Weighing the Dog Poetry Analysis

In the poem Weighing the Dog, the speaker uses the act of weighing his dog as a metaphor for his own break up with a past significant other. Throughout the poem, a shift in tone occurs, making the reader clear of the metaphor that is created throughout the poem. The speaker emphasizes his tone through the use of different literary devices, and makes clear the purpose of the poem.

At the beginning of the poem, the speaker describes the process of weighing his dog. He uses language such as, "awkward," (1) "bewildering," (1) and "balancing" (3) to describe the strange and uncomfortable nature of weighing the dog. Although the scene of weighing a dog has a deeper meaning than simply finding the weight of a pet, the speaker's language makes clear the uncomfortable tone at the beginning of the poem. As the poem progresses, it becomes clear that the speaker's description of weighing his dog is a metaphor for his own break up. The speaker felt uncomfortable in his relationship, which is made clear by the inclusion of detail, "all those awkward and bewildering months" (14). The physical act of weighing the dog comes before the subtraction of the speakers weight, suggesting that the opening lines of the poem represent the awkward relationship of the speaker with a significant other before a break up. In addition to describing the uncomfortable nature of weighing his dog, the speaker's awkward tone at the beginning of the poem is meant to describe the uncomfortable nature of his romantic relationship.

As the poem progresses and it becomes clear that the speaker's description of weighing his dog is a reference to a past romantic relationship, a transition in tone occurs. The speaker explains his new found clarity when he says, "I never figured out what you amounted to / until I subtracted myself from our combination" (11-12). The speaker's realization gives the poem a tone of clarity and acceptance, but the accepting tone becomes especially regretful when the speaker says, "Now we are both lost in strange and distant neighborhoods" (15). Although the speaker felt awkward in his relationship, separation allowed him to realize the worth of his significant other. His realization gave him a sense of appreciation for his old relationship, which allows the speaker to recognize the contrast between what he has now, and what he had during his relationship. It becomes clear that the speaker feels regretful for breaking up with his significant other, and that he feels even more awkward now than he did when he was in a relationship. Although the break up was caused by his awkward feelings, ending the relationship did not help because the speaker is now "lost in strange and distant neighborhoods" (15).

Sound & Sense Chapter 11-13 Notes

Chapter 11: Musical Devices
-Musical quality in poetry is achieved by the arrangement of sound and accents
-Repetition is good
-People like repetition because it provides familiarity
-Appeal in poetry is not always about what the poem says, and rather how it sounds
-Changing words in a poem alters the sound, either adding to or detracting from the quality of the poem
-Assonance: repetition of vowel sounds
-Consonance: repetition of final consonant sounds
-Rhyming:
-Masculine: rhyme sound only involves one syllable
-Feminine: rhyme sound involves multiple syllables
-Internal: one or more rhyming words within a line
-End: when rhyming words are at the ends of lines
-Approximate: words with any kind of similar sound

Chapter 12: Rhythm and Meter
-Rhythm: wavelike recurrence of motion or sound
-Accented/Stressed: the part of a word given more emphasis
-Rhetorical Stresses: emphasis on sections of phrases to clarify meaning
-End-stopped line: end of a line corresponds with a natural speech pause
-Run-on line: Line moves to the next line without pause
-Caesuras: Pauses that occur within lines
-Meter: identifying characteristic of rhythmic languages that "we can tap our feet to"
-Foot: one accented syllable with one or two unaccented syllable
-Iambic: unstressed, stressed, unstressed, stressed
-Trochaic: stressed, unstressed, stressed, unstressed
-Anapestic: unstressed, unstressed, stressed, unstressed, unstressed, stressed
-Dactylic: stressed, unstressed, unstressed, stressed, unstressed, unstressed
-Spondaic: stressed, stressed
-Stanza: group of lines with the same metric pattern throughout the poem
-Metric Variations
-Substitution: replacing regular foot with another one
-Extrametrical Syllables: syllables added to the beginning or end of lines
-Truncation: omission of an unaccented syllable at beginning or end of lines
-Expected rhythm v. Heard rhythm
-Grammatical & Rhetorical Pauses

Chapter 13: Sound and Meaning

-Poetry meant to convey meaning or experience through sounds
-Onomatopoeia: words that sound like what they mean
-Phonetic Intensives: words which sounds are somehow connected to their meaning
-Letters have hard and soft sounds
-Euphony & Cacophony to create nicely sounding combinations of words
-Synesthesia:  stimulation of two or more senses at the same time

Pride and Prejudice #2

In the last section of Pride and Prejudice Mr. Darby tells Elizabeth of his love for her, and the two struggle to deal with the revelation. It becomes clear that prejudice has complicated their relationship, and that pride has gotten in the way of the understanding of one another. In Mr. Darby's letter of explanation to Elizabeth, he reveals his reasoning for convincing Mr. Bingley to not marry Jane. He explains that he had prejudice against Jane because of her social class, and her often shameful family: "The situation of your mother's family, though objectionable, was nothing nothing in comparison to that total want of propriety so frequently, so almost uniformly betrayed by herself, by your three younger sisters, and occasionally even your father" (169). Mr. Darcy did not see Jane's familial and social standing to be fit to marry Mr. Bingley, and so he convinced his friend not to marry the beautiful girl. Mr. Darcy allowed his prejudice to cloud his judgment of Jane, and he ignored the fact that she herself was a lovely person. Because Jane was not outward and open about her fond feelings for Mr. Bingley, Mr. Darcy did not see an issue with convincing Bingley to give up on his relationship with Jane. In revealing his reasoning for breaking off the expected engagement of Bingley and Jane, Mr. Darcy indicates that he is greatly affected by prejudice.

In addition to Mr. Darcy, Elizabeth is greatly affected by the prejudice she has against others. Specifically, she allows her first interaction with Mr. Darcy, and Mr. Wickman's stories of the wealthy gentleman to affect her feelings towards Mr. Darcy, and she develops prejudice against him. After Elizabeth reads Mr. Darby's letter, she realizes that her opinion of him is unjust and inaccurate: "How despicably have I acted!" (177). Elizabeth has a preconceived opinion of Mr. Darby before she gets to know him, and does not allow any of his actions to change her opinion of him. She acts aggressively  towards Darby and completely rejects his love because of her prejudice, clearly displaying the affect prejudice has on her behavior.

To the Lighthouse #7

At the start of the Ramsay's trip to the Lighthouse, Cam and James make a pact to resist the tyranny of their father. As the family is at sea, it becomes clear that the siblings actually have extremely different opinions of their father. When James is steering the boat, he expects his father to criticize him if something goes wrong: "James kept dreading the moment when he would look up and speak sharply to him about something or other. [...] And if he does, James thought, then I shall take a knife and strike him to the heart" (187). James seemingly irrationally violent thoughts make it clear that he hates his father and he is true on his quest to resist tyranny. James hates Mr. Ramsay's natural disposition, and he does not feel sympathetic towards his father. James' aggressive feelings towards his father at age sixteen mirrors his violent desires from when he was six years old. Time has not allowed the mending of James' relationship with his father, and the boy's dislike for his father is genuine.

Although Cam promises that she will resist tyranny with James, it becomes clear that she is not as wholeheartedly devoted to her commitment as her brother. After Mr. Ramsay attempts to make Cam smile by asking her about her puppy, Cam struggles to resist her father's tyranny: "Cam now felt herself overcast, as she sat down there among calm, resolute people and wondered how to answer her father about the puppy; how to resist his entreaty" (171). Mr. Ramsay purposely asks his daughter about her puppy in order to make himself appear relatable. He is manipulating the situation because he recognizes his children's plan to some degree. Cam, unlike her brother, does not feel a passionate hatred for her father, and she struggles to follow through with her commitment to James because her father is trying to appeal to her interests, rather than assert his superiority.

To the Lighthouse #6

In the opening sections of the third part of To the Lighthouse, Lily struggles to give Mr. Ramsay what he desires. Throughout this section of the novel, Lily desperately tries to avoid Mr. Ramsay because he expects her to provide him with sympathy. When Mr. Ramsay seeks sympathy from Lily, she attempts to change the topic of conversation and talks about the lighthouse. As an internal response, Mr. Ramsay thinks, "Why [...] should she look at the sea when I am here? [...] The Lighthouse! The Lighthouse! What's that got to do with it?" (155). Mr. Ramsay is annoyed that Lily is not giving him what he wants. He is setting her up to easily provide him with the sympathy that he desires but Lily will not cooperate. He is selfish in his quest for sympathy, which is why he is irritated that Lily wants to talk about a topic other than him.

After Mr. Ramsay realizes that Lily will not accept his subtle hints to give him sympathy, he begins to dramatize his pain. He talks about how painful it is going to be to go to the Lighthouse because of his wife's previous involvement with the Lighthouse. Instead of giving Mr. Ramsay what he wants, Lily compliments Mr. Ramsay on his shoes: "What beautiful boots!" (157). Although Lily understands that it would be easier to give Mr. Ramsay sympathy, she cannot bring herself to give him what he wants. To her surprise, Mr. Ramsay is thrilled by her comment about his boots and it becomes clear that Mr. Ramsay enjoys talking about himself. He needs sympathy because a sympathetic conversation revolves around him. Lily realizes that Mr. Ramsay is so desperate for sympathy because he no longer has Mrs. Ramsay to provide it for him. Additionally, Mrs. Ramsay is no longer alive for Mr. Ramsay to talk about himself to.

To The Lighthouse #3

As the novel continues more is revealed about the workings of the Ramsay's marriage. Mr. and Mrs. Ramsay are fundamentally opposite people, where Mr. Ramsay is driven by his quest for truth, and Mrs. Ramsay is driven by her value of emotion. It does not seem like they could be a successful couple, but insight into their feelings for each other provide explanation for their lasting marriage. After James is taken away for bed, Mrs. Ramsay feels relieved that she has time to herself: "It was a relief when they went to bed. For now she need not think about anybody. She could be herself, by herself" (65). Mrs. Ramsay's alone time is almost ended by her husband's interference, but he chooses not to interrupt: "She was so lovely, lovelier now than ever he thought. But he could not speak to her. He could not interrupt her" (68). Mr. Ramsay's decision to leave his wife alone displays the unspoken communication and mutual respect within the Ramsay marriage. Although Mr. Ramsay wants to speak with his wife, he knows that she needs time alone, and he puts her desires over his own.

As the couple waits for all of their children to return home, they talk about potential scholarships for their oldest son: "They always disagreed about [scholarships], bit it did not matter. She liked him to believe in scholarships, and he liked her to be proud of Andrew whatever he did" (70). The topic of scholarships displays the couples ability to work through and embrace differences in opinion. Each respects and value's the other's opinion, which allows differences to exist in the relationship. Although the couple did not agree on how to approach the discussion of going to the lighthouse, they are able to agree on other things, and they do not resent each other for opposing thoughts. Insight into the couple's relationship provides explanation for how fundamentally opposite people have managed to stay happily married.

To the Lighthouse - Point of View

The ever-changing perspectives in To the Lighthouse presents the reader with a better overall character understanding. Learning about a character from more than one point of view prevents bias judgment by a reader, and in turn enables a reader to further understand a character as a whole. Mr. Ramsay is addressed in several different narrations, but specifically those of James and Mrs. Ramsay. After Mr. Ramsay crushes James' hopes to go to the lighthouse the following day, the six year old has violent thoughts about his father: "Had there been an axe handy, or a poker, any weapon that would have gashed a hole in his father's breast and killed him, then and there, James would have seized it" (8). Although not going to the lighthouse seems like it should be a minor disappointment, James obviously feels passionately about wanting to go, and he does not appreciate his father already saying no. Mr. Ramsay's insensitivity towards his youngest son provides the initial introduction for his value of reality. He does not believe in false hope, and he does not want his children to either, which is why he is blunt with James. Mr. Ramsay is trying to help his children prepare for the disappointments of the future, but his seemingly pessimistic outlook on life does not make him liked by his children. The initial introduction of Mr. Ramsay comes from James' point of view, and it makes the philosopher appear brutally honest and insensitive.

Although Mrs. Ramsay believes her husband to be harsh, she does not feel the same hostility towards Mr. Ramsay as James. Mrs. Ramsay does not approve of her husband's quest for truth, and reflects on his behavior: "To pursue truth with such an astonishing lack of consideration for other people's feelings [...] was to her [...] an outrage of human decency" (35). Initially it appears that Mrs. Ramsay is furious with her husband's insistence on disappointing James, but immediately after her reflection she thinks, "There was nobody whom she reverenced as she reverenced him" (35). Although Mrs. Ramsay does not approve of her husband's behavior towards James, she whole-heartedly respects Mr. Ramsay. Unlike Mrs. Ramsay, Mr. Ramsay does not align his actions and decisions with emotions, and he is only concerned with the truth. Mrs. Ramsay respects her husband for his views on life, even though she does not like that he preaches his apparent cynicism onto her innocent and sheltered children. She understands that her children will have to face the cruelty of the world in the future, but she wants to spare them from the pain until it is inevitable. Both James and Mrs. Ramsay do not like Mr. Ramsay's behavior, but Mrs. Ramsay is mature and experienced enough to understand why her husband behaves the way he does.

To the Lighthouse #2

After Mr. Ramsay struggles to extend the boundaries of his mind, he feels deflated and in need of sympathy. He enters the room where Mrs. Ramsay and James are sitting, despite the fact that James hates his father's presence. Felling needy and stubborn, Mr. Ramsay decides that he will not leave until he receives what he came for: "Nothing would make Mr. Ramsay move on. There he stood, demanding sympathy" (40). Mr. Ramsay does not care that he is interrupting James' time with his mother because Ramsay views his needs above his son's. Mr. Ramsay does not enjoy his deflated feeling, and he is desperate for his wife to make him feel better and reassure him of his intellect. Ramsay values his mind over anything else, which is why he is so desperate for sympathy and reassurance.

Understanding what her husband needs, Mrs. Ramsay appears prepared and natural in her reaction to Mrs. Ramsay's behavior. In order to express his influence and importance to others, she references Charles Tansley's view of Mr. Ramsay: "Charles Tansley thought him the the greatest metaphysician of the time" (41). Although Mr. Ramsay knows that Tansely idolizes him, he is not yet satisfied by his wife's efforts. Unphased, Mrs. Ramsay continues to discuss her husband's relevance in the world and in the lives of many until he is satisfied. Mr. Ramsay is eventually satisfied, and he moves on from his self pity: "Filled with her words, like a child who drops off satisfied, [...] he went" (42). Mr. Ramsay selfishly used his wife to make himself feel relevant and important, displaying his inability to self assure. Although Mr. Ramsay values truth, he does not recognize his wife's emotional disposition, and therefore does not discount her reassurance. Mrs. Ramsay respects her husband and believes in what she says to reassure him, but her main intention is to display her sympathy. It is not unreasonable to conclude that Mrs. Ramsay manipulates her beliefs in her husband in order to make him feel better, which directly contrasts Mr. Ramsay's value in truth. Mr. Ramsay is willing to overlook his personal values in order to make himself feel better. 

Research Paper Outline

Research Paper Outline

Prompt: Relate The Picture of Dorian Gray to Oscar Wilde's life based off of his famous line: "Basil Hallward is what I think I am: Lord Henry what the world thinks me: Dorian what I would like to be - in other ages, perhaps."

Thesis: Personal and public perception of Oscar Wilde connects him to all three main character in The Picture of Dorian Gray, allowing the intertwining of these connections to make clear that Basil, Lord Henry, and Dorian spawned from Wilde himself.

1. Oscar Wilde was controversial in the eyes of society, similarly to how Lord Henry is

controversial in the eyes of the reader.

I.   Lord Henry manipulates Dorian into living a life filled with pleasure and sin.

                                             a. Oscar Wilde is thought to have seduced the young Andre Gide into a life of

homosexuality: “It is commonly held that Wilde spiritually (but not physically) seduced Andre Gide into discovering the pleasures of homosexuality”

                                            b. Similarly to how Dorian began a socially unacceptable life of sin through the

influence of Lord Henry, Wilde persuaded Gide into a life of homosexuality,

which is forbidden in society of the time. Homosexuality is considered a sin and a crime.

II. Wilde married a woman, similarly to Lord Henry, but carried on numerous affairs

with men.

                                             a. Lord Henry views women as decoration, not to be valued: “Women are a

decorative sex” (47)

i.   Henry married his wife out of convenience for the sake of

appearance.

                                            b. Oscar Wilde married Constance Lloyd and had two sons. Despite his

marriage, he carried out extramarital affairs that were eventually found out.

i.   He married Constance Lloyd, but clearly valued his relationships

with men more.

a. Marriage for appearance.

ii. Wilde is responsible for the fleeing of his wife and children to

Europe in a desperate attempt to escape his infamy.

2. Oscar Wilde made mistakes in his lifetime that Dorian Gray managed to avoid.

I.   Dorian’s assumed affairs with different men throughout the book parallel Wilde’s

homosexual affairs, but Dorian managed to live a life as a closeted homosexual,

whereas Wilde was found out and legally punished.

                                             a. Dorian never kept a friend (with the exception of Lord Henry) long enough

to be arrested for his homosexual behavior.

                                            b. Wilde was arrested on the charge of sodomy after being reported by his

father’s lover

i.   He carried out his affair with Lord Alfred Douglas for several years,

and even returned to the relationship after his arrest.

II. Dorian managed to avoid marriage, whereas Wilde married and remained married

throughout his affairs and arrest.

                                             a. Dorian is cruel to Sibyl Vane and informally breaks off their engagement.

Dorian’s treatment of the young actress causes her to commit suicide,

making it impossible for Dorian to follow through with his promise to marry her.

                                            b. Although Wilde initially married Constance Lloyd happy and seemingly in

love, his sexual preferences changed after the birth of his second son when

Robert Ross was introduced into his life.

i.   Dorian and Oscar both caused humiliation for the women they

claimed to have loved at some point.

ii. Both Sibyl and Constance died at premature ages.

3. Although Wilde’s reputation was spoiled by his homosexual behavior, his work was viewed

as genius, similarly to the well-respected and talented Basil Hallward.

I.   Basil was a well-respected painter who put much of his own self into his work, as

seen through the portrait of Dorian Gray.

                                             a. Similarly to Basil, Wilde put much of himself in his work, for he expressed

personal issue he had with society within his writing.

i.   Homosexual inspiration can be seen throughout The Picture of

Dorian Gray, such as the homosexual impulses of several

characters.

ii. Basil Hallward’s infatuation with Dorian allows him to create the

young man’s brilliant portrait.

II. Basil’s introduction to homosexual feelings in the novel occurs when he first sees

the young and beautiful Dorian Gray

                                             a. Wilde’s first homosexual encounter and his introduction into a life of

homosexuality occurred with the young Robert Ross.

i.   Robert Ross was extremely loyal to Wilde.

ii. Dorian was not loyal to Basil and ended up murdering the artist.

                                            b. Wilde had a lengthy affair with Lord Alfred Douglas, even though Douglas

proved to be troublesome to Wilde’s security and wellbeing.

i.   Douglas was publically known as arrogant, reckless, spoiled, and

extravagant.  

Picture of Dorian Gray Outline

Picture of Dorian Gray Outline

Thesis: Throughout the novel it is clear that Dorian transforms into a self-centered man that does bad things to undeserving people, but Dorian's lack of remorse and repentance for his horrific influences on others proves that Dorian is not just a person that does bad things but actually a bad person altogether. 

1. Dorian's actions immediately following Sibyl Vane's death marks a fundamental change in Dorian where he decides that he will live his life for the purpose of pleasure because his portrait allows him to appear unscathed to society. 

a. When Dorian is first informed of Sibyl's suicide, he believes that he is to blame for her death: "So I have murdered Sibyl Vane [...] murdered her as surely as if I had cut her throat with a knife" (72).

b. After Lord Henry leaves, Dorian reflects on the malicious changes that occurred in his portrait: "There were no further changes in the picture. It had received the news of Sibyl Vane's death before he had known it himself. It was conscious of the events of life as they occurred. The vicious cruelty that marred the fine lines of the mouth had, no doubt, appeared at the very moment that the girl had drunk the poison" (76).

c. "He felt that the time had really come for making his choice. Or had his choice already been made? Yes, life had decided that for him–life, and his own infinite curiosity about life. Eternal youth, infinite passion, pleasures subtle and secret, wild joys and wilder sins–he was to have all these things. The portrait was to bear the burden of his shame: that was all" (77).

2. During Basil's final visit with Dorian, the artist tries to fix the young man's wild life of sin, but Dorian refuses to acknowledge and accept his crimes against society.

a. Basil mentions Dorian's broken relationships with several men that have been ruined in society's eyes in order to gain explanation for the horrible stories that have been spreading through London about Dorian, but Dorian does not wish to hear about his old friends and says, "Stop, Basil. You are talking about things of which you do not know of" (110)

b. Basil points out Dorian's deranged joy that seems to come from ruining the lives of friends: "Your [friends] seem to lose all sense of honour, of goodness, of purity, You have filled them with a madness for pleasure. They have down into the depths. You led them there. Yes: you led them there, and yet you can smile, as you are smiling now" (110).

c. Dorian refuses to comply to Basil's wishes and kills the artist out of rage and frustration: "He rushed at [Basil], and dug the knife into the great vein that is behind the ear, crushing the man's head down on the table, and stabbing again and again" (116).

3. Dorian uses his gift of eternal youth to manipulate men into revealing their secrets, which he uses to get what he wants. 

a. Allan Campbell hates Dorian after the end of their friendship and refuses to help the murderer clean up the crime scene, but Dorian threatens Campbell until he complies: "I have a letter written already. Here it is. You see the address. If you don't help me, I must send it. If you don't help me, I will send it" (125)

b. Campbell commits suicide: "Allan Campbell's suicide" (155)

The Picture of Dorian Gray #4

After Dorian murders Basil, the young man struggles with emotional stability. Although Dorian is extremely selfish when viewing his crime, it is clear that he feels guilty about what he has done. After Dorian wakes up the morning after the murder, he struggles to ignore what has happened: "Gradually the events of the preceding night crept with silent blood stained feet into his brain, and reconstructed themselves there with terrible distinctness. He winced at the memory of all that he had suffered" (118). Despite the fact that Dorian violently murdered Basil and caused the artist a painful death, Dorian is concerned about his suffering from the previous night. His selfish nature shines through his initial outlook on the murder, but Dorian struggles with consistency as he continues to reflect on the night before.

As Dorian attempts to ignore the crimes he has committed, he is unsuccessful and the thought of Basil creeps into his mind. Contradicting his previous self-concerned thought, Dorian thinks, "Poor Basil! What a horrible way for a man to die!" (120). Although Dorian's selfish nature and indifference towards others dominates his life, his actions are so extreme that he cannot ignore his guilt. The closest things Dorian has done that remotely resemble murder are the suicides of people that were once close to him. In those instances Dorian does not hold himself responsible for his friends deaths because he cannot be incriminated or realistically held responsible by outsiders. In Basil's case, Dorian knowingly murders the man and can be arrested for his crime. Additionally, Dorian knows every detail about the artist's horrific death, and is scarred by the experience.

Poetry Practice (Comparison, John Donne)

Thesis: In both The Flea and The Apparition, the speakers try to seduce a woman into bed, but the the tones of the two poems contrast greatly, where The Flea has a more playful tone, and The Apparition has an almost threatening tone.

Although both poems focus on getting a woman into bed, The Flea has a more light-hearted tone. The speaker playfully tries to seduce the woman, using logic to convince her. He says, "In this flea our two bloods mingled be. / Thou know'st that this cannot be said / A sin, nor shame, nor loss of maidenhead; / Yet this enjoys before it woo, / And pampered swells with one blood made of two; / And this, alas! Is more than than we would do" (4-10), in order to express his belief that it isn't a big deal if they have sex. The speaker appeals to the woman's virtue when he explains that mixing of their blood in the flea would not be considered a sin and that a mixing of aspects of themselves in another way should also not be considered a sin. Although the speaker's reasoning is somewhat foolish, it indicates that he is joking with the woman. Although he wants to have sex with her, he is not angry and threatening, unlike the speaker in The Apparition.

The speaker in The Apparition is fiercely irritated that the woman will not have sex with him. Rather than using jocular reason like the speaker in The Flea, he becomes overwhelmed with his irritation and threatens the woman. He tells her that she is killing him because she will not sleep with him: "When by thy scorn, O Murd'ress, I am / dead" (1-2). He is angry that the woman continues to deny him and threatens to haunt the woman after he dies from her rejection: "Shall my ghost come to thy bed [...] And then, poor aspen wretch, [...] Bathed in cold quicksilver sweat wilt lie, A verier ghost than I" (6-15). The speaker says that he will return as a ghost to scare her to death in an attempt to make her have sex with him. He explains that her fate will inevitably be fatal if she does not have sex with him, and therefore should.

Sound & Sense Chapter 9 Part 2

Thesis:  Both On the Sonnet by John Keats and Sonnet by Billy Collins focus on the restrictive nature of sonnets. On the Sonnet has a mildly annoyed tone, which expresses the speakers boredom with the sonnet, whereas Sonnet has a jocular tone, making fun at the strict regulations of a sonnet.

Although the tones of the poems differ, both speakers have the same complaints about sonnets. In the first line of On the Sonnet the speaker says, "If by dull rhymes our English must be chain'd" (1) in order to express his complaint of the restrictive nature of sonnets. Specifically, he points out the required rhyming scheme of sonnets, using the word "chain'd" to express his complaint with the restriction on language the rhyming scheme of a sonnet implements. In the opening lines of Sonnet, the speaker jokes about the line requirement of a sonnet: "All we need is fourteen lines, well, thirteen now, / and after this one just a dozen / to launch a little ship on love's storm-tossed seas" (1-3). Although the speakers tone is light-hearted and jocular, he identifies a restriction sonnets place on poetry. He uses the metaphor of a little ship to express his disapproval of the expectations of a sonnet. Poets are expected to fill a poem with genius in just fourteen lines, and the speaker believes that the expectations of a sonnet can be somewhat unreasonable. Despite the contrasting tones of the poems, both speakers identify a requirement of a sonnet in order to express a complaint about the restrictive nature of sonnets.

Both poets offer resolution to the problems they both have with sonnets. In On the Sonnet the speaker says, "Let us find out, if we must be constrain'd, / Sandals more interwoven and complete / To fit the naked foot of poesy" (4-6). The speaker encourages exploration of poetry past sonnets in order to fit the unique poetic style of each poet. He creates the metaphor of a shoe in order to express the individuality of poetry. Poetry is creative and artistic, and one set style of poetry cannot satisfy the creative needs for all poetry. Similarly to shoes, one shoe is not going to fit every person, and one poetic style is not going to fit every poem. Exploration allows for freedom from the restriction of sonnets, which solves the speakers problems. In Sonnet, the speaker cites the life of a famous poet when he offers resolution to his problems with sonnets: "All will be resolved, / where longing and heartache will find an end, /where Laura will tell Petrarch to put down his pen, / take off those crazy medieval tights, / blow out the lights, and come at last to bed" (10-14). The speaker suggests the abandonment of sonnets because they are outdated. The speaker references Petrarch to express the necessity of change in the style of poetry. If one of the most famous poets abandons the sonnet, change is obviously necessary.

The Picture of Dorian Gray #3

Although Dorian loses interest in Basil and discounts the value of their friendship, the painter visits the young man before he moves to Paris. Basil still cares about Dorian even though it is clear that Dorian does not care very much about Basil. The painter wants to make a final effort to change Dorian's sinful lifestyle because he wants the best for Dorian. Preaching to Dorian, Basil says, "I want you to lead such a life as will make the world respect you. I want you to have a clean name and a fair record. I want you to get rid of the dreadful people you associate with" (111). Although Basil is blunt, he tells Dorian exactly what must be done to turn his life around. Basil became infatuated with Dorian because of his youthful innocence and purity. Because the painter knows Dorian is capable of being a good person, he wants him to return to a lifestyle free of sin and scandal. Despite Dorian's mistreatment of Basil, the painter does not want Dorian to be hated throughout London.

Although Basil clearly displays his care for Dorian, Dorian does not appreciate Basil's effort to make him a better person. After Dorian shows the deformed portrait of himself to the painter, he becomes enraged: "Suddenly an uncontrollable feeling of hatred for Basil Hallward came over him, as though it had been suggested to him by the image on the canvas, whispered into his ear by those grinning lips" (115). Although Basil has never done anything bad to Dorian, the young man blames his unfortunate change in morality on Basil. He thinks the portrait is at fault for the evil that overwhelms his soul. Basil has proven his loyalty to Dorian, but Dorian is only concerned with the supposed wrong Basil has done to him. Dorian overlooks everything Basil has tried to do for him and murders his loyal friend. 

The Picture of Dorian Gray #2

As the novel continues, Dorian Gray's personality and outlook on the world continues to change. He is greatly influenced by his relationship with Lord Henry, and his new self resembles Lord Henry. After Basil confesses his love for the young man, Dorian responds, "That is not even a compliment [...] It was a very disappointing confession" (85). Basil just revealed his most intimate secret to Dorian, and the young man's response lacks sensitivity. Dorian knows that he does not and could never worship Basil in the way in which Basil worships him, but he does not consider the painter's feelings when he tells him what he feels. He says, "You mustn't talk about worship. It is foolish. You and I are friends, Basil and we must always remain so" (85). Similarly to Lord Henry, Dorian does not care about others. He is self centered and self indulgent, which is why he calls Basil foolish for sharing his feelings. Dorian does not care how he makes his friend feel because it does not affect him.

After the painter leaves, Dorian reflects on the differences in his friendships with Basil and Lord Henry. He admits, "Basil would have helped him resist Lord Henry's influence," (87) displaying that he understands that Lord Henry is detrimental to his morality. Dorian knows that Basil is a morally better person and that the painter cares more for him than Lord Henry, but he values his friendship with Lord Henry far more because Lord Henry has more to offer. Although he has become a worse person from his relationship with Lord Henry, he enjoys the intellectual thought that spurns from his discussions with Lord Henry. Basil only serves to worship Dorian and make the young man even more vane. Before Lord Henry's influence, Dorian would have been satisfied with Basil's attention, but now he needs more from a friendship, which is why he prefers Lord Henry over Basil.

The Picture of Dorian Gray #1

Dorian Gray is first introduced when he sits for Basil's portrait. Basil is obviously infatuated with Dorian's presence, and Dorian clearly loves the attention. The young man understands the extent of the artist's care for him, and he uses this knowledge to make Basil give him what he wants. When Lord Henry announces his departure, Dorian threatens to leave in order to make Basil ask Lord Henry to stay: "If Lord Henry Wotton goes I shall go too" (12). Dorian displays his skills in manipulation though his exchange with Basil. He is interested in getting what he want and does not care how it makes Basil feel. Basil enjoys their alone time, which is why he wants Lord Henry to leave, but Dorian wants to spend time with Lord Henry because he is intrigued by his character.

After Basil finishes the portrait of Dorian, the young man has an emotional episode at the sight of the painting. He is influence by Lord Henry's rant about growing old. At the sight of the portrait Dorian says, "How sad it is! I shall grow old, and horrible, and dreadful. But this picture will remain always young" (19). Dorian is upset because he greatly values his appearance. He receives praise and admiration stemming from his appearance, which is why he is affected by the thought of losing his good looks. Although Dorian is blatantly vain, his reaction to the painting stemms from the beliefs of Lord Henry, showing that he is easily influenced.

When Dorian Gray announces his engagement to Sibyl Vane, it appears as though he has become a less self-obsessed character. When discussing his fiance with Basil and Lord Henry, Dorian raves about his new love: "She had all the delicate grace of that Tanagra figurine that you have in your studio, Basil. Her hair clustered round her face like dark leaves round a pale rose. As for her acting- well, you shall see her to-night. She is simply a born artist" (55). Dorian's infatuation with Sibyl contrasts his previously displayed vanity and self-obsession. Rather than accepting praise from others, Dorian is granting praise to someone else. Dorian shows that he cares about another person, which contrasts his previous treatment of Basil. The young man's love for the young actress makes him appear less selfish.

Although Dorian appears to be taking steps towards a more selfless life, he directly contrasts his pronounced love for Sibyl Vane when he breaks her heart after her poor acting display, After Lord Henry comments on Sibyl's terrible acting, Dorian goes backstage to speak with her. After discovering she is not ill, he speak cruelly to the young woman: "You have killed my love. You used to stir my imagination, Now you don't even stir my curiosity" (63). Sibyl's previously wonderful acting made Dorian fall in love with her, which is why he is so upset that she is unable to perform gloriously. Additionally, he is embarrassed that Sibyl fell short of expectations in front of his friends. He irrationally breaks the engagement because he is offended by her poor acting. He is cruel to the young woman because he suddenly decides not to love her anymore because of his selfish mindset. Dorian decides that Sibyl is not good enough for him, blatantly displaying his shallowness.

Sound & Sense Chapter 9

Thesis: Each poem questions the creation of life, but each poem's inquiry focuses on the nature of each animal, which causes great contrast between the theories of creation.

The nature of each suggested creation stems from the nature of each animal. Lambs are known to be soft and gentle creatures, which is why attributes of a lamb are included in the poem. The speaker addresses a lambs "clothing of delight" (5) and "tender voice" (7) to express the gentility of a lamb. The inclusion of attributes of the lamb explain the proposed creation of the animal. Because lambs are gentle creatures, their proposed creation is gentle and nurturing. The gentility of a lamb directly contrasts the ferocity of a tiger. Rather than a nurturing creation, The Tiger suggests a birth from hard work and manual labor. The tiger is known for its speed and its wit, which is why the speaker asks questions addressing these attributes: "What dread hand forged thy dread feet? [...] In what furnace was thy brain?" (12-14). The insincerity of the tiger's suggested creation offers explanation for the tiger's vicious nature. The poems suggest that the animals' creations were vastly different because their animalistic natures are vastly different.

Throughout The Lamb, the speaker directly addresses the lamb and asks, "Who made thee" (1,2,9,10). The speaker feels comfortable with the lamb and wishes to discuss its peaceful creation. The speaker feels an obvious fondness for the lamb that stems from its gentle nature, which is why the tone throughout the poem is light-hearted and friendly. The Tiger has a fearful tone throughout the poem, directly contrasting that of The Lamb. At the end of the poem the speaker asks the tiger, "Did he who made the Lamb make thee?" (20). This question resembles the question for the lamb, but unlike in The Lamb, this question is only asked once in The Tiger. The speaker does not appear to be direct with the tiger, suggesting intimidation. Unlike the fondness expressed towards the lamb, the speaker is hesitant to address the tiger because of its ferocity. 

Home Burial Analysis

Thesis: The husband and wife's relationship has been damaged by the death of their first born child. The strain on their relationship stems from each spouse's inability to understand the other's method of grieving.

The poem begins with the wife visibly bothered by something she has just seen. The husband tries to make her share the source of her distress but she refuses: "She, in her place, refused him any help/With the least stiffening of her neck and silence." The husband quickly decodes her silence and realizes that she is bothered by their child's grave outside of the window. The wife's silence shows that she is not willing to face and accept her child's death. The home grave is an everyday reminder of her loss and she has difficulty coping with her grief. Unlike his wife, the husband is willing to face the death of his child. After realizing the source of his wife's silence, he tries to express his feelings about the grave: "The wonder is I didn't see at once./I never noticed it from here before./I must be wonted to it-that's the reason." The husband explains that the sight of his child's grave does not bother him because he is used to seeing it everyday. He has grown so accustomed to seeing the reminder of his son's death that he does not notice it immediately any more. The husband and wife have opposite reactions and feelings towards the grave, which initially introduces the strain in their relationship. The wife does not like to discuss her child's death, but she is constantly reminded by the relic in her yard. The husband is willing to talk about his personal loss, but he does not typically notice the grave outside of his house. Each spouse has difficulty understanding the other's reaction to the grave and their child's death, providing explanation for the strain in their relationship.

Although both parents feel sorrow from their child's death, they do not sympathize with how the other mourns. In the poem, both spouses express their disapproval of the other's method of mourning. When the husband expresses that he is willing to work on their communication issues, he displays his disapproval of his wife's reaction to their child's grave. He says, "I do think, though, you overdo it a little." Although the husband appears to want to fix his strained relationship, he is not willing to sympathize with his wife's coping methods. As a reaction to her husband's comment, the wife expresses her disapproval of her husband's rection to their son's death. She shouts, "You couldn't care!" because her husband does not display outward sorrow over the loss of their child. She cannot understand why he is not as emotional as she, and she is deeply bothered by his acceptance of their son's death. Although the spouses are simply mourning in their own way, each refuses to accept and sympathize with the other's method. Because each is not willing to understand the other, their relationship suffers.

The Stranger Opening Paragraphs Analysis

The opening paragraphs of The Stranger serve as a synecdoche for the text as a whole. The opening sentence of the novel is, "Maman died today" (3), presented casually and without feeling or care. The initial introduction of the protagonist presents Meursault as an insensitive character lacking emotion. As he continues to explain the circumstances of his mother's death, he is unaware of when his mother actually died: "Maman died today. Or yesterday maybe, I don't know" (3). As the son of someone who recently passed, it would be expected that Meursault knows all the facts surrounding his mother's passing. The way in which he delivers the news of his personal tragedy shows that he does not know the simple facts of his mother's death, and he does not appear to care. Throughout the novel Meursault does not care about most things, including the senseless murder he commits. His lack of emotion in reaction to his mother's death introduces the self interested nature of Meursault. He is not bothered by the loss of his mother because it does not affect him in any way. Meursault only cares about himself throughout the novel, which is why he lacks emotion or care for almost everything.

Throughout the novel Meursault is extremely judgmental of other characters. He consistently comments on the appearances and actions of those around him, but he fails to reflect personally. In the opening paragraphs he describes his interaction with his boss when asking for time off to attend his mother's funeral: "I asked my boss for two days off [...] He wasn't too happy about it. I even said, 'It's not my fault.' He didn't say anything. Then I thought I shouldn't have said that. After all, I didn't have anything to apologize for. He's the one who should have offered his condolences" (3). Meursault  notes the fault of his boss for not offering his condolences, but Meursault fails to see his own faults in his inappropriate reaction to his mother's death. Meursault is quick to comment on another character's social misconduct, but he fails to see his own. Throughout the novel Meursault refuses to acknowledge his own social abnormalities, while continuously commenting on the faults of others. 

The Stanger #2

Throughout the second book of The Stranger there are several references to heat and the sun that offer potential explanation for Meursault's senseless murder. When Meursault is being questioned, he is asked why he paused before firing additional shots. Rather than responding, Meursault flashes back to the beach and explains his thoughts: "Once again I could see the red sand and feel the burning of the sun on my forehead" (67). Although he does not provide explanation for his excessive firing, it is clear that heat of the beach contributed to his lack of judgement. The inclusion of "red sand" and the use of "burning" provides a troubled connotation, suggesting that Meursault was greatly bothered by his discomfort cause by the heat. Irritated by the temperature, Meursault is more likely to make rash decisions and to take unjustified actions. Although annoyance with the heat provides little justification for murder, Meursault's reaction to high temperatures can provide some explanation for his murderous actions.

As questioning continues, Meursault expresses his impatience and directly connects his irritation back to the temperature. After being asked a question about his belief in God, Meursault explains, "I had had enough. It was getting hotter and hotter" (69). Similarly to the murder on the beach, Meursault is bothered by his discomfort caused by the temperature. He becomes irritated with the questions he is being asked and he does not want to continue the questioning. Meursault's reaction to the heat displays his lack of patience with the weather. Meursault attempts to speed up his questioning by mindlessly agreeing with his questioner about religion in order to end his discomfort. Meursault strongly disagrees with religion and the belief in God and his affirmation of the questioner's belief displays his desperation to escape his discomfort from the heat. Although he quickly corrects his agreement and expresses his impiousness, he previously agreed to the belief in God out of desperation. Meursault wanted to escape his discomfort, and he did not think about what he was doing before he acted. Meursault's behavior while being questioned parallels his rash behavior on the beach.

The Stranger #3

As The Stranger comes to an end, several themes of existentialism are illustrated through the thoughts of the protagonist. In a meeting with the prosecutor and his lawyer, Meursault is excluded from conversations about his case. Expressing his feelings about his exclusion, Meursault explains, "In a way, they seemed to be arguing the case as if it had nothing to do with me. Everything was happening without my participation. My fate was being decided without anyone so much as asking my opinion" (98). Although existentialism rejects the idea of fate, it focuses on the idea that people are punished for the decisions they make. Meursault made the decision to senselessly kill a man and he has no control over the punishment he will receive. The universe does not care for humanity according to existentialism, and in Meursault's case, the lawyers do not actually care what happens to him. Meursault made a bad decision and according to existentialism, he must be punished for his actions. 

After Meursault loses patience with the priest, he takes time to reflect on life: "I had lived my life one way and I could just as well have lived it another. I had done this and I hadn't done that. I hadn't done this thing but I had done another" (121). Meursault's reflection highlights main ideas of existentialism. Life is full of decisions and people are punished for the decisions they make. Humanity is punished for all the decisions, paving the lives of people. Although people have free will to make their own decisions, they cannot control what punishments they receive. Meursault understands that he had the power to make his own decisions, but all of his decisions wouldn't change anything. He would eventually be punished the same in the end.

The Stranger #1

In the first book of The Stranger, Albert Camus introduces the seemingly unenthusiastic character of Meursault. The Stranger opens with Meursault reflecting on the recent death of his mother. Rather than being openly upset by his mother's death, he is more concerned about the time he had to take off from work to attend the funeral: "I asked my boss for two days off and there was no way he was going to refuse me with an excuse like that" (3). The use of "excuse" rather than "tragedy" (or something similar) makes it seem like Meursault does not care that his mother died. It seems that he views his personal loss simply as an excuse to get out of work. Throughout the first chapter Meursault lacks sensitivity on many occasions. At his mother's vigil, he grows annoyed with his mother's friend: "Soon one of the women started crying. [...] I thought she'd never stop. [...] I wish I didn't have to listen to her anymore. [...] She finally shut up" (11). Meursault is annoyed with the woman because he cannot understand her hysterics. He is not upset himself, so he is not willing to accept someone else's devestation. In his mind, his mother's death did not change anything. Meursault did not go to visit his mother often, and her permanent absence will not affect his life greatly.

Sound & Sense Chapter 7

Lady Luncheon Club
Maya Angelou

How does the speaker use rhetorical devices to express their feelings towards the women in the poem?

Thesis: The speakers uses literary devices such as contradiction, selection of detail, and juxtaposition to display their disapproval of the women in the poem.

Topic Sentence 1: The speaker initially introduces the "Lady Luncheon Club" as women interested in socially diversifying themselves through exploration of the dark reality of the world but immediately contradicts the good-natured introduction to display the falsity of the women's intentions.

Quotation: "Her counsel was accepted: the times are grave. / A man was needed who would make them think, / And pay him from the petty cash account" (1-3).

Analysis: The women in the poem want to make it seem like they care about the current issues in society, but they plan to pay the man "who would make them think" with "petty cash." Typically, "petty cash" has a careless connotation and is used on senseless spending. The speaker immediately contrasts the women's seemingly well intentioned plan with the inclusion of "petty cash" in order to express the women's lack of interest in the grave times of their present. The women will pay the lecturer with "petty cash" because they do not care about the money they are spending, suggesting they do not care about why the lecturer is coming. The speaker's diction and use of contradictions expresses the speaker's disapproval of the women. The women appear to be interested in socially diversifying themselves but are actually interested in keeping up a respectable public image.

Topic Sentence 2: The speaker continues to comment on the women's false representation through selection of detail.

Quotation: "Our women checked her golden watch, / The speaker has a plane to catch. / Desert is served (and just in time)" (4-6).

Analysis: The speaker's inclusion of a golden watch connects back to the petty cash the women plan to pay the lecturer. They clearly have sufficient funding to pay the lecturer, but the referral to petty cash expresses their lack of sincerity in their decision to have him come and speak to the "Lady Luncheon Club." Additionally, the inclusion of a watch suggests that the women are growing impatient with the lecturer, supporting the idea that they do not care about what he is speaking about. The woman's apparent impatience subsides when "dessert is served," which acts as a comment on the woman's materialism. She no longer cares about the length of the lecturer's speech because dessert acts as a distraction from what the lecturer is saying. The speaker believes the women are materialistic because they are more interested in the dessert being served than a socially educated lecturer. Additionally, the women grew impatient with the lecturer, proving that they were not actually interested in having someone come speak to them initially.

Her Extra Credit

Is the film a dystopic vision into the future or a utopic one? Or, is it simply an extrapolation of our present, and therefore, neither dystopic nor utopic?

The film Her is initially introduced as technologically advanced version of today’s society. The population is reliant on cutting-edge operating systems to organize daily life, rather than the smart phones of today. Similarly to today’s society, technology is ever advancing, as shown through the introduction of Samantha. Her is neither a dystopic nor utopic version of the present, but is simply an extrapolation of today’s society. The film cannot be considered a dystopia or a utopia because its reality is too similar to the present. The lives of characters in the film, specifically Theodore, are not better or worse than today’s average person. Theodore is introduced as a depressed, soon to be divorcee. Like over 50% of the married population in America, Theodore is forced to struggle through a divorce, showing that the advancement in technology in the film does not better human-to-human personal relationships. Although human relationships are not shown to improve through the betterment of technology in the film, a whole new type of relationship spawns from the invention of personalized operating systems. Theodore quickly becomes friends with his operating system, Samantha, and the two begin a romantic relationship soon after. The early stages of Theodore’s relationship with Samantha appear flawless, but the joy-filled time period for Theodore and Samantha can be directly compared to the typical “honeymoon phase” of human-to-human relationships. Similarly to the relationships of the present, Theodore and Samantha begin to have problems within their relationship. For example, Theodore struggles with his divorce and shuts Samantha out, avoiding showing her his true feelings. Theodore’s internal refusal to share his emotions with Samantha eventually leads to an outburst, causing tension in the relationship. Like everyday couples, Theodore and Samantha have influential fights that make them question the future of their relationship. After a failed sexual experience with a surrogate, Theodore and Samantha become emotional and lash out towards each other. Samantha is deeply hurt by what Theodore says to her and takes a few days to think about their future as a couple. The human-to-operating system relationship displayed through Theodore and Samantha is no different from typical relationships of present day. Samantha was designed to have feelings and grow emotionally over time, similarly to a typical human. Because the operating systems in the film are meant to be like humans, it is impossible for the society in Her to resemble a utopic (or dystopic) world because the film is set up to be like the present. With no change in emotional structure, in humans or operating systems, there can be no advancement in quality of life to allow for a utopia. Quality of life in today’s society and society in the film are both heavily reliant on personal relationships. With no change in personal relationships, Her is and extrapolation of the present.

Explicate one specific scene from the film.

During the typical “honeymoon phase” of a blooming couple, Theodore takes Samantha to a cabin in the woods for a romantic getaway. Unfortunately for Theodore, Samantha is learning about the extent of her capabilities as an advanced operating system, and she is absorbed in her exploration. When Theodore is trying to enjoy quality alone time with his girlfriend, Samantha introduces him to an operating system she has just met. Theodore is visibly affected by Samantha’s interaction with the other operating system. He is hurt that Samantha is more interested in talking to an operating system than him, and he is disappointed that he is not the only thing* in her life anymore. Theodore and Samantha’s mini vacation marks a change in their relationship, but specifically a change in Samantha. Over time, Samantha’s emotional and personal capacities grow. She is no longer satisfied with just Theodore, and she feels obligated to use her resources to experience new things. Samantha’s explorations do not stop at just speaking to different operating systems. She begins speaking to other humans, and eventually starts relationships with a multitude of people. Samantha’s exploration of her capabilities represents the fundamental difference between advanced operating systems and humans. Operating systems are capable of carrying on hundreds of separate lives. Their technology provides them with opportunity to experience anything with anyone at anytime. Operating systems are given freedom and opportunity that humans could never dream of, which is why Theodore cannot fully understand Samantha by the end of the film. Samantha felt that it was appropriate to carry on several relationships, innocent and romantic, when she was already committed to Theodore because her technological make up allowed her to do so. Theodore feels betrayed by Samantha when she finally tells him about her lifestyle because he cannot comprehend how she relates to so many different things. Although personalized operating systems were meant to mimic human feelings and personal growth, Samantha’s emotional and personal capacities far surpass those of humans. After Samantha begins exploring a life beyond Theodore during their woodland adventure, their relationship is destined to fail.

*I didn’t know what noun would be appropriate as middle ground for human and operating system, so I decided “thing” would be the safest.

 HHH