Unrealistic Standards

"Barbie Doll" by Marge Piercy

"Barbie Doll" calls to attention the astronomical expectations placed on young girls in contemporary society to be absolutely perfect physically and intellectually.  The first stanza describes a young girl observing the characteristics of a doll she has been given.  The doll wears "lipsticks the color of cherry candy" and keeps house with "miniature GE stoves and irons," (Piercy 835).  It most likely also appears physically perfect, as the last line of the first stanza contrasts with the doll by pointing out the girl's imperfections: a big nose and fat legs.  However, as the second stanza explains, the girl is absolutely wonderful; she is "healthy", "intelligent", "strong", and sexually driven.  Regardless, she cannot stop thinking that whenever anyone looked at her, they only "saw a fat nose on thick legs," (Piercy 835).  Despite all of her fantastic qualities, she cannot get over the insult about her physical drawbacks.  Accordingly, she believes she does not fit the mold of the ideal woman.  Thus, the girl struggles with relationships while people advise her to "play coy" or "come on hearty," (Piercy 836).  Eventually, the girl commits suicide, symbolized in the poem by the moment she "cut off her nose and her legs," (Piercy 836).  The appalling part of the poem occurs when, at the girl's funeral, all in attendance call her beautiful because of the undertaker's make-up she has on.  They cannot recognize how such superficial considerations led to her death.  Thus, the poem concludes bitingly that such a superficial, appearance-focused society gives "to every woman a happy ending" such as the fate this young girl suffered (Piercy 836).

Smooth Talking at its Finest

"To His Coy Mistress" by Andrew Marvell

In "To His Coy Mistress" the speaker addresses his sweetheart and attempts to talk her into making love with him.  He begins, in the first section, by explaining that he does not mind waiting, that her "coyness, lady, were no crime" if they had "but world enough, and time," (Marvell 803).  The speaker elaborates, describing how "an hundred years should go to praise thine eyes"  and "an age at least to every [other] part," (Marvell 803).  All of these statements he makes assuming that he and his lover have an infinite amount of time to love each other.  Moving forward, in the second section, the speaker reveals that this is certainly not so.  He speaks of "time's winged chariot hurrying near" while his lady's "quaint honor turn(s) to dust", referring to the fading of youthful beauty as time passes by (Marvell 804).  The speaker aims to make his love aware of the quick passage of time and how limited the time they have together is.  Making this point, the speaker moves toward his overall goal, sex, in the third section.  Incorporating simile, he urges that he and his mistress must "love like amorous birds of prey" before they lose "the youthful hue" they now possess (Marvell 804).  He argues that they should make love now before the passage of time steals the gift of youth away from them.  He reinforces his argument for passion now by saying, "though we cannot make our sun stand still . . . we will make him run," (Marvell 804).  In other words, the two cannot stop the passage of time, but they can acknowledge it and act accordingly, which, the speaker argues, involves making love now.  

We Women Have to Stick Together, Right?

"A Jury of Her Peers" by Susan Glaspell

Glaspell assails sexism with "A Jury of Her Peers", a story in which negative prejudices against women cause a group of men to overlook key evidence in a murder investigation.  The story centers around the actions of Mrs. Wright, a lonely housewife found rocking calmly in her chair while her husband lay dead on the floor above.  The local sheriff, his wife Mrs. Peters, a county attorney, and the Hales try to dig up information concerning Mr. Wright's untimely death by searching the scene of the crime.  The men, befitting their sexist attitudes, leave the women, Mrs. Hale and Mrs. Peters alone, thinking them too stupid to be of any help to the investigation.  Ironically, however, their perspective as fellow women and housekeepers allows them to slowly solve Mr. Wright's murder.  First, Mrs. Hale notices that Mrs. Wright left some task half finished around her house and wondered, "Why had that work been left half done?" (Glaspell).  The men saw this unfinished work and thought nothing of it, but Mrs. Hale knew it was a clue.  Eventually, after noticing an unruly stove and some imperfect stitching, Mrs. Hale decided to search Mrs. Wright's sewing kit.  Guided by her female instincts, Mrs. Hale found the critical piece of evidence needed to explain Mrs. Wright's motives: a precious canary, strangled in cold blood by Mr. Wright.  Ultimately, in a fit of irony, Mrs. Hale's womanhood allowed her to solve the case.  Realizing this, feeling a bond with Mrs. Wright as a fellow woman, and despising the sexism she had been subjected to, Mrs. Hale chose not to present her critical piece of evidence and allowed Mrs. Wright a chance at exoneration.  

The Three Worst Friends that Anyone Could Have

"Hunters in the Snow" by Tobias Wolff

Kenny, Frank, and Tub have no need for enemies; they have each other.  The three friends in "Hunters in the Snow" share an interesting dynamic to say the least, constantly stabbing at each others' weaknesses in the spirit of humor.  Kenny, characterized by his biting remarks and commanding attitude, stands as the arrogant, self-absorbed leader of the three while Frank, throwing in a snide remark every now and then, plays the role of hopeless follower.  Tub, in contrast, serves as the fool, enduring hurtful comments concerning his weight from Kenny and Frank for their amusement.  As the plot develops, events like Tub shooting Kenny help to characterize the men further and even add role reversals into their relationships.  After Kenny's accident, Tub assumes the leadership role Kenny held and Kenny becomes the last of the men's priorities as Tub had been.  Frank even shifts his allegiance between the two, saying to Tub about Kenny's accident, "I just want you to know it wasn't you fault. He was asking for it," (Wolff 196).  After this statement, in another interesting and characterizing plot twist, Tub and Frank open up to each other and bond over their iniquities.  Frank begins by explaining to Tub his love (actually perverse lust) for a fifteen-year-old girl that babysits his children.   Moved in a strange way, Tub confesses to Frank that he lives the life of a glutton and does not actually have gland problems.  Brought closer to each other by their sins, the two ignore Kenny, still bleeding out from Tub's bullet.  The story, seeming to do nothing more but describe the antics of three horrible human beings, left me curious as to its underlying message.              

A Great Villain Indeed

Othello by William Shakespeare

*SPOILER ALERT*

Thankfully, Othello ends with Iago leaving to endure a hefty amount of torture as consequence for his actions.  Before this just conclusion, however, Iago reinforces himself as a wicked, heartless scoundrel with several detestable acts.  First, and somewhat comically, Iago stabs Roderigo in the midst of his encounter with Cassio.  Conscious of the irony in Iago's actions, Roderigo comically responds, "Oh, damned Iago! Oh, inhuman dog!" (Shakespeare 1447).  Poor Roderigo never even had the chance to speak to Desdemona.  Regardless, Iago continues to display his wickedness in maiming Cassio where Roderigo failed and attempting to stab Emilia when she unravels his web of lies.  Furthermore, Iago's actions force the tragic deaths of Othello and Desdemona.  At the end of Act V, Iago finds himself responsible for three deaths, a broken marriage, and a shattered friendship.  All of these consequence of Iago's plotting would be evidence enough to label him villain, but what sets Iago apart from other antagonists is his response when confronted about his transgressions.  Instead of offering some form of final repentance, Iago states, "Demand me nothing.  What you know, you know. From this time forth I never will speak word," (Shakespeare 1459).  When given the chance, Iago offers no remorse, no regret for what he's done, but simply denies to explain his motives.  In the face of great evil, Iago shows indifference; as a result, he transcends wickedness. 

Loyalty and Honor

Othello by William Shakespeare

Act V brings with it a slew of interesting, plot-twisting character deaths, two of the most significant being the deaths of Desdemona and Othello.  Not only do both of these characters' demises come shockingly and thus add excitement to the play, but the manner in which they die highlights their most significant character traits.  In other words, both Desdemona and Othello die true to who they really are.  After being strangled by Othello, Desdemona holds on dearly to the last shreds of her life.  Emilia enters the scene and questions Desdemona, asking her frantically for the identity of her murderer.  Ever loyal to her husband, Desdemona recognizes the danger posed toward Othello if she were to incriminate him and replies, "Nobody, I myself.  Farewell.  Commend me to my kind lord.  Oh, farewell!" (Shakespeare 1453).  Even in death, a death brought on by Othello himself, Desdemona conveys her incredible loyalty toward her husband.   After fully realizing the error in his actions, Othello follows suit.  In an effort to redeem his former honor and atone for his sins, Othello, after a lengthy speech explaining his murderous behavior, commits suicide.  Thus, in his eyes, Othello redeems his honor and dies romantically with his true love, saying, "No way but this, killing myself, to die upon a kiss," (Shakespeare 1460).  As such, the lovers' deaths characterize them fully as Loyal Desdemona and Honorable Othello. 

Killing Her Softly With His Song

Othello by William Shakespeare

Until now, Iago, Othello, and Othello's rage have all foreshadowed a falling out between Othello and Desdemona.  Eventually, the two lovers will part ways and be lovers no more.  However, at the end of Act IV, Desdemona portends a much more tragic end for the couple: she foreshadows her own death.  Speaking with Emilia, Desdemona recalls her mother's maid Barbary and how "she was in love, and he she loved proved mad and did forsake her," (Shakespeare 1443).  Barbary felt so distraught at her lover's betrayal that she sang "a song of 'willow'", even to her death, which expressed her misfortune as a forlorn lover (Shakespeare 1443).  Having explained the significance of the song, Desdemona breaks out into its opening verses, distraught, as Barbary, over being forsaken by her lover.  Towards the end of the song, Desdemona sings, "Let nobody blame him, his scorn I approve . . . " implying that she will not seek to rectify Othello's opinion of her, but accept it as his own (Shakespeare 1443).  Desdemona becomes Barbary.  As such, Barbary's fate foreshadows what lay ahead for Desdemona.  At the close, Othello and Desdemona will not merely part ways, but rather part realms.  Desdemona shall die and enter the afterlife, singing the song of a forlorn lover, while Othello, ignorant of his misdeeds, shall remain in the earthly domain.