In his portrayal of death, Donne finds death to be easily manipulated by saying that it is "slave to fate, chance, kings, and desperate men" (Donne, 971). Most people have some fear of death and I think that Donne's bold way of "making fun of" death is his coping mechanism against the reality that it death. He is trying to make it smaller and weaker in his mind so that it doesn't scare him as badly. Calling death a slave is rather ironic since it is common knowledge that we cannot escape death. We may be able to postpone it or even challenge it in a mockng manner, but we can never fully escape it.
Wednesday, October 24, 2012
Death, be not proud
"Death, be not proud" by John Donne
In his portrayal of death, Donne finds death to be easily manipulated by saying that it is "slave to fate, chance, kings, and desperate men" (Donne, 971). Most people have some fear of death and I think that Donne's bold way of "making fun of" death is his coping mechanism against the reality that it death. He is trying to make it smaller and weaker in his mind so that it doesn't scare him as badly. Calling death a slave is rather ironic since it is common knowledge that we cannot escape death. We may be able to postpone it or even challenge it in a mockng manner, but we can never fully escape it.
In his portrayal of death, Donne finds death to be easily manipulated by saying that it is "slave to fate, chance, kings, and desperate men" (Donne, 971). Most people have some fear of death and I think that Donne's bold way of "making fun of" death is his coping mechanism against the reality that it death. He is trying to make it smaller and weaker in his mind so that it doesn't scare him as badly. Calling death a slave is rather ironic since it is common knowledge that we cannot escape death. We may be able to postpone it or even challenge it in a mockng manner, but we can never fully escape it.
Do Not Go Gentle into That Good Night
"Do Not Go Gentle into That Good Night" by Dylan Thomas
Thomas uses the repetition of the lines "do not go gentle into that good night" and "rage, rage against the dying of the light," (Thomas, 968) alternating through the poem. The piece is intense with strong emotions exemplified in the words such as "lightning," "rage," "curse," and "bless." I think that author is asking people to hold onto life and not give up easily. Live the fullest and most furious as possible until you are taken, and if you are lucky, it will not occur during the night when you cannot defend yourself against death.
Thomas uses the repetition of the lines "do not go gentle into that good night" and "rage, rage against the dying of the light," (Thomas, 968) alternating through the poem. The piece is intense with strong emotions exemplified in the words such as "lightning," "rage," "curse," and "bless." I think that author is asking people to hold onto life and not give up easily. Live the fullest and most furious as possible until you are taken, and if you are lucky, it will not occur during the night when you cannot defend yourself against death.
That Time of Year
"That Time of Year" by William Shakespeare
In the poem, Shakespeare compares the coming of the winter season to the approaching of death. He describes the changing of the trees leaves and the death that surrounds the once-alive plants and trees. Shakespeare indicates that the greenery is "Consumed with that which it was nourished by" (Shakespeare, 967). Meaning that they are suffering from an over consumption of once-nourishing water. In a different form (frozen) the water becomes too dense, too much for the delicate plants. Possibly signifying that the things we think are good for us are only good in moderation and that they can become too heavy for our fragile lives and lead to tragedy.
In the poem, Shakespeare compares the coming of the winter season to the approaching of death. He describes the changing of the trees leaves and the death that surrounds the once-alive plants and trees. Shakespeare indicates that the greenery is "Consumed with that which it was nourished by" (Shakespeare, 967). Meaning that they are suffering from an over consumption of once-nourishing water. In a different form (frozen) the water becomes too dense, too much for the delicate plants. Possibly signifying that the things we think are good for us are only good in moderation and that they can become too heavy for our fragile lives and lead to tragedy.
A Rose for Emily
"A Rose for Emily" by William Faulkner
Many of these passages about death revolve around fixations. For example, Miss Emily's fixation on the fact that she does not pay taxes, "See Colonel Sartoris. I have no taxes in Jefferson," (Faulkner, 283). This smaller fixation relates to the bigger picture of her life. She is also fixated and motivated by the fear of being alone. She held onto her father's body for several days before the town took it away. Later then, she may have killed her almost fiance to keep his body in her upstairs room. She then became fixated on his memory and the life they could have had; this fixation exemplified through evidence that revealed she slept by his rotting corpse. The towns people (also the narrators) believe that she slept next to him because the repeated motif of "iron gray hair" that was found in an indentation in the pillow next to the corpse's head. In many ways, we feel sorry for Emily through the townspeople's feelings towards her; had they hated her, I believe that we would have an entirely different perspective.
Many of these passages about death revolve around fixations. For example, Miss Emily's fixation on the fact that she does not pay taxes, "See Colonel Sartoris. I have no taxes in Jefferson," (Faulkner, 283). This smaller fixation relates to the bigger picture of her life. She is also fixated and motivated by the fear of being alone. She held onto her father's body for several days before the town took it away. Later then, she may have killed her almost fiance to keep his body in her upstairs room. She then became fixated on his memory and the life they could have had; this fixation exemplified through evidence that revealed she slept by his rotting corpse. The towns people (also the narrators) believe that she slept next to him because the repeated motif of "iron gray hair" that was found in an indentation in the pillow next to the corpse's head. In many ways, we feel sorry for Emily through the townspeople's feelings towards her; had they hated her, I believe that we would have an entirely different perspective.
The Lottery
"The Lottery" by Shirley Jackson
"'It isn't fair, it isn't right,' Mrs. Hutchinson screamed, and then they were upon her," (Jackson, 271). Why does only one person, the scapegoat, find something wrong with stoning a person to death? Typically, we wander through life as followers, blindly following the traditions set out for us; this short story is a wake-up call to those sleep walking through the tedious routines of life. Irony is expressed throughout the passage, but especially at the end when Mrs. Hutchinson's little son is given a rock to throw at his mother. No one really wants to participate in the ritual, but cling so tightly to the idea of tradition that they will stone someone to death to fulfill their insecurity with change.
"'It isn't fair, it isn't right,' Mrs. Hutchinson screamed, and then they were upon her," (Jackson, 271). Why does only one person, the scapegoat, find something wrong with stoning a person to death? Typically, we wander through life as followers, blindly following the traditions set out for us; this short story is a wake-up call to those sleep walking through the tedious routines of life. Irony is expressed throughout the passage, but especially at the end when Mrs. Hutchinson's little son is given a rock to throw at his mother. No one really wants to participate in the ritual, but cling so tightly to the idea of tradition that they will stone someone to death to fulfill their insecurity with change.
Monday, October 8, 2012
Menagerie - Scene 6
The Glass Menagerie - Tennessee Williams
"AMANDA. All pretty girls are a trap, a pretty trap, and men expect them to be...This is the prettiest you will ever be!" (Williams, 1263). In many ways here, Laura is a symbol for life. Often, life is perceived as the pretty trap that men expect it to be and it will never be more appealing than an illusion. The climax of scene 6 occurs when Laura's unicorn, an animal of fantasy. Laura and the unicorn are synonymous in the way that Jim broke what was unique about them both: their connection to fantasy. If Laura is a symbol for life and the unicorn is a symbol of Laura, then the unicorn can also be viewed as a symbol for life. When the specialness, the fantasy part of life is broken, reality seeps in and wakes those who built their lives on the assumption that fantasy could continue forever. But of course, fantasy only lasts as long as our surroundings. Jim brought the inside to Amanda, Tom, and Laura, ultimately driving Tom to leave. The final monologue admits the reason for the play - Tom is still haunted by the unreality of his past life. We are introduced to Laura's new role in his fantasy of life: "Laura, Laura, I tried to leave you behind me, but I am more faithful than I intended to be," (Williams, 1289). She is now the ghost of a former fantasy now playing into his current illusion.
"AMANDA. All pretty girls are a trap, a pretty trap, and men expect them to be...This is the prettiest you will ever be!" (Williams, 1263). In many ways here, Laura is a symbol for life. Often, life is perceived as the pretty trap that men expect it to be and it will never be more appealing than an illusion. The climax of scene 6 occurs when Laura's unicorn, an animal of fantasy. Laura and the unicorn are synonymous in the way that Jim broke what was unique about them both: their connection to fantasy. If Laura is a symbol for life and the unicorn is a symbol of Laura, then the unicorn can also be viewed as a symbol for life. When the specialness, the fantasy part of life is broken, reality seeps in and wakes those who built their lives on the assumption that fantasy could continue forever. But of course, fantasy only lasts as long as our surroundings. Jim brought the inside to Amanda, Tom, and Laura, ultimately driving Tom to leave. The final monologue admits the reason for the play - Tom is still haunted by the unreality of his past life. We are introduced to Laura's new role in his fantasy of life: "Laura, Laura, I tried to leave you behind me, but I am more faithful than I intended to be," (Williams, 1289). She is now the ghost of a former fantasy now playing into his current illusion.Menagerie - Scene Five
The Glass Menagerie - Tennessee Williams
Scene 5 is about escape. As Tom moves closer and closer to leaving, his memories stray further and further from reality. His hazy mind is reflected in the staging of the play: music is played with more frequency, Laura is prettier, and Tom is expressed as more distant from the daily activities. Even the Amanda in Tom's mind refuses reality: "AMANDA. Don't say crippled! You know that I never allow that word to be used!" (Williams, 1260). Even as a figment of Tom's memory, Amanda knew that they couldn't admit Laura's disabilities because that meant letting reality in. And even as a shadow of Tom's memory, Tom's character knows to leave for the movies immediately after his comment that may have admitted reality. Amanda and Laura make their wish for happiness and good fortune on the "silver slipper of a moon" showing that their desperation in Tom's mind meant little than wishes on a moon not even worthy to be called a moon. At this point, stage direction is the only implication of reality.
Scene 5 is about escape. As Tom moves closer and closer to leaving, his memories stray further and further from reality. His hazy mind is reflected in the staging of the play: music is played with more frequency, Laura is prettier, and Tom is expressed as more distant from the daily activities. Even the Amanda in Tom's mind refuses reality: "AMANDA. Don't say crippled! You know that I never allow that word to be used!" (Williams, 1260). Even as a figment of Tom's memory, Amanda knew that they couldn't admit Laura's disabilities because that meant letting reality in. And even as a shadow of Tom's memory, Tom's character knows to leave for the movies immediately after his comment that may have admitted reality. Amanda and Laura make their wish for happiness and good fortune on the "silver slipper of a moon" showing that their desperation in Tom's mind meant little than wishes on a moon not even worthy to be called a moon. At this point, stage direction is the only implication of reality.Menagerie - Scene Four
The Glass Menagerie - Tennessee Williams
A central theme to the play is Tom's inner conflict of "freedom or duty." As the play goes on, we are enlightened to Tom's slow way of disconnecting with his familial relationships. When Amanda randomly asks Tom to promise her that he will never be a drunkard, Tom is indifferent to her fears. Already there is a disconnect between him and his mother. Amanda reacts, as usual, with the drama that Tom claims to despise, but ironically craves. "AMANDA (sobbingly). My devotion has made me a witch and so I make myself hateful to my children!" (Williams, 1251). While her dramatic nature is turning Tom away, if he is really looking for something to write about, he should look no further than his home. And this realization is where the play comes full circle - the reason Tom narrates the play is because he is realizing that his life was the story filled with the drama he was looking for. He will forever run away from it, because then it is more dreamy to him and therefore more appealing to his inner poet, but he knows that the story he sought was the one he was living.
A central theme to the play is Tom's inner conflict of "freedom or duty." As the play goes on, we are enlightened to Tom's slow way of disconnecting with his familial relationships. When Amanda randomly asks Tom to promise her that he will never be a drunkard, Tom is indifferent to her fears. Already there is a disconnect between him and his mother. Amanda reacts, as usual, with the drama that Tom claims to despise, but ironically craves. "AMANDA (sobbingly). My devotion has made me a witch and so I make myself hateful to my children!" (Williams, 1251). While her dramatic nature is turning Tom away, if he is really looking for something to write about, he should look no further than his home. And this realization is where the play comes full circle - the reason Tom narrates the play is because he is realizing that his life was the story filled with the drama he was looking for. He will forever run away from it, because then it is more dreamy to him and therefore more appealing to his inner poet, but he knows that the story he sought was the one he was living.
Menagerie - Scenes Two and Three
The Glass Menagerie - Tennessee Williams
"AMANDA (in an awful voice). I won't speak to you - until you apologize!" (Williams, 1243). While this scene could have represented a simple argument between child and mother, in Menagerie, it signifies the weakness of a neutral third party in the situation. Laura's vulnerability and nerves are brought to light even more in her reaction to the argument between her mother and brother. At the end of the argument, Tom breaks one of Laura's glasses; this represents a pivotal moment for viewers. It signifies that Tom and Amanda are only breaking Laura when they fight; they are both strong enough to withstand the tension, but Laura can't handle it. She begs Tom to apologize to Amanda the next morning and he complied finally. His concern for her connects to his final monologue where he reveals that he cannot shake Laura's memory and his regrets in leaving her.
"AMANDA (in an awful voice). I won't speak to you - until you apologize!" (Williams, 1243). While this scene could have represented a simple argument between child and mother, in Menagerie, it signifies the weakness of a neutral third party in the situation. Laura's vulnerability and nerves are brought to light even more in her reaction to the argument between her mother and brother. At the end of the argument, Tom breaks one of Laura's glasses; this represents a pivotal moment for viewers. It signifies that Tom and Amanda are only breaking Laura when they fight; they are both strong enough to withstand the tension, but Laura can't handle it. She begs Tom to apologize to Amanda the next morning and he complied finally. His concern for her connects to his final monologue where he reveals that he cannot shake Laura's memory and his regrets in leaving her.
Monday, October 1, 2012
Menagerie - Scene One
The Glass Menagerie - Tennessee Williams
Stage direction plays a more forward and prominent role in this play than in the others we have studied so far in the year. Stage directions indicate literal movements on the stage as well as indirect characterization. For example, we learn that Amanda is preoccupied with her past in a fantasy-driven manner, "(TOM motions for music and a spot of light on AMANDA. Her eyes lift, her face glows, her voice becomes rich and elegiac,)" (Williams, 1238). Characters are revealed by their actions as well as their words. Amanda is revealed as delusional during the first scene in the sense that she is unable to accept the face the fact that her daughter is not going to attract the suitors she claims to have had. The way that she goes on about her former life and gentlemen callers and our knowledge of her absent husband leads the reader to believe that she quite possibly never had the suitors or life she claims and in some way connects this fantasy with her daughter's life.
Stage direction plays a more forward and prominent role in this play than in the others we have studied so far in the year. Stage directions indicate literal movements on the stage as well as indirect characterization. For example, we learn that Amanda is preoccupied with her past in a fantasy-driven manner, "(TOM motions for music and a spot of light on AMANDA. Her eyes lift, her face glows, her voice becomes rich and elegiac,)" (Williams, 1238). Characters are revealed by their actions as well as their words. Amanda is revealed as delusional during the first scene in the sense that she is unable to accept the face the fact that her daughter is not going to attract the suitors she claims to have had. The way that she goes on about her former life and gentlemen callers and our knowledge of her absent husband leads the reader to believe that she quite possibly never had the suitors or life she claims and in some way connects this fantasy with her daughter's life.
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