Prose Practice #1

Thesis: Through the use of literary techniques such as tone, point of view, and language, Edgeworth displays Clarence Hervey as an outwardly arrogant and self centered individual.

In the first sentence of the passage, Edgeworth reveals Hervey's self centered nature. Edgeworth writes, "Clarence Hervey might have been more than a pleasant young man, if he had not been smitten with the desire of being thought superior in every thing, and of being the most admired person in all companies." Edgeworth's description of Hervey is contradictory. A person seeking to prove their superiority over everyone else is typically not likable, but Hervey hopes to be "the most admired person in all companies." Hervey's aspirations are impossible to achieve together, but his arrogance won't allow him to strive for just one goal. In correlation with his desire to be superior to all, Hervey's partnered goals displays that he want to do the seemingly impossible because no one else can.  

Hamlet #4

Worried about Hamlet, Claudius and Gertrude ask Hamlet's friends from school to come and visit. Rosencrantz and Guildenstern bring Hamlet's favorite players along with them when they come to Denmark. After greeting the players, Hamlet requests a short performance when he says, "Come, a passionate speech" (II.ii.415). Although Hamlet is not specific in his original request, it does not take long to discover what Hamlet really wants to hear. Hamlet wishes to hear a speech about Pyrrhus, the notorious Greek hero. Pyrrhus took down the city of Troy and brutally murdered their king to avenge his father's death. The players speech includes gory details about the king's murder: "[The queen of Troy] saw Pyrrhus make malicious sport/In mincing with his sword her husband's limbs"(II.ii.493-494). Hamlets request to hear the violent story of the downfall of Troy connects back to his intentions to kill his uncle. Like Pyrrhus, Hamlet hopes to kill the man who killed his father. The violent nature of the speech reveals the depth of Hamlet's hatred for his uncle. The inclusion of Pyrrhus cutting Priam into pieces suggests that Hamlet wants to do something similar to his uncle. Although Hamlet hates Claudius, Hamlet wants further proof that his uncle actually killed King Hamlet. At the end of the scene Hamlet devises a plan to determine Claudius' guilt.

Sound & Sense Chapter 5

Anne Bradstreet's The Author to Her Book, shares the feelings of an author towards a book she has written. Throughout the poem the speaker uses personification to compare her book to a child. The metaphor begins at the beginning of the poem when the speaker refers to her book as her "offspring" (1) and discusses what happens to her book "after birth" (2). Rearing children takes an incredible amount of time and work, and the speaker is expressing the effort she put into the production of her book. Since the speaker obviously spent a substantial amount of time on her book, it would make sense that she is attached to her creation, similarly to how a mother would be attached to her child.

The metaphors continue as the speaker begins to discuss the flaws of her book. She expresses her dissatisfaction with her time-consuming project and explains, "I cast thee by as one unfit for light,/Thy visage was so irksome in my sight;/Yet being mine own, at length affection would/Thy blemishes amend if so I could" (9-12). Although the speaker is frustrated by the imperfections of her book, she still cares for what she has written. The speaker's statements can be compared to a rebellious teenager. Although the teenager embarrasses his parents by his foolish actions or appearance, his parents will still love him because he is their child. A rebellious teenager's parents would try to fix the imperfections in their child but would be unsuccessful due to the teenager's unexplained need to resist authority. The speaker explains her book's inability to change with "They blemishes amend if so I could," referencing the stubborn nature of her book. Although the author wishes to alter her book in the quest for perfection, she is unable to get a favorable result.

At the end of the poem the speaker says, "And for they Mother, she alas is poor,/Which caused her thus to send thee out of door" (23-24). The speaker's statement references a time in a child's life where it is time to leave their parents and live an independent life. Often times a child does not feel ready to leave, but parents decide that it is time. The speaker has spent an incredible amount of time and effort on her book and believes that it is time to publish. She unable to further improve her book and feels that it is time to release her book out into the world.

Going to College Letter

Buttball,

I can't believe you're already going to college! You're making me feel so old and I don't appreciate it. Even though I know you'll make it through the next four years just fine, I have some advice that could help you survive the college experience.

To address the number one problem you're going to face, you need to make friends. It's abundantly clear that you're not exactly a joyful person. You're aggressive ora isn't the most welcoming attribute and you need to try to change that. People are not going to try hard to be your friend so you need to make the effort. Be friendly and talk to the people you meet. The first few weeks of school are essential for making friends, and I don't want you to miss out on the wonders of college because you're always alone. Also, I don't want you calling me everyday because you don't have friends. There's a small window of time in college where no one knows anyone and everyone is looking to make friends. Don't miss that window!

Although I didn't start getting involved until my junior year, I strongly urge you to do something! Intramural sports are so much fun and they allow you to make a fool of yourself with your friends. Let's not forget that I've been a part of TWO champion intramural teams. You're always looking to show me up, so here's your chance! Additionally, you're going to get fat if you don't do anything. You like to munch too much and you really are going to gain the freshman fifteen if you're not active. I don't want a fat sister so watch your weight! I'm not kidding.

I know you're already concerned with your grades, but I'm going to reiterate the importance of doing well in college. Your GPA is what's going to get you hired or get you into grad school. Don't procrastinate and study your butt off. Remember when I said my classes were easy my freshman year? They don't stay like that for long. Engineering is one of the most rigorous majors available and it's going to get difficult as college progresses. Appreciate the easy classes and develop good study habits for the hard classes to come. I know the engineers are always nerdy, but so are you. Make a solid group of friends in your major to work on assignments with because you're going to need the help at some point.

You've always had an over-crowded schedule and college is going to be a whole new world for you. You're going to have an abundance of free time and the relief is going to feel amazing, especially for you. Enjoy the freedom, but don't just sit in your room and do nothing. Hang out with your new friends, explore whatever can be explored, and have fun. College is an amazing experience if you make it one, so make it one! I know you're going to do well no matter what you do so just do something.

Love you!

Michelle

Hamlet #2

As the first act progresses, it is clear that Hamlet misses his father and is desperate to keep the dead king's memory alive. After Horatio tells Hamlet that he saw a ghost in the form of King Hamlet, Hamlet stays up with Horatio and Marcellus to wait for the apparition. When the ghost appears and beckons Hamlet, the prince wishes to follow his dead father's shape, but Horatio and Marcellus urge him not to. Hamlet declares, "It will not speak. Then I will follow it"(I.iv.67) and Horatio responds, "Do not, my lord" (I.iv.68). The men do not know why the ghost has appeared, and it is valid that Horatio and Marcellus fear for Hamlet. Despite the mystery, Hamlet wants to follow the ghost because he hopes that it is really King Hamlet. He misses and still mourns his father, and the opportunity to speak to the dead king is not something Hamlet would pass up because of fear. In response to Horatio's and Marcellus' cautionary demands, Hamlet says, "Why, what should be the fear?/I do not set my life in a pin's fee" (I.iv. 69-70). Although Hamlet is referencing his depression caused by his father's death and his mother's matrimony, Hamlet also describes his desperation to see his father. He does not value his life and is therefore willing to potentially sacrifice it for the chance to speak to the dead king.When Horatio and Marcellus physically hold Hamlet back, the prince threatens to become violent: "By heaven, I'll make a ghost of him that lets me./I say, away!" (I.iv.89-90). Hamlet's frustration with Horatio and Marcellus displays his desperation to speak to his dead father. With the recent changes in Hamlet's family life, it's understandable that he would want to confide in his father. Additionally, Hamlet knows that if the ghost is actually his father, King Hamlet returned with a purpose. Hamlet wants to discover why his father has returned, so he follows the ghost and disregards his friends demands.

Hamlet #1

As introductions are made in the first act, the interesting circumstances of Hamlet's family are revealed. Although Hamlet's father died just recently, his mother has already moved on and married Claudius, Hamlet's uncle. Hamlet does not support his mother's marriage, especially because Claudius is his father's brother. In response to Claudius calling Hamlet his cousin and son, Hamlet says, "A little more kin and less than kind" (I.ii.65). Hamlet does not want Claudius as his father. Hamlet's real father has just recently died and he views his new family as a betrayal. Hamlet is loyal to his father after his death and still mourns his loss. Gertrude and Claudius do not understand why Hamlet is still upset about the king's death and urge him to move on. Gertrude says, "Do not forever with thy vailed lids/Seek thy noble father in the dust./Thou know'st 'tis common. All that lives must die" (I.ii.70-72). She does not believe that Hamlet should still be upset because all men are eventually going to die, and Hamlet needs to accept the tradition of death. She uses the circle of life as justification for why she moved on so quickly from her husband's death. Hamlet later reveals that his mother was infatuated with the dead king when he was alive: "Why, she would hang on him/As if increase of appetite had grown" (143-144). If Gertrude appeared to have loved the late king so dearly, Hamlet does not understand why she would marry so soon after his father's death. Hamlet views his mother as weak-willed for her inability to mourn appropriately, and resents her for her decision to marry Claudius.

Othello Outline

Othello Outline

Thesis: Throughout the play Iago's malicious actions and tricky phrasing solidify the idea that he acts as an allegorical devil.

1. As the play progresses, Iago consistently ignores religious ideals and encourages other characters to sin.

a. In an effort to publicly humiliate Cassio in the quest to remove him from his lieutenancy, Iago pressures Cassio to drink: "Come, lieutenant, I have/a stoup of wine [...] But one cup. I'll drink for you" (II.iii.26-33).

b. As Iago continues his plan to ruin Othello's relationship with Desdemona, he tries to make Othello more and more jealous as his plan progresses: "I will in Cassio's lodging lose this napkin/And let him find it. Trifles light as air/Are to the jealous confirmations strong/As proof of holy writ" (III.iii.329-332).

c. Once Othello is convinced that Desdemona is cheating on him with Cassio, Iago suggests how Othello should kill Desdemona: "Strangle her in bed, even the/bed she hath contaminated" (IV.I.197-198).

d. Iago manages to convince Roderigo to kill Cassio after Iago convinces the fool that Cassio's death will help Roderigo win Desdemona: "[Make] him uncapable of Othello's place:/knocking out his brains" (VI.ii.234-235).

2. Throughout the play Iago is often in correlation with hell, inhumanity, and the devil

a. “Hell and night/Must bring this monstrous birth to the world’s light” (I.iii.394-395)

b. "How am I then a villain/To counsel Cassio this parallel course,/Directly to his good? Divinity of hell!/When devils will the blackest sins put on/They do suggest at first with heavenly shows/As I do now" (II.iii.328-333).

c. The devil is not a man: "Fie, there is no such man. It is impossible" (VI.ii.141).

d. "O damned Iago! O inhuman dog!" (V.i.64)

e. Emilia has a final shred of hope that Iago is a man, but her hope is pointless because Iago is the devil: "Disprove this villain if thou be'st a man./He says told'st him that his wife was false./I know thou didst not, thou'rt not such a villain" (V.II.185-188)

f. Iago tries to kill Iago but is unable to do so because Iago is the devil: "I look down towards his feet, but that's a fable./If thou be'st a devil, I cannot kill thee" (V.ii.299-300).

3. At several point in to play Iago’s actions appear to have no genuine purpose other than to be purely evil.

a. “Thus do I ever make my fool my purse./For I mine own gained knowledge should profane/If I would time expend with such a snip/But for my sport and profit” (I.iii.374-377).

b. Iago stabs Roderigo after Cassio has already wounded Roderigo: “O murd’rous slave! O villain!/Stabs Roderigo” (V.i.65).

c. Iago kills Emilia even though his evil manipulation has already been revealed and his fate has been sealed: “Villainous whore! […] Filth, thou liest! […] Iago stabs Emilia” (243-249).

Othello #7

As the play comes to an end, Iago's deception and manipulation is finally revealed. Emilia is able to piece together what Iago has done, and shares he truth with the Othello and the Venetian men. As Emilia shares the truth Iago continuously threatens his wife and tells her to go home and stay silent: "Zounds, hold your peace. [...] Be wise, and get you home Draws his sword" (V.ii.232-236). Iago kills Emilia for her betrayal, displaying his innate evil. Iago does not gain anything by killing his wife. He is already found out by the time he kills Emilia, killing her with no real purpose. Iago's murderous actions connect back to his need to seek revenge. He plotted Othello's downfall because he did not get promoted to lieutenant and he thought that the General slept with his wife. The plot of the play is driven by Iago's obligation to seek revenge, and Emilia's murder is his final statement of evil.

Embodying the devil throughout the play, Iago physically represents the devil in the final scene. After Othello realizes that Iago deceived him into killing Desdemona, he is furious and tries to kill Iago. Addressing Iago, the General claims, "If thou be'st a devil, I cannot kill thee" (V.ii.300). Othello stabs the traitor but Iago responds, "I bleed, sir, but not killed" (V.ii.302). According to Othello's statement, Iago embodies the devil because he does not die after being stabbed. Iago's survival enforces the possibility that he is the  literal devil, rather than just an evil person. He brings down the Venetian General and causes the deaths of three honest characters without remorse. Iago's avoidance of death is his final assertion of superiority, displaying that he is stronger and smarter than all other characters.

Sound & Sense Chapter 4

The Widow's Lament in Springtime written by William Carlos Williams (somewhat obviously) tells the story of a mourning widow. The widow discusses flowers that grow in her yard. She admits that her flowers used to bring her joy, but "the grief in [her] heart is stronger than [the flowers]" (15-16). She also shares that her husband has recently died: "Sorrow is in my own yard where the new grass flames as it has flamed often before but not with the cold fire that closes round me this year" (1-6). The widow's husband's death is correlated with her inability to enjoy her flower's. The grief she feels is overwhelming, and affects the way she views the simple joys in life. Spring is viewed as a period of freshness and new beginning, but the widow is still mourning the death of her husband. She does not want to move on and enjoy her life without her husband.

Flowers are often associated with funerals. As someone who clearly loved flowers, is it likely that the widow included an abundance of flowers in her husband's funeral. With a yard filled with "masses of flowers [that] load the cherry branches and color some bushes yellow and some red" (10-14), the widow is constantly reminded that her husband is dead. She is no longer able to enjoy her flowers because they are a symbol of her husband's passing. In the closing lines of the poem, the widow succumbs to her grief and admits that she would like to die in the flowers: "I feel like I would like to go there and fall into those flowers and sink into the marsh near them" (24-27). A peaceful death in her flowers would allow the widow to enjoy her flowers again. She would be surrounded by beauty at her time of death and know that she was dying to join her husband again.

Othello #6

At the end of Act 4 Roderigo becomes frustrated with Iago when he suspects that Iago never intended to aid his chase for Desdemona. He confronts Iago and says, "Every day thou daff'st me with some device, Iago and [...] I will indeed no longer endure it" (183-186). Viewed as the idiot of the play, it is ironic that Roderigo is the only character to pick up on Iago's deception and manipulation. Although Roderigo is aware of Iago's plot to take down Othello and Cassio, Roderigo was never meant to discover Iago's manipulation of him. Roderigo's suspicion marks Iago's first mistake in the play. Previously, Iago's plans and execution have been flawless, but Roderigo's anger highlights the fact that Iago can slip up. Although Iago is quick to fix his mistake, his misstep gives the audience hope that he will not be successful in his evil plans. If the fool of the play can see through Iago's false exterior, the more intelligent characters should be able to as well.

After Roderigo becomes a symbol of hope, he quickly falls back to his expected state of ignorance and stupidity. He agrees to kill Cassio after Iago convinces him that his actions will finally win over Desdemona. Realizing that Roderigo is a threat, Iago declares that he must die: "Live Roderigo, he calls me to restitution large of gold and jewels that I bobbed from him as gifts to Desdemona. It must not be" (14-18). In true Iago fashion, Iago stabs Roderigo after Cassio has already injured him. Although Roderigo was already going to die, Iago makes a final statement of superiority to Roderigo. Iago's violence tells Roderigo that he was right in his suspicion of Iago, but he was too much of a fool to walk away. Iago's final betrayal of Roderigo shows that he takes pride in his malice. Iago could have just let Roderigo die, but he felt compelled to make a final statement to demonstrate his skills of deception.

Othello #4

As the play continues, Iago flawlessly demonstrates his skills of manipulation and deception. Iago utilizes the jealousy in his quest to take down Othello. When Iago is left alone with Othello he hints that he thinks Cassio is disloyal to Othello. Rather than telling Othello directly after being asked, Iago builds the suspense of his assumption by prolonging the revelation.When Othello orders Iago to share his thoughts, Iago responds, "Good my lord, pardon me, though I am bound to every act of duty I am not bound to that all slaves are free" (III.iii.138-140). Iago wants to make it seem like he is trying to protect his general by remaining silent. Although Iago has convinced Othello that he is loyal and loving, he makes the point that he does not have to tell Othello what he is thinking. Iago appears adamant about not sharing his thoughts with Othello in order to display his supposed care for his superior. To Othello, Iago does not want to share his ideas because Iago does not want Othello to be worried or suspicious of thoughts that do not have proof. Iago's avoidance of sharing his thoughts successfully leads to Othello's jealously, which is what Iago was aiming for in the first place. Before Othello appears outwardly jealous Iago says, "Oh, beware, my lord, of jealousy! It is the green-eyed monster which doth mock the meat it feeds on (III.iii.169-171). Iago warns Othello of the dangers of jealousy to provide explanation for why he does not wish to share his thoughts. In actuality, Iago mentions jealousy to suggest that his thoughts are something Othello should be jealous about. Iago's use of reverse psychology is successful. After Iago shares his ideas about Cassio and Desdemona Othello loses control and falls into a fit of jealousy and rage. Othello becomes angry with Iago and says, "Villain, be sure thou prove a love a whore, be sure of it" (III.iii.367-368). Othello is angry with Iago because he ruined his happiness that spurred from his love of Desdemona. Othello has fallen from a euphoric state into a unfortunate state riddled with jealousy. Iago is successful in ruining Othello's happiness, but Othello is angry with Iago, which does not fit Iago's plan for the general's downfall. In order to mend his relationship with Othello, Iago shouts about the disadvantages to honesty: "O wretched fool that lov'st to make thine honesty a vice! O monstrous world! Take note, take note, O world, to be direct and honest is not safe" (383-386). Iago's claims are meant to make Othello feel bad about becoming angry with Iago for being honest. Othello asks Iago to share his thoughts, and Iago complied. Othello's anger with Iago disintegrates, and Iago regains his superior's trust. Iago has leverage over Othello to keep his plan going.

Analysis of Iago's Soliloquy

After Iago convinces Roderigo to anger Cassio in the night, he is left alone on stage to deliver a soliloquy. He tells the audience that he thinks Cassio and Desdemona are in love: "That Cassio loves her, I do well believe't. That she loves him, 'tis apt and of great credit" (II.i.280-281). At this point in the play, nothing prominent has occurred to suggest that Cassio and Desdemona are in love. Desdemona seems enchanted by her husband Othello, and Cassio appears to be loyal to the general. Iago does not truly believe that Cassio and Desdemona are in love, but he wants to convince the audience that they are. Iago plans to convince Othello that Cassio and Desdemona are unfaithful to the him, breaking up Othello's marriage and ruining Othello's relationship with Cassio. If Cassio and Desdemona end up falling in love, Iago will gain the trust of the audience from the truth of his claim. In addition, Iago will have demonstrated the effectiveness of his malice and his skills of deception.

As Iago's speech continues, he offers reasoning for why he hopes to ruin the lives of Othello and Cassio. Addressed previously, Iago reiterates that he thinks Othello slept with his wife, but Iago adds that he thinks Cassio also committed adultery with Emilia: "For that I do suspect the lusty Moor hath leaped into my seat [...] [and] I fear Cassio with my night cape too" (290-301). Unoriginally, Iago is trying to provide justification for his hate for Cassio. He wants the audience on his side, so he attempts to curb their curiosity as to why he hates his superiors. Iago's continuous suspicion of his wife's infidelities suggests that, along with his evil and deception, Iago is paranoid. Iago is dishonest and creative, and it would have been easy for him to think of new reasoning for his hatred. Iago's numerous uses of the adultery claim suggests that he truly believes that his wife was unfaithful. It is already known that he is jealous of Othello and Cassio for their higher positions in the navy, and Iago is searching for more justifiable reasons for his hatred. Iago is quick to jump to conclusions due to his petty anger and jealousy. In addition to his desire to convince the audience that his hatred is justified, Iago also feels the need to convince himself.

Sound & Sense Chapter 3

When my love swears that she is made of truth written by William Shakespeare tells the story of lovers who lie. The speaker introduces his beloved saying that "she is made of truth" (1), but in the next line, he contradicts his previous statement with "I know she lies" (2). These statements are direct contradictions and are used to represent the complex idea of love. The speaker is fully aware of his beloved's dishonesty, but he makes the conscious decision to ignore her lies in order to believe she is angelic and honest. The speaker makes himself blind to his beloved's deception because he loves her and wants to see the best in her. Honesty is easier to love than dishonesty, which is why the speaker chooses to believe in lies rather than reality.

The speaker uses the word "lie" throughout the poem because of its dual meaning. As the speaker finishes the poem he says, "Therefore I lie with her and she with me" (13). Here, the word "lie" has two denotations. It means to lie down together literally and to be dishonest to one another. The dual meaning of the word displays the affection and deception within the speaker's relationship. The lovers lie together because they are in love, but they outwardly lie to one another. The dual meaning of "lie" at the end of the poem suggests that "lies" at the beginning of the poem could also have dual meaning. The speaker says, "I know she lies" (2), which suggests that his beloved could be unfaithful in addition to her dishonestly. Despite the lack of honestly within the speaker's relationship, lies complement the lovers: "And in our faults by lies we flattered be" (14). Lies within the relationship are known and accepted by both parties, making the relationship unexpectedly open and honest.

Othello #3

As the play progresses, the first stage of Iago's plan to take down his foes is successful. When Othello leaves for the night with Desdemona, Iago gets Cassio drunk so the lieutenant will lose his judgement: "If I can fasten but one cup upon [Cassio], with that which he hath drunk tonight already, he'll be as full of quarrel and offense as my young mistress' dog. [...] Now 'mongst this flock of drunkards am I to put our Cassio in some action that may offend the isle" (II.iii.42-55). Iago knows that Cassio does not enjoy drinking, and that the lieutenant does not have a tolerance for alcohol. Iago has already sent Roderigo to anger Cassio in the night, and a drunken Cassio would make a public scene more accessible. Iago desires a spectacle for Cassio to shame himself publicly because Othello would have to remove the lieutenant from his position for disgracing himself and the Italian navy. Iago disapproved of Cassio's promotion from the start, and Cassio's removal would leave the position open for Iago. Iago succeeds in his maniacal plan to take down Cassio while simultaneously convincing Othello and Cassio that he is an honest and caring person.

While Cassio and Montano are fighting, Iago makes it seem like he tries to break up the brawl. He says, "Fie, fie, lieutenant, you'll be ashamed for ever" (II.iii.147-148) and "Hold, ho! Lieutenant–sir, Montano–gentlemen, have you forgot all place of sense and duty Hold! (II.iii.153-155). Iago wishes to appear helpful even though he secretly caused the violent mess. By attempting to control the senseless fight, Iago displays his leadership qualities to Othello in order to highlight the general's mistake in choosing Cassio as second in command. In addition to Cassio's public embarrassment, Iago's apparent leadership makes it clear that Iago should have been chosen over Cassio. Although Iago is subtly betraying Cassio and Othello, he appears loyal to both in order to maintain their trust. It is essential that Cassio and Othello trust Iago in order for the menace's success to continue.

Othello #1

Throughout the first act, Iago's manipulative nature is revealed. Iago admits that he hates Othello because the General did not choose Iago to be second and command. The Venetian military veteran discusses plans to seek revenge on Othello with Roderigo, who also hates Othello because he loves Othello's wife. Iago's flawless double-sided nature is displayed through his contrasting behavior around Roderigo and when he is alone. When talking to Roderigo, Iago openly states that he hates Othello: "I hate the Moor" (I.iii.359). In addition to his own hatred for Othello, Iago is also trying to appeal to Roderigo's hatred for the General. Iago wants to partner up with Roderigo because Roderigo will supply a great amount of money towards the effort to take down Othello. Although Iago appears loyal to Roderigo, he admits, "Thus do I ever make my fool my purse. For I mine own gained knowledge should profane if I would time expend with such a snipe but for my sport and profit" (I.iii. 374-377). When no one is around to hear his confession, Iago admits that he is only using Roderigo for his money. He has no interest in helping Roderigo win Othello's wife, he is only interested in taking Othello down for himself.

In addition to his two-faced nature towards Roderigo, Iago falsely represents himself around Othello. Iago has already admitted to his hatred of his superior when he goes to meet with Othello and the Duke. When face-to-face with Othello, Iago treats Othello with respect and loyalty. Roderigo arrives with Brabantio, accusing Othello of stealing Desdemona. Iago defends Othello when he says, "You, Roderigo! Come, sir, I am for you" (I.ii.60). Iago pretends to be willing to fight Roderigo in order to demonstrate his loyalty towards Othello. Iago wants Othello to trust him so the General will not suspect his evil intentions. Unfortunately, Iago's misrepresentation of himself is convincing and Othello has faith in his subordinate.  

Poem #1

Creativity is what I lack.

I've been told to write a poem

With no requirements or prompt

Left up in the air to sort through infinite possibilities.

But there is a problem.

Creativity is what I lack.

I find comfort in rules and regulations,

Reacting well to thorough instructions.

How am I expected to write original genius

When creativity is what I lack?

I squirm in my seat, restless and uneasy,

Trying to keep pace with the neighboring poetic prodigies.

I fabricate confidence to appear on par,

But don't you understand? 

Creativity is what I lack

This is my best effort,

I promise that is true.

I'm sorry if I fall short of expectations,

But creativity is what I lack.

1984 #8

After a long awaited verbal encounter with O'Brian, Winston delves deeper into his state of rebellion. He arrives at O'Brian's apartment with Julia and confesses openly to their crimes against the Party: "We are enemies of the Party. We disbelieve in the principals of Ingsoc. We are thought-criminals. We are also adulterers" (170). Winston does not yet know that O'Brian is part of any conspiracy against the current government, but his hope for an overthrow overwhelms him and he blurts out everything that could convince O'Brian that he is disloyal to the Party. Winston is desperate to make a change in Oceania, even if it does not occur in his lifetime, so he seeks to aid any organization sharing his ideals. Fortunately for Winston, O'Brian is part of a conspiracy against the government. The Inner Party member welcomes Winston into his organization, and informs him of his responsibilities in the Brotherhood.  Winston agrees to heinous crimes against humanity in order to assure O'Brian of his commitment, and he leaves the Inner Party dwelling as a member of the infamous Brotherhood.

In the midst of Hate Week, the Party announces that the country is at war with Eastasia instead of Eurasia. Ironically, all Hate Week propaganda was made to target Eurasia and is displayed throughout the city, but the Party claims that the country was always at war with Eastasia. The blatant lies of the party are clearly showcased in the streets of Oceania, but Party members are quick to switch their targets for hate: "Without a word said, a wave of understanding rippled through the crowd. Oceania was at war with Eastasia! [...] The Hate continued exactly as before, except that the target had been changed" (181). The Party has such a strong grip on its citizens that it has the power to fabricate a war and make everyone believe in it. Rather than expressing his expected disgust, Winston throws himself into his work at the Ministry to delete the war with Eurasia from history. Winston is forced to work eighteen hours a day, knowing that he is assisting the corruption of the government. Surprisingly, he "was not troubled by the fact that every word he murmured into the speakwrite, every stroke of his ink pencil, was a deliberate lie. He was as anxious as anyone else in the Department that the forgery should be perfect" (183). Winston's whole-hearted effort to erase the past directly contradicts his desire to be an active member of the Brotherhood. Obviously, Winston has to do his job in order to remain undetected by the Party, but he does not have to be driven while doing it. For someone who wants to take down the government, Winston does not appear to be passionate about his cause when he is working in the Ministry.    

1984 #6

As Winston and Julia's forbidden love affair continues to play out, great differences between the two are uncovered. Although they both hate the government, Winston is interested in change to come whereas Julia wishes only to make the best of her life in the Party. After the lovers discuss when Katherine was almost pushed off of a cliff, it is revealed that Julia believed that "it was somehow possible to construct a secret world in which you could live as you chose. All you needed was luck and cunning and boldness" (135). Since Julia has been successful in her several love affairs, she believes that she has some sort of immunity against Part punishment. As long as she is careful, she can keep up her scandalous routine. He avoidance of vaporization has given her a sense of optimism because she is able to enjoy her life and, more or less, live how she wishes to. Unlike Winston, she thinks there is a way to be happy living in a world ruled by the oppressive and corrupt Party.

In contrast to Julia, Winston has no hope for his life under the current government. He believes that Julia is naive and that "the only victory lay in the far future, long after you were dead, that from the moment of declaring war on the party it was better to think of yourself as a corpse" (135). Winston's conclusion connects back to his theory that "if there is hope, it lies in the proles" (69). He does not think that Party members will ever rise up and revolt against the government because they have been so brainwashed by the Party. Because the Party does not heavily intervene in the lives of the proles, Winston believes that the have the power to make a difference. When a prole woman is signing outside of Mr. Charrington's window, Winston notes that "he had never heard a Party member singing alone and spontaneously [and that] perhaps it was only when people were somewhere near the starvation level that they had anything to sing about" (142). Although the proles live under worse conditions than Party members, they are free, which Winston views as a luxurious gift. Without the restraints of the government, proles are free to revolt when they grow sick of their unfortunate living conditions. Winston does not think that a rebellion of this kind will occur in his lifetime, but he hopes that it will happen at some point in the future. As a result, he lives as a corpse, fearfully waiting to be caught and vaporized by the Party for his unorthodox beliefs.

1984 #5

As the novel continues, Winston's resentment towards the Party grows and he becomes more rebellious. After being terrified and alone in his muted version of defiance, Winston finds a companion to revolt with. The dark haired girl, previously hated due to her assumed loyalty to Big Brother, reveals her disgust with the government. She also declares her love for Winston in a secret, but risky exchange at work. Together, Winston and Julia (her name) actively challenge the government's traditions.

Julia confesses her love for Winston because she is convinced that he also hates the Party. Winston chooses to love her back because he is drawn to the fact that she is corrupt. For Winston, "anything that hinted at corruption filled him with wild hope" (125). Unlike Winston, Julia is open and honest about her complete hatred of the Party. She does not hold back once they are alone, and she does not appear to fear the consequences. She "seemed unable to mention the Party, and especially the Inner Party, without using the kind of words you saw chalked up in dripping alleyways" (122). Julia's hate-filled feelings towards the government are appealing to Winston because her honestly is refreshing. Every other Party member is either too scared to speak out against the Party, or too ignorant to realize that the government's actions are corrupt. Julia, in contrast, is not afraid of whatever punishment she could receive and holds back  nothing when talking to Winston.

Although Winston is attracted to Julia because she resents the Party, he also wants to feel and act on love. In Oceania, marriage is only used for practical purposes, to conceive loyal followers of Big Brother. Affection and emotion within a marriage is highly discouraged by the Party, so it does not exist in the country. Winston has already gone through a painful and loveless marriage, where separation was the conclusion. His relationship with Julia directly contrasts his relationship with his wife, Katherine. Previously, Winston had said that he could not touch his wife without feeling uncomfortable: "To embrace her was like embracing a jointed wooden image. And what was strange was that even when she was clasping him against her he had he feeling that she was simultaneously pushing him away with all her strength" (66). The ideals of the Party were engrained deeply into Katherine and she would not willingly show affection towards her husband. Having the experience of a loveless marriage, Winston is more attracted to Julia because she does not suppress her natural instinct to love. Unlike his wife, Julia shows emotional and physical affection without being forced to do so. After years of loneliness, Julia's willingness to make Winston feel loved draws him to her.

Heart of Darkness Outline

Heart of Darkness Outline

Thesis: Through Marlow’s story, Joseph Conrad makes the point that civilization is necessary for the moral purity within society.

1.     Before Marlow begins his journey to Africa, he receives several signs that forebode detrimental psychological changes.

a.     Marlow gets the job to captain the ship because his predecessor was killed in a scuffle with the natives: “The original quarrel arose from a misunderstanding about some hens. Yes, two black hens. Fresleven­– that was his name, a Dane– thought himself wronged somehow in the bargain, so he went ashore and started to hammer the chief of the village with a stick. Oh, it didn’t surprise me in the least to hear this, and at the same time to be told that Fresleven was the gentlest, quietest creature that ever walked on two legs. No doubt he was; but he had been a couple years already out there engaged in the noble cause” (44).

b.     The doctor asks Marlow for permission to measure his head and explains, “I always ask leave, in the interest of science, to measure the crania of those going out there. […] I never see them, […] the changes take place inside” (47).

2.     When Marlow reaches the outer station, he is informed of the tragic effects that Africa has had on other company employees.

a.     As Marlow talks to the Swede, the foreign captain shares a horrific story of suicide: “The other day I took up a man who hanged himself on the road. He was a Swede, too. […] The sun [was] too much for him, or the country perhaps” (50).

3.     After hearing of the overwhelmingly negative events that have taken place in Africa, Marlow is impressed by a success story.

a.     The captain is thoroughly impressed when he notices the impeccable appearance of the company’s chief accountant: “I respected his collars, his vast cuffs, his brushed hair. His appearance was certainly that of a hairdresser’s dummy; but in great demoralization of the land he kept up his appearance. That’s backbone. His starch collars and got-up shirtfronts were achievements of character. He had been out nearly three years” (54).

4.     As Marlow continues to make his way towards the Inner Station, he begins to notice changes within himself.

a.     “I was morbidly anxious to change my shoes and socks. […] I flung one shoe overboard […] [and] the other shoe went flying unto the devil-god of that river” (123-124 SCHOOL BOOK)

b.     Marlow later admits that his actions were out of the ordinary when he says, “Absurd! My dear boys, what can you expect from a man who out of sheer nervousness had just flung overboard a pair of new shoes!” (124-125)

5.     After Marlow has finally met Kurtz, he reflects on how the lack of civilization has affected the great and powerful ivory man.

a.     “You should have heard him say ‘My ivory.’ Oh yes, I heard him. ‘My Intended, my ivory, my station, my––’ everything belonged to him. It made me hold my breath in expectation of hearing the wilderness burst into a prodigious peal of laughter that would shake the fixed stars in their places” (126).

b.     “Of course you may be too much of a fool to go wrong– too dull even to know you are being assaulted by the powers of darkness. I take it, no fool ever made a bargain for his should with the devil; the fools is too much of a fool, or the devil too much of a devil– I don’t know which. Or you may be such a thunderingly exalted creature as to be altogether deaf and blind to anything but heavenly sights and sounds. The earth for you is only a standing place– and whether to be like this is your loss or you gain I wont pretend to say” (126-127).

c.     “The earth for us is a place to live in, where we must put up with sights, with sounds, with smells, too, by Jove!– breathe dead hippo, so to speak, and not be contaminated” (127).

New Essay:

"What saves us is efficiency– the devotion to efficiency" (41)

"You know I am not such used to such ceremonies, and there was something ominous in the atmosphere. It was just as though I had been let into some conspiracy– I don't know– something not quite right; and I was glad to get out" (45)

"She talked about 'weaning those ignorant millions from their horrid ways,' till, upon my word, she made me quite uncomfortable. I ventured to hint that the Company was run for profit" (48)

"Once, I remember, we came upon a man-of-war anchored off the coast. There wasn't even a shed there, and she was shelling the bush. It appears the French had of their wars going on thereabouts. Her ensign dropped limp like a rag; the muzzles of the long six-inch guns stuck out all over the low hull; the greasy, slimy swell swung her up lazily and let her down, swaying her thin masts. In the empty immensity of earth, sky, and water, there she was, incomprehensible, firing into a continent. Pop, would go one of the six-inch guns; a small flame would dart and vanish, a little white smoke would disappear, a tiny projectile would give a feeble screech– and nothing happened. Nothing could happen" (49)

"A horn tooted to the right, and I saw the black people run. A heavy and dull detonation shook the ground, a puff of smoke came out of the cliff, and that was all. No change appeared on the face of the rock. They were building a railway. The cliff was not in the way or anything; but this objectless blasting was all the work going on" (51)

"A slight clinking behind me made me turn my head. Six black men advanced in a file, toiling up the path. They walked erect and slow, balancing small baskets full of earth on their heads, and the clink kept time with their footsteps. Black rags were wound round their loins, and the short ends behind waggled to and fro like tails. I could see every rib, the joints on their limbs were like knots in a rope; each had an iron collar on his neck, and all were connected together with a chain whose bights swung between them, rhythmically clinking" (51)

"Black shapes crouched, lay, sat between the trees leaning against the trunks, clinging to the earth, half coming out, half effaced within the dim light in all the attitude of pain, abandonment, and despair. Another mine on the cliff went off, followed by a slight shudder of the soil under my feet. The work was going on. The work! And this was the place where some of the helpers had withdrawn to die" (52-53)

"Near the same tree two more bundles of acute angles sat with their legs drawn up. [...] All about others were scattered in every pose of contorted collapse, as in some picture of a massacre or a pestilence. While I stood horror-struck, one of these creatures rose to his hands and knees, and went off on all-fours towards the river to drink" (53) 

"Still, one must look about sometimes; and then 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, like a lot of faithless pilgrims bewitched inside a rotten fence" (60)

"I was smoking my pipe quietly by my dismantled steamer, and saw them all cutting capers in the light, with their arms lifted high, when the stout man with moustaches came tearing down to the river, a tin pail in his hand, assured me that everyone was 'behaving splendidly, splendidly,' dipped about a quart of water and tore back again. I noticed there was a hole in the bottom of his pail" (60)

"A nigger was being beaten near by. They said he had caused the fire in some way; be that as it may, he was screeching most horribly. I saw him, later for several days, sitting in a bit of shade looking very sick and trying to recover himself: afterwards he arose and went out– and the wilderness without a second took him into its bosom again" (60)

"The beaten nigger groaned somewhere. 'What a row the brute makes!' said the indefatigable man with the moustaches, appearing near us. 'Serve him right. Transgression– punishment– bang! Pitiless, pitiless. That's the only way. This will prevent all conflagrations for the future'" (63)

"You know I hate, detest, and can't bear a lie, not because I am straighter thn the rest of us, but simply because it appals me. There is a taint of death, a flavour of mortality in lies– which is exactly what I hate and detest in the world– what I want to forget. It makes me miserable and sick, like biting something rotten would do. Temperament, I suppose" (64)

"'We will not be free from unfair competition till one of these fellows is hanged for an example,' he said. 'Certainly,' guaranteed the other; 'get him hanged! Why not? Anything– anything can be done in this country'" (72)

"'It is very serious,' said the manager's voice behind me; 'I would be desolated if anything should happen to Mr. Kurtz before we came up.' I looked at him, and had not the slightest doubt he was sincere. He was the kind of man who would wish to preserve appearances" (83)

"There were no practical hints to interrupt the magic current of phrases, unless a kind of note at the foot of the last page, scrawled evidently much later, in an unsteady hand, may be regarded as the exposition of a method. It was very simple, and at the end of that moving appeal to every altruistic sentiment it blazed at you, luminous and terrifying, like a flash of lightning in a serene sky: 'Exterminate all the brutes!'" (92)

"'But he had no goods to trade with by that time,' I objected. 'There's a good lot of cartridges left even yet,' he answered, looking away. 'To speak plainly, he raided the country,' I said. He nodded. 'Not alone, surely!' He muttered something about the villages around the lake. 'Kurtz got the tribe to follow him, did he?' I suggested. He fidgeted a little. 'They adore him,' he said. (100)

"He could be very terrible. You can't judge Mr. Kurtz as you would an ordinary man. No, no, no! Now– just to give you an idea– I don't mind telling you, he wanted to shoot ne, too, one day– but I don't judge him" (100)

"There was nothing on earth to prevent him from killing whom he jolly well please" (101)

"He had been absent for several months–getting himself adored, I suppose–and he had come down unexpectedly, with the intention to all appearance of making a raid either across the river or down stream. Evidently the appetite for more ivory had got the better of the–what shall I say?–less material aspiration" (101)

"You remember I told you I had been struck at the distance by certain attempts at ornamentation, rather remarkable in the ruinous aspect of the place. Now I had suddenly a nearer view, and it's first result was to make me throw my head back as if before a blow. Then I went carefully from post to post with my glass, and I saw my mistake. These round knobs were not ornamental but symbolic; they were expressive and puzzling stroking and disturbing–food for thought and also for the vultures if there had been any looking down from the sky; but all events for such ants as were industrious enough to ascend the pole. They would have been even more impressive, those heads on the stakes, if their faces had not been turned to the house" (102)

"In fact, the manager said afterwards that Mr. Kurtz's methods had ruined the district. I have no opinion on that point, but I want you to clearly understand that there was nothing exactly profitable in these heads being there. They only showed that Mr. Kurtz lacked restraint in the gratification of his various lusts, that there was something wanting in him–some small matter which, when the pressing need arose, could not be found under his magnificent eloquence" (102)

"He was not afraid of the natives; they would not stir till Mr. Kurtz gave the word. His ascendancy was extraordinary. The camps of these people surrounded the place, and the chiefs came every day to see him. They would crawl... 'I don't want to know anything of the ceremonies used when approaching Mr. Kurtz,' I shouted. Curious, this feeling that came over e that such details would be more intolerable than those heads dying on the stakes under Mr. Kurtz's windows" (103)

"'He is very, very low,' he said [...] 'We have done all we could for him–haven't we? But there is no disguising the fact, Mr. Kurtz has done more harm than good to the Company. He did not see the time was not ripe for vigorous action. Cautiously, cautiously–that's my principle. We must be cautious yet. The district is closed to us for a time. Deplorable! Upon the whole, the trade will suffer. I don't deny there is a remarkable quantity of ivory–mostly fossil. We must save it, at all events–but look how precarious the position is–and why? Because the method is unsound'" (107)

"It seemed to me I had never breathed an atmosphere so vile, and I turned mentally to Kurtz for relief–positively for relief. 'Nevertheless I think Mr. Kurtz is a remarkable man,' I said with emphasis. He started, dropped on me a cold heavy glance, said very quietly, 'he was,' and turned his back on me. My hour of favour was over; I found myself lumped along with Kurtz as a partisan of methods for which the time was not ripe: I was unsound! Ah! but it was something to have at least a choice of nightmares" (107)

"'He suspected there was an active ill will towards him on the par of these white men that–' 'You are right,' I said, remembering a certain conversation I had overheard. 'The manager thinks you ought to be hanged.' He showed a concern at this intelligence which amused me at first. 'I had better get out of the way quietly,' he said, earnestly. 'I can do no more for Kurtz now, and they would soon find some excuse. What's to stop them?'" (108)

"'I had immense plans,' he muttered irresolutely. [...] 'I was on the threshold of great things,' he pleaded, in a voice of longing, with a wistfulness of tone that made my blood run cold. 'And now for this stupid scoundrel––' (111)

Heart of Darkness #5

After returning from his long journey to the inner station and back, Marlow goes to meet Kurtz's fiancé to give her Kurtz's personal papers. The devastated women talks to Marlow about her love and admiration of her fiancé as a way of coping with her pain and throughout their meeting, Marlow's pity for the poor widow grows. As they converse, she goes on to say that she "knew him best" (161) and that she "believed in him more than anyone" (163). To make the women feel better, Marlow reassures her that she was important to Kurtz: "You knew him best" (161). Kurtz's fiancé has been mourning for over a year and it is clear that she has not yet come to terms with Kurtz's death. She tells Marlow that she knew him best and that she believed in him more than anyone to reassure herself that these statements are true. She had not seen Kurtz for years and she could not know how he changed, so she wants to know that she was still a unique and important person to her fiancé. Although she likely expects that Kurtz was changed by his experiences, she wants to hold on to the idealized image of the man she loved. Marlow reassures the woman because he feels terribly for her; he knows that Kurtz was greatly affected by his experiences in Africa and, by the end of his life, Kurtz was not the same man he was before his trip. At the end of the novel, the widow requests to hear her fiancé's last words. Rather than telling her Kurtz's true final words, Marlow lies and says, "The last words he pronounced was- your name" (164). Marlow chooses not to share Kurtz's actual last statement of "The horror! The horror!" (164) to allow the woman to find peace in his death. Marlow does not want to crush her idealized image of Kurtz because she is already devastated. Revelation of the horrors of Africa and the cruel world Kurtz faced during his trip would horrify the widow and send her into a heightened fit of devastation. Marlow chooses to lie for the well-being and closure of the poor woman.

Sound & Sense Chapter 1

How does Randall use devices such as irony, diction, and selection of detail to illustrate the innocence of the slain child?

The "Ballad of Birmingham" by Dudley Randall tells the story of the unexpected and tragic attack on a church in Birmingham, Alabama during the Civil Rights movement. A young African American girl asks her mother for permission to participate in the Freedom March of Birmingham. The mother responds, "No, baby, no you my not go, for I fear those guns will fire. But you may go to church instead and sing in the children's choir" (13-16). Here, Randall sets up the contrast between an expectedly dangerous demonstration and a supposedly safe church. The contrast between the two locations illustrates the tragic, yet ironic end of the poem. The child is killed during the bombing of a church, which is supposed to be a safe and sacred place. The mother sent her child to church and kept the young girl away from the Freedom March to guarantee her daughter's safety, but the child was killed in the attack. Throughout the poem, the mother calls her child, "Baby," rather than by name. The girl's moniker is meant to display her innocence. The use of "baby" functions to create a correlation between the image of the girl and a baby. Babies, are new and innocent; they have not yet had the chance to see the corruption of the world. The girl is also innocent. Although she has been exposed to the cruelty of racism and discrimination, she still believes in the natural goodness of the world. Her desire to march in Birmingham displays her naive hope that her actions alone will make a difference.

Heart of Darkness #4

In this passage of the novel, Marlow finally arrives at the inner station to meet the renown Kurtz. On the way in, he is greeted with arrows flying towards his ship from the African natives. During the attack, Marlow's helmsman is speared in the side, and falls at the captains feet: "It was the shaft of a spear that, either thrown or lunged through the opening, had caught him in the side just below the ribs; the blade had gone in out of sight, after making a frightful gash; my shoes were full; a pool of blood lay very still, gleaming dark red under the wheel; his eyes shone with an amazing lustre" (122). Even though his helmsman was an African native, Marlow chooses to describe his injury in full detail. Rather than morphing the story into an animal being slaughtered, Marlow treats the black man's death like a human death, with personal details. As the helmsman lies at his feet, Marlow is anxious to take his bloody shoes and socks off. He asks another man to steer the ship so he can cleanse his body of the murderous mess. Although he is not quick to admit it, Marlow cared about his crewman and is bothered by his death. His pressing need to remove his blood stained clothing indirectly displays that the murder bothered him emotionally. He does not want to have the proof of his helmsman's death on his person.

Although Marlow appears to be heightening his opinions of the Africans, he soon turns back to his racist roots. When Marlow is discussing the difficulties his crew faced traveling to Kurtz, he says, "I am not prepared to affirm the fellow was exactly worth the life we lost in getting to him" (128). Marlow's duty was always to pilot the ship to the inner station to get to Kurtz, a powerful white man. The fact that he is saying the loss of his African helmsman was not worth doing his job displays that he cared for his crewman and is bitter about his death. Marlow is not blaming Kurtz directly for the loss of life, but he is holding him somewhat accountable for the unnecessary death. It's refreshing to see Marlow showing affection towards a black man, but he discounts his kindness when he addresses the expected confusion of his listeners: "Perhaps you will think it passing strange this regret for a savage who was no more account than a grain of sand in the black Sahara" (128). Although Marlow was distressed by the African's death, he feels as though he has to justify his feelings because most will not understand affection towards a black person. He feels as though he must take away from his caring feelings towards his helmsman in order for his story to be accepted. Marlow is moving away from the blatant racism he displayed earlier in the novel, but he still adds subtler forms of racial ignorance as his story progresses.

Heart of Darkness #2

As Marlow continues to delve deeper into the jungle, elements of racism within the company are quick to shine through. When a colleague grows ill and has to be carried in a hammock slung under a wooden stick by African natives, a minor injury occurs. The "heavy pole had skinned [the man's] poor nose" (88) and he expects Marlow to kill a carrier to make his suffering right. The fact that the feverish man forces African workers to carry him around the jungle shows that he, and the rest of the company, believes that the natives are lesser people. If he had become sick back in Europe, it is not likely that he would force his white employees to carry him around. Even if he did, it is less likely that he would demand the end to a white man's life for a minor mistake. The company treats the African natives as their slaves, rather than their employees because it does not view the workers as uneducated equals. Racism is prevalent among the Europeans in Africa, and they do not try to hide their feelings towards the natives.

Marlow has not yet taken a strong stance on the racism issue within the company. Although he uses derogatory terms when speaking about the natives, he only uses degrading language because of the time period of the novel. Early twentieth century Europe was not a place of acceptance and equality, and Marlow is just conforming to society. He sees nothing wrong with his language because it is a social norm. When his colleague requests the murder of a carrier, Marlow's explanation for why he did not kill a native is that "there wasn't the shadow of carrier near" (88). Rather than admitting that killing an African worker for no real reason would be completely unnecessary, Marlow brushes past the incident like it was nothing important. His explanation makes it sound like he would have killed a carrier if there was one present. His insensitivity shows that he is not looking to stand up for better treatment of the African natives, but he is not looking to mistreat them, like other members of the company.

Heart of Darkness #1

Within the opening twenty pages of Heart of Darkness, Joseph Conrad walks through the process in which Marlow decides to journey up the river for his life changing exploration. To begin, Marlow discusses his childhood dreams of delving into the unexplored territories of his empty maps. As he grew up, blank, unknown places on his maps were discovered and his dreams of exploration became more realistic. His attention is drawn to a specific river, "resembling an immense snake uncoiled, with its head in the sea, its body at rest curving afar over a vast country, and its tail lost in the depths of the land (71)." Here, Conrad creates a metaphor of the river to a snake to illustrate the dangerous and exotic nature of Marlow's trip. Typically, snakes are not the safest creatures to interact with. Some are poisonous and it is impossible to know if a snake is deadly without prior knowledge. Conrad's comparison of the river to a serpent highlights the risk that Marlow is taking in order to follow his childhood dreams and explore the compelling waterway. His route is not well-explored but he still wishes to journey down the river. Marlow does not know the dangers that lie ahead, but he is not extremely concerned at first because "the snake ha[s] charmed [him] (72)." Here, Conrad uses an alternate understanding of snakes to display Marlow's adamance towards adventuring down the river.

Although Marlow appears fearless and anxious to start his journey, the explorer does not get by without revealing some concern. When getting examined by the doctor, the physician asks, "Ever any madness in your family? (76)" and Marlow is quick to grow annoyed. Conrad uses the doctor's question to focus on the risks of the journeyer's trip. The doctor is pointing out that venturing out into dangerous and mostly unknown territory can be detrimental to mental health. Marlow does not know what he will be forced to face, and his annoyance with the physician's question shows that he realizes that there are risks with his trip, he is just unwilling to accept them. The explorer goes on to say that he "ha[s] a moment, [not] of hesitation, but of startled pause (77)." Although he says he is not hesitant, a moment of "startled pause" is a euphemism for hesitation. Marlow is worried about his trip up the unexplored river, but admitting his fear to himself would make the danger overwhelming. He has wanted to journey through the waterway since childhood, and he does not want his distress getting in the way of his life-long dream.

To Walk Away or Stay?

To live in Omelas, a resident is forced to make a moral sacrifice. In order to receive the benefits of comfort and happiness that come with residing in the Utopian city, a person must accept the cruel and unusual torture of an innocent child. The child has done nothing wrong, but it is essential that Omelas keeps the young person to torture in order to maintain the picture perfect order of things in society. Every citizen knows of the medieval mistreatment, and some choose to see the abused child. While some return home in disbelief and rage, others chose to leave the community because they cannot accept the terrible paradox of the tortured child.
I would not be able to accept the unjustified cruelty towards the innocent child, so I would choose to leave Omelas. I could not live with myself, knowing that the one person would have to suffer an indescribable amount, in exchange for my happiness. My main issue with the paradox is that the tortured person is a child that has done nothing wrong; they have not yet had the chance to make mistakes deserving of punishment. Although it would not be acceptable to torture anyone in such a disgusting and twisted manner, the use of an undeserving youth makes the city's policy a heightened degree of sick. I understand that with choosing to leave, I would have to venture out into the unknown and unexplored world on my own, with no guidance. I would accept this intimidating condition without hesitaion, because I would not be able to live among people that encourage the misery of an innocent child.

Poetry Day 4

In Sharon Olds' I Go Back to May 1937, the speaker uses diction to create an atmosphere that would suggest a bright future. Olds introduces her parents when she writes, "I see them standing at the formal gates of their colleges [...] they are about to graduate." Recent college graduates are typically optimistic and hopeful regarding their future. Her parents have just completed a major milestone in their lives and are looking forward to the next stage. The speaker is setting her parents up to fail. She later reveals that her parents' marriage eventually falls to pieces and they lead a miserable life together. Olds describes the colleges she sees: "ochre sandstone arch, [...] pillars made of tiny bricks, [...] wrought iron gates." Her language is meant to emphasize the prestige of the colleges and point out the expected bright future ahead. The speaker creates the serene and hopeful image of her parents' graduation to wildly contrast their disaster relationship that is to come.

Poetry Day 3

In Thomas Carew's Ingrateful Beauty Threatened, the speaker feels as though Celia has lost sight of who she truly is. Assuming that she has moved up in the rankings of society though marriage, the speaker (and husband) notices unfortunate side effects from her elevation in class. He believes that she has become pretentious and ungrateful. The speaker wishes to remind Celia who she was before marriage and how she got to where she is now. Carew's opposing diction throughout the first stanza is used to represent the vast differences between Celia's life before and after marriage. In the opening lines of the poem Carew writes, "Know, Celia, since thou art so proud, 'twas I that gave thee thy renown." Although the word "proud" is meant to show that Celia has become stuck up and unappreciative, it is also used to illustrate the atmosphere of the upper class. Paired with "renown," Carew is pointing out that members of the higher ranks of society often feel more important than they should. Because they have money and status, the wealthy have power and influence over society. Celia has fallen into the unfortunate tendencies of the upper class and the speaker uses contrasting language to remind her who she was. Phrases like "forgotten crowd" and "common beauty" are meant to show Celia that she was nothing special before her marriage. The speaker is trying to bring his wife back down to earth by making her realize that she would still be nothing special had he not chosen her to be his wife.

Poetry Day 2

In Sonnet 30, Shakespeare reveals his self-inflicted punishment through discussion of his personal failures. Diction and repetition illustrate the speaker's inability to forgive himself and move forward from the past. After explaining his habit of reminiscing, Shakespeare admits, "I sigh the lack of many things I sought, and with old woes new wail my dear time's waste." The speaker is disappointed that he wasted the prime of his life and did not achieve everything he desired. Repetition of vocabulary like "woe," "moan," and "grief" throughout the poem shows that Shakespeare is unable to rise above his failures. He consistently dwells on his unfulfilling past, causing pain and suffering for himself. Fortunately, a simple change in the speaker's thoughts provides relief from the constant torture of regret. Shakespeare explains, "But if the while I think on thee, dear friend, all losses are restored and sorrows end."

Poetry Day 1

George Herbert's poem Denial uses repetition to provide an explanation for the speaker's denial. The poem walks the reader through the process that leads the speaker to such rejection of personal issues. At first, the speaker seems willing to confront his problems, but the tone of the piece as a whole becomes increasingly hopeless as the poem progresses. In the last lines of the third and fourth stanzas, Herbert includes, "But no hearing," to display that the speaker tried to face his issues before falling into denial. The speaker was seeking relief from the chaos of his thoughts but was unsuccessful in his endeavor. It became easier to ignore his broken spirit, and so denial was introduced. Herbert's use of repetition highlights the turning point in the poem, displaying the transition from desperation to hopelessness.

A Strong Friendship

From the introduction of their friendship, it is clear that Antonio and Bassanio have a strong bond that runs deeper than a typical relationship. The two men love and care for each other and the question of one-sided homosexuality arises as the play progresses. It is clear that Bassanio is not attracted to Antonio in a homosexual way because he is on a quest to win Portia's heart, although it can be argued that Antonio is attracted to his best friend. The merchant risks his own life in order to obtain funding for Bassanio's trip to Belmont, he makes a deal with his enemy in order to give his friend what he needs, and all Antonio requests before he is killed is to see Bassanio. It isn't rational for Antonio to risk his life in order to help is friend, and a logical conclusion is that he has homosexual feelings for Bassanio. It is easy to make this assumption, but it is important to remember that Antonio is a strong believing Christian with a sense of morality. His generosity towards Bassanio can be connected back to his religion, rather than homosexuality.

When Bassanio comes to Antonio requesting a loan, it is not the first time the merchant has lent a helping hand. It seems as though Bassanio has never had success with his finances: "'Tis not unknown [...] how much I have disabled mine estate, by something showing a more swelling port than my faint means would grant continue" (I.i.122-125). Bassanio has built up his debt with many people, including Antonio, and needs a way to pay back what he has borrowed. When he presents his proposition to Antonio, Bassanio comes across as desperate. He tries to make Antonio feel sorry for him, so he will get the money he needs to journey to Belmont and marry Portia. Antonio is not extremely hesitant when offering Bassanio whatever he needs, but some persuasion is required. Although Antonio does not have the money to loan to Bassanio, he offers to help his friend because it is the morally correct thing to do. Christianity has taught the merchant to be charitable throughout his lifetime in order to have a satisfying afterlife. Bassanio appears desperate for money, so Antonio choses to do the right thing and help his best friend.

Since Antonio has invested everything he has into his ships, he is forced to go elsewhere to get a loan for Bassanio. The merchant makes a deal with Shylock, the Jewish usurer in order to obtain the necessary funding. Shylock and Antonio share a mutual hate for one another, so naturally their agreement is somewhat atypical. The usurer agrees to loan Antonio three thousand ducats without interest on the condition that if the loan is not repaid, Shylock receives one pound of Antonio's flesh. It does not make sense for Antonio to make such a barbaric agreement, where his life is at stake, but his friend is in need and he is willing to make sacrifices for Bassanio. Granted, sacrificing his life is extreme, but Antonio fully expects to be able to pay back his debt to Shylock. The merchant never expects all of his ships to sink, and so his agreement with Shylock does not seem as insane. Antonio does not risk his life because he is in love with Bassanio, he just wants to help his friend.

Religious Conflict

A major conflict throughout The Merchant of Venice is religion and the characters' inability to agree. Shylock is the only practicing Jew in the play, which sets him up to be an outcast. All other characters are Christian and unwilling to understand Shylock's beliefs. As a result, they dislike and mistreat the usurer. Although all other characters view Shylock with disgust, this conflict is mainly presented between Shylock and Antonio.

The religious conflict is first introduced when Antonio asks Shylock for a loan. Shylock responds, "You call me misbeliever, cutthroat dog, and spet upon my Jewish gaberdine—and all for use of that which is mine own. Well then, it now appears you need my help" (I.iii.107-110). Shylock is baffled by the fact that Antonio has the nerve to ask anything of him after the way he has been treated. Antonio says hateful things to Shylock at every encounter because he dislikes that Shylock is a Jewish usurer. Antonio does not think it is morally correct to loan out money with interest and he does not understand why Shylock thinks it is right to make a living in such a manner. The fundamental difference between Judaism and Christianity is the source of their disagreement. Judaism is a rule-based religion, where if believers follow the rules, they will make it into heaven. Christianity is a moral-based system, where believers must act in a way that is morally correct in order to make it into heaven. Because nothing in Jewish law suggests that usury is wrong, Shylock is content with his profession. He does not understand why Christians criticize his business because he does not care to understand Christianity. Christians, on the other hand, believe that lending money without interest is the morally right thing to do, and so they are not willing to understand Shylock, his practices, or his religion. 

Shylock's morality is questioned again when Antonio is brought to trial. The merchant fails to pay back three thousand ducats and Shylock wants the pound of flesh he was promised. Even though Bassanio arrives offering twice the original loan as repayment, Shylock refuses the money and demands his reward. Even when Portia, disguised as a lawyer, insists that Shylock show mercy, the usurer declares, "My deeds upon my head. I crave the law, the penalty, and forfeit of my bond" (4.1.204-205). Shylock does not care that everyone else in the room does not agree with his decision to punish Antonio because he himself can live with it. He has been mistreated for so long and this is his form of revenge. Others do not understand his decision to murder because they are programmed to believe that killing is wrong.  Christians cannot understand why Shylock refuses to show mercy because they have been taught to be merciful people. In Christianity, God forgives people for their sins and in return, Christians are supposed to forgive others for their mistakes. Shylock is not wired to forgive in this way because he is not Christian. A deal was made and he believes that he should receive his side of the bargain. In other words, rules are rules and must be followed. Shylock's insistence to follow the conditions of his agreement with Antonio connects back to the rule-based system of Judaism. He has been taught to follow the rules of his religion, and so he is just transferring his beliefs to different aspects of his life.

The Complexity of Antonio

On the surface, Antonio appears to be a giving man looking to help a friend in need. He has granted loans to his best friend, Bassanio in the past but as a merchant, his own finances are not always stable. Despite the fact that Antonio's wealth is never guaranteed due to the risky nature of trade, he does not fail to assist Bassanio when he is in need of yet another loan. At the time Bassanio comes seeking Antonio's help, Antonio is in the middle of a nerve-racking business venture. His ships are out at sea in various parts of the world and it is not guaranteed that they will return. When Bassanio informs his best friend of his predicament, Antonio responds, "My purse, my person, my extremest means / Lie all unlocked to your occasion" (1.1.138-139), basically telling his friend that he will do anything to help. Antonio has his own financial stress to worry about, but he is willing to help his friend because he is a kind and caring person.

Bissanio needs the loan to go to Belmont to win Portia's hand it marriage. He plans to pay off his debts with her money after they are married. Antonio does not have the funds to lend Bassanio for his trip, but he encourages his friend to take out loans in his name in order to get the money Bassanio needs. The search for a loan causes Antonio to make a deadly deal with his enemy, Skylock. The two men agree that if Antonio does not repay the loan in three months, Skylock would receive one pound of the merchant's flesh, which would almost definitely lead to his death. It is understandable that Antonio would want to help his best friend but it is not rational that he risk his life in the process.

A possible explanation to Antonio's irrational actions is that he has homosexual feelings towards Bassanio. It is clear that the two men are best friends, but there are indicators throughout the play that suggest that Antonio could feel more than friendship for Bassanio. When Antonio is discussing his unexplained sadness with Salarino and Solanio, he gives a lengthy explanation about why his ships are not causing his depression. When love is the suggested cause, Antonio simply rejects his friend's statement with "Fie, fie!" (1.1.46). Antonio's dismissive attitude towards the subject of love suggests that it is actually the cause of his sadness. Throughout the play, more and more of Antonio's friends fall in love and get married to young, beautiful women. The only occasions where love corresponds with Antonio is when Bassanio is involved. When Salarino and Solanio are discussing the risk Antonio takes for Bassanio, Solanio says that he thinks "[Antonio] only loves the world for [Bassanio]" (2.8.50). Antonio enjoys his life solely because of Bassanio, which explains why he risks his life to help him. When word gets out that all of Antonio's ships have sunk, it appears that Skylock is going to kill the merchant. Rather than being upset about losing his life, Antonio seems accepting of his predicament. The only request Antonio has before he dies is that Bassanio comes to see him. In his letter to Bassanio Antonio says, "All debts are cleared between you and I if I might but see you at my death" (3.2.317-318). Rather than being angry with Bassanio for getting him into the financial deal with Skylock, Antonio simply wants to see his best friend one last time. Antonio's reaction to his own death sentence epitomizes the unconditional love he has for Bassanio.