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.