"My Mistress' Eyes"
William Shakespeare
In stark contrast to "Barbie Doll" by Margie Piercy, "My Mistress' Eyes" presents a less-than-perfect woman who still is able to hold the eye and the heart of her lover. This pokes fun at the traditional view of woman as needing to be angelic; "I grant I never saw a goddess go, My mistress, when she walks treads on the ground," (885). The speaker is saying that even though he has never seen an angel or a goddess, his lover is even better because she physically exists on the earth with him. This is strange because most of Shakespeare's poetry, and the majority of poems from that time period for that matter, tend to actually compare the physical features of one's love to these aspects of nature. On the contrary, the speaker in this poem tells how his love's features are less beautiful than those of nature.
After researching this poem online, my primary observance was confirmed. This poem is assumed to be written to counteract the trite style of the Petrarch love poem style of the time. Petrarch wrote "Laura," a poem that I studied in World Literature during my sophomore year, and many poets of the time tried to copy this style of praise. However, Shakespeare went against the popular convention and instead showed the imperfect side of love, the more common side of love. He had the courage to challenge what love was considered to be and to accept a woman who was less than perfect despite society's expectations. Isn't that what every girl dreams of in the end? A man who accepts her as she is and not some Barbie Doll?
Thursday, February 28, 2013
Barbie Doll
"Barbie Doll"
Marge Piercy
Of all the works in the Gender Unit, "Barbie Doll" presented the clearest and most relatable aspect surrounding gender expectations within American society. At the beginning of the poem, the reader is presented with "dolls that did pee-pee and miniature GE stoves and irons and wee lipsticks the color of cherry candy," (835). All of these objects are easily pictured by the average reader and can even be related back to some childhood memories. Being able to relate to the girl within the poem, the reader can empathize with the struggle that she faces and understand her motivation behind her actions.
Even though the young girl in the poem was blessed with several talents and abilities, beauty was one that she could not find in herself and that ultimately led to her downfall. The irony of this poem lies in the last three lines. The poem's subject finally achieved her goal of being beautiful in the eyes of others; however, she is dead and unable to realize this accomplishment. Also, the final line, "To every woman a happy ending" possesses the most irony of these final lines (836). Many little girls are presented with fairy tales that have Prince Charming's, happily ever after's, and most importantly, beautiful princesses. However, with the pressures of modern society, most girls cannot achieve this fabled ending. If they cannot change their circumstances by their own doing, then they are instead condemned to a life miserably ever after.
Marge Piercy
Of all the works in the Gender Unit, "Barbie Doll" presented the clearest and most relatable aspect surrounding gender expectations within American society. At the beginning of the poem, the reader is presented with "dolls that did pee-pee and miniature GE stoves and irons and wee lipsticks the color of cherry candy," (835). All of these objects are easily pictured by the average reader and can even be related back to some childhood memories. Being able to relate to the girl within the poem, the reader can empathize with the struggle that she faces and understand her motivation behind her actions.
Even though the young girl in the poem was blessed with several talents and abilities, beauty was one that she could not find in herself and that ultimately led to her downfall. The irony of this poem lies in the last three lines. The poem's subject finally achieved her goal of being beautiful in the eyes of others; however, she is dead and unable to realize this accomplishment. Also, the final line, "To every woman a happy ending" possesses the most irony of these final lines (836). Many little girls are presented with fairy tales that have Prince Charming's, happily ever after's, and most importantly, beautiful princesses. However, with the pressures of modern society, most girls cannot achieve this fabled ending. If they cannot change their circumstances by their own doing, then they are instead condemned to a life miserably ever after.
Hunters in the Snow
Tobias Wolff
To begin, the resemblances between this story and South Park are so numerous that they cannot go unmentioned. First, both contain all-male groups of friends. Both occur in snow-covered settings. Both have a main character named Kenny who is wounded in an unexpected manner and presumably dies. The two are strikingly similar.
However, on a literary note, the actions of the characters help to characterize them all respectively as well as contribute to the action of the short story. For example, when "Frank and Kenny worked one bank [of the creek] and Tub worked the other, moving upstream," the tendency of the other two to exclude or gang up on Tub is illustrated (189). He is the one who is forced to walk alone while his friends have one another with whom to walk. Another instance that also has this same theme is at the beginning of the story when Tub is picked up by the other two men who were already together. Frank is also characterized by his actions; he likes to constantly excuse his and others' actions. "Kenny was just messing around," "Kenny talks too much," and "I guess I wasn't paying attention" all demonstrate this inability to live up to the consequences of actions (187, 191, 196). The combination of Frank's and Tub's actions and dialogue help to indirectly characterize their friend, Kenny. They talk about him as though he is choleric, irresponsible, and gossip-prone. All of the actions and conversations in the end help the reader to figure out the characters on a more in-depth level than if each was presented individually.
A Jury of Her Peers
"A Jury of Her Peers"
Susan Glaspell
Throughout "A Jury of Her Peers," the image of the canary plays a very pivotal role in the meaning of the short story.
First, the canary serves as a symbol. It is symbolic of Minnie and of the Wright's marriage. Canaries are notorious for their songs, and Minnie used to be found "singing in the choir," (415). This commonality thus establishes a connection between the two. Also, the canary represented the happiness that existed inside of Minnie, the last bit of happiness onto which she held. When John Wright killed the bird, he also killed the joy inside his wife's heart. With nothing left about which to be happy, Minnie could no longer see the sense in their marriage. Thus, with the killing of the songbird, Mr. Wright successfully also killed his marriage and his wife's pleasure.
As well as being a symbol, the bird also explains the method by which Mr. Wright was killed. Both were strangled; Wright by "somebody [who] slipped a rope around his neck and strangled him" and the bird by Wright (411). It seems ironic, though, that this indicator of guilt came so late in the story. It is almost meant to foreshadow the murder of Mr. Wright, yet it is not discovered by the reader nor the characters until after the cause of Mr. Wright's death has already been revealed. Also, ironically, the bird that represented Minnie also comes to represent the death her husband; the thing that she loved the most becomes connected to the thing that she despised the most.
Susan Glaspell
Throughout "A Jury of Her Peers," the image of the canary plays a very pivotal role in the meaning of the short story.
First, the canary serves as a symbol. It is symbolic of Minnie and of the Wright's marriage. Canaries are notorious for their songs, and Minnie used to be found "singing in the choir," (415). This commonality thus establishes a connection between the two. Also, the canary represented the happiness that existed inside of Minnie, the last bit of happiness onto which she held. When John Wright killed the bird, he also killed the joy inside his wife's heart. With nothing left about which to be happy, Minnie could no longer see the sense in their marriage. Thus, with the killing of the songbird, Mr. Wright successfully also killed his marriage and his wife's pleasure.
As well as being a symbol, the bird also explains the method by which Mr. Wright was killed. Both were strangled; Wright by "somebody [who] slipped a rope around his neck and strangled him" and the bird by Wright (411). It seems ironic, though, that this indicator of guilt came so late in the story. It is almost meant to foreshadow the murder of Mr. Wright, yet it is not discovered by the reader nor the characters until after the cause of Mr. Wright's death has already been revealed. Also, ironically, the bird that represented Minnie also comes to represent the death her husband; the thing that she loved the most becomes connected to the thing that she despised the most.
Wednesday, February 13, 2013
Death, Death, Death
Othello, the Moor of Venice
William Shakespeare
Act V
Finally, the tragic ending for which we have all been waiting; it does not disappoint. First Roderigo dies, then Desdemona, then Emilia, then Othello, and lastly the sentencing to death of Iago.
One death that contributes to the chaos of the ending is that of Desdemona. The first time that she is stifled, the audience believes that she has been killed. However, Othello does not believe so after hearing the cries from Emilia outside of the room, thus, he tries to smother her again. As Emilia enters the room, Desdemona seemingly springs back to life to utter four more lines before finally dying for good. "A guiltless death I die," proclaims Desdemona, and she also says that her death was her own fault (V.ii.121). Even after admitting that he had killed her, Othello still fails to realize that his wife actually committed adultery against him. The death and subsequent revival of Desdemona contributes to chaotic flow of the following action. Just as the audience is confused as to how the woman is still alive, the characters on the stage are confused as to what exactly is happening on stage. Therefore, both the audience and the characters are connected, feeling the same emotional reactions to the action unfolding before them.
As if that was not a spectacular enough ending, Othello finally learns that he was deceived by Iago all along and his wife truly had been faithful. Yet, it is too late, and like the great Romeo and Juliet, both lovers end up dead. Yay, what a tragic ending!
William Shakespeare
Act V
Finally, the tragic ending for which we have all been waiting; it does not disappoint. First Roderigo dies, then Desdemona, then Emilia, then Othello, and lastly the sentencing to death of Iago.One death that contributes to the chaos of the ending is that of Desdemona. The first time that she is stifled, the audience believes that she has been killed. However, Othello does not believe so after hearing the cries from Emilia outside of the room, thus, he tries to smother her again. As Emilia enters the room, Desdemona seemingly springs back to life to utter four more lines before finally dying for good. "A guiltless death I die," proclaims Desdemona, and she also says that her death was her own fault (V.ii.121). Even after admitting that he had killed her, Othello still fails to realize that his wife actually committed adultery against him. The death and subsequent revival of Desdemona contributes to chaotic flow of the following action. Just as the audience is confused as to how the woman is still alive, the characters on the stage are confused as to what exactly is happening on stage. Therefore, both the audience and the characters are connected, feeling the same emotional reactions to the action unfolding before them.
As if that was not a spectacular enough ending, Othello finally learns that he was deceived by Iago all along and his wife truly had been faithful. Yet, it is too late, and like the great Romeo and Juliet, both lovers end up dead. Yay, what a tragic ending!
Two Options
Othello, the Moor of Venice
William Shakespeare
Act V
"This is the night That either makes me or fordoes me quite," (V.i.128-129).
With this aside at the end of the first scene in Act V, Iago sets the stage for the action that will take place in the rest of the play. By speaking solely to the audience, Iago is able to communicate his thoughts to the audience without the other characters on stage knowing anything about what he is thinking. This particular aside, though, creates suspense for the rest of the scene; it leaves the audience with two possibilities for the outcome of the tragedy. Iago will either succeed is his revenge against Othello, or he will succumb to some tragic ending. These two equally exciting options keep the audience engaged in the action that is occurring on stage.
In addition to the suspense created on stage, the aside also offers a literary technique to be examined: foreshadowing. This short one-liner by Iago leaves the reader, like the audience, with two possibilities. Obviously, someone is to die because of the tragic nature of the play, but we are still unsure of who it may be. However, with the two possibilities presented, it must be either Desdemona or Iago. If option one occurs and Iago is successful, Othello will have followed Iago's advice and strangled his wife. If the second option occurs, Iago will have failed in his deception and will be killed for his deceit.
William Shakespeare
Act V
"This is the night That either makes me or fordoes me quite," (V.i.128-129).
With this aside at the end of the first scene in Act V, Iago sets the stage for the action that will take place in the rest of the play. By speaking solely to the audience, Iago is able to communicate his thoughts to the audience without the other characters on stage knowing anything about what he is thinking. This particular aside, though, creates suspense for the rest of the scene; it leaves the audience with two possibilities for the outcome of the tragedy. Iago will either succeed is his revenge against Othello, or he will succumb to some tragic ending. These two equally exciting options keep the audience engaged in the action that is occurring on stage.
In addition to the suspense created on stage, the aside also offers a literary technique to be examined: foreshadowing. This short one-liner by Iago leaves the reader, like the audience, with two possibilities. Obviously, someone is to die because of the tragic nature of the play, but we are still unsure of who it may be. However, with the two possibilities presented, it must be either Desdemona or Iago. If option one occurs and Iago is successful, Othello will have followed Iago's advice and strangled his wife. If the second option occurs, Iago will have failed in his deception and will be killed for his deceit.
Caught in a "Lie"
Othello, the Moor of Venice
William Shakespeare
Act IV
There are often many words that can have several meanings. These meanings may come from misinterpretations, multiple meanings, or simple confusion by the speaker. For example, in Act IV, the word "'Lie" spoken by Iago in line 33 can be interpreted by the reader in several fashions (IV.i.33). Literally, it is the abbreviated version of "belie" which means to fail to fulfill or to betray. In this sense, Iago is telling Othello that Desdemona is deceptive of her husband by managing an affair with Cassio. However, the reader can interpret the word without the apostrophe coming beforehand and read it simply as "lie." With this new misreading of the word, the reader would associate this speech with the speech of Iago in the sense that everything he is saying is a lie. This reading of the word is ironic because the word precedes the lie told by Iago in this scene. From the audience's perspective witnessing the play, they are unaware of spelling and grammatical structure of the script. Therefore, they may hear the word as "lie" and not an abbreviated "belie" which would completely change the meaning of what Iago is about to say. Shakespeare intentionally did this to remind the audience of the untrustworthy nature of Iago even though he is repeatedly trusted by several of the other characters in the play.
William Shakespeare
Act IV
There are often many words that can have several meanings. These meanings may come from misinterpretations, multiple meanings, or simple confusion by the speaker. For example, in Act IV, the word "'Lie" spoken by Iago in line 33 can be interpreted by the reader in several fashions (IV.i.33). Literally, it is the abbreviated version of "belie" which means to fail to fulfill or to betray. In this sense, Iago is telling Othello that Desdemona is deceptive of her husband by managing an affair with Cassio. However, the reader can interpret the word without the apostrophe coming beforehand and read it simply as "lie." With this new misreading of the word, the reader would associate this speech with the speech of Iago in the sense that everything he is saying is a lie. This reading of the word is ironic because the word precedes the lie told by Iago in this scene. From the audience's perspective witnessing the play, they are unaware of spelling and grammatical structure of the script. Therefore, they may hear the word as "lie" and not an abbreviated "belie" which would completely change the meaning of what Iago is about to say. Shakespeare intentionally did this to remind the audience of the untrustworthy nature of Iago even though he is repeatedly trusted by several of the other characters in the play.
They're catching on...
Othello, the Moor of Venice
William Shakespeare
Act IV
At last, someone finally becomes suspicious of from where the rumor of the alleged affair is coming. Desdemona is the first character to tell of her suspicions: "I will be hanged if some eternal villain, Some busy and insinuating rogue, Some cogging, cozening slave, to get some office, Have not devised this slander. I'll be hanged else," (IV.ii.130-133). However, she happens to be saying all of this information to Iago, the very "villain" that she is cursing. Yet, Iago goes along with the incrimination, acting as though he has no idea the background of the rumor. He plays along with Desdemona's accusations with clear verbal irony. He is completely aware of the situation, but his clever manipulation of speech once again persuades the other characters in the play that he is ignorant of the source of the disagreement in the marriage.
Also, in this section of speech, there are some lines which suggest which characters will not make it out of this tragedy. Desdemona's above quoted line, if interpreted literally, can be seen as a foreshadowing of her death as her supposition is true. Following this line, too, there is a curse that she offers to the man responsible for slandering her name. "A halter pardon him and hell gnaw his bones!" (IV.ii.136). This line suggests that Iago might also face his doom before the conclusion of the play. However, it is a tragedy, and one cannot assume until the last hand hits the stage who will ultimately suffer a grim fate.
William Shakespeare
Act IV
At last, someone finally becomes suspicious of from where the rumor of the alleged affair is coming. Desdemona is the first character to tell of her suspicions: "I will be hanged if some eternal villain, Some busy and insinuating rogue, Some cogging, cozening slave, to get some office, Have not devised this slander. I'll be hanged else," (IV.ii.130-133). However, she happens to be saying all of this information to Iago, the very "villain" that she is cursing. Yet, Iago goes along with the incrimination, acting as though he has no idea the background of the rumor. He plays along with Desdemona's accusations with clear verbal irony. He is completely aware of the situation, but his clever manipulation of speech once again persuades the other characters in the play that he is ignorant of the source of the disagreement in the marriage.
Also, in this section of speech, there are some lines which suggest which characters will not make it out of this tragedy. Desdemona's above quoted line, if interpreted literally, can be seen as a foreshadowing of her death as her supposition is true. Following this line, too, there is a curse that she offers to the man responsible for slandering her name. "A halter pardon him and hell gnaw his bones!" (IV.ii.136). This line suggests that Iago might also face his doom before the conclusion of the play. However, it is a tragedy, and one cannot assume until the last hand hits the stage who will ultimately suffer a grim fate.
Wednesday, February 6, 2013
Iago's Speech
Othello, the Moor of Venice
William Shakespeare
Throughout the play, characters often switch their speaking patterns from iambic pentameter to prose or blank verse. Recalling what I had learned in Mrs. Miles' freshman English class, I was able to determine that this is for one of two reasons: there is a lack of formality or education in the speech or it is a speech of pure passion. Within his plays, Shakespeare uses prose to illustrate the lack of education in the common class characters. However, within the context of Othello, Shakespeare uses prose to show a lack of formality. When Iago breaks his iambic pentameter to speak in prose, it is demonstrating his desire to come across as genuine. This contributes to his sense of being "honest" because many of the other characters perceive his informality as being sincere.
In contrast, Iago uses iambic pentameter in formal situations such as his address recounting the skirmish between Cassio and Montano. This is considered a formal situation because Iago is speaking to a superior in a public arena. Yet, even in his formal speeches, Iago continues to utilize very average, almost daily, word choice. Words and phrases such as "brief," "swift of foot," and "did part them" all can be replaced by more advanced words that would accentuate Iago's intelligence (II.iii.201-224). However, by choosing these words, Iago is able to maintain his common connection with others and his reputation of being honest. Iago, being a fine manipulator of speech, knows that if he was to use higher diction, he would seem arrogant and thus unrelatable to the other characters. He uses his knowledge of speech to control the other characters, and I expect him to use it to ultimately bring the tragic end to this play.
William Shakespeare
Throughout the play, characters often switch their speaking patterns from iambic pentameter to prose or blank verse. Recalling what I had learned in Mrs. Miles' freshman English class, I was able to determine that this is for one of two reasons: there is a lack of formality or education in the speech or it is a speech of pure passion. Within his plays, Shakespeare uses prose to illustrate the lack of education in the common class characters. However, within the context of Othello, Shakespeare uses prose to show a lack of formality. When Iago breaks his iambic pentameter to speak in prose, it is demonstrating his desire to come across as genuine. This contributes to his sense of being "honest" because many of the other characters perceive his informality as being sincere.
In contrast, Iago uses iambic pentameter in formal situations such as his address recounting the skirmish between Cassio and Montano. This is considered a formal situation because Iago is speaking to a superior in a public arena. Yet, even in his formal speeches, Iago continues to utilize very average, almost daily, word choice. Words and phrases such as "brief," "swift of foot," and "did part them" all can be replaced by more advanced words that would accentuate Iago's intelligence (II.iii.201-224). However, by choosing these words, Iago is able to maintain his common connection with others and his reputation of being honest. Iago, being a fine manipulator of speech, knows that if he was to use higher diction, he would seem arrogant and thus unrelatable to the other characters. He uses his knowledge of speech to control the other characters, and I expect him to use it to ultimately bring the tragic end to this play.
The Handkerchief
Othello, the Moor of Venice
William Shakespeare
Act III
As the conflict between Desdemona and Othello escalates, a major symbol of the play enters the action (I know that it's a major symbol because Mr. Costello told us to look out for it). The handkerchief is symbolic of several things within the context of the story. The most important meaning surrounding the image of the handkerchief is that of purity and of faithfulness. Othello tells the history of the fabric: "'Twould make her amiable and subdue my father entirely to her love, but if she lost it or made a gift of it, my father's eye should hold her loathed and his spirits should hunt after new fancies," (III.iv.53-57). With this information, it can be inferred that Othello is using the history of the handkerchief to explain why he doubts his wife's faithfulness. Because she is unable to produce the cloth, he assumes that it is lost and, therefore, Desdemona has lost the love of Othello. Additionally, Othello continues to tell that the handkerchief was "dyed in mummy which the skillful conserved of maiden's hearts" which means that the fabric was dyed using a special concoction mixed from the blood of virgins (III.iv.67-68). This image calls to mind the consummation of marriage after which the bloodied sheets of the couple are placed in a public place to prove the virginity of the wife. Then, again, is the audience reminded of the image of faithfulness and purity that is embedded within the handkerchief.
William Shakespeare
Act III
As the conflict between Desdemona and Othello escalates, a major symbol of the play enters the action (I know that it's a major symbol because Mr. Costello told us to look out for it). The handkerchief is symbolic of several things within the context of the story. The most important meaning surrounding the image of the handkerchief is that of purity and of faithfulness. Othello tells the history of the fabric: "'Twould make her amiable and subdue my father entirely to her love, but if she lost it or made a gift of it, my father's eye should hold her loathed and his spirits should hunt after new fancies," (III.iv.53-57). With this information, it can be inferred that Othello is using the history of the handkerchief to explain why he doubts his wife's faithfulness. Because she is unable to produce the cloth, he assumes that it is lost and, therefore, Desdemona has lost the love of Othello. Additionally, Othello continues to tell that the handkerchief was "dyed in mummy which the skillful conserved of maiden's hearts" which means that the fabric was dyed using a special concoction mixed from the blood of virgins (III.iv.67-68). This image calls to mind the consummation of marriage after which the bloodied sheets of the couple are placed in a public place to prove the virginity of the wife. Then, again, is the audience reminded of the image of faithfulness and purity that is embedded within the handkerchief.Sexist Shakespeare
Othello
William Shakespeare
Act II
Act II presents us with the first view of society within the context of the play; woman are inferior. For the majority of history, woman have been viewed as subordinate and subject to do the work which was deemed below the standards of a man. However, one would not expect to find a hint of sexism in a Shakespearean work of literature. A man who wrote some of the most beautiful love stories and poetry that poured out his soul could not possibly be sexist, could he? Yet, Shakespeare chooses to have his characters comment on the role of women in society.The first glimpse of the relationship between men and women is given to us by Cassio's interactions with Desdemona and Emilia. Cassio greets both women in a fashion reminiscent of the chivalry that existed in medieval times. This presents a stark contrast to the following interaction between Iago and the two women. Iago tells the ladies that it does not matter the attractiveness or intelligence of a woman because they are manipulative creatures who, in the end, will get what they want. Iago then goes on to comment that a woman's job is "to suckle fools and chronicle small beer," (II.i.159).
The discrepancy that exists between these two male characters emphasizes the division in society toward the role of women. Because Iago's point is further elaborated upon, the audience is able to conclude that it is the more widely accepted viewpoint. However, the roles of characters within their environment will continue to develop, and there are sure to be more comments on the nature of women.
"Honest Iago"
Othello
William Shakespeare
"We cannot all be masters, nor all masters cannot be truly followed," (I.i.43-44.).
At the opening of the play, the audience is presented with an Iago within whom the audience can detect an obvious grudge toward Othello. Referring to the man only by "the Moor," Iago strips him of his intrinsic human dignity (I.i.57). However, Iago is never forward or blunt about his exact feelings toward his Captain. He acknowledges his duty to serve under the man even though he feels slighted because he did not receive the promotion. Yet, this underlying tone given throughout Iago's conversation with Roderigo foreshadows a confrontation between the Ensign and his Captain or a crestfallen outcome for one or the other.
This opening information seems conflicting as the story progresses; Iago is constantly referred to as an honest and respectable man. However, the audience knows more about the character of Iago than the rest of the characters involved in the action know. This dramatic irony allows for an even deeper look into the manipulative character of Iago. We are able to ascertain that the man can use words to his advantage in order to advance himself and his priorities in life. As the plot continues, the audience can expect to see more of this character develop as the action develops as well.
William Shakespeare
"We cannot all be masters, nor all masters cannot be truly followed," (I.i.43-44.).
At the opening of the play, the audience is presented with an Iago within whom the audience can detect an obvious grudge toward Othello. Referring to the man only by "the Moor," Iago strips him of his intrinsic human dignity (I.i.57). However, Iago is never forward or blunt about his exact feelings toward his Captain. He acknowledges his duty to serve under the man even though he feels slighted because he did not receive the promotion. Yet, this underlying tone given throughout Iago's conversation with Roderigo foreshadows a confrontation between the Ensign and his Captain or a crestfallen outcome for one or the other.
This opening information seems conflicting as the story progresses; Iago is constantly referred to as an honest and respectable man. However, the audience knows more about the character of Iago than the rest of the characters involved in the action know. This dramatic irony allows for an even deeper look into the manipulative character of Iago. We are able to ascertain that the man can use words to his advantage in order to advance himself and his priorities in life. As the plot continues, the audience can expect to see more of this character develop as the action develops as well.
Subscribe to:
Posts (Atom)