"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.
Sunday, October 21, 2012
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.
Subscribe to:
Posts (Atom)