The Scarlet Letter Section 4 Blog 4

In the conclusion of The Scarlet Letter by Nathaniel Hawthorne, I was surprised by the response of the townspeople to Mr. Dimmesdale's confession of sin and eventual death. Mr. Dimmesdale's revealing of a long kept secret took much strength and every last ounce of his breath, he didn't want to be misunderstood, but to clarify the misconception placed on him that he was flawless, holy, and pure. Hester, so long marked by her sin, suffers externally and internally humiliated by society for many years. Once Dimmesdale admits to his part in the same wrongdoing, some people are still hesitant to judge or disbelieving. This shows a major flaw in society and the unjust prejudice. A seemingly saintly man, who admits to error, will never be treated as hatefully and scorned as harshly as Hester who committed the same sin with him and has publicly bore shame ever since. It seems as though, nothing can fully take away all the respect the people have for the reverend, despite what he has done. "Neither, by their report, had his dying words acknowledged, nor even remotely implied, any, the slightest connection, on his part, with the guilt for which Hester Prynne had so long worn the scarlet letter,"(Hawthorne, 199). I was saddened to read that all the effort Dimmesdale put in to get his secret across ended up being so widely misunderstood and interpreted. Dimmesdale though, put in every last energy of life into his confession, owing it to everyone he was living a lie to and Hester who had kept quiet and endured for him so long.

The Scarlet Letter Section 2 Blog 3

Nearing the end of The Scarlet Letter by Nathaniel Hawthorne, I noticed a significant change and development of both Reverend Dimmesdale and Pearl. Dimmesdale, who throughout the novel outwardly conforms while inwardly questioning, feels weak at the feet of society to reveal his secret sin which would taint his holy appearance and persona that the people associate with him. Plagued by inward shame and despair, Dimmesdale suffers his wrongdoing, inflicting pain upon himself since no one else knows the truth and can lay scorn upon him. The reverend, a seemingly weak character begging oftentimes for Hester's strength, doesn't initially seem likely to reveal his sin because he lacks the courage to do so. However, as a reader, I noticed a significant leap of faith instilled by Mr. Dimmesdale, and nearing his death bed he reveals the ultimate sin to the town as they march. Dimmesdale shows restraint to society's highly praised label of him and breaks free from the chain of pureness he has been bound with. The characterization of Dimmesdale after this turns to more hopeful, despite of the death he faces and response from all of Salem. He even says: " 'Is this not better...than we dreamed of in the forest,'"(Hawthorne,195). Beforehand, Dimmesdale had lacked self confidence and strength and now is so optimistic having relinquished his darkest secret. Nearing his final breath, Dimmesdale wishes Pearl to kiss him goodbye, and instead of resentment or turning away, Pearl obediently and reverently kisses his lips. This signifies a transformation is Pearl's acceptance of the reverend and also more importantly establishes a compassionate nature which before had been confused for wild untamed personality. "A spell was broken. the great scene of grief, in which the wild infant bore a part, had developed her sympathies;...she would grow up amid human joy and sorrow,"(Hawthorne,197). It is hopeful that Pearl will grow up to be promising and sympathetic, her nature isn't wicked and hopeless.

The Scarlet Letter Section 4 Blog 2

Chapter 18 of The Scarlet Letter by Nathaniel Hawthorne takes place still in the woods in the company of Hester and Mr. Dimmesdale. The letter "A" which Hester has long endured bearing upon her chest, has been the symbolism of her greater sin and a daily reminder and burden of that which she can't live down, even after seven years. However, within the intimacy of Mr. Dimmesdale, the two of them sharing their struggles of their mutual sin, Hester takes a bold move to remove herself of such a label. "..She undid the clasp that fastened the scarlet letter, and, taking it from her bosom, threw it to a distance among the withered leaves,"(Hawthorne,156). This incident is significant because it symbolizes Hester breaking free from the bondage placed upon her by society and by this courageous act is encouraging Mr. Dimmesdale to also move on from the same sin. Society has marked Hester long enough with humiliation and scorn, she throws the letter in self defiance as if to finally rid herself of the past. However, Pearl becomes enraged and her mother seems unrecognizable in her eyes without the scarlet letter to distinguish her. Pearl throws a fit of wildness, anger, and confusion which further the idea that the letter holds possession over Hester, and the patch is a part of Hester. No matter how hard Hester tries to ignore the past or leave it behind, because Pearl is a result of the sin which the "A" resembles, Hester cannot throw the patch away or ever disown Pearl, the only positive result of Hester's sin.

The Scarlet Letter Section 4 Blog 1

In chapter 17 of The Scarlet Letter by Nathaniel Hawthorne, Hester Prynne's meeting with Reverend Dimmesdale in the forest reveals the relationship of the two, being the bearers of the sin which is resembled by the "A" patch. Both dwell in misery at the punishment the crime has brought upon the two: shame and despair. While Hester has found a productive way to enter back into involvement in society, by helping the needy in Salem and embroidering lines for others to wear, the Reverend finds no peace in his sermons or service to people, thinking only what he does furthers his lie that he is a respectable man. The whole scene evokes pity by the reader for the sufferings of Hester and the Reverend, so connected in their misery, trying to help each other cope, but unable to be together because the public doesn't know and can't know their secret. The whole somberness of the scene, furthered by the reverend's misery and cries of despair, is appropriately set int the woods, which also seem to give an air of sadness, and hopelessness to the scene. The setting in the woods described as: "obscure around them..the boughs were tossing heavily above their heads; while one solemn old tree groaned dolefully to another, as if telling the sad story of the pair that sat beneath,"(Hawthorne, 151). Overall, I thought the author's use of setting to further the mood and the despairing instance of the novel, and reveal the eeriness of the woods which is the only place where Hester and the Reverend can find comfort to meet.

The Scarlet Letter: Section 2 Blog 4

In the final chapter of section two (chapter 9) of The Scarlet Letter by Nathaniel Hawthorne, I first noticed the symbolism of the title of the chapter and it's relevance to pertaining to Roger Chillingworth's very nature. The chapter which centers around the growing relationship and familiarity of Mr. Chillingworth to Mr. Dimmesdale as a scandolous relationship, with Roger having an evil scheme and personal benefit in plan from their getting to know. The reverend is thoughtful and wise, but not suspicious or intuitive to Roger's secret plan of deception. This might be caused by Mr. Chillingworth's skill at secrecy and plotting, which make me as a reader want to shout out to Mr. Dimmesdale to be careful of Roger's seemingly good intentions and character as his physician. Like a leech, Mr. Chillingworth attaches himself onto the reverend, digging into his deepest most innermost self to discover more about Mr. Dimmesdale and use his weakness, flaws, and personal evils to destroy him. "...the strong interest which the physician ever manifested in the young clergyman; he attached himself to him as a parishioner, and sought to win a friendly regard and confidence from his naturally reserved sensibility," (Hawthorne, 92). This shows the physician's ability to sneak into a seemingly genuine relationship with the idea of winning over the clergyman's trust and good company. To prove that the "leech" of this chapter is being compared to Mr. Chillingworth, a separate definition for the word leech is a physician. I, feeling sorry for the trap Mr. Dimmesdale is getting into, hope he will see beyond Mr. Chillingworth's fake sincerity.

The Scarlet Letter: Section 2 Blog 3

In chapter 8 of The Scarlet Letter by Nathaniel Hawthorne, the dispute over if Hester Prynne is capable to hold ownership over her daughter Pearl is disputed between Mr. Chillingworth, the governor, the minister, and Hester Prynne herself. The fact that there should even be an argument over whether a mother should have guardianship over her own child seems without debate in my opinion. I was slightly irritated with this idea, and therefore, sympathized with Hester, unable to imagine what life would be like to have one's child taken away especially when the child is the one positive result which came from a sin one is constantly reminded of. The diction used in this chapter helps describe the intense emotion of Hester and set the stage for sympathy evoked by the reader and intensity for the situation. " 'God gave me the child!..He gave her in requital of all things else, which he had taken from me. She is my happiness!..Pearl keeps me here in life! Pearl punishes me, too! See ye not, she is the scarlet letter, only capable of being loved, and so endowed with a million-fold the power of retribution for my sin? Ye shall not take her! I will die first,"(Hawthorne,85)! the begging tone of Hester and the choice of words depict her helpless cry for Pearl and show Hester's pride in Pearl, despite where Pearl arose from or the struggles Pearl gives Hester. Overall, this the defining instance thus far in the book where Hester's love is most deeply conveyed.

The Scarlet Letter: Section 2 Blog 2

In my continuation of reading section two of The Scarlet Letter by Nathaniel Hawthorne, more insight into Hester Prynne's child has been revealed. I noticed the literary technique of characterization being used in chapter six to describe Pearl in her growing and maturity from the infant that she was in the intro of the book to thus far. Pearl, described as being a lively image of sparkling radiance and childish playfulness is also portrayed as possessing passion and imagination. Pearl, named for her rarity and preciousness like a pearl has "the wild-flower prettiness of a peasant-baby, and the pomp, in little, of an infant princess. Throughout all, however, there was a trait of passion, a certain depth of hue, which she never lost; and if, in any of her changes, she had grown fainter or paler, she would have ceased to be herself,"(Hawthorne,68). By understanding features of Pearl and insight into her personality, connections and links can be made between her and similar attributes of Hester, and the fate and potential of Pearl being the daughter of Hester so strongly out casted from society. I feel Pearl will either rebel from her mother's control, seeing her mother's flaw and siding with society to mock and ridicule Hester, or be unable to be her own person, thus  being forever be marked by her mother's sin.

The Scarlet Letter: Section 2 Blog 1

Upon reading the second section of Nathaniel Hawthorne's The Scarlet Letter, Hester Prynne's disconnection from society is more deeply emphasized and explained by her refuge to a quiet small cottage near the water and outside of Salem's bustle. However, Hester still makes the occasional journey to town and has not been totally forgotten by society. In fact, though strongly detested for her crime, nobleman and respected officials will wear Hester's stitching on their uniforms. This I found to be quite ironic. Hester is labeled by society with the prominent etched "A" over her chest, and so too does Hester label many people is society, not in disrespect or to shame, but rather in the finest stitching. I found irony also in the fact that because of being an adulterer, Hester cannot embroider a women's veil for certainly an unfaithful woman cannot leave her work on a future bride indebted forever to their husband. "But it is not recorded that, in a single instance, her skill was called in aid to embroider the white veil which was to cover the pure blushes of a bride," (Hawthorne, 62). Overall, I am somewhat relieved to see Hester can still make a living and do work for others in society who do not denounce her occupation, but of course, Hester cannot fully live down the crime and there is restrictions to the extent of her work and who wears it.

Sorting Laundry

Elisaviette Ritche's poem Sorting Laundry conveys the speaker's relationship with the person being spoken to as a withstanding and loving partnership. This analysis of the woman's relationship with the man she loves is discovered through symbolic use of words such as "head over heals" "wrinkled to be smoothed, or else ignored" "and seams still holding our dreams,"(Ritche, pg 841). All of these referring to laundry but symbolic of the two's relationship. The extended metaphor giving the idea to the reader that the kind of relationship being  discussed is flawed, but works out. The two deeply love each other and enjoy one another's company even after some time: "recycling week after week,"(Ritche, line 17, pg 841). The tone in the first 14 short stanzas, all describing the items the speaker is folding and revealing their symbolism, is reflective but shifts in the last few stanzas. Once the speaker calls to mind a former lover of hers upon discovering his shirt amongst the pile, the speaker becomes more worrisome. The speaker ponders what would happen if the person being addressed would leave her, just as her former lover has gone. This idea shows a drastic shift from positive thinking and focusing on the good in the relationship, to troublesome over possibilities of a relationship no more. Overall the change in tone help to depict the speaker's internal worry amidst a situation that seemingly is going so well.

I taste a liquor never brewed

I taste a liquor never brewed by Emily Dickinson is an extended metaphor in which the speaker is comparing an appreciation for nature and summer with alcohol intoxication. It is made clear that the speaker is talkng of large consumption and intake of nature's beauty with the diction used "air, sun, summer days." The speaker gives figuative meaning to lines such as "inns of molten blue," to refer to the bright blue summer sky. This soaking in of the sun, done by the speaker, enjoying nature's blessings, cannot restrain himself from more and more admiration. "I shall but drink the more,"(Dickinson, line 12, pg 797)! While others become disinterested with nature after some time, the speaker admires all the more, that which the heavens praise. "Till seraphs swing their snowy Hats and Saints to windows run to see the little Tippler,"(Dickinson, lines 13-15, pg 797). The poem depicts a prasing and cheerful attitude and reaction from the seraphs and saints, one that would not be expected or likely if the poem was refering to alcohol intoxication.

Batter my heart, three-personed God

Paradox is one important and notable element in the poem Batter my heart, three-personed God by John Donne. The speaker, being "betrothed" to evil, seeks God to change themself, and the only means to do so, according to the speaker is imprisonment. "Take me to you, imprison me, for I, except you enthrall me,  never shall be free,"(Donne, lines 12-13, pg. 840). The paradox of imprisonment is used to show the speaker finds it necessary to put them in jail in order that they may be free. This seemingly contradiction  in fact shows some truth. God should lock them up so as to be with God and imprisoned from the evils that plague them. Imprisonment yields freedom from sin, temptations, and evil. Furthermore, the last stanza is also paradoxical: "Nor ever chaste, except you enthrall me,"(Donne, line 14, pg 840). The speaker will not be chaste if God does not grant them renewal and new form.The speaker wants God to ravish them into being one with God, and for God alone: chastity. There is a somewhat double meaning to this ravishness, the speaker being seduced into wanting God and on the flip side, being taunted and lured into sinfulness.

The Convergence of the Twain

In The Convergence of the Twain by Thomas Hardy imagery is used to convey the deep vain of the tremendous Titanic ship, marked with a lifestyle of wealth and taking immense form on the glassy sea, summoned by force to meet a terrible fate. Stanza IV depicts the showiness and wealth the ship is a symbol of: "Jewels in joy designed, to ravish the sensuous mind,"(Hardy, lines 10-11, pg.778). The speaker in the poem condones such a lavish lifestyle of jewels and riches and in a way, through the use of imagery it is understandable how the speaker sees the titanic in a picture of grandiose, pride, and vanity. "The smart ship grew in stature,grace, and hue,"(Hardy, lines 22-23, pg 779). The imagery evoked by these lines further the idea of the extravagance and huge the appearance of the ship and how it can be portrayed as being vain in it's greatness. Furthermore, the speaker goes from the opening stanza, the ship in solitude, standing lone in the sea, to meeting it's fate of ultimate consummation: convergence with an equally extravagant and vain structure, the iceberg, perfect that they are united to the same fate of coinciding together. Just as "The Immanent Will" or "Spinner of the Years" prepares this outcome, the force commands the result in the final stanza: 'Now!' Though, who The Immanent Will is or Spinner of the Years is unknown, the imagery of such a force or creature is shown as having stronger or more ultimate control over the fate of the Titanic, willing it to crash and sink.

Barbie Doll

When first glancing at the poem Barbie Doll by Marge Piercy, I knew the topic center around the unrealistic and superficial emphasis others might place on women, and women might place on themselves, to look so much like that plastic figure us girls all played with at one point in our lives. Upon reading, the poem is divided into stanzas, which first state the normality of a girlchild fawning over figurine dolls and all things girly. At the end of the first stanza however, there is a transition to a more harsh line: "You have a great big nose and fat legs." This diction chosen by the author suggest the often harsh commentary of others when one doesn't meet their expectations. Others have the vision of perfectly pretty barbie doll in their mind and will pick at girls who have any "flaws." The irony of the poem is that the girl is actually very intelligent, but may be weak enough to succumb to the pressures from society to conform and adapt as they would like her to. Doing everything she could she even would "exercise, diet, smile and wheedle," (Piercy,836). The idea that society can eat one alive and impact someone enough to change themselves is seen clearly when "her good nature wore out like a fan belt,"(Piercy,836). This simile shows the complete transformation in her entire personality, her character wasting away until all that is left is what others have made her to be. In the final stanza, the girl has given up herself to conformity, sacrificed herself for a false "ideal" image. This, ironically, causes her "death." This death is not literal but more referring to a death of her old self identity, and uniqueness, even that which was ridiculed. "She cut off her nose and her legs and offered them up,"(Piercy,836). Ironic that the characteristics that people think would make her more acceptable and better, in a sense kill her. Only is she pretty to others when she is not even herself. The final tone of this passage, marked by the line: "Doesn't she look pretty? everyone said." shows the irony that she isn't beautiful in others' eyes until she has "cut off her nose and her legs." 

Hunters In The Snow

Hunters in the Snow by Tobias Wolff follows the hunting expenditures of three "friends" who think friendship is about insulting one another, being rash and crude, and even shooting each other? Initially, the short story was to me like reading about some unclassy hick folk who get their laughs making childlike and immature jokes. However, the story does get more meaningful and the characters do reveal themselves rather in a more respectable light with their more honorable actions and treatment of each other as the book goes on. Both Frank and Tub both go through what I think to be a slow but sure development and turnaround, proving to be dynamic characters. Having before teased each other rudely, now they share more mature feelings and talk more intelligently, the sensitive topic of love is actually conversed seriously when Frank asks: " 'Tub, have you ever been really in love...I mean really in love...with your whole being,' "(Wolff,197)? They feel comfortable enough with one another to talk like adults and share their innermost feelings, what true friends do and what I had thought Frank and Tub were incapable of. They even consider themselves real friends out loud: " 'Frank, when you've got a friend it means you've always got someone on your side, no matter what. That's the way I feel about it, anyway,' "(Wolff,198). Frank responds: ' "You don't know how good it feels to hear you say that,' "(Wolff,199). This furthers the idea that wherever they used to be along the line of friendship, now the relationship is more secure and the realization of how cherished it is is made known to both Tub and Frank. Over the course of just a short read, both characters seemed to have evolved immensely into a more loving friend to another, their personalities still silly but seemingly much more developed and changed due to their time spent together really sharing and talking with each other.

My Mistress' Eyes

William Shakespeare's poem: My Mistress' Eyes is ultimately about the speaker criticizing the lies of most love poetry and it's characterization of women, and the truth of his lover so contrasting from the perfect descriptions his ears have been fed. I found the poem to have a disappointed and somewhat harsh tone up until the final lines of the work. Throughout the gist of the work, the speaker describes his mistress as having "coral lips" over red, "dun breasts," "no roses in her cheeks," and "eyes nothing like the sun,"(Shakespeare,885). However negatively the mistress is portrayed thus, suddenly there is a shift symbolized with the words "and yet" which turns to the females side and womens' possible let down realization that men may not be who they thought either. I came to analyze the last two lines as meaning this because of the text: "And yet, by heaven. I think my love as rare as any she belied with false compare,"(Shakespeare,885). This shows the common similarity that men and women often share high expectations and are taught lies which reality cannot live up to. I found that men and women must share this same downfall led on by this belief.

A Jury Of Her Peers

A Jury Of Her Peers, a short story by Susan Glaspell followed townsfolk in their search for evidence concerning the murder of John Wright and the likely suspect his wife, Minnie Foster. Initially, Minnie was portrayed as the obvious murderer, seemingly heartless for her motives, unaffected, unfeeling, and not in the least bit sorry for her gruesome actions of hanging her husband. Although, Minnie is completely responsible for her actions, later in the book I understood her motives more clearly and sympathized more strongly with her. The novel mentions Minnie's once pride in her appearance, dazzling while singing in the choir, all of which faded upon her marriage to John. So, it was no surprise she wanted a bird, one to sing like she once did. Mrs. Peter's notices this of Minnie saying: "I should think she would've wanted a bird,(Glaspell,420)! Personification is even used to compare Minnie to a bird: " '..She was kind of like a bird herself. Real sweet and pretty, but kind of timid and-fluttery,' "(Glaspell,421). Minnie was like a bird in her nature but also there is a connection between the fate of the bird and her husband. Just as John likely wrung the bird's neck, she did the same unto him, feeling like he may as well have did it to her, a bird too. Overall, I noticed this irony of the fate between the two and how Minnie felt John killed her, in that she never was the same after her marriage, changed by him, she got her revenge and killed him too.

Othello: the end, Othello's love for Desdemona?, happiness to die

In Act V Scene II of Othello by William Shakespeare, some reasoning is revealed for why Othello doesn't wish Iago to be killed once he finds out of Iago's lies. I had thought that upon the characters finding Iago out, that like throughout the novel lashing out in fighting would occur, one would want to kill another, and thus the play would assume the tragedy that it is. However, Othello says: "If that thou be'st a devil, I cannot kill thee..For in my sense, 'tis happiness to die,"(Shakespeare, V.ii.286&289). Othello sees Iago's dying as an easy way out, why not have him suffer through life, being detested, and a known criminal, then just be slain like the other characters. I honestly thought Iago was going to be one to not make it out of the play, but turns out that is Othello and many others, I think Othello wise in his desire for Iago to bear the punishment of living. Though, Othello himself must want the happiness of death, for he takes his life out of grief for having taking Desdemona's. I am only left pondering, so did Othello really love Desdemona and is this confirmed by his regret for killing her, thus feeling compelled to end his own life? Or, is Othello's love for Desdemona quite confused, considering he did feel angry enough to kill her to begin with?

Othello: Climax

Act V scene II of Othello by William Shakespeare reveals the heightened climax of the story. Emilia, one who appears earlier in the play to be tolerant of her husband Iago's rudeness, now speaks out against him, knowing Iago has been dishonest about Desdemona's infidelity, and calls her husband a liar. Desdemona tells Othello, who has been lied to the whole time and had believed Iago, thus Othello was driven to kill his wife after Iago told him of her affair that: "He lies to the heart..You told a lie, an odious, damned lie, upon my soul, a lie, a wicked lie,"(Shakespeare, V.ii.155 & 179-180). Even though Emilia's calling out her husband creates controversy and of course, enrages Iago, and thus, she dies, Emilia proves to be the one loyal friend to another character in this play. Iago is certainly not a friend to Othello, lying to him and leading him to kill his wife. Iago is not a friend to Roderigo, who he lets die and who he does not take into account Roderigo's feelings for Desdemona and try to help him. Emilia knows Desdemona is a woman of undying devotion to the Moor, pure and steadfast to his love, serviant to the Moor's commands. Emilia will not die without letting the other characters know of this as well. Overall, the suspense which comes from the climax of Emilia revealing the truths, and them unfolding before the eventual deaths of Emilia and the Moor, as a reader I couldn't believe all that shortly came together. So much action packed tragedy packed into scene 2.

Othello: Dynamic Character Roderigo

In Act IV scene II of Othello by William Shakespeare, Roderigo actually approaches Iago impatient, unsatisfied, and upset with the outcome which has come after his chasing for Desdemona. So far, nothing is going anywhere, and he voices his frustration to Iago who, tries to reassure his uneasiness. Roderigo though, has put himself in poverty, desolate, after giving many jewels to Desdemona, or so he thought. "I have wasted myself out of means," (Shakespeare, IV.ii. 184-185). Iago who was supposed to deliver the jewels has claimed he has, saying she received them well. However, Roderigo will be convinced when he goes to see Desdemona, telling her for himself how he feels for her, and if she desires to return the jewels, he will know she has them. Roderigo is now a more dynamic character, changing from his once easily persuaded and slave to Iago's command, to a more defiant character, sticking up for himself and letting Iago know of his growing anger to the situation. He says in a annoyed voice: "I tell you 'tis not very well,"(Shakespeare, IV.ii.194). Still, Iago thinks Roderigo to still be one to fall into his trap, and wishes Roderigo to continue his dirty work, so that Iago can keep his hands clean. Iago's plan to have Roderigo kill Cassio will make it so that Roderigo seems to be troublesome, getting into fights and now killing Cassio. If Iago keeps getting others to do work for him, it will be hard in the end to tie Iago to any of the crimes at all.

Othello: Tone

In Act IV scene 1 of Othello by William Shakespeare, Iago tricks Othello into thinking that Cassio is gloating and bragging about his affair with Desdemona. While Othello hides listening to the two of them speak, Iago brings up Desdemona's name, then, in a hushed voice so that Othello can't hear changes the topic to being about Bianca. Othello who believes them to be talking of his wife still is taken back with a more fiery rage with Cassio's tone when talking about who Othello thinks is Desdemona. I noticed Cassio's tone, full of scorn, disregard, and disrespect. I find this especially important because the way Cassio speaks in conversation drives Othello to feel even more burning hatred for him. Othello, already devising to kill Cassio, is now more eager to: " How shall I murder him, Iago," (Shakespeare, IV.i.159)? So far, Iago is covering himself up well getting Othello to believe all the other character's are responsible for what Iago claims them to be. The handkerchief, brought in by Bianca during this conversation helped further Iago's lie that Cassio had it in his possession from Desdemona, after Bianca says she found it in Cassio's chambers. I am now only hoping in the next act to see Iago's lies come back to nip him, and the truth to be revealed, maybe even through the fed up and slave to Iago: Roderigo.

Othello: Theme & Dialogue

Act III Scene III of Othello, the Moor of Venice, by William Shakespeare, had a unique metaphor used by Iago in his dialogue with Othello. "Oh, beware, my lord, of jealousy. It is the green-eyed monster which doth mock the meat it feeds on. That cuckold lives in bliss . Who, ceratin of his fate, loves not his wronger. But, oh, what damned minutes tells he o'er. Who dotes, yet doubts, suspects, yet strongly loves,"(Shakespeare, III.iii. 167-171 pg. 1409-1410)! The metaphor at the beginning of this line comparing jealousy and a monster holds some similarity, being both evils, and this shows Iago recognizes himself as horrendous and has a sick pleasure in his scheming. When he talks of the two different types of men who discover that their wives are cheating on them, he speaks first of the one who is not friends with the man the wife is having an affair with, and the other, loves his wife and though she cheats, continually loves her. Upon hearing this, Othello is moved to pity. I find this whole passage to be extremely clever in Iago hinting at and mentioning infidelity from a wife to her husband, and I also saw this as perhaps diplaying the theme. The theme of the wretchedness of jealousy and the role it plays in the relationship between husband and wife, and falseness tormeneted or not by suspicion.

Othello: Irony

While reading Othello, The Moor of Venice, by William Shakespeare, and noticing the vulgar and immature name calling that many of the characters' use toward another, I found some irony in one specifically. Throughout the book so far, antagonist Iago, a devious villain plotting revenge on naive Othello, actually calls himself honest, as do many other characters call him so. As readers know, Iago is quite the opposite of honest, lying to Othello and Cassio, for example, to gain their trust so he can frame them. Othello regards him as: "..most honest..Honest Iago,"(Shakespeare,II.iii.7&156 pg. 1392&1396). Othello even thinks Iago as showing love for Cassio by not wanting to rat him out after the brawl in the streets, though he does, and in reality, Iago shows no love and only wants to take over Cassio's office. As I knew I would, with this dramatic irony, I am easily becoming frustrated with the characters' cluelesness to all I know as a reader from Iago's plotting and insights revealed to readers. Though I know I can't jump in the story and give them warning of Iago's evil scheming, I wish the character's would be a little more careful to watch their backs.

Othello: Iambic Pentameter

When Iago's switch of prose to poetry in Othello, by William Shakespeare, and the moments when he does so was brought to my attention, I thought more deeply about why this iambic pentameter occurs. When addressing his fellow nobleman, or other characters, Iago presents himself as high and mighty, addressing those using poetry to reveal wit and nobility. However, this tone changes significantly to prose, a more emotion filled, relaxed, and less mature expression of his feelings, often revealing his plans and plots of revenge on other characters. This two sided view of Iago show his double ended personality in how he fakes himself to others, and his evilness is only understood in private. "How, How? Let's see. After some time to abuse Othello's ear,"(Shakespeare, II.i. 374-375 pg. 1382). This fake identity and falsehood is a commonality and trait that many readers can relate to knowing. I made a connection to "Mother Dearest." A sweet housewife and loving mother in front of others for show, and a reverse and completely contrasting personality of evilness at home.

Othello: Characterization

Upon reading chapter one and starting Othello, The Moor Of Venice, by William Shakespeare, I noticed quite quickly the use of characterization to introduce Othello. Iago, telling the story, reveals his plot of revenge towards Othello to the reader, while snickering about Othello's probable naievety towards it. Iago gives insight into Othello's personality by saying: "The Moor is of a free and open nature that thinks men honest,"(Shakespeare,1382). This develops the idea that the Moor (Othello) is a trusting man, never to suspect one to do him wrong. I sympathized with Othello upon reading this line because I knew Othello's trustfulness would be his downfall. How could Iago so heartlessly take advantage of such a noble and honest man? But, then again, Iago is the antagonist of the story, and is a most evil villain. Not only though does Iago reveal Othello's inner personality, but harshly criticizes his outward appearance, which give the reader knowledge of his race. Iago calls Othello "an old black ram...Devil...Barbary horse,"(Shakespeare,1365). This shows the racial discrimination and harshness of Iago and his judgemental nature, all just underlying jealousy.

You're Ugly Too

You're Ugly Too, a short story by Lorrie Moore, initially was one where I tried to understand the motives and background experiences of Zooey to understand her cynicism for denying the enjoyment of love or partnership. Once learning of her sister who constantly talks of her new fiance' and her spoiled new life with husband-to-be, I understood more why Zooey might be fed up with hearing of love, especially since her sister forces upon her meeting new guys and possible future suitors. However, I believe surprisingly her sister does her a favor because the relationship between Zooey and Earl starts to get somewhere after they really get talking, but as I should have guessed, even when things go smoothly, Zooey denies herself the opportunity to love and ends it with Ear; immediately. However, this is not in the least bit surprising considering underlying text which somewhat foreshadowed this would be the case. When Evan first brought up Earl on the phone while talking to Zooey, Zooey's response to the two of them meeting was: "I just want to come, wear my bonehead, visit with Charlie's tropical fish, ask you about your food shoots,"(Moore,358). This shows Zooey being completely disinterested in the idea of meeting a man, and more interesting in being uninteresting and staring at fish though a glass tank. Once getting to the party, Zooey groans when her sister urges her yet again to meet Earl. Zooey's stubbornness suggests she probably won't get much into the relationship with Earl, considering it is all forced, and she cares nothing for introducing herself to him. Aggravating that Zooey cannot let herself be proved wrong that love may actually work out for her someday if she let it.

Getting Out

Cleopatra Mathis' poem titled: Getting Out explores the toll divorce can have on a couple, in this case, who find it hard to truly leave one another and still have underlying love always for the other. The author embeds similes into the text to describe the nature of the couple while still undergoing the divorce process. "Walking like inmates,"(Mathis,896) suggests the speaker feels confined and imprisoned. Also, this suggests that the speaker may perhaps feel lost and troubled, dealing for the first time experience of each of them leaving the other they love. The bittersweet nature of the poem and word choice give the idea and set the tone of the speaker as being slightly regretful or melancholy over the divorce, which is strange considering most divorces are an intentional act to get away and end things with the spouse. The word usage like: "We held on tight,"(Mathis,896) show the author's hesitance to let go of the one they still love. Also, when the speaker mentions still seeing her spouse among the faces of other men, reveal he is still on her mind and that she still thinks of him often, even though it has been established that they reside on different ends of the map. Overall, as a reader, I sympathised with the couple's situation, wanting them to stay together instead of having to face the pains of being apart.

Popular Mechanics

Popular Mechanics by Raymond Carver is a short story which tone is established upon the small description of setting at the beginning of the work. The description of the dreadfulness of winter mixed with the word choice: "Cars slushed by on the street outside, where it was getting dark. But it was getting dark on the inside too,"(Carver,354) suggests that the "darkness" being expressed inside the house is referring to some difficult or terrible event. Turns out, the dispute between a leaving husband and his wife over the custody of the small child escalates into a huge fight and establishes the tense tone of the work. The continual snatching, pulling, and rough tugging of the child make me wonder how fit these people are as parents at all, either one of them. Their harsh and immature handling of the situation by pulling on the child come across as inhumane treatment, as well as their foul language: "Son of a bitch! I'm so glad you're leaving,"(Carver,354)! The home sounds like a stressful and terrible environment to raise a child, and the eventual fate of the baby, brought on by the parents' poor handling of the situation is quite depressing. The entire conflict which leads up to it is irritating, seeing that the couple each acts as if they love the child for wanting it, but show no real love in the way they treat the baby. Overall, this story was alarming and disturbing to see such a torn apart family.

The Story Of An Hour

The Story Of An Hour by Kate Chopin was both heartless and surprising following main charcter Mrs. Mallard's feelings for her supposedly dead husband. Initially, rhetorical devices that the author used within the text, most notably similes, at first signified to me a false belief that Mrs. Mallard was in fact troubled and deeply grieved by her husband's death. "..A sob came up into her throat and shook her, as a child who has cried itself to sleep continues to sob in it's dreams,"(Chopin,326). This led me to think that upon hearing the awful news of Brently's death, Mrs. Mallard did feel compelled to sob and distress, throwing herself on the chair. How quick a change in mood before she is struck with the thought of actually being free from her husband, and to live selfishly without his control. "..She would live for herself..'Free! Body and soul free,'"(Chopin,326). More similes are used, this time to express her happiness and relief for being without her husband's restraint. Mrs. Mallard is described as, "..carrying herself unwittingly like a goddess of Victory,"(Chopin,327). This furthers the idea that Mrs. Mallard sees victory in her husband's death and complete freedom in being widowed and alone. She is almost floating with the thought of being free from his control, as if she has just conquered something magnificent. Turns out, she spoke to soon and got her hopes up because shockingly, there Brently Mallard stands in the doorway, appearing to her as if he just arose from the dead. I believe truly the shock of the whole incidence and Mrs. Mallard's heartless killed her.

Eveline

Eveline by James Joyce, a short story which inflicted sympathy upon me as a reader, first for Eveline's sad situation with her upsetting father, the death of her mother and brother, and the urge to leave her longtime home, but the near impossibility of doing so. So, when she has an opportunity to sneak away and live happily with a man who appreciates her, I found myself happy for her sudden fortune and willed she would take it. Eveline could start a new life for herself, and even though her mother's wish was that she watch over the house, I don't believe her mother would blame Evvy for wanting to get out. The author uses situational irony to set up the story as if Evvy will escape to happiness considering her current depressed state, and then at the near close of the story, shocks readers by instilling in Evvy the sudden fear of abandoning a life she feels tied to. For this reason and for her hesitance,  I also felt disappointed for both Evvy and the man Frank who just wanted to save her from it all. I feel as though her obligations to her home, placed on her by her mother and family, has gotten to her head to where she feels she must always stay faithful to her longtime duties. "..To remind her of the promise to her mother, her promise to keep the home together as long as she could,"(Joyce,221). This burdening bindment and promise keep her from living for herself and living happily. I believe all in all Evvy is a victim of a longtime fate which she cannot control, or at least she doesn't know that she can deny her duties because she has been long used to them.

Lonely Hearts

The poem Lonely Hearts by Wendy Cope is structured in a way that uses alternating repetition every other line, and asks questions, imploring for a lover to fill each person's desires and expectations. "Do you live in North London...Is it You,"(Cope,973)? "Can someone make my simple wish come true,"(Cope,973)? Each stanza reveals the pleading, anxious, and begging tone of each person in their pursuit of love. All of the people writing each advertisement all have the commonality that they are impatient when it comes to love, find their wish plain and simple, and wonder if someone is out there to fulfill what they seek. The structure shows the similarities between each, and the day dreaming nature. The title of the poem describes each person as lonely which is proved in each's desperate attempt for searching for companionship. In one stanza in particular, the person acknowledges and admits their lack of companions: "..whose friends are few,"(Cope,973)." Overall, the entire poem made me feel sympathetic for all of the hopeful people who can't find who they are looking for.

A Valediction: Forbidding Mourning

I interpreted the poem A Valediction: Forbidding Mourning by John Donne as being about those who give up on life when love leaves them, and those who breathe still in assurance that love will find them again. For example, "While some of their sad friends do say, the breath goes now, and some say, no,"(Donne,801). The speaker bids those to not despair, bad things do fall upon us in our lives', but love is far more outlasting than pain. "No tear-floods, nor sigh-tempests move...moving of the earth brings harms and fears,"(Donne,802). The speaker then goes on to address the hardships or road blocks of love, like distance or absence, though it may take away what excites and fascinates love, love can withstand if desired. Two people can be unified under one love, which I believe is the meaning conveyed especially through the use of similes. "If they be two, they are two so as stiff twin compasses are two,"(Donne,802). The poem starts out showing hesitance to love, reasons for denying it, and then explores the beauty of love's unification and both lovers following each other wherever the other may go.

How I Met My Husband

Upon reading the short story How I Met My Husband  by Alice Munro, I took notice of the importance of minor characters in the story and their role in driving plot, suggesting what is to come, and their furthering of the meaning of the work as a whole. Characters such as Loretta Bird who first comment on Chris Watter's arrival, disapproving of him a stranger, leads Edie to fear Mrs. Bird's disapproval if she ever found out of Edie's relationship with Chris. Edie, having never before lead any curiosity or secretiveness from the Peebles', keeps everything on the down low which ends up making matters worse when she is found out. Also, Mrs. Peebles, a foil character to Edie, is revealed as such in their differing views on farm life, way of living, luxury, and their capabilities. Alice Kelling also plays a prime role in the plot, because had she not stayed with the Peebles', Chris maybe wouldn't have up and left so fast, which could have in turned allowed for some possibility of the continuance and growing of Edie and Chris' relationship. Additionally, Alice's argument with Edie resulted in Mrs. Peeble's sudden distrust in Edie. "Mrs. Peebles was not very friendly to me afterward..it was just that now she had to see me all the time and it got on her nerves,"(Munro,145). Overall, some characters, though not prominent, help the story progress and affect some of the story's eventual outcomes.