Hamlet 4

Two overarching themes that are manifested throughout the first two acts of William Shakespeare's Hamlet are Hamlet's fear of confrontation, and the overall theme of uncertainty. Hamlet constantly expresses his feelings from afar with various asides and soliloquies rather than physically confronting the other characters. In the second scene of the second act, Hamlet asks the company of touring actors to perform The Murder of Gonzago, in hopes to "catch the conscience of the King" (II.ii.634). Hamlet is indirectly targeting Claudius instead of directly facing him. His lack of assertiveness and motivation accentuates the fact that he is a cowardly character. Hamlet's decision to observe the King's reaction from afar also contributes the theme of uncertainty in the play. Although he has seen the ghost and has been given clear instructions, it is still questionable as to whether Hamlet should trust what he has seen or not: "The spirit that I have seen May be a devil, and the devil hath power T' assume a pleasing shape [...] I'll have grounds More relative than this" (II.ii.627-633). Hamlet is in inner turmoil and is not sure about whether he should believe the little proof he has or not. He says that the spirit that he saw could be the devil trying to trick him. Therefore, he wants to obtain more proof before making a drastic decision. The key word in Hamlet's words is "may"; words expressing uncertainty show up various times throughout the play to exaggerate the doubtful mood.

Sound & Sense 5

In Langston Hughes' "Harlem", countless similes are utilized to describe a "dream deferred" (1). According to the Merriam-Webster Dictionary, the definition of the word deferred is "1:withheld for or until a stated time" (Merriam-Webster Dictionary). The main idea of the poem, therefore, is explaining what could possibly happen to a dream that is delayed or rejected. The structure and the positioning of the similes is what emphasizes the main idea of the poem. There are six images describing a dream deferred; five of these images are similes and one is a metaphor. The importance of the chain of similes one after the other is to develop the imagery in the poem. They are all used as questions to propose uncertainty about what could happen to a dream deferred. The shift in tone and in the use of literary devices occurs from line eight to line nine. Line eight ends with a question, whereas line nine is a statement. While the beginning of the poem which contains the similes has a descriptive and questionable tone, the last three lines have a foreboding tone. The metaphor is in the last line of the poem where the speaker says, "Or does it explode?" (11). This line stands out from the rest of the poem because it is not followed by a comparison. The fact that there is no explosion to compare to leaves the message to be interpreted in various ways.

Letter

Dear Mari,

Above all, we would like you to know that we are immensely proud of you. As your parents, it has been a privilege to watch you grow and mature into the person you are today. You have always been a helpful, friendly, lovable and committed girl. Now that you are taking your next step into adulthood (but don't be fooled- you're still a little girl in our eyes), all of your positive qualities will help you everywhere you go. Occasionally, you are very timid. That is something you can be working on because you will be needing to advocate for yourself constantly. Other than that, we believe you have all of the proper skills to be successful in college. Try your best not to slack off and fall behind. Always study your hardest and good rewards will come to you in honor of your hard work. You are going to be interacting with lots of new people at your school. The best advice we can give you is to pick your friends wisely. Regardless of who you meet, treat everyone with respect. Most importantly, do not forget your identity. It's easy to get sucked into the habits of others just because you want to fit in and make friends. Remember that God is always the most important of our lives. Use your faith to make a difference wherever you go; show everyone you meet that there is something special about your life and that special thing is God. As long as you trust in him, everything will fall into place. You are our precious daughter and our greatest wish is for you to be safe and successful wherever you may be. Be responsible for your own actions and be aware of those around you. If you get stressed and frustrated, know that we will always be willing to comfort you and help you to the best of our ability. It is bitter sweet to be saying these things because as your overprotective parents we want to have you with us all the time... But we know that it is not possible. We love you very much and we know that you will be very successful in college.
               
                                                             Love always,
                                                             Mom and Dad 

Hamlet 2

Character foils are created to connect certain characters for a particular reason. In Shakespeare's Hamlet, Ophelia and Hamlet are set up as character foils. Although the audience has not yet seen an interaction between these two characters, it is revealed by Laertes and Polonius that Hamlet has been a potential love interest of Ophelia's. A common thread between Hamlet and Ophelia so far is that both are being forced into submission of a parent's wish. Hamlet's mother begs him to "go not to Wittenberg" (I.ii.123). Although it is Hamlet's wish to go back to his studies, he says, "I shall in all my best obey you, madam" (I.ii.124). Hamlet's intentions are not yet revealed, but it appears that he is being respectful of his mother's wish. Hamlet's first dialogue with his mother perfectly parallels Ophelia's dialogue with her father, Polonius. Polonius uses uncertainty to show Ophelia that Hamlet's vows cannot be trusted: "Do not believe his vows, for they are brokers" (I.iii.136). He commands his daughter to stay away from Hamlet and to not fall into any of his tricks. In response to her father's command, Ophelia says, "I shall obey, my lord" (I.iii.145). The idea of submission and obedience is relevant in both situations. The correlation between Hamlet and Ophelia's interactions with their parents foreshadows the future events that may take place. Their statements of obedience implies that there will be disobedience in the future.

Hamlet 1

A lot can be interpreted about a character based on their first lines and interactions with the surrounding characters. In Shakespeare's Hamlet, the protagonist is not introduced until the second scene of the first act. There is significance in the delay of young Hamlet's arrival because it allows the setting and the possible conflict to be set up. Hamlet is known to be very knowledgeable and intelligent as he is studying at the university of Wittenberg, which is an unusual thing for a prince to do. Hamlet is first introduced when King Claudius is addressing the court. When the King addresses Hamlet as his kin and his son, Hamlet says, "A little more than kin and less than kind" (I.ii.67). Based on Hamlet's first line, it can be understood that there is contempt towards Claudius because of old Hamlet's death. Hamlet's response to Claudius' statement seems to be a mutter because the stage directions instruct it to be an aside, meaning no one hears it besides the speaker himself. There is significance in Hamlet's first line because it immediately shows that his interaction with Claudius may not be good. In Hamlet's first soliloquy, it is expressed that he is still mourning his father's death.  His disappointment towards him mother is shown as he compares her to "Niobe, all tears - why she, (even she) [...] Would have mourned longer!), married with [his] uncle" (I.ii.153-155). In Greek mythology, Niobe was a character who lost her children and cried for the rest of her life out of grief. Hamlet's use of this metaphor to describe his mother's grief shows that he thinks his mother did not care about his father's death at all. His explanation of his anger and disdain for the situation would make one think that he will do something to change it; however, Hamlet says, "for I must hold my tongue" (I.ii.164). Although he has many conflicted feelings, he cannot speak of them to anyone. Why?  

Othello: Outline

Mariana Goncalves

Mr. George

AP World Literature

4 December 2013

Othello Outline

Thesis: Othello's downfall is ultimately caused by his tragic flaw of being unable to control his loving and trusting nature; the constant battle between this flaw and his honorable title in Venice causes him to lose control which reflects poorly on him.

A. While reflecting on the events that take place, Othello describes himself and reaches catharsis.

1. “Then must you speak Of one that loved not wisely, but too well” (V.ii.403-404).
   a. Othello's most noted trait is his ability to be calm, collected and rational. He upholds this trait very well until his tragic flaw overpowers it.

B. Othello's propensity to trust and love undoubtedly gives Iago the power to manipulate him.

1. “Iago is most honest” (II.iii.7); “Now art thou my lieutenant” (III.iv.545).
   a. With his claim of loving not wisely but too well, Othello acknowledges his mistake in trusting Iago.

C. In order to maintain an honorable name, Othello attempts to carry out the justice of the state while in Cyprus.

1. “an honorable murderer” (V.ii.346)
   a. Although he is in Cyprus and has carried out a horrific deed, Othello wants to please the Venetians and add to his reputation. In doing so, he hopes to restore his nobility and honor in their eyes.
2. “For naught I did in hate, but all in honor” (V.ii.347).
   a. He is speaking to Lodovico and is trying to maintain his collected character; however, Othello is actually hiding the intense hatred he has built up inside him.
3. “All my fond love thus do I blow to heaven. 'Tis gone, Arise black vengeance, from the hollow hell! Yield up, O love, thy crown and hearted throne To tyrannous hate!” (III.iii.505-509).
   a. Othello explicitly says that his actions are being driven by pure hatred and that his motive is vengeance.

D. Despite the fact that he has overcome the stereotypes of being a Moor, Othello seems to embrace them in order to justify his reactions.

1. “rash and most unfortunate man” (V.ii.333).
   a. His tragic downfall does not make him a rash and unfortunate man, it only proves that a tragic hero's weakness is used to destroy them.

E. Othello's audacious act of killing Desdemona without proper evidence not only portrays his lack of control, but can also be interpreted as ignorance; however, this ignorance derives from an outer force and is not a permanent attribute.

1. “dolt, As ignorant as dirt!” (V.ii.199-200).
   a. From Emilia's perspective, Othello was too stupid and ignorant to deserve Desdemona because she was too pure and innocent for him.
2. “Then must you speak […] Of one not easily jealous, but being wrought, Perplexed in the extreme” (V.ii.403-406).
   a. Othello's claim is that an outer force stirred him up into becoming ignorant and jealous, thus causing his to act irrationally.

F. The diversity of the descriptions of Othello throughout the play parallels the extreme diversity in the mood of the play as the tragedy unfolds.

Heart Of Darkness Essay: Outline

Mariana Goncalves

Mr. George

AP Literature

5 October 2013

Heart of Darkness: Outline (Prompt 2)

Thesis: There is a clear complex connection between Kurtz and Marlow as is represented by the details in the physical setting, the juxtaposition of light and dark throughout the novel and their similar backgrounds. All of these factors cause Marlow to become fixated on Kurtz.

A. An essential aspect of Kurtz and Marlow's connection is the idea of enlightenment, which is thoroughly portrayed in Myth of the Cave.

     I. “Picture men dwelling in a sort of subterranean cavern with a long entrance open to the light on its entire width. Conceive them as having their legs and necks fettered from childhood, so that they remain in               the same spot” (MYTH OF CAVE)

         a) The Europeans have their set morals and intentions, and they want to influence other civilizations   with their ideals. They are blinded by their own hubris and are unaware of the fact that they are in a             cave.

     II. “The point was in his being a gifted creature, and that of all his gifts the one that stood out                   preeminently, was his ability to talk […]  the gift of expression, the bewildering, the illuminating, the             most exalted...” (Conrad 124).
          a) The more he discovers, the more he wants to meet him and ultimately idealizes him. In juxtaposition to Myth of the Cave, Kurtz exemplifies the light outside of the cave.

 B. The setting is an important factor which correlates with the connection between Marlow and Kurtz          because the closer Marlow gets to the center of Africa, the closer he gets to Kurtz.

     I. The yarns of seamen have a direct simplicity, the whole meaning of which lies within the shell of a         cracked nut […] and to him the meaning of an episode was not inside like a kernel but outside”                   (Conrad 68)

         a) Kurtz is a representation of the kernel inside the shell of the nut. The Europeans symbolically signify   the outer shell, which disinterests Marlow and impels him to seek Kurtz.

C. Kurtz is the leading portrayal of what a lack of civilization can do to an individual; this intrigues Marlow     due to their similarities of origin and background.

     I.  “how can you imagine what particular region of the first ages a man's untrammelled feet may take him into by the way of solitude  utter solitude without a policeman  by the way of silence  utter silence,           where no warning voice of a kind neighbour can be heard whispering of public opinion? These little               things make all the great difference” (Conrad 126).

         a) The savage setting has afflicted Kurtz to such a degree, that he no longer has the precaution of       thinking before he acts. Without civilization, he can essentially set up his own rules and set his own                moral standards for himself because no one is around to judge or argue with his choices.

D. One's ability to speak persuasively can get them very far; Kurtz is known by all of his admirers for being an eloquent and effective speaker, which captures Marlow's attention.

     I.  “'There was a sense of extreme disappointment, as though I had found out I had been striving after something altogether without a substance'” (Conrad 123).

         a) Marlow's obsession with Kurtz's voice also derives from the fact that he has no interest in what the Company is doing. What the Company is there to do has no substance and no genuine motive; Marlow's only motive is Kurtz.

Othello 7

Through his malevolent actions, Iago portrays himself as the representation of evil. He is an allegorical devil as his actions parallel the actions of the devil: "I am not what I am" (I.i.71). The devil does not need to have a motive in order to manipulate and be evil. Similarly, Iago does not ever have a definite motive of why he wants to get revenge on Othello. He tries to appear as if he had a motive but it is constantly changing which leads one to think that he does not actually have a reason for him wrong doings.

Othello 6

Desdemona and Iago are constantly juxtaposed  to accentuate Iago's innate evil and Desdemona's virtue. 
Their contrasting personas correlate with the contrasting characteristics of God and the Devil. As Iago is the living image of evil, Desdemona is a representation of goodness and mercy. As Desdemona learns that there is someone planning the unfortunate events that are taking place she says, "If any such there be, heaven pardon him!" (IV.ii.140). She is acting like God as she says that she hopes heaven forgives the man who is causing the tragedy. Her God-like traits contrast Iago's demonic traits. Desdemona expresses her beliefs just as Iago does: "How am I then a villain to counsel Cassio to this parallel course Directly to his good? Divinity of hell! When the devils will the blackest sins put on, they do suggest at first with heavenly shows as I do now" (II.iii.326). Iago openly aligns himself with the works of demons, He explains that when the Devil does his deeds, he disguises them with goodness to appear loyal and trustworthy.

Othello 4

The reason for Iago's manipulation of Othello is always changing. The question is, why? Although he easily gets what he wants, Iago dramatizes the situation in order to get rid of those he does not like. By making Othello believe that Desdemona and Cassio are having an affair, Iago is able to potentially get rid of both of them solely for his own personal gain: "Cassio, my lord? No, sure, I cannot think it That he would steal away so guiltylike, Seeing your coming" (41-43). Iago uses Cassio's remorse and worry against him in order to make Othello believe that it is guilt for sleeping with Desdemona. Iago also uses Desdemonas's kindness towards Cassio to portray her as unfaithful and deceitful; the news infuriates Othello to such a degree that he vows to "tear her all to pieces" (490). Iago is manipulating Othello to the point where his reactions and temper is changing. Othello's diction and speech has been calm and collected in each encounter he has had. Desdemona is the only thing that has power over Othello; Iago knows of this and uses it to his advantage.

Iago's Soliloquy

By definition, a soliloquy is an act of speaking one's thoughts aloud when by oneself or regardless of any hearers. It is usually a way for the audience to gain insight into a character's true thoughts and motives. The key word is true. In William Shakespeare's Othello, Iago is the antagonist who represents falsehood and evil. His constant manipulation of all of the characters around him obscures his motives because it is never clear as to whether he is being honest or not. Accordingly, Iago allows the audience to have a deeper perspective during his second soliloquy in the third scene of the first act. During his monologue, he reveals his intent in regards to Rodrigo as he says, "If I would time expend with such (a) snipe but for my sport and profit" (I.ii.428-429). Iago only spends time with Roderigo because he finds amusement in his naive nature and because Roderigo sustains him financially. Iago also elaborates further about his hatred toward Othello. Although he explains various times, Iago's reasoning for hating Othello always changes and never has a common thread. There have been rumors that Othello slept with Iago's wife: "And it is thought abroad that 'twixt my sheets 'Has done my office. I know not if't be true, But I [...] Will do as if for surety" (I.iii.430-433). His lack of logic and reason lead him to use this questionable piece of information as an excuse to justify his actions and  malevolent intentions. Throughout his soliloquy, Iago addresses events which the audience has already seen, and explains things that the audience already knows. While doing so, he uses many nonsequetors and pauses to act like he is conflicted: "Let me see now: To get his place and to plume up my will In double knavery - How? how? - Let's see" (435-437). Iago is deliberately acting like he is formulating his conclusions on the spot when in reality his motives have been set for a long time. His plan was concocted before the play commenced. In essence, Iago is manipulating the soliloquy itself which ultimately manipulates the audience. This allows him to tell the audience only what he wants them to know allowing him to extract any reaction he wants. Iago's use of manipulation during his soliloquy complements his actions during his interactions with the other characters while also obscuring his true character. 

Sound and Sense #3 - 35/10

In the poem 35/10 by Sharon Olds, a mother and a daughter are juxtaposed to emphasize the differences between their generations. The mother is the speaker, and demonstrates a plethora of diverse feelings towards her daughter's youth. In some instances, her inferences can be interpreted as jealousy when she says, "Why is it just as we begin to go they begin to arrive, the fold in my neck clarifying as the fine bones of her hips sharpen?" (4-8). The mother is watching her daughter grow and become physically strong and beautiful. The daughter's youthfulness accentuates the fact that the mother is getting older which is upsetting to the mother. The mother also demonstrates a sense of acceptance as she narrates. The imagery that she uses to describe the daughter has a positive connotation which shows that it is not necessarily a bad thing that she is growing up. The acceptance comes in when the mother realizes that an essential part of life is illustrated in "an old story- the oldest we have on our planet- the story of replacement" (16-18). The daughter is the continuation of the mother and will always be even when the mother passes away. The syntax also plays an important role in conveying the mother's feelings and mood. It also lends to the fact that the natural process of life is inevitable, which is what the mother realizes. The phrases make it seem like she is telling the story but also imagining the world into the future and imagining her daughter as a woman.

Othello Act 1

Iago and Othello are very distinct characters in William Shakespeare's Othello. Upon being presented, various characteristics can be determined about both of them. Although Othello is the protagonist, Iago is introduced first and is seen as the antagonist. He is a manipulative and duplicitous character with a childish mindset: "For when my outward action doth demonstrate The native act and figure of my heart In complete extern, 'tis not long after But I will wear my heart upon my sleeve for daws to peck at" (I.i.67-71). Iago is planning on being so duplicitous that his intentions will only be revealed when he is dead. This oath of determination shows the degree of hatred he has towards Othello.  He expresses his hatred for Othello simply because he was not picked as lieutenant. Which is an immature reason to be upset. The  jealousy and anger that Iago feels leads him to plot against Othello. Is he mentally stable? Iago's reaction to a simple event depicts him as an unstable person.  Conversely, Othello is firstly presented as a well rounded character. He is honest, calm and virtuous. He is not aware of Iago's plotting. When the duke and Brabantio appear to arrest Othello because of Desdemona, Othello calmly reciprocates: "What if I do obey? How may the Duke be there with satisfied" (I.ii.109-110). Instead of wanting violence and conflict Othello tries to be understanding and gain the respect of Brabantio and the others who are trying to imprison him.

Poem #1- Distance

Will I recognize you?
That is what lingers in my mind every day.
You are no longer the person I knew
When I was too young to understand
That people do not live forever.
Nothing is the same

Sometimes I forget about you
I forget that you are my family.
I forget that there is a connection
Despite the distance.

"Happy Birthday"
"Happy New Year"
"Merry Christmas"
and an occasional "How are you?"

Will I recognize your voice?
Your friendly loving voice that
used to greet me everyday.

My real question is
Will I make it in time to see you.
I wish I had more memories with you
To hold onto\

Please wait for me
Hold on a little longer
So that I can have one more memory of your presence

You will always be my family.

1984 #8

Winston, like every other citizen, is a victim of severe isolation. The Party's main goal is to repress communication and free thinking. The difference between Winston and the other party members is that he has vague memories of what the world used to be like before the Party took over; his knowledge that the Party has not always been present leads him to have contradicting thoughts which make him feel even more detached from the rest of society. His need for communication sparks an interest in him to pursue the Brotherhood as a desperate call for communication. Upon reading Goldstein's book, Winston is able to make direct connections with another individual: "It had merely systematized the knowledge that he possessed already. But after reading it he knew better than before that he was not mad" (217). It gives Winston a sense of relief to know that he is not the only person who has these contradicting thoughts. He is completely enlightened with the book and wants to keep reading. Julia on the other hand, falls asleep as he reads. Their generational differences are evident as Julia is not as intrigued as Winston because she has not experienced the same things that he has.

1984 #6

The characters of 1984 correlate with the characters of Ray Bradbury's Fahrenheit 451, which is about a futuristic society where books have been banned. Winston is very much like Montag because both have jobs that they are opposed to; however, they have to deal with them due to social pressures. Julia represents to Winston what Clarisse represents to Montag. Both female characters provide as escape for the protagonists. Clarisse gives Montag the courage to move away from the lifestyle that he is being forced to live with by challenging his thoughts and opening his eyes to new ideas. Winston undergoes the same process with Julia as he says, "'Would you believe [...] that till this moment I didn't know what color your eyes were?'" (119). Noticing the small details about Julia shows that he is becoming more observant and taking into account that her eyes have a unique color. Likewise, Clarisse makes Montag become more observant as she points out the minor details in nature and poses questions which make him think. The idea of thinking is important because in both novels the people are taught to listen and follow without questioning or making any assumptions of their own. Katherine, Winston's wife, and Mildred, Montag's wife, have been conformed to such a degree that they no longer think. All of Katherine's actions are based on her "duty to the Party" (132). Katherine is completely uninterested with the details surrounding her because she has not been taught to observe: "Look, Katherine! Look at those flowers. That clump down near the bottom. Do you see they're two different colors?" (134).  Mildred is completely obsessed with technology, which is what society endorses. She has ultimately become a robot. When Montag shows her his books, she reports him to the firemen because that is what she has been taught to do.

HOD Blog #4 (Reading #5)

An overarching theme throughout Heart of Darkness is the importance of civilization's influence on the individual's actions and morals. One's surroundings, experiences and knowledge are vital components to how the world is perceived by them. In the nineteenth century, Europeans were presumably the most culturally developed. They saw themselves as the light of the world and made it their duty to civilize underdeveloped people which in this case were the Africans. In correspondence to Myth of the Cave, Heart of Darkness portrays the process of enlightenment where the Africans are in a cave and the Europeans want to bring them out by exposing them to their culture. Ironically, the Europeans themselves are in a cave that they are unaware of. Marlow, the protagonist, presents this dismissed truth through his experience with Mr. Kurtz, who he idealizes as a greater being: "The point was in his being a gifted creature" (Conrad 124). A trending misconception throughout the development of civilization was that the Europeans were morally correct and at the highest standard they could possibly be in. This is the misconception that Marlow has of Kurtz where he depicts him as a virtuous and influential figure. Throughout his journey to the center of Africa, Marlow longs to meet Mr. Kurtz who has mysteriously and suddenly taken over his interests. Marlow, who is in a cave of his own, is curious about the things he does not know about and is looking for something beyond the ordinary. Just as the Europeans brought the enlightenment to the Africans, Marlow believes that Mr. Kurtz can bring enlightenment to him., but instead his experience becomes a "nightmare of his choice [...] peculiar blackness of that experience" (Conrad 147). Kurtz is in a cave of his own due to his excessive greed and regression from civilization. The Europeans's actions in regards to imperialism correlate with the image the reader has of Kurtz where he is seen as and acts as a moral person but has faults of his own.

Sound & Sense Blog #1: Suicide's Note

Although it is a brief poem , "Suicide's Note" embodies a contrasting theme. The diction and tone of the poem makes suicide seem like a beautiful and poetic action, when in reality it is a tragedy. The title humanizes suicide as it suggests that the note was written to the speaker by suicide itself. Likewise, the use of personification in the description of the river intensifies and romanticizes the situation in a disturbing manner: "The calm, / Cool face of the river" (1-2). The speaker is conflicted with a choice between two people: life and death. Between the two choices, the river seems to be the most compelling as the speaker says, "Asked me for a kiss" (3). Someone who is contemplating suicide has ultimately lost all hope in life, and finds that there is no other outlet except death. The river seems to be a place of peace and serenity which appeals to the victim.

HOD Blog #3 (Reading #4)

There is a clear complex connection between Marlow and Kurtz throughout the development of the story which is shown in the narration as well as the descriptions of the setting at each given moment. As Marlow and the Company make their way down the river and get closer and closer to their destination, the center of Africa, their surroundings become more perilous and uncivilized: "'The current was more rapid now, the steamer seemed at her last gasp [...] Sometimes I would pick out a tree a little way ahead to measure our progress towards Kurtz by, but I lost it invariably before we got abreast. To keep the eyes so long on one thing was too much for human patience'" (Conrad 112). The closer they get to Kurtz, the more anxious and curious they become, and the stronger the current gets. The description of the current getting stronger shows the chaos and cultural turmoil that is to be found at the center. Another significant aspect is the idea of it being impossible to fix one's eyes on a single object when there are so many things around to observe and acknowledge. The idea of curiosity and enlightenment is what keeps Marlow connected to Kurtz throughout the journey.

HOD Blog #2

    The events at the Central Station appear to be happening in slow motion. As Marlow arrives, the narrative become slower: "White men with long staves in their hands appeared languidly from amongst the buildings, strolling up to take a look at me, and then retired out of sight somewhere. One of them [...] informed me with great volubility and many digressions..." (Conrad 88). The descriptions of the men moving around portrays a slow, heavy atmosphere with no rush. The people are taking their time to do their jobs as Marlow says, "I saw this station, these men strolling aimlessly about in the sunshine of the yard. I asked myself sometimes what it all meant. They wandered here and there with their absurd long staves in their hands" (Conrad 91). They walk around aimlessly just as Marlow does as he describes himself as a wanderer earlier in the novel. The difference is that this time Marlow is the observer and not the wanderer. He is beginning to question why these men stroll aimlessly and find nothing. This aspect relates to Plato's "Myth of the Cave" where Marlow is slowly coming out of the cave.

HOD Blog #1

    A notable detail in the introduction of Heart Of Darkness by Joseph Conrad is the use of imagery to describe the setting. At first, the setting in which the steamboat is sailing has a calm mood to it: "In the offing the sea and the sky were welded together without a joint, and in the luminous space the tanned sails of the barges drifting up with the tide.." (Conrad 65). The sky and the water come together seamlessly and it seems rather beautiful and calm. As the scene progresses, there is a foreboding undertone as the setting becomes dark with a "brooding gloom" (Conrad 65). The author uses these contrasting descriptions to intensify the events that will happen later on. As Marlow begins to speak of the darkest places on earth, "a change came over the waters, and the serenity became less brilliant" (Conrad 66). The change in mood  is obvious as the mood of the characters change.

Blog #8: The Ones Who Walk Away from Omelas

       In The Ones Who Walk Away from Omelas by Ursula Le Guin, a perfect utopia is described. All of the citizens live happily even though they are aware that there is a child constantly suffering in isolation in order for them to live peacefully. This disturbing detail of the city causes some people to leave and never come back. If I was a citizen of Omelas, I too would walk away. The constant torture being done to an innocent child is painful to even think about. The city is trying to cover up the evil things it actually does by keeping the outside's appearance pristine.

Blog #7: The Victims

     In Sharon Olds's "The Victims," there seems to be a historical reference. The author uses the terms "Mother" and "Father" to exemplify a country, and the "divorce" is the country splitting up. The speaker of the poem is a group of people, presumably the citizens of the country. The conflict between the mother and the father caused the citizens to develop animosity towards the father: "Then you were fired, and we grinned inside, the way people grinned when Nixon's helicopter lifted off of South Lawn for the last time" (Olds). The reference to president Nixon shows that there is a historical theme to the poem. Nixon was going to be impeached and in the poem the speaker says, "We were tickled to think of your office taken away..." (Olds). The majority of the public wanted Nixon to leave office, so this aspect of the poem also has historical relevance.

Blog #6: Ingrateful Beauty Threatened

    Thomas Carew's "Ingrateful Beauty Threatened" has a correlation to William Shakespeare's "Sonnet 18." In Carew's work, the speaker appears to be irritated with Celia because she has been misusing the fame he gave her: "Thou had'st in the forgotten crowd / Of common beauties lived unknown, / Had not my verse exhaled thy name, And imp'd the wings of Fame" (Carew). Celia was an ordinary face in a crowd, until the speaker chose her especially to write about. Now she is immortal and beautiful, but too proud. The correlation between Carew's poem and Shakespeare's sonnet is that both grant immortality to the beloved. In "Sonnet 18" the speaker says, "So long as men can breathe, or eyes can see, / So long lives this, and this gives life to thee" (Shakespeare). Everyone ages and eventually passes away; beauty does not last forever. These poets challenge this concept in their writing, as their works are being read centuries after being written.

Blog #5: Sonnet 30

William Shakespeare's Sonnet 30 appears to be about someone who was not able to obtain a desire. The speaker uses a depressing tone, as he uses many words with negative connotations. Verbs such as "drown", "weep", "moan", and "grieve" show that the speaker is unhappy with a certain situation. The meaning of the poem is shown when the speaker says, "I sigh the lack of many things I sought". The author incorporates these words to let the reader know what the mood is and the level of sadness that the speaker is feeling.

Blog #4: Church Going

       Philip Larkin's "Church Going" is a poem which focuses on religion. The speaker seems to be bored when it comes to going to church. The author portrays this boredom through his choice of adjectives when the speaker is describing what he sees and what he thinks the church will come to. A lot of church goers would describe a church with magnificent adjectives since that location is where they practice their faith. The way the speaker describes church is almost like a monotonous routine, where you do all of the tasks by memory like a robot but you do not actually feel anything. Words such as "another", "awkward", "shapeless", "antique", "bored", "uninformed", "dispersed", "obsolete" and "dead". All of the exemplary words along with some key phrases in the poem show the reader that the speaker's stance when it comes to the topic of church is that they will soon become obsolete.

Blog #3: Antonio's Love For Bassanio

         It is a common thread throughout Shakespeare's works to have an implied homosexual relationship between two male characters. In The Merchant of Venice, it is an open ended question as to whether Antonio has romantic feelings for his best friend Bassanio. This possibility is brought to light due to Antonio's unusual disposition to help Bassanio by lending him money that he does not have. Christianity is a very important element of the play. According to this religion, homosexuality is completely immoral. For this reason, it would be impossible for Antonio to love Bassanio because of their religious beliefs which are clearly stressed throughout the events in the play. As he speaks to Antonio, Bassanio says, "To you, Antonio, I owe the most, in money and in love, And from your love I have a warranty To unburden all my plots and purposes How to get clear of all the debts I owe " (Shakespeare, I.i.129-133). Evidently, there is a dependency of Antonio's money on Bassanio's part, and Antonio gladly goes along with anything Bassanio needs. This is nothing but a very strong brotherly friendship.  If Antonio does have romantic feelings for Bassanio, he would not be interested in Bassanio's affairs with women: "Well, tell me now what lady is the same To whom you swore a secret pilgrimage That you today promised to tell me of" (Shakespeare, I.i.118-120). The idea of Antonio being a homosexual is valid based on his behavior towards Bassanio; however, based on the play's focus on religion, it can be argued that he is not a homosexual.

Blog #2: Religious Conflict

In Shakespeare's The Merchant of Venice, an overarching theme is the religious conflict between Christianity and Judaism. In the sixteen hundreds, Jews were nearly non-existent due to the predominance of Christians; the few that existed were discriminated against. Shylock, the antagonist, is a representation of the various stereotypes that were associated with Jews in that era. Antonio, along with the other crucial characters of the play, believes in Christianity. This ultimately leaves Shylock in isolation as he is not accepted by the other characters. In the play, the tension occurs due to different opinions regarding money-lending. Antonio hates Shylock because he practices eucery, which means he lends money and charges interest. Shylock expresses his hatred towards Antonio when he says, "I hate him for he is a Christian; But more, for that in low simplicity He lends out money gratis, and brings down The rate of usance here with us in Venice" (Shakespeare, I.iii.34-37). The animosity between these two characters sprouts from the mere fact that they believe in different religions and have different morals and values, causing them to obsess over villainizing each other.

            Another crucial aspect of religion is the interpretation of rules. Shylock deeply focuses on what is written and believes that rules should be carried out literally with no exceptions. Whereas in the Christian religion, commandments are open for interpretation in many ways. Mercy and grace are the key elements in Christianity, meaning there are exceptions. The conflict between mercy and law is shown when Shylock wants his revenge on Antonio for not being able to pay back the loan: "By my soul I swear There is no power in the tongue of man To alter me. I stay here on my bond" (Shakespeare, IV.i.236-238). Since it is written in the contract that he will take a pound of Antonio's flesh if the bond is broken, Shylock stands by what he believes and is persistent. When Portia (Balthasar) challenges Shylock's beliefs on behalf of Antonio, she says, "the quality of mercy is not strained, It droppeth as the gentle rain from heaven Upon the place beneath. It is twice blest: It blesseth him that gives, and him that takes" (Shakespeare, IV.i.180-183). The reason Shylock and the other characters cannot agree is because of the way they see the situation. As Shylock sees it as an opportunity to get revenge on Antonio as well as the Christians who have made his life miserable, Portia and Antonio see it as an opportunity to grant mercy upon one's life as a valid act of faith.

Blog #1: Portia's Virtue

Portia is a very complex character in Shakespeare's The Merchant of Venice. Throughout the play, she demonsrates various positive atributes which both compliment and challenge the qualities of the characters around her. Her virtue makes her unique as she does not let the royal lifestyle consume her; being a wealthy heiress grants her the power to marry anyone she wants.

She ultimately brings everything together where she uses everyone's weaknesses against them. Bassanio who is a gambler and a con-artist, ends up being conned by Portia when she is disguised and asks him for the ring which represents their love. In another instance, as she tries to protect Antonio, she uses Shylock's obsession with money against him, saying that if any terms of the contract were violated, he would lose his property and money: "Tarry a little, there is something else. This bond doth doth give thee here no jot of blood. The words expressly are 'a pound of flesh'. Take then thy bond, take thou thy pound of flesh, but in the cutting it, if thou dost shed One drop of Christian blood, thy lands and goods Are by the laws of Venice confiscate Unto the state of Venice" 4.1.301-308. Portia is willing to take great risks to help others, in this case her love's best friend. This shows a lot about her character because she has everything she needs to be well off, yet she decides to be generous and helpful.

Her character is insightful; she sees into each character thoroughly. During the casket challenge she can decipher the suitor's characteristics by analyzing which casket he wants to choose. Portia's virtue is also shown as she talks to Nerissa about her father's marriage arrangements. She says,“but this reasoning is not in the fashion to choose me a husband. O me, the word 'choose'! I may neither choose who I would, nor refuse who I dislike, so is the will of a living daughter curbed by the will of a dead father” 1.2.18-20. Although she does not agree with what her father is doing, she is respectful of his wishes and does not argue with it.