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.