"Do Not Go Gentle into That Good Night"
Dylan Thomas
Throughout "Do Not Go Gentle into That Good Night," there are two refrains that are alternately repeated every stanza. They are both presented in the first stanza of the poem: "Do not go gentle into that good night" and "Rage, rage against the dying of the light," (Thomas, 968). In each subsequent stanza, the refrains are placed at the end of the sets of three lines and cause the reader to recollect the theme of this poem. The poem details a sunset, a typical and inevitable part of daily life. Through his use of a sunset, Thomas suggests that death is also to be expected in the life of every person. However, his refrains suggests that despite the inevitability of death, we should not give in to its grip on our life. We should fight for every moment that we spend alive and not give in when death seems all too close. He urges the reader to "rage against the dying of the light" that exists in the life of every human being. Although it is bound to happen to all people, Thomas ultimately challenges the reader to make the most out of the time that he does have and not to go through the routine of life watching it pass by without question. Carpe Diem!
Wednesday, October 24, 2012
Death, be not proud but also be not bad!
"Death, be not proud"
John Donne
In its normal interpretation, death is simply the condition of not living. However, Donne gives life to the state of not living through his use of personification. This is also ironic because he is animating something that simply is the lack of such. However, Donne characterizes death as a benevolent force, even going as far as to claim that death is actually a great form of delight. "From rest and sleep, which but they pictures be,/ Much pleasure - then, from thee much more must flow," suggests that the pleasure that we receive from a restful night of sleep or a break from activity is experienced tenfold in death (Donne, 971). Donne claims that death is just the ultimate form of relaxation and pleasure.
According to Donne, the source of this pleasure from death is eternal life. The time period in which this poem was written suggests that religion still played a major role in the understanding of life for most people. Again, we are presented with a view of death that offers some hope as to what we might face in the time following death. Overall, Donne presents death as a good thing; it is simply a method to make us happier when we think happiness has ended.
"Crossing the Bar" - An Extended Metaphor
"Crossing the Bar"
Alfred, Lord Tennyson
Through the vivid descriptions of the ocean as well as the nautical diction, Tennyson connects his voyage to death with a voyage on the sea. His poem is an extended metaphor comparing death to a journey out into the ocean. "Crossing" in the context of this poem can possess many different meanings. It could be meant as the euphemism of "crossing over," or passing into a different state of being which can carry a religious connotation with it. Another religious interpretation suggests that the "crossing" refers to the Christian belief in adorning ourselves in the sign of the cross, reminiscent of the crucifixion of Jesus Christ. The "bar" to which he refers is a sand bar, commonly located just off the shore of many beaches. Similarly, it could also have the religious connotation of being the line or obstacle through which one travels on the journey to the afterlife. In the final stanza of the poem, it can be deferred that this afterlife is the Christian ideal of heaven. In the belief of heaven, there is no passing of time or exact destination which explains why Tennyson claims that his voyage will take him beyond their reach. "I hope to see my Pilot face to face" also refers to God (Tennyson, 886). The capitalization of "Pilot" suggests the importance of his spiritual guide and ergo ultimately leads to reader to conclude that Tennyson's voyage leads him to heaven.
Alfred, Lord Tennyson
Through the vivid descriptions of the ocean as well as the nautical diction, Tennyson connects his voyage to death with a voyage on the sea. His poem is an extended metaphor comparing death to a journey out into the ocean. "Crossing" in the context of this poem can possess many different meanings. It could be meant as the euphemism of "crossing over," or passing into a different state of being which can carry a religious connotation with it. Another religious interpretation suggests that the "crossing" refers to the Christian belief in adorning ourselves in the sign of the cross, reminiscent of the crucifixion of Jesus Christ. The "bar" to which he refers is a sand bar, commonly located just off the shore of many beaches. Similarly, it could also have the religious connotation of being the line or obstacle through which one travels on the journey to the afterlife. In the final stanza of the poem, it can be deferred that this afterlife is the Christian ideal of heaven. In the belief of heaven, there is no passing of time or exact destination which explains why Tennyson claims that his voyage will take him beyond their reach. "I hope to see my Pilot face to face" also refers to God (Tennyson, 886). The capitalization of "Pilot" suggests the importance of his spiritual guide and ergo ultimately leads to reader to conclude that Tennyson's voyage leads him to heaven.
“One's perception of time was relative to one's desire for its passage.”
"A Rose for Emily"
William Faulkner
Continually referenced throughout the short story, time plays an important role in the existence of Miss Emily Grierson. Its passing, or lack thereof, within the of Miss Emily's life influences nearly every scene in the story. Also, the narrator chooses to present scenes that are not subsequent; they jump from year to year to detail peculiar occurrences within her life.
The skipping of certain time periods in Miss Emily's life allows the narrator to characterize the woman in a manner that is best suited for the image which they are trying to convey. The narrator, referred to as a collective group, holds a seemingly negative view of Miss Grierson. For example, they believe that she is crazy and somewhat wasting her time courting a homosexual man. Therefore, their careful selection of various seemingly unrelated situations in the life of Miss Emily allow the narrator to shape the audience's perception of her. Without insight into her personal thoughts or the thoughts of someone close to her, the narrator effectively convinces the reader to believe that Miss Emily is simply a crazy old lady.
However, the most convincing of these descriptions, as well as the greatest evidence of the Miss Emily's unwillingness to let go of the past, resides within her "big, squarish frame house," (Faulkner, 281).We are first presented with Emily's retreat within the house when she refuses to release her father's corpse to be buried. Then, at the conclusion of the story, the dead man in the upper level of her home also characterizes her inability to let go. Miss Emily uses her home as an escape from reality. She rarely leaves her "house filled with dust and shadows" and, therefore, never leaves her past for the current time period of reality (Faulkner, 288). Essentially, she is trapping herself, like the man upstairs, within a time capsule in the form of a decrepit white house.
William Faulkner
Continually referenced throughout the short story, time plays an important role in the existence of Miss Emily Grierson. Its passing, or lack thereof, within the of Miss Emily's life influences nearly every scene in the story. Also, the narrator chooses to present scenes that are not subsequent; they jump from year to year to detail peculiar occurrences within her life.
The skipping of certain time periods in Miss Emily's life allows the narrator to characterize the woman in a manner that is best suited for the image which they are trying to convey. The narrator, referred to as a collective group, holds a seemingly negative view of Miss Grierson. For example, they believe that she is crazy and somewhat wasting her time courting a homosexual man. Therefore, their careful selection of various seemingly unrelated situations in the life of Miss Emily allow the narrator to shape the audience's perception of her. Without insight into her personal thoughts or the thoughts of someone close to her, the narrator effectively convinces the reader to believe that Miss Emily is simply a crazy old lady.
However, the most convincing of these descriptions, as well as the greatest evidence of the Miss Emily's unwillingness to let go of the past, resides within her "big, squarish frame house," (Faulkner, 281).We are first presented with Emily's retreat within the house when she refuses to release her father's corpse to be buried. Then, at the conclusion of the story, the dead man in the upper level of her home also characterizes her inability to let go. Miss Emily uses her home as an escape from reality. She rarely leaves her "house filled with dust and shadows" and, therefore, never leaves her past for the current time period of reality (Faulkner, 288). Essentially, she is trapping herself, like the man upstairs, within a time capsule in the form of a decrepit white house.
A Box and a Tradition
"The Lottery"
Shirley Jackson
One of the most important aspects of the story is that of the box out of which the lottery is held. It is old, falling apart, and mysterious within its origin; all of these characteristics can also be used to describe the tradition of the lottery itself. Therefore, the black box is symbolic of the lottery itself.
The first characteristic of the box, its being old, is one of the most important aspects of the lottery. It is tradition. It has been passed on from when society had first begun. Even with talk of letting the tradition die, the townspeople find trouble in abandoning their past. "Mr. Summers spoke frequently to the villagers about making a new box, but no one liked to upset even as much tradition as was represented by the black box," (Jackson, 265). Likewise, no one seems to know where the box hails from. Some rumor that it was constructed from pieces of the previous lottery box, but no one knows for certain. They also have no knowledge of how the tradition of the lottery began. The only person calling any recollection of the meaning of the ritual is Old Man Warner, the oldest inhabitant of the village, and his recollection is solely a vague saying about the ceremony.
Lastly, the box is falling apart, just as the tradition of the stoning is also beginning to lose popularity. Mr. Adams states that other villages have already abandoned the practice of the tradition. This is an indirect suggestion that maybe their village should also consider giving up on the harsh ritual. However, just like the black box, it continues to endure and remains a constant reminder of the villagers' past and tradition.
Shirley Jackson
One of the most important aspects of the story is that of the box out of which the lottery is held. It is old, falling apart, and mysterious within its origin; all of these characteristics can also be used to describe the tradition of the lottery itself. Therefore, the black box is symbolic of the lottery itself.
The first characteristic of the box, its being old, is one of the most important aspects of the lottery. It is tradition. It has been passed on from when society had first begun. Even with talk of letting the tradition die, the townspeople find trouble in abandoning their past. "Mr. Summers spoke frequently to the villagers about making a new box, but no one liked to upset even as much tradition as was represented by the black box," (Jackson, 265). Likewise, no one seems to know where the box hails from. Some rumor that it was constructed from pieces of the previous lottery box, but no one knows for certain. They also have no knowledge of how the tradition of the lottery began. The only person calling any recollection of the meaning of the ritual is Old Man Warner, the oldest inhabitant of the village, and his recollection is solely a vague saying about the ceremony.
Lastly, the box is falling apart, just as the tradition of the stoning is also beginning to lose popularity. Mr. Adams states that other villages have already abandoned the practice of the tradition. This is an indirect suggestion that maybe their village should also consider giving up on the harsh ritual. However, just like the black box, it continues to endure and remains a constant reminder of the villagers' past and tradition.
Wednesday, October 3, 2012
TGM: A Different Kind of Magic
The Glass Menagerie
Tennessee Williams
"Yes, I have tricks in my pocket, I have things up my sleeve. But I am the opposite of a stage magician. He gives you illusion that has the appearance of truth. I give you truth in the pleasant disguise of illusion," (Williams, 1236).
With the opening line of the play, Tom introduces himself as a magician, but a magician of a different sort. Tom's magic occurs through his narration of the play as well as his participation in its action. However, I had forgotten of Tom's supernatural connection until the opening of Scene 4 which portrays Tom coming home from the show of Malvolio the Magician. As marveled as he was at the main coffin trick of the illusionist, Tom indeed is also in his own coffin. Just as his father was restricted by his home life, Tom, too, is confined within the coffin of his family. Connecting the two men together, the stage directions call for the portrait of Tom's father to answer his rhetorical question: "Who in hell ever got himself out of [a coffin] without removing one nail?" (Williams, 1249).
Symbolically, the fire escape is one method of freeing himself from this coffin that so tightly constricts Tom's dreams and ambitions. In reality, a fire escape is used to safely escape a building in case of an internal fire. On the other hand, Tom's fire escape offers him the ability to escape the firery nonrealism of his family within the apartment. It offers him a connection to the outside world, to his dreams beyond his current situation. Also, it is the only entrance to the apartment, symbolizing that Tom only has one option to release himself from his shackles.
Just as Malvolio had done so, Tom was able to escape his coffin in the end of the drama. By leaving his family behind and exiting the apartment by the fire escape, Tom ultimately fulfilled his father's shoes in leaving the family that had held him down.
Tennessee Williams
"Yes, I have tricks in my pocket, I have things up my sleeve. But I am the opposite of a stage magician. He gives you illusion that has the appearance of truth. I give you truth in the pleasant disguise of illusion," (Williams, 1236).
With the opening line of the play, Tom introduces himself as a magician, but a magician of a different sort. Tom's magic occurs through his narration of the play as well as his participation in its action. However, I had forgotten of Tom's supernatural connection until the opening of Scene 4 which portrays Tom coming home from the show of Malvolio the Magician. As marveled as he was at the main coffin trick of the illusionist, Tom indeed is also in his own coffin. Just as his father was restricted by his home life, Tom, too, is confined within the coffin of his family. Connecting the two men together, the stage directions call for the portrait of Tom's father to answer his rhetorical question: "Who in hell ever got himself out of [a coffin] without removing one nail?" (Williams, 1249).
Symbolically, the fire escape is one method of freeing himself from this coffin that so tightly constricts Tom's dreams and ambitions. In reality, a fire escape is used to safely escape a building in case of an internal fire. On the other hand, Tom's fire escape offers him the ability to escape the firery nonrealism of his family within the apartment. It offers him a connection to the outside world, to his dreams beyond his current situation. Also, it is the only entrance to the apartment, symbolizing that Tom only has one option to release himself from his shackles.
Just as Malvolio had done so, Tom was able to escape his coffin in the end of the drama. By leaving his family behind and exiting the apartment by the fire escape, Tom ultimately fulfilled his father's shoes in leaving the family that had held him down.
TGM: Nonrealistic, but not Unrealistic
The Glass Menagerie
Tennessee Williams
Although stated in the stage directions of the play, the audience is soon able to understand that The Glass Menagerie is a nonrealistic play. The first hint is that "the play is memory" and the memory is Tom's (Williams, 1236). The second, more noticeable, hint is the music that plays in the background of the action. Even though it would make life more entertaining at some points, our reality does not include the pleasure of a nice composition to accompany our moods. The music, played during several points throughout the play, helps the audience to empathize with the emotions that Tom connects with his memories.
However, the action in the play is not unrealistic. A middle-aged crippled woman who is unlikely to find a suitor if she spends most of her time locked away in her apartment, a man working at a dead-end job and craving adventure, an engaged man who slips to his desires, but regains his senses, and a mother who only wants the best for her daughter are all very real characters. Therefore, the realistic nature of the characters allows the audience to connect with the play even though it is unrealistic both in production and the manner in which it is written.
Tennessee Williams
However, the action in the play is not unrealistic. A middle-aged crippled woman who is unlikely to find a suitor if she spends most of her time locked away in her apartment, a man working at a dead-end job and craving adventure, an engaged man who slips to his desires, but regains his senses, and a mother who only wants the best for her daughter are all very real characters. Therefore, the realistic nature of the characters allows the audience to connect with the play even though it is unrealistic both in production and the manner in which it is written.
TGM: "That's what you are, a Christian martyr!"
The Glass Menagerie
Tennessee Williams
A reoccurring theme in the play is the inability of Amanda to forget her past. Whether consciously or subconsciously, Amanda connects almost every contemporary occurence to something that occurred in her girlhood or upbringing.
One of the most easily noticed is her use of the phrase "Christian martyr," or simply "Christian" in general, throughout her conversations with others. It is reflective of her past in the southern town of Blue Mountain. Her deep religious roots bind her to the Christian ideals of others, and she lacks the ability to think of a life that deviates from these values.
Another is the constant reminder of her seventeen gentleman callers who were all "some of the most prominent young planters of the Mississippi Delta" and the eventual settling for Laura and Tom's father. Amanda seems to relive her youth by retelling of her frequent courtships, and she almost seems to force this same type of womanhood upon her daughter. It is almost as though her choice for husband was not sufficient, and Amanda hopes to keep Laura from making the mistake that she feels she had made herself. Amanda also uses jonquils, the flowers from her summer of suitors, to decorate the apartment for the arrival of Jim O'Connor in yet another attempt at reflecting her youth upon her daughter.
Tennessee Williams
A reoccurring theme in the play is the inability of Amanda to forget her past. Whether consciously or subconsciously, Amanda connects almost every contemporary occurence to something that occurred in her girlhood or upbringing.
One of the most easily noticed is her use of the phrase "Christian martyr," or simply "Christian" in general, throughout her conversations with others. It is reflective of her past in the southern town of Blue Mountain. Her deep religious roots bind her to the Christian ideals of others, and she lacks the ability to think of a life that deviates from these values.
Another is the constant reminder of her seventeen gentleman callers who were all "some of the most prominent young planters of the Mississippi Delta" and the eventual settling for Laura and Tom's father. Amanda seems to relive her youth by retelling of her frequent courtships, and she almost seems to force this same type of womanhood upon her daughter. It is almost as though her choice for husband was not sufficient, and Amanda hopes to keep Laura from making the mistake that she feels she had made herself. Amanda also uses jonquils, the flowers from her summer of suitors, to decorate the apartment for the arrival of Jim O'Connor in yet another attempt at reflecting her youth upon her daughter.
TGM: The Fragile Glass Lady
The Glass Menagerie
Tennessee Williams
Although possessing the least amount of lines in the play, Laura drives the action throughout the course of the drama. She is the concern of her mother and also the hindrance to her brother's desire for adventure. She is seemingly and genuinely more concerned about the feelings of others rather than her own emotions and wellbeing. Laura cried over Tom's unhappiness and could not face the "awful suffering look...like the picture of Jesus's mother in the museum" that would inevitably appear on her mother's face at the news of her resignation from Rubicam's Business College (Williams, 1242).
However, Laura undergoes a sort of transformation at the conclusion of the play upon meeting Jim O'Connor. As he knocks the glass unicorn out of her hand and breaks it, Laura brushes it off as just a new horse to add to her collection. Earlier in the play, Laura had been heartbroken when her glass collection had been accidentally broken. However, just as the glass unicorn had become a new figure, so had the glass emotions of Laura. She had blossomed into a less awkward woman who felt more comfortable than she had before; she was at home with the "Blue Roses" of high school.
Tennessee Williams
Although possessing the least amount of lines in the play, Laura drives the action throughout the course of the drama. She is the concern of her mother and also the hindrance to her brother's desire for adventure. She is seemingly and genuinely more concerned about the feelings of others rather than her own emotions and wellbeing. Laura cried over Tom's unhappiness and could not face the "awful suffering look...like the picture of Jesus's mother in the museum" that would inevitably appear on her mother's face at the news of her resignation from Rubicam's Business College (Williams, 1242).
However, Laura undergoes a sort of transformation at the conclusion of the play upon meeting Jim O'Connor. As he knocks the glass unicorn out of her hand and breaks it, Laura brushes it off as just a new horse to add to her collection. Earlier in the play, Laura had been heartbroken when her glass collection had been accidentally broken. However, just as the glass unicorn had become a new figure, so had the glass emotions of Laura. She had blossomed into a less awkward woman who felt more comfortable than she had before; she was at home with the "Blue Roses" of high school.
TGM: Stage Directions and Character Descriptions
The Glass Menagerie
Tennessee Williams
One of the first things of which I took notice while reading The Glass Menagerie was the specificity used by Williams in his stage directions and the descriptions of his characters. Normally, a play or any form of theatrical drama offers its producer the ability for some creative license. There is usually some sort of "free room" which the director or producer can use as his or her own expressive outlet. However, Williams leaves little room for free interpretation of the production of his play. He blatantly states the personality traits of his characters and vividly describes the appearance of the setting.
In addition to the concentration camp feel in regard to the execution of the play, there is also revelation of William's various literary techniques directly to the reader. He tells of the symbolism of the Laura's glass menagerie. He acknowledges the irony of Amanda's character by telling that there "is much to admire in [her], and as much to love and pity as there is to laugh at," (Williams 1234). Williams also uses Tom, a character in the play, as his narrator. Another twist, though, is that the play centers around the memories of Tom. With this information alone, the reader can decipher that the drama will be nonrealistic, yet Williams still feels the need to directly tell this in his stage directions. Needless to say, Williams does not want his audience to miss a single of his intentions, and he makes it obviously so.
Tennessee Williams
One of the first things of which I took notice while reading The Glass Menagerie was the specificity used by Williams in his stage directions and the descriptions of his characters. Normally, a play or any form of theatrical drama offers its producer the ability for some creative license. There is usually some sort of "free room" which the director or producer can use as his or her own expressive outlet. However, Williams leaves little room for free interpretation of the production of his play. He blatantly states the personality traits of his characters and vividly describes the appearance of the setting.
In addition to the concentration camp feel in regard to the execution of the play, there is also revelation of William's various literary techniques directly to the reader. He tells of the symbolism of the Laura's glass menagerie. He acknowledges the irony of Amanda's character by telling that there "is much to admire in [her], and as much to love and pity as there is to laugh at," (Williams 1234). Williams also uses Tom, a character in the play, as his narrator. Another twist, though, is that the play centers around the memories of Tom. With this information alone, the reader can decipher that the drama will be nonrealistic, yet Williams still feels the need to directly tell this in his stage directions. Needless to say, Williams does not want his audience to miss a single of his intentions, and he makes it obviously so.
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