Lucentio serves a large role in Shakespeare's "The Taming of the Shrew". He is the secondary character to Bianca in the subplot of the story, making him probably the fourth most important character after Kate and Petruchio. Lucentio is a smart man who thinks he has fallen in love. However, even though it seems like Lucentio is a character of most noble intentions, unlike Petruchio who is pursuing Kate for fiscal reasons, he is ultimately chosen by Baptista over the other suitors simply because he is the wealthiest.
Lucentio serves a large part in the story, particularly in the beginning where Bianca's potential husbands have more focus than Kate's. Lucentio's disguise switch with Tranio represents a theme in this play, as it seems half the characters in the play are disguised at any given point. There is the induction disguise of Sly as a Lord, the disguise of Lucentio as Cambio, Tranio as Lucentio, Hortensio as Litio and the Merchant as Vincentio. The theme of disguise creates an interesting contrast, as three of the men trying to pursue Bianca are in disguise, and the only one trying to pursue Kate is not. This raises the question of how genuine the love is for Bianca, and questions the character of a man that must disguise himself to get Bianca. So it seems, despite Lucentio's nobler qualities, he still has to pretend to be someone else, and then is ultimately chosen solely for his wealth.
Lucentio as a whole serves to provide an idealized typical characterization of the charming suitor, or what seems to be a charming suitor before looking deeper. Ultimately, Lucentio's relationship with Bianca is turned on its head by the fact that Petruchio and Kate end up being the happier couple in the end. Lucentio serves as a sort of a foil, not by demonstrating negative qualities, but rather by setting up a idealized relationship with Bianca that can then be contrasted with Petruchio's relationship with Kate. Lucentio and Bianca represent the typical love story, which we, the audience, originally think we will witness. However, it turns out that the story of Petruchio and Kate is much more interesting, and that Lucentio’s idea of love is rather shallow.
Tuesday, December 2, 2008
Setting the Stage
Because Shakespeare had to work with a limited stage, and because of the ambiguity of his language there is often little stage direction to direct the actors as to how to interpret the script. However, he does give us a few clues. For example, in Act II, Scene 1, Gremio says, "Good morrow, neighbour Baptista.", which is Shakespearean for 'Good Morning' and indicates the time of the day. Also, at times we are given direct stage direction, such as in Act IV, Scene 4 after Kate says, "Go, get thee gone, thou false deluding slave " Shakespeare includes the direction "[Beats Him]." In some versions of the script similar direction is given for Kate and Petruchio when they kiss.
However, some subtler movements are left to more ambiguity, such as the intonation and delivery of lines. Many ambiguous lines come from conversations between Kate and Petruchio, as they are the most dynamic characters and are constantly undergoing a power struggle. Depending on how the lines are read by both Kate and Petruchio, there are varying levels of Kate's submissiveness, and thus varying levels of Petruchio’s dominance over her. One of the most infamous speeches of the play proves a good example of this. In Kate’s final speech of the play she says,
In other Shakespeare productions stage management factors such as dead bodies can come in play. Sometimes segues are written into the script to remove the bodies. However, because The Taming of the Shrew is a comedy, there are no bodies and this is not an issue. The Taming of a Shrew has relatively straightforward stage direction, with most movements just being directed by enter and exit cues. The expository of some factors are interesting, such as the offstage weddings. Because the weddings take place offstage the characters are left to discuss the events so that the audience knows what happened.
Shakespeare generally leaves stage directions to a minimum, which results in individual directors being able to interpret the play in a manner of their choosing, and thus creating a piece of artwork that is unique to their vision. This allows more variations and interpretations of the play, which ultimately makes the viewing experience for the audience richer.
However, some subtler movements are left to more ambiguity, such as the intonation and delivery of lines. Many ambiguous lines come from conversations between Kate and Petruchio, as they are the most dynamic characters and are constantly undergoing a power struggle. Depending on how the lines are read by both Kate and Petruchio, there are varying levels of Kate's submissiveness, and thus varying levels of Petruchio’s dominance over her. One of the most infamous speeches of the play proves a good example of this. In Kate’s final speech of the play she says,
"…And when she is froward, peevish, sullen, sour,Yet despite the fact that it would seem Kate has fallen into total obedience, it’s hard to believe such a headstrong character could so easily transform into a submissive house wife. Ultimately, Shakespeare gives us no indication of whether or not the lines should be read sarcastically, or as if Kate had fallen into total submissivity.
And not obedient to his honest will,
What is she but a foul contending rebel
And graceless traitor to her loving lord?
I am asham'd that women are so simple…”
In other Shakespeare productions stage management factors such as dead bodies can come in play. Sometimes segues are written into the script to remove the bodies. However, because The Taming of the Shrew is a comedy, there are no bodies and this is not an issue. The Taming of a Shrew has relatively straightforward stage direction, with most movements just being directed by enter and exit cues. The expository of some factors are interesting, such as the offstage weddings. Because the weddings take place offstage the characters are left to discuss the events so that the audience knows what happened.
Shakespeare generally leaves stage directions to a minimum, which results in individual directors being able to interpret the play in a manner of their choosing, and thus creating a piece of artwork that is unique to their vision. This allows more variations and interpretations of the play, which ultimately makes the viewing experience for the audience richer.
Sunday, November 16, 2008
Eveline's Paralysis
Eveline is a typical girl that is contemplating the decision of whether to stay in her safe life that is the only one she has ever known, or to try and escape her past and run away with Frank. In keeping with the style of the Joycean Epiphany, Eveline has a sudden realization that she be happy and escape the pain of her past, only to be later brought back down to the mundane (the realization that she cannot leave). Eveline really wants to escape with Frank, but is stopped for many reasons. The first thing stopping her is that she does not actually love Frank, and the other is the realization that her past is all she has to define her character. Originally Eveline thinks Frank is the cure all to her painful and uninteresting life, but she realizes on the dock that she is who she is because of her hometown and because of her past. Moving to a new place won't change her, and if anything it will just further isolate her from any happiness of sense of place she has. Memories of the field, her mother, and her past, as well as obligations to her father and the need to keep a promise to her mother ultimately stop Eveline. Despite the fact that it is an incredibly difficult decision, Eveline's internal realization that she has too much invested in her home to ever leave it changes her originally eager run away from home into a frozen stance of paralysis.
Poor 'ol Gregor
In "The Metamorphasis", Franz Kafka creates a viewpoint that is close to a first person view from Gregor. By doing so, Kafka lets the audience sympathize and empathize with Gregor, and presents his alienation in such a light that lets the audience easily relate. By keeping the viewpoint consistently from Gregor, the audience empathizes with the attacks from Gregor's sister,
"...as it is, this creature persecutes us, drives away our lodgers, obviously wants the whole apartment to himself, and would have us all sleep in the gutter." After his sister attacks him, Gregor does not react angrily or bitterly, but instead takes reclusion into his room after expressing his good intent, "...Gregor had not the slightest intention of frightening anyone, far less his sister." Then, the audience is brought the possibility of the family heeding Gregor's pain, "His good intentions seemed to have been recognized; the alarm had only been momentary." However, our hopes are quickly shattered when, "Hardly was he well inside his room when the door was hastily bushed shut, bolted, and locked... It was his sister who had shown such haste." Kafka uses this series of expectations and disappointments to continually empathize the audience more for Gregor, and by doing so drags us further into his crippled condition. By helping us empathize with the condition of a bug in a manner that seems as natural as a human, Kafka allows the reader to reflect on the human condition, and the many ways in which we are alienated in our own existence. It is particularly effective that Kafka uses Gregor's sister Grete as the final word that that leads to Gregor's demise. It is also somewhat ironic that Gregor is the only one truly appreciating Grete's music, but the result is Grete's disgust at Gregor. It is this discrepancy or diversion from the relationship that a fan normally has with an artist that brings into question personal intentionality and the idea of determinism. Despite Gregor's best efforts to help his family, he ultimately is powerless and continually burdensome. As Kafka relates Gregor's experiences in an empathetic manner, the audience ultimately is drawn into sympathizing with alienation of a bug, and by doing so normalizes the extravagant which reinforces the normality of alienation.
"...as it is, this creature persecutes us, drives away our lodgers, obviously wants the whole apartment to himself, and would have us all sleep in the gutter." After his sister attacks him, Gregor does not react angrily or bitterly, but instead takes reclusion into his room after expressing his good intent, "...Gregor had not the slightest intention of frightening anyone, far less his sister." Then, the audience is brought the possibility of the family heeding Gregor's pain, "His good intentions seemed to have been recognized; the alarm had only been momentary." However, our hopes are quickly shattered when, "Hardly was he well inside his room when the door was hastily bushed shut, bolted, and locked... It was his sister who had shown such haste." Kafka uses this series of expectations and disappointments to continually empathize the audience more for Gregor, and by doing so drags us further into his crippled condition. By helping us empathize with the condition of a bug in a manner that seems as natural as a human, Kafka allows the reader to reflect on the human condition, and the many ways in which we are alienated in our own existence. It is particularly effective that Kafka uses Gregor's sister Grete as the final word that that leads to Gregor's demise. It is also somewhat ironic that Gregor is the only one truly appreciating Grete's music, but the result is Grete's disgust at Gregor. It is this discrepancy or diversion from the relationship that a fan normally has with an artist that brings into question personal intentionality and the idea of determinism. Despite Gregor's best efforts to help his family, he ultimately is powerless and continually burdensome. As Kafka relates Gregor's experiences in an empathetic manner, the audience ultimately is drawn into sympathizing with alienation of a bug, and by doing so normalizes the extravagant which reinforces the normality of alienation.
Gregor's Hard Shell.
If Kafka's "The Metamorphosis" strikes anyone as something more than an entomological fantasy, then I congratulate him on having joined the ranks of good and great readers. In his story "The Metamorphosis," Kafka presents a conventional, respectable protagonist whose life is suddenly and permanently changed by a physical disability -- a "metamorphosis," or transformation -- which catapults him out of his efficacious complacency into a sudden confrontation with the greater questions of existence. As soon as Gregor opens his eyes, he finds himself positioned in an uncomfortable manner and transformed into a monstrous vermin or a gigantic insect, a worthless creature,
"One morning, when Gregor Samsa woke from troubled dreams, he foundWith his hard armor-plated back lying on the bed. With this arresting opening, Kafka has set his mysterious psychological fantasy in motion. Now what exactly is the "vermin" into which poor Gregor, the seedy commercial traveler, is so suddenly transformed? It obviously belongs to the branch of "jointed leggers" (Arthropoda), to which insects, and spiders, and centipedes, and crustaceans belong. But surprisingly, Gregor’s bizarre new state is not the central transformation in the novel. Instead, Kafka uses Gregor’s surreal change as a catalyst for an almost more shocking metamorphosis: that of Gregor’s family, as they move from helplessness and sympathetic fear to emancipation and hostile rejection. In fact, it is Gregor who remains largely unchanged. He struggles to maintain his daily routine during most of the story, until his body finally forces him to surrender and accept that he is no longer fully human.
himself transformed in his bed into a horrible vermin. He lay on
his armour-like back, and if he lifted his head a little he could
see his brown belly, slightly domed and divided by arches into stiff
sections."
Thursday, October 30, 2008
A Cheeseburger to feed Fortunado
Original:
Edgar Allan Poe makes good use of use of irony throughout "The Cast of Amontillado", and uses it in a way that contrasts the evilness of Montresor with normal socially accepted values. One particular passage where Poe utilizes all three forms of irony is in line 60, Montresor says
Changed:
Edgar Allan Poe employs several types of irony throughout "The Cast of Amontillado" as a vehicle to contrast the evilness of Montresor with the unawareness of Fortunado. In line 60 Poe utilizes all three forms of irony when Montresor says,
I made the thesis sentence more concise, and changed every occurrence of 'uses' to 'employs'. Many sentences were shortened to be more direct, or reworded to be more exact, and less awkward. I changed the formatting on the quote, because I believe my previous formatting was incorrect. The concluding sentence was also reworded to have a better flow, and again to employ the word 'employs'.
Edgar Allan Poe makes good use of use of irony throughout "The Cast of Amontillado", and uses it in a way that contrasts the evilness of Montresor with normal socially accepted values. One particular passage where Poe utilizes all three forms of irony is in line 60, Montresor says
"You are not one of the masons."This passage makes use of dramatic irony in that the audience knows Montresor is planning to kill Fortunado and Fortunado is unaware. It also utilizes verbal irony with Montresor intentionally saying he is a mason, and not actually being a mason. And finally the passage makes use of situational irony in that the society of The Free Masons is normally a strong brotherhood, yet Montresor is about to kill Fortunado. Simultaneously utilizing three forms of irony is a brilliant feat, and Poe uses it to really relate the audience relate to the vindictive mindset of Montresor while also shaping the evilness of his character.
"Yes, yes," I said, "yes. yes."
"You? Impossible! A mason?"
"A mason," I replied.
"A sign," he said.
"It is this" I answered, producing a trowel from beneath the folds of my roquelaure.
Changed:
Edgar Allan Poe employs several types of irony throughout "The Cast of Amontillado" as a vehicle to contrast the evilness of Montresor with the unawareness of Fortunado. In line 60 Poe utilizes all three forms of irony when Montresor says,
" 'You are not one of the masons.'This passage makes use of dramatic irony because the audience is aware that Montresor is planning to kill Fortunado, yet Fortunado is unaware. It also utilizes verbal irony when Montresor intentionally says he is a mason, when in fact he is not. And finally the passage makes use of situational irony because the society of The Free Masons is normally a strong brotherhood, yet Montresor is about to kill Fortunado. Simultaneously utilizing three forms of irony is a brilliant feat, and Poe employs it well to help relate the audience to the vindictive mindset of Montresor while also shaping the evilness of his character.
'Yes, yes,' I said, 'yes. yes.'
'You? Impossible! A mason?'
'A mason,' I replied.
'A sign,' he said.
'It is this' I answered, producing a trowel from beneath the folds of my roquelaure."
I made the thesis sentence more concise, and changed every occurrence of 'uses' to 'employs'. Many sentences were shortened to be more direct, or reworded to be more exact, and less awkward. I changed the formatting on the quote, because I believe my previous formatting was incorrect. The concluding sentence was also reworded to have a better flow, and again to employ the word 'employs'.
Wednesday, October 29, 2008
Losing the good' in Goodman
Nataniel Hawthorne, in "Young Goodman Brown", presents a clearly allegorical tale, and theme of man's struggle with morality and sin, as Hawthorne is prone to do. The first allegorical reference comes when he has to leave his wife faith, which the audience can assume functions as a metaphor for Goodman losing his own faith. In the beginning of the story, Goodman tells his wife "my journey... needs to be done... What, my sweet, pretty wife, dost thou doubt me already, and we but three months married." Obviously, this presents Goodman's relationship to his faith, having been devoted for the last three years, but only now coming to question it. Also, Goodman says assuredly that he will return to his faith, when in reality he treats faith radically different after his transformation. The entire story deals with Goodman's faith as a metaphor for puritan values. First he leaves his faith, then he loses his faith, and then he calls out to his faith to resist the temptation of the devil.
The devil is created through an old man with a snake, and is constantly trying to tempt Goodman, in keeping with the allegorical reference to the snake. He points out the wrong doings of others, and their hypocrisy to try and gain support to convert Goodman. In the end, despite the fact that it is unclear as to whether or not Goodman fully committed himself to the devil, he is clearly not happy after his trip. This brings up the message of the story. Hawthorne likes to write about Puritan themes, and having grown up in Salem with a ancestor that was part of the Witch Trials, it is no surprise. I believe the message Hawthorne was trying to send is that one can live their lives in blissful ignorance, but once you learn the truth about others and their wrongdoings, it is very difficult to maintain that level of faith. Perhaps he is also exposing some hypocrisy in puritan ideals. This would definitely support the second camp which believes Goodman was initiated into reality.
I definitely see how Brown falls into delusion, but I'm not necessarily sure if delusion and being initiated into reality are mutually exclusive, and in the story, I think Goodman becomes delusioned through his realization of reality.
The devil is created through an old man with a snake, and is constantly trying to tempt Goodman, in keeping with the allegorical reference to the snake. He points out the wrong doings of others, and their hypocrisy to try and gain support to convert Goodman. In the end, despite the fact that it is unclear as to whether or not Goodman fully committed himself to the devil, he is clearly not happy after his trip. This brings up the message of the story. Hawthorne likes to write about Puritan themes, and having grown up in Salem with a ancestor that was part of the Witch Trials, it is no surprise. I believe the message Hawthorne was trying to send is that one can live their lives in blissful ignorance, but once you learn the truth about others and their wrongdoings, it is very difficult to maintain that level of faith. Perhaps he is also exposing some hypocrisy in puritan ideals. This would definitely support the second camp which believes Goodman was initiated into reality.
I definitely see how Brown falls into delusion, but I'm not necessarily sure if delusion and being initiated into reality are mutually exclusive, and in the story, I think Goodman becomes delusioned through his realization of reality.
Tuesday, October 28, 2008
It's kinda upsetting. (Miss Emily Facebook)
I spent about 2 hours photoshopping a whole facebook page for Miss Emily, only to have my computer freeze, and loose the image. Always save your files first before you get invested! Let that be a lesson to me. Anyway, I'll just describe what I did, and hopefully I will get tons of grade credit for recognition of the amount of effort I put in.
For the profile picture I had a picture of lonelygirl15, and now it's not as subtle as I'm actually having to describe it, but I added some filters and grayscale, so it was a looked like a very aged photo. The status was "Emily refuses to leave the house" and it said updated 12 years ago. The status she was about to post was 'Emily is contemplating suicide.' She only had 2 photos, 0 videos, and 0 inbox messages. Under the information section, for hometown was Jefferson, MI. Her relationship status was 'Forever Married', and her info box said 'I Love my Homer! <3'. Her birthday was February 14, 1859. I took an approximate date from the story and like added 5 or 10 years, and made her birthday on Valentine's Day, because I thought it would fit in with the idea of her being forever stuck in the past. She only had 2 friends, one was homer, with a picture of a rugged looking young guy I found online, and Colonel Sartoris. The two ads on the side of the page were 'Meet cute gay guys' and 'Find guys online'. On her wall was a message from the Board of Aldermen saying 'We need to discuss your taxes, when would be a good time to meet?' And I was about to add another wall post from some neighborhood kids complaining about the smell, maybe add an event and say that Miss Emily is hosting a china painting session.
That is all for now.
For the profile picture I had a picture of lonelygirl15, and now it's not as subtle as I'm actually having to describe it, but I added some filters and grayscale, so it was a looked like a very aged photo. The status was "Emily refuses to leave the house" and it said updated 12 years ago. The status she was about to post was 'Emily is contemplating suicide.' She only had 2 photos, 0 videos, and 0 inbox messages. Under the information section, for hometown was Jefferson, MI. Her relationship status was 'Forever Married', and her info box said 'I Love my Homer! <3'. Her birthday was February 14, 1859. I took an approximate date from the story and like added 5 or 10 years, and made her birthday on Valentine's Day, because I thought it would fit in with the idea of her being forever stuck in the past. She only had 2 friends, one was homer, with a picture of a rugged looking young guy I found online, and Colonel Sartoris. The two ads on the side of the page were 'Meet cute gay guys' and 'Find guys online'. On her wall was a message from the Board of Aldermen saying 'We need to discuss your taxes, when would be a good time to meet?' And I was about to add another wall post from some neighborhood kids complaining about the smell, maybe add an event and say that Miss Emily is hosting a china painting session.
That is all for now.
Sunday, October 26, 2008
...zzZZZZ
The man awoke around 2 AM, knowing he should have sleep for another slept for another two hours, and was tired yesterday because of this. He turned on the lights on the way to the bathroom and clothed himself from the hamper before brushing his teeth. After brushing his teeth, he opened the computer and considered doing his homework now, or promising himself that he'd do it yesterday morning. Having realized that he did in fact manage to finish it last minute yesterday morning, he browsed the internet for two or so hours before starting his work. He was proud to have stuck to his recent determination of "play before work".
"Time of Passage by Anonymous reveals the absurdity and beauty of everyday events by telling them in the reverse order, and by doing so creates a novel experience of what would otherwise be a uninteresting life."
Having finished writing his thesis, the man flipped through the reader to decide which story would be most appropriate to write a thesis on, but then decided to screw it and go on his honeymoon.
"Time of Passage by Anonymous reveals the absurdity and beauty of everyday events by telling them in the reverse order, and by doing so creates a novel experience of what would otherwise be a uninteresting life."
Having finished writing his thesis, the man flipped through the reader to decide which story would be most appropriate to write a thesis on, but then decided to screw it and go on his honeymoon.
Delicious Blackberries
We didn't read this poem in class, and it wasn't assigned, but I really enjoyed Galway Kinnell's "Blackberry Eating", which was in the reader:
Blackberry Eating
I Love to go out in late September
among the fat overripe, icy, black blackberries
to eat blackberries for breakfast
the stalks very prickly, a penalty
[5] they earn for knowing the black art
of blackberry-making; and as I stand among them
lifting the stalks to my mouth, the ripest berries
fall almost unbidden to my tongue,
as words sometimes do, certain peculiar words
[10] like strengths or squinched,
many-lettered, one-syllabled lumps,
which I squeeze, squinch open, and splurge well
in the silent, startled, icy, black language
of blackberry-eating in late September.
What I really enjoyed about this poem was the constant imagery, and the diction choice that really took the reader into the experience of being out there in the blackberry bush, and fully into the experience of eating those delicious, juicy blackberries.
Some descriptive words that get the imagery rolling in the beginning of the poem are words like 'fat', 'overripe', and 'icy' in line 2. All these words enhance the image of the blackberry and make the fruit seem very appealing and enticing. But then we are told that the berries are prickly, which makes them seem like a forbidden fruit that one is rewarded for achieving. So the first 6 lines set up the berries so that the reader is yearning for them, but at the same time knows they do not come easily, which enhances the want for them. Then, as she tries to eat them, she remarks "the ripest berries fall almost unbidden to my tongue". I was impressed with the way that the word 'unbidden' anthropomorphizes the berries as unwelcome guests that seem to careless fall onto her tongue. Again, the fresh blackberries falling onto her tongue produces sweet, succulent imagery.
Then she compares the berries falling onto her tongue to words falling into her mouth, with the same grace and spontaneity. On line 11 she called them one-syllabled lumps, which again helps the reader to visual the berries in anticipation and keeps the literature metaphor going. Finally, on line 12 we are given the climax! "which I squeeze, squinch open, and splurge well". And it has come after so much buildup that you can almost taste the juices of the blackberries spurting into your mouth. After the climax, it is almost as if we are brought back to reality, as will happen when someone becomes transfixed on someone or something for a period of time. The last two lines draw away from the scene a bit, and reflect the poem as a whole, "in the silent, startled, icy, black language of blackberry-eating in late September". She reflects on the event as a whole, and brings back the context of late September, as if becoming once again aware of of the time period, away from an experience that was otherwisely timeless.
Blackberry Eating
I Love to go out in late September
among the fat overripe, icy, black blackberries
to eat blackberries for breakfast
the stalks very prickly, a penalty
[5] they earn for knowing the black art
of blackberry-making; and as I stand among them
lifting the stalks to my mouth, the ripest berries
fall almost unbidden to my tongue,
as words sometimes do, certain peculiar words
[10] like strengths or squinched,
many-lettered, one-syllabled lumps,
which I squeeze, squinch open, and splurge well
in the silent, startled, icy, black language
of blackberry-eating in late September.
What I really enjoyed about this poem was the constant imagery, and the diction choice that really took the reader into the experience of being out there in the blackberry bush, and fully into the experience of eating those delicious, juicy blackberries.
Some descriptive words that get the imagery rolling in the beginning of the poem are words like 'fat', 'overripe', and 'icy' in line 2. All these words enhance the image of the blackberry and make the fruit seem very appealing and enticing. But then we are told that the berries are prickly, which makes them seem like a forbidden fruit that one is rewarded for achieving. So the first 6 lines set up the berries so that the reader is yearning for them, but at the same time knows they do not come easily, which enhances the want for them. Then, as she tries to eat them, she remarks "the ripest berries fall almost unbidden to my tongue". I was impressed with the way that the word 'unbidden' anthropomorphizes the berries as unwelcome guests that seem to careless fall onto her tongue. Again, the fresh blackberries falling onto her tongue produces sweet, succulent imagery.
Then she compares the berries falling onto her tongue to words falling into her mouth, with the same grace and spontaneity. On line 11 she called them one-syllabled lumps, which again helps the reader to visual the berries in anticipation and keeps the literature metaphor going. Finally, on line 12 we are given the climax! "which I squeeze, squinch open, and splurge well". And it has come after so much buildup that you can almost taste the juices of the blackberries spurting into your mouth. After the climax, it is almost as if we are brought back to reality, as will happen when someone becomes transfixed on someone or something for a period of time. The last two lines draw away from the scene a bit, and reflect the poem as a whole, "in the silent, startled, icy, black language of blackberry-eating in late September". She reflects on the event as a whole, and brings back the context of late September, as if becoming once again aware of of the time period, away from an experience that was otherwisely timeless.
Tuesday, October 21, 2008
Only You
I'm
sitting there trying to frame the scene I
adjust the f stop
but then its
too late.
the moment slipped away.
coming and going before my eyes
each second passes
but for the reprise.
Seize the day!
...before it slips away.
time spent in the shadows
trying to hallow
yourself.
but it's not working
keep yourself
.now.
its all that lasts
the future's not here, and gone is the past
the only reality is the one that you see
your judgment obscured like a giant marquee
you think you listen
make conscious decisions
but unknown collisions
can bring a division
misguided direction.
only you, can bring your resurrection.
sitting there trying to frame the scene I
adjust the f stop
but then its
too late.
the moment slipped away.
coming and going before my eyes
each second passes
but for the reprise.
Seize the day!
...before it slips away.
time spent in the shadows
trying to hallow
yourself.
but it's not working
keep yourself
.now.
its all that lasts
the future's not here, and gone is the past
the only reality is the one that you see
your judgment obscured like a giant marquee
you think you listen
make conscious decisions
but unknown collisions
can bring a division
misguided direction.
only you, can bring your resurrection.
Thought I'd mention it in passing...
Thought I'd Mention it in PassingI slept with
your wife
who was
home alone
and I acknowledge
you were probably
saving her
for yourself
Forgive me
she was sexy
good in bed
and made me a sandwich
What I did here was replace the idea of eating someone's plums with sleeping with someone's woman. By elevating the offense committed, and by keeping a tone consistent with the original, I think I brought out the insincerity and unapologetic tone that the author takes.
Every part I exaggerated and parodied, but kept the form of the poem consistent. With the title, I exaggerated the ambivalent tone the author takes to draw light to it. The first stanza I merely state the crime committed, and where it happened, exactly as the author does. In the second stanza, I acknowledge that I have wronged the person I am writing to, and admit what I have done wrong, but seem unaffected by it. Next, you would expect an apology, and technically it does come, but only sandwiched between knowingly violating the recipient of the note and listing off how enjoyable the violating act was.
By keeping the tone and form consistent but changing the subject matter to something much more shocking, my parody attempts to emphasize the author's ambivalence towards his wrong doing and to poke fun at that insincerity.
Monday, October 13, 2008
Prufrock the 5th ninja turtle?
I chose this image of a someone dressed as a ninja turtle because lines 34 and 35 state, "The women come and go, Talking of Michelangelo". So yeah, this is the ninja turtle Michelangelo. I know what you're going to say, I'm being stupid and completely missing the point. But the poem was not specific in which Michelangelo it was referring to, even though the ninja turtles were created about 20 years after T.S. Elliot died. But hey, there's some seriousness to this image. Prufrock is completely self-loathing in the entire story, and he wants to be someone that girls admire. He notices that the women come and go, talking of Michelangelo. I'm sure Prufrock would love to have the attention and respect from women that Michelangelo has, and it might stop self-pity that swamped the poem. So yeah, ninja turtles always get the girls, and they're manly men that women was to be with. Also, the guy in this costume is very young, and Prufrock is constantly talking about how he's balding and getting too old to be found attractive. Also, the idea of the costume brings in what personalities we might take on with different crowds, and Prufrock is certainly no exception to this behavior, as he wonders what fascade to take on for the night. Basically, as a metaphor, this picture represents everything that Prufrock lacks and wants: youth, respect from women, the exposure of his inner self, and nunchaku. Also, Michelangelo is totally laid back and somewhat of a comic relief character, and Prufrock is more like depression...enhancer.
This image is of a London Planetree. One of the most visual elements of the story, in my opinion, is the yellow smoke and fog on the window. The yellowness gives me the feeling of distance and intimidation of what's outside, and helps to relate to why Prufrock would talk himself into staying inside. Also, the yellow dirtyness reminds me of his self-loathing. So anyway, about this tree: In my Environmental Horticulture class we had to learn the London Planetree, and my TA mentioned that it was used in London to deal with the pollution, because it does well in pollution. I thought it was interesting that the London pollution had an effect on so many people and so many facets of society. Butterfly effect right? Makes you think.
So, I like this picture because I think it just sums up well the kind of feelings that Prufrock gives and the kind of imagery he presents. In this picture, the viewer feels very detached and distant from his observes, partly due to the overhead perspective, which could be similar to watching passer bys from Prufrock's window. Also, this picture emphasizes the shadow to the point that the shadows seem more human than the people. This represents how Prufrock projects people, always thinking about their shadow, or past actions that follow people, rather than interacting with the real person in real time.
Tuesday, October 7, 2008
A Poem Written in Stone
I went back and forth on what to discuss on my free response, and I decided to do a little analysis of "A Sonnet Is a Moment's Monument" because I feel like we did not discuss it too much in class and I really enjoyed this piece.
The first thing I noticed was the iambic pentameter and the rhyming scheme. Every line is iambic pentameter and the rhyming scheme is ABBA, ABBA, CD, CD EE. By examining the rhyming scheme, you will notice that the first quatrain has a rhyming couplet in the middle, surrounded by another rhyming couplet. This form is repeated twice and the rhyming scheme carries over to the second quatrain. The formatting is also relevant. The indentations provide the rhyming couplet body of each quatrain and the first and last lines frame up each section.
The first two quatrains provide the most spread out rhyming scheme of the poem, ABBA. As the poem progresses, it switches to a quick sucession of CD CD and ends with a short heroic couplet EE. This form is representative of the moment that the sonnet is trying to capture. Each section times in the poem moves faster, and thus so do the verses become shorter. The first section mentions eternity, and the second tells it being carved in stone. Both represent long time periods, but stone carving seems slightly less eternal. The next section discusses it how a sonnet is like a coin, which fits in nicely with the CD CD rhyming scheme, and continues to shorten the time period. And the final stanza ends in a nice heroic couplet about death, which brings the poem full circle. By starting with a discussion of eternity and ending with death, it begs the question: is death the end?, or is there something that lives on for eternity?
I also like the meaning behind each of the stanzas. The second and third lines state, "Memorial from the Soul's eternity to one dead deathless hour." I like how this brings the idea of the eternal soul, which conflicts with the final hour of death, which is very much a moment in time. The title itself, as well as most of the poem play with the idea of moment and monument, which while only differing by two letters, are complete opposites, and this idea of contrast is frequently played with. The idea that the moment is fleeting and the monument is eternal is played around with often in the poem. Lines 4 and 5 state, "Whether for lustral rite or dire portent, Of its own arduous fullness reverent". Which, translated into modern english means, "Whether used as a purification ritual or to warn of death, a sonnet is full of difficult respectfulness". Purity is something eternal, death is something final. Lines 6-8 talk about the beauty and lasting value of a poem. I really enjoyed the next set of lines that say that that a sonnet, like a coin, reveals the contrast of the soul and power. The theme of contrast continues particularly well with the last four lines. Lines 11 and 12 state that a poem can give tribute to the great things in life, such as love and other appeals. But then the final two lines mention how a poem can also help in hard times, by easing the pain of death, or metaphorically "paying the toll to Charon", once again bringing up this idea of contrast.
Overall, I think this is a great poem, and I think this sonnet captures so much of what poetry, philosophy, and literature can offer humanity, such as comfort in hard times, appreciation in good times, the struggle of power and corruption, the beauty of life, and the question of eternity.
The first thing I noticed was the iambic pentameter and the rhyming scheme. Every line is iambic pentameter and the rhyming scheme is ABBA, ABBA, CD, CD EE. By examining the rhyming scheme, you will notice that the first quatrain has a rhyming couplet in the middle, surrounded by another rhyming couplet. This form is repeated twice and the rhyming scheme carries over to the second quatrain. The formatting is also relevant. The indentations provide the rhyming couplet body of each quatrain and the first and last lines frame up each section.
The first two quatrains provide the most spread out rhyming scheme of the poem, ABBA. As the poem progresses, it switches to a quick sucession of CD CD and ends with a short heroic couplet EE. This form is representative of the moment that the sonnet is trying to capture. Each section times in the poem moves faster, and thus so do the verses become shorter. The first section mentions eternity, and the second tells it being carved in stone. Both represent long time periods, but stone carving seems slightly less eternal. The next section discusses it how a sonnet is like a coin, which fits in nicely with the CD CD rhyming scheme, and continues to shorten the time period. And the final stanza ends in a nice heroic couplet about death, which brings the poem full circle. By starting with a discussion of eternity and ending with death, it begs the question: is death the end?, or is there something that lives on for eternity?
I also like the meaning behind each of the stanzas. The second and third lines state, "Memorial from the Soul's eternity to one dead deathless hour." I like how this brings the idea of the eternal soul, which conflicts with the final hour of death, which is very much a moment in time. The title itself, as well as most of the poem play with the idea of moment and monument, which while only differing by two letters, are complete opposites, and this idea of contrast is frequently played with. The idea that the moment is fleeting and the monument is eternal is played around with often in the poem. Lines 4 and 5 state, "Whether for lustral rite or dire portent, Of its own arduous fullness reverent". Which, translated into modern english means, "Whether used as a purification ritual or to warn of death, a sonnet is full of difficult respectfulness". Purity is something eternal, death is something final. Lines 6-8 talk about the beauty and lasting value of a poem. I really enjoyed the next set of lines that say that that a sonnet, like a coin, reveals the contrast of the soul and power. The theme of contrast continues particularly well with the last four lines. Lines 11 and 12 state that a poem can give tribute to the great things in life, such as love and other appeals. But then the final two lines mention how a poem can also help in hard times, by easing the pain of death, or metaphorically "paying the toll to Charon", once again bringing up this idea of contrast.
Overall, I think this is a great poem, and I think this sonnet captures so much of what poetry, philosophy, and literature can offer humanity, such as comfort in hard times, appreciation in good times, the struggle of power and corruption, the beauty of life, and the question of eternity.
Thursday, October 2, 2008
Form Follows Finesse
Sonnet 73 is constructed as three quatrains, each with an alternating ABAB rhyming scheme. The poem ends with a rhyming heroic couplet. This results in an overall rhyming scheme of ABAB CDCD EFEF GG. Each of the three quatrains describes a shorter period of time, with the final quatrain using fire as a metador for impending death.
In other words:
The form of this poem contributes greatly to its value. Each of the three quatrains increase in intensity from season to day to fire, and thus serve to originally set the stage for death, and then indicate its urgency. Also, because each quatrain contains an ABAB rhyming scheme, it helps to format the poem into four distinct sections. The formatting on the final heroic couplet is indented which separates it and presents it as a conclusion.
Poetic form, in contrast to prose, allows several literary techniques which enhance the value of the poem, and add to its meaning. As I said, the rhyming scheme helps to give the poem a clear formatting, and present it as a more packaged and complete point with clear flow. The poetic form also invokes a lot of imagery, which contributes to the power of the poem. The structure of iambic pentameter adds to the poem by adding a sing songy nature, and in a way romanticizes the work. If Sonnet 73 was written as prose it would still make the same point, but lack the grace, the beauty, the imagery, and thus not deliver the final couplet with the emphasis and conviction that the form contributes.
In me thou see'st the glowing of such fire
That on the ashes of his youth doth lie
As the deathbed whereon it must expire,
Consumed with that which it was nourished by.
In other words:
You see the glowing remnants of a fire in meIn this last quatrain the speaker is admitting that death is around the corner, and uses fire as a metafor for the remaining fragility of his life. In lines two and four of this quatrain he references the fact that ashes, or what nourished his life, are now the cause of his downfall. Ashes most likely refers to youth, and how in a cylical nature, youth consumes the life of the old. By presenting the final couplet almost as final words they are given much more power, and this helps to heed the message of carpe diem.
That is resting on ashes, while being consumed by them
I will soon die, and so must my fire extinguish
The fire will be destroyed by what originally fed it
The form of this poem contributes greatly to its value. Each of the three quatrains increase in intensity from season to day to fire, and thus serve to originally set the stage for death, and then indicate its urgency. Also, because each quatrain contains an ABAB rhyming scheme, it helps to format the poem into four distinct sections. The formatting on the final heroic couplet is indented which separates it and presents it as a conclusion.
Poetic form, in contrast to prose, allows several literary techniques which enhance the value of the poem, and add to its meaning. As I said, the rhyming scheme helps to give the poem a clear formatting, and present it as a more packaged and complete point with clear flow. The poetic form also invokes a lot of imagery, which contributes to the power of the poem. The structure of iambic pentameter adds to the poem by adding a sing songy nature, and in a way romanticizes the work. If Sonnet 73 was written as prose it would still make the same point, but lack the grace, the beauty, the imagery, and thus not deliver the final couplet with the emphasis and conviction that the form contributes.
Subscribe to:
Comments (Atom)
