Nov. 2003
(a) "I believe plot is necessary, although I believe it would be possible to write a work of fiction without". Including your own defintion of plot, consider the relative importance and impact of plot on works in your study in the light of the above quotation.
This question examines the importance and role of plot within a writen work. The question wants the examiner to define the term plot in their own words and discuss how the plot's existance is significnat, or insignificant, in writing a work of literature.
Most importantly, the plot and its significance would have to be addressed. From there the examiner can discuss how the plot has an effect on the rest of the development of a novel, taking into consideration characterization, themes, motifs/symbols, and the overall setting.
Two works that could be used include Darkness at Noon and The Metamorphosis.
May 2005
(b) Symbols and motifs are an essential element of many novels or short stories. How have either or both of these devices been used and, in your opinion, how successfully, in two or three works you have studied?
This question outlines the importance of motifs and symbols in literature. It is asking the examiner the importance and the role of these literary devices within literature and wants to know how this can be applied to the works in which we have studied.
The primary literary techniques that would be addressed would most importantly be the motifs and symbols, but the examiner can also discuss how successful the devices are in developing the dominant themes or characters present within the works.
Any of the four written works could be used to write a well developed essay....but I would have to choose As I Lay Dying and The Bluest Eye.
Sunday, May 3, 2009
Thursday, April 30, 2009
Paper I: The Unseen Commentary
Passage X
Adolescence – II
By Rita Dove
I. Introduction
Thesis Statement: In Rita Dove’s poem Adolescence – II, the poet uses diction, vivid imagery, and similes to create an overall questioning and conflicting tone as the speaker, suggestively a young woman, experiences the inevitable changes of womanhood.
II. Body:
1. Diction:
The poet uses childlike words, like the title suggests, in order to examine a girls experiences and confrontation, suggestively with men, to represent change and her acceptance of her new being.
Examples:
a) “They chuckle, patting their sleek bodies with their hands.” The word chuckle seems to represent immaturity as the girl is confronted by three men who question her. They ask her if she can “fell it yet?” making her question herself as becomes confused about her own being.
b) The title, Adolescence – II, also represents childhood and immaturity.
2. Imagery:
The poet constantly make references to dark images that are represented through words like “night”, “moon”, “moonlight”, and “darkness”, which may again represent change and conflict that the speaker is confronting.
Examples:
a)“Although it is night, I sit in the bathroom waiting”
b)“Venetian blinds slice up the moon” – possibly represents disorganization
c) “Glittering like pools of ink under moonlight,…”
d) “…here at the edge of darkness.”
e) “ Night rests like a ball of fur on my tongue.”
3. Similes:
The poet also makes references to similes throughout the poem to describe the girl’s state of being and thought process as she is confronted by new beginnings and challenges in which she is caught off guard by and uncomfortable with.
Examples:
a)“Then they come, the three seal men with eyes as round as dinner plates and eyelashes like sharpened tines.” – imaginative
b) “And they rise, Glittering like pools of ink under moonlight, and vanish.”
c) The speaker has come to a consensus as she has accepted her change and experiences when the “Night rests like a ball of fur on” her tongue.
III. Conclusion
1. Restate Thesis
Adolescence – II
By Rita Dove
I. Introduction
Thesis Statement: In Rita Dove’s poem Adolescence – II, the poet uses diction, vivid imagery, and similes to create an overall questioning and conflicting tone as the speaker, suggestively a young woman, experiences the inevitable changes of womanhood.
II. Body:
1. Diction:
The poet uses childlike words, like the title suggests, in order to examine a girls experiences and confrontation, suggestively with men, to represent change and her acceptance of her new being.
Examples:
a) “They chuckle, patting their sleek bodies with their hands.” The word chuckle seems to represent immaturity as the girl is confronted by three men who question her. They ask her if she can “fell it yet?” making her question herself as becomes confused about her own being.
b) The title, Adolescence – II, also represents childhood and immaturity.
2. Imagery:
The poet constantly make references to dark images that are represented through words like “night”, “moon”, “moonlight”, and “darkness”, which may again represent change and conflict that the speaker is confronting.
Examples:
a)“Although it is night, I sit in the bathroom waiting”
b)“Venetian blinds slice up the moon” – possibly represents disorganization
c) “Glittering like pools of ink under moonlight,…”
d) “…here at the edge of darkness.”
e) “ Night rests like a ball of fur on my tongue.”
3. Similes:
The poet also makes references to similes throughout the poem to describe the girl’s state of being and thought process as she is confronted by new beginnings and challenges in which she is caught off guard by and uncomfortable with.
Examples:
a)“Then they come, the three seal men with eyes as round as dinner plates and eyelashes like sharpened tines.” – imaginative
b) “And they rise, Glittering like pools of ink under moonlight, and vanish.”
c) The speaker has come to a consensus as she has accepted her change and experiences when the “Night rests like a ball of fur on” her tongue.
III. Conclusion
1. Restate Thesis
Friday, March 27, 2009
Character Analysis: Addie
"As I Lay Dying"
By William Faulkner
In William Faulkner’s “As I Lay Dying”, the actions in the novel revolve around one of the most important characters, Addie Bundren. Addie Bundren is the wife of Anse and the mother of Cash, Darl, Jewel, Dewey Dell, and Vardaman. In the beginning of the book Addie is gravely ill and dies early in the novel. Under Addie’s request, her husband and children are traveling across the countryside of Mississippi to Jefferson so Addie can be buried upon her birth/blood family rather than with her own family. For this Addie is characterized as an unnatural, loveless, cold, and selfish individual who causes pain and misery upon her family as they travel through harsh conditions in order to bury her body where she had wished. Through the structure of the book, each character’s monologues seems to give us a deeper understanding of who Addie truly is as her character contains only one monologue throughout the entire novel in which Addie’s voice reappears after her death where she is able to explain herself.
One character that seems to define Addie in depth is Cora Tull who relives memories of the late Addie. Cora suggests that Addie lived “a lonely woman, lonely with her pride, trying to make folks believe different, hiding the fact that they just suffered her” (22). This plays into the idea that Addie is a loveless human being as she despises her family and pretends as though their being has caused a burden upon her. Addie did not truly love or care for her child, nor her husband, which contrast’s Cora’s thought that “A woman’s place is with her husband and children, alive or dead” (23). In that sense it seems as though she was prepared and ready to die, to rid herself of the presence of her family and her negative past she had, having had an affair with Reverend Whitfield, which resulted in the birth of Jewel, who evidently was favored by Addie. Cora also suggests that the reason Addie acted this way was because she was never pure religious. Cora says, “God gave you children to comfort your hard lot and for a token of His own suffering and love, for in love you conceived and bore them” (166), but Addie lacks this characteristic.
Addie is truly a character that is unable to express herself in words/ language, which is evident in her single monologue. Addie suggests “the reason for living was to get ready to stay dead a long time” (169), which is an excuse she falls back on in the novel for treating the people in her life the way she did. Addie suggests that living was terrible, which taught her that words were no good as they are unable to explain what was trying to be said. This is also influenced in the text when Addie says, “That was when I learned words were no good; that words don’t ever fit even what they are trying to say” (171). Throughout the entire novel it seems that the actions speak louder than word. Though the novel is written and built of words, the characters’, like Addie, inability to speak with words are overpowered by the actions that are taking place.
Addie suggests that fear was invented by someone that had never had the fear and pride for those who never had pride. Addie recognizes that language is constructed, that someone “invented it.” Addie’s philosophy on life makes her one of the most important and interesting characters in the novel. Her character centers around the title, “As I lay Dying”. Her willingness to die causes conflict within the family she is leaving behind, however she looks to her death as a place to better her own life as is determined to die, making her selfish. The rest of the family looks to her death as a great tragedy, though they never really express their love towards her, and in a sense they do not let her die. Addie is unlike any of the other characters. Overall, Addie exemplifies one of Faulkner's characters who is unable to express herself using language, which is key in understanding her character and actions in the novel.
By William Faulkner
In William Faulkner’s “As I Lay Dying”, the actions in the novel revolve around one of the most important characters, Addie Bundren. Addie Bundren is the wife of Anse and the mother of Cash, Darl, Jewel, Dewey Dell, and Vardaman. In the beginning of the book Addie is gravely ill and dies early in the novel. Under Addie’s request, her husband and children are traveling across the countryside of Mississippi to Jefferson so Addie can be buried upon her birth/blood family rather than with her own family. For this Addie is characterized as an unnatural, loveless, cold, and selfish individual who causes pain and misery upon her family as they travel through harsh conditions in order to bury her body where she had wished. Through the structure of the book, each character’s monologues seems to give us a deeper understanding of who Addie truly is as her character contains only one monologue throughout the entire novel in which Addie’s voice reappears after her death where she is able to explain herself.
One character that seems to define Addie in depth is Cora Tull who relives memories of the late Addie. Cora suggests that Addie lived “a lonely woman, lonely with her pride, trying to make folks believe different, hiding the fact that they just suffered her” (22). This plays into the idea that Addie is a loveless human being as she despises her family and pretends as though their being has caused a burden upon her. Addie did not truly love or care for her child, nor her husband, which contrast’s Cora’s thought that “A woman’s place is with her husband and children, alive or dead” (23). In that sense it seems as though she was prepared and ready to die, to rid herself of the presence of her family and her negative past she had, having had an affair with Reverend Whitfield, which resulted in the birth of Jewel, who evidently was favored by Addie. Cora also suggests that the reason Addie acted this way was because she was never pure religious. Cora says, “God gave you children to comfort your hard lot and for a token of His own suffering and love, for in love you conceived and bore them” (166), but Addie lacks this characteristic.
Addie is truly a character that is unable to express herself in words/ language, which is evident in her single monologue. Addie suggests “the reason for living was to get ready to stay dead a long time” (169), which is an excuse she falls back on in the novel for treating the people in her life the way she did. Addie suggests that living was terrible, which taught her that words were no good as they are unable to explain what was trying to be said. This is also influenced in the text when Addie says, “That was when I learned words were no good; that words don’t ever fit even what they are trying to say” (171). Throughout the entire novel it seems that the actions speak louder than word. Though the novel is written and built of words, the characters’, like Addie, inability to speak with words are overpowered by the actions that are taking place.
Addie suggests that fear was invented by someone that had never had the fear and pride for those who never had pride. Addie recognizes that language is constructed, that someone “invented it.” Addie’s philosophy on life makes her one of the most important and interesting characters in the novel. Her character centers around the title, “As I lay Dying”. Her willingness to die causes conflict within the family she is leaving behind, however she looks to her death as a place to better her own life as is determined to die, making her selfish. The rest of the family looks to her death as a great tragedy, though they never really express their love towards her, and in a sense they do not let her die. Addie is unlike any of the other characters. Overall, Addie exemplifies one of Faulkner's characters who is unable to express herself using language, which is key in understanding her character and actions in the novel.
Thursday, February 26, 2009
Margaret Atwood's "A Sad Child" Commentary
"A Sad Child"
by Margaret Atwood
You’re sad because you’re sad.
It’s psychic. It’s the age. It’s chemical.
Go see a shrink or take a pill,
or hug your sadness like an eyeless doll
you need to sleep.
Well, all children are sad
but some get over it.
Count your blessing. Better than that,
buy a hat. But a coat or pet.
Take up dancing to forget.
Forget what?
Your sadness, your shadow,
whatever it was that was done to you
the day of the lawn party
when you came inside flushed with the sun,
your mouth sulky with sugar,
in your new dress with the ribbon
and the ice-cream smear,
and said to yourself in the bathroom,I
am not the favorite child.
My darling, when it comes
right down to it
and the light fails and the fog rolls in
and you’re trapped in your overturned body
under a blanket or burning car,
and the red flame is seeping out of you
and igniting the tarmac beside your head
or else the floor, or else the pillow,
none of us is;
or else we all are.
Commentary
In Margaret Atwood’s poem “A Sad Child”, the poet uses simplistic diction, imagery, and figurative language in order to express one’s ideas or feelings about experiencing depression. The speaker, possibly Atwood, uses these literary techniques as a basis of coping with the inevitable occurrences in life, which is influenced by sadness, as the title would suggest. The opening line also suggests this idea as it says “You’re sad because you’re sad.” The speaker is suggesting that sadness is inescapable as it is “psychic. It is age. It is chemical.”
The speaker suggests all children are sad, though some get over it, as it is a natural part of life. Throughout the poem the speaker develops ways of coping with this sadness as she suggests seeing a shrink or “hug your sadness like an eyeless doll.” This simile suggests that sadness is childlike as a child looks to an innocent doll as a means of escaping the misery. The speaker also looks more so to the materialistic things in life, like buying a hat, coat, or pet n hopes to forget the sadness. The speaker also suggests taking on a physical task, like dancing, as another way to deal with the pain. Although, the speaker tries to keep an optimistic point of view as she suggests, “count your blessings”.
In the third stanza the speaker concludes, “I am not a favorite child.” As the speaker comes to this realization it adds to the sadness the speaker is facing. In the following stanza the speaker uses a metaphor and states, “the light fails and the fog rolls in and you’re trapped in you’re your overturned body”, which causes the speaker to panic. This vivid image again gives us the impression that the speaker is helpless and unable to escape the pain, as these events add to the pressure.
To conclude, the speaker states, “none of us is; or else we all are”, which suggests that unfortunately either we are all effected by depression or not, which adds to the idea that depression is universal. Through the use of diction, imagery, and figurative language, the speaker stresses the idea that although depression is inescapable when consumed by it, there are ways to cope with the sadness.
by Margaret Atwood
You’re sad because you’re sad.
It’s psychic. It’s the age. It’s chemical.
Go see a shrink or take a pill,
or hug your sadness like an eyeless doll
you need to sleep.
Well, all children are sad
but some get over it.
Count your blessing. Better than that,
buy a hat. But a coat or pet.
Take up dancing to forget.
Forget what?
Your sadness, your shadow,
whatever it was that was done to you
the day of the lawn party
when you came inside flushed with the sun,
your mouth sulky with sugar,
in your new dress with the ribbon
and the ice-cream smear,
and said to yourself in the bathroom,I
am not the favorite child.
My darling, when it comes
right down to it
and the light fails and the fog rolls in
and you’re trapped in your overturned body
under a blanket or burning car,
and the red flame is seeping out of you
and igniting the tarmac beside your head
or else the floor, or else the pillow,
none of us is;
or else we all are.
Commentary
In Margaret Atwood’s poem “A Sad Child”, the poet uses simplistic diction, imagery, and figurative language in order to express one’s ideas or feelings about experiencing depression. The speaker, possibly Atwood, uses these literary techniques as a basis of coping with the inevitable occurrences in life, which is influenced by sadness, as the title would suggest. The opening line also suggests this idea as it says “You’re sad because you’re sad.” The speaker is suggesting that sadness is inescapable as it is “psychic. It is age. It is chemical.”
The speaker suggests all children are sad, though some get over it, as it is a natural part of life. Throughout the poem the speaker develops ways of coping with this sadness as she suggests seeing a shrink or “hug your sadness like an eyeless doll.” This simile suggests that sadness is childlike as a child looks to an innocent doll as a means of escaping the misery. The speaker also looks more so to the materialistic things in life, like buying a hat, coat, or pet n hopes to forget the sadness. The speaker also suggests taking on a physical task, like dancing, as another way to deal with the pain. Although, the speaker tries to keep an optimistic point of view as she suggests, “count your blessings”.
In the third stanza the speaker concludes, “I am not a favorite child.” As the speaker comes to this realization it adds to the sadness the speaker is facing. In the following stanza the speaker uses a metaphor and states, “the light fails and the fog rolls in and you’re trapped in you’re your overturned body”, which causes the speaker to panic. This vivid image again gives us the impression that the speaker is helpless and unable to escape the pain, as these events add to the pressure.
To conclude, the speaker states, “none of us is; or else we all are”, which suggests that unfortunately either we are all effected by depression or not, which adds to the idea that depression is universal. Through the use of diction, imagery, and figurative language, the speaker stresses the idea that although depression is inescapable when consumed by it, there are ways to cope with the sadness.
Thursday, February 12, 2009
Heaney's "Follower" Commentary
"Follower" by Seamus Heaney
My father worked with a horse plough,
His shoulders globed like a full sail strung
Between the shafts and the furrow.
The horses strained at his clicking tongue.
An expert. He would set the wing
And fit the bright-pointed sock.
The sod rolled over without breaking.
At the headrig, with a single pluck
Of reins, the sweating team turned round
And back into the land. His eye
Narrowed and angled at the ground,
Mapping the furrow exactly.
I stumbled in his hobnailed wake,
Fell sometimes on the polished sod;
Sometimes he rode me on his back
Dipping and rising to his plod.
I wanted to grow up and plough,
To close one eye, stiffen my arm.
All I ever did was follow
In his broad shadow around the farm.
I was a nuisance, tripping, falling,
Yapping always. But today
It is my father who keeps stumbling
Behind me, and will not go away.
Commentary
In Seamus Heaney’s “Follower” the poet uses diction, imagery, and figurative language to describe the relationship between a father and a son. Throughout the play there are visual images of a farmer who is hard at work, which is a metaphor for the father. The speaker is the son, perhaps Heaney, who describes the enduring process of farming, as he admires and looks up to his father and his strength for inspiration as he tries to live up to his father’s expectations. With that, that title, “Follower”, represents admiration as the son tries to follow in his father’s footsteps.
In the first stanza, the speaker is comparing his father to sailor as he states, “his shoulders globed like a full sail strung.” The speaker is suggesting that his father, like a sailor, is in complete control of what he is doing. The speaker uses the nautical imagery to compare the breeze, ease, and control of sailing a ship on the smoothness of water to the strength his father has as he tolerates the harshness of doing labor on the rough land of the farm. The speaker also states, “his eye narrowed and angled at the ground, mapping the furrow exactly.” This again refers to the father’s strength and preciseness in his work. This image also reflects the phrase in the previous stanza in which the speaker briefly states, “An expert.” This phrase emphasizes the idea of the speaker’s father being very precise and full of potency. These interpretations create a very powerful and reflective tone.
Though the father’s physical strengths are stressed throughout the first three stanzas, in contrast, the last three stanzas are more so about the weaknesses of the son. The speaker says, “I want to grow up and plough, to close one eye, stiffen my arm”, which suggests hope, as he wants to grow up and be just like his father, especially physically. But, the speaker uses words like “stumbled”, “fell”, “nuisance”, “tripping”, “falling”, and “yapping always” to describe his flaws. As he is an innocent child, these words suggest perhaps he is not living up to his father’s expectations, as he is very clumsy. It seems as though the speaker is constantly in his father’s way and he is not of much help on farm. But, the speaker concludes, “But today it is my father who keeps stumbling behind me, and will not go away”. I interpreted this as the father becoming very weak, old and unable to work, so he is pressuring his son to follow his footsteps and meet his physical abilities.
In conclusion, Heaney uses diction, visual images, and figurative language to describe the physical relationship between a father and son. The visual images constantly allow us to picture the father hard at work, which is comparable to a sailor sailing a ship. The son wants to be like his father, but he lacks the physical aspects to meet that deed, perhaps because he is only a child. But, the son admires his father, as the title would suggest.
My father worked with a horse plough,
His shoulders globed like a full sail strung
Between the shafts and the furrow.
The horses strained at his clicking tongue.
An expert. He would set the wing
And fit the bright-pointed sock.
The sod rolled over without breaking.
At the headrig, with a single pluck
Of reins, the sweating team turned round
And back into the land. His eye
Narrowed and angled at the ground,
Mapping the furrow exactly.
I stumbled in his hobnailed wake,
Fell sometimes on the polished sod;
Sometimes he rode me on his back
Dipping and rising to his plod.
I wanted to grow up and plough,
To close one eye, stiffen my arm.
All I ever did was follow
In his broad shadow around the farm.
I was a nuisance, tripping, falling,
Yapping always. But today
It is my father who keeps stumbling
Behind me, and will not go away.
Commentary
In Seamus Heaney’s “Follower” the poet uses diction, imagery, and figurative language to describe the relationship between a father and a son. Throughout the play there are visual images of a farmer who is hard at work, which is a metaphor for the father. The speaker is the son, perhaps Heaney, who describes the enduring process of farming, as he admires and looks up to his father and his strength for inspiration as he tries to live up to his father’s expectations. With that, that title, “Follower”, represents admiration as the son tries to follow in his father’s footsteps.
In the first stanza, the speaker is comparing his father to sailor as he states, “his shoulders globed like a full sail strung.” The speaker is suggesting that his father, like a sailor, is in complete control of what he is doing. The speaker uses the nautical imagery to compare the breeze, ease, and control of sailing a ship on the smoothness of water to the strength his father has as he tolerates the harshness of doing labor on the rough land of the farm. The speaker also states, “his eye narrowed and angled at the ground, mapping the furrow exactly.” This again refers to the father’s strength and preciseness in his work. This image also reflects the phrase in the previous stanza in which the speaker briefly states, “An expert.” This phrase emphasizes the idea of the speaker’s father being very precise and full of potency. These interpretations create a very powerful and reflective tone.
Though the father’s physical strengths are stressed throughout the first three stanzas, in contrast, the last three stanzas are more so about the weaknesses of the son. The speaker says, “I want to grow up and plough, to close one eye, stiffen my arm”, which suggests hope, as he wants to grow up and be just like his father, especially physically. But, the speaker uses words like “stumbled”, “fell”, “nuisance”, “tripping”, “falling”, and “yapping always” to describe his flaws. As he is an innocent child, these words suggest perhaps he is not living up to his father’s expectations, as he is very clumsy. It seems as though the speaker is constantly in his father’s way and he is not of much help on farm. But, the speaker concludes, “But today it is my father who keeps stumbling behind me, and will not go away”. I interpreted this as the father becoming very weak, old and unable to work, so he is pressuring his son to follow his footsteps and meet his physical abilities.
In conclusion, Heaney uses diction, visual images, and figurative language to describe the physical relationship between a father and son. The visual images constantly allow us to picture the father hard at work, which is comparable to a sailor sailing a ship. The son wants to be like his father, but he lacks the physical aspects to meet that deed, perhaps because he is only a child. But, the son admires his father, as the title would suggest.
Thursday, February 5, 2009
Seamus Heaney's "Blackberry-Picking" Commentary
"Blackberry-Picking"
By Seamus Heaney
Late August, given heavy rain and sun
For a full week, the blackberries would ripen.
At first, just one, a glossy purple clot
Among others, red, green, hard as a knot.
You ate that first one and its flesh was sweet
Like thickened wine: summer's blood was in it
Leaving stains upon the tongue and lust for
Picking. Then red ones inked up and that hunger
Sent us out with milk cans, pea tins, jam-pots
Where briars scratched and wet grass bleached our boots.
Round hayfields, cornfields and potato-drills
We trekked and picked until the cans were full,
Until the tinkling bottom had been covered
With green ones, and on top big dark blobs burned
Like a plate of eyes. Our hands were peppered
With thorn pricks, our palms sticky as Bluebeard's.
We hoarded the fresh berries in the byre.
But when the bath was filled we found a fur,
A rat-grey fungus, glutting on our cache.
The juice was stinking too. Once off the bush
The fruit fermented, the sweet flesh would turn sour.
I always felt like crying. It wasn't fair
That all the lovely canfuls smelt of rot.
Each year I hoped they'd keep, knew they would not.
Commentary
In Seamus Heaney’s “Blackberry-Picking”, the poet uses imagery and diction to describe the process and feelings one endures while picking blackberries, as the title suggests. Heaney also uses other literary devices, like metaphors and similes, which make the idea of blackberry picking as a child more in-depth and stand for something else. As the innocence of waiting all year to have the pleasure and excitement of harvesting and picking blackberries ends, so does the child’s innocence.
In the first stanza the speaker experiences the excitement of picking the first “glossy purple clot” while patiently waiting for the others to ripen, as they were “hard as a knot”. The speaker says, “you ate the first one and its flesh was sweet like thickened wine”. The use of the simile puts emphasis on the sweetness and joy that came with picking blackberries, which is comparable to the wonderful taste that one has while drinking wine. The poet uses the innocence of the blackberry picking seems to signify the innocence of a child’s life as the "sweet flesh" and “summer’s blood” seems to represent the life’s goodness. Also, the speaker states, “we trekked and picked until the cans were full”, which suggests these children, picked every delicious blackberry in sight. Hence, this may represent the passion they have for life as they realize its decency. All of these vivid images allow the reader to actually see and image what is the speaker is talking about. The imagery sets the tone for the first stanza, as it is full of joy, happiness, and passion.
As the poem transitions from first to the second stanza, so does the tone of the poem. As the individuals in the poem try to hoard the blackberries in the byre, “a rat-grey fungus” consumes them. As the blackberries are diminishing from the first stanza, which seems to symbolize a child’s innocence and life, the second stanza seems to represent the loss of innocence and death. The second stanza is full of images that seem to resemble images of decomposition. The images of the fruit fermenting as “the sweet flesh would turn sour”, remind the reader that as berries ripen, so does one’s life as it comes to an end…death. The overall tone changes in the second stanza, as the first stanza is full of life’s happiness and the second stanza is full of sadness as life rots. The speaker comes to this realization and concludes, “each year I hoped they'd keep, knew they would not”, which suggests all good things come to an end.
In conclusion, Seamus Heaney uses diction, imagery, and figurative language to explain how the bittersweet things in life come to an end. The use of figurative language emphasizes this and the idea that nothing in life comes easy. Heaney uses the innocent images of blackberry picking in comparison to the challenges one endures in their life, including death, which represents the loss of innocence. Though the speaker enjoyed and had a passion for blackberry picking, the speaker also had to take in the pain that came along with it.
By Seamus Heaney
Late August, given heavy rain and sun
For a full week, the blackberries would ripen.
At first, just one, a glossy purple clot
Among others, red, green, hard as a knot.
You ate that first one and its flesh was sweet
Like thickened wine: summer's blood was in it
Leaving stains upon the tongue and lust for
Picking. Then red ones inked up and that hunger
Sent us out with milk cans, pea tins, jam-pots
Where briars scratched and wet grass bleached our boots.
Round hayfields, cornfields and potato-drills
We trekked and picked until the cans were full,
Until the tinkling bottom had been covered
With green ones, and on top big dark blobs burned
Like a plate of eyes. Our hands were peppered
With thorn pricks, our palms sticky as Bluebeard's.
We hoarded the fresh berries in the byre.
But when the bath was filled we found a fur,
A rat-grey fungus, glutting on our cache.
The juice was stinking too. Once off the bush
The fruit fermented, the sweet flesh would turn sour.
I always felt like crying. It wasn't fair
That all the lovely canfuls smelt of rot.
Each year I hoped they'd keep, knew they would not.
Commentary
In Seamus Heaney’s “Blackberry-Picking”, the poet uses imagery and diction to describe the process and feelings one endures while picking blackberries, as the title suggests. Heaney also uses other literary devices, like metaphors and similes, which make the idea of blackberry picking as a child more in-depth and stand for something else. As the innocence of waiting all year to have the pleasure and excitement of harvesting and picking blackberries ends, so does the child’s innocence.
In the first stanza the speaker experiences the excitement of picking the first “glossy purple clot” while patiently waiting for the others to ripen, as they were “hard as a knot”. The speaker says, “you ate the first one and its flesh was sweet like thickened wine”. The use of the simile puts emphasis on the sweetness and joy that came with picking blackberries, which is comparable to the wonderful taste that one has while drinking wine. The poet uses the innocence of the blackberry picking seems to signify the innocence of a child’s life as the "sweet flesh" and “summer’s blood” seems to represent the life’s goodness. Also, the speaker states, “we trekked and picked until the cans were full”, which suggests these children, picked every delicious blackberry in sight. Hence, this may represent the passion they have for life as they realize its decency. All of these vivid images allow the reader to actually see and image what is the speaker is talking about. The imagery sets the tone for the first stanza, as it is full of joy, happiness, and passion.
As the poem transitions from first to the second stanza, so does the tone of the poem. As the individuals in the poem try to hoard the blackberries in the byre, “a rat-grey fungus” consumes them. As the blackberries are diminishing from the first stanza, which seems to symbolize a child’s innocence and life, the second stanza seems to represent the loss of innocence and death. The second stanza is full of images that seem to resemble images of decomposition. The images of the fruit fermenting as “the sweet flesh would turn sour”, remind the reader that as berries ripen, so does one’s life as it comes to an end…death. The overall tone changes in the second stanza, as the first stanza is full of life’s happiness and the second stanza is full of sadness as life rots. The speaker comes to this realization and concludes, “each year I hoped they'd keep, knew they would not”, which suggests all good things come to an end.
In conclusion, Seamus Heaney uses diction, imagery, and figurative language to explain how the bittersweet things in life come to an end. The use of figurative language emphasizes this and the idea that nothing in life comes easy. Heaney uses the innocent images of blackberry picking in comparison to the challenges one endures in their life, including death, which represents the loss of innocence. Though the speaker enjoyed and had a passion for blackberry picking, the speaker also had to take in the pain that came along with it.
Thursday, January 29, 2009
Donne's "The Flea" Commentary
"The Flea" by John Donne
Mark but this flea, and mark in this,
How little that which thou deny'st me is;
It sucked me first, and now sucks thee,
And in this flea our two bloods mingled be;
Thou know'st that this cannot be said
A sin, nor shame, nor loss of maidenhead;
Yet this enjoys before it woo,
And pampered swells with one blood made of two,
And this, alas, is more than we would do.
Oh stay, three lives in one flea spare,
Where we almost, yea, more than married are.
This flea is you and I, and this
Our marriage bed, and marriage temple is;
Though parents grudge, and you, w'are met,
And cloistered in these living walls of jet.
Though use make you apt to kill me,
Let not to that, self-murder added be,
And sacrilege, three sins in killing three.
Cruel and sudden, hast thou since
Purpled thy nail in blood of innocence?
Wherein could this flea guilty be,
Except in that drop which it sucked from thee?
Yet thou triumph'st and say'st that thou
Find'st not thyself, nor me the weaker now;
'Tis true, then learn how false fears be:
Just so much honor, when thou yield'st to me,
Will waste, as this flea's death took life from thee.
Commentary
In John Donne’s poem “The Flea”, the diction, imagery, and constant use of metaphors creates a comical, yet persuasive and argumentative tone, which exhibits another one of Donne’s metaphysical poems. Donne uses unusual images to resemble symbols of love and romance. The image of the flea biting the speaker and then his beloved metaphorically represents the two engaging in premarital sex. Using the innocence of the image “two bloods mingled” within the flea, the speaker wants to convince his lover that sexually mingling would be equally innocent.
In the first stanza the speaker says, the flea “sucked me first, and now sucks thee, and in this flea our two bloods mingled be”. The speaker is implying that the flea has sucked his blood first and then his beloved, so now inside the flea’s body they are “mingled”, hence in a sense they have already had sex, though the lover denies him. The speaker tries to reason with the lover and suggests that their blood mingling in the body is neither “a sin, nor shame”. The speaker argues that the flea is not a big deal, hence losing her virginity would not be either.
In the second stanza, the speaker persuades the speaker and says, “Oh stay, three lives in one flea spare, where we almost, yea, more than married are.” The three lives the speaker is referring to are himself, his lover, and the flea. The speaker is suggesting that by allowing the flea to cause their blood to conjoin, the two have had sex in its body, therefore they have become “more than married are” though they are not married at all. The speaker metaphorically refers to the flea as their “marriage bed” and “marriage temple” as the flea is sacred and he tries to prevent the lover from killing it. The speaker exaggerates using the words “self-murder” and “sacrilege” to guilt and convince the lover that in killing the flea, she will be but also killing herself and the speaker.
By the third stanza, the lover does not fall for the persuasive accusations the speaker makes throughout the play as the lover “purpled thy nail”, evidently squashing the flea. So the speaker calls the lover “cruel and sudden” having killed the innocent flea, which also destroyed the hopes of sexual relations between the two. The speaker suggests to the lover that she should not fear the loss of honor as long as she surrenders her virginity to him.
In conclusion, Donne uses diction, imagery, and figurative language to convince his lover to have premarital sex with him. These devices create a seductive and argumentative, yet comical tone throughout the play. Using the innocence of the image “two bloods mingled” within the flea, the speaker wants to convince his lover that sexually mingling and the loss of her virginity would also be innocent.
Mark but this flea, and mark in this,
How little that which thou deny'st me is;
It sucked me first, and now sucks thee,
And in this flea our two bloods mingled be;
Thou know'st that this cannot be said
A sin, nor shame, nor loss of maidenhead;
Yet this enjoys before it woo,
And pampered swells with one blood made of two,
And this, alas, is more than we would do.
Oh stay, three lives in one flea spare,
Where we almost, yea, more than married are.
This flea is you and I, and this
Our marriage bed, and marriage temple is;
Though parents grudge, and you, w'are met,
And cloistered in these living walls of jet.
Though use make you apt to kill me,
Let not to that, self-murder added be,
And sacrilege, three sins in killing three.
Cruel and sudden, hast thou since
Purpled thy nail in blood of innocence?
Wherein could this flea guilty be,
Except in that drop which it sucked from thee?
Yet thou triumph'st and say'st that thou
Find'st not thyself, nor me the weaker now;
'Tis true, then learn how false fears be:
Just so much honor, when thou yield'st to me,
Will waste, as this flea's death took life from thee.
Commentary
In John Donne’s poem “The Flea”, the diction, imagery, and constant use of metaphors creates a comical, yet persuasive and argumentative tone, which exhibits another one of Donne’s metaphysical poems. Donne uses unusual images to resemble symbols of love and romance. The image of the flea biting the speaker and then his beloved metaphorically represents the two engaging in premarital sex. Using the innocence of the image “two bloods mingled” within the flea, the speaker wants to convince his lover that sexually mingling would be equally innocent.
In the first stanza the speaker says, the flea “sucked me first, and now sucks thee, and in this flea our two bloods mingled be”. The speaker is implying that the flea has sucked his blood first and then his beloved, so now inside the flea’s body they are “mingled”, hence in a sense they have already had sex, though the lover denies him. The speaker tries to reason with the lover and suggests that their blood mingling in the body is neither “a sin, nor shame”. The speaker argues that the flea is not a big deal, hence losing her virginity would not be either.
In the second stanza, the speaker persuades the speaker and says, “Oh stay, three lives in one flea spare, where we almost, yea, more than married are.” The three lives the speaker is referring to are himself, his lover, and the flea. The speaker is suggesting that by allowing the flea to cause their blood to conjoin, the two have had sex in its body, therefore they have become “more than married are” though they are not married at all. The speaker metaphorically refers to the flea as their “marriage bed” and “marriage temple” as the flea is sacred and he tries to prevent the lover from killing it. The speaker exaggerates using the words “self-murder” and “sacrilege” to guilt and convince the lover that in killing the flea, she will be but also killing herself and the speaker.
By the third stanza, the lover does not fall for the persuasive accusations the speaker makes throughout the play as the lover “purpled thy nail”, evidently squashing the flea. So the speaker calls the lover “cruel and sudden” having killed the innocent flea, which also destroyed the hopes of sexual relations between the two. The speaker suggests to the lover that she should not fear the loss of honor as long as she surrenders her virginity to him.
In conclusion, Donne uses diction, imagery, and figurative language to convince his lover to have premarital sex with him. These devices create a seductive and argumentative, yet comical tone throughout the play. Using the innocence of the image “two bloods mingled” within the flea, the speaker wants to convince his lover that sexually mingling and the loss of her virginity would also be innocent.
Thursday, January 22, 2009
Commentary on John Donne's "The Good-Morrow"
"The Good-Morrow"
by John Donne
I wonder, by my troth, what thou and I
Did, till we loved? Were we not weaned till then?
But sucked on country pleasures, childishly?
Or snorted we in the Seven Sleepers' den?
'Twas so; but this, all pleasures fancies be.
If ever any beauty I did see,
Which I desired, and got, 'twas but a dream of thee.
And now good-morrow to our waking souls,
Which watch not one another out of fear;
For love, all love of other sights controls,
And makes one little room an everywhere.
Let sea-discoveres to new worlds have shown,
Let us possess one world, each hath one, and is one.
My face in thine eye, thine in mine appears,
And true plain hearts do in the faces rest;
Where can we find two better hemispheres,
Without sharp north, without declining west?
Whatever dies was not mixed equally,
If our two loves be one, or, thou and I
Love so alike that none do slacken, none can die.
Commentary
In John Donne’s poem “The Good-Morrow” the speaker uses repetition, diction, and rhetorical questions to express his ideas and feelings of the maturing love he has for a significant other. As the poem is broken down in three stanzas, each stanza signifies a particular phase in growth of love that these two lovers share together. Through the structure of the poem we see how the relationship these lovers share progresses from an immature and childlike relationship and develops into an eternal love for one another.
In the first stanza the writer uses word choice and rhetorical questions to express his love he once had for an individual. The speaker states “Did, till we loved? Were we not weaned till then? But sucked on country pleasures, childishly?” Here the speaker’s tone is lustful. With that, this suggests that the love they once had was childish, naïve, and immature. It seems as though their relationship was nothing more than that. A rhetorical question the speaker uses says, “Or snorted we in the Seven Sleepers’ den?” The allusion the writer uses also refers back to his youth. As he questions where the time went, this indication suggests the love he once had was never really true love. Also, the use of the words “I wonder” and “dream” resembles the love he wished he had with his lover, but he has yet to have that connection with her.
Again, in the second stanza the speaker uses rhetorical questions and diction to express the change and transition from immature love in exchange for the hopes of true love. The speaker states, “and now good-morrow to our waking souls”. As the speaker awakes from his dream in “good-morrow”, literally good morning, he realizes his hopes for true love. As he comes to this realization, the repetition of the words “let” and “world” broaden the opportunities of vast love the speaker wants to share with his lover.
In the third stanza, there is again a transition in the speaker’s emotions towards his lover. As the poem changes stanzas, so does the speaker’s view on love. The speaker states, “My face in thine eye, thine in mine appears”. As the speaker’s eyes get lost in his lovers, this assures he has found true love. As the speaker concludes, “Love so alike that none do slacken, none can die”, he is sure that their love is everlasting and they are meant to be together as he looks forward to the future.
To conclude, in John Donne’s poem “The Good-Morrow”, the use of the rhetorical question, diction, and repetition of words express the changes of love the speaker has for his lover from stanza to stanza. Stanza to stanza, we see how the love matures. The speaker begins to reminisce of the immature love he once had, only to dream of the love he wishes he had, and concludes that he has found that true love.
by John Donne
I wonder, by my troth, what thou and I
Did, till we loved? Were we not weaned till then?
But sucked on country pleasures, childishly?
Or snorted we in the Seven Sleepers' den?
'Twas so; but this, all pleasures fancies be.
If ever any beauty I did see,
Which I desired, and got, 'twas but a dream of thee.
And now good-morrow to our waking souls,
Which watch not one another out of fear;
For love, all love of other sights controls,
And makes one little room an everywhere.
Let sea-discoveres to new worlds have shown,
Let us possess one world, each hath one, and is one.
My face in thine eye, thine in mine appears,
And true plain hearts do in the faces rest;
Where can we find two better hemispheres,
Without sharp north, without declining west?
Whatever dies was not mixed equally,
If our two loves be one, or, thou and I
Love so alike that none do slacken, none can die.
Commentary
In John Donne’s poem “The Good-Morrow” the speaker uses repetition, diction, and rhetorical questions to express his ideas and feelings of the maturing love he has for a significant other. As the poem is broken down in three stanzas, each stanza signifies a particular phase in growth of love that these two lovers share together. Through the structure of the poem we see how the relationship these lovers share progresses from an immature and childlike relationship and develops into an eternal love for one another.
In the first stanza the writer uses word choice and rhetorical questions to express his love he once had for an individual. The speaker states “Did, till we loved? Were we not weaned till then? But sucked on country pleasures, childishly?” Here the speaker’s tone is lustful. With that, this suggests that the love they once had was childish, naïve, and immature. It seems as though their relationship was nothing more than that. A rhetorical question the speaker uses says, “Or snorted we in the Seven Sleepers’ den?” The allusion the writer uses also refers back to his youth. As he questions where the time went, this indication suggests the love he once had was never really true love. Also, the use of the words “I wonder” and “dream” resembles the love he wished he had with his lover, but he has yet to have that connection with her.
Again, in the second stanza the speaker uses rhetorical questions and diction to express the change and transition from immature love in exchange for the hopes of true love. The speaker states, “and now good-morrow to our waking souls”. As the speaker awakes from his dream in “good-morrow”, literally good morning, he realizes his hopes for true love. As he comes to this realization, the repetition of the words “let” and “world” broaden the opportunities of vast love the speaker wants to share with his lover.
In the third stanza, there is again a transition in the speaker’s emotions towards his lover. As the poem changes stanzas, so does the speaker’s view on love. The speaker states, “My face in thine eye, thine in mine appears”. As the speaker’s eyes get lost in his lovers, this assures he has found true love. As the speaker concludes, “Love so alike that none do slacken, none can die”, he is sure that their love is everlasting and they are meant to be together as he looks forward to the future.
To conclude, in John Donne’s poem “The Good-Morrow”, the use of the rhetorical question, diction, and repetition of words express the changes of love the speaker has for his lover from stanza to stanza. Stanza to stanza, we see how the love matures. The speaker begins to reminisce of the immature love he once had, only to dream of the love he wishes he had, and concludes that he has found that true love.
Monday, December 1, 2008
Act of Resistance/ Final Response to Lysistrata
For my Act of Resistance, my goal was to protest against an issue that greatly effects the younger generation. Therefore, I wanted to focus on the issue of binge drinking, in general, on college campuses. For those of you who are unaware of what binge drinking is, essentially binge drinking means to drink heavily over a period of several days, however, the term refers to the heavy consumption of alcohol over a short period of time. Individuals binge drink mainly for the purpose to become intoxicated. The main problems that may evolve from the issue of binge drinking include alcohol poisoning, impaired judgment, physical harm to the body (increased likeliness of being overweight and having high blood pressure), mental health problems, and possibly alcoholism.
But, the main question that I raised before publicly protesting the issue of binge drinking was, why do people binge drink? In the search for answering my own question, I came to the conclusion that people binge drink mostly because they have giving in to peer pressure and just want to fit in. Other reasons include that individuals become curious as they want to know to what is like to drink excessively. Individuals look to alcohol as a way to relieve stress and make them feel better, although they are unaware that it may make them feel sick and hung-over. Also, they want to feel older than they actually are.
After I researched and gathered my thoughts on what I already knew about binge drinking, I thought the perfect way to express my protest was on a college campus to college students, as college students seem to be the most effected by this issue. So, my mission was to speak to college students at Ripon College, in which my sisters attend, to see what their opinions on binge drinking were. I mostly spoke to my sisters’ friends and sorority sisters about it. For the most part, they all responded in the same way and mainly suggested that binge drinking is very harmful as they have either witnessed or experienced the effects of binge drinking. As some admitted to binge drinking, they also stated they were unaware of why they choose to binge drink other than the fact that the alcohol was there and it was not hard to get away with it. But, some did say that they were aware of the possible effects and bad consequences from such choices may have had including drinking and driving or having sex. Other people said they like the feeling of being drunk, and that is why they drink, yet they were not sure of what they truly got out of it as binge drinking is never a positive thing.
Personally, I fell that binge drinking is very unsafe and although one may think it is cool when their in the moment, they are often ignorant of that of which will come after their experience of binge drinking is all said and done. I do not see what people get out of binge drinking. I think what shocked me the most about my protest was that some easily admitted to binge drinking, even some who were underage.
In the future, I do not think I would do anything different about my protest. But, for insight to the future, I do wish to continue to educate individuals about binge drinking and address the negative consequences and harm it does to an individual, both mentally and physically. I think I did help the problem. After I completed my act of resistance, I was greatly satisfied with the effect it may have had on others, as I hope they will think twice before binge drinking again.
But, the main question that I raised before publicly protesting the issue of binge drinking was, why do people binge drink? In the search for answering my own question, I came to the conclusion that people binge drink mostly because they have giving in to peer pressure and just want to fit in. Other reasons include that individuals become curious as they want to know to what is like to drink excessively. Individuals look to alcohol as a way to relieve stress and make them feel better, although they are unaware that it may make them feel sick and hung-over. Also, they want to feel older than they actually are.
After I researched and gathered my thoughts on what I already knew about binge drinking, I thought the perfect way to express my protest was on a college campus to college students, as college students seem to be the most effected by this issue. So, my mission was to speak to college students at Ripon College, in which my sisters attend, to see what their opinions on binge drinking were. I mostly spoke to my sisters’ friends and sorority sisters about it. For the most part, they all responded in the same way and mainly suggested that binge drinking is very harmful as they have either witnessed or experienced the effects of binge drinking. As some admitted to binge drinking, they also stated they were unaware of why they choose to binge drink other than the fact that the alcohol was there and it was not hard to get away with it. But, some did say that they were aware of the possible effects and bad consequences from such choices may have had including drinking and driving or having sex. Other people said they like the feeling of being drunk, and that is why they drink, yet they were not sure of what they truly got out of it as binge drinking is never a positive thing.
Personally, I fell that binge drinking is very unsafe and although one may think it is cool when their in the moment, they are often ignorant of that of which will come after their experience of binge drinking is all said and done. I do not see what people get out of binge drinking. I think what shocked me the most about my protest was that some easily admitted to binge drinking, even some who were underage.
In the future, I do not think I would do anything different about my protest. But, for insight to the future, I do wish to continue to educate individuals about binge drinking and address the negative consequences and harm it does to an individual, both mentally and physically. I think I did help the problem. After I completed my act of resistance, I was greatly satisfied with the effect it may have had on others, as I hope they will think twice before binge drinking again.
Sunday, November 16, 2008
Final Thoughts on "Lysistrata"
Overall, I thoroughly enjoyed the play “Lysistrata”. The play was a more difficult read compared to the other plays, “The House of Bernarda Alba” and “Hedda Gabler”. “Lysistrata” was unlike the other plays as it did not end in a tragedy, which is another reason why I like this play more. Also, the language, including the puns/play on words and metaphors, were humorous and made the play easier to want to read. I also like “Lysistrata” better than the other plays because it was more so about the strength of the women, which were displayed in the themes, presented throughout the play. The other plays were more so about the repression of women, not “the power of a woman”. I did not notice any big comparisons between the plays either. Ultimately, the play was pretty okay and I would recommend it to others who are interested in reading a sexual comedy.
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