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.

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.

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.

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.

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.

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.

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.

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.