Hamlet #4

     Hamlet appears to have come down with a fatal case of "love sickness," but the manner in which he interacts with Polonious makes the reader doubtful of this portrayal. When Polonious first encounters Hamlet, Polonious asks Hamlet if they have been acquainted. In response, Hamlet replies, "Excellent well. You are a fishmonger" (II.ii.190). A fishmonger, one who sells fish, is an interesting position for Hamlet to assign to Polonious. One reason for this assignation may be because fish are typically slimy creatures. Throughout their conversation, it becomes more apparent that Hamlet knows of Polonious' relationship to Ophelia when he keeps mentioning words such as "daughter" and "conception." By immediately calling him a fishmonger and speaking of the rarity of honesty, Hamlet is hinting to the audience that he comprehends the twisted meaning behind their encounter. This theory is solidified at the end of the conversation when Hamlet retorts, "These tedious old fools" (II.ii.237). The tedious fools Hamlet is most likely referring to is his mother, Claudius, and Polonious. This scene further indicates that Hamlet is aware of their suspicions, and he is externally portraying a delirious and damaged lover, while being internally filled with rage of his father's murder.

Sound & Sense 5: Toads

     I can relate to the frustration of the pestering amphibians that Philip Larkin encounters in his poem, "Toads." The first toad that Larkin wrestles with is the monotony and obligation of going to work. The poem begins, "Why should I let the toad work / Squat on my life?" (1-2). The speaker would much prefer to abort his career and "live on [his] wits" (9). As his rational, the speaker recognizes the lecturers and thieves that use their brains to support their lifestyles. This also adds a sense of humor to the poem because although the speaker touches upon a serious subject, using a convict as his ideal role model is a sarcastic gesture. The second toad is slightly different than the first: "[it] squats in me" (26). Compared to the first toad, the speaker cannot overcome the toad that lurks on the inside. We all have toads similar the first kind, the one associated with words such as "pension" and "bills." These man-made concepts reflect more of the material world in which we live, and the pressure placed upon individuals by society. These toads are more easily acknowledged, and at times they can be removed. The second toad, however, is never explicitly named in the poem because it is harder to unmask. Nonetheless, it is ever present and daunting: "Its hunkers are heavy as hard luck, / And cold as snow" (27-28). One's inner toad is most likely the moral obligations or responsibilities that interfere with being entirely liberated to achieve "the fame and the girl and the money" (31). Larkin's poem "Toads" responds to the duties and responsibilities in life with a humorous tone but a strong message.

Bye Bye Baby

Dear Nicole,

     I have thought about so many ways to start this letter, and each time I keep re-writing what I want to say. You're finally leaving for college, and I feel that in some ways the weight of this statement has not yet fully hit me. I will miss taking a picture on your first day of school, not being able to bring you a snack when you're up late studying for some big test, and no longer being able to hold your hand when things don't go your way. Next year will be new, scary, and intimidating, but I know that you will be able to succeed wherever you go.
     You are, and will always be, my first baby. From the first ski lesson you ever took, I knew you were going to be a fighter. You are a determined, confident, and hard working young lady. I would love to say that I deserve all the credit, but I guess your father contributed a little :-).
     You know I wish you were going closer to home, but I understand that you need to time and space to grow. Before you leave, you must promise to come home on all vacations and breaks you can, or else I will come to visit you! I am so proud of the young woman you have become, and I just want you know how much you are loved. Amy has been crying for the past week, and I know that she will take a while to get adjusted to life without you (although she will appreciate getting her own room). Although Casey may not show it, she looks up to you, and your approval means so much to her. Rachel will be Rachel, but I know you will be missed. You are such an essential component of this family, and although we may not see you everyday, you will always be a part of the family just the same.
     One of your qualities that has always amazed me is your determined and unyielding work ethic. We are so proud of how much effort you place into everything in which you take part, and that is all we can ask. I know you will continue to strive and achieve, but, please remember to take time to relax and play! You've have been so dedicated, and times too dedicated, that I hope you remember to have fun. The next four years will be some of the most pivotal and influential years of your life, so enjoy this wonderful time and opportunities. We are so proud of who you have become, and we wish you the best in college.

          All my love,
                  Mom

Hamlet #3

     In this reading, the ghost enlightens Hamlet regarding his eerie and looming presence around the castle. We learn that Claudius poisoned King Hamlet while he was asleep in his garden (hence the prior metaphor about the weeds growing in the kingdom). Additionally, it is learned that Claudius seduced Gertrude into lust before the departure of King Hamlet. Because King Hamlet was killed before he could repent, he will remain in purgatory until his sins have been forgiven.
    Hamlet is enraged to hear about the betrayal of Claudius and Gertrude to his beloved father. Before he departs, the ghost asks Hamlet to seek revenge upon Claudius for his murder. Hamlet says that he will remember the plea of the ghost: "Yea, from the table of my memory / I'll wipe away all trivial, fond records [...] all pressures past [...] And thy commandment all alone shall live" (I.v.105-09). The table that Hamlet is referring to is a data table, one filled with information of his childhood and perception of the Kingdom. Hamlet is going to wipe the data clean from his charts and redefine his actions and opinions based on this new knowledge from his supposed father. Later in his soliloquy Hamlet adds, "My tables-meet it is I set it down / That one may smile and smile and be a villain" (I.v.114-15). Here, the table closer resembles a dinner table, and Hamlet is setting the places. Claudius is a deceiving dish that appears delectable and wholesome on the outside, but he is comprised of a corrupted and rotten core. The multiple ways in which Hamlet utilizes the word "table" demonstrate his clever ability, and it shows how one concept can be so heavily layered.

Hamlet #2

     In Act 1 Scene 3, tensions and rumors about Hamlet are brewing. Laertes is departing to France to continue his education, but before he leaves, he warns his sister Ophelia of dangers of fooling around with Hamlet. In his monologue, Laertes creates a metaphor to describe Hamlet's relationship to his obligations: "Unto the voice and yielding of that body / Whereof he [(Hamlet)] is the head" (I.iii.26). Hamlet is the representation of Denmark, but he is bound to the will of the people and the will of the state. On the contrary, Laertes does not have these same obligations, so he is allowed to continue his education. The power and respect held to each individual is both a blessing and a curse; the greater authority one has in the kingdom, the less say they have regarding their fate.
     Although Laertes and Hamlet are confined by different expectations, they are both obedient and reverent to their fathers. Upon his departure, Laertes intently listens to a list of advice from his father, Polonius. When the monologue is complete, Laertes says to his father in gratitude, "Most humbly do I take my leave, my lord" (I.iii.88). Hamlet shows a similar level of love and adoration of his father. When Hamlet confronts the ghost, he willingly follows the apparition to an unknown destination in the hope that it could be his father. Hamlet does not value the current state of his life: "I do not set my life at a pin's fee," (I.iv.73) and he therefore hopes that an encounter with the ghost will bring some meaning back into his life. Laertes and Hamlet are both loving sons who diligently obey the commands of the fathers. However, Hamlet seems to be in search of answers and inspirations, whereas Laertes thinks he has uncovered the truth and is trying to protect his sister Ophelia. It will be interesting to see how these characters diverge or compare as the play continues.

Hamlet #1

     Upon first impressions, Hamlet appears to be more humble and modest than other Shakespearean royalty. Whereas Othello was proud enough to assert himself as the sword of justice, Hamlet differentiates himself from power by saying, "My father's brother, but no more like my father / Than I to Hercules" (I.ii.157-58). This quote is quite revealing about the characterization of Hamlet. The comparison between Hamlet's uncle to his father is used to parallel the comparison between himself and Hercules. Hamlet has already divulged the large disparity between which he views his beloved father versus his plebeian uncle. Therefore, Hamlet is humbly acknowledging the drastic distance between himself and Gods.
      Another example to support the modest characteristics of Hamlet is the manner in which he talks to those beneath him in society. Horatio first greets Hamlet as his poor servant. However, Hamlet immediately responds, "Sir, my good friend. I'll change that name with you" (I.ii.169). Hamlet is encouraging Horatio to consider himself as a companion, an equal. By placing them on the same level, Hamlet is trying to remove the formalities and hubris that are brought upon by power. The reader also notices how Hamlet is much less concerned about his reputation and honor than most royal heirs. When Horatio and the others are dispatched to their night shifts they say, "Our duty to your Honor," (I.ii.275) and Hamlet quickly responds, "Your loves, as mine to you" (I.ii.276). Hamlet appears to prioritize his father over his image, relationships over reputation, and love over honor. Hamlet is the most humble and genuine male character we have seen thus far from Shakespeare.

Othello Outline

Prompt 6: Take two characters and contrast them to one another. How does each character make the other more pronounced? How are they defined through their juxtaposition? 

Realist vs. Idealist

Thesis: The contradictions between Desdemona and Emilia are utilized to highlight their inherent and opposing character traits. While Desdemona portrays the image of the ideal, Christian wife, eternally worshiping her husband Othello, Emilia is able to observe the reality in situations, and she derives her actions based on honesty and morality.

I. Desdemona and Emilia are both married to powerful men; however, Desdemona is always obedient to Othello, whereas Emilia does not share the same sentiment of obligation and duty to her husband Iago.

                1. After Othello strikes her, Desdemona does not question the reasoning behind the abuse or protest the brutality. Instead she says, "I will not stay to offend you" (IV.1.277).

·         Desdemona is the obedient follower of Othello, and does not question his actions. She unquestioningly follows his orders, as if she was bound to him.

            2. Iago orders Emilia to cease talking as she is about to reveal his villainous actions. However, she replies, "I will not charm my tongue. I am bound to speak" (V.2.225).

·         Emilia willingly refuses to obey her husband. By publically rebuking the expectations of society, she is contrasting herself to the ever dutiful Desdemona. Whereas Desdemona is bound to Othello and her obligations as a wife, Emilia is bound to her obligation to tell the truth and honor her mistress.

II. Shakespeare juxtaposes the manner in which the two characters converse in order to distinguish the eloquence in Desdemona versus Emilia's perceptibility.

            1. After Desdemona has been accused of cheating by Othello, she is still able to maintain calm and elegant speech, "And his unkindness may defeat my life,/ But never taint my love" (IV.2.189-190).

·         Although she fears for her life, Desdemona remains confident and passionate in her love for Othello. The beautifully constructed phrases parallel the beauty of Desdemona and the love she feels towards Othello.

            2. When rumors are spread about Emilia being unfaithful, she disregards the rumors and criticizes her husband for getting too jealous: "O, fie upon them! Some such squire he was/ That turned your wit the steamy side without/ And made you to suspect me with the Moor" (IV.2.172-4)

·         Emilia does not take any of the blame unto herself, and she condemns the gossip who started the lie and her husband for subjecting himself to the rumor.

III. When it becomes suggested that another person may be responsible for the wrath of Othello towards Desdemona, Desdemona responds with forgiveness whereas Emilia reacts with thoughts of vengeance.

            1. Although Desdemona recognizes that her life is in jeopardy, she imparts Christian love and forgiveness towards the theoretical sinner: "If any such there be, heaven pardon him" (IV.2.158).

·         Such a selfless response in such a dangerous time reveals how devoted Desdemona is to her religion and her Christian faith.

            2. On the contrary, Emilia immediately responds with words of hatred: "A halter pardon him, and hell gnaw his bones!" (IV. 2.159).

·         The proximity of these statements and the way in which they are similarly phrased further exemplifies the opposition of these two characters. Emilia sees justice in the form of punishment, whereas Desdemona views forgiveness as righteous course of action.

IV.  While Emilia is perceptive and able to think logically, she makes Desdemona appear more innocent and naive with her thoughts that the world rings pure.

            1. Emilia and Desdemona debate whether women would stay faithful to their husbands over the value of the whole world. Desdemona is confident that by no means would she ever cheat on Othello: "No, by this heavenly light" (IV.3.74).

            2. When Emilia is questioned, she responds, "Nor I neither, by this heavenly light./ I might do't as well i' th' dark" (IV.3.75-6).

·         Whereas Desdemona is only able to see the light, Emilia has seen both the light and the dark in society, mainly due to the malicious actions of her husband. Desdemona cannot imagine a world where wives cheat on the husbands, and she is too blinded by pure and holy thoughts to witness the reality of the world in which she lives. Desdemona's innocence can be viewed as naivety, and they may ultimately lead to her death because she could never envision a person as manipulative and cruel as Iago.

V. Through comparing the final lines of Desdemona and Emilia, the contrast of their last statements emphasizes the priorities of both characters.

            1. Desdemona remains eternally faithful to her husband, and she puts the blame of her death upon herself: "Nobody. I myself. Farewell./ Commend me to my kind lord. O, farewell" (V.2.152-4).

·         The astute length of Desdemona's first lines verify how her life was short, simple and to the point. She has always known where her loyalties lie, and even in death she is true to her character. The reader almost feels pity for Desdemona because of the simplicity of her thinking and her character. She was so loyal, but so confined and oblivious.

            2. On the contrary, Emilia's final lines make a statement demonstrating the complexity of her character: "Moor, she was chaste. She loved thee, cruel Moor./ So come my soul to bliss, as I speak true./ So speaking as I think, alas, I die" (V.ii.299-301).

·         Emilia dies because she is loyal to her morals and is not afraid to express her thoughts. She is a dynamic character that surpasses her time period with her use of logic and disobedience towards her husband. Contrarily, Desdemona dies because of the malicious intentions of Iago and a lack of her own actions. Desdemona dies protecting her husband, whereas Emilia dies because she betrayed her husband. The difference in their final lines depicts the disparity between the complexity in their characters. Desdemona is simple and predictable character, whereas Emilia is able to generate her own opinions and set of principles.

Conclusion: By juxtaposing the female protagonists, Shakespeare emphasizes the perceptive and logical thinking of Emilia in contrast to the simplistic and devoted mindset of Desdemona.

Othello #7

     The play becomes tragic for Othello promptly after he realizes that he murdered his innocent and loving Desdemona. Othello's ultimate weakness is that he relies too heavily on justice and his honorable reputation to guide his actions. When Desdemona is still sleeping, Othello whispers, "O balmy breath, that dost almost persuade/ Justice to break her sword" (5.ii.16-7). An internal battle is consuming Othello. On one hand, her beauty is tempting him to refrain from murder, however, in order for justice to prevail, Othello believes she must be slain. When the evil truth about Iago has been revealed, Othello grievously remarks how,  "For naught did I in hate, but all in honor" (5.ii.294). For the honor of their marriage and the honor of the men he believed she would cheat on, Othello implemented his own form of justice. Hearing the truth is heartbreaking for all of the characters to witness, and the reader is left wondering if Iago meant for the truth to be discovered in order to inflict maximal pain and suffering onto the characters involved. Iago targeted Othello's weaknesses to take advantage of him and manipulate the situation. Before he commits suicide, Othello says that he saw "in Aleppo once,/ Where a malignant and turbaned Turk/ Beat a Venetian and traduced the state,/ I took by the'throat the circumcised dog/ And smote him thus" (5.ii.351-5). The reader is not sure if these actions ever occurred, but one can see how this relates to the battle fought within Othello. Iago was able to bring about the Turkish side in Othello, with its brutish and cruel nature. This persona is able to dominate over Othello's reasonable and logical side which is portrayed in Venice. His actions devastate the citizens of Venice and insult his own sophistication and intelligence; therefore, Othello finds it imperative to take his own life. Othello ends tragically, and almost every character is left miserable, heartbroken, and defeated.

Sound & Sense 4

     As we prepare to go to sleep, the prior events of the day, or possibly the thoughts in preparation for tomorrow, may hopelessly preoccupy our brains. The speaker in Robert Frost's poem "After Apple-Picking" constantly has thoughts of apples coursing through his mind. Even as he is about to go to sleep, "[he] cannot rub the strangeness from [his] sight." "Magnified apples appear and disappear,/ Stem end and blossom end,/ And every fleck of russet showing clear." In his dreams, the speaker is able to see all sides of the apples, both the 'stem' and the 'end.' A metaphorical comparison can be drawn between the speaker's life and the apples. When the speaker's days are finally coming to an end: "[The] essence of winter sleep is on the night," thoughts of apples still flood his mind. He is thinking about both the positive and negative aspects of his work and life. The speaker of this poem seems to believe that he is in his final days. Subtly throughout the poem he includes lines such as, "Toward heaven still" and "I am overtired/ Of the great harvest myself desired." The speaker has lived a long, dutiful life that revolved around picking apples, and it is now coming to an end. The last lines of the poem emphasize the idea that his death is nearing: "Were he not gone/ The woodchuck could say whether it's like his/ Long sleep, as I describe its coming on,/ Or just some human sleep." The speaker inverts the syntax of the first two lines. Instead of saying "The woodchuck could say whether it's like his were he not gone,"  the speaker inverses the order of the sentence through the use of anastrophe. This inversion places emphasis on the word "gone," which is used as a euphemism for death. The speaker knows that his winter sleep is coming, but he is uncertain if it will closer resemble peaceful hibernation or a dreary death. "After Apple-Picking" is a poem that recognizes how when we are close to our final days, we realize how our thoughts are consumed by the activities that dominated our lives, but not necessarily the activities that were most meaningful or fulfilling.

Othello #6

     There were two characters in tonight's reading that really stood out to me, so they each deserve some acknowledgement!

     First of all, Roderigo, formally considered the comic relief, caught the audience in gripping suspense as he was the first one to see through the lies and manipulation of Iago. Roderigo approaches Iago and shortly after calls him out, "I do not find that thou deal'st justly with me" (4.ii.173). The other characters, whom are considered to be of higher social standing and capability, are blind to the manipulation of Iago. However, the portrayed idiot of the play is able to recognize the dishonesty of the antagonist! During this moment, the reader is cheering for Roderigo to succeed and expose Iago. However, shortly after, Iago is able to prey on Roderigo's lower intelligence and coerce him into aiding with the murder of Cassio. The play becomes tragic when it is Iago that supplies the death blow, killing Roderigo: "O murderous slave! O villain! IAGO STABS RODERIGO" (5.i.63). The reader is not only saddened by the death of Roderigo, but also feels that with his death perishes the possibility of exposing Iago for the devil that he is. 

     Also Emilia, Desdemona's lady-in-waiting, is due acknowledgement for one of her monologues. If only Mr. George had assigned this for tomorrow night's reading, it would have been a perfect "throwback Thursday" because her monologue parallels many aspects of Shylock's well known 'Hath not a Jew eyes' speech in Shakespeare's The Merchant of Venice. Desdemona and Emilia begin debating whether staying faithful to your husband is worth the value of the entire world. Desdemona relentlessly refuses to believe she would ever cheat on Othello: "Beshrew me, if I would ever do such a wrong for the whole world" (4.iii.80-1). Emilia is then set on persuading her that under particular circumstances it would be the logical choice:

"What is that they do

When they change us for others? Is it sport?

I think it is. And doth affection breed it?

I think it doth. Is't frailty that thus errs?

It is so too. And have not we affections, 

Desires for the sport, and frailty, as men have?

Then let them use us well. Else let them know 

The ills we do their ills instruct us so" (4.iii.99-105).

In Shylock's speech, he draws attention to the fact that men of all religions share the basic functions of life, and therefore should not be treated with discrimination. In Emilia's monologue, she depicts how men and women share the basic "affections,/ Desires for the sport, and frailty." By announcing and illuminating the similarities, Emilia is explaining to Desdemona that if it is acceptable for men to be cruel and cheat on their wives, then the same should be expected in return. Both Shylock and Emilia highlight at the end of their monologues that as pupils they will learn from and, one day, outdo their teachers. Shakespeare gives both Desdemona and Shylock, characters of the weaker sex and religion respectively, powerful and progressive speeches that provide qualifications for equality and its assurance of ultimate achievement. 

Othello #4

     Othello's veins have become poisoned with the idea that his loving wife Desdemona is unfaithful. Iago initiates this spark of jealousy and doubt, and Othello is now convinced that Desdemona has cheated on him with the handsome Cassio. Back in Venice, Othello was a strong and confident man. He had no secrets and no ugly character traits. However, his love for Desdemona is so inflated that the smallest pin prick of doubt deflates his confidence in their love and marriage. Iago has punctured a hole in their marriage, and at the thought of her unfaithfulness, Othello plans to kill his wife: "I will withdraw/ To furnish me with some swift means of death/ For the fair devil" (III.iii.476-8). This is a very rash and impulsive decision for the levelheaded Othello. In Venice, Othello professed his eternal love for Desdemona and vowed: "My life upon her faith" (I.iii.295). Now, it appears as though he reverses this statement. Desdemona will die on account of his distrust brought about by Iago's manipulation. The contrasting settings of Venice and Cyprus bring about different personalities in the characters. Venice is portrayed as the setting of logic and reason, whereas the Turks live in a savage and bestial environment. Cyprus is in the middle of these two locations, and we can see the struggle within Othello. He tells Iago, "I think my wife be honest, and think she is not/ I think that art just, and think thou art not" (III.iii.384-5). Othello is torn between his logical reasoning and his emotional reasoning. In Cyprus, he is placed in between the two worlds and does not know which direction to follow. With power and great mistrust will come a tragedy.

Iago's Soliloquy

"And what's he, then, that says I play the villain?

When this advice is free I give, and honest,

Probal to thinking, and indeed the course

To win the Moor again? For 'tis most easy

The inclining Desdemona to subdue

In any honest suit. She is framed as fruitful

As the free elements. And then for her

To win the Moor- were't to renounce his baptism,

All seals and symbols of redeemed sin-

His soul is so enfettered to her love 

That she may make, unmake, do what she list, 

Even as her appetite shall play the god

With his weak function. How am I then a villain, 

To counsel Cassio to this parallel course, 

Directly to his good? Divinity of hell!

When devils will the blackest sins put on

They do suggest at first with heavenly shows,

As I do now. For whiles this honest fool

Plies Desdemona to repair his fortune, 

And she for him pleads strongly to the Moor, 

I'll pour this pestilence into his ear

That she repeals him for her body's lust.

And by how much she strives to do him good,

She shall undo her credit with the Moor. 

So will I turn her virtue into pitch, 

Add out of her own goodness make the net

That shall enmesh them all" (II.iii.313-339).

      This soliloquy is given by Iago as his plans are set in motion. Cassio has recently been relieved of his position of lieutenant, and he ironically seeks advice from Iago, the man who cost him his title and reputation. Iago takes great pride in knowing that he can construct the disasters and then also be included in their false reparations. The first half of the soliloquy is dripping with sarcasm. Iago, fully aware that he has been manipulating the characters and the plot, asks who could consider him villainous after he so thoughtfully offered such charitable advice? No. If I push my sister down the stairs and then suggest that she go to the emergency room, the intentions of my actions were malicious and cannot be reconciled by possible solutions to the problem which I created. Furthermore, the manner in which Iago calls Desdemona "fruitful" and says how she "shall play god/With his weak function" is both insulting to Desdemona and Othello. Desdemona is being portrayed as a lustful temptress, and Iago is poking fun at Othello, the renowned navy general, by insinuating that she dominates the relationship. In this era, women were supposed to be submissive to men, so by suggesting the opposite Iago is insulting both of the characters and their marriage.

      About half way through the soliloquy, Iago begins to take responsibility for his actions. Once he aligns himself with the devil: "When devils will the blackest sins put on/ They do suggest at first with heavenly shows,/ As I do now," he unravels his plan to the audience. Iago plans to drive a wedge between the married couple by manipulating their love for each other into mistrust. "That shall enmesh them all." The reader is still wondering why Iago has such a lust for revenge, but through this soliloquy we can see that he is singularly focused on their destruction and is willing to ruin the lives of others to enact his revenge. 

     

Sound & Sense: Chapter 3

        One of my favorite days in English class was when we read a short story told by the perspective of a caveman named Oog... or was it Boog? The speaker talked in short, direct sentences in order to starkly convey the message of the story, similar to Henry Reed's poem, "Naming of Parts." The poem takes the reader through a very monosyllabic adventure where the speaker teaches his fellow soldiers the parts of a gun. In the fourth stanza, the speaker is teaching the soldiers how to slide the bolt in a process called easing the spring. The speaker then utilizes a metaphor to further explain his sentiments revolving this process: "The early bees are assaulting and fumbling the flowers:/ They call it easing the Spring" (23-24). The prior use of the word spring was referencing a piece of a handgun. The same phrase, "easing the Spring," is now used to describe the season and warming temperature. The connotation of springtime is normally light and cheery; we think of flowers blooming and baby does frolicking through lush green grass. However, the speaker describes the process of easing the Spring with words such as 'assaulting' and 'fumbling.' The derogatory connotation of the words suggests that easing the Spring is not as beautiful as it appears, implying that the speaker is not fond of war and fighting. The corruption of the blooming season parallels the speaker's belief of the corruption and misrepresentation of war. The metaphors utilized by Henry Reed in his poem "Naming of Parts" unravel his true sentiments revolving warfare.

Othello #3: Intoxication of Reason

     The setting of the play has shifted from Venice, the city of logic and reason, and migrated to Cyprus, home of emotional decisions and manipulative relationships. When Brabantio and Othello come close to blows in Venice, the dispute is settled in court. Hatred and violent remarks are uttered in words and clever comebacks, but there is no physical clash. However, after the victory and wedding celebration in Cyprus, alcohol is able to corrupt the logical thinking and reasoning of Cassio. After Iago encourages Cassio to drink, Iago sends Roderigo after Cassio to start an altercation. The intention is to depict Cassio as an incompetent and untrustworthy lieutenant. Iago's plan succeeds, and Othello relieves Cassio of his position. Afterwards, Iago is consoling Cassio when Cassio admits that he cannot remember how their skirmish began: "I know not/ I remember a mass of things, but nothing distinctly" (2.3.267-9). This conflict highly contrasts with the conflict we saw earlier in Venice. Brabantio was furious that his daughter eloped without his knowledge or permission into a marriage he did not approve, an understandable cause of anger and frustration. Furthermore, this disagreement was settled through discussions and the due process of law. On the contrary, Cassio became involved in a violent fist fight for no significant reason. When Cassio is able to calmly reflect upon his actions, he says, "I have lost the immortal part of myself, and what remains is bestial" (2.3.247-8). Here the reader can witness the disparity between the two locations. Venice is portrayed as the city of morals, restraint, and logic; whereas Cyprus conjures emotional and instinctual responses over intellect and reason. With unconstrained emotions and rash actions, I predict that Cyprus will be a location dense with conflict and secrecy.

Othello 1

 Original Depictions:

       Iago is a character of mystery, deceit, and sorrow. The play begins with a conversation between Roderigo and Iago, where Roderigo is flustered and agitated by the marriage of Othello and Desdemona. Iago claims that he had no prior knowledge of their marriage, and even becomes offended at the thought. The reader can sense a tension stemming from Iago towards Othello when Iago starts complaining about how he was not chosen as lieutenant: "I know my price, I am worth no worse a place" (1.1.10). Although Iago is not selected as lieutenant, he remains under the command of Othello, the man he supposedly abhors. His reasoning is quite simple: "I follow him to serve my turn upon him" (1.1.40). It has not yet been disclosed to the reader why Iago views Othello with such contempt. The relationship between Roderigo and Iago is solely existent because of their connection of a common enemy; they will support each other in the hopes of destroying Othello. The reader begins to question the source Iago's anger and hatred towards Othello, and Iago colloquially hints at the answer: "And it is thought abroad that 'twixt my sheets/ He has done my office" (1.3.380-1) implying that Othello may have slept with Iago's wife. Iago presents himself as selfish and manipulative, but there is the possibility that his actions are generated by the loneliness and betrayal felt from an unfaithful partner. The first impressions of Iago in Act 1 depict him as a revengeful and self-centered man, but I predict that as the play unravels we will begin to unravel the explanation behind his actions.

The End

Joe passes me a day old Big Mac,
The beef's a little tough, but the bun's not too stale.
If I just close my eyes, it kinda tastes like the MREs from five years ago.

Actually, a lot of it's the same.
The crash when trash trucks drop the metal bins,
The cries of the cats at night,
I've heard it all before.

I hear the rapid fire of machine guns,
and the screams of death as my fellow soldiers are wounded.
The colonel is barking in my ear, to aim at my target and fire...

But I can't.
Not anymore.
People gawk and look at me as they pass by,
They call me lazy, stupid, and dirty.

I once accepted the call of duty with integrity, honor, and respect,
But, look at me know.

1984- Blog #5 & 6: His Own Coral

    Winston is living in a grim and dreary world, where his monotonous actions are constantly under scrutiny. The wrong look or phrase could lead to vaporization. Winston is trapped, and the only aspect of his life where he has the slightest bit of control are his thoughts. After the revolution, the government has acquired complete control over the lives of the citizens, and Winston is left wondering about the purpose and value of his lonely life. One day, he is wandering around in the proletariat section of town when he happens upon a shop with antiques. One of the items that catches his eye is a glass paperweight with a coral center. Winston remarks that it captures his fascination because "There [is] such a depth of it, and yet it [is] almost as transparent as air" (147). The glass figure does not serve a direct purpose, and therefore the government has not been able to corrupt and disfigure its original meaning. The natural and innate beauty of the piece captures Winston's attention, just like the relationship he shares with Julia. The first free conversation they share happens in "a natural clearing, a tiny grassy knoll surrounded by tall saplings that shut it in completely" (119). The time spent with Julia in the clearing is like the coral in Winston's life. He appreciates the beauty of this setting just as he appreciates the glass artwork. The clearing allows emotion and natural desires to be expressed without the oppression of BB. At first, Julia and Winston have sex as political defiance. However, their emotions stem from political agitation to fondness and affection for one another. Winston wants to be able to share a loving, natural, and open relationship with Julia. He wants a relationship that is deep and palpable, just like the crystal paperweight.

Relationship Status: It's Complicated

Thesis: In his trek through the heart of darkness, Marlow encounters many unsettling characters, but none of them are as complex as the mysterious Mr. Kurtz. Marlow feels captivated, envious, respect, and spite towards Mr. Kurtz because of the ambiguity in his character and his straightforward and honest approach to imperialism.

I. Kurtz is a legend in the world of imperialism for his unusually ample production of ivory, and thus Marlow is intrigued by the mystery behind his character even before they become acquainted.

A. While docked at the  first station, Marlow hears a lot of chatter about the ominous figure of Mr. Kurtz.

1. "'Ivory,' jerked the nephew; 'lots of it-prime sort-lots-most annoying, from him'" (103).

-Marlow has seen the brutality of imperialism and the greed involved. He is curious as to why the other station leaders are so fixated on Kurtz.

B. Kurtz was heading home and then curiously returned to his station.

1. "It was a distant glimpse: the dugout, four paddling savages, and the lone white man turning his back on the headquarters, on relief, on thoughts of home" (103)."

-This action sets Kurtz apart from the rest of the station leaders because he seems to have an alternative motive behind simply creating profit for the company. Marlow feels so lost in this world, that he thinks Kurtz may have some of the answers for which he is looking.

C. Language, the ability to voice your thoughts, is considered the most valuable human characteristic by Marlow; Marlow sees Kurtz as the voice, therefore demonstrating his interest and admiration for the man. When he think that Kurtz had died Marlow is a wreck.

1. "'By Jove! it's all over. We are too late; he has vanished-the gift has vanished...I will never hear that chap speak after all'" (124).

Kurtz is set apart by the rest of the station leaders, piquing Marlow's interest in this ominous character that does not seem to follow the expected actions of an imperialist.

II. Marlow witnesses the vast power in the hands of Kurtz, and he is amazed and envious of the control Kurtz can wield on nature and the natives.

A. Kurtz is an emaciated and diseased man, but he is able to dominate the healthy hordes of natives.

1. "As if by enchantment, streams of human beings...were poured into the clearing the dark-faced and pensive forest. The bushes shook, the grass swayed for a time, and then everything stood still in attentive immobility" (140).

Nature is also obedient to the demands of Mr. Kurtz; the trees pour out the natives for his desires. The other station masters are abusive and cruel, but the environment seems to idolize Kurtz, which makes him the most successful manager. Marlow has never witnessed this level of power out of adoration instead of blatant fear. Kurtz's tactics of trade and theft are straightforward. He is not fixated on keeping neat accounts of the natives or glossing over the brutality because his methods may not be just, but he is honest and apparent with his actions.

B. Marlow is in awe at the level of control held by Kurtz, but he is also envious and spiteful at the fact that he has so much power.

1. "I resented bitterly the absurd danger of our situation, as if to be at the mercy of that atrocious phantom had been a dishonoring necessity" (140).

At the other stations, Marlow is seen as an equal to the other white managers, but here he feels subordinate. Kurtz is viewed as a deity by the natives, and Marlow does not like to think of himself as so utterly helpless. He therefore resents Kurtz for creating a situation where the natives could potentially harm the Europeans because he views the white race as superior.

III. Out of all the station masters, Marlow respects Kurtz for his ability to clearly view the reality of imperialism. Kurtz recognizes his morals have been led astray, which diseases not only his mind but also his body.    

A. Kurtz began his voyage with clear morals, but over the years the imperialism has overthrown his moral compass and the greed began to set in.

"The wilderness had patted him on the head, and, behold, it was like a ball...it had taken him, loved him, embraced him, got into his veins, consumed his flesh, and sealed his soul to its own by the inconceivable ceremonies of some devilish initiation. He was its spoiled and pampered favourite" (125).

-When he first began acquiring the ivory, Kurtz would trade the ivory for European goods. However, now Kurtz is simply a thief that raids native tribes for their ivory without giving them anything in return. The greed for ivory has consumed his morality. Unlike the other station leaders, Kurtz begins to deteriorate mentally and physically when his actions have gone askew from his intentions. Marlow feels a connection with Kurtz because they both recognize the corruption in imperialism. Kurtz is like an extension of what Marlow could become given the isolation, power, and lust. The physical deterioration of Kurtz is caused by the deterioration of his morals, signifying to Marlow that his character can comprehend the corruption brought upon by imperialism. Marlow respects Kurtz for his ability to view the injustice.

IV. Marlow is forced to question his morals in Africa, but Kurtz's eloquence manipulates Marlow to commit the act he most definitively abhors: a lie.

A. Marlow interrupts his narrative to explain to the audience the thing he detests the most.

1. "You know I hate, detest, and can't bear a lie, not because I am straighter than the rest of us, but simply because it appalls me. There is a taint of death, a flavour of morality in lies " (97).

-Marlow abhors lying because saying false information is like killing the truth. He does not think that he is a better person than the rest of society, but lying is incredibly painful and uncomfortable for Marlow. Nonetheless, at the end of the novel he lies to the intended of Kurtz to protect her sanity.

2. "'The last words he pronounced was- your name'...It seemed that the house would collapse before I could escape, that the heavens would fall upon my head. But nothing happened...I could not tell her. It would have been too dark" (164).

-While traveling though the heart of darkness, Marlow encountered evils he never knew existed. With all of the cruelty and brutality in the world, Marlow decides that the lie will do more good than harm. The world is full of evils and temptation, so Marlow realizes that ignorance can be the best protection against the cruelties of society.

Conclusion: The complexity in the relationship between Marlow and Kurtz derives from the multiple perspectives in which Marlow views the mysterious station leader.  Kurtz becomes a legend, an idol, a teacher, and a devil in the eyes of Marlow, forcing him to reevaluate his own morals and beliefs.

The Better of Two Evils

     Conrad juxtaposes Europe with Africa in order to set the countries as foils for one another to highlight their distinct forms of evil. Africa is portrayed as a very uncivilized, savage, and beastly continent. In addition, it is saturated with corrupt leaders that crave the failure of others for personal gain. As Kurtz is inhaling his final breaths, one of the competing managers "leaned back, serene, with that peculiar smile of his sealing the unexpressed depths of his meanness" (154). Conrad blatantly describes the brutality of the station leaders not only to the natives but also to their peers to capture the corruption of Africa. Cruel and brutal Africa is contradicted by the safe and ignorant Europe. When Marlow returns to Europe, his problems diminish in danger but increase in frustration. He is approached by multiple characters inquiring about the detailed notes outlining the experiences of Kurtz. Marlow refuses to "give up the smallest scrap out of that package" (156). The actions of the people in Europe continue to aggravate Marlow, and he comments: "I had no particular desire to enlighten them, but I had some difficulty in restraining myself from laughing in their faces so full of stupid importance" (156). Europe is the land of the civilized, the wealthy, and the ignorant. Marlow becomes more flustered by the selfish actions of the Europeans than when the savages began shooting at the steamboat on the river, demonstrating the pettiness of Europe. Conrad heightens the contrast between Africa and Europe in order to emphasize the evil possessed by each. Africa represents the physical and overtly apparent cruelties of life, whereas Europe demonstrates the corruption and ignorance behind our actions.

Breathtaking Suicide

     The limited quantity of words utilized by MacLeish in his poem "Suicide's Note" does not hinder its depth and profoundness. The entire poem is only twelve words in length: "The calm,/ Cool face of the river/ Asked me for a kiss." These three lines are so powerful because they convey a sentiment of relaxation and beauty to a topic as morbid as suicide. A silent image is formed in the minds of the audience upon reading the poem. We can envision a person walking down to the river's edge, viewing their reflection in the river, and then becoming swept away by the current. In addition, I placed the speaker in a cool, brisk morning; as he approaches the water, he lingers by the edge, looking knowingly into the stream before becoming enveloped by the water. The entrance into the water is a safe and peaceful environment for the speaker. The gruesome act of committing suicide is lined in beautiful terms, creating a conflict within the reader regarding thier sentiments towards the speaker's actions. The repetition of the 'ka' sound through "calm," "cool," and "kiss" creates a poetic and enchanting lust to the poem. However, readers crave a happy ending and want the speaker to contemplate and reject their suicidal actions. The audience is torn because they want the speaker to refuse the kiss, but at the same time the majesty and serenity of the scene allows the reader to comprehend the speaker's outlook. In twelve simple words, MacLeish is able to create a calming poem revolving a depressing topic, conflicting the reader between the beauty and horror of suicide.

Heart of Darkness #4

       Marlow is obsessively fixated on Kurtz because of the disquietude and  controversy revolving his actions. Kurtz is the primary supplier of ivory in the company, and his methods of production are unsettling. "To speak plainly, he [raids] the country" however, the natives "[adore] him" (135). The idea of destruction leading to adoration is a paradoxical conundrum for Marlow. Marlow has witnessed the brutality of the white imperialists leading to native sentiments of defeat and despair. In contrast, Kurtz's station is the first instance where Marlow observes idolization by the natives. The savages at the other stations are obedient out of fear and lack of freedom; however, the natives at the station led by Kurtz are additionally devoted out of a fondness for their white imperialist. Kurtz dominates the natives not only through their fear of him but also through their reverence. When the scrawny and sick Mr. Kurtz is carried on a stretcher into the cabin, "streams of human beings [are]...poured into the clearing by the dark-faced and pensive forest" (140). The natives blindly follow the bidding and leadership of Mr. Kurtz. Nature also has respect for Mr. Kurtz, for nature is the one who pours the natives out for his assistance. Therefore, an all encompassing admiration for Mr. Kurtz seems to exist. Marlow is fixated on the adoration because he has created an image that all station leaders are greedy Europeans abhorred by the natives. Marlow was not surprised that the bush natives began shooting at the steamboat, but he was in utter shock when it was revealed that their intentions were to prevent the departure of Mr. Kurtz. Mr. Kurtz encompasses a rare and uncomfortable style of leadership, which makes him such a captivating and intriguing character for Marlow to attempt to decipher.

Heart of Darkness Blog #2

      "We live, as we dream -- alone..." (Conrad 97). What a depressing quote Marlow! This sentence caught me off guard, and it loomed over the narrative throughout the text. Using a dash in literature has the same effect of drawing attention to a phrase or word as enjambment does in poetry. The "alone" is detached from the rest of the sentence, emphasizing the idea of isolation. This word already has a dual interpretation for Marlow. First, he is exploring new lands in Africa; the farther he goes into the 'heart of darkness,' the more isolated he becomes on account of the decrease of European culture and civilization. A second meaning of this word alone could emphasize the distinction of Marlow's goals versus the goals of the other site leaders. At one point in his narrative, Marlow is desperately pushing to attain more rivets for the reconstruction of his steamboat. The weekly caravan would deliver "glazed calico...glass beads... [and] spotted cotton handkerchiefs. [But] no rivets" (Conrad 98). Marlow becomes extremely frustrated with the present situation because his needs could be consoled by "three carriers [who] could have brought all that was wanted to set that steamboat afloat" (Conrad 98). Instead however, the supplies consist of extravagant desires over basic necessities. Marlow is irked by this lack of responsibility and thus feels that his desires are lonely and separate from the desires of the other site leaders. In life, I believe that we are all to some degree alone but in other ways highly connected. Similar aspirations may be shared by a collective group of people; however, the motive behind a specific goal will vary from person to person. For example, some people may join Key Club in an effort to salvage the cruel planet upon which we live. Others may need the community service hours, and still others may want to, ironically, benefit themselves on college applications. I believe that we will never truly be alone because although lives are lived independently with selfish aspirations, group collaboration is desired for a successful outcome.

The Vivid Imagery

     As Marlow from the story Heart of Darkness, by Joseph Conrad, vividly describes the condition of the enslaved natives, I could not help but feel contempt for the heartless imperialists. The corruption begins at the start of the narrative when Marlow relates how the acquisition of his position in the company was completely based on the connections of his Aunt. The sole aim of the company is for profit, but it seems that their moral code goes completely out the window. In fact, the roles of the aggressors and victims are reversed in the eyes of the whites. When Marlow first arrives at the Company station, he witnesses the enslavement of the natives: "I could see every rib, the joints of their limbs were like knots in a rope; each had an iron collar on his neck, and all were connected together with a chain whose bights swung between them" (81). The communal linking is the like the bondage of all the natives living in the region. They are all weighed down by the greed of imperialism and are connected to the plight of the white men. Although Marlow is witnessing these inhumane acts, he agrees with the situation. Marlow explains to his listeners that the natives are "criminals, and the outraged law... had come to them" (81). From Marlow's point of view, the natives deserve to be enslaved and tortured, and the chains are solely used to carry out justice and morality. At this point in the narrative, I kept asking myself, does Marlow truly believe that an entire population has committed a crime? Does he really think that this is a proper way to treat other humans? And even more importantly, he keeps categorizing the native population by saying "them" and "they." Does Marlow even consider the natives humans? And then a more chilling question arises; to what modern day travesties are we blind? When Marlow visits the "shade," he soon realizes that it is contaminated by "black shadows of disease and starvation" (83). At one point he donates a biscuit from his pocket to a boy on the brink of starvation propped up against a tree. Marlow has some sense of morality, but how will he continue to perceive the situation with the natives as the plot progresses? Will his loyalties shift?

Conflicted

    How can one's happiness derive from another's misery? Why do you feel entitled to joy while others are suffering? For hundreds of years philosophers have argued over the sacrifice of one for the benefit of thousands. If the smartest minds have debated over the answer there surly is no one correct solution, maybe even no right answer at all.
    The people of Omelas are said to live a bountiful and cheerful life even though they are aware of the decrepit and sore-infested child living in the dark cell of the basement. They may even try to convince themselves that their sense of helplessness should not encompass sorrow because they appreciate the sacrifice of the child and therefore are able to be compassionate in their actions. They also may argue that the child would not be capable of happiness and joy after so many years locked away, and that he has become numb to the pain and suffering. These people are lying to themselves. The citizens of Omelas are creating excuses in an effort to subdue the feeling of pity and sympathy for this innocent child. Trust your gut. If upon first glance you recognize the horror of the situation, there is a good chance you have encountered a horrific situation. The passage of time acts as a band-aid attempting to cover the festering wound in the town. The undeserving child lives a cold and lonely life while the citizens attempt to utilize ignorance as their bliss.
   Those that comprehend the atrocity of the situation and leave the town are no better than those who stay. It could even be argued that the ones who leave are worse because they comprehend the pain and suffering of the child, yet instead of acting upon their instincts, they flee the city in an effort to physically and mentally leave behind their conflict. Running from problems never solves the situation and can in fact make it worse. Those that leave are making the child's sacrifice less valuable because it benefits fewer people. Having no reaction is heartless, but getting up and leaving is just as poor a decision if not worse.
    If I were living in Omelas I would not live in blissful ignorance nor leave my problems behind, instead I would justify the situation for those involved. It would be nearly impossible to convince all the citizens to willingly vacate the city based on their morals, but it would be manageable to identify those that agree with the philosophy that the suffering of one for the betterment of many is justified. Those who do not approve of this belief must leave the city immediately, for this is the principle upon which the city revolves. From the citizens remaining, a raffle would be drawn between all of the adults to determine which of them would take the boy's position. When a number is pulled, the boy would be liberated from his cell and the newly chosen sacrifice would assume the position. It is unethical for a group to victimize one naive member for the collective benefit. However, if that member is confident in their beliefs, they may understandably put themselves in harms way to support their ideals. The happy remainders can lead blissful lives because chance rendered them lucky, but they still made a sacrifice by risking their own life for the sake of their belief. One moral solution for the paradox in Omelas is to have the sacrifice be a person who believes in the fundamentals of the city; any other sacrifice is an innocent victim. The citizens must demonstrate support for their beliefs in order to live happy and blissful lives.

The Torture

     Although one must share a similar experience to feel empathy for another, I feel I can empathize with the sentiments of love and despair in John Berryman's "145." The poem is short yet powerful, and it allows the reader to feel the pain and torture of its author. We can see that Berryman is torn from the beginning when he talks about how the subject of his poem has "done no wrong," (line 1) yet he feels despair and after forty years is still struggling with forgiveness. The speaker acknowledges that the subject did not mean to damage the speaker and his brother when he writes, "but he did not swim out...to take one of us along...as company in the defeat sublime" (lines  6-8). The speaker was never the intended target of the subject's actions, but the speaker is still conflicted with the subject for putting him in such a position where hurt and pain will be inevitable. Imagery is used in lines 10-12 when the speaker describes the action upon which the poem revolves: "he only, very early in the morning/ rose with his gun and went outdoors by my window/ and did what was needed." The depressing tone of the poem and mention of a gun allows the reader to infer that the subject took his own life. By adding that the action was necessary, the speaker is trying to find closure and reason for the suicide because it completely devastated his life. After forty years he still "cannot read that wretched mind" (line 13). Furthermore, he puts a dash between "I-I'm/ trying to forgive" (line 14-15), demonstrating how that inner torment is still lingering. The final line of the poem addresses that the suicide allows "Henry to live on" (line 18), demonstrating that the speaker knew the act was inevitable and necessary for the subject, but inside he will always feel a mixture of love, despair, and hatred towards the subject for bringing so much pain and suffering upon their family.

The Wrath of Thomas Carew

      We have been reading so many romantic poems in class that when I read "Ingrateful Beauty Threatened" by Thomas Carew it stuck out to me like a sore thumb. Such a power-hungry and controlling man, I truly hope Celia did not crawl on back to him.

     Carew begins the poem with a very bold first verse: "Know, Celia, since thou art so proud." In the first line he has already called her out. Most poems do not refer to their lover by name since these romances could be risky and dangerous. However, Carew blurts her name in the first line, revealing her identity. There is no "darling Celia" or "my loving Celia", so the reader can anticipate that this poem will not be as romantic as the rest. In the first two stanzas we begin to understand the dynamic between the two. The speaker feels that Celia is his creation: "I gave it to thy" and "all are mine." Instead of the very lovely verses describing the beauty of the woman, the speaker makes this very personal about himself. We see a lot of possessive pronouns such as "mine" and "my". The speaker does not see their relationship as one; instead he emphasizes how they are different. The contrast acts as a metaphor that extends throughout the poem. The speaker portrays himself as God, the creator, and Celia just another mortal that he has shaped. In the end he threatens her and says that if she "tempt[s him]," he will "uncreate" the beautiful person she is considered to be. This is the speaker's way of trying to manipulate Celia by making her feel insecure. Everyone else sees her "mystic form," but he knows the truth behind "all her veils." Therefore, he may reveal her even farther if she does not comply with his desires. Thomas Carew's poem, "Ingrateful Beauty Threatened", tries to coerce a woman to stay with him using power assertion, dominance, and threats.

Love is Love

     Sometimes we look at a poem or a piece of literature written far before our time and begin reading assuming that the phrases will be difficult to decipher and the meaning deep below the surface. However, if you take a step back, the message may be more clear than you anticipated.

     William Shakespeare wrote many sonnets about the love he felt towards his friends and lovers. His famous Sonnet 18: "Shall I compare thee to a summer's day?" is a recognizable verse even in modern day society. However, it seems that Shakespeare not only felt love towards his lady friends, but he might also have had homosexual sentiments. This same sex romance is evident in Sonnet 20. In the second line of the sonnet, Shakespeare juxtaposes two very contrasting ideas of master and mistress. They are hyphenated, showing that his lover is both of these qualities to him. A master is typically someone with power in society or a relationship; in the sixteenth century the men held the respect and dominance in society. The idea of master is contrasted with the idea of mistress. Mistress is a term that usually has a subordinate, sexual, and feminine connotation. Shakespeare begins the poem by opposing these two words, making them stand out and subtly hinting to the reader that the recipient of this sonnet is not the typical heterosexual lover one would expect. Shortly after, Shakespeare describes his lover as having a "woman's gentle heart, but not acquainted/ With shifting change, as is false women's fashion." He says that his lover has feminine characteristics, but that there is something that differentiates them from women. Three lines down, we figure out the difference. Shakespeare is referring to a man! "A man in hue, all hues in his controlling." Shakespeare is in love with another male who happens to be slightly more feminine than most. William Shakespeare's Sonnet 20 blatantly confesses his homosexual love through juxtaposition and diction.

Holiness is an Effort and a Half

        George Herbert brings to light the conflict of living a sin free life in his poem "Forerunners" by creating a troubling tone. Within the first lines of the poem, the speaker is weary that the "harbingers" are coming because he does not want them to decipher his mind. The harbingers are most likely messengers of God, possibly angels or saints, because they are dressed in white (which symbolizes innocence and holiness), and they have the ability to understand his thoughts. However the speaker says, "Yet have they left me," meaning he may have had impure thoughts, "Thou art still my God" (line 6), implying that God will show him forgiveness. In the middle of the play, the speaker talks about the brothels and the lovely metaphorical writing he must forfeit in order to lead a holy and honorable life in the eyes of God. The life that the speaker describes sounds very dull and tedious, so we then see a shift from what he should do to what he would like to do. We see a shift to a more sexual diction, and there emerges foolish lovers, beauties, and folly. The speaker says, "Yet if you go [(God)], I pass not; take your way" (line 31), where he begins to differentiate his actions from the actions expected from him by God. He does this because at the end of the day, the speaker believes that God will forgive him for the sins he commits. The final lines are, "Let a bleak paleness chalk the door, So all within be livelier then before." In this quote we can see the speaker's branching out of his religious followings and implying that life may be more enjoyable when we break a few of God's rules. The disparity between the opening and closing lines illuminates the conflicting tone of the poem because the speaker is struggling with his dedication to God versus his earthly enjoyment.

Antonio's Love in the Shadows

         Homosexual marriage is a topic of modern debate, however in the sixteenth century, homosexuality was simply not accepted by any faction of society. In Shakespeare's The Merchant of Venice, Antonio struggles with his homosexual feelings for his friend Bassanio. 

         The play begins with Antonio moping around, unsure of why he is feeling so glum. Solarino and Solanio mention reasons about why he may be so depressed. The explanation that seems to make Antonio feel uncomfortable is the idea that he might be in love. He brushes off that idea, but later says that the world is a "stage where every man must play a part,/ And mine a sad one" (1.1.82-3). This shows that Antonio recognizes he has been dealt a difficult lot in life. Although he is wealthy, well liked, and prosperous in Venice, Antonio is not content. Antonio considers his life to be sad, demonstrating that there is something in life he knows he cannot achieve, which is a loving relationship with Bassanio. 

     When Bassanio comes to Antonio looking for a loan, he toys with Antonio's feelings to achieve his goal. Bassanio begins his plea by saying that he has no money, but that he will be forever indebted to Antonio. His words are, "To you, Antonio,/ I owe the most in money and in love" (1.1.137-8). In a time when Antonio thinks he can never be with the one he loves, Bassanio manipulatively tempts him by promising to love him forever if he will lend the money. This awakens Antonio's hope, and thus he replies that "My purse, my person, my extremest means/Lie all unlocked to your occasions" (1.1.145-6). At this point in the play, Antonio has not entered into the life-threatening contract with Shylock, so then why does he mention that his person is unlocked to Bassanio's occasions? Antonio's use of 'person' laces his offer with sexual undertones. Antonio cares for Bassanio romantically, and Bassanio encourages these feelings. 

       Antonio becomes more aggressive with his desire to be with Bassanio as the play progresses. When Antonio realizes that Shylock is greedy for his flesh he says, "Pray God Bassanio come/... then I care not" (3.4.38-9). Antonio is expecting to die, and the last person he wants to see before he perishes is Bassanio. Then he will be at peace in his heart. Bassanio does return, and with twice the amount of the bond. This encourages Antonio's feelings for Bassanio because he considers these gestures signs of loyalty, faithfulness, and love in their relationship. When the good doctor rescues Antonio from Shylock's blade, they request Bassanio's wedding ring as payment. At first Bassanio is reluctant to potentially damage his relationship with Portia, but Antonio insists it is the respectable thing to do: "My Lord Bassanio, let him have the ring./ Let his deservings and my love withal/ Be valued 'gainst your wife's commandment" (4.2.467-9). Antonio is subtly asking Bassanio to choose him over his wife Portia; Antonio's love should be held to a higher respect than Portia's desires. By asking Bassanio to give away his ring, Antonio realizes that it could sever the relationship between Bassanio and Portia, but because Antonio is jealous of their relationship this is something he would enjoy. Antonio has fallen deeply in love with Bassanio and thrives upon that small hope that they may one day be together. "If you love something let it go, if it comes back then it was always yours."

Does Religion Inspire Love or Hate?

      I have asked myself this question many times. Sitting in church, it has been reiterated over and over again to "love thy God, love thyself, and love thy neighbor". Jewish rabbis similarly teach about the love and power of Adonai. It seems that the basis of every religion is to honor their God(s) and to promote honesty and love in the world. These logical and moral concepts are the glue of every religion, so then why is there conflict? What makes one religion superior to another?

     Even though Shakespeare lived over 400 years ago, his works of literature capture the depth of difference of religion. In his play, The Merchant of Venice, Shakespeare illustrates the religious conflict between two of the story's main characters: Antonio and Shylock.  Their contrasting opinion of money lending is only heightened by their difference of religion. Antonio and his Christian friends look down upon the greedy Jew, Shylock. They spit on him, step on his beard, and compare him to a dog. He takes their insults, but it only builds the hatred he feels for them. In the 1500s, Jews were a minority in Italy, and therefore we rarely see Shylock with other Jewish friends to protect him against the wrath of Antonio and his followers.
    The feelings of rage boil over inside Shylock, and he gladly takes advantage of the contract he created with Antonio. As the time nears closer and closer for Shylock to get his revenge, others around him are relentlessly pressuring him to have mercy. "What, wouldst thou have a serpent sting thee twice?" (4.1.70), replies Shylock. By comparing Antonio to a serpent, the reader can see how Shylock feels about Antonio. As seen in the Garden of Eden, serpents represent temptation and evil. Antonio's taunts have contained so much venom that Shylock feels that if he does not get rid of him while he has the chance, he may never have the opportunity again. From Shylock's point of view, why should he let Antonio, the man who makes his life a living hell, live if he can legally get rid of him? Shylock remarks, "What judgement shall I dread, doing no wrong?" (4.1.90). In his mind, Shylock is in the right, morally and legally. Antonio was not forced to sign the contract nor borrow the money, but did so willingly. To further justify his actions, Shylock compares their agreement to the "many a purchased slave" (4.1.91), saying how masters are not condemned for the punishments they inflict on their contracted slaves. This is yet another lash at the difference of religion because the Jews were persecuted for centuries and forced into slavery. Shylock is alluding to the past and present persecutions of the Jews and demonstrating the hypocrisy in the situation.
     At the end of Act 4, when Shylock is being convicted of attempt of murder, the Duke allows the charges to be dropped under three circumstances assigned by Antonio. One of conditions entails that Shylock must "presently become a Christian" (4.1.402). This is catastrophic news to Shylock because his faith is so much a part of him. He has been insulted, taunted, and assaulted because of his religion. And now, after he thought he was finally going to rid himself of his most frequented abuser, he is forced to worship a religion that has ripped away his job, family, and possessions. This is when I felt the most sympathy for Shylock because a person's religion is part of their identity. Antonio strips Shylock of everything physically and emotionally important to him. After Shylock is forced into Christianity, it is almost like his character dies because that is the last time he appears in the play. Shakespeare uses the religious conflict between the characters to explain the depth and volume of their hatred for one another.

Antonio's Frustration: Revealed

      As The Merchant of Venice by William Shakespeare progresses, the character of Antonio begins to unravel throughout the story. He begins as a very distraught man, over what, he is unsure. Solanio and Salarino begin making hypothesis as to the root of his sadness. When they bring up the idea of love, Antonio brushes off the topic as if it were a joke. However, his discomfort about the subject allows the reader to infer that he may be unsatisfied in that realm of his life.
       Later in the book, Bassanio comes to Antonio seeking a loan. Even though he has defaulted on his loan in the past, and prior to an explanation of why he needs the loan, Antonio says, "Within the eye of honor, be assured/ My purse, my person, my extremest means/ Lie all unlocked to your occasions" (1.1.144-145). Best friends have close bonds, but most are not willing to sacrifice all of their possessions and even more extreme, their lives, for a friend. Antonio's feelings for Bassanio lie deeper than friendship. At this point, we are still unsure about how much Antonio cares for Bassanio, but the reader learns that there is a special bond between the two.
      Thanks to Antonio's generosity, Bassanio is able to acquire a loan from Shylock and venture to Belmont in an attempt to woo Portia. In order to borrow the money, Antonio is locked into a binding contract that allows one pound of his flesh to be cut from his chest if the loan is not paid back on the specified date. His ships crash, the cargo is lost, and Antonio is unable to repay Shylock. Once Antonio realizes that Shylock will have no mercy he hopes that he will be able to see Bassanio one last time; "Pray God Bassanio come/ To see me pay his debt, and then I care not" (3.4.38-39). Antonio is placed in a rather grave situation because he believes he is about to forfeit his life for Bassanio's happiness. Although he never intended his ships to fail, he knew it was a possibility when he signed the contract. Now he is going to perish for the well being of another. Antonio wants Bassanio to recognize all the sacrifices he has made.
     Antonio is a complex character because he is so indecisive about his own feelings. He cares deeply for Bassanio, yet knows they can never be together because of the disapproval of homosexuality in society. He therefore wants Bassanio to lead a joyful life, and will thus do whatever he can to assist. However, the situation becomes complicated when the contract jeopardizes Antonio's life so that Bassanio may wed Portia. Antonio pays for the man he loves to marry another woman. This unravels the depth of the tension because Antonio is not able to be with Bassanio, yet he still wants to support their friendship. The emotional conflict within Antonio creates the complexity of his character.