"Hester's strong, calm, steadfastly enduring spirit almost sank, at last, on beholding this drk and grim countenance of an inevitable doom, which-at the moment when a passage seemed to open for the minister and herself out of their labyrinth of misery-showed itself, with an unrelenting smile, right in the midst of their path." Pg. 189
I personally found some literary and character parallels in the character of Chillingworth and the creature from Mary Shelley's Frankenstein. One of the main similarities points out the transformation from innocence and morality to evil and misery. Just as the creature is wronged by society and consequently kills the loved ones of his creator, Victor, so too does Chillingworth decide to torment the lover of his ex-wife when he learns of their affair. This torment is also a marked similarity between the two stories. Chillingworth feels wronged by the affair of his wife, but he never utilizes the knowledge he has of her lover to hurt her further than the scarlet letter has already done. This could possibly be because she did not wrong him any more after her public disgrace. The creature, on the other hand, forcefully used his power over Victor to enact great misery and torture on the man. The two stories also contrast when it comes to the falling action of the plot. In Frankenstein, Victor chases the creture with futility until he dies with his goal unfulfilled and the creature committing suicide. The Scarlet Letter differs from this story because the characters being tormented attempt to escape the grasp Chillingworth holds over them by revealing themselves to the crowd. The falling action is very short in this story, as Dimmesdale dies almost immediately afterwards, and his death leaves questions regarding the towns perception of him and Hester.
Monday, April 30, 2012
The Scarlet Letter: Forgiveness
"'There might be good for thee, and thee alone, since thou hast been deeply wronged, and hast it at thy will to pardon. Wilt thou give up that only privelege? Wilt thou reject that priceless benefit?'" Pg. 133
The first half of this novel caused me to think that admonishment and vengeance would be the norm throughout the whole book. I read about Hester's public humiliation, the physician trying through shady means get Dimmesdale to reveal his wrongs, and Dimmesdale contending with physical illness and mental struggle. However, through the second half of this book, I have come to know that the spirit of forgivness is just as equally represented, which I find uplifting, since no community is devoid of this quality. Even in the strict moral days of pre-colonial Puritan settlement, people found it in their hearts to absolve the well-repented sins of others. This quote displays some of that forgiveness, and by Hester nonetheless. She explains to Chillingworth that she understands his desire to act treacherously towards Dimmesdale because he was wronged by the man nearly eight years earlier when they had their affair. So too do the people of the town show forgivness and compassion. On page 188, the narrator says how the Puritans "were none the less inclined to pronounce the child a demon offspring..." I think the people realize that Hester has paid her dues by wearing around her letter without protest for many years and has largely stayed clear of the public eye.
The first half of this novel caused me to think that admonishment and vengeance would be the norm throughout the whole book. I read about Hester's public humiliation, the physician trying through shady means get Dimmesdale to reveal his wrongs, and Dimmesdale contending with physical illness and mental struggle. However, through the second half of this book, I have come to know that the spirit of forgivness is just as equally represented, which I find uplifting, since no community is devoid of this quality. Even in the strict moral days of pre-colonial Puritan settlement, people found it in their hearts to absolve the well-repented sins of others. This quote displays some of that forgiveness, and by Hester nonetheless. She explains to Chillingworth that she understands his desire to act treacherously towards Dimmesdale because he was wronged by the man nearly eight years earlier when they had their affair. So too do the people of the town show forgivness and compassion. On page 188, the narrator says how the Puritans "were none the less inclined to pronounce the child a demon offspring..." I think the people realize that Hester has paid her dues by wearing around her letter without protest for many years and has largely stayed clear of the public eye.
The Scarlet Letter: Stream of Consciousness
"That self was gone. Another man had returned out of the forest: a wiser one; with a knowledge of hidden mysteris which the simplicity of the former never could have reached. A bitter kind of knowledge that!" Pg. 172
The entirety of the chapter titled "The Minister in a Maze" reveals the physical and mental journey of Arthur Dimmesdale as he makes his way back to town from out of the woods. Hawthorne devoted an entire chapter to this journey because it marks a significant change in the personality of the minister. Interestingly, the chapter before also gives a glimpse of a very similar transformation, except by Hester. During this chapter, the minsiter becomes much less focused on his hypocrisy and more focused on the fact that he loves Hester and so must form more mortal, immoral thoughts that befit the mind of the common man. He thinks about cursing out young children and chastizing sailors for their licentious lives. Just as the scarlet letter makes the truth more clear to Hester that she loves Arthur and so must reveal their secret, the walk through the forest infuses the minister with confidence because the path before him, however unpleasant, is spelled out clearly. I do not think that this chapter simply sets the plot up for the revelation and the falling action, however. I think Hawthorne was trying to convey to the reader a theme or lesson that no person is infallible, and the more we hide or suppress our faults, the more powerfully they burst forth when we are put into testing situations.
The entirety of the chapter titled "The Minister in a Maze" reveals the physical and mental journey of Arthur Dimmesdale as he makes his way back to town from out of the woods. Hawthorne devoted an entire chapter to this journey because it marks a significant change in the personality of the minister. Interestingly, the chapter before also gives a glimpse of a very similar transformation, except by Hester. During this chapter, the minsiter becomes much less focused on his hypocrisy and more focused on the fact that he loves Hester and so must form more mortal, immoral thoughts that befit the mind of the common man. He thinks about cursing out young children and chastizing sailors for their licentious lives. Just as the scarlet letter makes the truth more clear to Hester that she loves Arthur and so must reveal their secret, the walk through the forest infuses the minister with confidence because the path before him, however unpleasant, is spelled out clearly. I do not think that this chapter simply sets the plot up for the revelation and the falling action, however. I think Hawthorne was trying to convey to the reader a theme or lesson that no person is infallible, and the more we hide or suppress our faults, the more powerfully they burst forth when we are put into testing situations.
The Scarlet Letter: Connotation
"The child turned her eyes to the point indicated; and there lay the scarlet letter, so close upon the margin of the stream, that the gold embroidery was reflected in it." Pg. 162
An argument could almost be made that the scarlet letter acts as a dynamic character in this novel along with Hester and Dimmesdale. Indeed, the piece of fabric has an evolution throughout the work, because its connotation to Hester, Pearl, and the townspeople changes over the course of time and events. I will attempt to give my explanation of each evolution as I read them in the pages of this book. For Hester, the scarlet letter will always be a reminder of her affair with Dimmesdale and the public shame she must consequently endure. However, this quote above shows that the letter was also an instrument to her development, even if it was delayed. Over time the letter taught her that she could not be defined by it alone and that she truly loved Arthur regardless of the scrutiny such a relationship would cause. While it constantly admonished her, it also infused a confidence in Hester. For Pearl, the letter serves as her chief source of inquiry and entertainment. Because she lives away from the rest of the town with her mother, she is only exposed to adult behavior and quickly picks up on the differences in behavior her mom exhibits when in contact with the town. The letter is dynamic to Pearl because as a small child it was once normal but it grows into an obvious conspicous sign to her. For the townspeople, the letter represents their strict moral beliefs, but it also gives them the opportunity to develop forgiveness. Over time, they treat Hester less harshly and even begin to consider her a distinguishing mark for their town. Once chiefly important, the letter fades into the back of their minds.
An argument could almost be made that the scarlet letter acts as a dynamic character in this novel along with Hester and Dimmesdale. Indeed, the piece of fabric has an evolution throughout the work, because its connotation to Hester, Pearl, and the townspeople changes over the course of time and events. I will attempt to give my explanation of each evolution as I read them in the pages of this book. For Hester, the scarlet letter will always be a reminder of her affair with Dimmesdale and the public shame she must consequently endure. However, this quote above shows that the letter was also an instrument to her development, even if it was delayed. Over time the letter taught her that she could not be defined by it alone and that she truly loved Arthur regardless of the scrutiny such a relationship would cause. While it constantly admonished her, it also infused a confidence in Hester. For Pearl, the letter serves as her chief source of inquiry and entertainment. Because she lives away from the rest of the town with her mother, she is only exposed to adult behavior and quickly picks up on the differences in behavior her mom exhibits when in contact with the town. The letter is dynamic to Pearl because as a small child it was once normal but it grows into an obvious conspicous sign to her. For the townspeople, the letter represents their strict moral beliefs, but it also gives them the opportunity to develop forgiveness. Over time, they treat Hester less harshly and even begin to consider her a distinguishing mark for their town. Once chiefly important, the letter fades into the back of their minds.
The Scarlet Letter: Epithet
"There was a witchcraft in little Pearl's eyes, and her face, as she glanced upwards at the minister, wore that naughty smile that made its expression frequently so elfish." Pg. 118
When characters such as Hester and Dimmesdale began associating Pearl as being elfish, I simply thought they meant her physical appearance. She is most likely a petite young girl with some mature facial features, so the elf comparison fits. However, these same characters continue to describe her as such all the way until the end of the book, which caused me to take note of this use of epithet. The thought of an elf not only conjures up images of pointed ears and green suits but also distinct character traits such as a mischevious demeanor and a penchant for uncovering the secrets of others. I soon found how appropriate the adjective is for little Pearl, because she constantly questions the relationship between Dimmesdale and Hester in an attempt to reveal the secret behind their connected pasts. She finds, through pestering Hester, that both she and Arthur have been touched by the Black Man, and so connects their sins. I also found it interesting how she acted like an elf when it came to having Arhtur kiss her. She appears very precocious when she refuses to kiss him in the woods but then appears to have the great desire to kiss him in public at the end of the book. To me, it seems as though the mystery behind her mother's affair serves as a sort of entertainment for Pearl, because she is able to characterize, piece by piece, the actions of the adults which have led to the present.
When characters such as Hester and Dimmesdale began associating Pearl as being elfish, I simply thought they meant her physical appearance. She is most likely a petite young girl with some mature facial features, so the elf comparison fits. However, these same characters continue to describe her as such all the way until the end of the book, which caused me to take note of this use of epithet. The thought of an elf not only conjures up images of pointed ears and green suits but also distinct character traits such as a mischevious demeanor and a penchant for uncovering the secrets of others. I soon found how appropriate the adjective is for little Pearl, because she constantly questions the relationship between Dimmesdale and Hester in an attempt to reveal the secret behind their connected pasts. She finds, through pestering Hester, that both she and Arthur have been touched by the Black Man, and so connects their sins. I also found it interesting how she acted like an elf when it came to having Arhtur kiss her. She appears very precocious when she refuses to kiss him in the woods but then appears to have the great desire to kiss him in public at the end of the book. To me, it seems as though the mystery behind her mother's affair serves as a sort of entertainment for Pearl, because she is able to characterize, piece by piece, the actions of the adults which have led to the present.
Monday, April 23, 2012
The Scarlet Letter: Dimmesdale and Chillingworth
"'Yet some men bury their secrets thus,' observed the calm physician." Pg. 101
The above quote is a great representation of the measures people will go to to clear themselves when their backs are against the wall. Chillingworth, having been previously discovered to be a doctor of questionable trainind and accused of being the devil incarnate, makes a play towards the clergyman Dimmesdale in order to find fault in the man and remove his name from public notoriety and press. Just as the strong lacing of morality and religion dominates the first half of the book, the theme of fear of evil also presents itself in chapters nine and ten and I find it quite interesting. It is interesting because the townspeople do not know what the devil looks like, and so could never actually, definitively prove its palpable existence among man. I find it funny how the people are driven to fear and pandemonium over speculation and frenzy that are sensationalized by the leaders. It is quite sad really that they are so ignorant to the fact that a divine beign cannot actually be living through a person. Mind you that Salem was the town in which the witch trials took place. These people do not know what to think without having someone to blame the smallest faults on. Unfortunately for these two men, it is figures of prominence or those with private lives who seem to get the most speculation.
The above quote is a great representation of the measures people will go to to clear themselves when their backs are against the wall. Chillingworth, having been previously discovered to be a doctor of questionable trainind and accused of being the devil incarnate, makes a play towards the clergyman Dimmesdale in order to find fault in the man and remove his name from public notoriety and press. Just as the strong lacing of morality and religion dominates the first half of the book, the theme of fear of evil also presents itself in chapters nine and ten and I find it quite interesting. It is interesting because the townspeople do not know what the devil looks like, and so could never actually, definitively prove its palpable existence among man. I find it funny how the people are driven to fear and pandemonium over speculation and frenzy that are sensationalized by the leaders. It is quite sad really that they are so ignorant to the fact that a divine beign cannot actually be living through a person. Mind you that Salem was the town in which the witch trials took place. These people do not know what to think without having someone to blame the smallest faults on. Unfortunately for these two men, it is figures of prominence or those with private lives who seem to get the most speculation.
The Scarlet Letter: Pearl
"'He did not send me! cried she, positively. 'I have no Heavenly Father!'" Pg. 74
I believe the inclusion of Pearl in the novel definitely gives it more depth, but also adds to the melancholy and perpetually bitter state of Heter. I personally find it sad that Hester has reserved herself to the fact that she must live a separate life from the village and she is self-conscious everywhere she goes because of the scarlet letter. I almost feel like Hawthorne over-uses the phrase and the image in order to press into the reader's mind the plight she is embroiled in. The inclusion of Pearl does not help the situation. Although the author explains that Pearl's name is such because she does not have the same iniquities of her mother, Hester constantly sees her past wrongful actions portrayed in the child. Besides seeing the devil in the child, she also notes how Pearl is very outgoing and defiant when in conflict with others. She believes these are the traits that led her to sin, and she understandably does not want her daughter to emulate these actions. I feel like Hawthorne should include some more action on the part of Hester to break the situation she is in. I may be getting ahead of myself, and that resolution is to come later in the book, but for the first half she mostly accepts the gloominess and hopelessness as a way of life, and it is depressing.
I believe the inclusion of Pearl in the novel definitely gives it more depth, but also adds to the melancholy and perpetually bitter state of Heter. I personally find it sad that Hester has reserved herself to the fact that she must live a separate life from the village and she is self-conscious everywhere she goes because of the scarlet letter. I almost feel like Hawthorne over-uses the phrase and the image in order to press into the reader's mind the plight she is embroiled in. The inclusion of Pearl does not help the situation. Although the author explains that Pearl's name is such because she does not have the same iniquities of her mother, Hester constantly sees her past wrongful actions portrayed in the child. Besides seeing the devil in the child, she also notes how Pearl is very outgoing and defiant when in conflict with others. She believes these are the traits that led her to sin, and she understandably does not want her daughter to emulate these actions. I feel like Hawthorne should include some more action on the part of Hester to break the situation she is in. I may be getting ahead of myself, and that resolution is to come later in the book, but for the first half she mostly accepts the gloominess and hopelessness as a way of life, and it is depressing.
The Scarlet Letter: Didactic
"...and she saw that, owing tot he peculiear effect of this convex mirror, the scarlet letter wasw represented in exaggerated and gigantic proportions, so as to be greatly the most prominent feature of her appearance. In truth, she seemed absolutely hidden behind it." Pg. 80
I would be remiss if I didn't include this literary term in a novel such as this. I mean, the main storyline and dominant theme throughout the book emphasizes the care with which one should act, because the public will find out what happens and it could open the individual up for ridicule. Hester Prynne demonstrates that theme better than anyone else because she must indure the public shame brought on by wearing her scarlet letter. However, I am choosing to take a slightly different approach as to what the novel is trying to convey morality-wise to the reader. During the introduction, the narrator tells the reader that the time period in which the main story takes place is one of strict beliefs. During this time, morality and religion are sewn extremely tightly together. Every action must comply with the Puritanical way of living, and if it doesn't, as in Hester's case, then the punishments can be severe. Moral standards have loosened since then, but the unrelenting ridicule she must endure leaves me wondering whether Hawthorne used the story to caution the public against acting too sanctimonious and pious. He probably did not want to see the sanity of a woman like Hester's to be polluted by the public's overly condescending tendencies again.
I would be remiss if I didn't include this literary term in a novel such as this. I mean, the main storyline and dominant theme throughout the book emphasizes the care with which one should act, because the public will find out what happens and it could open the individual up for ridicule. Hester Prynne demonstrates that theme better than anyone else because she must indure the public shame brought on by wearing her scarlet letter. However, I am choosing to take a slightly different approach as to what the novel is trying to convey morality-wise to the reader. During the introduction, the narrator tells the reader that the time period in which the main story takes place is one of strict beliefs. During this time, morality and religion are sewn extremely tightly together. Every action must comply with the Puritanical way of living, and if it doesn't, as in Hester's case, then the punishments can be severe. Moral standards have loosened since then, but the unrelenting ridicule she must endure leaves me wondering whether Hawthorne used the story to caution the public against acting too sanctimonious and pious. He probably did not want to see the sanity of a woman like Hester's to be polluted by the public's overly condescending tendencies again.
The Scarlet Letter: Metaphor
"The soil where this dark miner was working had perchance shown indications that encouraged him." Pg. 99
Along with apostrophe, this novel also employs the use of metaphors, chiefly to describe the individuals and their actions and suspected thoughts. I suppose for this reason, the metaphors could be closely connected with the indirect characterization which Hawthorne utilizes to describe his characters. This tag-team, if you will, can be seen during the scene of public display when Hester Prynne is said to have a distorted face "as if a snake had twisted across it" when she views Mr. Chillingworth. So too does this quote help to characterize Chillingworth, because he is one to dig into the personal life of Dimmesdale when he suspects Dimmesdale has something to do with the public shame of Hester Prynne. When I thought about why Hawthorne might employ such a tactic so frequently, I found myself drawn back to the introduction when the narrator confessed his sympathies to the reader for the not-so-adept portrayal of the work he happened upon. Hawthorne possibly utilized metaphors on behalf of this narrator in order to greater characterize the main plot individuals in a way that would seem fitting to the unrefined style of the narrator. He probably also used metaphors because they portray the inner workings of the characters' minds. In these pre-colonial days when few people could read or write, they only had the world around them to compare themselves and others to.
Along with apostrophe, this novel also employs the use of metaphors, chiefly to describe the individuals and their actions and suspected thoughts. I suppose for this reason, the metaphors could be closely connected with the indirect characterization which Hawthorne utilizes to describe his characters. This tag-team, if you will, can be seen during the scene of public display when Hester Prynne is said to have a distorted face "as if a snake had twisted across it" when she views Mr. Chillingworth. So too does this quote help to characterize Chillingworth, because he is one to dig into the personal life of Dimmesdale when he suspects Dimmesdale has something to do with the public shame of Hester Prynne. When I thought about why Hawthorne might employ such a tactic so frequently, I found myself drawn back to the introduction when the narrator confessed his sympathies to the reader for the not-so-adept portrayal of the work he happened upon. Hawthorne possibly utilized metaphors on behalf of this narrator in order to greater characterize the main plot individuals in a way that would seem fitting to the unrefined style of the narrator. He probably also used metaphors because they portray the inner workings of the characters' minds. In these pre-colonial days when few people could read or write, they only had the world around them to compare themselves and others to.
The Scarlet Letter: Apostrophe
"'Come away, mother! Come away, or yonder old Black Man will catch you!'" Pg. 103
Throughout the first half of this novel, I noticed the use of apostrophe and how it is connected closely with the strict morality in which the Puritan town believes in. Just as the townspeople and, shown here, Pearl think of the devil as an actual being and describe him as such, so does Hester view herself with her own-self condemnation and harshness. The interesting part of the use of apostrophe to advance the plot in novels like this is that the entity being described is neither present nor can ever be seen. However, this same entity has almost supreme control and power over the many characters of the book. Hester believe that because of her sin that Pearl is the devil incarnate in her own daughter. She sees her as her ever-constant reminder of the transgressions which have put her in this situation. In a sense, the way she views the devil and her sins in her own daughter closely parallels the actual sins themselves. They are not physical beings that can be seen or felt. They can be described and obviously condemned, but ultimately the sin is between the character, the co-sinner, and a divine being like God, or in this case, the devil.
Throughout the first half of this novel, I noticed the use of apostrophe and how it is connected closely with the strict morality in which the Puritan town believes in. Just as the townspeople and, shown here, Pearl think of the devil as an actual being and describe him as such, so does Hester view herself with her own-self condemnation and harshness. The interesting part of the use of apostrophe to advance the plot in novels like this is that the entity being described is neither present nor can ever be seen. However, this same entity has almost supreme control and power over the many characters of the book. Hester believe that because of her sin that Pearl is the devil incarnate in her own daughter. She sees her as her ever-constant reminder of the transgressions which have put her in this situation. In a sense, the way she views the devil and her sins in her own daughter closely parallels the actual sins themselves. They are not physical beings that can be seen or felt. They can be described and obviously condemned, but ultimately the sin is between the character, the co-sinner, and a divine being like God, or in this case, the devil.
Wednesday, April 11, 2012
Archetypal Conflict
"'I would willingly afford you every aid in your pursuit; but the creature of whom you speak appears to have powers which would put all my exertions to defiance.'"
"'...and no one can conjecture to what place he has wandered, or what region he may now inhabit.'" Pg. 148
Why does every piece of "classic literature" have to end with people dying voluntarily and half-way resolving their conflicts but leaving just enough hint of the conflict to have the reader frustrated? When I read the above quote and realized that Victor would not be receiving any help from the authorities in his pursuit, I immediately looked for the definition of an archetype, because this passage displays it perfectly. It seems like so many pieces of literary merit pit a far superior character, whether it be physical or mental, against an opponent who has no chance of succeeding. Upon reading of the magistrate's refusal, I instantly knew how the story would end. I could guess very accurately that Victor would not catch or kill the creature, the creature would kill himself out of hopelessness, and Victor would die on the ship. This book contains some relavant truths and very challenging moral dilemmas. However, I just want a book deemed of literary merit to end in some kind of action-packed conflict in which there is no dramatic irony or ignorance. I want a fight for the principles each character has established throughout the book without any imparity. Each side should be equally competent and able. I am not saying I would like everyone to die dramatically or hug and make up. Nevertheless, I know the conflicts being presented, and I can make my own decision as to the stance I wish to take. As for the book, it should include a more definite resolution of fate, and not such a flimsy one.
"'...and no one can conjecture to what place he has wandered, or what region he may now inhabit.'" Pg. 148
Why does every piece of "classic literature" have to end with people dying voluntarily and half-way resolving their conflicts but leaving just enough hint of the conflict to have the reader frustrated? When I read the above quote and realized that Victor would not be receiving any help from the authorities in his pursuit, I immediately looked for the definition of an archetype, because this passage displays it perfectly. It seems like so many pieces of literary merit pit a far superior character, whether it be physical or mental, against an opponent who has no chance of succeeding. Upon reading of the magistrate's refusal, I instantly knew how the story would end. I could guess very accurately that Victor would not catch or kill the creature, the creature would kill himself out of hopelessness, and Victor would die on the ship. This book contains some relavant truths and very challenging moral dilemmas. However, I just want a book deemed of literary merit to end in some kind of action-packed conflict in which there is no dramatic irony or ignorance. I want a fight for the principles each character has established throughout the book without any imparity. Each side should be equally competent and able. I am not saying I would like everyone to die dramatically or hug and make up. Nevertheless, I know the conflicts being presented, and I can make my own decision as to the stance I wish to take. As for the book, it should include a more definite resolution of fate, and not such a flimsy one.
Health
"...but I have endured misery, which nothing but the eternal sentiment of a just retribution burning within my heart could have enabled me to support." Pg. 153
Since the beginning of the novel, readers have been acquainted with the physical stamina of Victor during the pursuit of his various convictions or passions. Just as when he goes into a shock after the creature is created and when he discovers Clerval murdered, Victor endures these times of physical exertion and pays them no attention when focusing his efforts on his current devotions. Victor, in fact, mentions many times how he is pushed to the limits of his physical ability, but he never succombs to the exertion until he is old, frail, and weakened by time and stress. The packet and outline for this book mentions the significance of health in this book, and how it affects the action and motivation of the characters. Because Victor is tested many times to his physical limits and emerges victorious over his limits, the physical portion of his health becomes less important than the mental aspect (not to say that he is not valiant in his endurance). However, what Victor truly seeks in his pursuit of the creature is peace of mind, which could also mean sound mental health. In this way, mental health becomes much more important than physical health. Although it may seem obvious, the longing for mental health and its inability to be obtained lead to the death of the creature and Victor.
Since the beginning of the novel, readers have been acquainted with the physical stamina of Victor during the pursuit of his various convictions or passions. Just as when he goes into a shock after the creature is created and when he discovers Clerval murdered, Victor endures these times of physical exertion and pays them no attention when focusing his efforts on his current devotions. Victor, in fact, mentions many times how he is pushed to the limits of his physical ability, but he never succombs to the exertion until he is old, frail, and weakened by time and stress. The packet and outline for this book mentions the significance of health in this book, and how it affects the action and motivation of the characters. Because Victor is tested many times to his physical limits and emerges victorious over his limits, the physical portion of his health becomes less important than the mental aspect (not to say that he is not valiant in his endurance). However, what Victor truly seeks in his pursuit of the creature is peace of mind, which could also mean sound mental health. In this way, mental health becomes much more important than physical health. Although it may seem obvious, the longing for mental health and its inability to be obtained lead to the death of the creature and Victor.
Antagonist
"I knew that I was preparing myself for a deadly torture; but I was the slave, not the master, of an impulse, which I detested, yet could not disobey. Yet when she died!- nay then I was not miserable. I had cast off all feeling, subdued all alnguish, to riot in the excess of my despair. Evil thenceforth became my good." Pg. 164
Alright, I have to give Mary Shelley credit on crafting a novel in which every argument to be made against the actions of one character is balanced against sympathy for that character due to his circumstances. This dilemma presented itself to me several times when I contemplated the creature's actions and motives. However, I make my stance known that the creature is most definitely the antagonist in this work. He blocks the actions of Victor by causing him worry over his impending actioins, and gives him dispair when he kills off the people whom Victor so dearly loves. This conclusion is slightly hard to come by, because Shelley conjures up a sympathy for the creature throughout the story. I truly feel sorry for the creature when he explains his only wish of a companion because he cannot speak to man without man's terror consuming the situation. Towards the end of the novel, the creature returns and expresses his regret and guilt for having indirectly killed Victor. He explains how "evil became his good" and he had no remorse for killing. Although his feelings of revenge were severe, the monster is most definitely the antagonist because he chose the easier route. He could have lived in solitude and avoided man for the rest of his life. By doing so, he rejects the possibility of finding happiness. Although this prospect is grim, the alternative, which actually transpires, leaves many people dead and both Victor and the creature exhausted and dead. Perhaps the creature could have been considered a moral character had he accepted his very grim fate.
Alright, I have to give Mary Shelley credit on crafting a novel in which every argument to be made against the actions of one character is balanced against sympathy for that character due to his circumstances. This dilemma presented itself to me several times when I contemplated the creature's actions and motives. However, I make my stance known that the creature is most definitely the antagonist in this work. He blocks the actions of Victor by causing him worry over his impending actioins, and gives him dispair when he kills off the people whom Victor so dearly loves. This conclusion is slightly hard to come by, because Shelley conjures up a sympathy for the creature throughout the story. I truly feel sorry for the creature when he explains his only wish of a companion because he cannot speak to man without man's terror consuming the situation. Towards the end of the novel, the creature returns and expresses his regret and guilt for having indirectly killed Victor. He explains how "evil became his good" and he had no remorse for killing. Although his feelings of revenge were severe, the monster is most definitely the antagonist because he chose the easier route. He could have lived in solitude and avoided man for the rest of his life. By doing so, he rejects the possibility of finding happiness. Although this prospect is grim, the alternative, which actually transpires, leaves many people dead and both Victor and the creature exhausted and dead. Perhaps the creature could have been considered a moral character had he accepted his very grim fate.
Characterization
"My duties towards the being of my own species had greater claims to my attention, because they included a greater proportion of happiness or misery. Urged by this view, I refused, and I did right in refusing, to create a companion for the first creature." Pg. 161
I believe I am receiving flashbacks to Shakespearean drama. I say this when considering the character of Victor and his actions throughout the novel. I immediately asked myself if Victor possesses the qualities to be considered a tragic hero, and so brought back images of the plays of our favorite fifteenth-century author. Victor certainly displays a thirst for revenge that leads him across a continent and into an environment which ultimately kills him. Not only the environment, but his distress and worry eventually weigh upon him, and he succombs to the mental demands of coping with his creation. I do not think Victor possesses the qualities which constitute a tragic hero, but I do believe he is bound throughout the book by one common trait: his passion. I say he is not a tragic hero mainly because his desire for revenge is prompted by the creature's actions. Although, as the above quote proves, Victor indirectly causes the creature to act nefariously, he does not carry an ardent desire for vengeance throughout the entire novel. However, he does display a passion for his current undertaking, whether it be the creation of the creature, his marriage, or his pursuit of justice. To describe Victor in short, I would say he is a man who intensely devotes himself to his work and his family. His work turns on him, and he is therefore required to choose between duty to his family and duty to the creature. So, Victor is a round character who was forced into being such by his own creation.
I believe I am receiving flashbacks to Shakespearean drama. I say this when considering the character of Victor and his actions throughout the novel. I immediately asked myself if Victor possesses the qualities to be considered a tragic hero, and so brought back images of the plays of our favorite fifteenth-century author. Victor certainly displays a thirst for revenge that leads him across a continent and into an environment which ultimately kills him. Not only the environment, but his distress and worry eventually weigh upon him, and he succombs to the mental demands of coping with his creation. I do not think Victor possesses the qualities which constitute a tragic hero, but I do believe he is bound throughout the book by one common trait: his passion. I say he is not a tragic hero mainly because his desire for revenge is prompted by the creature's actions. Although, as the above quote proves, Victor indirectly causes the creature to act nefariously, he does not carry an ardent desire for vengeance throughout the entire novel. However, he does display a passion for his current undertaking, whether it be the creation of the creature, his marriage, or his pursuit of justice. To describe Victor in short, I would say he is a man who intensely devotes himself to his work and his family. His work turns on him, and he is therefore required to choose between duty to his family and duty to the creature. So, Victor is a round character who was forced into being such by his own creation.
Frame Story
"Frankenstein discovered that I made notes concerning his history: he asked to see them, and then himself corrected and augmented them in many places; but principally in giving the life and spirit to the conversations he held with his enemy. 'Since you have preserved my narration,' said he,'I would not that a mutilated one should go down to posterity.'" Pg. 156
One of the main features of this novel, and certainly one that makes it somewhat unique among classic literary pieces, is the use of frame stories by Shelley to progress through the stories. I personally found the frame stories useful and refreshing, because a character would narrate for forty to fifty pages, and then another one of the primary characters would take over. This element broke up the work and made it not so monotonous. Also, the reader comes to know the feelings of each creature quite well during this book, and at times the emotions of the people dominated the content and action of the novel. However, Shelley employs another tactic which also forms a more coherent work, which is the repitition of phrases or themes in each frame story. Interestingly, Walton, Victor, and the creature all at one point during their narration express the desire for knowledge and understanding. Walton seeks it in his travels, Victor seeks enlightenment to create a living being, and the creature seeks understanding of language to lessen his odious appearance. Shelley also repeats phrases such as the "gigantic stature" of the creature and its inhuman form when humans behold it in the shadows. These elements tie the frame stories together and create a more memorable work.
One of the main features of this novel, and certainly one that makes it somewhat unique among classic literary pieces, is the use of frame stories by Shelley to progress through the stories. I personally found the frame stories useful and refreshing, because a character would narrate for forty to fifty pages, and then another one of the primary characters would take over. This element broke up the work and made it not so monotonous. Also, the reader comes to know the feelings of each creature quite well during this book, and at times the emotions of the people dominated the content and action of the novel. However, Shelley employs another tactic which also forms a more coherent work, which is the repitition of phrases or themes in each frame story. Interestingly, Walton, Victor, and the creature all at one point during their narration express the desire for knowledge and understanding. Walton seeks it in his travels, Victor seeks enlightenment to create a living being, and the creature seeks understanding of language to lessen his odious appearance. Shelley also repeats phrases such as the "gigantic stature" of the creature and its inhuman form when humans behold it in the shadows. These elements tie the frame stories together and create a more memorable work.
Tuesday, April 3, 2012
Right to a Fair Trial
"Everywhere I see bliss, from which I alone am irrevocably excluded. I was benevolent and good; misery made me a fiend. Make me happy, nad I shall again be virtuous." Pg. 69
The topic was discussed yesterday regarding the innoncence of Justine and the creature against the evidence to suggest either one killed William. As the creature begins to recount his life since his animation, he never admits to committing the crime but presents the reader with some interesting pieces of information on which he/she can deduce their judgment. Although I have not fully read the entirety of the creature's recollections, I have come to contend that he did not kill Victor's brother William. I do not wish to persuade any reader to join my side, mostly because a counterargument to this stance would be just as valid. It is my opinion based on the mental characterization of the creature and his experiences with other humans. Towards the end of chapter twelve, the creature expounds upon the interactions he witnesses while hiding the the shed next to the cottage in the mountains. The care and compassion that Agatha, Felix, and the father demonstrated towards each other in the face of their poverty moved the creature and he found himself wanting to assist them in their struggles. This experience and his desire to help them out and learn their language came before the murder of William. So, I personally believe that the creature would be bolstered and inspired by the interactions here despite his earlier unpleasant humanly interactions. If he had exclusively known sorrow, as he states above, then I could understand his desire to get back at his creator by striking his family. However, the creature obviously learns quickly and I find it more plausible to think that he progressed in his ability to act rationally despite his ugly outward appearance.
The topic was discussed yesterday regarding the innoncence of Justine and the creature against the evidence to suggest either one killed William. As the creature begins to recount his life since his animation, he never admits to committing the crime but presents the reader with some interesting pieces of information on which he/she can deduce their judgment. Although I have not fully read the entirety of the creature's recollections, I have come to contend that he did not kill Victor's brother William. I do not wish to persuade any reader to join my side, mostly because a counterargument to this stance would be just as valid. It is my opinion based on the mental characterization of the creature and his experiences with other humans. Towards the end of chapter twelve, the creature expounds upon the interactions he witnesses while hiding the the shed next to the cottage in the mountains. The care and compassion that Agatha, Felix, and the father demonstrated towards each other in the face of their poverty moved the creature and he found himself wanting to assist them in their struggles. This experience and his desire to help them out and learn their language came before the murder of William. So, I personally believe that the creature would be bolstered and inspired by the interactions here despite his earlier unpleasant humanly interactions. If he had exclusively known sorrow, as he states above, then I could understand his desire to get back at his creator by striking his family. However, the creature obviously learns quickly and I find it more plausible to think that he progressed in his ability to act rationally despite his ugly outward appearance.
Family Dynamic
"I had thitherto supposed him to be the murderer of my brother, and I eagerly sought a confirmation or denial of this option. For the fist time, also, I felt what the duties of a creator towards his creature were, and that I ought to render him happy before I complained of his wickedness." Pg. 70
One topic of discussion mentioned in my small group, discussing the latest four chapters, brought up the relationship between Frankenstein and the creature. Although the reader only gets two chapters to experience the thoughts and feeling of the creature during his first two years of life, I feel as though I received an adequate glimpse into the dynamic between Frankenstein and the creature. The two possibilities of the relationship being a creator-servant or a father-son dynamic caused me to question Victor's response to finally talking to the creature and his explanation of his feelings, which he briefly describes in the quote above. I undoubtedly believe the relationship is one of a father and a son. The creature is obviously advanced for his age, and has come to know human emotion through suffering and by experiencing it between other individuals. A servant blindly obeys his commander and suppresses his/her emotions until he/she is alone or away from the master. Frankenstein's monster freely expresses his emotion and the harships he has endured. Like a father, Frankenstein says he feels some fatherly obligation to listen to his creation rather than purely control him. I also believe that the seeming tendency for the relationship to be one of a father and son stems from Victor's own relationship with his father. His father has been very good to him over the years, so he knows what true compassion and patronly duty feels like, and notices the duty he has to this creature. These feelings spurn compassion and a bit of guilt within Frankenstein, which are definitely marks of a father rather than a master.
One topic of discussion mentioned in my small group, discussing the latest four chapters, brought up the relationship between Frankenstein and the creature. Although the reader only gets two chapters to experience the thoughts and feeling of the creature during his first two years of life, I feel as though I received an adequate glimpse into the dynamic between Frankenstein and the creature. The two possibilities of the relationship being a creator-servant or a father-son dynamic caused me to question Victor's response to finally talking to the creature and his explanation of his feelings, which he briefly describes in the quote above. I undoubtedly believe the relationship is one of a father and a son. The creature is obviously advanced for his age, and has come to know human emotion through suffering and by experiencing it between other individuals. A servant blindly obeys his commander and suppresses his/her emotions until he/she is alone or away from the master. Frankenstein's monster freely expresses his emotion and the harships he has endured. Like a father, Frankenstein says he feels some fatherly obligation to listen to his creation rather than purely control him. I also believe that the seeming tendency for the relationship to be one of a father and son stems from Victor's own relationship with his father. His father has been very good to him over the years, so he knows what true compassion and patronly duty feels like, and notices the duty he has to this creature. These feelings spurn compassion and a bit of guilt within Frankenstein, which are definitely marks of a father rather than a master.
Motivation
"I doubted at first whether I should attempt the creation of a being like myself, or one of simpler organization; but my imagination was too much exalted by my first success to permit me to doubt of my ability to give life to an animal as complex and wonderful as man. The materials at present within my command hardly appeared adequate to so arduous an undertaking; but I doubted not that I should ultimately succeed." Pg. 32
Victor Frankenstein slowly exposes his thoughts and feelings through some direct but mostly indirect characterization in the novel. Although the action is sparse compared to the internal thoughts and conflicts Victor exposes, the reader receives through these thoughts and feelings the motivation for his past actions. When beginning the novel, readers learn that from a young age Frankenstein revelled in his curiosity of "the magnificent appearance of things." He had an inquisitve mind that was nurtured by his positive upbringing and his relationships with Elizabeth and Henry. A while later, he reads the studies of philosophers Magnus and Paracelsus, and instantly calls himself "their disciple." It is at this point that, while recollecting, Victor acknowledges destiny took command and ultimately steered him to his dispair. After the creature seems to kill William, Victor shifts his motivation to destruction of the monster. The point I wish to make about Frankenstein's motivation stems from the sequence in which each particular motivation arises. Events in his life lead him become motivated to act in certain ways, such as after he creates the creature and it kills William. Victor is then motivated to kill the creature to end his own suffering and the danger he sees for others. The motivation does not come from within but is prompted by outside influences. He calls it destiny but I believe Victor lacks to ability to find motivation within himself and find a purpose to which he actually sees as overall good and worthwhile. By not doing so, he finds himself in guilt and dispair more than bliss and satisfaction.
Victor Frankenstein slowly exposes his thoughts and feelings through some direct but mostly indirect characterization in the novel. Although the action is sparse compared to the internal thoughts and conflicts Victor exposes, the reader receives through these thoughts and feelings the motivation for his past actions. When beginning the novel, readers learn that from a young age Frankenstein revelled in his curiosity of "the magnificent appearance of things." He had an inquisitve mind that was nurtured by his positive upbringing and his relationships with Elizabeth and Henry. A while later, he reads the studies of philosophers Magnus and Paracelsus, and instantly calls himself "their disciple." It is at this point that, while recollecting, Victor acknowledges destiny took command and ultimately steered him to his dispair. After the creature seems to kill William, Victor shifts his motivation to destruction of the monster. The point I wish to make about Frankenstein's motivation stems from the sequence in which each particular motivation arises. Events in his life lead him become motivated to act in certain ways, such as after he creates the creature and it kills William. Victor is then motivated to kill the creature to end his own suffering and the danger he sees for others. The motivation does not come from within but is prompted by outside influences. He calls it destiny but I believe Victor lacks to ability to find motivation within himself and find a purpose to which he actually sees as overall good and worthwhile. By not doing so, he finds himself in guilt and dispair more than bliss and satisfaction.
Internal Conflict
"Now all was blasted: instead of that serenity of conscience which allowed me to look back upon the past with self-satisfaction, and from thence to gather promise of new hopes, I was seized by remorse and the sense of guilt, which hurried me away to a hell of intense tortures, such as no language can describe." Pg. 61
While working through the first eighty pages of this novel, I noticed the majority of the text contains content pertaining to Victor's recollection of his past and what has led him to the ship with Walton. When I was talking to friends about the book, one noted how the action of the story, including all that has led Frankenstein to the current point, could probably be summed up in nearly ten pages. Although I agree with that statement as it is unarguably true, I feel that the content of the novel remains as important as the actions. During these first twelve chapters, the reader becomes well-acquainted with the emotions Victor feels about his family, learning, and his creation of the monster. The internal conflict that becomes apparent in these self-examinations, especially his mental conflict over his ambition and its resultant misery, shows its significance when one considers the underlying themes throughout the book. Some themes glare conspicuously above others when one sympathizes with Victor's internal conflict, such as the role of destiny in his fate, or the inevitability of guilt stemming from his neglect of the creature. When considering these topics, the internal conflict becomes much more relevant and crucial to the novel as a whole. The internal conflict also compliments the external conflict between the creature and Victor well. While he thinks of the creature as a fiend and a demon, Frankenstein must also consider how he himself has become a fiend to himself.
While working through the first eighty pages of this novel, I noticed the majority of the text contains content pertaining to Victor's recollection of his past and what has led him to the ship with Walton. When I was talking to friends about the book, one noted how the action of the story, including all that has led Frankenstein to the current point, could probably be summed up in nearly ten pages. Although I agree with that statement as it is unarguably true, I feel that the content of the novel remains as important as the actions. During these first twelve chapters, the reader becomes well-acquainted with the emotions Victor feels about his family, learning, and his creation of the monster. The internal conflict that becomes apparent in these self-examinations, especially his mental conflict over his ambition and its resultant misery, shows its significance when one considers the underlying themes throughout the book. Some themes glare conspicuously above others when one sympathizes with Victor's internal conflict, such as the role of destiny in his fate, or the inevitability of guilt stemming from his neglect of the creature. When considering these topics, the internal conflict becomes much more relevant and crucial to the novel as a whole. The internal conflict also compliments the external conflict between the creature and Victor well. While he thinks of the creature as a fiend and a demon, Frankenstein must also consider how he himself has become a fiend to himself.
Parallelism
"A flash of lightning illuminated the object, and discovered its shape plainly to me; its gigantic stature, and the deformity of its aspect, more hideous than belongs to humanity, instantly informed me that it was the wretch, the filthy daemon to whom I had given life." Pg. 50
Throughout the first half of Frankenstein, the reader only comes to know the appearance and perceived demeanor of the creature through Victor Frankenstein's characterization of it. However, the first twelve chapters afford the reader a few brief glimpses into the appearance of the creature. Each time the creature is spotted, Victor describes him as a monster of "gigantic stature," and I believe there is significance in the repetition of this phrase. A diligent reader can perceive that Frankenstein progress through several mental states, including despair, terror, guilt, and bliss. The creature is the cause of these emotions, but his descrpition does not change throughout the entirety of the first half. By describing the creature in terms of his size and stature, Victor conveys to the reader the natural emotions which follow sighting such a monster. Although he thoroughly explains his emotions each time he spots the creature, the physical description serves to punctuate the innate feelings which are associated with the monster. I have little doubt that if I were to perceive such a creature, I too would feel terrified and ultimately combative toward him. The repetition also serves as an effective set-up for the dialogue the creature gives in chapters eleven and twelve. In these pages, one learns how the creature was greatly neglected, and the physical description contrasts greatly with his obvious tenderness and personal hardships.
Throughout the first half of Frankenstein, the reader only comes to know the appearance and perceived demeanor of the creature through Victor Frankenstein's characterization of it. However, the first twelve chapters afford the reader a few brief glimpses into the appearance of the creature. Each time the creature is spotted, Victor describes him as a monster of "gigantic stature," and I believe there is significance in the repetition of this phrase. A diligent reader can perceive that Frankenstein progress through several mental states, including despair, terror, guilt, and bliss. The creature is the cause of these emotions, but his descrpition does not change throughout the entirety of the first half. By describing the creature in terms of his size and stature, Victor conveys to the reader the natural emotions which follow sighting such a monster. Although he thoroughly explains his emotions each time he spots the creature, the physical description serves to punctuate the innate feelings which are associated with the monster. I have little doubt that if I were to perceive such a creature, I too would feel terrified and ultimately combative toward him. The repetition also serves as an effective set-up for the dialogue the creature gives in chapters eleven and twelve. In these pages, one learns how the creature was greatly neglected, and the physical description contrasts greatly with his obvious tenderness and personal hardships.
Tuesday, March 6, 2012
The Irony of Life
"He was so wonderful with his hands."
"He had the wrong dreams. All, all, wrong."
Requiem. 1629
The Requiem of the play draws a conclusion that may have otherwise been overlooked had it not been in context of the passing of Willy. Biff, Charley, and Linda realize how well Willy completed manual tasks such as repairing a ceiling or pouring cement. The irony that Willy could have found his financial stability and importance in a job he never considered makes me consider what caused Willy to favor business life over manual labor. Because he was greatly affected by the notion that notoriety in life stems from a great reputation, he never considered a job in which the socialization is minimal. This also made me think that maybe the world was smarter than Willy and saw right through him, which is another irony. Willy was obvioiusly caught up with the task of building rapport among his clients. However, maybe this society-wide notion was far too immature for his buyers, who realized his self-seeking nature and found it hard to come to like Willy despite his jokes. I also found it ironic when Biff comes home to find Willy planting the seeds in the small garden he has plotted beside the house. There is some allusion in this scene, because earlier in the play, Willy explains to Linda how he has tried to grow plants in this area and nothing will grow. Now, Willy is desperate to create something that will provide for his family. The dramatic irony in this occurence is that the reader can sense earlier in the play that none of Willy's ambitions will come to fruition, but he himself does not come to this conclusion until the end of the play.
"He had the wrong dreams. All, all, wrong."
Requiem. 1629
The Requiem of the play draws a conclusion that may have otherwise been overlooked had it not been in context of the passing of Willy. Biff, Charley, and Linda realize how well Willy completed manual tasks such as repairing a ceiling or pouring cement. The irony that Willy could have found his financial stability and importance in a job he never considered makes me consider what caused Willy to favor business life over manual labor. Because he was greatly affected by the notion that notoriety in life stems from a great reputation, he never considered a job in which the socialization is minimal. This also made me think that maybe the world was smarter than Willy and saw right through him, which is another irony. Willy was obvioiusly caught up with the task of building rapport among his clients. However, maybe this society-wide notion was far too immature for his buyers, who realized his self-seeking nature and found it hard to come to like Willy despite his jokes. I also found it ironic when Biff comes home to find Willy planting the seeds in the small garden he has plotted beside the house. There is some allusion in this scene, because earlier in the play, Willy explains to Linda how he has tried to grow plants in this area and nothing will grow. Now, Willy is desperate to create something that will provide for his family. The dramatic irony in this occurence is that the reader can sense earlier in the play that none of Willy's ambitions will come to fruition, but he himself does not come to this conclusion until the end of the play.
Opposites of Willy Loman
"Why, boys, when I was seventeen I walked into the jungle, and when I was twenty-one I walked out. And by God I was rich." I. 1570
It's not hard to believe that individuals within the play contrast sharply with Willy Loman in regards to personality and actions. Willy's brother's Ben is one of these foil characters, because he has made something of his life, unlike Willy who lives paycheck to paycheck. Willy has worked to exhaustion over his sixty years and has little security or peace of mind to show for it, but Ben, as indicated by the quote above, got lucky at a young age and found his security early in life. Charley, a character portrayed as somewhat of friend to Willy, also comes across as a foil to Willy. Willy explains how Charley doesn't have the same social attributes as him and he is not as well liked as Willy. Charley also seems to be much more altruistic and benevolent for the sake of others rather than himself, because he offers Willy a job several times when Willy is struggling to make ends meet. He, like Biff, tries to show him the error of his motivations, but ultimately he cannot crack Willy from his unrealistic dreams. The main difference between Charley and Ben originates from their respective effects on Willy. Ben, because of his success, fuels Willy's blindness to the disappointment his children have in him. Ben also goes along with and encourages Willy's thoughts, such as at the end of the play, which only serves to reinforce Willy's resolve to be highly regarded despite the consequences.
It's not hard to believe that individuals within the play contrast sharply with Willy Loman in regards to personality and actions. Willy's brother's Ben is one of these foil characters, because he has made something of his life, unlike Willy who lives paycheck to paycheck. Willy has worked to exhaustion over his sixty years and has little security or peace of mind to show for it, but Ben, as indicated by the quote above, got lucky at a young age and found his security early in life. Charley, a character portrayed as somewhat of friend to Willy, also comes across as a foil to Willy. Willy explains how Charley doesn't have the same social attributes as him and he is not as well liked as Willy. Charley also seems to be much more altruistic and benevolent for the sake of others rather than himself, because he offers Willy a job several times when Willy is struggling to make ends meet. He, like Biff, tries to show him the error of his motivations, but ultimately he cannot crack Willy from his unrealistic dreams. The main difference between Charley and Ben originates from their respective effects on Willy. Ben, because of his success, fuels Willy's blindness to the disappointment his children have in him. Ben also goes along with and encourages Willy's thoughts, such as at the end of the play, which only serves to reinforce Willy's resolve to be highly regarded despite the consequences.
The Tragedy of Real Life
"Why must everybody like you? Who liked J.P. Morgan? Was he impressive? In a Turkish bath he'd look like a butcher. But with his pockets on he was very well liked." II.1602
One of the review questions at the end of the play and a common thread throughout the entirety of the dialogue concerns the categorization of the play as a tragedy or otherwise. As the book points out, the argument hinges on the perception of Willy as a character who either posesses a tragic flaw or simply behaves in a constantly detrimental manner. I believe to answer this question, one must dive into a quasi-comprehensive characterization of Willy. Throughout the play, Willy is chiefly concerned about his perception in the eyes of others and the financial stability that follows such favorable perceptions. While reading, I did encounter a slight sympathy for Willy, because he seems to have a mental condition which is never discussed or diagnosed. This condition leads Willy to recollect the pivotal moments in his life regarding his quest for a chance to make it big. Another point was made in the book about the natural behavior or Willy in response to his surroundings and his profession. In fact, Charley tells the audience not to blame Willy in the Requiem because selling is a heartbreaking business based on how well one likes someone, and not the substance or intelligence of a man. Willy constantly searches for some sort of fulfillment in his life, and he sees that manifested in money or status. Willy is extremely misguided by the common desires of society. However, I would not catgorize him or this play as a tragedy because he is too vain to have his motives be considered altruistic, ie "-that boy will be thunderstruck, Be, because he never realized-I am known!" (1622) Indeed he does want to give his son his life insurance money to make something of himself, but his reason is to improve his image postmortem. Someone who is worried about his/her image after their death has an inferiortity complex and not a tragic flaw.
One of the review questions at the end of the play and a common thread throughout the entirety of the dialogue concerns the categorization of the play as a tragedy or otherwise. As the book points out, the argument hinges on the perception of Willy as a character who either posesses a tragic flaw or simply behaves in a constantly detrimental manner. I believe to answer this question, one must dive into a quasi-comprehensive characterization of Willy. Throughout the play, Willy is chiefly concerned about his perception in the eyes of others and the financial stability that follows such favorable perceptions. While reading, I did encounter a slight sympathy for Willy, because he seems to have a mental condition which is never discussed or diagnosed. This condition leads Willy to recollect the pivotal moments in his life regarding his quest for a chance to make it big. Another point was made in the book about the natural behavior or Willy in response to his surroundings and his profession. In fact, Charley tells the audience not to blame Willy in the Requiem because selling is a heartbreaking business based on how well one likes someone, and not the substance or intelligence of a man. Willy constantly searches for some sort of fulfillment in his life, and he sees that manifested in money or status. Willy is extremely misguided by the common desires of society. However, I would not catgorize him or this play as a tragedy because he is too vain to have his motives be considered altruistic, ie "-that boy will be thunderstruck, Be, because he never realized-I am known!" (1622) Indeed he does want to give his son his life insurance money to make something of himself, but his reason is to improve his image postmortem. Someone who is worried about his/her image after their death has an inferiortity complex and not a tragic flaw.
Monday, February 27, 2012
Character Analysis: Amanda
"I mean that as soon as Laura has got somebody to take care of her, married, a home of her own, independent-why then you'll be free to go wherever you please, on land, on sea, whichever way the wind blows you! But until that time you've got to look out for your sister. I don't say me because I'm old and don't matter! I say your sister because she's young and dependent." -iv.1253
This excerpt comes from one of the main arguments between Tom and Amanda, when Amanda essentially tells Tom he must provide for the family and help in finding Laura a husband. Tom wants to live his own independent, expressive life, but he is weighed down by his situation at home. These arguments are prime dialogue to analyze the character of Amanda however. Her concern for her daughter suggests she loves her kids very much, despite her demands on Tom. She clearly wants the best for them but does not have a way to provide for that. The beginning of the play and questions following the play describe Amanda as a character who "continues to live vitally in her allusions." These allusions are that a handsome, moral man will stumble upon Laura and marry, and that Tom will somehow make something of his life and provide for her until her death. Both situations are highly unlikely, given the reality of their situation. Amanda overlooks the fact that Laura is crippled and this angers Tom, who starts to act more like his father who left the home. I believe Amanda has the tragic trait of being overly optimistic. She wants and expects everything to fall into place, and when they do not, she pressures Tom and, in a way, Jim to make it so. This leaves at the conclusion that Amanda is mentally lazy and stuck in the past. She is from the South, where status consitutes a person's reputation. Here, men fall into women's lives naturally. However, she now lives in St. Louis in a changing time period. She doesn't recognize the need to change her approach to the difficult situation of Laura's inability to attract men, and so Tom suffers because of it.
This excerpt comes from one of the main arguments between Tom and Amanda, when Amanda essentially tells Tom he must provide for the family and help in finding Laura a husband. Tom wants to live his own independent, expressive life, but he is weighed down by his situation at home. These arguments are prime dialogue to analyze the character of Amanda however. Her concern for her daughter suggests she loves her kids very much, despite her demands on Tom. She clearly wants the best for them but does not have a way to provide for that. The beginning of the play and questions following the play describe Amanda as a character who "continues to live vitally in her allusions." These allusions are that a handsome, moral man will stumble upon Laura and marry, and that Tom will somehow make something of his life and provide for her until her death. Both situations are highly unlikely, given the reality of their situation. Amanda overlooks the fact that Laura is crippled and this angers Tom, who starts to act more like his father who left the home. I believe Amanda has the tragic trait of being overly optimistic. She wants and expects everything to fall into place, and when they do not, she pressures Tom and, in a way, Jim to make it so. This leaves at the conclusion that Amanda is mentally lazy and stuck in the past. She is from the South, where status consitutes a person's reputation. Here, men fall into women's lives naturally. However, she now lives in St. Louis in a changing time period. She doesn't recognize the need to change her approach to the difficult situation of Laura's inability to attract men, and so Tom suffers because of it.
Lights, Camera, Theatrical Elements
"The light dims out on Tom and comes up in the WInfgield living room-a delicate lemony light. It is about five on a Friday evening of late spring which comes "scattering poems in the sky." -vi.1262
Unlike its early predecessor, the Shakespearean drama, modern memory plays like "The Glass Menagerie" employ many more explicit stage directions and theatrical elements. For one, the technology from the Elizabethan era has greatly improved. Producers then and now have the ability to focus audience attention and create visual effects which further of the plot of the play. This play relies heavily on the effects of light, props, and costumes to describe the characters and setting of the play. Although unrealistic in its construction, the set mimics the layout of a typical apartment such a family would live in. The coming-of-age of material goods at this time also weighs heavily on the subject matter of the play, and appearances play a large role in the overall storyline. "The Glass Mengagerie" centers around the symbolism of an object relating to a person: the glass pieces of Laura's symbolizing her frailty. Throughout the play, there is a contrast between the dingy apartment and the importance of physical appearance. Amanda goes to great lengths to dress up Laura, because she hopes a man will find her physically attractive and one day marry her. Ultimately, the entire play is dependent on objects, and they advance the emotions of Tom and the other characters. The sullen apartment aids in understanding the argument between Tom and Amanda, as Tom despises the physical appearance of the place and wants out.
Unlike its early predecessor, the Shakespearean drama, modern memory plays like "The Glass Menagerie" employ many more explicit stage directions and theatrical elements. For one, the technology from the Elizabethan era has greatly improved. Producers then and now have the ability to focus audience attention and create visual effects which further of the plot of the play. This play relies heavily on the effects of light, props, and costumes to describe the characters and setting of the play. Although unrealistic in its construction, the set mimics the layout of a typical apartment such a family would live in. The coming-of-age of material goods at this time also weighs heavily on the subject matter of the play, and appearances play a large role in the overall storyline. "The Glass Mengagerie" centers around the symbolism of an object relating to a person: the glass pieces of Laura's symbolizing her frailty. Throughout the play, there is a contrast between the dingy apartment and the importance of physical appearance. Amanda goes to great lengths to dress up Laura, because she hopes a man will find her physically attractive and one day marry her. Ultimately, the entire play is dependent on objects, and they advance the emotions of Tom and the other characters. The sullen apartment aids in understanding the argument between Tom and Amanda, as Tom despises the physical appearance of the place and wants out.
Tom's Narrative
"And while the other boys in the warehouse regarded me with suspicious hostility, Jim took a humorous attitude toward me. Gradually his attitude affected the other, their hostility wore off and they also began to smile at me as people smile at an oddly fashioned dog who trots across their paths at some distance."-vi.1262
The play "The Glass Menagerie" by Tennessee Williams portrays the life of Tom, Amanda, and Laura, a broken family struggling in St. Louis. As is common in portrayals of societal dilemmas, the family must struggle not only with finances but also the social expectations of their society. An important distinciton in the play recognizes Tom, the lowly warehouse worker and sole breadwinner for the family, as the narrator. The narration by Tom sets "The Glass Menagerie" apart from Shakespearean plays, but does not fully reveal the portrayal of characters and settings, as the dialogue continues to serve that purpose. When narrating the play, Tom speaks in educated prose, which is a contrast to his normal dialogue with Amanda. The contrast is made through the diction and descriptors Tom utilizes in his prose speaking. Tom goes to great lengths to describe Laura, Jim, and his mother, and he does so with his own historical context in mind. Outside influences such their jobs and finances play heavily into his recollections of life with Amanda and Laura. I believe Tom's narration has a calculated purpose, however. This play bases its action on the firsthand account of Tennesse Williams. He is in fact Tom, and he therefore writes this play with many wrapped emotions. Perhaps Williams included Tom's narratives to temper the memory of his real emotions from this time in his life. Memory tends to intensify emotions humans recollect from significant points in their lives, and Williams seems to acknowlege this trend. Besides, the play would have been overly emotional and less understandable without Tom's descriptions.
The play "The Glass Menagerie" by Tennessee Williams portrays the life of Tom, Amanda, and Laura, a broken family struggling in St. Louis. As is common in portrayals of societal dilemmas, the family must struggle not only with finances but also the social expectations of their society. An important distinciton in the play recognizes Tom, the lowly warehouse worker and sole breadwinner for the family, as the narrator. The narration by Tom sets "The Glass Menagerie" apart from Shakespearean plays, but does not fully reveal the portrayal of characters and settings, as the dialogue continues to serve that purpose. When narrating the play, Tom speaks in educated prose, which is a contrast to his normal dialogue with Amanda. The contrast is made through the diction and descriptors Tom utilizes in his prose speaking. Tom goes to great lengths to describe Laura, Jim, and his mother, and he does so with his own historical context in mind. Outside influences such their jobs and finances play heavily into his recollections of life with Amanda and Laura. I believe Tom's narration has a calculated purpose, however. This play bases its action on the firsthand account of Tennesse Williams. He is in fact Tom, and he therefore writes this play with many wrapped emotions. Perhaps Williams included Tom's narratives to temper the memory of his real emotions from this time in his life. Memory tends to intensify emotions humans recollect from significant points in their lives, and Williams seems to acknowlege this trend. Besides, the play would have been overly emotional and less understandable without Tom's descriptions.
Thursday, February 16, 2012
"A fool! A fool! I met a fool i' the forest, A motley foot; a miserable world! As I do live by food, I met a fool;" II.vii.28
I chose the above quote because it encompasses two characters who do not play major roles but add some comic relief to the plot. Touchstone, a clown and the companion to Celia and Rosalind, gets embroiled in a small feud with Jaques. Jaques is described as a melancholy fellow who takes delight in the macabre and somber elements of life rather than the delights most other people in the forest enjoy. As the play progressed, I found myself growing less fond of these two characters. They seem like people who seek out the petty conflicts that entangle the less ambitious individuals of the play. Touchstone becomes much too full of himself, insulting his eventual wife and giving Corin lessons about the merits of court life. Jaques makes some degrading comments about the lovers int he play, essentially going against their decisions. In a sense, these two characters act as quasi-villians in the absence of tragic drama antogonists. Shakespeare puts these characters in the play to temper the constant happiness which proceeds from the constant love stories.
I chose the above quote because it encompasses two characters who do not play major roles but add some comic relief to the plot. Touchstone, a clown and the companion to Celia and Rosalind, gets embroiled in a small feud with Jaques. Jaques is described as a melancholy fellow who takes delight in the macabre and somber elements of life rather than the delights most other people in the forest enjoy. As the play progressed, I found myself growing less fond of these two characters. They seem like people who seek out the petty conflicts that entangle the less ambitious individuals of the play. Touchstone becomes much too full of himself, insulting his eventual wife and giving Corin lessons about the merits of court life. Jaques makes some degrading comments about the lovers int he play, essentially going against their decisions. In a sense, these two characters act as quasi-villians in the absence of tragic drama antogonists. Shakespeare puts these characters in the play to temper the constant happiness which proceeds from the constant love stories.
And the Winner Is: The Forest
"...that the propterty of rain is to wet and fire to burn; that good pasture makes fat sheep, and that a great cause of the night is lack of the sun; that he that hath learned no wit by nature nor art may complain of good breeding or comes of a very dull kindred." -III.i.35
A common theme throughout the play was the contradiction, and sometimes battle as exemplified above, between the forest and the court. In this quote above, Corin argues on behalf of forest life and Touchstone argues for court life. Honestly, I never really thought this argument was worth discussion until the last two pages, when Duke Frederick meets a religious man of the forest and is converted from his power-hungry ways. Up until this point, Touchstone and Corin were the only ones who seemed to care much about their respective living habits. When I read this dialogue between the two, I found it somewhat funny. Touchstone is talking about the refined and dignified court life when his purpose in Duke Frederick's court was as a clown. I truly bought more into Corin's argument, simply because he seemed more knowledgable and experienced based on his profession. When I reflect on the play as a whole, the fact of Duke Frederick's conversion and the eventual merriment in the forest show that forest life has more merit than city life. I believe this parallels the entire Shakesperean comedy genre as a whole. Comedy is supposed to be more lighthearted and fun. The characters, such as Rosalind and Orlando, would probably get wrapped up in more tragic plots if they were set in the city. For this reason, I declare the forest the winner in the country vs. court theme.
A common theme throughout the play was the contradiction, and sometimes battle as exemplified above, between the forest and the court. In this quote above, Corin argues on behalf of forest life and Touchstone argues for court life. Honestly, I never really thought this argument was worth discussion until the last two pages, when Duke Frederick meets a religious man of the forest and is converted from his power-hungry ways. Up until this point, Touchstone and Corin were the only ones who seemed to care much about their respective living habits. When I read this dialogue between the two, I found it somewhat funny. Touchstone is talking about the refined and dignified court life when his purpose in Duke Frederick's court was as a clown. I truly bought more into Corin's argument, simply because he seemed more knowledgable and experienced based on his profession. When I reflect on the play as a whole, the fact of Duke Frederick's conversion and the eventual merriment in the forest show that forest life has more merit than city life. I believe this parallels the entire Shakesperean comedy genre as a whole. Comedy is supposed to be more lighthearted and fun. The characters, such as Rosalind and Orlando, would probably get wrapped up in more tragic plots if they were set in the city. For this reason, I declare the forest the winner in the country vs. court theme.
The Convolutions of Comedy
"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;" -V.iv.78
One of my first reflections upon finishing "As You Like It" was the complicated and somewhat confusing twists and jumps in the plot. Apparently, such an element is characteristic of Shakespearean comedy. Now that I think about the reason and purpose behind mixing multiple characters with their own agendas, I realize that the constant diversions to the characters of the play serves to lessen the intensity and suspense of the play. The above quote is a representation of the quick and unexpected plot twists that have a significant effect on the play as a whole. This excerpt comes from a point in the play, the end, when the plot elements are being concluded. Although it is brief and unexpected, the dialogue that takes place here is instrumental to the resolution of the play. I believe that this trend throughout the play serves to emphasize the many storylines. Because they are brief, the reader is able to better remember the advancement of the plot through these scenes. However, the scenes which involve more complicated characters like Orlando, Rosalind, and Jaques are usually longer, which indicates that these characters may be more important.
One of my first reflections upon finishing "As You Like It" was the complicated and somewhat confusing twists and jumps in the plot. Apparently, such an element is characteristic of Shakespearean comedy. Now that I think about the reason and purpose behind mixing multiple characters with their own agendas, I realize that the constant diversions to the characters of the play serves to lessen the intensity and suspense of the play. The above quote is a representation of the quick and unexpected plot twists that have a significant effect on the play as a whole. This excerpt comes from a point in the play, the end, when the plot elements are being concluded. Although it is brief and unexpected, the dialogue that takes place here is instrumental to the resolution of the play. I believe that this trend throughout the play serves to emphasize the many storylines. Because they are brief, the reader is able to better remember the advancement of the plot through these scenes. However, the scenes which involve more complicated characters like Orlando, Rosalind, and Jaques are usually longer, which indicates that these characters may be more important.
Monday, February 13, 2012
The Universality of Foolish Loyalty
Bibliophiles and students studying literature recognize and affirm the claim constantly: the themes and actions contained in Shakespearean drama present indelible, universal truths. Shakespeare composed dialogue which was intended to psychologically relate to the common mindset, across a broad spectrum of generations. Although no Shakespearean setting, action, or motive applies to every contemporary situation, individuals frequently find themselves contemplating the very cerebral habits a sixteenth-century man used to delight his audiences. Not surprisingly then, one can easily find facsimiles of Shakespearean themes strewn throughout modern-day literature and media. The drama “Othello” illustrates several of these timeless themes, not the least of which notes the foolish loyalty and trust of unsuspecting characters towards their close colleagues. Iago, the antagonist and possibly most notable Shakespearean villain cultivates and subsequently exploits this loyalty to gain revenge on his superior, Othello. Modern equivalents of “Othello” present a similar topic. Tyler Durden of the film “Fight Club” uses his cult-like leadership skills to coerce his corporate friend into management of an underground brotherhood. Much of the same blind obedience and manipulation can be found in the literary classic Lord of the Flies. A lack of parental supervision leads to discord and chaos among highly impressionable young boys who ultimately follow their savage leader into the killings of their innocent peers. The tendencies of man to blindly trust his friends, captured in fiction and film, perpetuate Shakespearean texts such as “Othello.”
The eccentrically based but widely popular film “Fight Club” introduces two main characters whose influence on each other mirrors the relationship between Othello and Iago. Much like Iago’s suggestion and inference techniques when he says to Othello, “Receive it from me. I speak not yet of proof. Look to your wife. Observe her well with Cassio. Wear your eye thus, not jealous nor secure,” Tyler Durden plays to the weakness of the narrator’s mind (III.iii.197-199). Although the idea of a club to relieve angst and frustration through physical beating appears psychotic, Tyler recognizes the relief Edward Norton’s character feels from releasing his disdain towards established institutions through violence. He convinces the narrator to organize acts of rebellion against businesses and government and eventually becomes his alter ego (Fincher). The same can be said of Iago’s recognizing Othello’s weakness, although in a differing context. He exploits the trust Othello holds in his lieutenant and indulges in Othello’s apparent downfalls: his rashness and jealousy. Consequently, Othello maddens himself to a murderous level, falsely accusing Desdemona of infidelity and killing her (V.ii.83). Although Othello himself dies, both instances of command ultimately lead to the deaths of the men pulling the strings, Iago and Tyler Durden.
In the absence of true leadership, individuals tend to idolize the voices of their most passionate, promising contemporaries. Such is a popular and historically accurate truth. This truth continues in the William Golding work Lord of the Flies. Young boys stranded on a tropical island find themselves battling disorder in the absence of true government. Ralph, a senior child among the boys and their most likely counsel for intelligent action, attempts to organize the children to build fires, hunt, and mend shelters. Soon however, a challenger named Jack rises to popularity among the boys, mostly for his preoccupation with hunting and bloodshed. Jack commands his doting followers into tracking down food and eventually killing Piggy, another boy on the island (Golding). Due to the fragile nature of their minds, the boys cannot mentally or physically manage the notion of remaining civil while also staying alive with no superiors. They listen to the message of anarchy Jack promotes solely because it alleviates the stress they are under. While Iago manages to manipulate Othello, he also serves as a refreshing voice of counsel to Roderigo, much like Jack to the other boys. Roderigo acts much like the boys in Lord of the Flies in that he desires the love of Desdemona that is outside his reach. He desperately searches for a way to her bed, and finds hope in Iago’s false promises. Even when he raises credible suspicion, Iago quells his concern and pampers his desires with, “-I mean purpose, courage, and valor-this night show it. If thou the next night following enjoy not Desdemona, take me from this world with treachery and devise engines for my life” (IV. ii. 207-211). Much like the boys, Roderigo seeks out a person who will satiate his wants and ease his burden. Both Iago and Jack misuse their foolish loyalty for their own devices: Jack to satisfy his need for power and Iago to avenge Othello and earn some money on the side.
Perrine, Lawrence. “Othello.” Perrine’s Literature: Structure, Sound, and Sense. Forth Worth.
Harcourt College. 2002. 1361-1462. Print
Fight Club. Dir. David Fincher. Perf. Brad Pitt and Edward Norton. Regency Enterprises, 1999.
DVD
Golding, William. Lord of the Flies. Perigree, 1954. Print.
Monday, February 6, 2012
"How to Save a Life"
"How to Save a Life" by The Fray
Played out in tragic events over the course of the last scenes of the final act, the conflict of rumor versus truth takes a deadly turn when Othello definitively determines death as a fitting recompense for her sins. However, Desdemona displays devotion to her husband through the moment of her death. Othello's resolution to murder his wife could be described as the true tragedy of the play, because his decision is based on speculation and false evidence. I found connections within the song during the refrain. Desdemona's devotion is unquestioned. She would die for the man she loves. Nevertheless, she lost her man "somewhere along in the bitterness."The bitterness is the chaos, confusion, and tumult resulting from Iago stirring Cassio and Roderigo into acts which make them seem dishonorable and licentious."He will do one of two things. He will admit to everything, or he'll say he's just not the same." This lyrical quote portrays the tragic flaw present in Othello to go into a blind rage when sensing treachery. Othello is urged by Desdemona to stop and realize his irrationality, but he pays no heed to the numerous warning he receives from her and others. One might think that Desdemona would be the life needing saving, but if taken in context with the lyrics of the song, Othello clearly becomes the individual in need of salvation. Desdemona accepts her unfortunate fate readily; however, Othello cannot accept and acknowledge the "things you've told him all along." Desdeomona would have stayed up with him all night, if she had known how to save his life.
Played out in tragic events over the course of the last scenes of the final act, the conflict of rumor versus truth takes a deadly turn when Othello definitively determines death as a fitting recompense for her sins. However, Desdemona displays devotion to her husband through the moment of her death. Othello's resolution to murder his wife could be described as the true tragedy of the play, because his decision is based on speculation and false evidence. I found connections within the song during the refrain. Desdemona's devotion is unquestioned. She would die for the man she loves. Nevertheless, she lost her man "somewhere along in the bitterness."The bitterness is the chaos, confusion, and tumult resulting from Iago stirring Cassio and Roderigo into acts which make them seem dishonorable and licentious."He will do one of two things. He will admit to everything, or he'll say he's just not the same." This lyrical quote portrays the tragic flaw present in Othello to go into a blind rage when sensing treachery. Othello is urged by Desdemona to stop and realize his irrationality, but he pays no heed to the numerous warning he receives from her and others. One might think that Desdemona would be the life needing saving, but if taken in context with the lyrics of the song, Othello clearly becomes the individual in need of salvation. Desdemona accepts her unfortunate fate readily; however, Othello cannot accept and acknowledge the "things you've told him all along." Desdeomona would have stayed up with him all night, if she had known how to save his life.Thursday, February 2, 2012
Unusual Response
"Talk you of killing?"
"Aye, I do."
"Then Heaven Have mercy on me!" V.ii.33-34
Throughout the play, I was fascinated by the fact that many of the characters continue to act with civility and composure before or even after a physical attack. The above quote is a prime example of this observation, and one that struck me as odd while reading Act V. Desdemona becomes aware of the fact that Othello intends to kill her but instead of overreacting, attacking Othello, or running away, she anxiously but civilly asks for his mercy and a reason for his actions. Cassio acts similarly. Instead of cursing his attacker, Cassio simply asks for medical attention and desperately tries to figure out what has transpired. For me, this served as a kind of indirect characterization. I have to admit that I was questioning of Desdemona's characters throughout the entirety of the play. She seemed to be a bit of a flirt when talking with Iago. However, the civility that was shown by these two characters show that they were truly honest and upright characters. I find it interesting that compared to Othello at the end of the play, Cassio and Desdemona seem much more faithful to their respective causes than Othello. He was blinded by scandal. Although unnatural and unusual, the responses of the attackees goes to show that certain characters are full of much more integrity than characters who the reader would expect to have it.
"Aye, I do."
"Then Heaven Have mercy on me!" V.ii.33-34
Throughout the play, I was fascinated by the fact that many of the characters continue to act with civility and composure before or even after a physical attack. The above quote is a prime example of this observation, and one that struck me as odd while reading Act V. Desdemona becomes aware of the fact that Othello intends to kill her but instead of overreacting, attacking Othello, or running away, she anxiously but civilly asks for his mercy and a reason for his actions. Cassio acts similarly. Instead of cursing his attacker, Cassio simply asks for medical attention and desperately tries to figure out what has transpired. For me, this served as a kind of indirect characterization. I have to admit that I was questioning of Desdemona's characters throughout the entirety of the play. She seemed to be a bit of a flirt when talking with Iago. However, the civility that was shown by these two characters show that they were truly honest and upright characters. I find it interesting that compared to Othello at the end of the play, Cassio and Desdemona seem much more faithful to their respective causes than Othello. He was blinded by scandal. Although unnatural and unusual, the responses of the attackees goes to show that certain characters are full of much more integrity than characters who the reader would expect to have it.
Don't Lead me On
"Dost thou hear, Iago? I will be found most cunning in my patience, But-dost thou hear?-most bloody." IV.i.87-89
Throughout the duration of "Othello," the reader is led on by the expectation that some sort of retaliation for the rumors and supposed acts of Iago and other characters will take place. Luckily for Shakespeare and readers captivated by the plot, the resolution and fulfillment of these expectations do not take place until the fifth act, when nearly everyone besides Iago and Cassio perish due to the conflict of the play. The interesting fact of the suspense created is that the information the characters possess is not far from what the audience knows. Othello is constantly told by Desdemona and Emilia that Desdemona is not sleeping with Cassio. However, there is still a substantial amount of dramatic irony that exists between what the characters know and what the audience expects. Much of this audience knowledge centers around Iago and his conspiracy against Cassio and Othello. Some of the situations seemed so ridiculous that I wondered when Iago would be found out. The irony revealed at the end of the play is that Emilia turns out to be a dynamic character who understands the entire plot of Iago. The suspense led me and, as I suspect, many readers on to speculate who would reveal Iago to Othello and how soon it would happen. Because of this suspense, the revelation of Emilia as an integral character to the resolution of the conflict carries much more weight than if an educated character would find Iago out.
Throughout the duration of "Othello," the reader is led on by the expectation that some sort of retaliation for the rumors and supposed acts of Iago and other characters will take place. Luckily for Shakespeare and readers captivated by the plot, the resolution and fulfillment of these expectations do not take place until the fifth act, when nearly everyone besides Iago and Cassio perish due to the conflict of the play. The interesting fact of the suspense created is that the information the characters possess is not far from what the audience knows. Othello is constantly told by Desdemona and Emilia that Desdemona is not sleeping with Cassio. However, there is still a substantial amount of dramatic irony that exists between what the characters know and what the audience expects. Much of this audience knowledge centers around Iago and his conspiracy against Cassio and Othello. Some of the situations seemed so ridiculous that I wondered when Iago would be found out. The irony revealed at the end of the play is that Emilia turns out to be a dynamic character who understands the entire plot of Iago. The suspense led me and, as I suspect, many readers on to speculate who would reveal Iago to Othello and how soon it would happen. Because of this suspense, the revelation of Emilia as an integral character to the resolution of the conflict carries much more weight than if an educated character would find Iago out.
The Tragedy of Love, Revenge, Duty, etc.
"I will so. What's the matter?"
"That handkerchief which I so loved and gave thee. Thou gavest to Cassio."
No, by my life and soul! Send for the man and ask him."
"Sweet soul, take heed, take heed of perjury, thou art on thy deathbed." V.ii.47-51
One of the first and most appropriate questions to understanding the entirety of "Othello" is the format of drama the play takes. Interestingly, "Othello" incorporates elements of both tragedy and melodrama. For one who is familiar with the elements of drama such as tragedy or melodrama, the format of this play serves to varietize the expected norms of such categories of drama. The play follows the outline of tragedy in its portrayal of the protagonist, Othello, and the main motives for action throughout the play. Although concealed and purposefully hidden during the first few acts, Othello posesses a rashness that leads to the progression of Iago's scheme and the eventual death of the majority of the play's characters. He responds to the possibility of Cassio sleeping with his wife with unbridled anxiety and overreaction. Such is Othello's tragic flaw. The play also follows the outline of a tragedy in that the motivation for action throughout the play, Iago's manipulation of nearly every character, is a function of revenge, based on the rumor that Othello slept with his wife. The play also follows the elements of a melodrama in that Othello is tormented by the thought of Desdemona sleeping with Cassio for a majority of the dialogue. Iago ends up dying for his actions when Othello realizes he fabricated the entire plot.
"That handkerchief which I so loved and gave thee. Thou gavest to Cassio."
No, by my life and soul! Send for the man and ask him."
"Sweet soul, take heed, take heed of perjury, thou art on thy deathbed." V.ii.47-51
One of the first and most appropriate questions to understanding the entirety of "Othello" is the format of drama the play takes. Interestingly, "Othello" incorporates elements of both tragedy and melodrama. For one who is familiar with the elements of drama such as tragedy or melodrama, the format of this play serves to varietize the expected norms of such categories of drama. The play follows the outline of tragedy in its portrayal of the protagonist, Othello, and the main motives for action throughout the play. Although concealed and purposefully hidden during the first few acts, Othello posesses a rashness that leads to the progression of Iago's scheme and the eventual death of the majority of the play's characters. He responds to the possibility of Cassio sleeping with his wife with unbridled anxiety and overreaction. Such is Othello's tragic flaw. The play also follows the outline of a tragedy in that the motivation for action throughout the play, Iago's manipulation of nearly every character, is a function of revenge, based on the rumor that Othello slept with his wife. The play also follows the elements of a melodrama in that Othello is tormented by the thought of Desdemona sleeping with Cassio for a majority of the dialogue. Iago ends up dying for his actions when Othello realizes he fabricated the entire plot.
Thursday, January 26, 2012
Where is the Love?
"I hate the Moor, and it is thought abroad that 'twixt my sheets, He's done my office." (I.iii.366-368)
As I begin my journey through Othello, I have come to find that the common conflict in many of Shakespeare's works includes the difficulty of married couples to preserve their love in the face of the lusts of other characters. The issue seems so ubiquitous that it gives a double meaning to the term tragedy. The dilemma leaves me questioning the reason behind such a widespread theme throughout a host of Shakespeare tragedies. When I think about the issue, I am exceedingly convinced that Shakespeare was a highly skilled satirist. He expertly points out common conflicts society finds itself facing. Why would Shakespeare most frequently point out the entrapments of love then? I believe Shakespeare saw directly into the downfalls in which love leaves individuals. He creates Iago to express this knowledge. Iago's main mission is to break up the marriage of Othello and assert his authority because he feels disrespected. Iago possesses an uncanny wit. Shakespeare must then value intelligence much more than the romantic ideal of love. He crafts a story around the superiority of such an intelligence.
As I begin my journey through Othello, I have come to find that the common conflict in many of Shakespeare's works includes the difficulty of married couples to preserve their love in the face of the lusts of other characters. The issue seems so ubiquitous that it gives a double meaning to the term tragedy. The dilemma leaves me questioning the reason behind such a widespread theme throughout a host of Shakespeare tragedies. When I think about the issue, I am exceedingly convinced that Shakespeare was a highly skilled satirist. He expertly points out common conflicts society finds itself facing. Why would Shakespeare most frequently point out the entrapments of love then? I believe Shakespeare saw directly into the downfalls in which love leaves individuals. He creates Iago to express this knowledge. Iago's main mission is to break up the marriage of Othello and assert his authority because he feels disrespected. Iago possesses an uncanny wit. Shakespeare must then value intelligence much more than the romantic ideal of love. He crafts a story around the superiority of such an intelligence.
Contrast of Characters
"To suckle fools and chronicle beer." (II.i.159)
"He speaks home, madam. You may relish him more in the soldier than in the scholar." (II.i.163-164)
As the story progresses and characters show increased personality and tendencies, the reader gets a glimpse at the contrasting nature of some of the major characters. Because the reader experiences the asides and soliloquies unaware to the other characters, they can fully realize the intrinsic motivations of the main characters, frequently including Iago. Two major foil characters emerge from the dialogue of the second act. Cassio emerges as a an upright man highly conscious of his honor, while Iago, outwardly a moral character, conducts his actions in mischievous and comdemnable ways. Minor charactes like Desdemona and Emilia also contribute to the minor character theme. Characters such as Iago and Desdemona alike certainly advance the plot of the story by fabricating situations that would not regulary occur. Through Iago's rhetoric and urging, Roderigo is convinced to stay the course of Iago's plan and win Desdemona's heart. At the same time, Cassio trusts Iago to keep his honor despite his embarassing show of drunkenness. These minor characters are like pawns, in that they are manipulated by the puppet master-Iago. They also embody many of the themes stated in the previous post. Desdemona prompts Cassio, through her unbeknownst flirtatious responses, to court her more. This advances the theme of intercession in the love affairs of suspect relationships. Similarly, Roderigo prompts Cassio to attack him, further preparing the seeming separation of Othello and Desdemona.
"He speaks home, madam. You may relish him more in the soldier than in the scholar." (II.i.163-164)
As the story progresses and characters show increased personality and tendencies, the reader gets a glimpse at the contrasting nature of some of the major characters. Because the reader experiences the asides and soliloquies unaware to the other characters, they can fully realize the intrinsic motivations of the main characters, frequently including Iago. Two major foil characters emerge from the dialogue of the second act. Cassio emerges as a an upright man highly conscious of his honor, while Iago, outwardly a moral character, conducts his actions in mischievous and comdemnable ways. Minor charactes like Desdemona and Emilia also contribute to the minor character theme. Characters such as Iago and Desdemona alike certainly advance the plot of the story by fabricating situations that would not regulary occur. Through Iago's rhetoric and urging, Roderigo is convinced to stay the course of Iago's plan and win Desdemona's heart. At the same time, Cassio trusts Iago to keep his honor despite his embarassing show of drunkenness. These minor characters are like pawns, in that they are manipulated by the puppet master-Iago. They also embody many of the themes stated in the previous post. Desdemona prompts Cassio, through her unbeknownst flirtatious responses, to court her more. This advances the theme of intercession in the love affairs of suspect relationships. Similarly, Roderigo prompts Cassio to attack him, further preparing the seeming separation of Othello and Desdemona.
Lust all Around
"Three great ones of the city, In personal suit to make me his Lieutenant, Off-capped to him. And, by the faith of man, I know my price, I am worth no worse a place. But her, as loving his own pride and purposes, Evades them, with a bombast circumstance. Horribly stuffed with epithets of war." I.i.8-14
With the opening act of the story, the main plot details, characters, and conflicts are introduced to the reader. The reader also gets a glimpse of the themes which will dictate the subsequent actions of the characters. Several undeniable themes emerge when glancing over Act I. First is the struggle to keep honor and reputation while advancing one's status. Othello finds this increasingly difficult when he is questioned about his marriage to Desdemona soon after returning from war. However, Iago demonstrates that a character may appear honorable and upright when he is in fact a villanous manipulator. Iago's intention is the same as Othello's and Cassio's: he wishes to be held in high regard but hopes to advance his status. One other theme introduced and prominent throughout the latter half the act was the multiple interests in the love of one person. This is shown when Roderigo lusts after Desdemona, a married woman, to the point of saying, "It is silliness to live when to live istorment, and then have we a prescrpition to die when death is our physician."( I.iii.305-306) These thematic elements are the prime motivation for a majority of the play's action. In fact, they often increase the suspense of the plot and lead to dramatic irony, such as when Iago begins to plot Othello and Desdemona's separation. They are hardly didactic, because most of the unfortunate outcomes so far have been unjust and unexpected.
With the opening act of the story, the main plot details, characters, and conflicts are introduced to the reader. The reader also gets a glimpse of the themes which will dictate the subsequent actions of the characters. Several undeniable themes emerge when glancing over Act I. First is the struggle to keep honor and reputation while advancing one's status. Othello finds this increasingly difficult when he is questioned about his marriage to Desdemona soon after returning from war. However, Iago demonstrates that a character may appear honorable and upright when he is in fact a villanous manipulator. Iago's intention is the same as Othello's and Cassio's: he wishes to be held in high regard but hopes to advance his status. One other theme introduced and prominent throughout the latter half the act was the multiple interests in the love of one person. This is shown when Roderigo lusts after Desdemona, a married woman, to the point of saying, "It is silliness to live when to live istorment, and then have we a prescrpition to die when death is our physician."( I.iii.305-306) These thematic elements are the prime motivation for a majority of the play's action. In fact, they often increase the suspense of the plot and lead to dramatic irony, such as when Iago begins to plot Othello and Desdemona's separation. They are hardly didactic, because most of the unfortunate outcomes so far have been unjust and unexpected.
Subscribe to:
Posts (Atom)