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READ BLOG FIRST! You might wonder why I didn't simply put the videos last instead of this message...well it's 10:56 PM and I'm on a tight schedule that allows no time for excessive copying and pasting..only for writing unnecessarily long statements of instruction like this one. 

Okay, so Jane Austen's Pride and Prejudice, I have concluded, is a throwback version of one of my all time favorite movies from my pre-teen and teenaged years, A Cinderella Story. A Cinderella Story is a story about a young girl who's parents have passed away and who lives with her "evil step mom and step sisters." In this case, the step mom represents Lady Catherine in this last part of the book. Upon hearing that Darcy plans on marrying Elizabeth, Lady Catherine pulls Elizabeth aside and tells her how absurd of an idea that is!!! She tells Elizabeth that she is not to marry Darcy because of her low social status and that Elizabeth is obligated to obey her because of “the claims of duty, honour, and gratitude” (Austen, 282). Elizabeth objects saying, “I am . . . resolved,” she says, “to act in that manner, which will, in my own opinion, constitute my happiness, without reference to you, or to any person so wholly unconnected with me" (Austen, 282) (YOU GO GIRL!!!!!). This reminds me of one of my favorite scenes from the movie, that I regret to admit, I was unable to find on YouTube. The scene shows Hilary Duff's character Sam asserting her independence and quitting her job at the diner to live her dreams and end the control that her step mother has so wrongly imposed on her throughout her life (spoiler alert). However, I was able to find a scene from earlier in the movie (the lower video) accurately displaying the relationship between the Sam and her step mother. Both Sam and Elizabeth are looked down upon for who they are and where they come from; however, in the end, the defy the opinions of others to find true happiness for themselves. 

For the fun of it, in the trailer, I like to imagine the two evil step sisters as Miss Bingley and her sister. Hahahahahahhaha. Enjoy!

Love

Pride and Prejudice by Jane Austen truly revolves around a theme of love. All the important action seems to be driven by love. For instance, Jane and Bingley's engagement was driven not only by Bingley's undying love for Jane. Darcy's love for Elizabeth also played a role. Originally, Darcy had Bingley convinced that Jane was not a good prospective wife for a large part because of the family she came from. However, by Chapter 54, Mrs. Bennet "had seen enough of Bingley's behavior to Jane to be convinced that she would get him at last; and her expectations of advantage to her family, when in a happy humour, were so far beyond reason...." (Austen, 270). Darcy's tremendous influence on Bingley palys a big role in Bingley's decisions. Thus, Darcy had to have convinced Bingley that Jane's family was not a deterrent from their potential marriage. Darcy did this because he knew that Elizabeth would never forgive him if Jane and Bingley did not end up together, because she rightfully blamed him for their original separation. Thus, in order to be on good terms with Elizabeth again, the woman he loves, Darcy had to convince Bingley that his love for Jane should suffice for marriage. These two men are driven by love in different ways. A happy ending seems inevitable!

Irony

Great irony unfolds with the plot of Jane Austen's Pride and Prejudice. As the story continues, Elizabeth grows more and more fond of Mr. Darcy. In fact, she realizes that Darcy is “exactly the man, who, in disposition and talents, would most suit her" (Austen, 251). Elizabeth says this, just months (or a year or so) after absolutely detesting the man. In fact, in Chapter 2, Mrs. Bennet makes a comment about Mr. Darcy that, at the time, was congruous with Elizabeth's feelings toward him. Mrs. Bennet said, "But I can assure you that Lizzy does not lose much by not suiting his fancy; for he is a most disagreeable, horrid man, not at all worth pleasing" (Austen, 9). And now, Elizabeth wishes that Darcy will court her and propose once more so that this time, she can offer him a different answer! I would never have guessed this if Elizabeth's immediate hatred for Darcy wasn't so outright and strong; one could almost suspect that such a crazy plot turn was bound to take place, but this is ironic and exciting nonetheless! Moreover, further irony is present in the fact that Elizabeth now wants Darcy when he apparently does not want her back, whereas before, it was the other way around. The tables have turned!

Multiple Standards

In Pride and Prejudice, author Jane Austen sets multiple standards for her female characters. Obviously, Elizabeth is the main character. Thus, her personality traits are some of the most integral in the story. Elizabeth defies society and the male-domination that is present. However, at the same time, upon hearing that Lydia eloped with Wickham, Elizabeth reveals another standard she set for women. Elizabeth is worried that Wickham won't go through with the marriage, and if not, Lydia is scandalizing herself by living with him when the two aren't married. Moreover, despite Elizabeth's protests of society, she is constantly worried about the reputation that Lydia is establishing for her and her sisters because of her flirtatious ways. In fact, she claims that Lydia would be "lost forever" (Austen, 232) if she didn't end up marrying Wickham. Thus, the reader begins to wonder how much the views of society truly affect Elizabeth. She seems to want nothing to do with the standards of the rich, but at the same time, is continually embarrassed by the behavior of her family. Hmmmmmm!

Mr. Collins, oh Mr. Collins why?

Mr. Collins, of Jane Austen's Pride and Prejudice is rather socially oblivious. As the reader, I often ask, "Why? Why on earth would you do that?" As frustrating as his actions are, however, his obtuseness is humorous. In section one, we first notice Collins' oblivious nature when he introduces himself to Darcy at the party, despite Elizabeth's warning. However, this blog is not about section one, is it? That's okay, because his ill-awareness continues in section two with his.. wait for it...PROPOSAL TO ELIZABETH?! NOOOO?! He made numerous advances that were unrequited, and still thought proposing was a good idea. This is what I am talking about (Lauren stuffs face in book out of embarrassment for Collins)! However, the obliviousness fails to stop there! Elizabeth says no; at this point, any normal man would cut his losses and head home. Rather, Collin responds, "I am not now to learn that it is usual with young ladies to reject the addresses of the man whom they secretly mean to accept, when he first applies for their favour, and that sometimes the refusal is repeated a second or even a third time" (Austen, 85). Poor Elizabeth! Austen does a great job of characterizing Collins as "that guy."

Mr. Bennet is hilarious

From the beginning of Austen's Pride and Prejudice, Mr. Bennet has been characterized as whitty, sarcastic, and hilarious. In the first chapter, Bennet took pleasure in upsetting his wife by refusing to tell her that he called on Bingley as she requested. In section two, this type of behavior continues. Of course, the issue of finding husbands for her daughters is one of tremendous importance for Mrs. Bennet. Thus, as before, Mr. Bennet uses the subject as an opportunity to frustrate his wife. After Elizabeth refuses to accept Collin's proposal, Mr. Bennet says to her, "An unhappy alternative is before you, Elizabeth. From this day you must be a stranger to one of your parents. -Your mother will never see you again if you do not Mr. Collins, and I will never see you again if you do" (Austen, 89). Bennet has no fear of upsetting his wife; in fact, he takes pleasure in it. He certainly provides common relief to the story at times when the rest of the characters seem to be the most distressed. Undoubtedly, he is my favorite character, though he isn't mentioned all that often. I predict that he will prove very important for some reason or another as the story continues.

Theme

A major theme of Austen's Pride and Prejudice is the separation of social class. Analyzing the characters, one can clearly distinguish between the classes of the families. In general, the more wealthy characters act more aloof, while the middle class or poorer characters seem more down to earth. Take, for instance, Jane and Miss Bingley. Jane is clearly one of the nicest and most well-regarded women in the story, while Miss Bingley is more conceited and less tolerable of other people. She is also more engulfed in drama, often gossiping about Jane and her family. Mrs. Bennet, however, is increasingly concerned with the status of her family and the quality of the husbands that her daughters end up with. For instance, Mrs. Bennet noticed the difference between Collins and Bingley and their wealth saying that the worth of Collins, who was poorer and less known, was "eclipsed by Mr. Bingley and Netherfield" (Austen, 82).
In addition to characterization, class is also defined by the location of each family's home.  For instance, the poorer Bennets live in the city while the more wealthy Bingley family resides in the country. At times, even, Miss Bingley makes comments about how Elizabeth and her sisters don't belong in the country because of their lack of sophistication. This distinguishing between class is present throughout the novel.

Motif

A motif of Jane Austen's Pride and Prejudice is that of courtship. Almost every character is either courting, being courted, worrying about someone else being courted, jealous that she is not being courted, etc. I knew that Pride and Prejudice was a love story, but not to this extent. Almost every aspect of the novel revolves around love and relationships.
For instance, the novel kicks off with the discussion of Mr. Bingeley and quickly delves into his courtship of Jane. Not long after, we learn that Darcy has plans to court Elizabeth. However, the courtship does not end with section one. In section two, right away, we learn of Mr. Collin's plans to court and marry Elizabeth as well. Collins says explicitly, "Almost as soon as I entered the house I singled you out as the companion of my future life" (Austen, 83-84). Also, Elizabeth begins to do some courting of her own after meeting Mr. Wickham. Aye aye aye!

Paradox

The content of Dickinson's I taste a liquor never brewed is paradoxical. For instance, angels and heavenly figures would not normally support intoxication. However, in this poem, they are supportive of the speaker's "intoxication" in this specific case. Because God created the world for us to love, utilize, and care for, the angels are happy that the speaker is doing so.  For instance, the speaker says, "Tell Seraphs swing their snowy Hats-/And Saints-to windows run-/To see the little Tippler/Leaning against the-Sun-" (Dickinson, 797). Thus, the truth of the greatness of nature and our responsibility to to cultivate it is the truth that is revealed in the angel's ironic liking of the speaker's intoxication. That is all I have to say about paradox, so I think I will mention something about structure as well, because I haven't hit the sentence count minimum yet. Does that sentence count? Did that last one, or this one? Just kidding..but seriously.

The structure of this poem is also significant. The structure reflects the drunkenness of the speaker. The lines are broken up, suggesting the speaker's difficulty in speaking, a possible result of intoxication. The brokenness is present throughout the entire poem. For instance, the speaker says, "Inebriate of Air-am I-/And Debauchee of Dew-/Reeling-thro endless summer days-From inns of Molten Blue-"(Dickinson, 797). Clearly, something is wrong with the speaker, and we all know that she is drunk on nature.

Symbolism

Ritchie's poem Sorting Laundry is almost solely symbolism. Each piece of laundry the speaker folds is symbolic of an element of her relationship with her significant other. For instance, the speaker talks about "pillowcases, despite so many washings, seams still holding our dreams" (Ritchie, 841). This represents the strong and enduring nature of their relationship. One can assume that the couple has been together for a long while. However, as the speaker continues to pick apart the relationship piece by piece, there is a shift in the speaker's feelings. Instead of the admiration and satisfaction with which she reflected on her relationship during the beginning of the poem, the speaker now experiences fear and worry. Once again, a piece of laundry prompts her feelings, this time a t-shirt of an ex-lover. Now realizing that the possibility of her lover leaving her is a reality, despite how perfect the relationship seams, she begins to ponder the possibility. The speaker continues to extend the symbolism even in this mindset, stating that her life without him would become a "mountain of unsorted wash" (Ritchie, 842).

Irony

John Donne's poem Better my heart, three-personed God contains some interesting irony. The speaker is upset because, for some reason or another, he is bound to evil. Initially, I thought that he had sold his soul to the devil, but that may be a bit extreme. Rethinking the scenario, I decided that the he may simply be addicted to sin and wrongful acts, most likely because they result in some kind of pleasure for  him. Either way, the speaker is truly a prisoner, in some way or another, of evil. The irony of the situation is that in order to free himself from this prison, he says to God, "Take me to you, imprison me...." (Donne, 840). He needs to become a new kind of prisoner in order to be freed of his current prison. In other words, he needs to dedicate himself to God wholeheartedly. The speaker recognizes that it is more beneficial to have no freedom with God, than no freedom with the devil. Yet the speaker goes on to say "never shall be free" (Donne, 840) implying his doubt that he will be unbound from evil. His doubt is in fact his problem!

Theme

The theme of Hardy's The Convergence of the Twain  (Lines on the loss of the 'Titanic') is clearly developed throughout the work. Hardy utilizes descriptive details and imagery to convey the idea that human vanity leads to destruction. For instance, Hardy often includes description of lavish material possessions of the passengers in the first two lines of stanza. Then, he uses the third sentence to explain the current state of the goods, which is usually unappealing and/or destroyed.  For example: "Jewels in joy designed/To ravish the sensuous mind" is followed by "Lie lightless, all their sparkles bleared and black and blind" (Hardy, 778). Hardy emphasizes how one day the jewels were attention-getting and impressive, but now they fail to even sparkle. This is representative of the idea that vanity causes destruction, ultimately. With the understanding that the poem is written about the Titanic disaster, one can expand this theme to pertain to the entire tragedy. The ship itself was well-know for its lavishness; however, its prestige and high-class nature was not enough to save it from its tragic fate. In fact, Hardy suggests that because everyone thought the Titanic was so fantastic, they failed to see its flaws, which ultimately lead to its demise.

Characterization

In the short story Hunters in the Snow, author Wolff does not directly characterize the three men through description. Rather, he uses their dialogue and action to shape the view the reader has of them. For example, Frank's dialogue and actions are essential to his characterization.  One essential line of characterization is when Frank says, "You can't just put people into categories like that, Tub. That's why the whole system is wrong. And that's why the country is going to hell in a rowboat" (Wolff, 198). Ultimately, Frank is a hippie. He is against the confines of society. Rather, he believes in a laid-back life, living as he pleases. This aspect of his character is further revealed when speaking with Tub about his love for the babysitter:

"But she can't be more than-" Tub shook his head.
"Fifteen. She'll be sixteen in May." Frank smiled. "May fourth, three twenty-seven p.m. Hell, Tub, a hundred years ago she'd have been an old maid by that age. Juliet was only thirteen."

Here, we see Frank's disregard for the opinions and norms of society in the face of his own feelings. He would rather live by his own accord. Moreover, his carefree attitude is also illustrated when he is moving Kenny after Kenny was wounded. He laughs, "'Ha ha. That's the spirit. Get ready, set, over you go.' ....Kenny screamed and kicked his legs in the air" (Wolff, 195). Here, Frank once again has no regard for others or their feelings, and chooses to do as he pleases even though he is obviously putting Kenny in intense pain.

Irony

In My misstress' eyes, author William Shakespeare is mighty tricky (suprise, surprise).  Initially, reading the title of the work, one assumes that the poem is written by a lover who wishes to express all the aspects of his mistress that he adores, such as her eyes (typical, right?). However, reading the first few lines, I found myself stopping, confused. Was I really reading things such as "My mistress' eyes are nothing like the sun", "And in some perfumes is there more delight Than in the breath that from my mistress reeks", and "I grant I never saw a goddess go, -My mistres, when she walks, treadson the ground" (Shakespeare, 885)? I had to go back and reread to make sure that I was comprehending correctly, and I was! What kind of love poem was this? The speaker was in no way expressing the perfect attributes of his lover. Thus, at this point, I assumed that the poem would end with a conclusion of frustration by the speaker as he made a wish to somehow rid himself of his mistress. However, I was surpised once again when the speaker said, "And yet, by heaven, I think my love as rare As any she belied with false compare" (Shakespeare, 885). Despite all of his mistress' seemingly terrible qualities, the speaker truly loves her. The entire poem consists of many ironic moments, keeping the reader on his toes. Ironic even is the fact that this poem is written in sonnet form, a form usually used for the expression of love. Though this is essentially a love poem, it is definitely not what I expected. Shakespeare certainly keeps his readers second-guessing.

Pathos

As a teenage girl, I found it easy to relate to Piercy's Barbie Doll. The author breaks the poem up into three distinct periods of time in the life of the young girl. First, Piercy allows the audience to get to know the young girl by describing her childhood during which she was given "wee lipsticks the color of cherry candy" (Piercy, 835). One can picture a very young girl playing dress up and simply being adorable, and the reader instantly feels a pleasant connection to the young girl. Thus, pathos is evoked when one reads that, during puberty, the young girl was "advised to play coy" because "everyone saw a fat nose on thick legs" (Piercy, 835-836). The adorable young girl that everyone loved just a few lines before is now being picked on. One can not help to feel sorry for her, as well as be angry at those who are tormenting her. However, the most instense pathos is elicited when the author tells of the young girl's suicide as a result of the bullying. How terribly sad it is that people finally saw the beauty in the young girl, the one thing the girl desired, when she was laying in her casket "with the undertaker's cosmetics painted on" (Piercy, 836).

Stereotype

 Throughout Glaspell's A Jury of Her Peers, the female sex is often sterotyped. The men in the story, especially the attorney, often make generalizations about the women. Moreover, the men establish certain "gender roles" based on their views. For instance, upon arriving at the Wright home, the county attorney commented, "'Dirty towels! Not much of a housekeeper, would you say, ladies?'" (Glaspell, 412). Here, he asks for the ladies to confirm the housekeeping abilities of Mrs. Wright, because he assumes that all women are knowledgeable on that subject-an obvious stereotype. Such comments continue throughout the story. Just a little later, the county attorney again said, "But would the women know a clue if they did come upon it?" (Glaspell, 413). Here, the attorney is expressing his opinion that women are inferior beings with a lower level of intelligence than males-another stereotype. Ironic, however, is the fact that the despite these generalizations, the attorney says, "'And yet, for all their worries, what would we do without the ladies?'" (Glaspell, 412). The men demean the women only to come back with a comment about how they play such an integral role in life.

I also thought it was interesting how often the women were not referred to by their own names, but rather as "the sherriff's wife" or "Mr. Hale's wife" even after we have gotten to know the characters farely well. Is this another way of illustrating male dominance? I hesitate to say so, however, because the men are also occasionally referred to as the possession of their wives as well ("Mrs. Peter's husband).

A New War

In William Shakespeare's Othello, Othello is a great military hero. Othello even claims new military victories during the play. However, military engagements are not the only wars taking place. Throughout the play, Othello battles many things and people including his hatred for Cassio, his trust and distrust of Desdemona, and Iago's deceit (unknowingly). All of these issues prompt Othello to seek "victory" by killing Cassio and Desdemona. "How shall I murder her Iago?"(IV.i.159). Here, we see Othello consult Iago, his lieutenant, on how to best carry out his plan, just as he would do in actual military battle. Moreover, in Act V, we see Othello abandon sympathy for his wife just before killing her. "It is the cause, it is the cause, my soul"(V.i.1). Similarly, before a soldier enters battle, he must abandon his feelings and convictions in order to complete what he knows must be done. Othello eventually claims the "victory" sought after with Desdemona's death. Ironically, however, this one victory of his does not bring him good fortune, but rather a lead to his downfall.

Emilia vs. Desdemona

In Othello, writer William Shakepeare presentes the characters of Emilia and Desdemona as foils. The clear differences between the two women are highlight many times throughout the play. One of the main differences, however, is between the marriages of the two women. Emilia's husband Iago treats her very disrespectfully and has a very low opinion of her. On the contrary, Othello loves Desdemona deeply and believes that she is an angel sent from heaven. In Act 4, this difference is highlighted once more, but in reverse. A conversation between Emilia and Desdemona reveals the feelings of the women toward their husbands:

Desdemona: "Wouldst thou do such a deed for all the world?"
Emilia: "Why? Would not you?"
Desdemona: "No, by this heavenly light!"
Emilia: "Nor I neither by this heavenly light.
I might do't as well i' the dark....I troth, I think I should...."
Desdemona: "Beshrew me if I would do such a wrong for the whole world."

Essentially, Desdemona says she would never cheat on Othello, no matter what or how much she was offered. Emilia, however, says that she could probably be convinced to cheat on Iago. This highlights once mroe the differences in the marriages of the women and the love they have for their spouses. These differences in the women's feelings are a direct result of the ways in which they are treated by their husbands. Thus, one could argue that Iago and Othello are foils as well.

P.S. - At the end of Act 4, why is Emilia speaking in prose at one point?

Death Forshadowed...

William Shakespeare often utilizes forshadowing in his play Othello. For instance, after realizing that Othello was upset with her, Desdemona speaks to Emilia and says, "All's one. Good faith, how foolish are our minds!/If I do die before thee, prithee shroud me/In one of thsoe same sheets" (IV.iii.21-23). Though Desdemona is aware of Othello's anger, this nonetheless seems an odd request. Isn't that a little dramatic? Desdemona is already fearing death when she has no knowledge of why her husband, who loves her so deeply, is upset with her. Later on, when Othello and Desdemona begin to discuss Othello's accusations, I picked up on another piece of forshadowing, but this time more specific. Othello says to Desdemona. "Therefore confesss thee freely of thy sin,/For to deny ech article with oath/Cannot remove nor choke the strong conception/That I do groan withal. Thou art to die" (V.ii.53-56). Alright, so at this point, the cat is out of the bag: Desdemona is doomed. Knowing that, however, the reader may pick up on Shakepeare's interesting word choice of "choke." He could have used many other words here: eliminate, forget, etc. However, good ol' Bill entertains the reader with a bit of forboding diction.

Iago's use of prose vs. poetry

In William Shakespeare's Othello, the villain Iago often switches from speaking poetry, normal iambic pentameter, to speaking prose. Initially, when asked to make a conjecture as to why he does so, I thought that Iago switched to prose when he "lost his cool." I thought that the less structured nature of the prose was representative of flaws in Iago's attempts to deceive. However, having finished the play, I now have a new more specific, and hopefully accurate, theory. I believe that Iago speaks in prose when he is plotting, mainly with Roderigo, and in poetry when he is carrying out his plot, or deceiving others. Because Iago is actively deceiving others for the majority of the play, he is most often speaking in iambic pentameter. Therefore, it is important to notice the times when he switches to prose. For instance, in Act 4, Iago says to Roderigo in prose, "....But, Roderigo thou hast that in thee indeed which I have greater reason to believe now than ever-I mean purpose, courage, and valor-this night show it. If thou the next night following enjoy not Desdemona, take me from this world with treachery and devise engines for my life" (IV.ii.207-211). Here, Iago is plotting to have Roderigo kill Cassio-an integral part of his plan. He has full knowledge that Roderigo will be the murderer. However, after the murder attempt takes place, Iago says of Bianca to the Venetian men, "Gentlemen all, I do suspect this trash/To be a party in this injury/....Roderigo? No-yes, sure. Oh Heaven! Roderigo" (IV.ii.85-90). Iago says this in iambic pentameter; he is clearly deceiving the Venetian men because he is aware that Bianca was not the murderer and he offers false surprise at Roderigo's presence at the scene.

Poor Othello

In Act 3 of William Shakespeare's Othello, Iago tells Othello that Desdemona may be cheating on him with Cassio. Othello, an honest and good man, is reluctant to believe that the love of his life is unfaithful. The reader cannot help but feel sorry for Othello when he begins to express his regret at the thought of Desdemona's infidelity. He says, "Haply, for I am black And have not those soft parts of conversation That chamberers have...." (III.iii.264-266). Here, Othello recognizes (out loud) for the first time that his race separates him from the men of Venetia, just as the rest of the characters have been hinting to all along. He experiences a waver in self-confidence, worried that he may not be good enough to satisfy Desdemona, as he once thought he was. Moreover, Othello continues saying, "She's gone, I am abused, and my relief must be to loathe her. Oh, curse of marriage....I had rather be a toad And live upon the vapor of a dungeon Than keep a corner in the thing I love For others' uses" (III.iii.268-274). Othello expresses the fact that if the rumors are true, he will be hurt and will have no choice but to hate Desdemona in attempt to console himself. Moreover, he confesses that he would rather live an incredibly low form of life, as a toad, rather than have to share his wife. Is that too much to ask? For one to honor marriage? Othello's statement of "oh curse of marriage" is ironic because marriage should be looked at not as a curse, but as a blessing! Othello's fear and reluctancy to believe the Iago's claims evoke sympathy from the reader as well as cause increased disdain for Iago.

Tempest

In the beginning of Act 2 of William Shakespeare's Othello, a strong tempest has struck Venice. Montano, Cassio, and othe gentlemen are aboard the ship discussing the severity of the storm and the ultimate destruction it caused the Turkish fleet. Montano says, "Methinks the wind hath spoke aloud at land, A fuller blast ne'er shook our battlements" (II.i.5-60). Both the tempest as well as Montano and Cassio's presence at the time of its discussion heavily forshadow what is to unfold later that evening. The tempest fortells the argument between Montano and Cassio that ultimately results in Cassio being stripped of his position. Cassio's loss of office coincides with Montano's statement that "a fuller blast ne'er shook our battlements." Undoubtedly, Cassio's punishment was one of the worst outcomes he could have imagined. Shakespeare's use of foreshadowing is an extremely helpful tool in understand his works. The attentive reader can look for clues as to what is to unfold in the coming scenes. If so, one sees the understands the deeper meaning behind the interactions and dialogue of the characters. Many of the happenings are connected in one way or another.

Honest Iago ha..ha..hahaha

Reading William Shakespeare's Othello, one quickly realizes the dishonest nature of Iago. He is not honest with anyone except the audience. Iago is even deceiving Roderigo, the one man with whom one would think he would be truthful, for Roderigo is a main component in his plan to take Cassio's office. Despite all of Iago's dishonesty, however, the other characters ironically remain blind and deaf to his games. In fact, many characters directly refer to Iago's "honesty" when addressing him. "Iago is most honest" (II.iii.7), "...honest Iago" (II.iii.300), and Iago's self-proclamation of "As I am an honest man...." (II.iii.244)  are all instances where Iago's dishonesty is presented through ironic statement of his great honesty. Reading, I find myself hoping that one of the characters will finally see through Iago's deceit. How can they not?! However, it is not long before I read one of these proclamations of his "honesty" to be reminded that no one has yet caught on. The longer the characters remain ignorant to Iago's tricks, the worse the trouble will be in the end. Three acts in, and I can already tell that there will be a massive culmination of destruction due to all the dishonesty. Ironic is the fact that all of Iago's lies seem to be helpful to the characters, for instance convincing Cassio to drink because he "deserves a good time", but in reality, Iago's actions are working against them in every way possible-Cassio is ultimately stripped of his office because he decided to drink.

Racial Slurs

In William Shakespeare's Othello, many characters utilize racial slurs to convey their attitude toward Othello, the Moor. For instance, Iago says to Barbantio, "...you'll have your daughter covered with a Barbary horse, you'll have your nephews neigh to you, you'll have courseres for cousins and jennets for germans" (I.i.108-112).  Despite the insulting nature of the slur itself, the racial comments hold deeper implication. Iago continually compares Othello to horses and ponies. The direct comparison to animals implies that Othello is less than human. In this way, Iago and the others who also use such references are implying that Othello possesses all the characteristics of an animal: lack of intelligence, lack of civility, and most importantly, lust. The racial slurs go so far as to imply that Othello married Desdemona not for true love, but for sex-an animalistic desire. This gives Barbantio even more reason to resent the marriage between Othello and his daughter. Moreover, the frequent references altogether convey to the reader the unaccepting attitude of the Venetians toward foreigners. Though Othello brought great pride to Venice for his accomplishments in war, the citizens of Venice are nonetheless reluctant to accept him completely.

Anecdotes

In You're Ugly, Too Lorrie Moore develops the character of Zoe Hendricks predominantly through the use of anecdotes. Moreover, Moore uses several different anecdotes to convey the complexity of Zoe's character. More than once, the author uses anecdotes in the form of past student evaluations received by Zoe. For instance, "Professor Hendricks is often late for class and usually arrives with a cup of hot chocolate, which she offers the class sips of...." reveals that Zoe is an often flustered woman who doesn't seem to have her life together. I mean, I highly doubt many of her students were anxiously awaiting for their professor to offer to share her hot chocolate. Zoe does not quite have a grasp on how to relate to others. Other evaluations include "Just because Professor Hendricks is from Spain doesn't give her the right to be so negative about our country" and "Professor Hendricks has said critical things about Fawn Hall, the Catholic religion, and the whole state of Illinois. It is unbelieveable." Both of these reveal Zoe's abonormality in comparison to society. The fact that she is often in vocal opposition to the normal order of things is paralleled with the difficult time she has fitting in with others. In addition to the evaluations, anecdotes of past dates that Zoe went on are used to show that she also has a hard time finding chemistry with a member of the opposite sex. Through small glimpses of Zoe's life, the reader is able to grasp the true nature of her charcter.

A New Type of Heart Break

The first thing author Kate Chopin informs the reader of in The Story of an Hour is the fact that Louise Mallard suffers from "heart trouble." Before reading further, one assumes that this "heart trouble" is merely a physical condition that explains why she must be told carefully of her husband's death. However, as the story goes on, Chopin mentions the status of Louise's heart at different times, further emphasizing its importance. For instance, when Louise begins to contemplate life in the future without Brently, she is ironically excited. She realizes how little freedom she had within her marriage and looks forward to independence.

"'Free, free, free!' The vacant stare the look of terror that had followed it went from her eyes. They statyed keen and bright. Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body."

Only as Louis begins to envision her new and improved life does her heart begin to pump strongly and work efficiently. Thus, her "heart trouble" is not merely a physical issue, but an emotional issue as well. Louie's heart was emotionally "ill" because of her unhappiness with her marriage. This is comparable to the common term "heart break."

The Apparition

Initially, reading John Donne's poem The Apparition, I thought the speaker had physically murdered his wife and was now haunting her as a ghost or an "apparition." However, rereading the poem, I have come to the conclusion that the murder and apparition are merely symbolic. For instance, the "murder" is representative of the speaker's wife's loss of love for him and thus, her failure to satisfy him any longer. This conclusion coincides with the cliche of Renaissance poetry that "a woman who will not satisfy her lover's desire is 'killing' him." Therefore, this allows me to also draw the conclusion that the line that states, "Then shall my ghost come to thy bed...." is in reference not to the speaker's physical ghost, but rather his curse. The speaker wishes  that the relationships his ex-lover pursues with other men ("in worse arms")  will be cursed by his "ghost." "And in false sleep will from thee shrink" refers to the speaker's hopes that she will be rejected by her new lover. The speaker is clearly looking for revenge. He wants his ex-lover to feel the rejection and lack of satisfaction that she caused him and "die" as a result. She would then "...lie A verier ghost than I."

Juxtaposition

In the story Popular Mechanics, Carver uses the opposing natures of his characters to establish the tone of the story. The woman in the story is characterized by her dialogue as upset, angry, and hysterical. Supporting this claim is the scene at the beginning of the story when the man is calmly packing his suitcase and the woman is yelling at him in desperation:

"'I'm glad you're leaving! I'm glad you're leaving!' she said. 'Do you hear?' He kept on putting his things into the suitcase. 'Son of a bitch! I'm so glad you're leaving! She began to cry. You can't even look me in the face, can you?'"

The woman desperately wants a response from her husband, but in trying to elicit one, she acts as if she does not even want him around. However, in contrast to his wife's hysterics, the man remains impassive throughout the entire story. More than once, the man is unresponsive to his wife's effots to engage him in argument, rather focusing on packing his things and getting the heck out of the house! Carver writes:

"He kept putting his things into the suitcase."
"He looked at her...."
"He did not answer."

Carver is clearly juxtaposing the two characters, making for an inconsistent tone. The tone of the story is frantic and hysterical when the woman is speaking but the exact opposite when the man speaks. The clash of these two opposites makes for the culmination of the story, the fight over the baby.

Bright Star: Question #2

Analysis of "Bright Star" by John Keats
Question #2

Explore the apparent contradictions in the phrase "sweet unrest" (12). How do they anticipate the final line?

The contradiction of "sweet unrest" (Keats, 792) is the fact that unrest is usually a state of discomfort, and can thus hardly be considered "sweet." However, as the speaker is describing his love for a certain woman, he claims that he would love to stay awake forever, despite the discomfort it might bring him, just to hear her breathe. Along with the preceding content of the poem, this helps give the reader perspective on the intensity of his love for the woman. Thus, the use of "sweet unrest" anticipates the final line that reads "And so live ever-or else swoon to death" (Keats, 792). This line should come as no surprise to the reader. The speaker obviously wishes to follow his lover in life or into death. Thus, he wishes either to live with her forever, or to love her until death and beyond. This implies that the speaker's love is the only motivation for his life. This helps to explain why he wishes to be "steadfast" and constant like a star. He wants his love to be with the woman no matter what.

Eveline: Question #2

Analysis of "Eveline" by James Joyce
Question #2

What in Eveline's present circumstances makes it desirable for her to escape her home? Characterize her father and and Miss Gavan, her supervisor. What does the memory of her mother contribute to her decision to leave?

Presently, Eveline wishes to escape for various reasons. For instance, everyone she had grown up with had moved on, so she sees that it is her time as well: "Everything changes. Now she was going to go away like the others, to leave her home" (Joyce, 218). Secondly, Eveline hates her job at the Stores. She is not fond of her boss Miss Gavan and is sure that her working life would be one aspect of her current life that "she would not cry many tears at leaving" (Joyce, 219). Moreover, her father is abusive. Just as he had beat her mother and brothers, he now threatens to beat her as well. Lastly, Eveline has also found a lover, Frank, whom she knows can "save her" and help her to start life anew (Joyce, 221).
Both Eveline's father and supervisor are figures of authority in her life toward whom she is resentful. Both are demeaning toward Eveline. For instance, Eveline describes Miss Gavan as always having "an edge on her, especially when there were people listening." Eveline goes on to bluntly state that she would not miss life at the Stores.
Eveline's father is characterized almost like an alcoholic. Eveline's descriptions make him out to be a good man at heart with whom she has few very memories (picnic when younger, him taking care of her while she was sick), but who can be extremely violent when angered. Eveline mentions his beating of her other family members and the threats he began to make toward her. He is also very dependent on Eveline to provide for the family, especially after his wife passed way. He seems like a lost and depressed individual.
The memory of her mother's death ultimately pushes Eveline to "escape." "As she mused the pitiful vision of her mother's life laid its spell on the very quick of her being-that life of commonplace sacrifices closing in final craziness" (Joyce, 221). Eveline's desire to evade a similar fate gives her the final impulse to escape.

Desperate Repetition

In the poem "Lonely Hearts", poet Wendy Cope uses repetition to convey information about the speaker's feelings and the extent of his desire for love. The repeated use of the lines "Do you live in North London? Is it you?" and "Can you make my simple wish come true" (Cope, 973-4) both convey the fact that the speaker is pursuing love intensely. In each stanza, the speaker describes a completely different set of his own characteristics. Then, he follows his description with one of these two lines. The repetition of these lines shows that he is looking for anyone at all to be his lover. He makes as many descriptions about himself as possible in hopes that one will attract someone who will "make his wish come true." He is desperately lonely. Reading this poem reminded me of when a child has been riding in the car with his parents for a very long time. Usually, after a while (or maybe even after no time at all) the child begins to ask the infamous question, "Are we there yet?" over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over again. The child may not realize how irritating his constant inquiries are because he is too focused and too desperate to be freed from the car when the family arrives at their destination. When one is so desperate for a certain outcome, he asks question after question and pushes until he gets what he wants. Likewise, the lonely lover in this poem does all he can and asks the same questions over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over again in hopes that he will find someone to love him in return.

Edie the "hired girl"

When reading Alice Munro's short story How I Met My Husband, one quickly gets perspective on the life of Edie. Edie is many times referred to as the "hired girl." She cleans the dishes, does the laundry, and tends to other needs of the household in order to free up time for the family to do other things such as nap, go to town, see a movie, etc. Edie is used for her working skills, but other than that, is valued by the the Pebbleses very little. She is never invited to participate in any of the family activities or outings. Edie's relationship with the Peebleses is paralleled in her relationship with Mr. Watters. Like the Peebleses, Mr. Watters also uses Edie. Just as she uses her working skills to enhance the lives of the Peebles family, so does she give of herself for Mr. Watter's own enjoyment. Moreover, just as she gets little in return for her work with the Peebles (besides a paycheck), so does she benefit little from Mr. Watters himself because of his failure to keep in touch (besides the fact that she met her husband as an indirect result of knowing Mr. Watters): "It never crossed my mind for a long time a letter might not come. I believed in it coming just like I believed the sun would rie in the morning" (Munro, 145). Clearly, Edie plays the role of the "hired girl", who gives but receives little, in more than one way.