In the novel The Age of Innocence,
the two main characters, Newland Archer and Ellen Olenska, are
supposedly in love. Yet, I find that very hard to believe after
analyzing the two individuals. I rather believe that Ellen is the
only one who truly loves Archer. Archer has never loved Ellen. (Hence
the title “Unrequited Love”) Archer convinces himself that he is
in love with Ellen throughout the whole novel (which is frankly quite
annoying.) But in reality, he actually wishes to control her. He
views Ellen as a woman desperately in need of his “wise” guidance
because she is not immersed into New York culture. For instance, his
jealousy towards Mr. Beaufort indicates his domineering nature. He
“[winces] at the joining of the names” of his and Beaufort during
a conversation with Ellen because he believes that he is worthy of
correcting the Countess(Wharton 65). Also, he is superficially
attracted to Countess Olenska because she breaks social conventions
and provides excitement. He often states that the “haunting horror
of doing the same thing every day at the same time besieged his
brain” so Ellen presents herself as a source of freedom and
entertainment (71). Therefore, he pursues Ellen passionately and sets
up expectations for her. For example, he has this expectation that
Ellen will always approach him and entertain him. He depicts this
expectation when he goes to fetch Ellen for Mrs. Mingott at New York.
He says to himself, “If she doesn't turn before that sail crosses
the Lime Rock light I'll go back.” (182). His thought reveals his
belief that Ellen is responsible for providing excitement and
entertainment for him. Therefore, Archer can be characterized as a
selfish man who is unable to love anybody except himself. (In other
words, if Archer cares only about himself, how can he have the time
and heart to love somebody else?) On the other hand, Ellen deeply
loves Archer and is willing to throw away her status for him. Ellen
agrees to Archer's plan to “come to [him] at once” despite the
scandal they could bring together (264). Also, she is able to
convince Archer that he should marry May regardless of her deep
desire to be with him. She is willing to sacrifice her own happiness.
Furthermore, the ending of the novel supports Ellen's undying love
for Archer. She awaits for Archer's visit at Paris because there are
no barriers that could separate them anymore. However, Archer's
desire to keep “his youthful memory of her” prevents them from
reuniting (303). Ellen will most likely realize that Archer never
truly loved her which makes her a tragic character. She is spurned by
society, her own family, and the man who could have provided her with
hope. Maybe Wharton illustrated this aspect of unrequited love
because she has experienced it herself. She had a brief but
passionate affair with a journalist named Morton Fullerton. Through
this passionate affair, she realized that love is often romanticized
and misinterpreted by many people.
Sunday, December 15, 2013
I Support Nora's Decision!
Henrik Ibsen's play “A Doll House”
focuses on realistic aspects of life. Ibsen especially plays close
attention to marriage. Therefore, the ending where Nora leaves her
husband and children illustrates reality regarding marriage. However,
some people argue against Nora's decision to leave her family. They
believe that Nora is selfish and leaving her children “motherless”
(Ibsen 288). Yet, I actually support Nora's decision because she
deserves a chance to discover her self- identity. She was “used to
[being] Daddy's doll child” so she had no chance to think for
herself (1227). In other words, she was a doll who lived in a “home
[that] has never been more than a playroom” (1227). Hence, Nora is
unable to become a mother to her children because she herself is a
lost child. She needs to “make up [her] mind who is right, society
or [her]” to fully grow into a mature woman (1229). It would be a
greater tragedy if Nora had continued to stay in the “doll house”.
Her children would have continued to be her dolls depriving them of
reality and individuality. She is essentially preventing the
revolving cycle of lost independence for her children. Another thing
to recollect is that Nora is “first of all a human being” who has
“sacred duties” to herself (1228). She is a selfish, young woman
desperately in need of adversity. Through adversity and harsh
reality, Nora will learn about the consequences of selfish behavior
and lies. In other words, it is time for her to become a true human
being not a pretty, frail doll. I believe that Nora's decision to
leaver he family will lead her to people who truly care for her.
Also, her decision to leave her children might be the first selfless
act she has ever done. Finally, I have to point out about the class
discussion surrounding Torvald. Many people came to this consensus
that Torvald was going to change. I reject this idea because Torvald
does not truly care for Nora. (He barely even notices his own
children.) He states that Nora “[has] ruined all [his] happiness”
and that his love for her is all in the past when she finds about the
forgery(1223). Torvald keeps using words “me” and “my”
revealing his indifference for Nora's suffering and his selfish
nature. Also, he is easily able to throw away his love for Nora
because his appearance is in stake. Torvald seems to only love Nora
because of her role as a submissive and beautiful wife. Therefore, he
rejects Nora when he realizes that Nora took on the role as a
dominant figure. She was the one who saved his life and made the
controversial decision to leave her family. Torvald will most likely
not change because he is so immersed into the gender role of being
the patriarch of his family. He is essentially the product of
society. I am certain that he will remarry another woman who will
submit to his controlling nature continuing the cycle of gender
inequality.
I Know Why the Caged Bird Sings
I Know Why The Caged Bird Sings
The free bird leaps
on the back of the wind
and floats downstream
till the current ends
and dips his wings
in the orange sun rays
and dares to claim the sky.
But a bird that stalks
down his narrow cage
can seldom see through
his bars of rage
his wings are clipped and
his feet are tied
so he opens his throat to sing.
The caged bird sings
with fearful trill
of the things unknown
but longed for still
and his tune is heard
on the distant hill for the caged bird
sings of freedom
The free bird thinks of another breeze
and the trade winds soft through the sighing trees
and the fat worms waiting on a dawn-bright lawn
and he names the sky his own.
But a caged bird stands on the grave of dreams
his shadow shouts on a nightmare scream
his wings are clipped and his feet are tied
so he opens his throat to sing
The caged bird sings
with a fearful trill
of things unknown
but longed for still
and his tune is heard
on the distant hill
for the caged bird
sings of freedom.
The free bird leaps
on the back of the wind
and floats downstream
till the current ends
and dips his wings
in the orange sun rays
and dares to claim the sky.
But a bird that stalks
down his narrow cage
can seldom see through
his bars of rage
his wings are clipped and
his feet are tied
so he opens his throat to sing.
The caged bird sings
with fearful trill
of the things unknown
but longed for still
and his tune is heard
on the distant hill for the caged bird
sings of freedom
The free bird thinks of another breeze
and the trade winds soft through the sighing trees
and the fat worms waiting on a dawn-bright lawn
and he names the sky his own.
But a caged bird stands on the grave of dreams
his shadow shouts on a nightmare scream
his wings are clipped and his feet are tied
so he opens his throat to sing
The caged bird sings
with a fearful trill
of things unknown
but longed for still
and his tune is heard
on the distant hill
for the caged bird
sings of freedom.
on the back of the wind
and floats downstream
till the current ends
and dips his wings
in the orange sun rays
and dares to claim the sky.
But a bird that stalks
down his narrow cage
can seldom see through
his bars of rage
his wings are clipped and
his feet are tied
so he opens his throat to sing.
The caged bird sings
with fearful trill
of the things unknown
but longed for still
and his tune is heard
on the distant hill for the caged bird
sings of freedom
The free bird thinks of another breeze
and the trade winds soft through the sighing trees
and the fat worms waiting on a dawn-bright lawn
and he names the sky his own.
But a caged bird stands on the grave of dreams
his shadow shouts on a nightmare scream
his wings are clipped and his feet are tied
so he opens his throat to sing
The caged bird sings
with a fearful trill
of things unknown
but longed for still
and his tune is heard
on the distant hill
for the caged bird
sings of freedom.
Lately in class, we have been employing
gender lens to analyze The Age
of Innocence and
a “Doll House”. Therefore, I thought it would be interesting to
analyze Maya Angelou's “I Know Why the Caged Bird Sings”. The
poem focuses on a caged bird that sings for freedom. The caged bird
can be viewed as a representation of social issues such as racial
inequality, gender inequality, and the pursuit of individuality.
Since we have focused on gender roles, I will be reading this poem
through the gender roles. I view the “bird that stalks/down his
narrow cage” as a woman trapped in marriage (Line 8-9). The woman
is trapped in a cage that symbolizes marriage so she “opens [her]
throat to sing” for freedom (line 14). Nora from the “Doll House”
closely relates to this bird as well. She often tells lies to somehow
escape her role as a doll in her husband's doll house, her captor.
Also, the bird's “wings are clipped and/[its] feet are tied”
which resembles Nora's situation in her marriage (Line 12-13). Nora's
opinion and identity represent the bird's wings and feet. Nora is
unable to think for herself preventing her from individuality and
independence. Hence, her opinions are “clipped and/[her] identity
[is] tied” by her role as a submissive wife (Line 12-13). Another
female character relates to the caged bird as well. Ellen Olenska of
The Age of
Innocence serves
as an epitome of a caged bird and captor to society. She is
essentially a woman trapped in this expectation that she will become
a mistress to a married man(Beaufort especially) or return to her
unfaithful husband. Therefore, she “opens [her] throat to sing”
like the bird by falling in love with Newland Archer (Line 14).
Newland Archer represents to Ellen as a door to “freedom” because
he understands her like nobody else (Line 23). He has the ability to
convince Ellen “to claim the sky” by allowing her to become a
“free bird” (Line 1 and 7). Unfortunately, Archer fails to do so
which leads to “the caged bird/ [to] sing of freedom” on the
distant hill (Line 38-40). However, the caged bird can also be
interpreted as a man imprisoned by gender roles. For example, Newland
Archer is a “bird that stalks down his narrow cage” to express
his horror on the “sameness-sameness” of life (Wharton 71). The
“narrow cage” that he inhabits is his marriage to May Welland, a
woman who conforms to society (Line 9). Archer feels suffocated in
his dull life that is a repeating cycle of life. Also, he is
horrified by the fact that his own wife must conceal her inner
desires and passion to blend in with the Old New York society. It
can be inferred that the caged bird can be anyone regardless of
gender. Also, our society is filled with several 'caged birds” who
sing for freedom (Line 38). For instance, adolescents often express
their need for freedom and independence by rebelling. (I know this
for a fact.)
Friday, November 29, 2013
Innocence vs Experience
Holy Thursday (Songs of Experience)
William Blake
Is this a holy thing to see
In a rich and fruitful land, -
Babes reduced to misery,
Fed with cold and usurous hand?
Is that trembling cry a song?
Can it be a song of joy?
And so many children poor?
It is a land of poverty!
And their sun does never shine,
And their fields are bleak and bare,
And their ways are filled with thorns,
It is eternal winter there.
For where'er the sun does shine,
And where'er the rain does fall,
Babe can never hunger there,
Nor poverty the mind appal.
William Blake
Is this a holy thing to see
In a rich and fruitful land, -
Babes reduced to misery,
Fed with cold and usurous hand?
Is that trembling cry a song?
Can it be a song of joy?
And so many children poor?
It is a land of poverty!
And their sun does never shine,
And their fields are bleak and bare,
And their ways are filled with thorns,
It is eternal winter there.
For where'er the sun does shine,
And where'er the rain does fall,
Babe can never hunger there,
Nor poverty the mind appal.
As famously
known, William Blake is a poet who is fascinated with innocence and experience.
Therefore, he incorporates innocence and experience in his poems to convey his
beliefs. He ultimately believes that neither innocence nor experience is
superior to the other. Yet, I am certain that Blake places more importance on
experience in his poems. I have noticed that he puts more detail and deep
analysis in the poems that deal with experience. For example, The poem “Holy
Thursday (Songs of Experience)” epitomizes his preference for experience. At
first glance, the poem is short which gives off an impression of indifference
and curtness. However, Blake purposely shaped this poem this way in order to
portray a contrast between the innocence and experience poem. The innocence poem
is longer and richer in language which is a contrast with the short and curt experience
poem. But as many people say, “Actions are stronger than words.” Hence, the
poem of experience embodies action depicting itself as vitally significant. For
instance, the first stanza asks a short question that is full of highly
emotional charged diction. Words such as “misery” (Line 3) and “cold” (4) give
off a depressing and negative feeling which elevates the gravity of the
situation. Also, the image of “babes reduced to misery/ fed with cold and usurous
hand” visually illustrates the sadness and tragedy of this ritual. He further
on depicts his strong feelings toward this seemingly harmless ritual by describing
charity as being paraded. The young orphans/babes are paraded by their beadles
by singing a “trembling cry” to the public (5). Blake further heightens the gloomy
atmosphere by asking a rhetorical question, “can it be a song of joy?” (6). He obviously
knows the tragic answer but asks the question to delineate his melancholy towards
experience. What is really important to point out is that the poem of experience
comes after the poem of innocence. The poem of experience is essentially the
ending/conclusion of these two poems which makes it important. The two complementing
poems always begin with innocence and end with experience. The fact that the
poem always end with experience indicates that experience dictates what life
will become of. In other words, experience is responsible for people’s actions,
words, and thoughts. Blake does not deny that innocence plays a significant role
in people’s lives but he believes that experience is a stronger force. Experience
guides and unites us until death like how the poem of experience unites the two
poems together at the end of the poem. I have always believed that poets are
subjective in their works so I was naturally led to disagree with the belief
that Blake equally paid close attention to innocence and experience. Blake most
likely valued innocence for its beauty and purity but he could not deny the
stronger force of experience. Through his experience, he was able to write the
poems that united his identity and his sense of the world. It is evident that poems embody the poet's spirit and thoughts.
Monday, November 18, 2013
Infants and William Blake
The
poet William Blake focuses on the themes of innocence and experience in the
poems “Infant Joy” and “Infant Sorrow”. His analysis of these two contrasting
poems reveals the tragedy of innocence and experience and its similarity to Grendel. Blake first depicts the tragedy
of innocence in “Infant Joy”. He first starts out with a loving conversation
between mother and baby. Positive diction such as “sweet joy” (6) and “pretty
joy” (8) elevate the baby as pure and innocent. However, the tragedy of
innocence is quickly emphasized when the mother states “sweet joy but two days
old” (8). It can be inferred that the mother is expressing her idea that her
baby is too young and naïve to understand the world. She further ominously
foreshadows the tragedy by stating “sweet joy befall thee!” (12). The verb “befall”
(12) connotes a negative feeling supporting the foreshadowing of the fall of
innocence. Meanwhile, Blake also depicts the tragedy of experience in “Infant
Sorrow”. First, the title “Infant Sorrow” connotes a negative feeling because
of the word “sorrow”. Sorrow is usually associated with sadness, oppression,
death and disappointment. Second, the poem is now narrated only by the baby who
has transformed into an experienced individual. The baby is aware of “the
dangerous world” and describes himself as a “fined [hiding] in a cloud” (4). He
realizes that the world is a cruel, dangerous place capable of making innocent
people butter and possibly evil. Furthermore, the baby’s hopeless feelings
towards his parents delineate his shift into experience. He “struggles in [his]
father’s hands” and “sulk[s] upon [his] mother’s breast” because he wants to
escape the constraint of reality (5 and 8). His parents represent reality due
to their groaning and weeping (refers to line 1) about the realization that
they are obligated to raise their son in a responsible manner. Blake hopes to
bring into light the prevalence of losing innocence and achieving experience. Because
Blake stresses the theme of innocence and experience, the novel Grendel is closely relatable to it.
Grendel also struggles with the aspect of innocence and experience throughout
his whole life. Like Blake, he does not view innocent or experience as superior
over the other. He rather believes that innocence and experience brings him to
tragedy. For instance, Grendel’s curiosity towards the world and his identity
leads him to lose his innocence and realize the meaninglessness of life. Through
his experience (reaching enlightenment), Grendel becomes a bitter and lonely individual
who often exclaims “I am alone” (56). Furthermore, Grendel’s interaction with
humans broadens his experience but also deprives him of happiness. Humans label
Grendel as a “brute existent” and continuously ostracize him (74). Therefore,
Grendel is driven to believe that his death will be a blessing because he will
not need to wonder about the meaninglessness of life. For Grendel and Blake,
innocence and experience serve as a tragedy but also as an important aspect of
life. Without innocence and experience, people will be deprived of reminiscence,
wisdom and insight.
Monday, November 11, 2013
Are You a Hero?
What
qualities define one as a hero? The poem “Beowulf” and novel Grendel
both debate on this issue with contrasting characters. In “Beowulf”, the fierce
Geat leader, Beowulf, is portrayed as the dauntless hero. He supposedly
possesses the strength of thirty men and is able to defeat three powerful
monsters: Grendel, Grendel’s mother, and a dragon. Yet in the novel Grendel,
Grendel and Wealtheow are characterized as heroes. Grendel is defined as a hero
because he goes through the journey of descent and enlightenment. He reaches
his descent when he gets stuck between two trees and is attacked by a ram. In other words, he loses his innocence by
realizing “that the world [is] nothing: a mechanical chaos of casual, brute
enmity which we stupidly impose our hopes and fears” (Gardner 21 and 22). Grendel
later reaches the final point of a hero’s journey when he encounters the
dragon. The dragon, who symbolizes Grendel’s subconscious, convinces Grendel
that he is “mankind, or man’s condition” providing a purpose to Grendel’s life (73).
The dragon/Grendel’s subconscious
deliberately takes advantage of Grendel’s craving for purpose in life. Therefore,
Grendel becomes enlightened by the encounter with the dragon and becomes a “brute
existent” (73). By becoming a “brute
existent”, Grendel believes that he is improving and shaping humans into intelligent,
thinking creatures. He basically considers himself as a god who enlightens
people. (Grendel’s “enlightening” actions can be considered ironic since he
even confesses that he found himself “killing [humans] on and on and on, as if
mechanically, without contest” (81). Basically, he is killing humans without
even thinking about the consequences. In my opinion, he is not as “enlightened”
as he claims to be.)In contrast, Wealtheow is portrayed as a hero due to her
sacrificing acts and her ability to unite people. Wealtheow is depicted as a
sacrificing individual who “surrendered herself with the dignity of a sacrificial
virgin” to Hrothgar (100). Wealtheow willingly sacrifices her innocence and
virginity to prevent the battle between the Helmings and Danes. It can be also said
that she represents a Christ figure because she willingly faces loss of
innocence for a greater purpose. Furthermore, Wealtheow has an extraordinary
ability to unite people which is a commonly found characteristic in heroes. For instance, she unites people in the
meadhall by carrying a “mealbowl from table to table” which magically silences
and unites the Danes (102). The mealbowl represents an object of unity and a
new beginning. Therefore, Wealtheow carries this object around the Danes to
remind them of peace and comitatus. So
far we have analyzed three heroes who are considered extremely unlike each
other. Yet, I have found a common ground between these heroes. All of them
desire to be surrounded by people. Beowulf wishes to save the Danes from
Grendel in order to earn respect and their loyalty. Grendel “enlightens” the
humans because it serves as an opportunity of social interactions with humans.
Wealtheow represents a Christ figure who wishes to unite people for faith and
comitatus.
Thursday, October 31, 2013
"All My Pretty Ones" by Anne Sexton
All My Pretty Ones
By Anne Sexton
Father, this year’s jinx rides us apart
where you followed our mother to her cold slumber
a second shock boiling its stone to your heart,
leaving me here to shuffle and disencumber
you from the residence you could not afford:
a gold key, your half of a woolen mill,
twenty suits from Dunne’s, an English Ford,
the love and legal verbiage of another will,
boxes of pictures of people I do not know.
I touch their cardboard faces. They must go.
But the eyes, as thick as wood in this album,
hold me. I stop here, where a small boy
waits in a ruffled dress for someone to come ...
for this soldier who holds his bugle like a toy
or for this velvet lady who cannot smile.
Is this your father’s father, this commodore
in a mailman suit? My father, time meanwhile
has made it unimportant who you are looking for.
I’ll never know what these faces are all about.
I lock them into their book and throw them out.
This is the yellow scrapbook that you began
the year I was born; as crackling now and wrinkly
as tobacco leaves: clippings where Hoover outran
the Democrats, wiggling his dry finger at me
and Prohibition; news where the Hindenburg went
down and recent years where you went flush
on war. This year, solvent but sick, you meant
to marry that pretty widow in a one-month rush.
But before you had that second chance, I cried
on your fat shoulder. Three days later you died.
These are the snapshots of marriage, stopped in places.
Side by side at the rail toward Nassau now;
here, with the winner’s cup at the speedboat races,
here, in tails at the Cotillion, you take a bow,
here, by our kennel of dogs with their pink eyes,
running like show-bred pigs in their chain-link pen;
here, at the horseshow where my sister wins a prize;
and here, standing like a duke among groups of men.
Now I fold you down, my drunkard, my navigator,
my first lost keeper, to love or look at later.
I hold a five-year diary that my mother kept
for three years, telling all she does not say
of your alcoholic tendency. You overslept,
she writes. My God, father, each Christmas Day
with your blood, will I drink down your glass
of wine? The diary of your hurly-burly years
goes to my shelf to wait for my age to pass.
Only in this hoarded span will love persevere.
Whether you are pretty or not, I outlive you,
bend down my strange face to yours and forgive you.
As
soon as I finished reading the last line of the poem, I let out a sound full of
awe and wonder. The poem “All My Pretty Ones” by Anne Sexton is introspective
and greatly emotional. The poem centers on Sexton’s feelings and thoughts
toward her father’s death. What struck me the most in this poem was Sexton’s
statement, “I outlive you, / bend down my strange face to yours and forgive
you” (Line 57). In the beginning, Sexton depicts her feelings toward her father
as indifferent and harsh. For instance, she indifferently states that her
father’s valuable belongings “must go” and she will have to “throw them out”
(Line 21). To others, it might seem insensitive for Sexton to do such things
after her father died. However, I believe that Sexton acts in this manner
because this is the only way she can express her love for her father. Her
father in the poem is revealed in a negative light since he had an “alcoholic
tendency” and attempted “to marry that pretty widow in a one-month rush” (Line 36).
Furthermore, we can infer from his tendencies that he had an unstable life full
of alcohol abuse and womanizing tendencies. Obviously, Sexton was negatively
affected by her father’s misbehaviors but she chooses to not be spiteful and
vengeful. Many people view an individual who indulges in bad habits as a one-dimensional
person undeserving of morality and forgiveness. In other words, many believe
that those people are immoral and malevolent. However, these individuals are actually
three-dimensional individuals since there is always a reason behind their
actions. Maybe Sexton’s dad indulged in these activities because he struggled
with his identity or because of his wife’s death. Nevertheless, Sexton
illustrates her understanding that her father was three dimensional by calling
him “my drunkard, my navigator” (Line 47). This quote connotes a negative and
positive meaning reaffirming the idea that her father was three-dimensional.
The word “drunkard” depicts him negatively since it can be inferred that he was
often drunk around his daughter. Yet the addition of “navigator” depicts him positively
since he served as the guide and compass to her life. Thus, Sexton possesses
mixed feelings toward her father because he constantly shifted from being a good
father to a bad father. As a result, Sexton is confused about how she should
feel towards her father’s death since he caused such pain and happiness. She
therefore chooses to act in an indifferent manner to reveal her cautious love
for her father. Sexton portrays her love by forgiving her father sins and
deciding to let go of her anger and sadness. She is not ready to love her
father at that time but she takes a step of forgiveness to become closer to
that stage of appreciation and reminiscence. Also, she believes that time will heal
her pains so she puts his belongings on the shelf to remember him as her one
and only father. As Peter Ustinov once said, “Love is
an act of endless forgiveness.”
Friday, October 18, 2013
The Inevitable Connection between Grendel and His Mother
As I
was reading Grendel, I became puzzled
by the strange relationship between Grendel and his mother. Unlike normal
mothers and sons, Grendel and his mother have a peculiar and maybe volatile
relationship. Grendel describes his mother as a “life-bloated, baffled,
long-suffering hag” which is extremely caustic and harsh (Gardener 11).
Furthermore, he calls her “pitiful, foul, her smile a jagged white tear in the
firelight: waste” which reveals the deepening hatred Grendel feels toward his
mother (55). Grendel obviously disrespects his mother but on the contrary, his
mother serves as his ultimate protector. Unbeknown to Grendel, Grendel is a
cursed creature who is condemned by society. Therefore, Grendel’s mother
attempts to protect Grendel by hiding him in a cave protected by fire snakes. She
even loses her voice because of her guilt towards an “ancestral crime” (220).
She laments over her son’s obvious curiosity about the world because she knows
he will be rejected and ostracized by society. As a result, Grendel’s mother hopes
to appease his curiosity and express her motherly love by “[smashing him] to
her fat, limp breast as if to make [him] a part of her flesh again” (17). By doing so, Grendel’s mother hopes to make
Grendel codependent on her so he can never out in the harsh world. Like the
time of her pregnancy, Grendel’s mother wishes to be united with him in body
and heart. In my opinion, Grendel’s mother is a loving mother (though
unconventional) who wishes to protect her son. She is like those mothers who
protect their children so excessively that the children are not able to grasp
reality. It also seems that her motherly love makes her humanistic which ultimately
portrays her as a 3-dimensional character. For instance, she is constantly depicted
as a violent monster by humans but she is actually a worried mom driven by
guilt. In other words, she is an emotional being who becomes violent only to
protect her son. Also, I noticed that Grendel’s mother might be a representation
of Grendel and his future. We must recollect that Grendel’s mother is also
cursed by society due to her connection with Cain. Therefore, she “dissects and
ponders the dusty mechanical bits of her miserable life’s curse” to lament her
fate (11). Grendel, too, later on laments his fate by asking the dark chasms/
cliff to seize him and take him to his death. Moreover, he engages in a 12 year
battle with Hrothgar and his thanes because he accepts the fate people conceive
of him. By readily accepting a fate that has great potential to be changed, we
can see that Grendel has become tired and pessimistic towards life. Grendel, who
was a curious and enthusiastic child, has now lost his tireless spirit and
becomes a “long-suffering hag” like his mother (11). Grendel and his mother
both end up as solemn and hopeless individuals who view life as meaningless. Since Grendel falls into the fate of his
mother, he will most likely unite with his mother since he now understands her.
Sunday, October 6, 2013
Prufrock and Wing
The poem “The
Love Song of J. Alfred Prufrock” by T.S. Eliot centers on Prufrock who is confused
and fearful towards life. Prufrock depicts himself as a man with low
self-esteem by describing himself as a bug and crab. A bug is typically associated
with negative aspects since it is considered a dirty pest. Therefore, Prufrock pictures
himself as a dirty bug and a crab that moves around in a clumsy and awkward
manner. Also, he is constantly questioning himself by stating “Do I dare/
disturb the universe?” (Lines 45-46) His constant questioning indicates his
belief that his actions will be scrutinized by society which deepens his sense
of doubt. He even states “And I have known the eyes already, known them all/The
eyes that fix you in a formulated phrase.” (Lines 55-56) Thus, we can infer
that society’s prejudice has shaped Prufrock’s way of thinking making him a
rather shallow character. Society most likely ostracized him for his
unattractive appearance and nervous demeanor which he ironically creates or
intensifies. Therefore, Prufrock is unable to become an assertive man who knows
what he is going to do with his life. His inability to overcome society’s
prejudice strongly alludes to the residents of Winesburg Ohio. The residents are all haunted by this a single
truth that they live by. Prufrock as well lives by one truth identifying him as
a grotesque. He lives by the truth that people will always judge him as a meaningless,
old man. As a result, Prufrock wastes his whole life obsessing over this one
truth which drives him to isolation and hell. One character from Winesburg Ohio who strongly relates to
Prufrock is Wing Baddlebaum. Wing like Prufrock is diffident and constantly
struggles with society’s prejudice. Yet, Wing suffers a more painful experience
with society than Prufrock’s. His dream of “[expressing] his love of man”
through teaching schoolboys was cruelly snatched away from him by means of
violence. (9) Consequently, he becomes unsure of his life since society is
against his cherished ideas and dreams. (One difference to point out between
Prufrock and Wing is that Prufrock does not possess any definite dreams.) Wing
then expresses his confusion towards life by his hands which compares with
Prufrock’s fragmented dreams. Both of these individuals are unsure about what
they did wrong and choose to blame themselves. For Wing, he believes that his “hands
must be to blame” while Prufrock believes it is the yellow fog which represents
his soul. (9) In reality, society’s eagerness to ostracize and blame others is
the cause to their confusion. I believe that Eliot and Anderson employed these
characters to illustrate that society takes advantage of those who are
emotionally vulnerable. When society catches a glimpse of naive vulnerability,
it is eager to manipulate it to justify their cruel acts. This is especially a
prevalent theme in our society. For instance, the Salem Witch Trials were
caused by society’s eagerness to blame a certain group to absolve their inner
sins. Lastly, Hitler’s persecution against Jews was his justification for
punishing those who supposedly “wronged” him. Therefore, Anderson and Eliot are prudently cautioning readers of repeated misdeeds that often go unnoticed.
Monday, September 30, 2013
Because I Could Not Stop for Death
Because I Could Not Stop for Death
Emily Dickinson
Because I could not stop for Death,
He kindly stopped for me;
The carriage held but just ourselves
And Immortality.
We slowly drove, he knew no haste,
And I had put away
My labor, and my leisure too,
For his civility.
We passed the school, where children strove
At recess, in the ring;
We passed the fields of gazing grain,
We passed the setting sun.
Or rather, he passed us;
The dews grew quivering and chill,
For only gossamer my gown,
My tippet only tulle.
We paused before a house that seemed
A swelling of the ground;
The roof was scarcely visible,
The cornice but a mound.
Since then 'tis centuries, and yet each
Feels shorter than the day
I first surmised the horses' heads
Were toward eternity.
Emily Dickinson
Because I could not stop for Death,
He kindly stopped for me;
The carriage held but just ourselves
And Immortality.
We slowly drove, he knew no haste,
And I had put away
My labor, and my leisure too,
For his civility.
We passed the school, where children strove
At recess, in the ring;
We passed the fields of gazing grain,
We passed the setting sun.
Or rather, he passed us;
The dews grew quivering and chill,
For only gossamer my gown,
My tippet only tulle.
We paused before a house that seemed
A swelling of the ground;
The roof was scarcely visible,
The cornice but a mound.
Since then 'tis centuries, and yet each
Feels shorter than the day
I first surmised the horses' heads
Were toward eternity.
Death is a natural process of life that occurs every day. In society, some people are willing to accept death and some fear it. Emily Dickenson for instance was fascinated by death and composed many poems about mortality. Probably the most famous poem she composed was “Because I Could Not Stop for Death” which reflects her views on death. Dickinson conveys her accepting relationship with death by using metaphors and diction. Dickinson uses metaphors to show that she is accepting of death. The first metaphor she employs is the comparison between death and a gentleman. Dickinson refers to death as a gentleman who “kindly stopped for [her]” (Line 2). By alluding death to a gentleman the speaker shows that she respects death and is not afraid of it. We must recall that the time period of Dickenson was vibrant with courtships between young ladies and gentlemen. Therefore, the speaker is symbolizing her journey with Death as a tentative and happy courtship. Also, she is rather impressed with the “gentleman” and is willing “to put [her] labor and [her] leisure too for his civility” (Lines 6-8). The other metaphor that she employs is the comparison between the house and her grave. During her journey to her death, she and the “gentlemen” arrive at a house. This house represents her grave and also conveys her thoughts on death. By calling her grave a house, Dickinson is showing that she is comfortable with death. A house is a place of peace and shelter further supporting the notion that she is accepting of death. Dickenson uses diction to reflect her accepting relationship with death. The overall tone of this poem is peaceful and calm because of its diction. She employs soft language and words to convey her overall message. For instance, Dickenson uses soft words when she states that death “kindly stopped for [her]” (Line 3). The adjective “kindly” shows her accepting nature because death is usually referred to something fearful not benevolent. Furthermore, Dickinson uses the word “civility” to describe death which shows her respect and admiration (Line 8). Overall, Dickinson is praising death with diction that contains positive connotations. The most interesting aspect of this poem is that it closely relates to Elizabeth Willard in Winesburg Ohio. Like the speaker in this poem, Elizabeth is accepting towards death and is willing to embrace it. In the story “Death”, Elizabeth states that her most cherished memories were when “her lovers Death and Doctor Reefy held her in their arms” (143). By calling Death as her lover, we can infer that Elizabeth views Death as her true love because it can provide her with happiness and peace. (As we know, Elizabeth is a lonely and miserable character in the novel.) Since Elizabeth views Death as a solace, the speaker in the poem must also view Death as a place of tranquility and pure joy. It is tragic that these two individuals choose death as the only hope for happiness.
Wednesday, September 25, 2013
The Womanizer
The novel Winesburg
Ohio centers around a young man named George Willard. In “Sophistication”,
George becomes “sophisticated” by crossing “the line into manhood” (145). Yet,
I am always irked by the fact that he is described as a “sophisticated” young
man. I believe that George is a serial womanizer despite his “sophistication”.
It is evident in the novel that George has a lot of lady friends who are not
simply his “friend”. Adding to that, a womanizer is defined as an individual
who pursues women lecherously according to The Free Dictionary. Also, a womanizer
is defined as a selfish, narcisstic, nefarious character who needs to
manipulate and use women to feed his own selfish needs according to the Urban
Dictionary. It might seem extremely pessimistic of me to describe George in a
disparaging way but his history with women reaffirms my point. We are first
introduced to his womanizing behaviors with Louise Trunnion. George jumps at
the chance of having sex with Louise an even has a nerve to state that “she
hasn’t got anything on me” after the encounter (28). In other words, he’s
saying that he got what he wanted, sex, and will now have nothing to do with
her. His assertion seems overly presumptuous portraying him as a rather selfish
individual. The next woman he lustfully pursues is Kate Swift, his past school
teacher. George states that “he began to believe she might be in love with him
and the thought was both pleasing and annoying” (93). By saying that her
affections for him is annoying, George presents himself as a pompous young man
since he clearly believes that she is not worthy of him. Yet, he is also
flattered since he is a serial womanizer who jumps at the chance of pursuing
women. As a result, he begins “to have lustful thoughts” of Kate (94). What is
more amazing is that during his “lustful thoughts” he also begins to dream of
Helen White “with whom he had been for a long time half in love” (94). His
short attention span towards women reveals his capricious and immature mind. I
also must ask, what does it even mean to be half in love? Maybe it means that
George’s desire for women persuades his mind to think that he is in love when
he is not. Unfortunately, George and Kate do not work out so he starts to pursue
another woman, Belle Carpenter. (What a surprise:() Anyways, the affair between
George and Belle is just a shallow relationship since both of them use each
other to attain their desires. George like a womanizer uses Belle to feed his
own selfish needs of lust. He further uses her to be possessed “with the sense
of masculine power” (113). Obviously, Belle and George do not work out at the
end. Now the final woman he pursues in
the novel is Helen White. Helen and George’s relationship comes under focus at “Sophistication”.
George states that he “wanted to be and be loved by her” showing his constant desire to
be loved by women (149). Some might say that in this story, George is mature
and has quit his womanizing tendencies. However, he is still continuing to pursue
women which is in the form of Helen. Inferring from the interaction between George and Helen, George probably desires to form deep relationships with women since his
mother died. He is most likely looking for a woman to heal his pains and also
to fulfill his selfish needs.
Sunday, September 22, 2013
The Dangers of Isolation
Recently
I had the opportunity of watching the famous horror movie “The Shining”. As
famously known, “The Shining” is a provocative film that centers on a family
who is staying at an empty hotel. At the isolated hotel, the father, Jack
Torrance, supposedly becomes possessed by supernatural forces and attempts to
murder his wife and young son. Yet I always believe that isolation rather than
the supernatural plays an imperative role to Jack’s malicious actions. Jack who
is already a selfish man is constantly jealous of the fact that his son receives
more attention from his wife. Therefore at the isolated hotel, Jack is forced
to watch the loving interaction between his wife and son driving him to a path
of evil and uncontrollable jealousy. Also, Jack had no one to confide in so he
resorted to unrealistic imaginations. His imaginations are further fueled by
the fact that a father killed his family at this very hotel a long time ago. The
potent effect of isolation also significantly affects characters of Winesburg Ohio. For instance, Enoch
Robinson of “Loneliness” serves as an epitome of an isolated being. Enoch like
Jack is characterized as “a complete egotist” (102). Therefore, Enoch resorts
to isolation since he “[wants] most of all the people in his own mind, people
with whom he could really talk, people he could harangue and scold by the hour,
servants, to his fancy” (102). Enoch possesses a childlike immaturity so he
indulges in unrealistic imaginations. As a result, Enoch is prevented from real
social interactions depriving him of wisdom and worldly expertise. Enoch’s imaginary
world escalates his dependence on imaginations. Consequently, the devastating
effect of isolation claims Enoch as its victim. Enoch’s downfall begins when a
female neighbor starts to visit his room. Enoch like other men becomes
emotionally and sexually attracted to her. His strong feelings for her causes
an inner turmoil within him since he is so used to being alone. For instance,
Enoch first “[becomes] mad to make her understand [him]” but then also feels
that “he would be submerged, drowned out” if the woman understood his imaginary
world (106). Thus, Enoch rejects the woman forever ruining his chance of
maturity. He further exacerbates his situation by saying “vile words” at the
woman which results in “all the life that there had been in the room” to follow
out the departing woman (107). By finally accepting the truth that his
imaginary world is far from reality, Enoch sadly realizes that he will be all
alone by himself. Enoch’s obsession with an imaginary world hampered his chance
of love and most importantly, a vivacious life. It is evident that Enoch will
now have a sad and vacant life since he is aware that he is the one to blame. Both
Enoch and Jack chose isolation in order to satisfy their selfish needs.
However, they did not know that isolation would get to them. Therefore, karma
made a visit to both men: Enoch is now bound to be a miserable loner and Jack
is simply dead.
Saturday, September 14, 2013
"Tintern Abbey" and Mary Shelley
In Frankenstein, Mary
Shelley establishes a connection between Henry Clerval and Woodsworth’s poem “Tintern
Abbey”. At chapter 18, Henry Clerval is so awed by the beautiful scenery of the
Rhine that Shelley quotes Woodsworth’s poem to describe him. For instance,
Shelley describes that nature “haunted him like a passion” (139). Now we must
wonder why Shelley chose to quote this poem at a seemingly random scene. It
seems evident to me that Shelley was hoping to portray Clerval as a double of
Victor. We must recollect that Victor is a passionate lover of nature as well.
He even stated that nature “congregated around me: the unstained snowy
mountain-top, the glittering pinnacle, the pine woods, and ragged bare ravine:
the eagle, soaring amidst the clouds- they all gathered round me, and bade me
to peace” when he was suffering from extreme guilt of his misdeeds (86). In
other words, nature provided him “an appetite: a feeling, and a love” (139). Oh,
what a coincidence! Henry Clerval as well is elevated by nature that he even
states the Rhine “pleases [him] more than all those wonders” (139). Another interesting
part is that both Henry and Victor have one place of nature that they greatly
revere. For Henry, the beautiful landscapes of the Rhine become a place of
reverence. He states that “the spirit that inhabits and guards this place has a
soul more in harmony with man than those who pile the glacier” (139). The admiring
tone and diction are indications of his strong affinity for this place. On the
other hand, the Valley of Chamounix is a dear place to Victor’s heart. He
especially admires this place since he had visited it frequently during his
childhood. It can be inferred that Victor finds solace in this place since he
can embrace his happy memories of childhood to forget his pain. Most likely,
Henry Clerval would have found the Rhine as a place of solace like Victor
if not for his tragic demise.
Yet, I
also believe that there is another reason for the incorporation of “Tintern
Abbey”. I think Shelley wanted the readers to embrace the romanticists’ love
for nature. Romanticists are famously known for their passionate predilection
of nature so it was inherent for Shelley to do so. Also, Shelley like us
(teenagers) was in some part under the influence of peer pressure. Her close
group of friends consisted of Romantic poets and scholars. Her husband, Percy
Shelley, and close friend, Lord Byron, were both imperative figures to Romantic
poetry. Furthermore, Shelley herself has a personal love for nature in the form
of Scotland. Shelley was sent to Scotland at the age of 15 due to the growing
animosity between her and her stepmother. Like Victor, Shelley appreciated
Scotland because she was able to escape her unhappy family life. She viewed the
vast landscapes of Scotland as a place of serenity and unconditional love. We
may never know why Shelley chose to quote “Tintern Abbey” but I have a strong
feeling that it is tied to Shelley’s personal life. (She was always an emotionally charged individual throughout her life.)
Saturday, August 31, 2013
Safie=Mary Shelley
As I
have mentioned, the novel Frankenstein incorporates
aspects of Mary Shelley’s life. In class, we had discussed Mary Shelley’s
connection to Margaret Saville since they “coincidentally” shared the same
initials, M.S. However, I felt that Mary Shelley had a more deep connection to
Safie, Felix’s new bride. Safie like Shelley had a profound connection with her
independent mother who eventually died. Safie’s mother “instructed her daughter
in the tenets of her religion, and taught her to aspire higher powers of
intellect, and an independence of spirit, forbidden to the female followers of
Mahomet” which resembles to Mary Wollenscraft’s pro-feminist views (110). Also,
Safie’s decision to marry Felix despite her father’s opposition strongly resembles
to Mary’s marriage to poet, Percy Shelley. (Mary married Percy which resulted in an
estrangement between Mary and her father.) Safie marries Felix for love but
also because of “the prospect of marrying a Christian, and remaining in a
country where women were allowed to take a rank in society” (110). She was
simply intrigued by the rights she could obtain by moving into this country. In
my opinion, Safie seems to desire independence more than her love for Felix
because of her mother’s powerful guidance. However, she does indeed love Felix
as well since she even defies her father to “arrive in safety at the cottage of
her lover (113). It can be said that her dangerous journey to Germany
symbolizes her first steps toward independence. Shelley’s marriage as well
seems to signify her desire for independence. Shelley elopes with Percy at the
age of 16 despite the fact that he is married and both parents strongly forbid
their matrimony. It seems likely to me that Mary defied her family in order to
discover her self-identity. Shelley disliked her stepmother, Mary Jane
Clairmont, who objected to Mary’s education and was jealous of the relationship
between Mary and her father. Therefore, Shelley was forced to remain at home
under the watchful eyes of her step-mother. Mary, who greatly respected and
loved her biological mother, recognized her duty to her mother which led her to
make this drastic decision. (Her mother’s wish was for Mary to become an
assertive woman which her father failed to fulfill.) Mary and Safie both chose to
listen to the advice of their strong willed mothers presenting themselves as an
opposite of passive women. The last similarity I noticed was that both
women were strongly encouraged by their respective husbands. Felix symbolizes
as a door of endless possibilities to Safie because he can offer her freedom
she desperately wants. For instance, he encourages her freedom by helping her
father escape prison so he can make her his bride. He even faces great dangers
for Safie despite the devastating consequences he receives. He further encourages Safie by persuading her
to “learn their language” helping her to become an educated woman as well (105).
Percy Shelley displays his great support by encouraging Mary to write the novel
Frankenstein. Percy was well aware of
Mary’s outstanding talent so he taught her that writing can be the means of
expressing independence and creativity. Both Safie and Mary Shelley value feminism
but the strong presence of men in their lives contributes to their self-discovery.
Wednesday, August 28, 2013
Frankenstein: A Revelation of Mary Shelley's Life
Mary Shelley was born to the great writers, William Godwin
and Mary Wollstonecraft Godwin, which most likely gave her an innate skill for literature.
She did indeed justify this assumption by releasing her book Frankenstein to the public. The novel Frankenstein was praised for its
revelation on human nature such as unjust society, danger of knowledge, birth
and creation and the overreacher. Some might wonder how a young woman could
come up with such themes that still mystify and surprise readers. Fortunately,
I believe I have the answer. A look into Mary Shelley’s life raises a great
deal of connections between her and her famous novel.
Mary
Shelley’s birth serves as a connection to the theme of birth and creation. Mary
Shelley’s mother died 11 days after the birth of Mary leaving her to lose an
important female parental figure. Therefore, Mary Shelley seems to emphasize
the significant role of women in the process of birth and creation. She reveals
her admiration for a female parental figure when she describes Victor’s mother.
Victor states that “my mother’s tender caresses and my father’s smile of
benevolent nature pleasured while regarding, are my first recollections” (29).
The admiring tone and diction of “my mother’s tender caresses” reflects Mary’s
nostalgic emotions toward motherhood and quite possibly a yearning for a mother’s
love (29). Also, she further romanticizes the role of a mother by depicting the
death of Victor’s mother as pure and angelic. She states that Victor’s mom “died
calmly and her countenance expressed affection even in death” (38). Maybe
Shelley was imagining her own mother’s death which led her to incorporate an angelic
tone in the depiction. Also, Shelley must have wanted to imagine her mother as
a beautiful creature and not a woman who died so tragically. Shelley’s feelings
towards her mother’s death is also portrayed in Victor’s quote “It is so long
before the mind can persuade itself that she, whom we saw every day, and whose
very existence appeared a part of our own, can have departed for ever -- that
the brightness of beloved eye can have been extinguished, and the sound of a
voice so familiar, and dear to the ear, can be hushed, never more to be heard”
(39). This quote is embodied with such passionate
emotions of grief and sadness which most likely infers that Shelley was sharing
her intimate feelings.
Another
vital person in Shelley’s life is her husband Percy Shelley who depicts the
theme, overreacher. Here’s a brief story: Mary and Percy Shelley fell in love
in 1814 despite the fact that Percy was already married. They went through
great adversities such as estrangements from both parents, miscarriages, and
the suicides of their loved ones. Anyhow, Percy is incorporated in the novel
due to the fact that he is an overreacher. Percy first showed these tendencies when
he secretly published a writing on atheism. In his writing, he berated God
which was extremely radical in 19th century England. What is ironic
is that Mary implies in her novel that Victor’s attempt to play God is
misguided when her own husband is condescending toward God. Most importantly,
the death of Percy hints the consequences of being an overreacher. Percy drowned
when his boat sunk during a storm which is coincidentally similar to Walton’s
voyage. Percy was traveling to meet a fellow writer in order to establish a
radical magazine which reflects his overbearing dreams and selfish tendencies
as well.(He left Mary when she had just suffered a miscarriage) This strongly
connects to Walton again since Walton abandons his family for a journey “to
unexplored regions” (18). Finally, Mary reiterates her point by presenting
herself as Margaret Saville in the hopes of cautioning readers of this theme. For
instance, she states as Margaret that Walton’s enterprise is of “evil
forebodings”.
One must admit that Shelley has brilliantly incorporated
herself in the novel in such a surreptitious way. Yet, the fact that Shelley’s
life is reflected in this book is a sad reminder that she did not have a happy
ending after all.
Sunday, August 25, 2013
The Common Dilemma
Countless writers love to address the issue of society’s
obsession with appearances. Even Abraham Lincoln states that “Character is like
a tree and reputation its shadow. The shadow is what we think it is and the
tree is the real thing.” So of course, a great writer like Mary Shelley brings
up this point even from the beginning of her prominent novel Frankenstein.
It is evident that the creature in Frankenstein suffers from severe ostracism due to his “unusual
appearance”. Every person he encounters runs away from fright or berates him
when they behold his not-so-normal features. (He’s eight feet tall and made of
decaying body parts!) One over-the-top reaction to the creature’s appearance
comes ironically from his creator, Victor. Upon seeing the creation for the
first time, Victor states that “breathless horror and disgust filled [his]
heart” (Shelley 51). What makes his
reaction more dramatic is that he runs away from his own creation and falls
into a “nervous fever, which confined [him] for several months” (55).From this,
we can definitely infer that Victor is overreacting since the creature who had
“a grin wrinkled [to] his cheeks” at that time obviously did not pose as a great
danger (52). As a result of society’s unjust bias, the creature becomes
isolated, spurned by the De Laceys and even gets shot for saving a girl’s life.
All of these extreme events lead to the creature’s realization that he will be
truly alone in this world. However, there is good news for the creature: he is
not alone. There is a special individual who isolates himself to conceal his
deformed face, The Phantom.
As many people know The Phantom is
the main character of the famous book/musical The Phantom of the Opera. The Phantom serves as an epitome of an
isolated being who is driven to “unconventional” acts. (I must admit that I am
euphemizing his actions since most people consider his acts as insane.) One
instance, he murders a man and displays his body in front of a crowd who were
just simply trying to enjoy an opera! Yes, I’m not kidding but thankfully he
too has a pretty good reason for his unscrupulous acts. The Phantom also known
as Erik was born with a deformed face which even aroused disgust from his own
mother. Like the creature, the Phantom is abandoned by his own parent and is
led to believe that his appearance is of cursed ugliness” (Leroux). The Phantom
faces even more adversities when he joins a circus. The circus takes advantage of
the naïve Phantom and locks him in a cage where he is displayed to the
audience. At the circus he is treated like an animal which destroys his self-esteem
and his sense of morality. He eventually escapes the circus and makes the Paris
Opera House his home fully aware that society will reject him. He creates a
lair in the Opera House and conceals his face with a mask driving him into deeper
isolation.
Despite the revelation that the
creature and the Phantom share the same dilemma, they are both destined to an
unhappy ending. (The creature decides to kill himself and the Phantom is forced
to let go of his love). Hence, it can be assumed that Shelley and Leroux employed
these two characters to represent society’s unjust bias towards people who are
simply different. Also, they are alluding to the assumption that this bias is a
cycle of human nature since we are still cursed by this oppressing issue.
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