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.