Tuesday, November 8, 2011
Existentialism
I don’t think I’m much of an existentialist. I mean, it’s cool to think about and all, but I just don’t understand how some people can be so… negative. But really, I’m an atheist, and it looks like most existentialist views are similar to those of an atheist…i.e. something coming from nothing, having no purpose, etc. I just feel like people do have a purpose, but they create it themselves. I’m a huge nurture person in the whole “nature vs. nurture” debate. I think your environment shapes you into the person that you are. From that, you develop your purpose. You figure out what you’re good at, and more so, what you enjoy, and you run with it. That’s what a purpose is… something that affects both you and the world in some sort of positive way. Why people feel the need to throw the whole “God” thing in there, I don’t know. I’m not into that. I just don’t get it. I’d rather believe in myself than another being. I’d rather know that I’m doing something because I want to do it – not because something more powerful than me made that my destiny. I don’t like listening to too many people. I just want to “do me,” as they say. Why is that so difficult? I just wonder why other people don’t feel the same way. Do they like the idea of being controlled? I think being told that there is a God who predetermined my destiny is the biggest insult someone could lay on me. Why would I ever want to be told that I don’t control my own actions? I am in charge of my own life, or at least I would like to think that I am. And if I’ll never know, then so be it, but I’m happy thinking what I do now.
Sunday, November 6, 2011
To an Empty Page
Robert Pack’s To an Empty Page is his ode to a lost lover. He speaks to the empty page as if it is his beloved. Pack uses rhetorical questions and the concept of an echo to express the narrator’s uncertainty and his beloved’s supposed answers. Every time the narrator asks the “page” a question, it seems to answer. Because of the reality of the situation, it is unlikely that the page is responding to him. Therefore, the empty page must be a metaphor for the book that is life, and the echoes to the narrator’s questions are the responses of his lover.
In his use of rhetorical questions and echoic responses, Pack shows both the speaker’s and his lover’s points of view. When the narrator says, “And starting, must I master joy or grief?” and the echo is, “grief,” in line two, the reader can see that the speaker’s lost lover wants him to feel pain over his loss. The rest of the echoed responses are negative, supporting the idea that the speaker’s beloved wants him to painfully mourn their lost relationship.
The concept of the narrator speaking to an empty page is unrealistic. Therefore, it must be that the empty page serves as a metaphor for life as a book. The speaker is writing about his grief and misery on an empty page in his book of life. He begins by asking what thoughts he should begin with, as he is empty and grieving. He continues to ask rhetorical questions, and the echoed responses are those he hears in his head in his lover’s voice.
Pack’s usage of rhetorical questions and extended metaphor serve to convey the meaning of his poem. Without these literary devices, having both the speaker’s and his lover’s thoughts in one poem would be impossible. It is because of the extended metaphor and rhetorical questions that the reader understands both the concept of an empty page and echoed responses respectively.
In his use of rhetorical questions and echoic responses, Pack shows both the speaker’s and his lover’s points of view. When the narrator says, “And starting, must I master joy or grief?” and the echo is, “grief,” in line two, the reader can see that the speaker’s lost lover wants him to feel pain over his loss. The rest of the echoed responses are negative, supporting the idea that the speaker’s beloved wants him to painfully mourn their lost relationship.
The concept of the narrator speaking to an empty page is unrealistic. Therefore, it must be that the empty page serves as a metaphor for life as a book. The speaker is writing about his grief and misery on an empty page in his book of life. He begins by asking what thoughts he should begin with, as he is empty and grieving. He continues to ask rhetorical questions, and the echoed responses are those he hears in his head in his lover’s voice.
Pack’s usage of rhetorical questions and extended metaphor serve to convey the meaning of his poem. Without these literary devices, having both the speaker’s and his lover’s thoughts in one poem would be impossible. It is because of the extended metaphor and rhetorical questions that the reader understands both the concept of an empty page and echoed responses respectively.
Thursday, November 3, 2011
Sonnet 116
Shakespeare’s usage of the idea of time reflects the reader’s perception of Father Time. Through personification and other literary devices, Shakespeare effectively shows the relationship between love and time. Associated with time is the concept of change. Shakespeare argues throughout the poem that although time changes, love does not. In making this point, Shakespeare is able to portray love as an everlasting principle that does not, as he says in like 3, “alter” even when it seems that change is inevitable.
In calling love “an ever-fixed mark (L5),” Shakespeare parallels love and time. As time passes, love remains. This establishes the concept that love is stronger than time, so it should be taken more heavily. Strength is carried through to the next line as Shakespeare says that love is “never shaken.” Here, Shakespeare says once you are in love, you cannot escape it. Shakespeare’s use of personification portrays this in a very direct manner.
In his allusion to ships measuring their distance from the stars to find land, Shakespeare shows that love is a necessity. He argues that though the worth of love is not always apparent, it is true that one has not found the meaning of life if they have yet to find love. The way that Shakespeare portrays love as an absolute requisite in life is only made so by the literary devices he uses, such as personification and allusion, without which, his point would be dull and seemingly trivial.
In calling love “an ever-fixed mark (L5),” Shakespeare parallels love and time. As time passes, love remains. This establishes the concept that love is stronger than time, so it should be taken more heavily. Strength is carried through to the next line as Shakespeare says that love is “never shaken.” Here, Shakespeare says once you are in love, you cannot escape it. Shakespeare’s use of personification portrays this in a very direct manner.
In his allusion to ships measuring their distance from the stars to find land, Shakespeare shows that love is a necessity. He argues that though the worth of love is not always apparent, it is true that one has not found the meaning of life if they have yet to find love. The way that Shakespeare portrays love as an absolute requisite in life is only made so by the literary devices he uses, such as personification and allusion, without which, his point would be dull and seemingly trivial.
Sonnet 39 Essay
Sir Philip Sidney’s Sonnet 39 continues his series of poems about Astrophel and Stella, a lover and his beloved who does not love him in return. In Sonnet 39, the speaker, who the reader can assume to be Astrophel, speaks to Sleep, in a desperate need for rest. He begins by mentioning the contents of dreams, such as “the poor man’s wealth, the prisoner’s release (L3),” and calling sleep “the indifferent judge between the high and low (L4).” In these descriptions, it is clear that the speaker believes that dreams allow even the most likely events to occur within them. The way that Astrophel wishes to see Stella in his dreams introduces the theme of unrequited love, which is the essence of the poem in its entirety.
In offering Sleep such an enticing proposition, including objects such as “smooth pillows” and the “sweetest bed (L9),” the speaker shows that he is willing to rightfully submit Sleep nearly anything in order to get some rest. When Astrophel says, “a chamber deaf to noise and blind to light (L9),” he of course is speaking about a bedroom that is both dark and quiet, two characteristics that sleep-oriented rooms are generally accustomed to. His acts of submission make him seem quite desperate to see his beloved, which is why he is so willing to give up everything he can possibly offer to Sleep
The inner turmoil that the speaker is experiencing is also quite obvious. In lines 5-7, he says, “With shield of proof, shield me from out the prease/ Of those fierce darts Despair at me doth throw; / O make in me those civil wars to cease.” The “civil wars” that exist within his mind most likely involve his unrequited lover. He wants Sleep to protect him from the “fierce darts” that Despair throws at him. The speaker’s personification of “Despair” insinuates that the conflicts he has undergone because of Stella have resulted in his misery. He feels that his love for Stella is not being returned to him by her, and it is causing him to feel desperate for her attention, which he believes he can only attain in his dreams.
The theme of unrequited love that is reflected throughout this poem is the summation of the conflict that exists within Astrophel, the speaker. Because he is not being loved in return by his beloved, Astrophel becomes miserable and wishes to gain an ounce of sleep, which he has clearly not been able to do because of the chaos that exists within his mind. His dreams seem to be the only break from reality and literal rest from the world. In lines 13-14, the speaker says, “Move not thy heavy grace, thou shalt in me,/ Livelier than elsewhere, Stella’s image see.” This demonstrates that Astrophel lives solely for Stella, and not having her in his life makes it not worth living. The last line of the poem shows that Astrophel is liveliest when he sees Stella, so even in sleep, Astrophel would be happiest by seeing Stella anyway he possibly can, even if it is only in his dreams.
In offering Sleep such an enticing proposition, including objects such as “smooth pillows” and the “sweetest bed (L9),” the speaker shows that he is willing to rightfully submit Sleep nearly anything in order to get some rest. When Astrophel says, “a chamber deaf to noise and blind to light (L9),” he of course is speaking about a bedroom that is both dark and quiet, two characteristics that sleep-oriented rooms are generally accustomed to. His acts of submission make him seem quite desperate to see his beloved, which is why he is so willing to give up everything he can possibly offer to Sleep
The inner turmoil that the speaker is experiencing is also quite obvious. In lines 5-7, he says, “With shield of proof, shield me from out the prease/ Of those fierce darts Despair at me doth throw; / O make in me those civil wars to cease.” The “civil wars” that exist within his mind most likely involve his unrequited lover. He wants Sleep to protect him from the “fierce darts” that Despair throws at him. The speaker’s personification of “Despair” insinuates that the conflicts he has undergone because of Stella have resulted in his misery. He feels that his love for Stella is not being returned to him by her, and it is causing him to feel desperate for her attention, which he believes he can only attain in his dreams.
The theme of unrequited love that is reflected throughout this poem is the summation of the conflict that exists within Astrophel, the speaker. Because he is not being loved in return by his beloved, Astrophel becomes miserable and wishes to gain an ounce of sleep, which he has clearly not been able to do because of the chaos that exists within his mind. His dreams seem to be the only break from reality and literal rest from the world. In lines 13-14, the speaker says, “Move not thy heavy grace, thou shalt in me,/ Livelier than elsewhere, Stella’s image see.” This demonstrates that Astrophel lives solely for Stella, and not having her in his life makes it not worth living. The last line of the poem shows that Astrophel is liveliest when he sees Stella, so even in sleep, Astrophel would be happiest by seeing Stella anyway he possibly can, even if it is only in his dreams.
Wednesday, October 26, 2011
Revised Essay - Beloved
Beloved, a novel about an African American slave who murders her own daughter to keep her from the horrors of slavery, examines the idea of a character emerging from the projected African American mold. In 19th century America, black women hardly had a place in society other than slavery. They were expected to care for their children in a way that would allow them to grow up to be another generation of slaves. The cycle would continue over time, and African American women would be expected to continue their social roles. However, as the main character, Sethe, demonstrates, some women refused to conform. Sethe wished to break the cycle of slavery in her family, so she kills her daughter to prevent her from suffering the way Sethe did. In removing herself from the umbrella of characteristics that African American women were supposed to fulfill during that time period, Sethe shows herself as an independent woman in society, who, although guilty of her actions, is proactive in being a changing force in the world.
Sethe possesses two separate roles that she must constantly fulfill the expectations of. Her slave masters expect her to be a viable servant. As a mother, she must also provide and do well for her family. Because of her two opposing roles, Sethe has trouble fulfilling the expectations of both of them at the same time. Being a good slave, for her, also means not carrying out her duties as a mother to the best of her abilities. The fact that Sethe must succeed as a slave in order to keep her and her family alive results in a major conflict. While Sethe wants to be the best mother she can be, it is virtually impossible for her to fulfill her duties as a slave while taking care of her family. Sethe believes that in being a good mother, she must save her children from a life of slavery. As a result, Sethe slits her own daughter’s throat, killing her, in order to keep her from another generation of slavery on the Sweet Home plantation.
The guilt that Sethe feels for killing her daughter is reflected by the appearance of Beloved in the novel. Beloved, a young girl who would be the same age of Sethe’s daughter if she had lived, whose breath smells like milk, also possesses the same name that was written on Sethe’s daughter’s tombstone. Sethe sees Beloved as the reincarnation of her dead daughter, and her existence reminds Sethe of the guilt and uncertainty that she feels regarding the act she committed. She struggles with the idea of whether or not her act of “love,” as she originally saw it, could really be classified as a murder. The way Sethe views Beloved is the manner in which Sethe may have seen her daughter if she had lived. The effect that the killing has on Sethe’s character makes her a completely different person. The changes that Sethe undergoes after her daughter’s death result in guilt that pervades throughout the rest of the novel.
Beloved displays a major role conflict existing in a woman accurate to the trials and tribulations of the time period in which she lived. The novel serves to express the meaning of motherly love as compared to the loyalty of one’s occupation. It also shows the strains that one sociologically viewed master status can put on another. For example, an outside may view Sethe’s master status in society to be that of a slave. Sethe, however, sees her own master status as being a mother. In order to fulfill her duties as a mother, she felt that she must kill her daughter in order to protect her. This prevented her from being an adequate servant as she forced her masters to lose a generation of potential slaves.
The way in which Sethe breaks out of the mold that is common to African American women of her time speaks volumes for her character. Although she seems to have committed a senseless act of murder against her daughter, it is obvious that she does so out of desperation, and ultimately, love. Beloved shows that the bond between a mother and daughter is strengthened by hardship and is not eradicated after death or disaster, regardless of who is at fault. Beloved treats Sethe with respect, just as her daughter would, showing Sethe that although she feels guilt for taking her daughter’s life, her daughter knows that she did so out of love. This bond between mother and daughter is key to understanding the novel, and ultimately serves as the underlying thread of the force that allowed Sethe to break from the typical mold of an African American slave during the 19th century.
Sethe possesses two separate roles that she must constantly fulfill the expectations of. Her slave masters expect her to be a viable servant. As a mother, she must also provide and do well for her family. Because of her two opposing roles, Sethe has trouble fulfilling the expectations of both of them at the same time. Being a good slave, for her, also means not carrying out her duties as a mother to the best of her abilities. The fact that Sethe must succeed as a slave in order to keep her and her family alive results in a major conflict. While Sethe wants to be the best mother she can be, it is virtually impossible for her to fulfill her duties as a slave while taking care of her family. Sethe believes that in being a good mother, she must save her children from a life of slavery. As a result, Sethe slits her own daughter’s throat, killing her, in order to keep her from another generation of slavery on the Sweet Home plantation.
The guilt that Sethe feels for killing her daughter is reflected by the appearance of Beloved in the novel. Beloved, a young girl who would be the same age of Sethe’s daughter if she had lived, whose breath smells like milk, also possesses the same name that was written on Sethe’s daughter’s tombstone. Sethe sees Beloved as the reincarnation of her dead daughter, and her existence reminds Sethe of the guilt and uncertainty that she feels regarding the act she committed. She struggles with the idea of whether or not her act of “love,” as she originally saw it, could really be classified as a murder. The way Sethe views Beloved is the manner in which Sethe may have seen her daughter if she had lived. The effect that the killing has on Sethe’s character makes her a completely different person. The changes that Sethe undergoes after her daughter’s death result in guilt that pervades throughout the rest of the novel.
Beloved displays a major role conflict existing in a woman accurate to the trials and tribulations of the time period in which she lived. The novel serves to express the meaning of motherly love as compared to the loyalty of one’s occupation. It also shows the strains that one sociologically viewed master status can put on another. For example, an outside may view Sethe’s master status in society to be that of a slave. Sethe, however, sees her own master status as being a mother. In order to fulfill her duties as a mother, she felt that she must kill her daughter in order to protect her. This prevented her from being an adequate servant as she forced her masters to lose a generation of potential slaves.
The way in which Sethe breaks out of the mold that is common to African American women of her time speaks volumes for her character. Although she seems to have committed a senseless act of murder against her daughter, it is obvious that she does so out of desperation, and ultimately, love. Beloved shows that the bond between a mother and daughter is strengthened by hardship and is not eradicated after death or disaster, regardless of who is at fault. Beloved treats Sethe with respect, just as her daughter would, showing Sethe that although she feels guilt for taking her daughter’s life, her daughter knows that she did so out of love. This bond between mother and daughter is key to understanding the novel, and ultimately serves as the underlying thread of the force that allowed Sethe to break from the typical mold of an African American slave during the 19th century.
Thursday, October 20, 2011
Hamlet Essay
The gravedigger scene in Hamlet reflects many themes that are explored throughout the entire play. The discussion that the gravediggers have as they prepare Ophelia’s grave offers a sense of nostalgia for the reader, as they gravediggers speak of concepts that have been previously introduced, such as the place of religion in society and the true meaning of life. The purpose of Shakespeare including this scene with the gravediggers is not solely for comedy, as many may first assume. He has the gravediggers speak of Ophelia and the way she died in order to display her in a different light, showing various reasons as to why she may have killed herself in the first place, and why her suicide may not be as much of a sin as Christianity makes it seem. Ophelia’s suicide may be a result of insanity, revenge, and the idea of existentialism, three major themes of Hamlet that affected Ophelia in her own life. For this reason, Shakespeare may have had the clowns speak of Ophelia in this manner to explain more about the purpose of the play.
When the gravediggers make comments about Ophelia in her death, their contrasting ideas represent those of Hamlet. Hamlet admits his confusion regarding suicide in the misery that results from losing his father. He explains that he is unsure of the real meaning of life, and he feels that life, in itself, is not worth living. It can be said that Hamlet considers suicide because he is in an unhealthy state of mind because of his father’s death, but it is possible that through his sadness, Hamlet sees what he believes to be the truth - that there is no meaning to life. This may be the same view that Ophelia has of life before she drowns herself, which may also stem from her misery.
In scene five, act 1, one of the clowns says, “he/ that is not guilty of his own death shortens not his own life.” This proposes the idea that Ophelia was not guilty of her own suicide. The clown does not blame Ophelia for taking her own life because she may have felt violated, so she committed suicide out of self-defense. The line, “How can that be, unless she drowned herself in her own defence?” proves this idea. It can be argued that Ophelia was mentally tortured before her death. She was in love with a man who gave her no attention, and her father, seemingly the only man to look out for her best interests, was killed. This may have resulted in Ophelia experiencing symptoms of madness prior to her suicide, which would mean that Ophelia cannot be blamed for her death, just as Hamlet cannot be blamed by the others for being driven “mad” by his father’s death.
When Hamlet and Horatio arrive, Hamlet, again, seems to be acting madly as he plays with the skulls in the graveyard. The first few skulls he throws around he describes in similar manners of how he speaks of certain characters in the play. He describes the first skull as a relative of Cain, the world’s first murderer according to the Christian Bible. In Act 5, scene 1, Hamlet says,
“That skull had a tongue in it, and could sing once:/ how the knave jowls it to the ground, as if it were/Cain's jaw-bone, that did the first murder! It/might be the pate of a politician, which this ass/now o'er-reaches; one that would circumvent God,/might it not?” Alluding to Cain as a murderer and calling the skull of “politician” refers to Claudius, a murderer who killed his own brother in order to gain power. The second skull Hamlet picks up is that of a courtier’s, as Hamlet says, and as he speaks of how the courtier is unconditionally loyal to the king, it seems that he is speaking of Polonius. The third skull represents Gertrude as Hamlet describes the skull by saying, “chapless, and/ knocked about the mazzard with a sexton's spade.”
Finally, the “lawyer” that is the last skull, can be viewed as the summation of the meaning of all of their lives. He describes the lawyer as a greedy man who works all of his life to become wealthy, but in the end, all he can keep is the coffin that he lies in after death. Again, Hamlet expresses the view that there is no meaning to any of their lives, so all that they have achieved, by love, skill, and murder, is worthless.
Though Christian references can be found in Hamlet, the play explores a very anti-Christian idea – existentialism. Shakespeare shapes Hamlet in a way that allows him to view the world I ways that are not common to people of his time and social stature. In Hamlet, the only reason to live is the idea of revenge for many of the characters. This motivation eventually leads to insanity for these characters. Ophelia truly does go insane on her own accord, Hamlet and Laertes go mad in carrying out their deeds of revenge, and King Claudius drives himself crazy in his quest for power. The conversations that emerge between the clowns during their gravedigging sequence reflects each of these ideas thoroughly as they discuss the meaning of life and the reasons in which someone may want to end their life in a way that reflects the purpose of the rest of the play.
When the gravediggers make comments about Ophelia in her death, their contrasting ideas represent those of Hamlet. Hamlet admits his confusion regarding suicide in the misery that results from losing his father. He explains that he is unsure of the real meaning of life, and he feels that life, in itself, is not worth living. It can be said that Hamlet considers suicide because he is in an unhealthy state of mind because of his father’s death, but it is possible that through his sadness, Hamlet sees what he believes to be the truth - that there is no meaning to life. This may be the same view that Ophelia has of life before she drowns herself, which may also stem from her misery.
In scene five, act 1, one of the clowns says, “he/ that is not guilty of his own death shortens not his own life.” This proposes the idea that Ophelia was not guilty of her own suicide. The clown does not blame Ophelia for taking her own life because she may have felt violated, so she committed suicide out of self-defense. The line, “How can that be, unless she drowned herself in her own defence?” proves this idea. It can be argued that Ophelia was mentally tortured before her death. She was in love with a man who gave her no attention, and her father, seemingly the only man to look out for her best interests, was killed. This may have resulted in Ophelia experiencing symptoms of madness prior to her suicide, which would mean that Ophelia cannot be blamed for her death, just as Hamlet cannot be blamed by the others for being driven “mad” by his father’s death.
When Hamlet and Horatio arrive, Hamlet, again, seems to be acting madly as he plays with the skulls in the graveyard. The first few skulls he throws around he describes in similar manners of how he speaks of certain characters in the play. He describes the first skull as a relative of Cain, the world’s first murderer according to the Christian Bible. In Act 5, scene 1, Hamlet says,
“That skull had a tongue in it, and could sing once:/ how the knave jowls it to the ground, as if it were/Cain's jaw-bone, that did the first murder! It/might be the pate of a politician, which this ass/now o'er-reaches; one that would circumvent God,/might it not?” Alluding to Cain as a murderer and calling the skull of “politician” refers to Claudius, a murderer who killed his own brother in order to gain power. The second skull Hamlet picks up is that of a courtier’s, as Hamlet says, and as he speaks of how the courtier is unconditionally loyal to the king, it seems that he is speaking of Polonius. The third skull represents Gertrude as Hamlet describes the skull by saying, “chapless, and/ knocked about the mazzard with a sexton's spade.”
Finally, the “lawyer” that is the last skull, can be viewed as the summation of the meaning of all of their lives. He describes the lawyer as a greedy man who works all of his life to become wealthy, but in the end, all he can keep is the coffin that he lies in after death. Again, Hamlet expresses the view that there is no meaning to any of their lives, so all that they have achieved, by love, skill, and murder, is worthless.
Though Christian references can be found in Hamlet, the play explores a very anti-Christian idea – existentialism. Shakespeare shapes Hamlet in a way that allows him to view the world I ways that are not common to people of his time and social stature. In Hamlet, the only reason to live is the idea of revenge for many of the characters. This motivation eventually leads to insanity for these characters. Ophelia truly does go insane on her own accord, Hamlet and Laertes go mad in carrying out their deeds of revenge, and King Claudius drives himself crazy in his quest for power. The conversations that emerge between the clowns during their gravedigging sequence reflects each of these ideas thoroughly as they discuss the meaning of life and the reasons in which someone may want to end their life in a way that reflects the purpose of the rest of the play.
Monday, October 10, 2011
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