Thursday, December 20, 2012

Stranger: #3


“The trigger gave; I felt the smooth underside of the butt; and there, in that noise, sharp and deafening at the same time, is where it all started. I shook off the sweat and sun. I knew that I had shattered the harmony of the day, the exceptional silence of a beach where I’d been happy. Then I fired four more times at the motionless body where the bullets lodged without leaving a trace. And it was like knocking four quick times on the door of unhappiness” (59).

            Now that we have background information on Mersault, this passage essentially makes more sense. It is clear that Mersault is a man of few words. He even tells the judge this after he is arrested. If Mersault does not know how to answer a question or does not know how to respond to someone, he simply does not say anything. Because of this, he comes off as cold and heartless. Mersault does not cry at his mother’s funeral, he does not show emotion when his girlfriend proposes marriage, and he does not show remorse when he kills a man. Mersault is a man of few emotions, and this is seen in the passage above. The fact that he pauses in between the first bullet and the next four puzzles the judge. Mersault is smart; therefore, he knew that the man was dead after the first shot, so what triggered him to shoot four more bullets? Was it his lack of emotions and remorse, or was it something else? Before the murder he says, “it occurred to me that all I had to do was turn around and that would be the end of it” (58) and after it he says “and it was like knocking four quick times on the door of unhappiness” (59). Clearly, Mersault knew that what he was doing was wrong and it would forever alter his life. There is something inside Mersault that makes him put up a wall of disinterest and detachment. It is almost as if he floats through life like a ghost because nothing significantly impacts him. He feels nothing; he just breathes.

Wednesday, December 19, 2012

Poetry Outline: Chapter 11

Thesis: Maya Angelou utilizes different rhyme schemes in Woman Work to express her frustration with the role of women in society.

            Maya Angelou takes on most of the responsibilities of doing work in her house. Throughout the first stanza, the first and second line rhyme, the third and fourth line rhyme, etc. The poem begins with “I’ve got the children to tend/ The clothes to mend” (1-2). This type of rhyme scheme lends itself to the flow of the poem. The last word of a line rhymes with the last word of the next line, connecting those two ideas. The continuous feel that the rhyming brings mirrors Angelou’s feelings that her responsibilities are never ending. There is a shift in tone at line 15 which is made evident by a shift in rhyme scheme. In the last four stanzas, the last word in the second line and the last word in the fourth line rhyme. The tone shifts from agonizing about her work load to Angelou pleading to nature to let her rest. Her earnest cry not only demonstrates her love and appreciation for nature’s beauty and influence, but it also demonstrates the impact of her workload on her body and mind: “Fall gently, snowflakes/ Cover me with white/ Cold icy kisses and/ Let me rest tonight” (23-26). Angelou finds relaxation and comfort from tiring and strenuous days within nature. In the first stanza, the rhyme scheme adds to the upset and tired Angelou who never stops working and caring for her family. The rhyme scheme of the second half of the poem seems to slow down the speed of the poem, as a testament to nature’s peacefulness.

Monday, December 17, 2012

Stranger: #1


            From the little information that is given so far in The Stranger, I would argue that, at the moment, Mersault is not abiding by the absurd philosophy. The absurd philosophy says that the efforts of humanity to find inherent meaning will ultimately fail and are absurd. Mersault is doing the complete opposite of this. He is not searching for meaning in his life. In fact, it is more as if he does not care at all. This is similar to Winston in the beginning of 1984. Neither Mersault nor Winston see the value in their own lives; therefore, they live a life that lacks emotion and personal connections. When Marie asks him if he loves her, he responds with, “I told her it didn’t mean anything but that I didn’t think so” (35). She later proposes to him and he replies, “I explained to her that it didn’t really matter and that if she wanted to, we could get married” (41). Marie proposes to him and Mersault brushes it off as if it were a usual comment. His distant and detached demeanor point to his lack of emotion and lack of curiosity for life. Raymond then talks to Mersault about the cop incident, which Mersault responds with, “I said I wasn’t expecting anything” (37) and “It didn’t matter to me” (37). Once again Mersault does not find an interest in any aspect of life. He does not wish to delve deeper into an issue or even skim the surface of emotion. Perhaps Mersault is depressed by his mother’s death and will later realize that death is inevitable. This recognition of fate could turn Mersault into an absurd hero because he would finally realize that there is no meaning to life; therefore, he can cheat the system that decides his fate.

Sunday, December 9, 2012

Poetry Outline: Chapter 10


Thesis: Through the nostalgic and longing tone of Dover Beach, Matthew Arnold conveys the speaker’s grief over the decline of religious faith in his country.

            The speaker in Dover Beach reflects on the religious faith in France during his time. The sea off the French coast represents the “Sea of Faith” (21). The speaker describes the sea off the French coast as “glimmering,” “vast,” and “tranquil ” (5). The sea is beautiful and sweet, until one pays more attention to the tide. The coming and going of the tide “bring[s]/ The eternal note of sadness in” (13-14). Although so beautiful and attractive, the sea transports the imminent decline of faith of the French people. The speaker reflects on the fact that there once was an abundance of faith in God, but that faith somehow has washed away, just as the tide rolls back into the sea. The speaker longs to see the faith renewed, as he now only hears the sea’s “melancholy, long, withdrawing roar” (25). The last stanza of the poem digs deep into the speaker’s longing with, “Ah, love, let us be true/ To one another! for the world, which seems/ To lie before us like a land of dreams” (29-31). The nostalgic tone of Dover Beach complies with the speaker’s yearning for restored faith that is met with his pessimistic and confused view of the future.

Tuesday, December 4, 2012

PODG: #7


Evil is a characteristic that someone must consciously and intentionally attempt to become. There is no such thing as being born evil or inheriting the trait. I fully believe that if desired, someone will deliberately sin to achieve their goal. A sin is an act of crime or wrongdoing of the moral compass. A sin to one individual may be a thousand times worse than to another individual. It all depends on one’s own morals and beliefs. Therefore, Dorian Gray commits sins that eventually turn him evil. Wilde addresses the topic of sins with a scientific definition: “There are moments, psychologists tell us, when the passion for sin, or for what the world calls sin, so dominates a nature, that every fibre of the body, as every cell of the brain, seems to be instinct with fearful impulses. Men and women at such moments lose the freedom of their will. They move to their terrible end as automatons move” (139). Dorian started his corrupt life style upon meeting Lord Henry. Lord Henry expressed to Dorian many philosophical meanings of life, which then intrigued Dorian to evaluate his own life more cautiously. If Dorian had only continued on living his life in a naïve and juvenile manner, the possibilities of life would not have caused him to sin. Dorian’s first sin was his treatment of Sibyl Vane, with his tragic downfall following this cruel display of emotion. Dorian then progressed to a life full of sin, culminating in the worst sin of all: murder. The murder of Basil Hallward was Dorian’s final sin to push him towards evil. There is no turning back now for Dorian; he will forever be characterized as evil, combining every sin he has ever committed.

Sunday, December 2, 2012

PODG: #6


            Oscar Wilde alters the path of his main character in these chapters. Throughout the novel Dorian is portrayed as a young, innocent, boy who, although he has recently become corrupt, is always seen as some hero. In these chapters Dorian can no longer play the naïve little boy he once was. He is a murderer and will do anything to avoid getting caught. However, Wilde does attempt to portray Dorian as sympathetic one last time: “Suddenly he remarked that every face that he drew seemed to have fantastic likeness to Basil Hallward” (Wilde 119). Guilt creeps into Dorian just as it did after hearing of Sibyl Vane’s death. These feelings of accountability force the reader to sympathize for Dorian, as one has from the beginning of the book, until one realizes that Dorian is a murderer. His guilty conscience is also evident as he waits for Alan Campbell: “The suspense became unbearable. Time seemed to him to be crawling with feet of lead” (Wilde 122). This scene alters the tone for the rest of the novel, from a lighthearted, youthful story to a dark, ominous disintegration of innocence.

Thursday, November 29, 2012

Poetry Outline: Chapter 9


The Lamb and The Tiger by William Blake

Thesis:
William Blake draws a distinction between the two animals in his poems The Lamb and The Tiger, questioning the possibility of a mutual creator.

I. Symbolism
            A. The Lamb: “Softest clothing wooly bright;/ Gave thee such tender voice,/ Making all the vales rejoice!” (Blake 6-8).
            B. The Tiger: “Tiger! Tiger! burning bright/ In the forests of the night,/ What immortal hand or eye/ Could frame they fearful symmetry?” (Blake 1-4).
            Lambs are sweet and innocent animals. They are used in this poem to represent all of the pleasant creatures on this earth. Their wool is soft and fluffy and their voices are tender and welcoming. On the other hand, tigers are ferocious and determined. They are used in this poem to represent all of the fierce and vicious creatures on this earth. Lambs historically have a positive connotation, while tigers most often appear with a negative connotation. Throughout both of the poems the speaker questions, “Who made thee?” How could it be that the same individual created such opposing creatures?

II. Repetition
            A. The Lamb: “Little Lamb, who made thee?/ Dost thou know who made thee?” (Blake 1-2 and 9-10).
            B. The Tiger: “Tiger! Tiger! burning bright/ In the forests of the night,/ What immortal hand or eye/ Could frame they fearful symmetry?” (Blake 1-4 and 21-24).
            Rhetorical questions are repeated throughout both poems, with the main question asking who the creators of these animals are and if in fact they are the same individual. Although the speaker directly addresses each animal in the poems, the repetition of rhetorical questions demonstrates the speaker’s deeper desire. Is the speaker really asking God these questions? The speaker cannot grasp the fact that there are many different types of creatures on this earth, some good and some bad, and that the same creator who produces such lovable, caring creatures, is also capable of producing violent and intense creatures.

III. Imagery
           A. The Lamb: “He is meek and he is mild,/ He became a little child” (Blake 15-16).
           B. The Tiger: “What the anvil? what dread grasp/ Dare its deeply terrors clasp?” (Blake 15-16).
           The imagery in the two poems contrasts greatly. However, this is expected because the two animals contrast so greatly. In The Lamb, God is described as meek and mild. Because he calls himself a Lamb, this descriptions fits. In The Tiger, God’s description is surrounded with more violent words like “anvil,” “dread,” and “terrors.” Although each description of God matches its animal, such differing perspectives of the same individual can pose the question, “Did he who made the Lamb make [the Tiger]?” (Blake 20). The contrast in imagery and description of God further attests to the speaker’s inquiry on whether the same individual created such opposing creatures.



Tuesday, November 27, 2012

PODG: #5


“Something has changed you completely. You look exactly the same wonderful boy who, day after day, used to come down to my studio to sit for his picture. But you were simple, natural, and affectionate then. You were the most unspoiled creature in the whole world. Now, I don’t know what has come over you. You talk as if you had no heart, no pity in you” (Wilde 79).

            Although Basil realizes earlier in the novel that Dorian has moved on and is now fascinated with Lord Henry, this passage signifies a shift in Basil’s tone. Before Basil would only speak with love and passion to Dorian, daring not to upset him. However, Basil now speaks to Dorian directly and without a care of hurting Dorian’s feelings. With this in mind, Basil does not think before he speaks. He tells Dorian his honest opinion of Dorian’s change in personality and Dorian responds with, “You only taught me to be vain” (Wilde 79). Instead of his usual reply filled with adoration and compliments, Basil is so fed up with Dorian’s unpleasant attitude that he replies with a sneer comment. This exchange between Basil and Dorian not only signifies a shift in Basil’s tone, but also a change in Basil’s overall and future attitude towards Dorian. He no longer acts as Dorian’s worshiper who tells him only of praise, but rather views this end of friendship with sadness. This was not only a loss of a friendship, but more seriously, Basil lost his muse, his beautiful artwork, and most significantly, he lost his love.

Sunday, November 25, 2012

PODG: #3


            Chapters five and six both prove Lord Henry’s philosophy that “women are a decorative sex.” In chapter five, Sibyl is in the park with her brother James. As they discuss Sibyl’s infatuation with Dorian Gray, she is portrayed as a foolish romantic. To her brother’s dismay, Sibyl does not even know her love’s name. The fact that Sibyl calls her love “Prince Charming” adds to her irrational fairytale. She is consumed with this feeling of love that she has never felt before, that she disregards her family’s opinions. According to Lord Henry’s description, Sibyl would be the perfect example of the “decorative sex.” In chapter six, Dorian describes his love for Sibyl as he says, “I want to place her on a pedestal of gold, and to see the world worship the woman who is mine” (Wilde 56). Once again, Sybil is seen as the “decorative sex.” Idols and valuable possessions are placed on a pedestal for everyone to look at, not women. Dorian wants the world to worship her like an idol, not like a person. Sibyl is subjected to the value of an object and Dorian is too naïve and ignorant to appreciate and recognize the true love that they share.

Monday, November 19, 2012

PODG: #2


"My dear boy, no woman is a genius. Women are a decorative sex. They never have anything to say, but they say it charmingly. Women represent the triumph of matter over mind, just as men represent the triumph of mind over morals" (Wilde 34).

            As Lord Henry enjoys his influence on Dorian Gray, he also imparts his opinion on women. Dorian is so enthralled in his new love of Sibyl Vane, that he feels he must tell Lord Henry. Dorian feels compelled, almost magically obligated to tell Lord Henry all about his life. Although Dorian enjoys and contemplates almost everything that Lord Henry tells him, he does not appreciate Lord Henry’s advice on love. However, Lord Henry’s views on women accurately portray the views on women of this time period, so there is some truth to his opinion. He believes that women are on this earth to entertain men. They are not smart; therefore, anything that they say has no meaning. The only reason that it sounds beautiful is because it is coming out of a woman’s mouth. Lord Henry also believes that they “represent the triumph of matter over mind,” which suggests that he thinks women only care about looking beautiful on the outside, not on the inside. The deeper concern about this passage is its original speaker. Are these actually Oscar Wilde’s views on women? Does he objectify them like Lord Henry does? Perhaps the reader will find out later in the novel if these horrible objectifications of women change.

Sunday, November 18, 2012

Poetry Outline: Chapter 8


My Son the Man by Sharon Olds

Thesis:
In the poem My Son the Man, Sharon Olds alludes to the famous magician Harry Houdini in order to portray her distraught feelings towards her son’s aging. She also utilizes imagery and descriptive diction to contrast her feelings to her son’s desires.

I. Allusion
            A. “Suddenly his shoulders get a lot wider, the way Houdini would expand his body while people were putting him in chains” (Olds 1-3). Olds alludes to Houdini’s most famous trick, which was his escape from a chained box under water. The speaker’s son physically grows, but also mentally grows; his mind grows just like Houdini’s imagination grows as he imagines a way out of the box.
            B. “Now he looks at me the way Houdini studied a box to learn the way out” (Olds 14-16). Olds once again alludes to this same trick, but for a different effect. This time, the speaker realizes that although her son is physically growing up right in front of her eyes, he still needs his mother’s help to get out of his sleeper. He is not quite a man yet.

II. Imagery
            A. “It seems no time since I would help him put on his sleeper, guide his calves into the shadowy interior, zip him up and toss him up and catch his weight.” (Olds 3-7). The speaker’s maternal instincts have forever helped her son into his sleeper. His is innocent and young, as she can “toss him up and catch his weight.” She reflects on her past because she knows that he will soon become a man and will no longer require her assistance.
            B. “then smiled and let himself be manacled” (Olds 16). The last line of the poem represents a different side to the story. The speaker must cope with the fact that her son will eventually grow older and no longer need her help, but according to this line of the poem it has not happened yet. The boy knows he cannot get out of his sleeper without his mom’s help, and therefore he gives up and waits for help. The mother progressively lets go of her control throughout the poem, but is then happily surprised at the end to realize that although her son is growing up quickly, it is not that quickly.

III. Diction
            A. “I cannot imagine him no longer a child” (Olds 7-8). The diction provides a nostalgic tone to the speaker’s voice. It becomes quite obvious that the speaker is having a difficult time accepting the fact that her son is growing into a man and will no longer need her help.
            B. “Snapped the padlock, unsnaked the chains” (Olds 13). The descriptiveness of this diction enhances the imagery of Houdini’s underwater escape trick. It also enhances the speaker’s fear of her son growing older. She secretly wants her son to forever need her help to get out of his sleeper, just like if Houdini were to forever stay stuck in his chained box, so she will remain an important part of his life.

Wednesday, November 14, 2012

PODG: #1


“People say sometimes that Beauty is only superficial. That may be so. But at least it is not so superficial as Thought is. To me, Beauty is the wonder of wonders. It is only shallow people who do not judge by appearances. The true mystery of the world is the visible, not the invisible... Yes Mr. Gray, the gods have been good to you” (Wilde 16).

            In the garden Lord Henry gives a speech to Dorian Gray where he praises Dorian’s youth and beauty and warns him of how soon those qualities will fade. Lord Henry urges Dorian to live life to its fullest, to spend his time “always searching for new sensations” and to “be afraid of nothing” (Wilde 16). Lord Henry’s speech is quite intriguing. He makes light of society’s superficiality and does not stray from the truth. Most people of Lord Henry’s high class might lie about how much they care about their looks, but he could not be more frank. To Lord Henry, beauty is not just something to admire or to covet, but rather the greatest wonder in the world. It holds secrets and mysteries that even intelligence cannot convey. With this wondrous beauty comes a costly price, however. Those who are beautiful will soon age and lose the one important aspect in their lives. Those who are never graced with beauty from the beginning do not end up lose anything. In today’s world people who judge based on appearance are deemed “shallow.” Lord Henry believes the exact opposite, and he believes that that point of view is just a façade of society’s true feelings. Upon hearing this speech, Dorian Gray acquires a new outlook on life, one that makes him more aware of his beauty and boosts his ego to new heights.


Tuesday, November 13, 2012

PODG: Preface


Write two paragraphs about what the preface of The Picture of Dorian Gray says about aestheticism and Wilde's attitude toward his audience.

            The preface of The Picture of Dorian Gray contains a series of epigrams that express Oscar Wilde’s aesthetic attitude. Wilde is adamant about his approval of beauty: “Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope” (Wilde vii). He thinks that art is inevitably beautiful. Wilde includes books, paintings, and many other forms in his definition of art. Along with beauty, Wilde believes that artists express thoughts and emotions, with language being an artist’s instrument. Art’s beauty is up to interpretation.

            While the preface expresses Wilde’s opinion of aestheticism, it also conveys his strong disapproval of any moral significance in art. Wilde tells his audience that art does not serve a moral purpose: “There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all” (Wilde vii). Art does not desire to prove anything and it is quite simple. However, the audience that decides to plunge beneath the surface and read into the symbols of art should beware. Wilde also suggests that art mirrors its audience, not life. You should view a work of art and search within it for a meaning in your life, rather than search for a meaning of life in general.

Tuesday, November 6, 2012

Poetry Outline: Chapter 7


The History Teacher by Billy Collins

Thesis:
Collins’ clever use of understatement, particularly euphemisms, and situational irony bring humor to this poem, but the utilization of diction hints to a more serious question of the teacher’s integrity.

I. Understatement/Euphemism
            A. “the Ice Age was really just the Chilly Age” (Collins 2-3). Collins substitutes “chilly” in for “ice” to suggest a less offensive or severe term. Instead of telling his students the truth, the history teacher tells them that everyone wore sweaters, perhaps to spare the children of the confusing concept of millions of years of ice.
            B. “The Spanish Inquisition was nothing more than an outbreak of questions” (Collins 7-8). Collins substitutes “questions” in for “inquisition” also to suggest a less severe term. The teacher would rather tell his student that it was a period of asking questions than the truth: it was a period to ensure orthodoxy from those who converted. The teacher wants to protect his students’ innocence from knowing the truth about the cruel world that they live in.

II. Situational Irony
            A. “The children would leave his classroom for the playground to torment the weak and the smart, mussing up their hair and breaking their glasses” (Collins 14-17). The irony is that the teacher lies to his students about the past to protect their innocence, yet they go outside and commit cruel acts, just like that of their ancestors.
            B. “while he gathered up his notes and walked home past flower beds and white picket fences” (Collins 18-19). The teacher sees innocence all around him, specifically depicted in the “white picket fences,” and still tries to protect the children’s innocence. However, no matter how hard he tries and no matter how innocent their families are, children will be children and they will find out the truth about the world in some way or another.

III. Diction
            A. “wondering if they would believe” (Collins 20). Is this history teacher just testing the limits of his authority? If not taken seriously, this teacher has the ability to alter the realities of his students. Although he claims he is protecting their innocence, it might end up better if he tells them the harsh truth of the world.
            B. “long, rambling stories” (Collins 21). These “long, rambling stories” that the soldiers of the Boer War told, somewhat parallel the stories the teacher tells his students; they are both lies. With his authoritative position as a teacher, he captures the trust of his students, guiding them to believe whatever he tells them. The whole poem is ironic in that the teacher thinks he is protecting his students’ innocence by lying to them, when in reality he is doing more harm to them by not telling them the truth from the beginning.


Thursday, October 25, 2012

1984 #9


War is Peace
- 3 powers in Europe:
            1) Eurasia (northern part of Europe and Asiatic land: Portugal to Bering Strait)
            2) Oceania (the Americas, Atlantic islands, Australia, southern Africa)
            3) Eastasia (China and countries south of it, Japanese islands, Manchuria,                           Mongolia, Tibet)
- permanently at war, past 25 years (p. 185)
- heinous war acts (rape, slaughter, etc.) are seen as “normal”
- war = indecisive, no power will ever win
- natural defenses (p. 186):
            1) Eurasia (vast land)
            2) Oceania (width of Atlantic and Pacific Oceans)
            3) Eastasia (fecundity and industriousness of its inhabitants)
- motive for war = possession of thickly populated area (p. 187)
·         valuable minerals
·         vegetable products (rubber)
·         cheap labor
- “primary aim of modern warfare... is to use up the products of the machine without raising the general standard of living” (p. 188).
- continue industry without increasing wealth
·         “goods must be produced, but they need not be distributed” (p. 190)
- essential act of war = destruction of the products of human labor (materials that would make the masses too comfortable)
- important to keep the favored groups somewhere near the brink of hardship, to promote scarcity and ensure a distinction between groups (inner party vs. outer party, outer party vs. proles) (p. 191)
- war hysteria and hatred of the enemy are strongest in the Inner Party
- 2 problems the Party is trying to solve
            1) how to find out what someone else is thinking
            2) how to kill several hundred million people in a few seconds without warning
- all 3 powers contain atomic bombs (p. 194)
- conditions of life in all 3 superstates are the same (p. 196)
            1) Oceania (Ingsoc)
            2) Eurasia (Neo-Bolshevism)
            3) Eastasia (Death-worship/Obliteration of the Self)
- “the war is waged by each ruling group against its own subjects, and the object of the war is... to keep the structure of society intact” (p. 199).
- inner meaning of WAR IS PEACE = a peace that is truly permanent would be the same as a permanent war (p. 199)

Ignorance is Strength
-3 kinds of people: High, Middle, Low
-purpose of Ingsoc, Neo-Bolshevism, death-worship = arrest progress and freeze history at a chosen moment
·         the High to maintain their power
- totalitarianism foreshadowed the political theory of Ingsoc
- invention of print, film, and radio made manipulation of public opinion easy (p. 205)
- invention of television ended privacy
- as long as the lowest class has no means of comparison, they don’t know that they’re oppressed and therefore don’t revolt (p. 207)
- no one has ever seen Big Brother
- Oceania has no capital, no law
- the masses may have differences of opinion, but the Party members cannot
- Crimestop means the faculty of stopping short, as though by instinct, at the threshold of any dangerous thought- first stage in discipline taught to children (p. 212)
- doublethink = the power of holding two contradictory beliefs in one’s mind simultaneously, and accepting both of them (p. 214)
- re-writing of past
- “world conquest is believed in most firmly by those who know it to be impossible” (p. 216).
- Ministries are deliberate exercises of doublethink
- “Sanity is not statistical” (p. 218)

Tuesday, October 23, 2012

1984 #8


“The Brotherhood cannot be wiped out because it is not an organization in the ordinary sense. Nothing holds it together except an idea which is indestructible. You will never have anything to sustain you except the idea” (176).

            There is a parallel between Big Brother and the Brotherhood. They both find success in their means of management. Big Brother controls its citizens through the use of intelligence. The ignorance and stupidity of the Proles protects the Party. The paradox, however, is that the Prole’s ignorance is the Party’s strength. Because the Proles have emotions and the Outer Party has intelligence, it is much easier for Big Brother to control its citizens by controlling the intelligence of a smaller population. It is also evident that the Brotherhood controls its members through the use of intelligence. Winston learns this very quickly upon arrival at O’Brien’s apartment. Brotherhood members are told certain information needed to carry out specific missions, but nothing more. They are not even told the names of other members out of sheer protection. The less Winston knows the better. If caught, Winston will have no proof of the Brotherhood, therefore putting no one else at risk except himself. Both Big Brother and the Brotherhood realize that the limiting of information and intelligence to their people is the key to protection.

Wednesday, October 17, 2012

1984 #4


“It was a wild, impossible notion, to be abandoned as soon as thought of; but the room had awakened in him a sort of nostalgia, a sort of ancestral memory. It seemed to him that he knew exactly what is felt like to sit in a room like this... with nobody watching you, no voice pursuing you...” (96-97).

            It is quite clear that Winston does not view his life the same as others. Winston feels uncertain, confused, and disconnected towards his surroundings, while most of his comrades on Airstrip One loyally obey Big Brother. The antique store that Winston enters and the glass paperweight that Winston buys represent his desire to reconnect with his past. Big Brother’s propaganda washes away almost all of Winston’s memories, but the glass paperweight reveals his desperate attempt to recover past memories and make sense of history. This passage also demonstrates Winston’s longing for freedom. He says that the room awakens a “sort of nostalgia” in him, but he never actually felt like that. He was too young when the Revolution occurred to really appreciate and experience the type of freedom he is describing. Winston tries so hard to reveal the truth about the past that he gets caught up and starts to imagine himself experiencing these freedoms, when in reality, he never did. What is interesting, however, is that just by being in a room that can recreate the sensation of the past, Winston can all of a sudden imagine such a life. Although he attempts to conceal his desires, Winston ultimately disagrees with Big Brother and wants freedom. The question now is whether he will voice these opinions or keep them under wraps, forever.

Sunday, October 14, 2012

1984 #2


"Even from the coin the eyes pursued you. On coins, on stamps, on the covers of books, on banners, on posters, and on the wrapping of a cigarette packet- everywhere. Always the eyes watching you and the voice enveloping you" (27).

            The eyes of Big Brother are a motif throughout the novel. The sense that someone is always watching them instills fear in the comrades of Airstrip One. The main character of the novel, Winston Smith, is never alone. He is watched whether asleep or awake, working or eating, indoors or outdoors, and in the bath or in bed. There is no escape. The eyes of Big Brother somehow make their way into his brain too, looking and listening into Winston’s deepest thoughts. In this alternate society, there is no such thing as privacy. The telescreen in each citizen's room is another source of Big Brother's eyes. The government can watch each person's every move and reaction. This constant stream of propaganda is unavoidable. The eyes, however, are representative of a larger theme. Psychological manipulation is a common technique that the government uses to control its citizens. The eyes root constant fear in the citizens, therefore making them vulnerable to brainwashing. Their fragile perceptions of their world are readily manipulated by Big Brother to produce an unopposed powerhouse.


 

Thursday, October 4, 2012

Figurative Language 2: Chapter 6


The Road Not Taken by Robert Frost

            Robert Frost employs the use of a symbol, the forked road, to reveal his desire for infinite exploration. The road represents a choice in the speaker’s life. The poem revolves around a person walking in the woods, forced to choose between two equally promising roads. The speaker can only choose one path, and therefore expresses his sorrow: “And sorry I could not travel both” (2). He tells himself that he will explore one road and then come back and explore the other, but deep down he knows that once a decision is made there is no turning back. With both roads being so similar, “And both that morning equally lay/ In leaves no step had trodden black” (11-12), there comes to question if the speaker makes the correct choice. Although the reader will never know the speaker’s real-life choice, one can assume it emerges successful: “I shall be telling this with a sigh/ Somewhere ages and ages hence” (16-17). Both choices are likewise appealing, but the speaker chooses the one that will benefit him down the road and have a greater impact on his life. He chooses the one that will eventually put him in the position to accurately tell others about it. All of the decisions the speaker makes results in one overarching theme: forging one’s own path leads not only to individuality, but also to success. He says, “I took the one less traveled by,/ And that has made all the difference” (19-20). The speaker’s courage trumps his natural inclination to travel the “safer” route. He chooses the path that less people have traveled and finds it advantageous. His life choices, whether resulting in success or failure, represent one’s natural belief in free will and self determination. This speaker will forever crave the experiences he has to forgo, but the forked road will always represent his ability to make his own choices, permanently affecting his future.

Tuesday, October 2, 2012

Heart of Darkness: Reading #5


“ ‘The last word he pronounced was-- your name’... Hadn’t he said he wanted only justice? But I couldn’t. I could not tell her. It would have been too dark-- too dark altogether...” (157).

            While the hypocrisy of imperialism is seen throughout the book, the hypocrisy of characters is also prevalent. The manager and Marlow are both hypocrites. Focusing on Marlow, however, he contradicts himself at the end of the book. Throughout the entire story, Marlow repeats himself when he explains that he detests a lie. Throughout the book, he also expresses his fascination with Mr. Kurtz. Marlow is intrigued by Kurtz because so many people compare the two. He also admires Kurtz because Kurtz does not lie. He is straightforward with his desires and does not put on a façade. When Marlow finally meets the source of his fascination, he is disappointed, but continues to show loyalty. At the end of the book when Marlow gives Kurtz’s letters to his significant other, he lies to her. He tells her that the last word Kurtz said was her name, when it was actually “The horror! The horror!” By doing this, Marlow contradicts himself. He says that he hates a lie, but then goes and lies to this woman, claiming defense in loyalty to Kurtz. He likes Kurtz because he does not lie, but then shows loyalty to the man by lying. Perhaps Marlow’s latter hypocrisy stems from his morals. To him, loyalty prevails over truthfulness. The last part of this quote also demonstrates Marlow’s morals. He feels compelled to spare this woman’s feelings rather than tell her the truth. These types of emotions and morals are established after the trip into the jungle, therefore denying any proof of morality from Marlow while in Africa.

Sunday, September 30, 2012

Heart of Darkness: Reading #4


“And I remember I confounded the beat of the drum with the beating of my heart, and was pleased at its calm regularity” (142).

            This quote demonstrates the hypocrisy of imperialism and slightly hints to the tacit racism of the book. The beat of the drum refers to the ceremony the natives are having. The drum is a symbol of the African’s culture. They use instruments and songs to express their thoughts and feelings. The Africans take pride in their traditions and play their drums with delight. This entire book revolves around the imperialism of the native people by the Europeans. The Europeans are seen as “god-like” to the natives and possess a strong power over them. In this quote, the aspect of power is flipped on Marlow. He is used to having power over the natives, but now the natives’ instruments have power over him. The instruments’ rhythm put Marlow in a trance to the point where he cannot decipher between the beat of the drum and the beat of his heart. This change of power displays the intricate theory of imperialism and the sudden modifications that go along with it. Marlow then continues, saying that he “was pleased at [the beat of the drum’s] calm regularity.” This indirectly implies that he originally thought that the beat of the drum did not sound regular. He had preconceived thoughts of the African culture coming into this exploration. Marlow’s ignorance of a new culture guarded him of an open mind.

Wednesday, September 26, 2012

Heart of Darkness: Reading #3


            Chinua Achebe wrote a very opinionated article about Conrad’s Heart of Darkness. In the article, he outlines every aspect of the book that points to Conrad’s overt racism. A large contributing factor to that racism originates from Conrad’s dehumanization of Africa as a land. Achebe states, “Aftrica as setting and backdrop which eliminates the African as human factor. Africa as a metaphysical battlefield devoid of all recognizable humanity, into which the wandering European enters at his peril.” According to Achebe, Africa is portrayed as a prop for the European mind. He believes that Conrad’s lack of acknowledgment towards Africa’s beautiful land demonstrates his racism. In Heart of Darkness, Marlow describes the African land: “The earth seemed unearthly. We are accustomed to look upon the shackled form of a conquered monster, but there—there you could look at a thing monstrous and free” (105). Although attempting to disguise his own opinions through the views of Marlow, Conrad cannot hide. He clearly admits to seeing the land as “a conquered monster.” Africa is as beautiful a continent as Europe, but because the people living there have different color skin than the Europeans, Conrad does not believe the land is as beautiful. Land is land and its beauty has no relation to the people living on it, but Conrad does not see it like that. The dehumanization of the African land is the gateway to full fledged dehumanization of the African people. This is the origination of Conrad’s racism.

Sunday, September 23, 2012

Figurative Language: Chapter 5


Harlem by Langston Hughes

            By utilizing similes, Hughes effectively compares a deferred dream to a raisin in the sun to demonstrate the difficulties of the black community in achieving success in America. Hughes questions, “does [the deferred dream] dry up/ like a raisin in the sun?” (2-3). In this simile, the comparison is expressed with the use of the word “like.” Because there are two different ideas being compared, they each must possess a unique purpose. The first idea, the deferred dream, can have many implications. When trying to decide which type of dream this is, it is imperative to consider the author. Langston Hughes was a black poet during the Harlem Renaissance. Even today, “the American dream” represents every citizen’s hope to find success in this country. For black people in that time period, achieving success was even more difficult. Hughes defers his lofty dream of success and focuses on the frustrating reality of his world. His hope that is slowly disintegrating is represented in this poem. The deferred dream is then compared to the second idea, a raisin in the sun. The ripe and fresh grapes are always chosen first when picked. The grapes that are neglected eventually turn into raisins and are forgotten. Hughes feels neglected by the white society of the country. He knows that as a black man, his hopes and dreams of success are not as realistic as a white man’s hopes and dreams. Hughes thinks that he is forgotten and therefore his dreams are not important. The comparison of these two ideas is quite profound. They are complete opposites, yet complement each other perfectly. The dream could have been compared to any rotten fruit, but the symbolism of the raisin matches the symbolism of the deferred dream. Both the dream and the raisin have been neglected, but that does not mean that they do not have a purpose. The dream can still be achieved and the raisin can still be eaten; it just requires a little extra attention and lots of resiliency to find success.

Thursday, September 20, 2012

Heart of Darkness: Reading #2

“There was an air of plotting about that station, but nothing came of it, of course. It was as unreal as everything else- as the philanthropic pretense of the whole concern, as their talk, as their government, as their show of work” (Conrad 91).

            This quote attests to the complex narrative structure of the book. “Past tense” Marlow is in the process of getting sucked in to the corruptness of his employment. From the beginning, Marlow is portrayed as a naïve, innocent character whose sole purpose for taking the job in the Company is to explore unknown land. Upon arriving in the jungle, he sees the horrendous oppression of black men at the hands of his fellow white men. His common sense tells him that something in this situation is wrong, but neglects to do anything about it. In this quote, Marlow accuses his fellow colleagues of faking their virtue. The hypocrisy in this is that Marlow is a part of this faking. Although claiming to treat the natives better, he ultimately works for the Company. By association, Marlow’s intentions are just as fake as his fellow counterparts. Taking a step out of the past tense, “present tense” Marlow expresses a different view on the situation. Because this point of view comes after the time of the story, older, wiser Marlow has a more sophisticated opinion of his previous actions. With the naivety gone, he now realizes that the Company’s claim to help the natives was just a cover for their true aspirations of imperialism. The interjection of “present tense” Marlow in “past tense” Marlow’s story demonstrates “present tense” Marlow’s need to defend himself. He knows that his actions in the past were wrong and misguided, so while retelling his story Marlow inputs his new voice of truth and reason to outweigh the unspeakable actions of his past. The complex narrative structure makes it difficult for the reader to decipher which Marlow is speaking their mind, the one in the story, or the one telling the story. The opaque nature of the narrative structure parallels the opaque nature of the narrative voice.

Tuesday, September 11, 2012

Poetry Outline: Chapter 3


35/10 by Sharon Olds

Thesis:
Playing with multiple denotations and connotations of words, Sharon Olds expresses one’s struggle to accept the inevitable process of ageing through similes and diction.

I. Denotation and Connotation
            A. “the fold in my neck” (Olds 6-8). “Fold” can literally mean to lay one part over another. Another denotation Olds suggests is to concede defeat by withdrawing, like in poker. The literal denotation of the word “fold” connotes wrinkles in the woman’s skin; however, the second denotation suggests that the woman admits defeat to her fight against ageing, therefore growing wrinkles on her neck.
            B. “just as we begin to go they begin to arrive” (Olds 5-6). “Arrive” can mean to reach a destination, or to achieve success. With both of these denotations comes a different connotation. The mother could mean that her young girl has arrived at a certain age in life, or that she arrived at a certain maturity level. The mother could also mean that her daughter is finally capable of achieving success without her help; she has arrived at a level of independence.

II. Similes
            A. “she opens like a moist precise flower on the tip of a cactus” (Olds 9-10). This is a simile to represent the blossoming of the woman’s daughter both socially and physically. The girl is young and fresh in age, just like this fresh flower experiencing the outside world for the first time.
            B. “her full purse of eggs, round and firm as hard-boiled yolks” (Olds 13-14). The “purse” literally represents the daughter’s ovaries that are full of eggs because she hasn’t started puberty yet. The eggs are “round and firm as hard-boiled yolks” because they are fresh and inactive.

III. Diction
            A. “I see the grey gleaming on my head” (Olds 3). Grey is a very bleak color and is not often described as “gleaming,” which holds a positive connotation of happiness and liveliness. Because the woman describes her grey hair as “gleaming,” the fact that lots of attention is paid to one of her unflattering traits really bothers her.
            B. “the silver-haired servant behind her” (Olds 4). The mother refers to herself as a servant, with “servant” carrying a negative connotation. She sees herself negatively because she is ageing. While most mothers find brushing their daughters’ hair a pleasant experience, this woman cannot truly look herself in the mirror. She is not only a servant to her daughter, but also a servant to herself, trapped within the confines of her self-esteem.

Sunday, September 9, 2012

Poetry Outline: Chapter 2

Mirror by Sylvia Plath

Thesis:
Plath’s use of personification, syntax, and word choice illustrates the reality of physical and emotional change in one’s life.

I. Personification
            A. “Whatever I see I swallow immediately” (Plath 2). The mirror “swallows” the reflections it sees. The personification of the mirror symbolizes the opinions of humans; what you see is what you get.
            B. “I see her back, and reflect it faithfully” (Plath 13). What the mirror can “see” is representative of what it actually reflects. Unlike humans, mirrors cannot lie and therefore they reflect images “faithfully” back to the user.

II. Syntax
            A. “I am not cruel, only truthful-” (Plath 4). Because this poem is only eighteen lines and this line contains the only change in structure, it brings attention to the reader’s eye. The dash emphasizes the importance of mirrors being “truthful.” Mirrors cannot be mean; they only reflect the image given to them.
            B. “She comes and goes” (Plath 15). This poem is filled with short sentences. This sentence, in particular, demonstrates that the amount of words does not enhance the importance of an idea. “She comes and goes” signifies the every day occurrence of looking at one’s self in a mirror, just like the every day change that comes with age.

III. Word Choice
            A. “Faces and darkness separate us over and over” (Plath 9). “Darkness” is an interesting choice of diction. A mirror usually portrays happiness and light, creating an enjoyable image. Darkness associated with a mirror could stand for the distaste one sees in their own reflection as they age.
            B. “In me she has drowned a young girl” (Plath 17). “Drowned” is indicative of the mirror the lake is acting as, but it is not a delightful adjective to describe this girl’s transformation into adulthood. The word’s negative connotation suggests that her adolescence was not one of ease and comfort, but one of pain and difficulty.

Thursday, September 6, 2012

Poetry Outline: Chapter 1


The Whipping by Robert Hayden

Thesis:
The minimalism, detail, and syntax of Hayden’s poem portrays the saddening truth of abuse through an innocent bystander’s point of view.


I. Minimalism
            A.“The old woman across the way is whipping the boy again” (Hayden 1-2). The      straightforwardness of this first sentence paints a simple picture, but it seems odd that such an unusual  situation is described with no emotion. Perhaps the simplicity suggests that this is not an unusual situation, but in fact actually happens often.
            B. “Well, it is over now, it is over, and the boy sobs in his room” (Hayden 19-20). The boy clearly does not just sob in his room. The feelings running through him at this moment are catastrophic and the only word the author uses to express his lonely feelings is “sobs.”

II. Detail
            A. “Wildly he crashed through elephant-ears, pleads in dusty zinnias” (Hayden 5-6). “Wildly” encompasses the urgency in the boy’s movements and his probable fear of what is to come. Zinnias are brightly colored flowers, so the author uses this detail to depict the contrast of bright colors with the darkness of the situation.
            B. “She strikes and strikes the shrilly circling boy till the stick breaks” (Hayden 9-10). The word “shrilly” gives such auditory imagery that it is as if the reader can actually hear the screams. The detail that the stick breaks tells the reader how hard the boy was hit without actually having to say that she beat him terribly.

III. Syntax
            A. “Words could bring, the face that I no longer knew or loved... Well, it is over now, it is over” (Hayden 17-19). The ellipsis points represent a change in time. Since the poem is written chronologically, the ellipsis is the break where the author shifts from explaining the incident to the describing the aftermath.
            B. “And the woman leans muttering against a tree, exhausted, purged- avenged in part for lifelong hidings she has had to bear” (Hayden 21-24). The dash could represent the author’s style of writing, or it could give an explanation to a previous subject. The woman is described after the beating, and after the dash there is a possible explanation for her actions.






Sunday, September 2, 2012

Prospero- A Character of Compassion


            Prospero really comes full circle in Act V, scene i. Throughout the play, Prospero is obsessed with getting revenge against his enemies. He is still bitter about his exile and removal of power by his brother that he wants everyone to feel the pain that he went through. Prospero uses his servants, spirits, and magic to complete his elaborate plan, but in this scene, his morale changes ever so slightly. His unbreakable confidence diminishes somewhat as he sympathizes for his enemies. Prospero sees Gonzalo weeping uncontrollably and cannot help but feel pain himself. This human sensation of feelings is Shakespeare’s way of reminding his audience that although Prospero is magical and almighty, he is still human, just like the others. Prospero feels compassion for his enemies that he never thought he would feel: “The rarer action is/ In virtue than in vengeance. They being penitent/ The sole drift of my purpose doth extend/ Not a frown further” (Lines 27-30). Once he sees the remorse that they feel, he decides not to punish them even further and breaks them of his spell. Prospero also lets Ariel free, which shows that he can actually follow through on a promise. It is a way for him to slowly let go of his powers that he holds on to so dearly. Prospero needed this whole experience on the island as a way to let go of this grudge that he was holding on to for years. The breaking of his staff and drowning of his books is sort of a cleansing process for Prospero. It is necessary for him to break away from his past in order to live the rest of his life happy.

Thursday, August 30, 2012

Shakespearean Comedy

            William Shakespeare uses his own structure of a Shakespearean comedy to write the play, The Tempest. An integral part of that standard structure is courtship. The two main love interests in this play are Miranda and Ferdinand. The fact that Ferdinand is only the third man Miranda has ever seen speeds up the process of this courtship. They fall in love instantly, but Ferdinand must prove himself not only to Miranda, but to Prospero as well. To demonstrate his genuine love for Miranda, Ferdinand promises to do whatever it takes. He collects and carries wood, per order of Prospero. This physical labor displays his seriousness in their relationship. Ferdinand would break his back before ever letting his one true love carry a piece of wood. Because courtship follows an extremely stylized format, it needs a specific language. Ferdinand’s “language of love” is seen clearly through his willingness to please Miranda. In reality, he is in service to Prospero, but sees Miranda as his master. He fills his speeches with compliments of her beauty, ending this courtship successfully with an engagement to Miranda.

            Another component of the standard structure of a Shakespearean play is the comic situation, which is determined externally by others. In Act II, scene ii, Trinculo finds Caliban underneath his cloak. Caliban imagines Trinculo to be a spirit and Trinculo concludes that Caliban is a monster. The comedy of the situation is found in the fact that Trinculo needed to find shelter from the impending storm and the only place he can think to hid is under a monster’s cloak. Stephano then enters, confused, and hears Trinculo’s voice. It takes Stephano and Trinculo a couple moments to figure out each other’s true identities. Because Stephano gives Caliban wine, Caliban devotes himself to be Stephano’s loyal servant, foolishly assuming that he is a special god, and not knowing that he is of human race just like Prospero. The entire scene is humorous from the bantering between the two drunks and the monster to Ariel interrupting the serenity between the three. This scene lends itself perfectly to a comic situation because personalities are confused, gods, or in this case spirits, intervene, people are drugged, and this continued confusion generates the absurdities of the play.