway. Earlier in the novel, Nick voiced his disapproval of Gatsby, disapproval that I did not share, because of his criminal activity or lack of compassion for Myrtle Wilson. Maybe Nick's distaste stemmed from some other source; I cannot really say because I did not understand it in the first place. However, upon realizing, when most people refuse to attend Gatsby's funeral, that he could be the only person offering Gatsby genuine affection, Nick "began to have a feeling of defiance, of scornful solidarity between Gatsby and me against them all" (Fitzgerald 165). Nick's indignation at the people surrounding Gatsby is completely justified. Gatsby offered all of them parties, entertainment, hospitality, altruistic care, sympathy, and compassion, but when it comes time to pay their respects to the great man, every single one of his guests chose to let him die alone. Not even Daisy could attend the funeral! The only man Nick successfully convinced of attending the funeral was a Mr. Henry C. Gatz, Gatsby's father. This develeopment allowed me to clear up confusion with an earlier section of Gatsby. James Gatz, the young reporter mentioned earlier in the book, was Jay Gatsby before he became the man he grew up to be. Gatsby's having a father, a father that displays great sorrow at seeing his perished son nonetheless, means that he does in fact have caring family members alive and well. Why did Gatsby lie about his family being dead and why have they been so out of touch? Just as Gatsby does not deserve to be abandoned in death, his family does not deserve to be abandoned in life.
 |
| Nick made a profound change in the way he viewed Gatsby. |
Wednesday, August 8, 2012
The Great Gatsby, Chapter 8, Pages 156 - 162
The Great Gatsby by F. Scott Fitzgerald
(MAJOR SPOILER)
My predictions have been vindicated; The Great Gatsby will end almost as as disappointingly as The House of Mirth did. Grieving over his wife's death, George Wilson set out to locate and kill the owner of a murderous yellow automobile. I understand George's motive of revenge, but I refuse to accept the state of mind Gatsby died in. Unsuspecting of his imminent demise, Gatsby relaxed in his pool and "shivered as he found what a grotesque thing a rose is" (Fitzgerald 161). Without Daisy's love, Gatsby has become utterly morose, crestfallen, and depressed to say the least. He died in sadness. I suppose Fitzgerald may have let the novel play out this way to show that, for Gatsby, a life without Daisy would be worse than death, but I maintain that he could have at least set Gatsby in an apathetic mood before ending his life. Furthermore, Wilson's blind killing of a man he never knew, a man he only suspected of killing his wife, infuriated me to no end, especially because he committed a coward's suicide afterward. Great work, George. The fiend that stole Myrtle lives happily with a wife of his own now, while a great, innocent man lies dead in his pool. The only redemption I could find in the ending of The Great Gatsby relies on Lily finding happiness with a changed Tom Buchanan and Nick marrying Jordan. Perhaps Nick could even have a child, juxtaposing new life with Gatsby's death? Give me something, Fitzgerald!
(MAJOR SPOILER)
My predictions have been vindicated; The Great Gatsby will end almost as as disappointingly as The House of Mirth did. Grieving over his wife's death, George Wilson set out to locate and kill the owner of a murderous yellow automobile. I understand George's motive of revenge, but I refuse to accept the state of mind Gatsby died in. Unsuspecting of his imminent demise, Gatsby relaxed in his pool and "shivered as he found what a grotesque thing a rose is" (Fitzgerald 161). Without Daisy's love, Gatsby has become utterly morose, crestfallen, and depressed to say the least. He died in sadness. I suppose Fitzgerald may have let the novel play out this way to show that, for Gatsby, a life without Daisy would be worse than death, but I maintain that he could have at least set Gatsby in an apathetic mood before ending his life. Furthermore, Wilson's blind killing of a man he never knew, a man he only suspected of killing his wife, infuriated me to no end, especially because he committed a coward's suicide afterward. Great work, George. The fiend that stole Myrtle lives happily with a wife of his own now, while a great, innocent man lies dead in his pool. The only redemption I could find in the ending of The Great Gatsby relies on Lily finding happiness with a changed Tom Buchanan and Nick marrying Jordan. Perhaps Nick could even have a child, juxtaposing new life with Gatsby's death? Give me something, Fitzgerald!
The Great Gatsby, Chapter 8, Pages 147 - 155
The Great Gatsby by F. Scott Fitzgerald
With chapter eight, Fitzgerald delves deep into the heart of an emotional, reminiscent, and despondent Gatsby. Nick recalls Gatsby's narration of how he first met Daisy and why he fell in love with her. I found Gatsby's reasoning for attraction to Daisy paralleling my own thinking in pursuing women. Gatsby loved Daisy because she possessed a uniqueness about her that made her exciting, interesting, and enjoyable to associate with. For Gatsby, "she was the first 'nice' girl he had ever known" (Fitzgerald 148). When Fitzgerald writes about Daisy's nicety, I believe he refers to her kindness, warm disposition, caring nature, and good-hearted personality. To find a woman with these characteristics AND that can carry on tantalizing conversations, which Daisy did with Gatsby, was not only considered rare in Gatsby's time, but today as well. Recognizing these qualities in Daisy and seeing their value, Gatsby earned my admiration and respect, but then secured it when he recounted to Nick my favorite scene in the novel. He described the scene as a cold, fall day during which "he sat with Daisy in his arms for a long, silent time" and, in that silence, felt more love and "communicated more profoundly" with Daisy than he had ever before (Fitzgerald 150). I want that. I have always wanted that and I understand the unique feeling of happiness that Gatsby drew from that experience. Nothing quite matches the warm, calming sensation of holding someone closely in a comfortable silence. Nick may have disapproved of Gatsby at times, but I applaud him. Win Daisy back, Jay.
With chapter eight, Fitzgerald delves deep into the heart of an emotional, reminiscent, and despondent Gatsby. Nick recalls Gatsby's narration of how he first met Daisy and why he fell in love with her. I found Gatsby's reasoning for attraction to Daisy paralleling my own thinking in pursuing women. Gatsby loved Daisy because she possessed a uniqueness about her that made her exciting, interesting, and enjoyable to associate with. For Gatsby, "she was the first 'nice' girl he had ever known" (Fitzgerald 148). When Fitzgerald writes about Daisy's nicety, I believe he refers to her kindness, warm disposition, caring nature, and good-hearted personality. To find a woman with these characteristics AND that can carry on tantalizing conversations, which Daisy did with Gatsby, was not only considered rare in Gatsby's time, but today as well. Recognizing these qualities in Daisy and seeing their value, Gatsby earned my admiration and respect, but then secured it when he recounted to Nick my favorite scene in the novel. He described the scene as a cold, fall day during which "he sat with Daisy in his arms for a long, silent time" and, in that silence, felt more love and "communicated more profoundly" with Daisy than he had ever before (Fitzgerald 150). I want that. I have always wanted that and I understand the unique feeling of happiness that Gatsby drew from that experience. Nothing quite matches the warm, calming sensation of holding someone closely in a comfortable silence. Nick may have disapproved of Gatsby at times, but I applaud him. Win Daisy back, Jay.
The Great Gatsby, Chapter 7, Pages 125 - 145
The Great Gatsby by F. Scott Fitzgerald
Unfortunately, The Great Gatsby will not have a happy, feel-good ending due in large part to Fitzgerald's BOMBARDMENT of negative plot twists! Daisy's love confuses her, Tom reveals Gatsby's criminal background, and Daisy becomes an accidental murderer, at Myrtle Wilson's expense no less?!?! Why must these novels end in chaos?!?! I will never know, but I digress. I would like to focus solely on Myrtle Wilson's death. Fitzgerald REALLY put some effort into making this twist interesting. First, Tom's stop at the Wilson gas station earlier in the chapter familiarized George Wilson with Jay Gatsby's yellow car, the car that would eventually obliterate his wife. Therefore, when George heard a description of the automobile liable for his wife's death, he immediately assumed Tom had committed the murder. Further, Fitzgerald positions Myrtle's death chronologically in the novel right after Tom's fallout with Daisy to not only juxtapose the two monumental losses Tom has incurred, but also to add emphasis to the dramatic irony of Tom's statement when he exclaims, upon approaching the death scene, "'Wreck! That's good. Wilson'll have a little business at last'" (Fitzgerald 137). Tom has no clue that he has just lost his mistress in addition to his relationship with Daisy. As if all of those details weren't enough to make Myrtle's passing significant, Fitzgerald chose to do us one better. Daisy, driving Gatsby's yellow car, disposes of her husband's mistress, accidentally of course. With so many twists, I am absolutely certain that chapter seven marks the climax, as well as a huge monkey wrench, in The Great Gatsby. Bring on the resolution, Fitzgerald. I can't wait to see what could possibly be in store next.
Unfortunately, The Great Gatsby will not have a happy, feel-good ending due in large part to Fitzgerald's BOMBARDMENT of negative plot twists! Daisy's love confuses her, Tom reveals Gatsby's criminal background, and Daisy becomes an accidental murderer, at Myrtle Wilson's expense no less?!?! Why must these novels end in chaos?!?! I will never know, but I digress. I would like to focus solely on Myrtle Wilson's death. Fitzgerald REALLY put some effort into making this twist interesting. First, Tom's stop at the Wilson gas station earlier in the chapter familiarized George Wilson with Jay Gatsby's yellow car, the car that would eventually obliterate his wife. Therefore, when George heard a description of the automobile liable for his wife's death, he immediately assumed Tom had committed the murder. Further, Fitzgerald positions Myrtle's death chronologically in the novel right after Tom's fallout with Daisy to not only juxtapose the two monumental losses Tom has incurred, but also to add emphasis to the dramatic irony of Tom's statement when he exclaims, upon approaching the death scene, "'Wreck! That's good. Wilson'll have a little business at last'" (Fitzgerald 137). Tom has no clue that he has just lost his mistress in addition to his relationship with Daisy. As if all of those details weren't enough to make Myrtle's passing significant, Fitzgerald chose to do us one better. Daisy, driving Gatsby's yellow car, disposes of her husband's mistress, accidentally of course. With so many twists, I am absolutely certain that chapter seven marks the climax, as well as a huge monkey wrench, in The Great Gatsby. Bring on the resolution, Fitzgerald. I can't wait to see what could possibly be in store next.
 |
| Rest in pieces Myrtle Wilson. :'( |
Tuesday, August 7, 2012
The Great Gatsby, Chapter 7, Pages 113 - 125
The Great Gatsby by F. Scott Fitzgerald
Fitzgerald sets chapter seven on a hot summer day, and, boy, does it get heated! Just about every extremity of feeling could be found in this section: anger, passion, sorrow, jealousy, and any other dramatic emotion thinkable. My favorite scene contributing to this rising action in Fitzgerald's plot involves Daisy, Gatsby, Jordan, and Nick lounging in a parlor at Daisy's house. After Daisy commands her husband Tom to make some drinks for her guests, "she got up and went over to Gatsby and pulled his face down, kissing him on the mouth" (Fitzgerald 116). Immediately, I thought of this clip from Will Ferrel's Anchorman.
Fitzgerald sets chapter seven on a hot summer day, and, boy, does it get heated! Just about every extremity of feeling could be found in this section: anger, passion, sorrow, jealousy, and any other dramatic emotion thinkable. My favorite scene contributing to this rising action in Fitzgerald's plot involves Daisy, Gatsby, Jordan, and Nick lounging in a parlor at Daisy's house. After Daisy commands her husband Tom to make some drinks for her guests, "she got up and went over to Gatsby and pulled his face down, kissing him on the mouth" (Fitzgerald 116). Immediately, I thought of this clip from Will Ferrel's Anchorman.
With that act of passion, Daisy not only threw ALL contemporary social convention out the window, but she proved to Gatsby that she does not care about Tom, fear Tom, or, most importantly, love him at all. Eventually Tom realizes the affair between Daisy and Gatsby and struggles to conceal incredible anger and jealousy. However, Fitzgerald juxtaposes a seemingly victimized Tom with an equally betrayed George Wilson to ensure that his reader maintains a negative perspective on Tom. George, who's recent learning of his wife's infidelity "had made him physically sick", loves his wife very much and thus suffers so strongly from her betrayal (Fitzgerald 124). In contrast, Tom reacts with the petty emotions of envy and hatred instead of heartbreak and sorrow. Accordingly, Tom's love for Daisy lacks the genuine purity that Mr. Wilson's love for Myrtle possesses. Furthermore, when Tom stopped by Wilson's shop with Nick and Jordan to get gas, Myrtle mistook Jordan for Tom's wife! With Daisy's utter devotion to Gatsby, Tom's escalating fury, and Myrtle's jealousy, the first half of chapter seven marks a turning point in The Great Gatsby. Hopefully the action doesn't fall as quickly as it has risen, because I'm definitely enjoying the easy-to-follow style and romantic intrigue that Fitzgerald incorporates so well into Gatsby.
The Great Gatsby, Chapter 6, Pages 97 - 111
The Great Gatsby by F. Scott Fitzgerald
The first half of chapter six confused me. Fitzgerald spent several pages introducing and developing reporter James Gatz, but then moved abruptly to discussin Gatsby's time with Dan Cody in his younger years. Gatz must play a prominent role later in the novel; otherwise, Fitzgerald wasted a lot of time creating and penning a meaningless character. Moving past my confusion with Gatz, I found Gatsby's story aboard the Tuolomee to be a clever characterization tool. Fitzgerald employs Dan Cody captaining the Tuolomee to depict Gatsby as a sober guardian and friend to Cody. As the novel progresses, Fitzgerald constantly adds to Gatsby's image as a virtuous, caring, lovestruck jack of all trades. Furthermore, I found Fitzgerald's transition out of the Tuolomee anecdote quite clever as well. He implied that a certain Ella Kaye may have been responsible for the death of Dan Cody when he wrote, "Ella Kaye came on board one night in Boston and a week later Dan Cody inhospitably died" (Fitzgerald 100). This implication did not strike me as ingenious, but rather Ella's name. In fabricating her name, Fitzgerald utilized pig latin and then distorted it subtly to mask his device. Perhaps I'm wrong, but Ella Kaye seems to bear close resemblance to Iller Kaye, which in pig latin means killer. Coincidence or not, I enjoyed Fitzgerald's wit in making a flat, static character a little more interesting.
The first half of chapter six confused me. Fitzgerald spent several pages introducing and developing reporter James Gatz, but then moved abruptly to discussin Gatsby's time with Dan Cody in his younger years. Gatz must play a prominent role later in the novel; otherwise, Fitzgerald wasted a lot of time creating and penning a meaningless character. Moving past my confusion with Gatz, I found Gatsby's story aboard the Tuolomee to be a clever characterization tool. Fitzgerald employs Dan Cody captaining the Tuolomee to depict Gatsby as a sober guardian and friend to Cody. As the novel progresses, Fitzgerald constantly adds to Gatsby's image as a virtuous, caring, lovestruck jack of all trades. Furthermore, I found Fitzgerald's transition out of the Tuolomee anecdote quite clever as well. He implied that a certain Ella Kaye may have been responsible for the death of Dan Cody when he wrote, "Ella Kaye came on board one night in Boston and a week later Dan Cody inhospitably died" (Fitzgerald 100). This implication did not strike me as ingenious, but rather Ella's name. In fabricating her name, Fitzgerald utilized pig latin and then distorted it subtly to mask his device. Perhaps I'm wrong, but Ella Kaye seems to bear close resemblance to Iller Kaye, which in pig latin means killer. Coincidence or not, I enjoyed Fitzgerald's wit in making a flat, static character a little more interesting.
Saturday, August 4, 2012
The Great Gatsby, Chapter 5, Pages 81 - 96
The Great Gatsby by F. Scott Fitzgerald
Chapter five brought some comic relief to the love fest that Gatsby has been so far. First, Gatsby's initial interactions with Daisy at Nick's were absolutely text book moves for middle school relationships. Put on a tough guy facade, act like she's uninteresting, throw up an apathetic posture, and the girl will love it! Wrong. Luckily, Gatsby realized the boyish nature of his behavior toward Daisy and decided to exchange immaturity for a candid expression of emotion. In response to Gatsby's catharsis, Daisy shed a multitude of joyous tears, conveying to Gatsby that she feels just as strongly toward him as he does toward her. Afterwards, Gatsby " . . .literally glowed; without a word or a gesture of exultation a new well-being radiated from him . . . " (Fitzgerald 89). Fortune favors the bold, Jay! What Gatsby did next can only be described as hysterical. He took Daisy and Nick on a comprehensive tour of his home which became quickly reminiscent of an episode of MTV's Cribs. Gatsby showed off his lavish gardens, clothing, and bedroom (a necessity in the popular TV series). Furthermore, Mr. Klipspringer just so happened to be wandering around Gatsby's estate during the tour just as most Cribs stars have an entourage enjoying their homes while a tour is conducted. Maybe I just have a strangely distorted perspective of this chapter, but I found it quite hilarious.
Chapter five brought some comic relief to the love fest that Gatsby has been so far. First, Gatsby's initial interactions with Daisy at Nick's were absolutely text book moves for middle school relationships. Put on a tough guy facade, act like she's uninteresting, throw up an apathetic posture, and the girl will love it! Wrong. Luckily, Gatsby realized the boyish nature of his behavior toward Daisy and decided to exchange immaturity for a candid expression of emotion. In response to Gatsby's catharsis, Daisy shed a multitude of joyous tears, conveying to Gatsby that she feels just as strongly toward him as he does toward her. Afterwards, Gatsby " . . .literally glowed; without a word or a gesture of exultation a new well-being radiated from him . . . " (Fitzgerald 89). Fortune favors the bold, Jay! What Gatsby did next can only be described as hysterical. He took Daisy and Nick on a comprehensive tour of his home which became quickly reminiscent of an episode of MTV's Cribs. Gatsby showed off his lavish gardens, clothing, and bedroom (a necessity in the popular TV series). Furthermore, Mr. Klipspringer just so happened to be wandering around Gatsby's estate during the tour just as most Cribs stars have an entourage enjoying their homes while a tour is conducted. Maybe I just have a strangely distorted perspective of this chapter, but I found it quite hilarious.
Friday, August 3, 2012
The Great Gatsby, Chapter 4, Pages 70 - 80
The Great Gatsby by F. Scott Fitzgerald
Jay Gatsby, the resolutely loyal hopeless romantic , desires for nothing more than a glimpse at his true love, Daisy Fay! Gatsby's GARGANTUAN request of Nick was merely for Mr. Carraway to facilitate a nostalgic reunion between the two former paramours. Jordan Baker conveys the favor to Nick when she says, "He [Gatsby] wants to know . . . if you'll invite Daisy to your house some afternoon and then let him come over" (Fitzgerald 78). Fitzgerald utilizes Baker through an anecdotal flashback to reveal the innermost emotions that fuel Gatsby's request. I expect more flashbacks and exposition from Fitzgerald as, by introducing the novel in light of a retrospective Nick Carraway, he leaves The Great Gatsby inclined to the implementation of such literary devices. Regardless, Jordan's reflections paint Gatsby as an incredibly caring, lovestruck young man that was torn from both his family and true love by tragedy and a cruel war. She also reveals that, after receiving a letter on her wedding day, presumably from Gatsby, Daisy broke down into tears and refused to go on with the wedding until the next day. Obviously, Daisy loves Gatsby as well. The major external conflict, of course, lies in Daisy's being wed to Tom Buchanan which makes any relationship between Gatsby and Daisy scandalous, immoral, and against both Daisy's and Gatsby's values. All the while, and quite sickeningly I might add, Tom mocks his wife's purity of heart and good-willed nature by philandering with Myrtle Wilson. Tom's abhorrent behavior identifies him as the likely antagonist in the novel which Nick will inevitably have to square off with. However, drawing inspiration from Jordan and a humbled Gatsby, Nick will be more than willing to face Tom.
Jay Gatsby, the resolutely loyal hopeless romantic , desires for nothing more than a glimpse at his true love, Daisy Fay! Gatsby's GARGANTUAN request of Nick was merely for Mr. Carraway to facilitate a nostalgic reunion between the two former paramours. Jordan Baker conveys the favor to Nick when she says, "He [Gatsby] wants to know . . . if you'll invite Daisy to your house some afternoon and then let him come over" (Fitzgerald 78). Fitzgerald utilizes Baker through an anecdotal flashback to reveal the innermost emotions that fuel Gatsby's request. I expect more flashbacks and exposition from Fitzgerald as, by introducing the novel in light of a retrospective Nick Carraway, he leaves The Great Gatsby inclined to the implementation of such literary devices. Regardless, Jordan's reflections paint Gatsby as an incredibly caring, lovestruck young man that was torn from both his family and true love by tragedy and a cruel war. She also reveals that, after receiving a letter on her wedding day, presumably from Gatsby, Daisy broke down into tears and refused to go on with the wedding until the next day. Obviously, Daisy loves Gatsby as well. The major external conflict, of course, lies in Daisy's being wed to Tom Buchanan which makes any relationship between Gatsby and Daisy scandalous, immoral, and against both Daisy's and Gatsby's values. All the while, and quite sickeningly I might add, Tom mocks his wife's purity of heart and good-willed nature by philandering with Myrtle Wilson. Tom's abhorrent behavior identifies him as the likely antagonist in the novel which Nick will inevitably have to square off with. However, drawing inspiration from Jordan and a humbled Gatsby, Nick will be more than willing to face Tom.
 |
| This image, while taken after the incorrect World War, embodies the affection between Jay Gatsby, the soldier, and Daisy Fay, the girl back home. |
Thursday, August 2, 2012
The Great Gatsby, Chapter 4, Pages 61 - 69
The Great Gatsby by F. Scott Fitzgerald
The beginning of chapter four provided much needed exposition on Gatsby's background and why he lives the way he does. First, Gatsby corroborates a couple of the rumors surrounding him by sharing stories and memorabilia with Nick concerning his Oxford days and involvement in the war. Secondly, Gatsby revealed to Nick that he has been plagued by a "sad thing that happened to me" in the past which resulted in the deaths of his family members but also in his inheriting a large fortune (Fitzgerald 67). Gatsby took advantage of the wealth initially to travel the world, living lavishly as he went in an attempt to drown out any sorrow that the sad thing brought about. However, Gatsby still was not content with his life and instead decided to spend his money on others. After recounting his abridged life story, Gatsby tells Nick that, at lunch, "I'm going to make a big request of you to-day," and that he'll learn just exactly what constituted the sad thing. All of this exposition, description of Gatsby's life, and requesting of Mr. Carraway comprises both rising action and a major turning point in the plot of The Great Gatsby. The main conflict, external or internal, will likely revolve around Gatsby's request of Nick and include a character recently introduced by Gatsby, Mr. Wolfsheim. As Rosedale, somewhat of a stock character in The House of Mirth, portrayed a stereotypically affluent Jewish businessman, so does Mr. Wolfsheim in The Great Gatsby. What business venture has Gatsby planned for Wolfsheim and Carraway?
The beginning of chapter four provided much needed exposition on Gatsby's background and why he lives the way he does. First, Gatsby corroborates a couple of the rumors surrounding him by sharing stories and memorabilia with Nick concerning his Oxford days and involvement in the war. Secondly, Gatsby revealed to Nick that he has been plagued by a "sad thing that happened to me" in the past which resulted in the deaths of his family members but also in his inheriting a large fortune (Fitzgerald 67). Gatsby took advantage of the wealth initially to travel the world, living lavishly as he went in an attempt to drown out any sorrow that the sad thing brought about. However, Gatsby still was not content with his life and instead decided to spend his money on others. After recounting his abridged life story, Gatsby tells Nick that, at lunch, "I'm going to make a big request of you to-day," and that he'll learn just exactly what constituted the sad thing. All of this exposition, description of Gatsby's life, and requesting of Mr. Carraway comprises both rising action and a major turning point in the plot of The Great Gatsby. The main conflict, external or internal, will likely revolve around Gatsby's request of Nick and include a character recently introduced by Gatsby, Mr. Wolfsheim. As Rosedale, somewhat of a stock character in The House of Mirth, portrayed a stereotypically affluent Jewish businessman, so does Mr. Wolfsheim in The Great Gatsby. What business venture has Gatsby planned for Wolfsheim and Carraway?
Wednesday, August 1, 2012
The Great Gatsby, Chapter 3, Pages 50 - 59
The Great Gatsby by F. Scott Fitzgerald
Before Gatsby's party ends, he calls Jordan Baker for a private conversation and apparently informs her on something incredible as she shows an overflow of excitement toward Nick once the conversation ceases. Fitzgerald closes the party with a slew of drunken blunders from Gatsby's guests which leaves his audience in the dark as to what Gatsby's exciting news could have been. Certainly, it will be very important later in the novel. The focal point, rather, of the second half of chapter three is Nick Carraway's desire for companionship and the consequent development of a romance between Jordan Baker and Nick. After his anecdote on Gatsby's extravaganza, Nick laments, "At the enchanted metropolitan twilight I felt a haunting loneliness sometimes . . ." implying that he yearns to have someone by his side (Fitzgerald 56). Jordan Baker seems the most prominent contender. Curiously, however, Fitzgerald, through Nick, reveals to his audience that Jordan is "incurably dishonest", the complete opposite of a relentlessly honest Nick (Fitzgerald 58). Thus, not only does Jordan become Nick's latest love interest, but his perfect foil character as well. As such, Jordan's character flaw marred my perception of her relationship with Nick. At first, I was excited for the possibility of love between the two. Now, such a relationship appears as if it might cause Nick more detriment than anything else, especially because he would be breaking a current long-distance relationship to pursue Jordan. Keep a close eye on Miss Baker, old sport, and be careful.
Before Gatsby's party ends, he calls Jordan Baker for a private conversation and apparently informs her on something incredible as she shows an overflow of excitement toward Nick once the conversation ceases. Fitzgerald closes the party with a slew of drunken blunders from Gatsby's guests which leaves his audience in the dark as to what Gatsby's exciting news could have been. Certainly, it will be very important later in the novel. The focal point, rather, of the second half of chapter three is Nick Carraway's desire for companionship and the consequent development of a romance between Jordan Baker and Nick. After his anecdote on Gatsby's extravaganza, Nick laments, "At the enchanted metropolitan twilight I felt a haunting loneliness sometimes . . ." implying that he yearns to have someone by his side (Fitzgerald 56). Jordan Baker seems the most prominent contender. Curiously, however, Fitzgerald, through Nick, reveals to his audience that Jordan is "incurably dishonest", the complete opposite of a relentlessly honest Nick (Fitzgerald 58). Thus, not only does Jordan become Nick's latest love interest, but his perfect foil character as well. As such, Jordan's character flaw marred my perception of her relationship with Nick. At first, I was excited for the possibility of love between the two. Now, such a relationship appears as if it might cause Nick more detriment than anything else, especially because he would be breaking a current long-distance relationship to pursue Jordan. Keep a close eye on Miss Baker, old sport, and be careful.
The Great Gatsby, Chapter 3, Pages 39 - 49
The Great Gatsby by F. Scott Fitzgerald
The first nine or ten pages of chapter three detail an extravagant party that Mr. Gatsby is throwing and Nick attending. Everything one could desire can be found at Gatsby's event: dinners, dancing, music, spirits, laughter, opportunity, libraries, and romantic mystery stemming from Gatsby himself. For all intents and purposes, Gatsby, by throwing such an amazing party and catering to each of his guest's needs, proves himself the ultimate host. Therefore, Gatsby's first words to Nick after revealing his true identity, "I thought you knew, old sport. I'm afraid I'm not a very good host," can be taken many ways: as jest, sarcasm, or genuine disappointment (Fitzgerald 48). Regardless, this sentence reveals a lot about the thus far distant Gatsby. First, he addresses Nick colloquially as "old sport", suggesting a warmness uncharacteristic of most well-to-do men (Fitzgerald 47). This catches Nick off-guard, leaving him contemplative as Gatsby flashes an inspiring smile his way. Nick realizes that this man will be much different than the high-society folks he is familiar with. Further, Gatsby undermines his obvious superiority in hosting by openly decrying his abilities. While he could possibly have been sarcastic, Gatsby's warmness toward Nick suggest that his remarks were sincere, expressing a unique humble nature about him. Finally, Gatsby's introduction, backdropped by the extravagant party, worldly library, diverse party guests, and many other signs of affluence, depicts him as The Most Interesting Man in the World. If any modern-day character could be drawn parallel to Gatsby, it would be this comical commercial star.
The first nine or ten pages of chapter three detail an extravagant party that Mr. Gatsby is throwing and Nick attending. Everything one could desire can be found at Gatsby's event: dinners, dancing, music, spirits, laughter, opportunity, libraries, and romantic mystery stemming from Gatsby himself. For all intents and purposes, Gatsby, by throwing such an amazing party and catering to each of his guest's needs, proves himself the ultimate host. Therefore, Gatsby's first words to Nick after revealing his true identity, "I thought you knew, old sport. I'm afraid I'm not a very good host," can be taken many ways: as jest, sarcasm, or genuine disappointment (Fitzgerald 48). Regardless, this sentence reveals a lot about the thus far distant Gatsby. First, he addresses Nick colloquially as "old sport", suggesting a warmness uncharacteristic of most well-to-do men (Fitzgerald 47). This catches Nick off-guard, leaving him contemplative as Gatsby flashes an inspiring smile his way. Nick realizes that this man will be much different than the high-society folks he is familiar with. Further, Gatsby undermines his obvious superiority in hosting by openly decrying his abilities. While he could possibly have been sarcastic, Gatsby's warmness toward Nick suggest that his remarks were sincere, expressing a unique humble nature about him. Finally, Gatsby's introduction, backdropped by the extravagant party, worldly library, diverse party guests, and many other signs of affluence, depicts him as The Most Interesting Man in the World. If any modern-day character could be drawn parallel to Gatsby, it would be this comical commercial star.
 |
| His mother has a tattoo that says "Son". |
Subscribe to:
Posts (Atom)