"One of the main effects of war, after all, is that people are discouraged from becoming characters. but old Derby was a character now." pg 164
This is a more depressing view of what veterans experience after war. But it makes sense. They are so trodden down, beaten up, and demoralized by war that sometimes they come home almost empty. When you are a prisoner of war, like Billy was, making yourself more noticeable than other POWs was a bad idea. If you attract attention, you could get killed. So it's best to blend in and keep your head down in order to survive. So if you came home after months, years even of trying to save your skin by avoiding attention, it would be hard to go back to normal. Your personality, or character might end up a little repressed due to wartime trauma. This condition could explain why Billy was so reluctant to talk when he was in the veteran's hospital. He was so used to being a nobody that he didn't know how to be a somebody again.
Sunday, April 29, 2012
Slaughter House 5- First Soldier on the Moon
"It was like the moon." pg 179
This is how Billy describes what Dresden looks like after it has been bombed. Buildings are flattened and everything is covered in grey ash. This exact quote was told to one of the Tralfamadorians. Billy and the Tralfamadorian were just having a discussion over the differences between Earth and Tralfamadore. Billy is noting all the differences between Earth and Tralfamadore. Then he compares Earth to the moon after the Dresden bombing. This shows how different Dresden was after the attack. Like it was even the same planet. This is perhaps where Billy's idea of inventing Tralfamadore came from. He created a whole new planet because he couldn't reconcile that is beautiful, familiar earth had been transformed into a surreal new planet that he didn't recognize. So he created a third planet; a place where didn't destroy whole cities. A place where he could contrast with Earth safely, without sending his world spinning.
This is how Billy describes what Dresden looks like after it has been bombed. Buildings are flattened and everything is covered in grey ash. This exact quote was told to one of the Tralfamadorians. Billy and the Tralfamadorian were just having a discussion over the differences between Earth and Tralfamadore. Billy is noting all the differences between Earth and Tralfamadore. Then he compares Earth to the moon after the Dresden bombing. This shows how different Dresden was after the attack. Like it was even the same planet. This is perhaps where Billy's idea of inventing Tralfamadore came from. He created a whole new planet because he couldn't reconcile that is beautiful, familiar earth had been transformed into a surreal new planet that he didn't recognize. So he created a third planet; a place where didn't destroy whole cities. A place where he could contrast with Earth safely, without sending his world spinning.
Slaughter House 5- Confliction
"I don't ever want to talk about it, I just want you to know: I was there." pg 193
I believe this quote defines a lot of Billy's attitudes towards his war experience. He is in the veteran's hospital, almost in a completely vegetative state. The man in the bed next to him refuses to believe Billy could every be anything of worth, let alone fight in a war. Billy finally gets the courage to tell his bedmate that he really was in the war. While trying to convince him, Billy says the quote above. Billy wants people to know he was in the war. It explains a lot about him, and about why he is so weird and sort of messed up. But he isn't interested in talking about his war experience to them. He would rather make up crazy stories about aliens on a different planet than talk about what actually happened. It's the age-old conflict of people who are not extroverts, but not exactly introverted either. They don't want to tell people things, but at the same time, they want people to know things about themselves. Billy's conflict is natural, and an accurate portrayal of his personality.
I believe this quote defines a lot of Billy's attitudes towards his war experience. He is in the veteran's hospital, almost in a completely vegetative state. The man in the bed next to him refuses to believe Billy could every be anything of worth, let alone fight in a war. Billy finally gets the courage to tell his bedmate that he really was in the war. While trying to convince him, Billy says the quote above. Billy wants people to know he was in the war. It explains a lot about him, and about why he is so weird and sort of messed up. But he isn't interested in talking about his war experience to them. He would rather make up crazy stories about aliens on a different planet than talk about what actually happened. It's the age-old conflict of people who are not extroverts, but not exactly introverted either. They don't want to tell people things, but at the same time, they want people to know things about themselves. Billy's conflict is natural, and an accurate portrayal of his personality.
Slaughter House 5- Money Tree $$
"Trout had written a book about a money tree. It had $20 for leaves. Its flowers were government bonds. Its fruit was diamonds. It attracted human beings who killed each other around the roots and made very good fertilizer." pg 167
Vonnegut has made good use of his sarcastic irony so far, but this time, he outdid himself. This is an analogy between war and a battle over a money tree. It also suggests personal beliefs of Vonnegut's that all war essentially has its proverbial roots in money. The humans that kill each other around the tree are the creatures of war. None of them get the tree because they all die defending it. Just how war is essentially spending a ridiculous amount of money on an activity that kills citizens of the participating countries. Their bodies fertilize the ground so the tree only grows more. This shows how war only perpetuates itself the more people die. Vonnegut's analogy is not only a bitter reflection on war, but a humorous interpretation of how it all goes.
Vonnegut has made good use of his sarcastic irony so far, but this time, he outdid himself. This is an analogy between war and a battle over a money tree. It also suggests personal beliefs of Vonnegut's that all war essentially has its proverbial roots in money. The humans that kill each other around the tree are the creatures of war. None of them get the tree because they all die defending it. Just how war is essentially spending a ridiculous amount of money on an activity that kills citizens of the participating countries. Their bodies fertilize the ground so the tree only grows more. This shows how war only perpetuates itself the more people die. Vonnegut's analogy is not only a bitter reflection on war, but a humorous interpretation of how it all goes.
Slaughter House 5- Still Running
"Billy fled upstairs in his nice white home." pg 176
Billy passed out and had a flashback of the war time. He was at a party at the time. A party where he had planned to propose to his girlfriend, Valencia. When he woke up, he handed her the ring and ran upstairs, as demonstrated in the quote above. There is irony in this quote that I didn't catch immediately, and has implications concerning the entire book. When this party happens, Billy is no longer in the war. He is in a "nice, white home". But somehow, the war, and his memories of it still has power over him. The war can still send him running. This is a possible explanation for the "flashbacks" also. They're the way that the war haunts him, but also provide him with an escape. It's an endless cycle between Billy and his memories. He can't let them go, but he can't shake the power they have over him, so he is still running.
Billy passed out and had a flashback of the war time. He was at a party at the time. A party where he had planned to propose to his girlfriend, Valencia. When he woke up, he handed her the ring and ran upstairs, as demonstrated in the quote above. There is irony in this quote that I didn't catch immediately, and has implications concerning the entire book. When this party happens, Billy is no longer in the war. He is in a "nice, white home". But somehow, the war, and his memories of it still has power over him. The war can still send him running. This is a possible explanation for the "flashbacks" also. They're the way that the war haunts him, but also provide him with an escape. It's an endless cycle between Billy and his memories. He can't let them go, but he can't shake the power they have over him, so he is still running.
Sunday, April 22, 2012
Slaughter House 5: Jesus the Bum
"He told the people he was adopting the bum as his son, giving him the full powers and privileges of the Son of the Creator of the Universe throughout all eternity. God said this: 'From this moment on, He will punish horribly anybody who torments a bum who has no connections!'"- pg 110
This is the modern version of the story of God and his Son. It is a version that Billy tells himself while he is suffering at the hands of Weary, the fat soldier who loves to beat Billy up, but at the the same time won't leave him behind. This a version of the story that Billy can relate to. It comforts him, and helps him get through his ordeal. Billy is beginning to show a very reliable pattern of believing in things he makes up so that his life doesn't seem so tragic and horrible as it really is. And it is working surprisingly well for him.
This is the modern version of the story of God and his Son. It is a version that Billy tells himself while he is suffering at the hands of Weary, the fat soldier who loves to beat Billy up, but at the the same time won't leave him behind. This a version of the story that Billy can relate to. It comforts him, and helps him get through his ordeal. Billy is beginning to show a very reliable pattern of believing in things he makes up so that his life doesn't seem so tragic and horrible as it really is. And it is working surprisingly well for him.
Slaughter House 5: So it Goes
"So it goes." pg 75
So it goes. Mustard gas and roses. Ivory and blue. All three of these phrases are frequently repeated throughout the novel. So it goes is a phrase that is repeated after every time anybody dies. And this is a book about war, so people die. A lot. Like, really a lot. Mustard gas and roses is a phrase that is repeated after every time someone gets drunk; it used to describe the smell of their breath. And this is a book about war, so people get drunk. A lot. Like, really a lot. Ivory and blue is a phrase used to describe what people look like when they get cold, usually about people's feet. And this is a book about war (in northernish Europe), so people get cold. A lot. Like, really a lot. The repetition of these phrases helps emphasize certain aspects of the war, like cold, alcoholism, and death, but in a very snide, clever way ( a theme with Vonnegut, I think).
So it goes. Mustard gas and roses. Ivory and blue. All three of these phrases are frequently repeated throughout the novel. So it goes is a phrase that is repeated after every time anybody dies. And this is a book about war, so people die. A lot. Like, really a lot. Mustard gas and roses is a phrase that is repeated after every time someone gets drunk; it used to describe the smell of their breath. And this is a book about war, so people get drunk. A lot. Like, really a lot. Ivory and blue is a phrase used to describe what people look like when they get cold, usually about people's feet. And this is a book about war (in northernish Europe), so people get cold. A lot. Like, really a lot. The repetition of these phrases helps emphasize certain aspects of the war, like cold, alcoholism, and death, but in a very snide, clever way ( a theme with Vonnegut, I think).
Slaughter House 5: Science Fiction in Reality
"So they were trying to reinvent themselves and their universes. Science fiction was a big help." -pg 101
When Billy is recovering in the veteran hospital, he meets a guy with a huge science fiction collection. He gets into reading it, and says the quote above. This quote is a great summation of why I think Billy starts having is time-traveling episodes. The aliens and alien abductions of what I assume is Billy's imagination are essentially a science fiction written by Billy's brain. They help him have an escape from his reality. They also help him com up with explanations or reasons for why the war happened and what he saw. The Tralfamadorians teach Billy a new way to look at subjects like time, war, hardship, and humanity. The science fiction Billy creates for himself helps him reinvent himself, and somehow find a little bit of peace from confusion of war.
When Billy is recovering in the veteran hospital, he meets a guy with a huge science fiction collection. He gets into reading it, and says the quote above. This quote is a great summation of why I think Billy starts having is time-traveling episodes. The aliens and alien abductions of what I assume is Billy's imagination are essentially a science fiction written by Billy's brain. They help him have an escape from his reality. They also help him com up with explanations or reasons for why the war happened and what he saw. The Tralfamadorians teach Billy a new way to look at subjects like time, war, hardship, and humanity. The science fiction Billy creates for himself helps him reinvent himself, and somehow find a little bit of peace from confusion of war.
Slaughter House 5: Sarcasm
"When food came in, the human beings were quiet and trusting and beautiful. They shared." -pg 70
This is one of the best examples of sarcasm that Vonnegut uses in the novel. This is the part where Billy is on the American prisoners of war train on his way into Germany. They Americans in the train are starving, cramped, dying of disease (so it goes), and probably extremely cantankerous, to put it lightly. Instead of describing the horror in all its graphic-ness, Vonnegut uses extremely obvious sarcasm. The sarcasm emphasizes how indescribably horrible it was by not describing it. Leaving the details up to the imagination makes the details that much more dramatic. The humans in the train were probably the exact opposite of quiet, trusting, and beautiful. The frequent use of sarcasm give the novel snarky, clever tone, while still achieving the meaning it intends to.
This is one of the best examples of sarcasm that Vonnegut uses in the novel. This is the part where Billy is on the American prisoners of war train on his way into Germany. They Americans in the train are starving, cramped, dying of disease (so it goes), and probably extremely cantankerous, to put it lightly. Instead of describing the horror in all its graphic-ness, Vonnegut uses extremely obvious sarcasm. The sarcasm emphasizes how indescribably horrible it was by not describing it. Leaving the details up to the imagination makes the details that much more dramatic. The humans in the train were probably the exact opposite of quiet, trusting, and beautiful. The frequent use of sarcasm give the novel snarky, clever tone, while still achieving the meaning it intends to.
Slaughter House 5: Please Feel Free to Interrupt
"That was I. That was me. That was the author of this book." pg 125
Billy is in the middle of telling an anecdote about a ditch with a hundred Americans pooping in it. Then the narrator, the man whose voice narrated the first chapter, interrupts with the quote above. He says he is one of the men pooping in the ditch. This is one of the few times that the narrator interrupts to add a note into Billy's story. These interruptions help the reader remember that Billy is not a narrator or the author, but just a character that is featured in the story. It also brings up a few questions about the actual author. Did the author really fight in WWII? And is the book he wrote before is famous Dresden book this book? Is there a famous Dresden book? And will the author ever answer any of these...
Billy is in the middle of telling an anecdote about a ditch with a hundred Americans pooping in it. Then the narrator, the man whose voice narrated the first chapter, interrupts with the quote above. He says he is one of the men pooping in the ditch. This is one of the few times that the narrator interrupts to add a note into Billy's story. These interruptions help the reader remember that Billy is not a narrator or the author, but just a character that is featured in the story. It also brings up a few questions about the actual author. Did the author really fight in WWII? And is the book he wrote before is famous Dresden book this book? Is there a famous Dresden book? And will the author ever answer any of these...
Wednesday, April 11, 2012
Happy Ending?
"I shall die, I shall no longer feel the agonies which now consume me, or be the prey of feelings unsatisfied, yet unquenched." -pg 166
This quote is from the very last page of the novel. The paragraphs preceding this statement were all said by the monster. They were lamenting his painful life, his unhappy fate, his horribly dead master, and other such miserable complaints. Then, he says this. He makes it seem that death is but a relief from his agonies. Death is a release from his pain. So is this a happy ending? Is the creature happy to die? Walton did learn from Victor's warnings and turned back his boat that was destined for danger. Walton still has loved ones, and is alive and unharmed. So if the two main characters left: Walton and the monster, are both either resigned to their fate, or happy to go about it, is this ending qualified as happy? I guess I will have to settle for bittersweet.
This quote is from the very last page of the novel. The paragraphs preceding this statement were all said by the monster. They were lamenting his painful life, his unhappy fate, his horribly dead master, and other such miserable complaints. Then, he says this. He makes it seem that death is but a relief from his agonies. Death is a release from his pain. So is this a happy ending? Is the creature happy to die? Walton did learn from Victor's warnings and turned back his boat that was destined for danger. Walton still has loved ones, and is alive and unharmed. So if the two main characters left: Walton and the monster, are both either resigned to their fate, or happy to go about it, is this ending qualified as happy? I guess I will have to settle for bittersweet.
Almost Grinning
" A grin was on the face of the monster, he seemed to jeer, as with his fiendish finger he pointed towards the corpse of my wife." - pg 145
The monster has a very recognizable pattern. He always seems to hang around after a kill. He is either peeking in a window, or lurking in shadows, or in some form just waiting for Victor to show up and see his latest kill. Every time this happens, the author describes the monster as "almost grinning" or "seemed to grin" or "seemed to jeer". It reminded me of the first time the monster met Victor on the night of his creation. He stood over Frankenstein's bed and "tried to smile". It seems that, even though he has being trying since his birth, the monster never learned how to smile. Again and again he tries; always meeting Victor at the crime scene with some sort of grimace on his face. The misery and misfortunes the monster experienced are what I believe to be the cause of his almost-smile. He never was happy, ever. So his version of happiness, revenge, appears physically to Victor as ugly as it really is.
The monster has a very recognizable pattern. He always seems to hang around after a kill. He is either peeking in a window, or lurking in shadows, or in some form just waiting for Victor to show up and see his latest kill. Every time this happens, the author describes the monster as "almost grinning" or "seemed to grin" or "seemed to jeer". It reminded me of the first time the monster met Victor on the night of his creation. He stood over Frankenstein's bed and "tried to smile". It seems that, even though he has being trying since his birth, the monster never learned how to smile. Again and again he tries; always meeting Victor at the crime scene with some sort of grimace on his face. The misery and misfortunes the monster experienced are what I believe to be the cause of his almost-smile. He never was happy, ever. So his version of happiness, revenge, appears physically to Victor as ugly as it really is.
Cat and Mouse
"I pursued him, and for many months, this had been my task." -pg 150
Victor has revealed that he is startling like the monster. This may not be too far a stretch, seeing as Victor is in many ways, the creatures father. However, you would think that Victor would do anything in his power to decrease the evil he put in the world by balancing it out with good. Instead, the two, creation and creator, engage in a cat and mouse all over Europe, each intent on exacting revenge on the other, even though both are well aware that the monster is the only one with any real power. The monster has no one to love, and therefore no one to lose. So why does Victor so intent on chasing him? Death might even be a relief to the monster, not a punishment. Victor loves many people, but doesn't seem to care that his consumption with revenge is hurting them. For months on end, the two chase each other. It seems both pointless, and almost silly, like a childish game of cat and mouse.
Victor has revealed that he is startling like the monster. This may not be too far a stretch, seeing as Victor is in many ways, the creatures father. However, you would think that Victor would do anything in his power to decrease the evil he put in the world by balancing it out with good. Instead, the two, creation and creator, engage in a cat and mouse all over Europe, each intent on exacting revenge on the other, even though both are well aware that the monster is the only one with any real power. The monster has no one to love, and therefore no one to lose. So why does Victor so intent on chasing him? Death might even be a relief to the monster, not a punishment. Victor loves many people, but doesn't seem to care that his consumption with revenge is hurting them. For months on end, the two chase each other. It seems both pointless, and almost silly, like a childish game of cat and mouse.
Let Me Help You...
"Peace, peace! Learn my miseries, and do not seek to increase your own." -pg 156
In the very beginning of the novel, Victor assumes a didactic position over Walton. He claims that he will help Walton avoid mistakes that Victor made long before. He assumes this because they are both passionate about their scientific inquiry and very adventurous and daring. While this perspective is not unkind or unhelpful exactly, I don't understand how it is necessary. Walton is pursuing a very vague concept, the north pole. He is merely setting sale on a boat to see what he can find. His path may be very hazardous, but that is where the similarities between his scientific interests and Victor's scientific interests end. Victor was raising the dead, alone and locked in a creepy lab. Walton is on a ship with good men, just looking around for something, anything. How Victor thinks that Walton will do the same as he did, I don't understand. It seems snooty of Victor to assume that just because they have similar passions, that Walton is as flawed and irresponsible as he is.
In the very beginning of the novel, Victor assumes a didactic position over Walton. He claims that he will help Walton avoid mistakes that Victor made long before. He assumes this because they are both passionate about their scientific inquiry and very adventurous and daring. While this perspective is not unkind or unhelpful exactly, I don't understand how it is necessary. Walton is pursuing a very vague concept, the north pole. He is merely setting sale on a boat to see what he can find. His path may be very hazardous, but that is where the similarities between his scientific interests and Victor's scientific interests end. Victor was raising the dead, alone and locked in a creepy lab. Walton is on a ship with good men, just looking around for something, anything. How Victor thinks that Walton will do the same as he did, I don't understand. It seems snooty of Victor to assume that just because they have similar passions, that Walton is as flawed and irresponsible as he is.
The blame game
"During these last days I have been occupied in examining my past conduct, nor do I find it blameable." - pg 161
Finally, a character that notices a futile cause when he sees one. At last, a character looks into reality, realizes he is not to blame, and walks away from whatever questionable task he is performing. In the passage above, Walton claims he does not blame himself for the death of Victor, or the situation he put his men in. His intentions were noble, and he did not do anything against his better judgment. Had he continued on his dangerous quest, he would be culpable for any misfortunes that befell him or his men after that. This is a contrast with all the other characters in the novel.
Unlike Walton, Victor blames himself for everything that is happening AND refuses to stop the vicious cycle of chasing and killing. This is both nonsensical and comparative to the monster. The monster knows that Victor will never give him what he wants, but he continues to kill those close to him anyway. The monster says that his violence is spurred by the wrongs done to him, but still admits that the acts he commits are all his own and not anyone else's. So, I guess in the end, Walton did learn something from Victor: quit while you're ahead and don't play the blame game.
Finally, a character that notices a futile cause when he sees one. At last, a character looks into reality, realizes he is not to blame, and walks away from whatever questionable task he is performing. In the passage above, Walton claims he does not blame himself for the death of Victor, or the situation he put his men in. His intentions were noble, and he did not do anything against his better judgment. Had he continued on his dangerous quest, he would be culpable for any misfortunes that befell him or his men after that. This is a contrast with all the other characters in the novel.
Unlike Walton, Victor blames himself for everything that is happening AND refuses to stop the vicious cycle of chasing and killing. This is both nonsensical and comparative to the monster. The monster knows that Victor will never give him what he wants, but he continues to kill those close to him anyway. The monster says that his violence is spurred by the wrongs done to him, but still admits that the acts he commits are all his own and not anyone else's. So, I guess in the end, Walton did learn something from Victor: quit while you're ahead and don't play the blame game.
Tuesday, April 3, 2012
It's All in the Forecast
"My spirits were elevated by the enchanting appearance of nature; the past was blotted from my memory, the present was tranquil, and the future gilded by bright rays of hope, and anticipations of joy." pg 81
Mary Shelley spends a lot of time explaining the forecast. In fact, the original first words of the story where describing a dark, stormy, rainy night. Flashes of lightning not so accidentally ignite the scene that witnesses the spark of life that similarly ignites the creation with life for the first time. Shelley is also always very specific about what season it is. She marks time by the seasons, not the years, especially when accounting Victor's recovery. She even uses the seasons to describe how the characters grown. Victor and Frankenstein both go through a hard time in winter, but then start to perk up around spring. Shelley uses the weather as a sort of guide or foreshadowing that sets the mood of the action. The current weather conditions, or even just the time of year can be a clue to what is going on with the characters or what will happen next.
Mary Shelley spends a lot of time explaining the forecast. In fact, the original first words of the story where describing a dark, stormy, rainy night. Flashes of lightning not so accidentally ignite the scene that witnesses the spark of life that similarly ignites the creation with life for the first time. Shelley is also always very specific about what season it is. She marks time by the seasons, not the years, especially when accounting Victor's recovery. She even uses the seasons to describe how the characters grown. Victor and Frankenstein both go through a hard time in winter, but then start to perk up around spring. Shelley uses the weather as a sort of guide or foreshadowing that sets the mood of the action. The current weather conditions, or even just the time of year can be a clue to what is going on with the characters or what will happen next.
Inception, Novel Style
"Hear my tale; it is long and strange, and the temperature of this place is not fitting to your fine sensations; come to the hut upon the mountain." Pg 70
None of the characters in this novel may not be dreaming, but they taking part in confusing, folded up, story within a story structure. The frame structure of this story is exhibited when one of the characters start telling a story. And then a character in that story starts telling a story. Originally, the sea captain is telling his sister about his life in his letters. Then Victor Frankenstein, a character in his story, starts telling a story about his life. Then the monster, a character in his story, starts telling his story. So we have a three way story going here. The structure is both confusing and interesting at the same time. The inception style to the novel gives it a mysterious and cryptic feel.
None of the characters in this novel may not be dreaming, but they taking part in confusing, folded up, story within a story structure. The frame structure of this story is exhibited when one of the characters start telling a story. And then a character in that story starts telling a story. Originally, the sea captain is telling his sister about his life in his letters. Then Victor Frankenstein, a character in his story, starts telling a story about his life. Then the monster, a character in his story, starts telling his story. So we have a three way story going here. The structure is both confusing and interesting at the same time. The inception style to the novel gives it a mysterious and cryptic feel.
Two Year Old Genius
"Remember that I am thy creature; I ought to be thy Adam, but I am rather the fallen angel, whom thou drivest from joy for no misdeed." pg 69
The creature is meeting and talking to Victor Frankenstein, his creator, for the first time in two years. Victor is a full grown man. His monster is just a two year old in the terms of the world. So, its ironic that when they meet, Victor greets his brainchild with threats, anger, petulance, and ignorance while the creations greets him with eloquent pleas, supplications, and perfect grammar. Victor tries to talk with his fists, but the monster merely begs for a chance to be heard. When the monster finally gets Victor to calm down, he begins on the tale of how he grew up so quickly.
Its's shocking to hear the monster speak so perfectly. He evens makes biblical allusions like the one quoted above. I had a really hard time believing that he could learn that much in only two years. He also seemed strangely familiar with human ways, terms, and expectations that wouldn't normally come to someone so young in years. It made me wonder about whether or not he has a soul, or a genuine personality. Maybe he's just sort of like a blank computer that you can fill up with information and experiences. Or maybe when he was built, the spark that gave him life even gave him a soul. Either way, he is definitely not what Frankenstein or I expected.
The creature is meeting and talking to Victor Frankenstein, his creator, for the first time in two years. Victor is a full grown man. His monster is just a two year old in the terms of the world. So, its ironic that when they meet, Victor greets his brainchild with threats, anger, petulance, and ignorance while the creations greets him with eloquent pleas, supplications, and perfect grammar. Victor tries to talk with his fists, but the monster merely begs for a chance to be heard. When the monster finally gets Victor to calm down, he begins on the tale of how he grew up so quickly.
Its's shocking to hear the monster speak so perfectly. He evens makes biblical allusions like the one quoted above. I had a really hard time believing that he could learn that much in only two years. He also seemed strangely familiar with human ways, terms, and expectations that wouldn't normally come to someone so young in years. It made me wonder about whether or not he has a soul, or a genuine personality. Maybe he's just sort of like a blank computer that you can fill up with information and experiences. Or maybe when he was built, the spark that gave him life even gave him a soul. Either way, he is definitely not what Frankenstein or I expected.
Monday, April 2, 2012
Impulses
"I had desired it with an ardour that far exceeded moderation; but now that i had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart. Unable to endure the aspect of the being I had created, I rushed out of the room, and continued a long time traversing my bedchamber, unable to compose my mind to sleep." pg 35
The entire chapter before this point spent time building up the creation and the creation process. Victor Frankenstein has spent months, his first year of college, working on the animation of an inanimate project. Shelley makes a point to describe how consuming the process is and how much it taxes Victor. Not only does his social habits deteriorate, but his physical being begins to decay. His eyes are described as popping out of his skull. So months and months of labor and study and stealing bones to make the creation lead up to one dramatized moment. Thunder and lightning are crashing and Victor is marveling at the beauty of his creation. Until it opens it eyes. It's like a light switch goes off and Victor is suddenly terrified of his creation. Just like that, all his feelings toward it changed despite the months before that set up his master piece.
Again, later, Victor sees the creation for the second time and immediately thinks that it killed his brother, William; even though that theory is far fetched and unlikely. Victor is displaying a tendency to make up his mind suddenly and permanently and irrationally. His theories are fear-based very impulsive. This could lead to some interesting plot twists later on.
The entire chapter before this point spent time building up the creation and the creation process. Victor Frankenstein has spent months, his first year of college, working on the animation of an inanimate project. Shelley makes a point to describe how consuming the process is and how much it taxes Victor. Not only does his social habits deteriorate, but his physical being begins to decay. His eyes are described as popping out of his skull. So months and months of labor and study and stealing bones to make the creation lead up to one dramatized moment. Thunder and lightning are crashing and Victor is marveling at the beauty of his creation. Until it opens it eyes. It's like a light switch goes off and Victor is suddenly terrified of his creation. Just like that, all his feelings toward it changed despite the months before that set up his master piece.
Again, later, Victor sees the creation for the second time and immediately thinks that it killed his brother, William; even though that theory is far fetched and unlikely. Victor is displaying a tendency to make up his mind suddenly and permanently and irrationally. His theories are fear-based very impulsive. This could lead to some interesting plot twists later on.
The Women of Frankstein's World
"Elizabeth shone like a shrine-dedicated lamp in our peaceful home. Her sympathy was ours; her smile, her soft voice, the sweet glance of her celestial eyes, were ever there to bless and animate us. She was the living spirit of love to soften and attract: I might become sullen in my study, rough through the ardour of my nature, but that she was there subdue me to a semblance of her own gentleness." pg 20
There are so far three main women in the tale of Frankenstein. The first is his mother, Caroline. Caroline was described as the perfect mother, wife, and charitable women. She was compassionate, gentle, giving, and beautiful. Victor idolizes her. Caroline took pity and adopted Elizabeth, the girl described in the paragraph above. The praise showered on Elizabeth is lavish and extravagant. She is Victor's best friend and confidant, and sometimes it seems she may be a little bit more. However, when Caroline dies, she takes over to run the family affairs and almost becomes the new mother. The third woman, Justine, is a dearly loved girl who is taken in by the Frankensteins when her own mother dies. She is loved and considered a part of the family and another pseudo mother figure to the younger children like William. All three are described highly and reverently. They are clearly different, but Victor reveres them all with the same type of respect.
I got to wondering whether it was Mary Shelley's opinion of women leaking through a it into her main character's voice. Perhaps Shelley is a feminist and regards all women highly and that is why she includes such wonderful female characters in her story. I also wondered maybe Shelley had a deep love for her mother that was perhaps the inspiration for some of the female characters in the novel. For whatever reason, the female figures of Frankenstein's world are all similarly wonderful and idolized.
There are so far three main women in the tale of Frankenstein. The first is his mother, Caroline. Caroline was described as the perfect mother, wife, and charitable women. She was compassionate, gentle, giving, and beautiful. Victor idolizes her. Caroline took pity and adopted Elizabeth, the girl described in the paragraph above. The praise showered on Elizabeth is lavish and extravagant. She is Victor's best friend and confidant, and sometimes it seems she may be a little bit more. However, when Caroline dies, she takes over to run the family affairs and almost becomes the new mother. The third woman, Justine, is a dearly loved girl who is taken in by the Frankensteins when her own mother dies. She is loved and considered a part of the family and another pseudo mother figure to the younger children like William. All three are described highly and reverently. They are clearly different, but Victor reveres them all with the same type of respect.
I got to wondering whether it was Mary Shelley's opinion of women leaking through a it into her main character's voice. Perhaps Shelley is a feminist and regards all women highly and that is why she includes such wonderful female characters in her story. I also wondered maybe Shelley had a deep love for her mother that was perhaps the inspiration for some of the female characters in the novel. For whatever reason, the female figures of Frankenstein's world are all similarly wonderful and idolized.
Tuesday, March 6, 2012
Tragic Hero or Tragic Failure?
" Linda: He loves you Willy!
Happy: (deeply moved). Always did, Pop.
Willy: Oh Biff! (Staring wildly) He cried! Cried to me. (He is choking with his love, and now cries out his promise.) That boy- that boy is going to be magnificent! (Ben appears in the light just outside the kitchen.)
Ben: Yes, outstanding, with twenty thousand behind him!"
This is the point in the novel where Willy officially decides to kill himself. At this point he realizes that Biff actually loves him. He realizes that Biff doesn't hate him for the affair. Willy finally releases himself from the guilt he feels for the affair, and for sending Biff down the path that he has been traveling on since that night. Biff accepts that his failure is his problem, not Willy's. So Willy decides that with his new knowledge that he can better help his son by killing himself, he can give his son one last gift, knowing that Biff will take responsibility from now on. Does this make Willy a tragic hero? Or is he a seriously misguided crazy person talking to visions and living in the past?
First of all, I hate Willy. And I hate this Ben character that keeps showing up and rattling on about Alaska and the diamonds in the African jungle. They both have this shared sense of fame and fortune and both count a man's worth in money and how well the man is liked. One doesn't simply walk into a jungle at seventeen then walk out rich at twenty one, that's baloney. And even if he did, would that make him happy? The both of them keep pushing this concept of 'making your fortune' on Biff as if living a happy life isn't enough, you must be rich and like also. This is certainly a flaw, but I don't see how it is tragic, since a tragic flaw is usually a good quality that goes awry. This flaw is already awry.
But Willy sacrifices his own life to offer his son one last chance to make a life. Is that selfish? Or is it heroic? And is Biff even grateful? Wouldn't a son rather have his father alive, even if it meant less money?
I can't tell. My prejudice makes me think he's a tragic failure, but that's just me.
Happy: (deeply moved). Always did, Pop.
Willy: Oh Biff! (Staring wildly) He cried! Cried to me. (He is choking with his love, and now cries out his promise.) That boy- that boy is going to be magnificent! (Ben appears in the light just outside the kitchen.)
Ben: Yes, outstanding, with twenty thousand behind him!"
This is the point in the novel where Willy officially decides to kill himself. At this point he realizes that Biff actually loves him. He realizes that Biff doesn't hate him for the affair. Willy finally releases himself from the guilt he feels for the affair, and for sending Biff down the path that he has been traveling on since that night. Biff accepts that his failure is his problem, not Willy's. So Willy decides that with his new knowledge that he can better help his son by killing himself, he can give his son one last gift, knowing that Biff will take responsibility from now on. Does this make Willy a tragic hero? Or is he a seriously misguided crazy person talking to visions and living in the past?
First of all, I hate Willy. And I hate this Ben character that keeps showing up and rattling on about Alaska and the diamonds in the African jungle. They both have this shared sense of fame and fortune and both count a man's worth in money and how well the man is liked. One doesn't simply walk into a jungle at seventeen then walk out rich at twenty one, that's baloney. And even if he did, would that make him happy? The both of them keep pushing this concept of 'making your fortune' on Biff as if living a happy life isn't enough, you must be rich and like also. This is certainly a flaw, but I don't see how it is tragic, since a tragic flaw is usually a good quality that goes awry. This flaw is already awry.
But Willy sacrifices his own life to offer his son one last chance to make a life. Is that selfish? Or is it heroic? And is Biff even grateful? Wouldn't a son rather have his father alive, even if it meant less money?
I can't tell. My prejudice makes me think he's a tragic failure, but that's just me.
Guilty Conscience: Climax
" 'Now listen pal, she's just a buyer. She sees merchandise in her room and they have to keep it looking just so... Now stop crying and do as I say. I gave you an order. Biff, I gave you an order! Is that what you do when I give you an order? How dare you cry! (Putting his arm around Biff) Now look, Biff, when you grow up you'll understand about these things. You mustn't- you mustn't overemphasize a thing like this. I'll see Birnbaum first thing in the morning.' Biff: 'Nevermind' ". pg 1617
This is the clear climax of the story. All the characters have been lead by varying degrees and occasions of failure to this point. Willy lost his job, his faith in the worth of life, and his sanity. Biff realized he can't get a job with Oliver and has nowhere to go. Happy has yet to settle down. And Linda just waits around for all of them to find their happiness. They meet at the restaurant after traveling all these paths of failure and it all explodes in one more flashback to where it all started. The scene above is the source of the tension between Biff and Willy, at last it is revealed. Willy is guilty because Biff found out about his unfaithfulness to Linda. Since then, Biff has been nothing but a restless failure, which further intensifies the blame Willy feels that his infidelity caused this pattern to start.
The fact that Willy tries to cover up his infidelity with a story of salesman's life is significant. She may even be an actual buyer, the story Willy spins could even be true. But when you're on the road, selling, selling, selling, seeing only the monetary pleasure in each item, you can lose you're center and do things such as cheat on a wife that is more than you could ever ask for. The life of a salesman can have painful side affects.
This is the clear climax of the story. All the characters have been lead by varying degrees and occasions of failure to this point. Willy lost his job, his faith in the worth of life, and his sanity. Biff realized he can't get a job with Oliver and has nowhere to go. Happy has yet to settle down. And Linda just waits around for all of them to find their happiness. They meet at the restaurant after traveling all these paths of failure and it all explodes in one more flashback to where it all started. The scene above is the source of the tension between Biff and Willy, at last it is revealed. Willy is guilty because Biff found out about his unfaithfulness to Linda. Since then, Biff has been nothing but a restless failure, which further intensifies the blame Willy feels that his infidelity caused this pattern to start.
The fact that Willy tries to cover up his infidelity with a story of salesman's life is significant. She may even be an actual buyer, the story Willy spins could even be true. But when you're on the road, selling, selling, selling, seeing only the monetary pleasure in each item, you can lose you're center and do things such as cheat on a wife that is more than you could ever ask for. The life of a salesman can have painful side affects.
Salesmanship
"Charlie: 'Willy, when're you gonna realize that them things don't mean anything? You named him Howard, but you can't sell that. The only thing you got in this world is what you can sell. And the funny thing is that you're a salesman, and you don't know that.' " pg 1602
A common theme circulation throughout all acts of "Death of a Salesman" is the concept of worth and how it factors into life as a salesman. Willy spends a lot of his time complaining about how appliances such as fridges and cars that he thought he just bought were already falling apart. Willy thinks that things that cost money should be expected to last. However, Willy also believes in things that don't cost money. This fact is revealed about Willy in the scene above where Charlie is quoted. Unfortunately, in this scene is dispossessed of this idea, the idea that even things you can't buy with money still have worth. Until know, the audience can assume one of the reasons Willy hasn't killed managed to kill himself yet is that he knows that he still has worth alive, no matter how he might feel the opposite is true sometimes. Just a few lines after Charlie utters this speech, Willy reflects on how since he paid his insurance, he is worth more dead than alive. Charlie tries to undo the damage his quote unintentionally did, but he can't. Willy kills himself later that night.
Willy's realization in this scene is a depressingly tragic theme that questions the concept of worth and where it truly lies. Especially in the life of a salesman, worth can be confusing and get muddled up with all the quotas and dollar signs that involved in the life of a salesman. The life was so hard on Willy that his final sale ended up being his own life.
A common theme circulation throughout all acts of "Death of a Salesman" is the concept of worth and how it factors into life as a salesman. Willy spends a lot of his time complaining about how appliances such as fridges and cars that he thought he just bought were already falling apart. Willy thinks that things that cost money should be expected to last. However, Willy also believes in things that don't cost money. This fact is revealed about Willy in the scene above where Charlie is quoted. Unfortunately, in this scene is dispossessed of this idea, the idea that even things you can't buy with money still have worth. Until know, the audience can assume one of the reasons Willy hasn't killed managed to kill himself yet is that he knows that he still has worth alive, no matter how he might feel the opposite is true sometimes. Just a few lines after Charlie utters this speech, Willy reflects on how since he paid his insurance, he is worth more dead than alive. Charlie tries to undo the damage his quote unintentionally did, but he can't. Willy kills himself later that night.
Willy's realization in this scene is a depressingly tragic theme that questions the concept of worth and where it truly lies. Especially in the life of a salesman, worth can be confusing and get muddled up with all the quotas and dollar signs that involved in the life of a salesman. The life was so hard on Willy that his final sale ended up being his own life.
Monday, February 27, 2012
Patterns Repeating: Characterization
"Amanda: (to her son). 'Honey, don't push with your fingers. If you have to push with something, the thing to push with is a crust of bread. And chew-chew! Animals have sections in their stomachs which enable them to digest food without mastication, but human beings are supposed to chew their food before they swallow it down. Eat food leisurely, son, and really enjoy it. A well-cooked meal has lots of delicate flavors that have to be held in the mouth for appreciation. So chew your food and give your salivary glands a chance to function!' "
This is the first thing Amanda says to Tom in the whole play. It's quite the opening speech. She makes several speeches like this, but this is the first. Amanda is the drama queen of the play, a characterization that is most likely dramatized by the fact that this play is reconstructed from a memory. When she and Tom fight, she flies into a fit of rage and refuses to speak to him until she apologizes. When he apologizes, she immediately starts back in the with the obnoxious speeches and bossiness. Amanda has the most obviously dramatized persona (of the nagging mother that drives away her son), but the other characters have them, too. Laura is the all too fragile and delicate sister that can barely stand to go to school or even open the door for a gentleman caller. Tom is the dreamy and poetic warehouse worker who is stuck living paycheck to paycheck with no way of getting out to find his big adventure. As Tom admits in the beginning narration, the play is a memory, and therefore subject to the reconstruction that memory is. This perhaps why the characters assume somewhat predictable and repeating actions and personas.
This is the first thing Amanda says to Tom in the whole play. It's quite the opening speech. She makes several speeches like this, but this is the first. Amanda is the drama queen of the play, a characterization that is most likely dramatized by the fact that this play is reconstructed from a memory. When she and Tom fight, she flies into a fit of rage and refuses to speak to him until she apologizes. When he apologizes, she immediately starts back in the with the obnoxious speeches and bossiness. Amanda has the most obviously dramatized persona (of the nagging mother that drives away her son), but the other characters have them, too. Laura is the all too fragile and delicate sister that can barely stand to go to school or even open the door for a gentleman caller. Tom is the dreamy and poetic warehouse worker who is stuck living paycheck to paycheck with no way of getting out to find his big adventure. As Tom admits in the beginning narration, the play is a memory, and therefore subject to the reconstruction that memory is. This perhaps why the characters assume somewhat predictable and repeating actions and personas.
Horses with Horns: Symbology
"Laura (smiling): 'I'll just imagine he had an operation. The horn was removed to make him feel less- freakish! (They both laugh) Now he will feel more at home with the other horses, the ones that don't have horns.' " pg 1283
Laura is definitely a peculiar woman. She has fits of "indigestion" whenever she gets out of her comfort zone. She refuses to go to the business school that her mother paid tuition for; instead she walks around town all day visiting museums all day. Simple things such as little glass figures fascinate her, however. She's quite, shy, and uncomfortable in foreign situations. So it's odd when Jim O'Connor reappears from her past and erases all her fears and insecurities with a candlelit conversation and a dance in the living room. He's very charming, and dives right into very personal conversations right away, something I expected to scare Laura off. She wouldn't even answer the door an hour ago! It might be because he was someone she knew before, but still, Laura looses her fear as quickly as the small glass unicorn broke her horn off.
The unicorn is a symbol for Laura. Jim swept in and broke off her "freakish" horn and made her into a "normal" girl. I didn't think she needed her horn broken off. There was nothing wrong with her to begin with. Sure, it's nice for her to feel normal and be more confident in who she is. But I don't think her probably fleeting confidence should have come at the expense of her loosing what makes her special. So it's probably for the best that Jim didn't stick around. He was around long enough to make her feel special and capable, but didn't stay long enough to change her completely. Maybe she could glue her horn back on...
Laura is definitely a peculiar woman. She has fits of "indigestion" whenever she gets out of her comfort zone. She refuses to go to the business school that her mother paid tuition for; instead she walks around town all day visiting museums all day. Simple things such as little glass figures fascinate her, however. She's quite, shy, and uncomfortable in foreign situations. So it's odd when Jim O'Connor reappears from her past and erases all her fears and insecurities with a candlelit conversation and a dance in the living room. He's very charming, and dives right into very personal conversations right away, something I expected to scare Laura off. She wouldn't even answer the door an hour ago! It might be because he was someone she knew before, but still, Laura looses her fear as quickly as the small glass unicorn broke her horn off.
The unicorn is a symbol for Laura. Jim swept in and broke off her "freakish" horn and made her into a "normal" girl. I didn't think she needed her horn broken off. There was nothing wrong with her to begin with. Sure, it's nice for her to feel normal and be more confident in who she is. But I don't think her probably fleeting confidence should have come at the expense of her loosing what makes her special. So it's probably for the best that Jim didn't stick around. He was around long enough to make her feel special and capable, but didn't stay long enough to change her completely. Maybe she could glue her horn back on...
Adventure is Out There!
"Tom: 'I'm starting to coil inside. I know I seem dreamy, but inside-well, I'm boiling!- Whenever I pick up a shoe, I shudder a little thinking how short life is and what I am doing!- Whatever that means, I know it doesn't mean shoes- except as something to wear on a traveler's feet!" pg 1268
The "spirit of adventure" is a common phrase of the adorable Disney movie "Up". It is so powerful that it moves an old man, a small wilderness scout, and a floating house on a big adventure to South America. However, the main character in "The Glass Menagerie" proves to us that the spirit of adventure is not always so cute and positive. It is elusive, and tempting, and taunting. It drives Tom to the "movies" every night until early in the morning. It drove away his father from his loving family. And Tom openly admits that he s following in his father's footsteps. He leaves his sister and his mother alone with the lights literally out. Tom considers himself an amateur poet and thinks that he can write his way to fame and fortune and other vague somethings that he can't seem to get out of his mind. His family, his life, nothing is powerful enough to keep him home when the spirit of adventure is calling him. The burden of paying and providing for his family was too much. The burden of his family pushes Tom to pursue a spirit of adventure that leads him not to South Africa in a house aloft with helium balloons, but one that is much more sour.
The "spirit of adventure" is a common phrase of the adorable Disney movie "Up". It is so powerful that it moves an old man, a small wilderness scout, and a floating house on a big adventure to South America. However, the main character in "The Glass Menagerie" proves to us that the spirit of adventure is not always so cute and positive. It is elusive, and tempting, and taunting. It drives Tom to the "movies" every night until early in the morning. It drove away his father from his loving family. And Tom openly admits that he s following in his father's footsteps. He leaves his sister and his mother alone with the lights literally out. Tom considers himself an amateur poet and thinks that he can write his way to fame and fortune and other vague somethings that he can't seem to get out of his mind. His family, his life, nothing is powerful enough to keep him home when the spirit of adventure is calling him. The burden of paying and providing for his family was too much. The burden of his family pushes Tom to pursue a spirit of adventure that leads him not to South Africa in a house aloft with helium balloons, but one that is much more sour.
Saturday, February 18, 2012
Changes of Heart
" 'Duke Frederick, hearing how that every day/ Men of great worth resorted to this forest,/ Address'd a mighty power; which were on foot,/ In his own conduct, purposely to take/ His brother here and put him to the sword./ And to the skirts of this wild wood he came;/ Where meeting with an old religious man,/ After some question with him, was converted/ Both from his enterprise and from the world/ His crown bequeathing to his banish brother,' " V.iv. pg 78
This is just one example of the quick "changes of heart" that occur multiple times in the course of this play. The other most significant one is when Oliver decides to love his brother after Orlando saves him form a snake and a lion. These changes of heart are one of the greatest factors that make this play a satire rather than a legitimate example of romance. Rosalind in the epilogue implores the audience to appreciate the play as much as they desire, but to consider it carefully, which helps the audience understand that the love at first sight in the play was more of a joke than actual romance. Besides love at first sight, the quick changes of heart that Oliver and Duke Frederick experience are the closest examples of satire in the play. They make the fast paced action seem more satirical, which was Shakespeare's intent all along. The fact that the others characters accept the changed characters without question is even further testament. The ridiculously happy ending is the final addition that makes the play an official mockery of the chick flicks and paperback romances that must have existed in Shakespeare's time as well as our own.
This is just one example of the quick "changes of heart" that occur multiple times in the course of this play. The other most significant one is when Oliver decides to love his brother after Orlando saves him form a snake and a lion. These changes of heart are one of the greatest factors that make this play a satire rather than a legitimate example of romance. Rosalind in the epilogue implores the audience to appreciate the play as much as they desire, but to consider it carefully, which helps the audience understand that the love at first sight in the play was more of a joke than actual romance. Besides love at first sight, the quick changes of heart that Oliver and Duke Frederick experience are the closest examples of satire in the play. They make the fast paced action seem more satirical, which was Shakespeare's intent all along. The fact that the others characters accept the changed characters without question is even further testament. The ridiculously happy ending is the final addition that makes the play an official mockery of the chick flicks and paperback romances that must have existed in Shakespeare's time as well as our own.
Orlando: In love or Insane?
" 'Run, run, Orlando; carve on every tree/ The fair, the chaste and unexpressive she.' " III. ii. pg 35.
Orlando falls in love with Rosalind in about 13.6 seconds. He spends a lot of time in the play trying to prove it. Orlando speaks the line above to himself very soon after he arrives in the forest. He spends the next few scenes running around writing love sonnets and proclamation on the trees, effectively defacing them. When Rosalind follows him into the forest, and is in disguise, she spends some time questioning him about his true love. Orlando thinks that she is Ganymede, and answers to convince Ganymede of his genuine love for Rosalind. Rosalind keeps her identity a disguise so she can find out Orlando's true feelings. Orlando's love is called into question by a few characters in this story, and also by me. I had a hard time believing he was really in love, given the short amount of time that he had known or spoken to Rosalind, but also by the fact that he answered Rosalind's questions so ridiculously. When Rosalind asked him what he would do if his love was around, Orlando answered that he would kiss then speak. Rosalind corrected him, saying that he should rather speak first. Conversations such as these make Orlando seem flawed in his intentions. And instances such as his tree-carving escapades make Orlando seem flawed in his sanity. Is he in love or not?
Orlando falls in love with Rosalind in about 13.6 seconds. He spends a lot of time in the play trying to prove it. Orlando speaks the line above to himself very soon after he arrives in the forest. He spends the next few scenes running around writing love sonnets and proclamation on the trees, effectively defacing them. When Rosalind follows him into the forest, and is in disguise, she spends some time questioning him about his true love. Orlando thinks that she is Ganymede, and answers to convince Ganymede of his genuine love for Rosalind. Rosalind keeps her identity a disguise so she can find out Orlando's true feelings. Orlando's love is called into question by a few characters in this story, and also by me. I had a hard time believing he was really in love, given the short amount of time that he had known or spoken to Rosalind, but also by the fact that he answered Rosalind's questions so ridiculously. When Rosalind asked him what he would do if his love was around, Orlando answered that he would kiss then speak. Rosalind corrected him, saying that he should rather speak first. Conversations such as these make Orlando seem flawed in his intentions. And instances such as his tree-carving escapades make Orlando seem flawed in his sanity. Is he in love or not?
Jaques: Foil Character
" 'I have neither the scholar's melancholy, which is emulation; nor the musician's, which is fantastical; nor the courtier's, which is proud; nor the soldier's, which is ambitious; nor the lawyer's which is politic; nor the lady's, which is nice; nor the lover's, which is all of these: but it is a melancholy of mine own, compounded of many simples, extracted from many objects; and indeed the sundry contemplation of my travels, in which my often rumination wraps me in a most humorous sadness.' " IV.i. pg 55.
Shakespeare makes a point of using slightly ridiculous characters. They all fall in love at first sight, or make rash decisions, or make very sudden changes of heart. The ridiculous nature of the plot line and the characters in it may be satire of typical love stories, but it is often a little hard to realize it. Jaques is the character that helped me realize that this play was actually a mockery of romances.
The other characters are very stereotypically romantic. They fall in love very quickly and therefore often get happy or sad at the drop of a hat. However, Jaques remains consistently melancholy. His nickname is "Jaques the Melancholy". He even admits in the passage above that he is always in a state of "humorous sadness". His unlikely attitude is very out of place in a love story, which makes the rest of the other characters seem that much more ridiculous. When comparing his actions and speech with that of the others', it becomes more clear that he is a foil character to almost all them. And his purpose is to demonstrate other a contrast so the audience can see that the play is a satire of obnoxious romances.
Shakespeare makes a point of using slightly ridiculous characters. They all fall in love at first sight, or make rash decisions, or make very sudden changes of heart. The ridiculous nature of the plot line and the characters in it may be satire of typical love stories, but it is often a little hard to realize it. Jaques is the character that helped me realize that this play was actually a mockery of romances.
The other characters are very stereotypically romantic. They fall in love very quickly and therefore often get happy or sad at the drop of a hat. However, Jaques remains consistently melancholy. His nickname is "Jaques the Melancholy". He even admits in the passage above that he is always in a state of "humorous sadness". His unlikely attitude is very out of place in a love story, which makes the rest of the other characters seem that much more ridiculous. When comparing his actions and speech with that of the others', it becomes more clear that he is a foil character to almost all them. And his purpose is to demonstrate other a contrast so the audience can see that the play is a satire of obnoxious romances.
Monday, February 13, 2012
Interactive Othello Reflection
Obviously, Shakespeare isn’t always the favorite topic of high school students. However, it is undeniable fact that Shakespeare’s plays are renowned as masterfully crafted tales of betrayal, love, and humor that present situations and events that touch readers and audiences because of their universal and timeless nature. The themes and the way they are presented in Shakespeare’s works are popular because audiences find their lines and soliloquies applicable to life hundreds of years later. In particular, Shakespeare’s “Othello” and the wicked manipulation, betrayal, love, and tragedy that the play bases itself on is an especially relevant work. In testimony to its universal nature, other, more modern, members of the creative community have also worked with the concepts that Othello touches on, specifically manipulation and how it affects a budding relationship like that of Othello and Desdemona.
The lies that Iago whispered in Othello’s ear were the scissors that cut short the marriage of Othello and Desdemona too soon. Some of these lies included the infamous and fatal one involving the hankercheif and Iago’s claim that Desdemona gave it to Cassio even though it was a gift from Othello to her, thus officially signifying her preference for Cassio over him. This lie was the last straw for Othello who soon afterward decided his wife had to die and their marriage along with her (“Othello”). Marge Piercy, a poet of the 1930’s, offered an analogous poem about a bonsai tree that “could have grown eighty feet tall”. However, there was a gardener that pruned it, keeping it short at nine inches. The particularly applicable line of the poem reads: “With living creatures one must begin very early to dwarf their growth: the bound feet, the crippled brain,” (“A Work of Artifice”). Othello and Desdemona’s marriage is the living creature, dwarfed, bound, and crippled by Iago’s artifice. It had the potential to become a great, long-lasting covenant, but it was doomed from the start by the shears of Iago the gardener. Here, two writers hundreds of years apart have depicted the same picture in completely different ways. The images of both the poem and the events of the play combined are a testimony of how artifice is an element of human nature, and therefore timeless and universal. Here is a link to "A Work of Artifice" in it's entirety: http://www.poemhunter.com/poem/a-work-of-artifice/
Another, more diverse, form of artistic creation is music. A particularly prolific and popular band, Mumford and Sons, wrote “Lover’s Eye’s” in 2010 about a relationship gone sour due to doubts and uncertainties. This song definitely expresses some of the sentiments that Othello must have been feeling when Iago was feeding him suspicions about his beloved wife, Desdemona. The very first line of the song, “Love was kind, for a time, now just aches and it makes me blind” is an apt description of how Othello’s love for Desdemona combined with the belief that she was sleeping with another man turned his love into a curse rather than the blessing that it really was. The chorus is another great example of how the couple’s relationship was afflicted by Iago’s lies: “But do not ask the price I pay, I must live with my quiet rage. Tame the ghosts in my head, that run wild and wish me dead. Should you shake my ash to the wind, Lord, forget all of my sins. Oh, let me die where I lie ‘neath the curse of my lover's eyes,” (“Lover’s Eye’s”). Othello is feeling rage, experiencing the ghosts of suspicion that plague his marriage, plans on committing the sin of killing his wife, and eventually dies with his lover. This song expresses the results of the pruning of the bonsai tree that is an analogy of Iago’s manipulation and how it ultimately destroyed a young and potentially wonderful marriage. Here is a link to the full lyrics of "Lover's Eye's":http://www.azlyrics.com/lyrics/mumfordsons/loverseyes.html
Artifice is a dangerous tool, but an unfortunate reality and occurrence of human life. Shakespeare wrote a play about it. Marge Piercy wrote a poem about it. Mumford and Sons wrote a song about how it destroys a relationship. All these artists are separated by at least seventy years, and in Shakespeare’s case, many more. Not only are the spread out across time, but all three works are enjoyed and examined by people all over the world. William Shakespeare knew lies have wicked consequences and “Othello” was only one of many creative products to relate these consequences in a memorable, universal, and timeless fashion.
Works Cited
Mumford, Marcus. "Lover's Eyes." Perf. Ben Lovett, Country Marshall, and Ted Dwane. Sigh
No More. Mumford and Sons. Markus Dravs, 2009. CD.
Perrine, Laurence. “Othello.” Perrine’s Literature: Structure, Sound, and Sense, Fort Worth.
Harcourt College. 2002. 1361-462. Print.
Perrine, Laurence. “A Work of Artifice.” Perrine’s Literature: Structure, Sound, and Sense, Fort
Worth. Harcourt College. 2002. 1077. Print.
Monday, February 6, 2012
Othello's Song
Undeniably, Othello's predicament in "Othello" make for excellent song writing. He experiences peace, feels love, endures betrayal, expresses rage, and finally had deep remorse. There is a plethora of songs that express one or more of these different emotions, but the one I think Othello would most likely sing that most accurately sums up his feelings of betrayal from both Desdemona and Cassio would be "White Blank Page" by Mumford and Sons. Of course, there was no actual affair. But this is a song that I envision Othello singing right before he kills Desdemona, right before he figures out that none of the rumors Iago fed him were actual truths. Here is a link to the full lyrics:
http://www.lyricsmania.com/white_blank_page_lyrics_mumford_and_sons.html
The introductory verse into the song is an expression of what Othello would say to Cassio, a man he loved, trusted, and had even given the honor of the title Lieutenant to. The lyrics repeatedly ask how Cassio could lay next to Desdemona and give her his body in good conscious. The last verse is particularly applicable to Cassio and Othello because it references how Casso shouldn't be able to kneel before a "king" (Othello sort of) and call himself "clean".
Heading into the chorus, the rhetorical questioning turns from grilling Cassio on his choice, but now to Desdemona. He asks her where his fault was in loving her with his whole heart. I think this is an accurate portrayal of something Othello might say, because he really loved her and this love was what made the alleged betrayal so painful.
Later, the lyrics say "Lead me to the truth and I will follow you with my whole life". Desdemona tried to show him the truth, and when he finally learned it he literally followed her with his life. As in, he killed himself in out of anguish, joining her in death.
Overall, the song portrays the emotions of Othello before he learns the truth with accuracy and awesome lyrics. Here is a picture of Mumford and Sons:
http://www.lyricsmania.com/white_blank_page_lyrics_mumford_and_sons.html
The introductory verse into the song is an expression of what Othello would say to Cassio, a man he loved, trusted, and had even given the honor of the title Lieutenant to. The lyrics repeatedly ask how Cassio could lay next to Desdemona and give her his body in good conscious. The last verse is particularly applicable to Cassio and Othello because it references how Casso shouldn't be able to kneel before a "king" (Othello sort of) and call himself "clean".
Heading into the chorus, the rhetorical questioning turns from grilling Cassio on his choice, but now to Desdemona. He asks her where his fault was in loving her with his whole heart. I think this is an accurate portrayal of something Othello might say, because he really loved her and this love was what made the alleged betrayal so painful.
Later, the lyrics say "Lead me to the truth and I will follow you with my whole life". Desdemona tried to show him the truth, and when he finally learned it he literally followed her with his life. As in, he killed himself in out of anguish, joining her in death.
Overall, the song portrays the emotions of Othello before he learns the truth with accuracy and awesome lyrics. Here is a picture of Mumford and Sons:
Thursday, February 2, 2012
Dramatic Irony Creates Suspense (#4)
" 'Honest Iago hath ta'en order for 't.' " V. ii. v 72.
I literally want to beat my head against the wall. Othello refuses to stop calling Iago "honest". Now I realize that he can't see all that I can or hear the exposition of Iago's plans to the audience, but seriously. If he was truly so in love with Desdemona, why can't he stop for just a second to listen to her? Why is death the only option in Shakespeare's plays? Wife cheated? Kill her! Friend betrayed you? Kill him! Don't like somebody? Kill them! It's ridiculous. But then again, this is a tragedy written by Shakespeare. Somebody has to die. In the mean time, let's drive the audience nuts with suspense created through dramatic irony.
The dramatic irony comes from all the exposition Iago has with the audience. We understand his plan and can see how all the characters accidentally interact without knowing it, but they cannot. So Othello, however rash, doesn't have that much reason to mistrust Iago and take action on his advice. The suspense happens while the audience is sitting on the edge of seats, waiting for Othello to figure out how stupid he has been. Especially in the fifth act, when everything is coming to light, it seems to take a year for Othello to realize that he has been the victim of dramatic irony this whole time. The suspense climaxes and ends in a stab battle which leaves three dead bodies lying on bed with Iago smiling evilly on top of them (in the movie that is). Yup, this is a tragedy.
I literally want to beat my head against the wall. Othello refuses to stop calling Iago "honest". Now I realize that he can't see all that I can or hear the exposition of Iago's plans to the audience, but seriously. If he was truly so in love with Desdemona, why can't he stop for just a second to listen to her? Why is death the only option in Shakespeare's plays? Wife cheated? Kill her! Friend betrayed you? Kill him! Don't like somebody? Kill them! It's ridiculous. But then again, this is a tragedy written by Shakespeare. Somebody has to die. In the mean time, let's drive the audience nuts with suspense created through dramatic irony.
The dramatic irony comes from all the exposition Iago has with the audience. We understand his plan and can see how all the characters accidentally interact without knowing it, but they cannot. So Othello, however rash, doesn't have that much reason to mistrust Iago and take action on his advice. The suspense happens while the audience is sitting on the edge of seats, waiting for Othello to figure out how stupid he has been. Especially in the fifth act, when everything is coming to light, it seems to take a year for Othello to realize that he has been the victim of dramatic irony this whole time. The suspense climaxes and ends in a stab battle which leaves three dead bodies lying on bed with Iago smiling evilly on top of them (in the movie that is). Yup, this is a tragedy.
Iago's Silence
" 'Demand me nothing. What you know, you know./ From this time forth I never will speak word.' "
V. ii. v 302-303.
Up to this point, I had assumed that Iago is the protagonist in this play. And he is. Therefore, I assumed that when the climax and corresponding bloodbath began, he would be all over it. I expected boasting, bragging, gloating, and a slue of mocking taunts to the characters that had been his puppets for the past four acts. But as quoted in the line above, he merely leaves his victims to their own mistakes without exposition that he has been so fond of up until this point. I found this strange and very uncharacteristic.
The product of this strange silence on Iago's part is an intriguing way to end the story. It creates and unsatisfied, neglected feeling with the audience that is not completely unpleasant. It leaves the audience wanting a little more. This may not be what Shakespeare intended when he wrote the play. I'm not sure whether he was aware that Iago's silence produced this effect, but it was certainly effective in making me ponder whether Iago found any pleasure in his success and what his silence could possibly mean.
V. ii. v 302-303.
Up to this point, I had assumed that Iago is the protagonist in this play. And he is. Therefore, I assumed that when the climax and corresponding bloodbath began, he would be all over it. I expected boasting, bragging, gloating, and a slue of mocking taunts to the characters that had been his puppets for the past four acts. But as quoted in the line above, he merely leaves his victims to their own mistakes without exposition that he has been so fond of up until this point. I found this strange and very uncharacteristic.
The product of this strange silence on Iago's part is an intriguing way to end the story. It creates and unsatisfied, neglected feeling with the audience that is not completely unpleasant. It leaves the audience wanting a little more. This may not be what Shakespeare intended when he wrote the play. I'm not sure whether he was aware that Iago's silence produced this effect, but it was certainly effective in making me ponder whether Iago found any pleasure in his success and what his silence could possibly mean.
Camera Conversations (# 8)
" 'Now will I question Cassio of Bianca,/A housewife that be selling her desires/ Buys herself bread and clothes. It is a creature/ That dotes on Cassio, as 'tis the strumpet's plague/ To beguile many and be beguiled by one./ He, when he hears of her, cannot refrain/ From the excess of laughter. Here he comes. ' " IV. i. v91-97.
Something I noticed while watching the movie of this play in class is that Iago is very fond of staring at the camera and making speeches. This made me read the parts of the play where these speeches were written a little more. Before I had seen Iago staring into the camera and talking to the obvious audience, I had felt like the soliliquies were merely Iago thinking aloud to himself. But now, by seeing the play acted out on a cinematic stage, I can tell that the speeches were written for a different reason. I can tell that Shakespeare envisions the action he writes about on a stage. He empathizes with what the audience can see and understand by the dialogue alone, and adds in exposition where it is necessary to make the audience gets the full effect of what was happening. The above quote is one of the best instances of this happening. If this exposition was not included, I would have had no idea what was going on or how it contributed to Othello's manipulation.
The use of exposition is intended for the audience and their complete understanding of what is happening. Whether this be a close up camera shot of Iago on camera, or a soliloquy on stage, the exposition of Shakespeare shows how well he understood the business of play writing for an audience.
Something I noticed while watching the movie of this play in class is that Iago is very fond of staring at the camera and making speeches. This made me read the parts of the play where these speeches were written a little more. Before I had seen Iago staring into the camera and talking to the obvious audience, I had felt like the soliliquies were merely Iago thinking aloud to himself. But now, by seeing the play acted out on a cinematic stage, I can tell that the speeches were written for a different reason. I can tell that Shakespeare envisions the action he writes about on a stage. He empathizes with what the audience can see and understand by the dialogue alone, and adds in exposition where it is necessary to make the audience gets the full effect of what was happening. The above quote is one of the best instances of this happening. If this exposition was not included, I would have had no idea what was going on or how it contributed to Othello's manipulation.
The use of exposition is intended for the audience and their complete understanding of what is happening. Whether this be a close up camera shot of Iago on camera, or a soliloquy on stage, the exposition of Shakespeare shows how well he understood the business of play writing for an audience.
Thursday, January 26, 2012
Desdemona of Athens or Cyprus
"Cassio: She that I spake of, our great Captain's captain,/ Left in the conduct of the bold Iago,/ Whose footing here anticipates our thoughts/ A sennight's speed. Great Jove, Othello guard,/ And swell his sail with thine own powerful breath,/ That he may bless this bay with his tall ship,/ Make love's quick pants in Desdemona's arms,/ Give renewed fire to our extincted spirits,/ And bring all Cyprus comfort.. Oh, behold,/The riches of the ship is come on shore!/ Ye men of Cyprus, let her have your knees./ Hail to thee, lady! And the grace of Heaven,/ Before, behind thee, and on every hand,/ Enwheel thee round!" II.i.v 74-87
Desdemona of Cyprus reminds me very much of Helen of Athens. Helen is renowned legend as the woman whose face started the war. Desdemona's intelligence and beauty is starting all sorts of similar battles that I think will inevitably erupt into a full out war. First, she marries Othello, infuriating and deceiving her father, Brabantio. Then, with help from Iago, just about every man falls in love with her in turn. Roderigo is smitten from the start. Cassio, as quoted above, admires her beauty; he seeks her counsel and perhaps more. Even Iago has conceded that he might try to sleep with her for revenge. "Wife for wife" was his specific claim. Something about her has all these men seeking her affection out and causing all sorts of problems and jealousy.
Now, she is not the protagonist. Iago is clearly driving the action. He has a large part in convincing Roderigo to pursue her, and then Cassio to seek her help. So Desdemona's own merit isn't always the cause of the main action, but she has a lot to do with it.
Perhaps Desdemona's beauty cannot compare to that of Helen of Athens, but her face is spark enough to inflame this play by Shakespeare.
Desdemona of Cyprus reminds me very much of Helen of Athens. Helen is renowned legend as the woman whose face started the war. Desdemona's intelligence and beauty is starting all sorts of similar battles that I think will inevitably erupt into a full out war. First, she marries Othello, infuriating and deceiving her father, Brabantio. Then, with help from Iago, just about every man falls in love with her in turn. Roderigo is smitten from the start. Cassio, as quoted above, admires her beauty; he seeks her counsel and perhaps more. Even Iago has conceded that he might try to sleep with her for revenge. "Wife for wife" was his specific claim. Something about her has all these men seeking her affection out and causing all sorts of problems and jealousy.
Now, she is not the protagonist. Iago is clearly driving the action. He has a large part in convincing Roderigo to pursue her, and then Cassio to seek her help. So Desdemona's own merit isn't always the cause of the main action, but she has a lot to do with it.
Perhaps Desdemona's beauty cannot compare to that of Helen of Athens, but her face is spark enough to inflame this play by Shakespeare.
Manipulation (question 1)
"Iago: ... And will as tenderly be led by the nose/ As asses are." II. ii. v 381-382
The plans and schemes that Iago starts to hatch around the second act of the play are extremely brilliant and complicated. However, I can't help wonder whether they are realistic. The conventions and assumptions that Shakespeare uses to make the characters follow Iago's bidding seem far to convenient. While I realize that Iago is incredibly smart, and character's like Roderigo that his is trying to control are inferior to him, I still can't help think that things are flowing a little too smoothly for this play to be very realistic.
For instance, Iago's attempts to make Roderigo forgo the drowning and play as his puppet in getting Cassio to drink then fight Montano are just a little to perfectly performed. With a few turns of phrase, Iago can make Roderigo do anything. Another example is Cassio. It is made clear that there is nothing wrong with Cassio, he is an upright, smart, and respectable man. Then why does he drink so heavily, fight Roderigo so readily, and stab Montano so swiftly? Is peer pressure a plausible reason for the entire incident? Iago barely had to utter a few sentences and press another drink on his friend and the whole event unfolded exactly as he wanted it to. As seen in the quote above, he clearly sees all the other characters a stupid and easily manipulated, but it is hard to believe that they are this stupid.
Shakespeare's ability to use Iago to manipulate the other characters is very well done and all in all, believable. Every now and then, it all seems a little too easy for the conniving villain: Iago.
The plans and schemes that Iago starts to hatch around the second act of the play are extremely brilliant and complicated. However, I can't help wonder whether they are realistic. The conventions and assumptions that Shakespeare uses to make the characters follow Iago's bidding seem far to convenient. While I realize that Iago is incredibly smart, and character's like Roderigo that his is trying to control are inferior to him, I still can't help think that things are flowing a little too smoothly for this play to be very realistic.
For instance, Iago's attempts to make Roderigo forgo the drowning and play as his puppet in getting Cassio to drink then fight Montano are just a little to perfectly performed. With a few turns of phrase, Iago can make Roderigo do anything. Another example is Cassio. It is made clear that there is nothing wrong with Cassio, he is an upright, smart, and respectable man. Then why does he drink so heavily, fight Roderigo so readily, and stab Montano so swiftly? Is peer pressure a plausible reason for the entire incident? Iago barely had to utter a few sentences and press another drink on his friend and the whole event unfolded exactly as he wanted it to. As seen in the quote above, he clearly sees all the other characters a stupid and easily manipulated, but it is hard to believe that they are this stupid.
Shakespeare's ability to use Iago to manipulate the other characters is very well done and all in all, believable. Every now and then, it all seems a little too easy for the conniving villain: Iago.
Hero Complex (Characters question 3)
"Iago: ... And it is thought abroad that 'twixt my sheets/ He's done my office. I know not if't be true,/ . 366But I for mere suspicion in that kind/ Will do as if for surety. He holds me well,/ The better shall my purpose work on him./ Cassio's a proper man. Let me see now,/ To get his place, and to plume up my will/ In double knavery -How, how?- Let's see.-/ After some time, to abuse Othello's ear That he is too familiar with his wife./ He hath a person and smooth dispose/ To be suspected, framed to make women false/ The Moor is of a free and open nature/ That thinks men honest that but seem to be so,/ And will as tenderly be led by the nose/ As asses are." - II. i. v. 367-382
The concepts of protagonist and antagonist are usually very simple. The protagonist is the hero. This character drives the action, and is perspective used to narrate in a novel (or soliloquy in a play). Since this the character usually closest to the audience, they identify with him/her the most and see them as the hero of the story. The antagonist the is the one responsible for stopping the forward motion of the hero, causing problems and complications that the hero will solve with their outstanding wit and incredible daring. Because of these fair and normal stereotypes, the protagonist is the hero and the antagonist the villain. This is not true of "Othello", a factor that makes it's already complex characters.
Iago is the clear protagonist up to this point. He is in every scene so far and his actions are the ones that move the plot along. He give many soliloquies, the first of which is quoted above. The soliloquy here is the first hint the readers get to where the general idea of Iago's plan is unfolded. It is obvious that his numerous plans drive the novel and its actions. However, it is also revealed that he is not the hero; he is clearly the villain.
Othello's personal thoughts are far less displayed than Iago's. Othello doesn't seem to be an antagonist because he does not try to actively block any of Iago's plans. However, it is his demise that Iago seeks, therefore his mere existence is an opposition to Iago.
The other characters in the novel are mostly typical foil characters, like Emilia and her typical quietness, but they all serve a purpose in Iago's plan. The character shuffle Shakespeare orchestrates with the personalities of his antagonist and protagonist make "Othello" and confusing, but uniquely interesting play.
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