Each tanka contains a few examples of simple assonance. In “I waited and I” by Princess Nukada, the long “I” sound is repeated several times. “I waited and I/… My blind” (Nukada 1-3). In the phrase “But… Of the summer mountain” (Mitsune 1-3) in “The End of My Journey” by Oshikochi Mitsune, the words “but,” “summer,” and “of” repeat the “uh” sound. “Now, I cannot tell” by Ki Tsurayuki has examples of both assonance and alliteration. The words “But” and “plum” (Tsurayuki 3) share the same sound, as do the words “place” and “fragrance” (Tsurayuki 4-5). The line “But the petals of the plum/In this place” (Tsurayuki 3-4) is alive with alliteration. In the poem “How Helpless My Heart!” by Ono Komachi, assonance appears in the words “stream” and “reed” (Komachi 2-3) and “helpless” and “tempt” (Komachi 1-2). The first line is also an excellent example of alliteration -- “How helpless my heart!” (Komachi 1), with the “h” sound at the beginning of every word. Finally, the last tanka by Priest Saigyo has the same sound throughout, in the phrase “single thing” (Saigyo 1), as well as the words “changing” (Saigyo 2), “in” (Saigyo 3), and “shining” (Saigyo 5). Assonance is important in these poems because it draws everything in together -- because of the necessary brevity, tankas are at risk of sounding pieced-together and awkward. Inner rhyme also helps the flow of the poem, and strengthens the themes by putting the emphasis on words that sound the same.
Every poem has inner themes of nature, but each deals with a unique issue as well. “I Waited and I” by Princess Nukada is about the ties between two lovers, and how sadness from being separated can break one’s heart. “The End of My Journey” by Oshikochi Mitsune is about a man, who, tired from a long journey, rests briefly in a beautiful spot in nature. This talks about how it is beneficial to sometimes take a break from busy life and reflect. The theme of “Now, I Cannot Tell” by Ki Tsurayuki is more complex -- friends move on in life, but the memories of time spent together still remain. “How Helpless My Heart!” by Ono Komachi is about how the speaker has had his or her heart broken and now feel lost and separated from the rest of the world. The final tanka by Priest Saigyo (“Every Single Thing”) is about how though our lives seem to move fast and sometimes out of control, we can always find something steady to hold on to.
Monday, April 27, 2009
Thursday, April 16, 2009
LRJ 5 -- Tu Fu Poetry Comparisons
The two poems “Jade Flower Palace” and “Night Thoughts Afloat” by Tu Fu are both striking, not easily forgotten fragments of an ancient Chinese civilization. “Jade Flower Palace” has a haunting, chilling mood that transports the reader back into the very image it provokes. “Night Thoughts Afloat” is more calm and gentle, like the waves lapping against the side of a boat. Their tones are similar -- both are lonely, while “Jade Flower Palace” echoes with reminiscent memories, and “Night Thoughts Afloat” seems more hopeless and sad.
The settings in both poems have natural aspects to them. “Jade Flower Palace” flies us to the ruins of an old castle, taken over by nature. It is rustic and overgrown, and the descriptions send shivers down one’s back. Vivid pictures appear when Tu Fu describes how the “wind moans in the pines” (2), how there are “green ghost fires in the black rooms,” (6) and how “their painted cheeks have crumbled/ away” (13-14). “Night Thoughts Afloat,” on the other hand, is in the quiet peace of a river at night, undisturbed by human interference. Gentle scenes from nature both soothe the mind and sadden it, like “bent grasses/ in a gentle wind” (1-2) and “the moon’s afloat/ in this Great River” (6-7). Both poems use many images from nature, as well as lush descriptions and bright colors to convey the emotion of the poet.
“Jade Flower Palace” has more concrete detail contained in it than “Night Thoughts Afloat,” but both poems are in such a dreamlike trance it is hard to pin anything down. In the former, the images of “ruins beside the cliffs” (5) and “only/ a stone horse is left” (14) are stark and realistic, showing how Tu Fu is mourning the loss of perhaps not just the palace. In the latter, “stars hang/ above the broad plain” (5-6) is such a realistic image one can almost believe they are under the exact night sky being described. The phrase also carries a slightly lonely edge, because the stars seem quiet, alone in the heavens, waiting for something that never seems to appear.
The settings in both poems have natural aspects to them. “Jade Flower Palace” flies us to the ruins of an old castle, taken over by nature. It is rustic and overgrown, and the descriptions send shivers down one’s back. Vivid pictures appear when Tu Fu describes how the “wind moans in the pines” (2), how there are “green ghost fires in the black rooms,” (6) and how “their painted cheeks have crumbled/ away” (13-14). “Night Thoughts Afloat,” on the other hand, is in the quiet peace of a river at night, undisturbed by human interference. Gentle scenes from nature both soothe the mind and sadden it, like “bent grasses/ in a gentle wind” (1-2) and “the moon’s afloat/ in this Great River” (6-7). Both poems use many images from nature, as well as lush descriptions and bright colors to convey the emotion of the poet.
“Jade Flower Palace” has more concrete detail contained in it than “Night Thoughts Afloat,” but both poems are in such a dreamlike trance it is hard to pin anything down. In the former, the images of “ruins beside the cliffs” (5) and “only/ a stone horse is left” (14) are stark and realistic, showing how Tu Fu is mourning the loss of perhaps not just the palace. In the latter, “stars hang/ above the broad plain” (5-6) is such a realistic image one can almost believe they are under the exact night sky being described. The phrase also carries a slightly lonely edge, because the stars seem quiet, alone in the heavens, waiting for something that never seems to appear.
Saturday, March 21, 2009
Shakespeare Comparison Paper
Claire Hinkley
Peifer 4
English 10 IB
18 March 2009
Shakespeare Comparison Paper
“Man in his time plays many parts.” This quote is representative of all humans, for everyone grows and changes throughout their lifetime. Perhaps this is why it is included in many great works of literature. The great William Shakespeare included it in many of his plays, including Macbeth and As You Like It. In these plays especially, the four characters that can most relate to this quote are probably Rosalind, Macbeth, Oliver, and Lady Macbeth, for each go through at least one transformation in the course of the play.
Rosalind, the protagonist in As You Like It, changes so many times throughout the story it can become a bit confusing for the readers. At first she is herself, Rosalind. Then she pretends to be a man (“Ganymede”) when she travels into the Forest of Arden. Finally, she pretends to be a man acting like a woman. “Were it not better,/ Because I am more than the common tall,/ That I did suit me all points like a man?… And therefore look you call me Ganymede.” (Shakespeare 1.3.121-132) She becomes Ganymede most practically for protection, for two women traveling alone in the forest would be dangerous to both. Later, when she is “acting” like Rosalind, it is driven by her curiosity to find out more about the one whom she loves. Rosalind’s switching of identities shows she is courageous, brave, smart, and resourceful. Shakespeare is also possibly making a point that women can be just as strong and brave as men when given the opportunity to be without judgment. Rosalind receives this opportunity because everyone she meets believes her to be a boy.
Macbeth starts out the play as a good thane, loyal to his king and country and happy with his position in life. However, the witches’ prophecy changes that. The notion of unlimited power is a poisonous seed in Macbeth’s mind, and it rapidly grows into a thorny vine that smothers all his guilty thoughts and remnants of his conscience. Macbeth becomes ruthless, ambitious, and bloodthirsty, and he stops at nothing in his quest for power. “I have no spur/ To ##### the sides of my intent, but only/ Vaulting ambition, which o'erleaps itself/ And falls on th' other.” (Shakespeare 1.7.25-29) This change in character is helped along by his wife, Lady Macbeth, but eventually he surpasses her in greed and they separate, to meet again only in death. Macbeth’s change in character is a vivid warning of what happens when one becomes too powerful. The author could also have been suggesting that women are not to be trusted, since Lady Macbeth pushed her husband into more sin when he hesitated. He also could have been showing the audience a tyrant to make them appreciate King James.
Oliver, from As You Like It, is another character who does a complete turnaround in the role that he plays. At first he is malicious and cruel to his younger brother Orlando. “Oh, that your Highness knew my heart in this:/ I never loved my brother in my life” (Shakespeare 3.1.13-14) However, after Orlando saves his older brother from a lioness, Oliver becomes thoughtful and kind. “I do not shame/ To tell you what I was, since my conversion/ So sweetly tastes, being the thing I am.” (Shakespeare 4.2.161-163) Oliver’s change in character is meaningful because it shows how people can change through love, time, and life-or-death situations. Shakespeare also makes an interesting point on how there is good in everyone -- it sometimes just needs time to come out.
Lady Macbeth is a woman who plays many parts during the portion of her life captured in the play. In the beginning, she is very ambitious, and pushes her husband to kill Duncan. Then, slowly, we see her composure slipping, until she finally goes mad with guilt and commits suicide. The difference between the poised, ambitious, greedy Lady Macbeth at the start of the play and the shaking, guilt-ridden, sleepwalking woman at the end is enormous and startling. “Out, damned spot! Out, I say!—One, two. Why, then, 'tis time to do 't. Hell is/ murky!—Fie, my lord, fie! A soldier, and afeard? What need we fear who knows/ it, when none can call our power to account?—Yet who would have thought the/ old man to have had so much blood in him.” (Shakespeare 5.1.25-28) It sends a ringing warning to everyone in the audience. This change of character is important for many reasons. Lady Macbeth’s slipping sanity acts as both a comparison to her husband, who on the contrary grows colder and more greedy with every day; and also is a startling measure of the severity of the deeds committed by the couple. Though at first the lady’s suicide might seem like a symbol of the weakness of woman compared to men, it really shows the range of emotions women are capable of feeling. The guilt and sadness Lady Macbeth feels, though physically caused her death, ultimately might have saved her immortal soul from damnation. Macbeth was unable to feel regret, and this could be a much more far-reaching and deep flaw than the mental breakdown his wife experienced.
In the two plays As You Like It and Macbeth, the four characters Lady Macbeth, Oliver, Macbeth, and Rosalind especially make many changes to both their physical and mental characters throughout their respective stories. These different aspects to their personalities prove that everyone is multi-faceted and one should never judge another right away, for there is always more than meets the eye. As people grow, they change, and will always adapt to different situations. There are many forces acting upon everyone, and people will play many parts during their life, for nothing lasts forever.
Peifer 4
English 10 IB
18 March 2009
Shakespeare Comparison Paper
“Man in his time plays many parts.” This quote is representative of all humans, for everyone grows and changes throughout their lifetime. Perhaps this is why it is included in many great works of literature. The great William Shakespeare included it in many of his plays, including Macbeth and As You Like It. In these plays especially, the four characters that can most relate to this quote are probably Rosalind, Macbeth, Oliver, and Lady Macbeth, for each go through at least one transformation in the course of the play.
Rosalind, the protagonist in As You Like It, changes so many times throughout the story it can become a bit confusing for the readers. At first she is herself, Rosalind. Then she pretends to be a man (“Ganymede”) when she travels into the Forest of Arden. Finally, she pretends to be a man acting like a woman. “Were it not better,/ Because I am more than the common tall,/ That I did suit me all points like a man?… And therefore look you call me Ganymede.” (Shakespeare 1.3.121-132) She becomes Ganymede most practically for protection, for two women traveling alone in the forest would be dangerous to both. Later, when she is “acting” like Rosalind, it is driven by her curiosity to find out more about the one whom she loves. Rosalind’s switching of identities shows she is courageous, brave, smart, and resourceful. Shakespeare is also possibly making a point that women can be just as strong and brave as men when given the opportunity to be without judgment. Rosalind receives this opportunity because everyone she meets believes her to be a boy.
Macbeth starts out the play as a good thane, loyal to his king and country and happy with his position in life. However, the witches’ prophecy changes that. The notion of unlimited power is a poisonous seed in Macbeth’s mind, and it rapidly grows into a thorny vine that smothers all his guilty thoughts and remnants of his conscience. Macbeth becomes ruthless, ambitious, and bloodthirsty, and he stops at nothing in his quest for power. “I have no spur/ To ##### the sides of my intent, but only/ Vaulting ambition, which o'erleaps itself/ And falls on th' other.” (Shakespeare 1.7.25-29) This change in character is helped along by his wife, Lady Macbeth, but eventually he surpasses her in greed and they separate, to meet again only in death. Macbeth’s change in character is a vivid warning of what happens when one becomes too powerful. The author could also have been suggesting that women are not to be trusted, since Lady Macbeth pushed her husband into more sin when he hesitated. He also could have been showing the audience a tyrant to make them appreciate King James.
Oliver, from As You Like It, is another character who does a complete turnaround in the role that he plays. At first he is malicious and cruel to his younger brother Orlando. “Oh, that your Highness knew my heart in this:/ I never loved my brother in my life” (Shakespeare 3.1.13-14) However, after Orlando saves his older brother from a lioness, Oliver becomes thoughtful and kind. “I do not shame/ To tell you what I was, since my conversion/ So sweetly tastes, being the thing I am.” (Shakespeare 4.2.161-163) Oliver’s change in character is meaningful because it shows how people can change through love, time, and life-or-death situations. Shakespeare also makes an interesting point on how there is good in everyone -- it sometimes just needs time to come out.
Lady Macbeth is a woman who plays many parts during the portion of her life captured in the play. In the beginning, she is very ambitious, and pushes her husband to kill Duncan. Then, slowly, we see her composure slipping, until she finally goes mad with guilt and commits suicide. The difference between the poised, ambitious, greedy Lady Macbeth at the start of the play and the shaking, guilt-ridden, sleepwalking woman at the end is enormous and startling. “Out, damned spot! Out, I say!—One, two. Why, then, 'tis time to do 't. Hell is/ murky!—Fie, my lord, fie! A soldier, and afeard? What need we fear who knows/ it, when none can call our power to account?—Yet who would have thought the/ old man to have had so much blood in him.” (Shakespeare 5.1.25-28) It sends a ringing warning to everyone in the audience. This change of character is important for many reasons. Lady Macbeth’s slipping sanity acts as both a comparison to her husband, who on the contrary grows colder and more greedy with every day; and also is a startling measure of the severity of the deeds committed by the couple. Though at first the lady’s suicide might seem like a symbol of the weakness of woman compared to men, it really shows the range of emotions women are capable of feeling. The guilt and sadness Lady Macbeth feels, though physically caused her death, ultimately might have saved her immortal soul from damnation. Macbeth was unable to feel regret, and this could be a much more far-reaching and deep flaw than the mental breakdown his wife experienced.
In the two plays As You Like It and Macbeth, the four characters Lady Macbeth, Oliver, Macbeth, and Rosalind especially make many changes to both their physical and mental characters throughout their respective stories. These different aspects to their personalities prove that everyone is multi-faceted and one should never judge another right away, for there is always more than meets the eye. As people grow, they change, and will always adapt to different situations. There are many forces acting upon everyone, and people will play many parts during their life, for nothing lasts forever.
Monday, March 16, 2009
As You Like It LRJ 5
Everything has worked out right, and I am completely happy! We all have married -- dear Celia with Oliver, who almost as soon as setting eyes on each other were in love; Silvius with Phoebe, who transferred her affections to the devoted man; and even Touchstone with a rather random peasant girl named Audrey. And of course, my wonderful Orlando and I are together at last.
It all fell into place so perfectly, even I was a bit surprised. I convinced them all I was under the tutelage of a magician and I could bring Rosalind here for Orlando. When I admitted I am her, they weren’t completely surprised, for I think they saw similarities between her and Ganymede.
Finally, a messenger appeared, saying Orlando has all his lands back! My uncle has decided to become a monk. This is unexpected, but not at all undeserved. We will move back with my husband, for he is now a duke. Oliver has lands too, so Celia and I will always be close. I am beginning to think the Forest of Arden is somewhat magical, for it took my plans and executed them perfectly. I am sure Touchstone and Jaques will be happy, and I bear them no ill will whatsoever. In fact, I do think we all just might live happily ever after.
--Rosalind
It all fell into place so perfectly, even I was a bit surprised. I convinced them all I was under the tutelage of a magician and I could bring Rosalind here for Orlando. When I admitted I am her, they weren’t completely surprised, for I think they saw similarities between her and Ganymede.
Finally, a messenger appeared, saying Orlando has all his lands back! My uncle has decided to become a monk. This is unexpected, but not at all undeserved. We will move back with my husband, for he is now a duke. Oliver has lands too, so Celia and I will always be close. I am beginning to think the Forest of Arden is somewhat magical, for it took my plans and executed them perfectly. I am sure Touchstone and Jaques will be happy, and I bear them no ill will whatsoever. In fact, I do think we all just might live happily ever after.
--Rosalind
As You Like It LRJ 4
We are all still in the Forest, and though I admit I rather miss my house, it is all worth it for I can see Orlando! I am so worried for him now, for earlier today, something most alarming happened. His brother Oliver came by and informed us Orlando was wounded in saving him from a hungry lioness! He even produced the bloody handkerchief to prove his bravery. I forgot my role as Ganymede for a moment and fainted, which made Oliver slightly suspicious. I am not sure I completely convinced him it wasn’t real.
I met a Monsieur Jaques today as well, who I do not like at all. He is a melancholy fellow, and thinks a great deal of himself. He was trying to convince me that he has traveled all over Europe! What a liar. He is quite melancholy, and though he seems to think this makes him poetic and admirable, I think it makes him about as interesting and intelligent as a post.
I simply cannot wait to see my Orlando again. I will continue with my charade, but I don’t think it needs to be for much longer, for I can see he is a good man, honorable and brave. I only hope he recovers from his injuries! I will go inquire to Oliver as to their severity.
--Rosalind
I met a Monsieur Jaques today as well, who I do not like at all. He is a melancholy fellow, and thinks a great deal of himself. He was trying to convince me that he has traveled all over Europe! What a liar. He is quite melancholy, and though he seems to think this makes him poetic and admirable, I think it makes him about as interesting and intelligent as a post.
I simply cannot wait to see my Orlando again. I will continue with my charade, but I don’t think it needs to be for much longer, for I can see he is a good man, honorable and brave. I only hope he recovers from his injuries! I will go inquire to Oliver as to their severity.
--Rosalind
As You Like It LRJ 3
I have found my father. But I can scarcely think of him now that I have discovered who has been staying with him -- Orlando, my wrestler!
He covered the trees of the forest of Arden with poems for me, and though some of them were not very good, I know that he loves me! He thinks that I am a man, but I have a plan. I need to make truly sure he is a good man, so I am going to pretend to give him lessons on “forgetting” his love for me. I will act as myself, Rosalind, though he will believe it is Ganymede.
I wish he would come! He was so late for our meeting today that I happened upon two shepards while I was waiting. One of them is a truly dreadful woman by the name of Phoebe who has somehow captured the heart of the good man Silvius! I am afraid she has fallen in love with Ganymede. I’m not too worried about this though… I know it will all work out. Celia has given me very good advice.
I do wonder why Orlando has come into the forest. I will ask him next time I see him. But where is he?
--Rosalind
He covered the trees of the forest of Arden with poems for me, and though some of them were not very good, I know that he loves me! He thinks that I am a man, but I have a plan. I need to make truly sure he is a good man, so I am going to pretend to give him lessons on “forgetting” his love for me. I will act as myself, Rosalind, though he will believe it is Ganymede.
I wish he would come! He was so late for our meeting today that I happened upon two shepards while I was waiting. One of them is a truly dreadful woman by the name of Phoebe who has somehow captured the heart of the good man Silvius! I am afraid she has fallen in love with Ganymede. I’m not too worried about this though… I know it will all work out. Celia has given me very good advice.
I do wonder why Orlando has come into the forest. I will ask him next time I see him. But where is he?
--Rosalind
As You Like It LRJ 2
How kind these shepards are to strangers! For we were walking along the path, poor Celia about to faint, when we happened upon a kind man called Corin. He offered us food and shelter immediately and with no suspicion! It is a very nice change from court. Now we are going to purchase this land and house for him, I believe.
Touchstone has been very entertaining lately. I don’t think he wishes himself to be with us, however, for today he said, “Ay, now am I in Arden, the more fool I. When I was at home I was in a better place, but travelers must be content.” However, it must be so, though I am sorry to cause him discomfort. Dear Celia is closer than a sister, and she has stayed true by my side through this whole ordeal. I hate to think I am causing her pain. She must be missed by now, and Touchstone as well… I hope my uncle stays in his palace, for meeting him here cannot bode well for anyone involved.
I still cannot wait to find my father. It is what is driving me through this difficult journey… well, my father and perhaps the memory of my wrestler. But I must focus on the task ahead -- the forest is necessary, and I hope we all will become stronger because of it. Now I must stop, for we must continue on in our search. I think I will go ask the shepard Corin if he knows of my father’s whereabouts.
--Rosalind
Touchstone has been very entertaining lately. I don’t think he wishes himself to be with us, however, for today he said, “Ay, now am I in Arden, the more fool I. When I was at home I was in a better place, but travelers must be content.” However, it must be so, though I am sorry to cause him discomfort. Dear Celia is closer than a sister, and she has stayed true by my side through this whole ordeal. I hate to think I am causing her pain. She must be missed by now, and Touchstone as well… I hope my uncle stays in his palace, for meeting him here cannot bode well for anyone involved.
I still cannot wait to find my father. It is what is driving me through this difficult journey… well, my father and perhaps the memory of my wrestler. But I must focus on the task ahead -- the forest is necessary, and I hope we all will become stronger because of it. Now I must stop, for we must continue on in our search. I think I will go ask the shepard Corin if he knows of my father’s whereabouts.
--Rosalind
As You Like It LRJ 1
I haven’t had a moment to catch my breath since early this afternoon!
My uncle has banished me from his court and the town on pain of death. I can still scarcely believe how it has changed since only this morning. It seems one moment I’m eating breakfast with my dear cousin Celia, and the next we’re fleeing for our lives, disguised as beggars! For now we are paused beneath a tree while Touchstone fetches bread from a nearby inn, and I have a minute to write this entry. My heart is still pounding beneath the man’s shirt and coat I am hidden inside.
We are going to the Forest of Arden to find my father, whom I have missed terribly ever since his own banishing. I can’t wait to see his face again. Celia and I have discussed it, and we think the only way to travel safely to him is to disguise ourselves. She is traveling under the name Aliena, and I am pretending to be a young man called Ganymede. My heart still stands still in fear when I think of our predicament, but I know we will be able to use our wits to get out of any unpleasant situation. Hopefully my uncle will come around to see the error of his ways, but for now he is the only thing back home I do not miss.
But in all this mess, I have almost forgotten about the young wrestler! I met him only earlier today, and I would give my heart to him in an instant. He is Duke Rowland’s youngest son, and a fine wrestler. I wish I could see him again, but I fear it cannot be. For I am banished, and we must find my father.
--Rosalind
My uncle has banished me from his court and the town on pain of death. I can still scarcely believe how it has changed since only this morning. It seems one moment I’m eating breakfast with my dear cousin Celia, and the next we’re fleeing for our lives, disguised as beggars! For now we are paused beneath a tree while Touchstone fetches bread from a nearby inn, and I have a minute to write this entry. My heart is still pounding beneath the man’s shirt and coat I am hidden inside.
We are going to the Forest of Arden to find my father, whom I have missed terribly ever since his own banishing. I can’t wait to see his face again. Celia and I have discussed it, and we think the only way to travel safely to him is to disguise ourselves. She is traveling under the name Aliena, and I am pretending to be a young man called Ganymede. My heart still stands still in fear when I think of our predicament, but I know we will be able to use our wits to get out of any unpleasant situation. Hopefully my uncle will come around to see the error of his ways, but for now he is the only thing back home I do not miss.
But in all this mess, I have almost forgotten about the young wrestler! I met him only earlier today, and I would give my heart to him in an instant. He is Duke Rowland’s youngest son, and a fine wrestler. I wish I could see him again, but I fear it cannot be. For I am banished, and we must find my father.
--Rosalind
Wednesday, March 4, 2009
Macbeth LRJ 6
Intense, tragic, and thought-provoking, Shakespeare's Macbeth poses questions that cut to the essence of what it means to be human. Through the story of an ambitious lord who’s insanity steadily increases with each crime he commits, the audience faces the question, how far should one go in a quest for power? With each new character influencing and pressuring Macbeth to new, dangerous heights, the audience wonders if one should ever really trust in others. Finally, at the climax of the play when all the pieces of the story fit together just before they are destroyed, the audience is forced to contemplate if one can ever really be absolved of their sins.
However, Shakespeare doesn’t quite abandon the audience after asking his deeply provocative questions. Though he never directly provides the answer, it can be guessed through the intricate dialogue and character interactions. Before Macbeth becomes too immersed in his greed and lust for power, he admits to his fears of gaining it the wrong way. “…that but this blow/ Might be the be-all and end-all here,/ But here, upon this bank and shoal of time,/ We’d jump the life to come.” (Shakespeare 39) In the beginning, at least, Macbeth feared going too far might result in eternal and immovable consequences.
None of the advice given to Macbeth turns out to be good and solid, so the audience is left to assume Shakespeare doesn’t believe in trusting others or prophecies. Especially in the case of the witches, where they feed into his security and inflate it into full-blown arrogance, is Macbeth most especially led astray. “Be lion-mettled, proud, and take no care/ Who chafes, who frets, or where conspirers are.” (Shakespeare 127) Macbeth finally realizes his mistake when he cries to Macduff, “And be these juggling fiends no more believed/ That palter with us in a double sense,/ That keep the word of our promise to our ear/ And break it to our hope.” (Shakespeare 187)
The final question is the most controversial and least obvious of them all. Shakespeare never does more than hint at his belief on whether or not sins are unforgivable. The two key villains in this story are also the heroes, which leaves the audience with a strange paradox. Macbeth has hallucinations of his victims and his wife literally tries to was blood from her hands in her sleep each night. This seems to answer the question with both a yes and a no. The fact that they do these things over and over again until their death begs the answer that no- sins as treacherous as theirs never go away, and the guilt never fades. However, doesn’t the fact that they feel this quilt and regret at all mean they deserve forgiveness? The audience is left to puzzle that one out on their own.
However, Shakespeare doesn’t quite abandon the audience after asking his deeply provocative questions. Though he never directly provides the answer, it can be guessed through the intricate dialogue and character interactions. Before Macbeth becomes too immersed in his greed and lust for power, he admits to his fears of gaining it the wrong way. “…that but this blow/ Might be the be-all and end-all here,/ But here, upon this bank and shoal of time,/ We’d jump the life to come.” (Shakespeare 39) In the beginning, at least, Macbeth feared going too far might result in eternal and immovable consequences.
None of the advice given to Macbeth turns out to be good and solid, so the audience is left to assume Shakespeare doesn’t believe in trusting others or prophecies. Especially in the case of the witches, where they feed into his security and inflate it into full-blown arrogance, is Macbeth most especially led astray. “Be lion-mettled, proud, and take no care/ Who chafes, who frets, or where conspirers are.” (Shakespeare 127) Macbeth finally realizes his mistake when he cries to Macduff, “And be these juggling fiends no more believed/ That palter with us in a double sense,/ That keep the word of our promise to our ear/ And break it to our hope.” (Shakespeare 187)
The final question is the most controversial and least obvious of them all. Shakespeare never does more than hint at his belief on whether or not sins are unforgivable. The two key villains in this story are also the heroes, which leaves the audience with a strange paradox. Macbeth has hallucinations of his victims and his wife literally tries to was blood from her hands in her sleep each night. This seems to answer the question with both a yes and a no. The fact that they do these things over and over again until their death begs the answer that no- sins as treacherous as theirs never go away, and the guilt never fades. However, doesn’t the fact that they feel this quilt and regret at all mean they deserve forgiveness? The audience is left to puzzle that one out on their own.
Tuesday, March 3, 2009
Macbeth LRJ 5
Act V is the climax of the entire play, and it contains themes that were present in previous acts. Death, anger, and defeat all played major roles in this act. Lady Macbeth has become so depressed from her hidden guilt she commits suicide. Macbeth has grown even more paranoid, and kills several people out of sheer anger. The witches’ prophecy that none born from a woman will be able to harm him has made him extremely arrogant. “Thou wast born of woman. /But swords I smile at, weapons laugh to scorn, /Brandished by man that's of a woman born.” (Shakespeare 183) However, when Macduff reveals his birth was unusual and he in fact was not born, Macbeth is afraid for the first time. “Accursèd be that tongue that tells me so, /For it hath cowed my better part of man… I'll not fight with thee.” (Shakespeare 187) Too stubborn to surrender, he fights and is killed. The fact that every one of the witches’ prophecies came true is significant because Macbeth grew to be too arrogant to listen to the warnings. In his mind, the prophecies where he was all-powerful were the only ones that mattered. When he finally realizes the witches and spirits were tricking him, it is far too late.
One of the image patterns in Act V is the presence of medicine or drugs. In scene two, Caithness, a Scottish noble, says, “Meet we the medicine of the sickly weal, /And with him pour we in our country's purge /Each drop of us.” (Shakespeare 167) He is referring to Malcolm, who will soon be king and thereby hopefully repair Scotland from the terrible things Macbeth has been doing. Later, in scene 3, Macbeth rages to the Doctor, “And with some sweet oblivious antidote/ Cleanse the stuffed bosom of that perilous stuff /Which weighs upon the heart?” (Shakespeare 171) He realizes that Lady Macbeth is truly ill, and he has no one left but her. He is enraged and terrified at the prospect of losing her. Finally, Macbeth makes another reference to medicine, saying, “What rhubarb, senna, or what purgative drug, /Would scour these English hence?” This time he wants someone to find an easy answer to the problems Scotland is facing. One quick fix would be perfect, for he is too caught up in his power to want to work for it. The image pattern of medicine and drugs in Act V is important because it shows Macbeth is getting desperate, beginning to realize the danger he, his wife, and his country are in. He wants there to be one easy fix for all his problems. Another affect of drugs are to make everything seem to go away, which is probably what Macbeth wants. He is deep into an irreversible mess, and he will never be able to pull himself out.
One of the image patterns in Act V is the presence of medicine or drugs. In scene two, Caithness, a Scottish noble, says, “Meet we the medicine of the sickly weal, /And with him pour we in our country's purge /Each drop of us.” (Shakespeare 167) He is referring to Malcolm, who will soon be king and thereby hopefully repair Scotland from the terrible things Macbeth has been doing. Later, in scene 3, Macbeth rages to the Doctor, “And with some sweet oblivious antidote/ Cleanse the stuffed bosom of that perilous stuff /Which weighs upon the heart?” (Shakespeare 171) He realizes that Lady Macbeth is truly ill, and he has no one left but her. He is enraged and terrified at the prospect of losing her. Finally, Macbeth makes another reference to medicine, saying, “What rhubarb, senna, or what purgative drug, /Would scour these English hence?” This time he wants someone to find an easy answer to the problems Scotland is facing. One quick fix would be perfect, for he is too caught up in his power to want to work for it. The image pattern of medicine and drugs in Act V is important because it shows Macbeth is getting desperate, beginning to realize the danger he, his wife, and his country are in. He wants there to be one easy fix for all his problems. Another affect of drugs are to make everything seem to go away, which is probably what Macbeth wants. He is deep into an irreversible mess, and he will never be able to pull himself out.
Sunday, March 1, 2009
Macbeth LRJ 4
There are several purposes of the scene with Lady Macduff in Act IV. In the conversation between her and her son, the audience senses the closeness between the two and immediately like them. She gently teases him, saying things like “Thou speak'st with all thy wit; and yet, i' faith,/ With wit enough for thee.” (Shakespeare 135) and “Poor prattler, how thou talk'st!” (Shakespeare 137) They are kind, loving people, and the stark contrast between them and what Macbeth has become is apparent right away. Macbeth is becoming truly crazy, for he slaughters them for the sole reason of hurting a man he has become slightly suspicious of. The audience begins to realize there is no going back for Macbeth, for he has become too cruel and heartless to kill an innocent child and his mother.
Macbeth’s character has grown worse and worse with each passing day. Each new murder kills a part of himself. Though he sometimes seems to realize it, he does nothing to restrain himself on the belief he is unable to go back, so he might as well kill even more innocent people. His character used to be much kinder, but it is changing more and more rapidly. Others are noticing, which is why by the end of Act IV he has no friends left but his wife -- Banquo is dead and all the other lords are suspicious and frightened of him. Macduff, formerly a close friend of Macbeth, has gone to meet Malcolm in England, for he hates the new king even before he learns of his family’s murders. “Not in the legions/ Of horrid hell can come a devil more damned/ In evils to top Macbeth.” (Shakespeare 143)
Macbeth’s character has grown worse and worse with each passing day. Each new murder kills a part of himself. Though he sometimes seems to realize it, he does nothing to restrain himself on the belief he is unable to go back, so he might as well kill even more innocent people. His character used to be much kinder, but it is changing more and more rapidly. Others are noticing, which is why by the end of Act IV he has no friends left but his wife -- Banquo is dead and all the other lords are suspicious and frightened of him. Macduff, formerly a close friend of Macbeth, has gone to meet Malcolm in England, for he hates the new king even before he learns of his family’s murders. “Not in the legions/ Of horrid hell can come a devil more damned/ In evils to top Macbeth.” (Shakespeare 143)
Macbeth LRJ 3
In Act III of Macbeth, Lady Macbeth and her husband are switching roles. She is becoming the careful one, comforting her husband as he obsesses over murder. “Come on, gentle my lord,/ Sleek o'er your rugged looks. Be bright and jovial/ Among your guests tonight.” (Shakespeare 93) She tries to calm him down in preparation for the feast he hosts, for though she is becoming more cautious, she is still conscious of their public image. Macbeth, on the other hand, is now becoming cruel and cold. He believes he is too far into blood to turn back now, so he might as well keep murdering. He is also becoming paranoid. “Oh, full of scorpions is my mind, dear wife! Thou know'st that Banquo, and his Fleance, lives.” (Shakespeare 93) The fact that Fleance, his true contender (according to the witches’ prophecy) is still alive, scares Macbeth.
An image that appears over and over again in Act III is blood. Macbeth makes many references to it throughout, and it appears in literal form when the murderer reports back to Macbeth, drenched in Banquo’s blood. Macbeth says “bloody cousins,” meaning Malcom and Donalbain’s guilt; “bloody distance,” in this case meaning he hates Banquo with a passion; and “bloody and invisible hand,” which here means the night has murdered Banquo. When the murderers appear, Macbeth observes, “There’s blood upon thy face… ‘Tis better thee without than he within.” (Shakespeare 99) This is just another way of saying he is glad Banquo was murdered and gone forever.
The themes of paranoia, horror, and retribution are portrayed in Act III through dialogue and allusions. When Macbeth says, “But now I am cabined, cribbed, confined, bound in/ To saucy doubts and fears. --But Banquo’s safe?” (Shakespeare 101) his choice of words reveal a lot about himself and the themes of this act. First he talks about his all-encompassing fear, enough that he would reveal it in a dinner party in front of many important nobles. However, when he says that Banquo is “safe” as opposed to “dead,” he hints that though he might be glad his enemy is dead, he secretly envies him and the security death brings upon its victim. This theme of desiring death appears several other times throughout the act and the entire play.
An image that appears over and over again in Act III is blood. Macbeth makes many references to it throughout, and it appears in literal form when the murderer reports back to Macbeth, drenched in Banquo’s blood. Macbeth says “bloody cousins,” meaning Malcom and Donalbain’s guilt; “bloody distance,” in this case meaning he hates Banquo with a passion; and “bloody and invisible hand,” which here means the night has murdered Banquo. When the murderers appear, Macbeth observes, “There’s blood upon thy face… ‘Tis better thee without than he within.” (Shakespeare 99) This is just another way of saying he is glad Banquo was murdered and gone forever.
The themes of paranoia, horror, and retribution are portrayed in Act III through dialogue and allusions. When Macbeth says, “But now I am cabined, cribbed, confined, bound in/ To saucy doubts and fears. --But Banquo’s safe?” (Shakespeare 101) his choice of words reveal a lot about himself and the themes of this act. First he talks about his all-encompassing fear, enough that he would reveal it in a dinner party in front of many important nobles. However, when he says that Banquo is “safe” as opposed to “dead,” he hints that though he might be glad his enemy is dead, he secretly envies him and the security death brings upon its victim. This theme of desiring death appears several other times throughout the act and the entire play.
Wednesday, February 25, 2009
Macbeth LRJ 2
In Act II, Macbeth appears to have more positive qualities than negative ones. He does not want to kill the king, and after he goes through with it, he is full of fear and remorse. “I'll go no more:/ I am afraid to think what I have done;/ Look on 't again I dare not.” He can’t bring himself to go back into the room to incriminate the servants for Duncan’s murder, which shows he still has a bit of humanity left. However, the fact that he goes through with the murder and then covers it up shows he is becoming crueler. He kills the servants to prevent them from confessing their innocence and pretends to be shocked and saddened when the rest of the household learns the news. “Had I but died an hour before this chance,/ I had lived a blessèd time, for from this instant/ There's nothing serious in mortality./ All is but toys. Renown and grace is dead.”
Lady Macbeth continues to be more savage and cruel than her husband. After he has committed the murder, she scornfully says to him, “My hands are of your color, but I shame/ To wear a heart so white.” This refers to how though her hands are as bloody and guilty as his, she is disgusted by his weakness. She is an extremely good actress, however, and when the household finds out about Duncan’s death, she goes as far as to pretend to faint to keep up the appearance of shock. She exclaims, “Help me hence, ho!” right before she falls to the ground.
The image of a sword or dagger appears many times throughout Act II. The first scene opens on Banquo talking to his son Fleance, and letting him hold his sword. “Hold, take my sword.” Later that scene, when Macbeth is alone, he sees a vision of a bloody dagger and takes out his own to compare it. “Is this a dagger which I see before me,/ The handle toward my hand? Come, let me clutch thee./ I have thee not, and yet I see thee still.” In the next scene, Lady Macbeth takes the bloody daggers used for the murder and wipe them on the servants so her husband will not be suspected. “Why did you bring these daggers from the place?/ They must lie there. Go carry them and smear/ The sleepy grooms with blood.” Finally, in Scene 4, there is yet another mention when Donalbain says, “Where we are,/ There's daggers in men's smiles.” The theme of daggers is important because it represents the murder of the king and the slow severing of Macbeth’s conscience and sanity.
Lady Macbeth continues to be more savage and cruel than her husband. After he has committed the murder, she scornfully says to him, “My hands are of your color, but I shame/ To wear a heart so white.” This refers to how though her hands are as bloody and guilty as his, she is disgusted by his weakness. She is an extremely good actress, however, and when the household finds out about Duncan’s death, she goes as far as to pretend to faint to keep up the appearance of shock. She exclaims, “Help me hence, ho!” right before she falls to the ground.
The image of a sword or dagger appears many times throughout Act II. The first scene opens on Banquo talking to his son Fleance, and letting him hold his sword. “Hold, take my sword.” Later that scene, when Macbeth is alone, he sees a vision of a bloody dagger and takes out his own to compare it. “Is this a dagger which I see before me,/ The handle toward my hand? Come, let me clutch thee./ I have thee not, and yet I see thee still.” In the next scene, Lady Macbeth takes the bloody daggers used for the murder and wipe them on the servants so her husband will not be suspected. “Why did you bring these daggers from the place?/ They must lie there. Go carry them and smear/ The sleepy grooms with blood.” Finally, in Scene 4, there is yet another mention when Donalbain says, “Where we are,/ There's daggers in men's smiles.” The theme of daggers is important because it represents the murder of the king and the slow severing of Macbeth’s conscience and sanity.
Sunday, February 22, 2009
Macbeth LRJ 1
Macbeth is an honorable man with good intentions. However, his great love for his wife blinds him from her not-so-honorable actions and he allows himself to be led into an awful situation that might possibly lead to his downfall. “Yet I do fear thy [Macbeth’s] nature;/ it is too full o’ th’ milk of human kindness” (Shakespeare 31). Lady Macbeth is not an evil woman, but she has enormous ambition for herself and for her husband. She won’t allow anything to get in her way, and even asks the spirits to make her less gentle and more ruthless. “Come, your spirits/ That tend on mortal thoughts, unsex me here,/ And fill me from the crown to the toe top-full/ Of direst cruelty…” (Shakespeare 33). Banquo, the commander of the king’s army, seems like an upstanding, moral man who puts his duty before all else. He is loyal to the king and to Macbeth. “Noble Banquo,/ That hast no less deserved nor must be known/ No less to have done so, let me enfold thee/ And hold thee to my heart” (Shakespeare 27).
There are several important themes in Act I. Mystery and danger play a large part, especially in the first scene with the witches. They all chant “Fair is foul, and foul is fair,/ Hover through the fog and filthy air” (Shakespeare 7). Macbeth and Banquo stumble upon them and hear their prophecies, which introduces the next theme of betrayal. When Macbeth hears “All hail, Macbeth, that shalt be king hereafter!” (Shakespeare 17) the idea to murder the king is planted in his and his wife’s minds.
One of the most striking images in Act I is when Lady Macbeth declares “I would, while it was smiling in my face,/ Have plucked my nipple from his boneless gums/ And dashed the brains out, had I so sworn to you” (Shakespeare 43). This reference to smashing a baby’s head is important because it both expresses Lady Macbeth’s utter devotion to her husband, and the suggestion of the beginnings of insanity.
There are several important themes in Act I. Mystery and danger play a large part, especially in the first scene with the witches. They all chant “Fair is foul, and foul is fair,/ Hover through the fog and filthy air” (Shakespeare 7). Macbeth and Banquo stumble upon them and hear their prophecies, which introduces the next theme of betrayal. When Macbeth hears “All hail, Macbeth, that shalt be king hereafter!” (Shakespeare 17) the idea to murder the king is planted in his and his wife’s minds.
One of the most striking images in Act I is when Lady Macbeth declares “I would, while it was smiling in my face,/ Have plucked my nipple from his boneless gums/ And dashed the brains out, had I so sworn to you” (Shakespeare 43). This reference to smashing a baby’s head is important because it both expresses Lady Macbeth’s utter devotion to her husband, and the suggestion of the beginnings of insanity.
Thursday, January 29, 2009
The Inauguration
On Tuesday, Barack Obama was sworn in as president. A couple of my friends and I went to Ms. Graber's room to watch the beginning, and then we watched the rest in fourth period. It was so great! Obama made an amazing speech following his oath that sent chills down my spine. It was especially exciting for me because I volunteered for his campaign back in October and November and experienced firsthand regular people's reactions to him. A lot of the people we called were supportive, but whenever we accidentally ran into a Republican, things got a little heated. I think it's amazing the people of this country could come together to elect Obama, especially since the race was so controversial. I think he will do wonderful things for the United States, and I can't wait to finally support America's actions again.
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