AP Poetry Practice Esasy

     The speaker in Weighing the Dog compares the action of weighing his dog to a lost relationship from the past. However, through comparing which individual is being held, the speaker analogously aligns the dog on the scale with himself in the relationship. The poem allows the speaker to reflect upon past relationships and sympathize with others that have had to weigh the value of the situation. The metric inversions and flagrant disunity within the phrases demonstrates the speaker's regretful and reflective tone, and how he is unable to create relationships that parallel his intentions and his actions.
     The choppy sentences and the lack of consistency throughout the poem strengthens the regretful tone of the speaker because he recognizes the disunity of his relationships. The second stanza demonstrates the discord of his relations by utilizing the same word with incongruous meanings: "but this was the way to weigh a dog and easier." Although 'way' and 'weigh' sound the same to the human ear, when written, they do not carry the same meaning. The discord between the words parallels the discord in the relationships of the speaker because although they appear uniform on the outside, they elicit distinct meanings for the individuals involved.
     When reading the poem, not all elements of the poem flow smoothly, reflecting the incongruity in the speaker's relationships. The speaker's description of calculating the weight of his dog is choppy and not well structured. The speaker relates, "from our total to find out the remainder that is his". The awkward phrasing of this phrase parallels the awkward tension and inconsistencies that are present in all of the speaker's relationships. The missing punctuation and fluidity between the words in the phrase demonstrates the missing elements of his relationships. The speaker is regretfully reflecting on his past relationships and lamenting how he "never figured out what you amounted to".
    The contrast between what the speaker is able to appreciate while he is in a relationship versus when it has ended is reflected in the poem's regretful and melancholy tone through its incongruity and auditory disunity. The awkward and bewildering situation of weighing his dog parallels the "all those awkward and bewildering months" he was in a past relationship. The parallel of the analogous relationships contrasted to the incongruity between the elements of the poem: definitions, sentence structure, and metric meter, demonstrates the confusion of the speaker and his attempt to reflect on his past relationships. The disunity of the poem highlights the regretful and reflective tone of the poem as the speaker contemplates the faults in his relationships.

Sound & Sense ch 11-13: Notes

-musical style adds to the communication and presentation of the poem
-two ways: 1. choice and arrangements of sounds   2. arrangement of accents
-art is a combination of repetition and variation
-purpose of repetition: please the ear, emphasize the words, and give structure to the poem
-rhyme repetition of the accented vowel sounds and any succeeding consonant sounds
--masculine: when only one syllable
--feminine: when the rhyme involves 2+ syllables
--internal: when 1+ rhyming words are within
--end: when at end of lines = most common
approximate rhymes: words with any kind of sound similarity, from close to fairly remote
refrain: repetition in a fixed pattern

rhythm: any wavelike recurrence of motion or sound
accented/stressed syllables are more prominent in their pronunciation
rhetorical stresses are used to make the intentions clear
  - the stressed words carry more weight because it changes the way the audience interprets the connotative meaning of the word
end-stopped line: end of the line corresponds with a natural speech pause
run-on line: sense of the line degrees of end-stop and run-on  (normally without punctuation)
caesuras: pauses within lines, either grammatical or rhetorical
-poetic line is predominantly used in free verse  
meter: identifying characteristic of rhythmic language that we can tap our feet to
rhythm designates the flow of the actual, pronounced sound, whereas meter is the pattern that arranges these sounds into a metric verse
foot: one accented syllable plus 1 or 2 unaccented syllables
horseshoe= breve= unstressed syllable
rain drop= ictus= stressed
-monometer= 1 foot in the sentence (call it based on the line)
metrical variations: call attention to some of the sounds because they depart from what is regular
   -substitution, extrametrical syllables, truncation
scansion- the process of defining the metrical form of a poem
expected rhythm is enhanced by the heard rhythm

-rhythm and sound produce the music of poetry
phonetic intensives- word whose sound, by an obscure process, connects with some degree to its meaning
which words and lines are emphasized can change the meaning and delivery of the poem in the minds of the readers

Pride & Prejudice: 1

     I believe that the confidence of every person fluctuates on a spectrum from pride to insecurity, and that his marker is continually shifting with the ever changing surroundings. Some characters, such as Mr. Darcy, have rarely felt flustered or been humbled because their circumstances have abundantly provided for their constant success. Darcy is intelligent, wealthy, respected, and of high social status. Elizabeth Bennet is the first person to challenge his pride and security. When Elizabeth curtly rejects his marriage proposal, Darcy "seemed to catch her words with no less resentment than surprise" (Austen 162). Darcy is seldom denied anything, and he expected Elizabeth to accept his offer given "his sense of her inferiority" (Austen 161). Lizzy's refusal is shattering not only to Darcy's emotions, but also to his pride. Elizabeth is most likely the first person to ever challenge and lower his sense of self-esteem, making Darcy more fascinated with the woman. Although society deems Elizabeth inferior to Darcy in comparison of wealth and status, Elizabeth has the ability to make Darcy feel inferior. Because Lizzy is able to foil his pride, I predict that her refusal will only strengthen the adoration and love that Darcy feels towards her.
     Elizabeth has a very verbal, opinionated mouth that does not filter any of her controversial thoughts. Mr. Darcy first insults Lizzy's pride at the ball when he describes her as "tolerable" and undeserving of his attention and companionship. From the beginning of the novel, Elizabeth appears to have a very wounded self-esteem, and therefore she lashes out at others in an attempt to disclose her insecurity. After receiving Darcy's letter explaining his side of her accusations, Lizzy realizes that she missed many obvious signs of the lies told by Wickham: "She was now struck with the impropriety of such communications to a stranger, and wondered it had escaped her before" (Austen 176). Darcy originally insults Eliza's pride, and so in retaliation she is biased and prejudiced in all of her assumptions of his character. Although she appears bold and confident, I believe that Elizabeth is very self-conscious about the way that she is perceived by others, especially since she does not conform to the expectations of society. Elizabeth's walls of prejudices are utilized to mask her insecurities, and these characteristics allow her to deteriorate the pride of Darcy. The converse effect that the two characters have on each other strengthens their flirtatious tension and fascination of one another.

To the Lighthouse: 4

     The end of a good book should leave the reader pondering, as does the novel To the Lighthouse by Virginia Woolf. During class discussions, we analyze and scrutinize the minute details. However, I find it most enjoyable when we zoom out of the text and use the literature as a lens to reexamine our own lives.
     Upon the finishing the last page, the novel has completed a full circle. The book begins with James begging his mother to go to the lighthouse. After about 200 pages of stormy weather, the son finally arrives at his destination. However, his journey is like an emotional roller coaster, rising and sinking with the waves. When the reader is first introduced to James, he is infuriated by the dismissive way in which he is treated by his father and remarks, "Had there been an axe handy, or a poker, any weapon that would have gashed a hole in his father's breast and killed him, there and then, James would have seized it" (Woolf 4).  Almost twenty years later, Mr. Ramsay is eliciting similar sentiments in his son as they sail to the lighthouse: "James kept dreading the moment when he would look up and speak sharply to him about something or other [...] And if he does, James thought, then I shall take a knife and strike him to the heart" (Woolf 183-184). Time may have passed, but the relationship between Mr. Ramsay and James has not progressed in the past twenty years. However, this time James is steering the ship, and he is in control of his own destiny. James bottles up his immense hatred towards his father; however, it is not so much that James despises his father, but that he despises the worthlessness and inferiority that his father makes him feel. Branching off of the idea that the lighthouse reveals the truth about a person, the sea is like the personal journey. The closer that James sails to the lighthouse, the more he grows and matures. At last, Mr. Ramsay positively acknowledges his son, and James could not feel more triumphant: "He was so pleased that he was not going to let anybody share a grain of his pleasure. His father had praised him" (Woolf 206). With recognition from his father, James is finally able to feel comfortable and confident with himself. His journey to the lighthouse is like his journey to unveiling his own identity; the process is slow and gradual, and it can only be accomplished by the conquest of our biggest insecurities and fears.
     Every person journeys to their own lighthouse, and there is no specific date or time at which this occurs. Our lighthouse illuminates our identity, and with the truth unveiled we are able to conquer our fears and insecurities. The next few years are influential at shaping who we become as people, and it is very probable that many of us will soon travel to our lighthouse. The journey requires people like Mr. Ramsay to weigh us down along the way because we cannot come to appreciate ourselves without conquering our biggest critics.

To the Lighthouse: 3

     Lily is the predominant narrator in this section, allowing the reader to conceptualize and understand her point of view. In one of the passages, Lily's description of her interaction with Mr. Ramsay synecdochially represents her interaction with the world. Lily expresses her relationship with a metaphor: "His immense self-pity, his demand for sympathy poured and spread itself in pools at her feet, and all she did, miserable sinner that she was, was to draw her skirt a little closer round her ankles, lest she should get wet" (Woolf 152). Lily is a bright woman, and she realizes the distinction between her identity and the ideal woman portrayed by society. Women should be subservient and sympathetic towards men, but Lily feels like she is entitled to more respect. The expectations of society are like the puddles forming at her feet; Lily is aware of their presence, but she chooses to ignore the discomfort they bring her. In response to the puddles, Lily attempts to avoid them by subtly altering herself, such as when she complements Mr. Ramsay's boots. Lily cannot avoid the flood forever, and the metaphor insinuates that with the rise of the water levels, Lily may drown in the pressures and expectations of society.

To the Lighthouse: 2

      Charles Tansley is viewed in a negative light by both Mrs. Ramsay and the children; however, the children view Tansley as condescending and arrogant, whereas Mrs. Ramsay remarks on his insecurities. "The atheist," as Mr. Tansley is known by the children, likes to pretend that he is the center of the universe. His mannerisms and point of view upset the children, "until he had turned the whole thing round and made it somehow reflect him and disparage them- he was not satisfied. And he would go to picture galleries they said and he would ask one, did one like his tie? God knows, said Rose, one did not" (8). The children view Mr. Tansley as very condescending and vain. The only good that can be found in a situation must be derived from Mr. Tansley himself, demonstrating how he is very self-serving and conceited. In addition, the children also imply that he is not very well liked in society. Mr. Tansley loves to flatter himself, but the children paint him as very aloof to his surrounding environment. Mrs. Ramsay is also not very intrigued by Mr. Tansley, calling him "an awful prig- oh yes, an insufferable bore" (12). Mrs. Ramsay believes that she can see right through Mr. Tansley's facade of intelligence and superiority: "She saw now why going to the circus had knocked him off his perch, poor little man, and why he came out, instantly, with all that about his father and mother [...]" (12). Mrs. Ramsay believes that Tansley is insecure due to regrets about his childhood. When he becomes uncomfortable, he begins to ramble "ugly academic jargon" (12) in an attempt to salvage his composure and reputation. Although Mrs. Ramsay considers herself subservient to the male gender, she calls Tansley 'little,' indicating that she does not have high respect for him as a man. Each perspective of Mr. Tansley is reflective but biased, and his true personality and motives are probably a blend of the multiple perspectives presented. Taking into consideration the opinions of the children and Mrs. Ramsay, Mr. Tansley is most likely an opinionated character who requires addition attention as an adult to compensate for the lack of attention he thought he deserved as a child. The reader is like a stranger standing outside in the dark, and each character is like a house. Each perspective is like flipping on a light switch in the rooms, partially illuminating the truth of the character. As more perspectives are introduced, the reader is able to have a better understanding of the character as a whole.

To the Lighthouse: 1

     In an attempt to form a character web of the various personas in Virginia Woolf's novel, To the Lighthouse, I find myself struggling to identify definitive character traits when the characters continually introduce subjectivity into their descriptions. For example, James describes his mother as beautiful and beloved. However, Mrs. Ramsay herself is worried that her eagerness to help others is motivated by a selfish desire to feel wanted. Whereas James paints his mother as delicate and selfless, the reader becomes conflicted when Mrs. Ramsay criticizes her husband and reveals her selfish motives. Similarly, the character dynamics are many times understood in a conflicting fashion. Charles Tansley has been nicknamed "the atheist" by the children because he constantly identifies the faults in situations, and he manipulates events so that they reflect beneficially upon himself but disparaging upon others. Before the reader is allowed into the thoughts of Mr. Tansley, they are put off by his superior and egotistical mannerisms. However, upon their walk into town, the reader is allowed inside the thoughts of Mr. Tansley and is able to witness his vulnerability. Mr. Tansley thinks that Mrs. Ramsay is "the most beautiful person he had ever seen" (14), and therefore it is possible that his actions are misinterpreted. Mr. Tansley tells James that he won't be able to go the lighthouse but "in deference to Mrs. Ramsay [he softens] his voice into some semblance of geniality at least" (14). Mr. Tansley is attempting to be kind and gentle in his speech, but Mrs. Ramsay interprets his words as hostile: "Odious little man, thought Mrs. Ramsay, why go on saying that?" (15). The interpretation of Mr. Tansley's words are completely contrary to the tone he intended to convey, demonstrating how subjectivity can alter one's perception of a character or situation.

The Picture of Dorian Gray Outline

Prompt: By the end of the novel, Dorian is a horribly depraved man; however, what makes him so depraved is up for debate. Analyze the nature of Dorian's depravity by focusing on his characteristics.

Thesis: Dorian's preponderance of naivety allows Lord Henry to seep in and corrupt the once innocent soul. With the accumulation of evil deeds, Dorian vanity, pride, and impulsivity create a depraved monster with a heightened sense of immortality.

I. Dorian's initial innocence and naivety make him malleable to the forces of corruption.

i) When we are first introduced to Dorian, he is young and juvenile: "swinging round on the music-stool, in a wilful, petulant manner. When he caught sight of Lord Henry, a faint blush coloured his cheeks" (11).

            -The young, vulnerable Dorian is whimsical and naive, and it is not long until Lord Henry begins to shape his thoughts and actions.

ii) Dorian immediately becomes entranced by the eloquent and befuddling speech of Lord Henry: "Dorian Gray listened, open-eyed and wondering. The spray of lilac fell from his hand upon the gravel" (17).

            -The lilac is like the Dorian's innocence, falling and fading with his exposure to Lord Henry.

iii) Lord Henry remarks that "to influence a person is to give him one's own soul [...] He becomes an echo of some one else's music, an actor of a part that has not been written for him" (13).

            -Dorian's initial innocence allows him to be molded and altered by the influence of Lord Henry. His susceptibility to corruption begins his path to destruction.

II. As his self worth grows with reinforcement from Lord Henry and society, Dorian's inflated pride and vanity overshadow any concern he might have felt for others.

i) When Sibyl Vane professes that the honesty and purity of her love for him inhibits her ability to falsely portray such passion on the stage, Dorian remarks, "you have killed my love. You used to stir my imagination. Now you don't even stir my curiosity. [...] You are shallow and stupid. My God!" (63).

            -Dorian is entranced by Sibyl the way that Lord Henry is fascinated by Dorian; she is beautiful and marvelous, but that is the depth of his emotions towards her. He condemns her foolish emotions, and Dorian is furious that her acting skills reflect poorly on himself.

ii) Dorian is initially shocked news of Sibyl's murder, but he shortly comes to the conclusion that their relationship was marvelous work of art: "It has all the terrible beauty of a Greek tragedy, a tragedy in which I took a great part, but by which I have not been wounded" (73).

            -Dorian is shaping events into how they will bring him the most benefit, and the painting allows him to hide any sense of remorse or guilt brought upon by his actions. His egotism is overpowering any sympathy he may feel for others. This lack of personal connections and understanding leaves Dorian feeling very isolated and empowered.  

III. When under external or internal pressure, Dorian's impulsivity leads him to make irresponsible and irreversible actions that endanger others.

i) When Dorian reveals the painting of his decrepit soul to Basil, "mad passions of a hunted animal stirred within him, and he loathed the man who was seated at the table, more than in his whole life he had ever loathed anything" (114).

            -Basil facilitated Dorain's horrific transformation to a life of sin and crime when he created the painting as a scapegoat for his malicious actions. This anger and frustration overwhelm Dorian upon revealing the portrait, and he viciously murders Basil. Dorian is insecure about the monster he has become, and his impulsive decisions are a way for him to lash out at the world. However, his impulsive decisions have harsh repercussions for those around him.

ii) Dorian then entangles his old friend Alan Campbell into the murder in an attempt to remove the mess: "You leave me no alternative. I have a letter written already. Here it is. [...] You know what the result will be. But you are going to help me. It is impossible for you to refuse now" (125).

            -It is implied that Dorian will expose Campbell's homosexual lover, and at a time of desperation, Dorian will risk anything and anyone around him for his own benefit. It is only plausible that Dorian and Campbell were once involved in a romantic relationship: "They had been great friends once, five years before-- almost inseparable, indeed. Then the intimacy had come to a sudden end" (121). For Dorian to betray someone that he once cared deeply about demonstrates how his vanity has prevented him from ever truly loving anyone but himself.  

IV. Dorian's dashing good looks and personality have allowed him to charm whomever he pleases, and through constant praise and adoration he has acquired a sense of immortality.

i) When James Vane confronts Dorian in the archway, he cleverly wriggles himself away from the hand of death: "'How long ago is it since your sister died? Quick, tell me!'" (140).

            -Once again, Dorian utilizes his young face to escape repercussions for his actions.

ii) Dorian then turns around, and in a condescending tone says, "'Let this be a warning to you not to take vengeance into your own hands'" (141).

            -Dorian appreciates the irony of the situation, and he is relishing at his own innocent looks and quick mind. Lurking around only increases his chances of danger, but Dorian has gone through life without any repercussions for his actions, so at times he acts invincible, leering at those of whom he has taken advantage.

Conclusion: Dorian's naivety allows Lord Henry to prey on his malleability, and coupled with vanity and impulsive actions, Dorian becomes a malevolent and depraved monster. Dorian entered the world like a blank canvas: innocent but full of potential. Without any proper guidance, Dorian was molded and bent into the vain and self serving offspring of the influence of Lord Henry. His egotism grew, until it overshadowed all other aspects of humanity. Dorian eventually became so self-empowered that his feeling of superiority led him to believe he was in a state of immortality. However, although his naivety, vanity, and impulsivity created a malicious and depraved monster, a dim sense of morality was still present inside. The turmoil of what he had become lurked ominously inside of him, and as he commits suicide, he longs for atonement and a better life: "It would kill this monstrous soul-life, and without its hideous warnings, he would be at peace" (164). Although Dorian had become a monster, his last act illustrates his reflection on his life and the atrocities for which he was responsible. One cannot deny that Dorian was transformed into a depraved man, but his final act of suicide was done in good intentions in regard to his soul and the benefit of others. 

The Picture of Dorian Gray 4: Slurred Lines

     Dorian has repeatedly attempted to remove the nagging sources of pain in his life, but his efforts only increase the magnitude of his guilt and the weight of his conscience. First, Dorian attempts to relinquish some of his hidden sins onto Basil; however, the sudden flood of emotion and frustration converts Dorian into a murderer. Subsequently, Dorian utilizes calculated manipulation and threats to engross Alan Campbell into his mess of deception to clean up the evidence. Destroying the evidence does not destroy the past, and Dorian continually expresses his consummation of guilt on his way to the opium shack: "'To cure the soul by means of the senses, and the senses by means of the soul'" (135). Dorian acknowledges that his soul is "sick to death" (135), and he hopes that the opium will excite and intrigue his senses. At the opium bar, the text becomes slurred and rhyming, perhaps like someone on the drug: "'Where else should I be?' he answered, listlessly. 'None of the chaps will speak to me now'" (137). Besides the melodic ring of the sentence, the 'sss' sound is repeated frequently. The 'sss' sound is common when someone is drunk and slurring their words. This is representative of Dorian's intoxication by his own malicious actions and deeds, and he is therefore losing the ability to think clearly. The 'sss' sound is also associated with a serpent, which represents evil. Later in the chapter, Sibyls's brother James confronts Dorian and is close to shooting him when Dorian is able to slyly reason his way out of death. In a hypocritical moment, Dorian says, "'Let this be a warning to you not to take vengeance into your own hands'" (141). Just as Dorian tried to take vengeance on Basil for facilitating his life of corruption and pain, James wants to release the pain of losing his sister onto Dorian. Considering that Dorian yielded to the temptation, this paradoxical warning is most likely foreshadowing his own death.

The Lamb v. The Tiger

     Intro: Traveling through life, perception and perspective are bound to change. As it can be inferred that the same speaker narrates both The Lamb and The Tiger by William Blake, the varying stances about his creator have changed, indicating a shift in his maturity and perception of life. In The Lamb, the playful and innocent tone of the poem reflects the naivety and admiration the speaker feels towards his creator. In contrast, the speaker is more skeptical of his creator in The Tiger, questioning the darkness and fear that has been created on Earth.

BP1: The cheerful and childish tone towards the creator in The Lamb contrasts the fear and betrayal felt by the speaker in The Tiger. In The Lamb, the simple verses are short and rhyme in an "a,a,b,b" rhyme scheme. The speaker asks the lamb, "Little lamb, who made thee? / Dost thou know who made thee" (1-2). The innocence and sincerity of this question, which begins the poem, helps to set the tone as light and playful. The speaker talks to the lamb throughout the poem, and Blake most likely chose a lamb as the object of the poem because of its gentle and docile connotation. In contrast, the speaker is also talking to an animal in The Tiger, but the tiger has a dangerous and aggressive connotation. The Tiger begins, "Tiger! Tiger! burning bright / In the forests of the night" (1-2). The exclamation points after the word tiger heighten the sense of insecurity and fear the speaker feels towards the tiger. Again, the verses are short, simple, and have the same "a,a,b,b" rhyme scheme, demonstrating how such a simple question about life can have such divergent perspectives. However, the tone of The Tiger is a lot darker, including words such as "fire" and "deadly terrors." Whereas in The Lamb the cheerful tone indicates the blissful admiration the speaker feels towards his creator, in The Tiger, the speaker is fearful of some of the creations and skeptical about the motives of his creator.

BP2: The contrasting characterizations of the creator demonstrate how he can be seen as a friendly companion or a laborious blacksmith. In The Lamb, the speaker considers his creator to be harmless and relatable: "For he call himself a Lamb; / He is meek and he is mild, / He became a little child; / I a child and thou a lamb" (14-17). The speaker finds comfort in his humble creator, and he is not the least bit intimidated by his power. The speaker is fond of his creator, and has no reason to fear the presence that is as mild as a lamb. In contrast, the speaker in The Tiger characterizes the creator as a cold blacksmith forging his metal creations: "And when thy heart began to beat, / What dread hand forged thy dread feet" (11-12). By comparing his creator to a blacksmith, the speaker is demonstrating the disconnect between the forged heart and his own beating heart. The speaker is fearful of the power of his creator, and he is taken aback by the darkness that has been created. The speaker asks the tiger, "Did he who made the Lamb make thee?" (20), because he is so astounded, and slightly betrayed, that the creator that has made such gentle beauty has also made such danger and darkness. The speaker in The Lamb feels that his creator is very gentle and relatable; however, the speaker in The Tiger feels disconnected and astounded to uncover the darkness and terror that lurks around his creator.

The Picture of Dorian Gray 3: The Paradoxical Cleanse

     As sickening as it is to read Dorian’s murder of Basil, the motive behind this assassination is universally relatable. Dorian blames Basil for facilitating the corruption of his soul. As Hallward views the aged and decrepit portrait for the first time, he realizes that the evil which is manifesting itself in Dorian is partially his fault: “He seemed to recognize his own brushwork, and the frame was his own design” (114). The monster into which Dorian has become is partially due to the vanity and bad influence that was introduced into his life by Hallward. Dorian feels as though his path of destruction began with Basil, and through the murder of Hallward, Dorian is trying to release all of this pent up frustration and anger. The fog was dense when the two characters first met, but after the homicide, “the wind had blown the fog away, and the sky was like a monstrous peacock’s tail, starred with myriads of golden eyes” (116). Dorian paradoxically tries to cleanse his conscience by committing the greatest sin (besides pride) that he has done thus far. The watchful stars in the sky are meant to show that he cannot be absolved of one sin by committing another. At times we may try use one lie to conceal a prior wrongdoing, but the further you diverge from honesty and morality, the more problematic the situation becomes. The best way to cope with shame and guilt is to recognize and appreciate its value. By committing a ‘reparation’ sin, you are ignoring the only benefits that can arise from the original sin. The fog may have cleared, but the storm is far from over.  

The Picture of Dorian Gray #2- Triumph or Despair?

     Dorian has become entranced by Lord Henry's influence, and he will never again be able to relive his days of youth and innocence. The reader can hear a hint of Lord Henry in Dorian's speech: "It is only shallow people who require years to get rid of an emotion" (79). Lord Henry enjoys making bold claims supported by an abundance of confidence, and now Dorian is uttering these illogical statements. It is not so much shallow people that take a long time to recover, but maybe someone who is weak or frail. Dorian has learned from Lord Henry how to make a bold generalization based on one interpretation of a word. Basil has even realized the profound transformation that has occurred inside Dorian: "Dorian, this is horrible! Something has changed you completely" (79). Although Dorian has become very proud and selfish, his external reflection remains charming and beautiful because the portrait absorbs his sin and age. His ego-centrism is nauseating, but his vanity remains. Because Dorian does not want to reveal his true self to the world, he keeps the portrait concealed under a purple and gold screen. The charm and power of the young man's beauty coerces Mr. Hubbard into leaving his shop: "As a rule, he never left his shop [...] But he always made an exception for Dorian Gray" (88). The frame-maker demonstrates the theme of beauty, and how people are drawn to and charmed by those who are attractive. Dorian's natural powers of persuasion are part of the reason why he makes for such a wonderful case study for Lord Henry. In this section, I began to wonder whether Dorian enjoys his transformation, or if he is appalled by it. When the laborers are carrying the portrait up the stairs, one of the men remarks, "'Something of a load to carry, sir'" (88). In response, Dorian says, "'I am afraid it is rather heavy'" (89). The ambiguity of the word 'it' makes the reader question whether Dorian is referring to the portrait or the secrets and corruption that are hanging over his life. Does Dorian wish that he had never met Lord Henry? How might his life have been different if he never agreed to sit for Basil?

The Picture of Dorian Gray: 1

     Lord Henry Wotton is a fascinating and intriguing character in The Picture of Dorian Gray. The age of this baffling persona remains a mystery, but we know he is over thirty, and I presume he is around forty years old. Lord Henry loves to project his philosophical theories onto others, and he is a man of many words and few actions. He comes to meet the handsome Mr. Dorian Gray in the presence of a mutual friend: Basil Hallward. Basil is an artist, and Dorian is his muse. Basil is hesitant of their potential relationship: "Don't take away from me the one person who gives to my art whatever charm it possesses: my life as an artist depends on him" (10). Dorian is beautiful, and he inspires Basil to transfer that beauty onto the canvas.
     Lord Henry soon becomes to Dorian what Dorian is to Basil: inspiration and perspective. It is in the garden that Lord Henry first divulges his theories to the handsome lad. Lord Henry talks about beauty and genius, and how Dorian should find it wise to benefit from his good looks while they last, as they will fade quickly. The garden is similar to the garden of Eden because there is beauty, temptation, and revelation. As Dorian absorbs their conversation, the narrator relates, "Dorian Gray listened, open-eyed and wondering. The spray of lilac fell from his hand upon the gravel" (17). The lilac is like his innocence, fading and falling with his exposure to Lord Henry. Lord Henry portrays himself as confident and wise, but the reader can sense a void in his happiness.
     Even with the wealthiest family members and most affluent acquaintances, Lord Henry appears to be living a life of misery. Dorian is like his puppet, allowing every sentence to seep into his brain and alter his actions. Early on in the novel, Lord Henry says, "to influence a person is to give him one's own soul" (13). I believe that Lord Henry is asserting dominance and influence over Dorian in an effort to release his own emotions. At one point Lord Henry remarks, "People are very fond of giving away what they need most themselves" (41). My theory is that Lord Henry is gay, and he has fallen in love with the romance and beauty of Dorian. Lord Henry does not feel comfortable with his own sexuality, and he is projecting dominance and influence over others because he cannot control or act upon his own homosexual desires. Dorian's love for the actress is forcing him to choose between Sibyl and Lord Henry. This becomes apparent when Lord Henry retorts, "That is the reason, I suppose, that you never dine with me now. I thought you must have some curious romance on hand" (39-40). Although he is married, Lord Henry does not speak frequently of his wife, and he does not speak kindly of women in general. Lord Henry Wotton is a curious character because his words are smart and his sentences clever, and therefore, he is able to influence the thoughts of many. However, there is something lurking behind his confidence that will most likely reveal itself throughout the novel.

Poetry Comparison/Contrast of Death

Thesis: The speaker in Collins' poem "My Number" is fearful of death, and he personifies death as malicious and looming. "I had heard it's a flight" by Denby also characterizes the onset of the death; however, the speaker considers death to be a captivating process rather than a terrifying concept.

     The subject of both poems is death; however, the speakers grapple with the concept of death in very distinct ways. The speaker from "My Number" is very concerned and frightened about the end of his life. Death is capitalized in the poem and personified as if it were human: "Is he too busy making arrangements, / tampering with air breaks" (5-6). Although he is scared to die, the speaker tries to reconcile this fear by personifying death. Giving death human characteristics is the speaker's attempt to understand and relate to this daunting process. Contrarily, the speaker of "I had heard it's a flight" emphasizes his comfort and curiosity about the subject. As an introduction, the speaker refers to death as "it" (1). Such a nonchalant and relaxed opening to such a heavy topic demonstrates how the speaker is not very intimidated by the thought of death. He later talks about his encounter with death in a very colloquial manner: "Was it sweet!" (9) and, "it gives me a kick" (13). The casual tone of the poem indicates how the speaker does not feel threatened of dying. Both poems broach the concept of death, but the speakers have very different attitudes toward the subject.

     The speakers of both poems finally come to terms with death, but they arrive at different conclusions. In the final stanza of "My Number," the speaker is ready to confront his fear: "Did you have any trouble with the directions? / I will ask, as I start talking my way out of this" (16-17). Throughout the rest of the poem, the speaker distances himself from the concept of death, and he either refers to it as a proper noun or pronoun. In the final lines, the speaker talks directly to death for the first time, demonstrating the transition and his acquired courage. He realizes that he must face death, but he is determined to prolong his life. Similarly, "I had heard it's a flight" also ends with a two line stanza. However, the speaker does not appear to make as prominent of a transition. The tone remains very colloquial and at ease, but the reader is left to dwell on the final lines:  "The crazy thing, so crazy it gives me a kick: / I can't get over that minute of dying so quick" (13-14). We are unsure if "quick" refers to his minute of dying or the speed at which he will get over the thoughts of death. The ambiguity leaves the reader questioning the sincerity of the speaker. His excitement may be the cause of adrenaline, and his interest seems immature and impulsive. The speakers of both poems elaborate on their thoughts of death; however, the speaker of "My Number" is reluctant but willing to face death while the speaker of "I had heard it's a flight" is ignorantly captured by the thrill.

   

"Home Burial" Poetry Analysis

Thesis: Although united through marriage and the tragic death of their child, the husband and wife in Robert Frost's poem "Home Burial" lack the ability to effectively communicate and comprehend the emotions and actions of the other.

     Sharing an experience does not evoke a uniform response, and coping with grief is a unique process for every individual. The wife in Frost's poem is emotionally destroyed by the death of her son, and we find her moping and distressed by the window. The window separates the wife from the outside world, just as the death of her child has separated her from her husband. The wife is enraged by the callous manner in which her husband copes with the loss: "You could sit there with the stains on your shoes [...] And talk about your everyday concerns." For the wife, her conversations and actions are very indicative of her internal pain and suffering; however, she does not understand that her husband may be dealing with the death in a different way. He goes out and digs the grave, and that may be his way of coming to terms with the death. Although both characters share the same devastating loss, their unique coping methods create a void in their marriage and their understanding of each other.

     The lack of understanding between the wife and husband creates tension and complexity in their marriage. The staircase in the poem is utilized as a metaphor to demonstrate how the married couple is never on the same level of comprehension. When the poem begins, the husband is standing at the bottom of the stairs looking up at his wife by the window. As he climbs the stairs, his wife pulls away: "Mounting until she cowered under him." The husband and wife seem to be competing for dominance within their relationship, and they assert confidence in their method of coping. The wife refers to her husband as a "blind creature," and he treats her as a child and says if necessary he will, "bring [her] back by force." The metaphor of the stairs is meant to create a physical image of their separation to parallel the disparity in their coping methods. Although the husband and wife should be able to empathize with each other because they experience the same horror of losing a child, the lack of effective communication and comprehension creates tension in their marriage.

The Stranger: We Must Begin at the Start

     The opening lines of the novel are very reflective of the text as a whole. We immediately learn that the narrator's mother has deceased, and he seems very robotic and non-sentimental about the event. This is the tone in which Meursault narrates the entire novel, and we come to understand that he chooses to view the world in a very straightforward and unemotional manner.
     Meursault's conversation with his boss in the second paragraph of the novel outlines the detached feelings that carry through the rest of the book. When Meursault asks his superior for time off, he apologizes. He then realizes that his mother's death is not an apologetic moment, and he says, "I shouldn't have said that. After all, I didn't have anything to apologize for" (3). Our society is very quick to say sorry, and many times, the apology is often used unnecessarily. It is a habit to which we are accustomed, and Meursault recognizes the absurdity of this habit. The quote demonstrates how Meursault is aware of many social customs, but he is not in agreement with them. Soon after, the narrator lies to a soldier "just so [he] wouldn't have to say anything else" (4). Camus most likely chose the character to be a soldier because soldiers represent tradition, uniformity, and the government. Meursault's decision to avoid conversation with the soldier is a metaphor demonstrating how he chooses to follow his own set of morals and beliefs. The first few paragraphs of the novel are used as synecdoche for the text as a whole because they represent the direct and blunt way in which the narrator views the world, and they introduce the reader to the existentialist manner of Meursault.

The Stranger: Final Chapters

     As Meursault gazes at the changing sky overhead, he begins to come to terms with his execution. He remarks how he would enjoy to see an execution if he is ever freed, and I think that the sense of relative freedom would bring him joy experiencing the dictated death of another. Meursault feels that even if he were to escape his execution, he "would just be caught up in the machinery again" (109). It is the feeling of loneliness, utter despair, and helplessness that allows Meursault to accept his death. Just like Hamlet, Meursault realizes that all organisms are alike in that they come to a similar end: "we're all elected by the same fate" (121). Regardless of whether he lives for twenty more hours or twenty more years, he will eventually reach the same point prior to his death where he acknowledges that "life isn't worth living" (114). This is where my personal philosophies differ from those of Meurusault. Meursault is saying that regardless of the lives we lead, we will all end in nothingness, so there is very little point to our existence on Earth. I disagree. I believe that every person is united by our common beginning and ending, but what defines us as humans is how we chose to live our lives. We govern our own set of actions, and through our thoughts and decisions we create our identities. When Meursault says, "Marie meant nothing to me. I wasn't interested in her dead," (115) I was able to see why our opinions about death vary with such a degree. Meursault thinks that when the body dies, so does the soul, the memory, and everything else that goes along with it. I may not believe in 'God,' but I do believe that there is a separation between your body and your soul. Whereas Meursault sees death as a termination, I see it more as a transformation. Your body may no longer function, but your memory or impact can still exist without your physical presence. Meursault may consider me an ignorant optimist or a hopeful fool, but I would prefer to live my life with purpose and ambition rather than doubt and despair.

The Stranger: Part 2

     This section begins with many references to heat and nature, explaining the physical and straightforward way in which the narrator experiences the world. Meursault describes his time in prison and the trial leading up to his conviction. He interacts in a very awkward manner with the defense and magistrate because Meursault is operating under a different set of morals. The magistrate is a very religious man, and he tries to assist Meursault under the belief that "no man was so guilty that God would not forgive him" (68). The tension is created when Meursault admits that he does not believe in God, and the differing foundation of morals hinders their ability to work together towards a similar goal. Meursault says a line that I think really sums up his character thus far: "I explained to him, however, that my nature was such that my physical needs often got in the way of my feelings" (65). The majority of humans tend to be driven by emotions, feelings, and desires. However, Meursault seems much more captivated and influenced by the physical effects of the surroundings on his being more than the emotional or mental consequences. When he is relating the shooting, Meursault describes his physical sensations instead of the thoughts or emotions coursing through his brain: "Once again I could see the red sand and feel the burning of the sun on my forehead" (67). In this sense, Meursault appears to be very existentialist because is living under his own set of rules and morals, and he places emphasis on what he values most in life. However, one of the fundamental pillars of existentialism is that humans have free will, and Meursault relates how the prison and captivity has deprived him of this right. Therefore, we begin to see a shift in our narrator as he begins to understand the consequences of his actions. The biggest counter to Merusault being an existentialist appears at the end of the section when he says, "for the first time in years I had this stupid urge to cry, because I could feel how much all these people hated me" (89-90). This is the one of the first instances where the reader is allowed into the emotions and thoughts of the narrator, and this line rejects the idea of existentialism because Meursault is basing his feelings off of the emotions and viewpoints of others.

The Stranger: Part 1

     If I were to grade this writing, big red marks saying "vary the syntax!" and "too passive" would be scrawled across the pages. The opening line of the novel is "Maman died today" (3). We later learn that Maman is the narrator's mother, so one would expect more description or emotion to be incorporated. However, the novel continues in the same passive, disinterested tone. In Part One, the narrator becomes indifferently involved in a cheating scandal, marriage, and murder. The death of Manan soon becomes insignificant in the life of the narrator, foreshadowing the shift of priorities in his life.

     Abuse is a recurrent theme throughout the first section. We are introduced to the narrator's prominent neighbors, all of whom are all abusive in their relationships. First we meet Salamano, who "beats [his] dog and swears at it" (27) daily. The poor dog is heard whimpering from his room, but the owner is devastated when the dog runs away. Salamano projects his loneliness and sadness onto the dog, making both of their lives miserable in the process: "He hadn't been happy with his wife, but... when she died he had been very lonely" (44). Similarly, Raymond, another neighbor of the narrator, is physically and emotionally abusive towards his mistress when he suspects her of cheating. Raymond decides that he needs to punish her, and the narrator relates, "The woman was still shrieking and Raymond was still hitting her" (36). The narrator witness all of these abusive relationships, yet he does not become emotionally involved. The novel is strange because it is although the narrator is passively relating the events of his life without becoming emotionally invested in his surroundings. 

     Even when the narrator has sexual desires, his descriptions remain very vague. Marie asks Raymond if he would want to get married, and he responds by saying that he is indifferent. Although he is dispassionate about the thought of marriage, he retains his basic instincts: "I felt her legs wrapped around mine and I wanted her" (51). It is odd because he spends multiple pages describing the blinding heat of the sun, but he only divulges one sentence to explain his romantic feelings towards his fiance. There is a pivotal shift at the end of the Part One when the narrator becomes an active participant in his life upon committing murder. He has "shattered the harmony" (59) and now must become more active and involved. 

Sound & Sense 7: Lady Luncheon Club

Prompt: In Maya Angelou's poem "Lady Luncheon Club," the speaker narrates her experiences at one of the dining events. Using devices such as diction and tone, describe the speaker's complex feelings towards the ladies at the luncheon.

Thesis: The declared purpose of the luncheon held in Angelou's poem, "Lady Luncheon Club," is to bring awareness and acknowledgement to horrific topics such as rape and murder. However, the speaker sarcastically observes how the self-serving ladies are more preoccupied with status, reputation, and image.

The speaker utilizes petty metaphors to demonstrate the duplicity and vanity surrounding the event. The women have hired a male lecturer to deliver a speech, and the speaker denounces his efforts: "He summons up / Sincerity as one might call a favored / Pet" (9-11). The word 'pet' is isolated in its own line, drawing attention to the metaphor. The speaker compares his sincerity to a pet: a trained animal that is taught to perform on command. This metaphor is used to highlight the insincerity of his speech, and further critique the superficial intentions of the luncheon.

Throughout the poem, the internal thoughts of the ladies are separated through the use of parenthesis, demonstrating the incongruity between the declared purpose of the luncheon and their undisclosed intentions.  As the lecturer is orating about rape and death, "our woman notes: / (This coffee's much too strong)" (21-22). While the woman should be focused on the devastating stories from his speech, she is more preoccupied with the quality of the food at the luncheon. Although she is physically present, she has no emotional investment in the humanitarian aspect of the event. The speaker is appalled by the superficiality of the luncheon that is supposedly centered around notable and charitable causes.

Hamlet Outline: Prompt 4

Thesis: To seem to be is to be deceitful, and the playwright has effectively punished all deceptive characters with death. In the play Hamlet, Shakespeare mercilessly critiques those who choose to 'seem' by entangling his characters with their true and false representations to such an extent that the duplicity leads to their demise.

1.      Minimal tears of sorrow are evoked upon the death of Gertrude because Shakespeare wants to condemn the shallow adulteress for her unfaithful relationships.

The possibility of 'seeming' is introduced during a conversation between Gertrude and Hamlet when she asks him what seems to be the matter: "'Seems,' madam? Nay, it is. I know not 'seems'" (I.ii.79).

-Hamlet begins as a very transparent character, flaunting his grief or joy to the world. Less than a month after her husband's death, the queen marries his brother. Hamlet is distraught, and he would like the queen to appear more affected by the loss.

Gertrude is content to sleep with the brother and murderer of her beloved husband if it allows her to remain powerful and rich in the kingdom. While she is selfishly pleasing her whims, she is also trying to appear like a caring and honest mother: "What have I done, that thou dar'st wag thy tongue / In noise so rude against me?" (III.iv.47-48).

Hamlet is aware of the incestuous and corrupt relationship that was formed between Claudius and Gertrude, and he has lost all respect for his mother for seeming to care about him. A good mother would not lie and cheat on her family in such a fashion. Gertrude cannot play both the greedy whore and the loving mother, so she is punished by Hamlet and Shakespeare.

2.      Rosencrantz and Guildenstern are two other characters who seem to be what they are not, and their lack of sincerity leads to unremorseful ends.

The king and queen ask two of Hamlet's closest friends, Rosencrantz and Guildenstern, to spy on him in an effort to determine the cause of his lunacy. They comply by saying, "Both your Majesties / Might, by the sovereign power you have of us, / Put your dread pleasures more into command / Than to entreaty" (II.ii.27-30).

Hamlet quickly perceives the ulterior motive of their visit, and he then dismisses them as friends. Although both friends had little choice over their actions, Shakespeare demonstrates that friendship should be a higher priority than power.

Rosencrantz and Guildenstern are later ordered to babysit Hamlet on a trip to England, and they again comply. Although, Hamlet has outwit the plot and instead changes the directions of the letter: "He should those bearers put to sudden death, / No shriving allowed" (V.ii.51-52).

"Why, man, they did make love to this employment. / They are not near my conscience. Their defeat / Does by their own insinuation grow" (V.ii.64-66).

Ignorant of the situation, Rosencrantz and Guildenstern are killed upon delivery of the message, and there is no one to feel pity for their death. They appeared to be friends with Hamlet; however, their ulterior motive severed their relationship with the prince and cost them their lives.

3.      The disloyal friendship of Rosencrantz and Guildenstern is contrasted to the honesty and faithfulness of Horatio.

The only character with whom Hamlet ever divulges his thoughts or plans is Horatio. When Hamlet has uncovered the plan of his disposal, he tells Horatio of his counter actions: "He that hath killed my king and whored my mother [...] is't not perfect / conscience / To quit him with this arm?" (V.ii.72-77). Hamlet is a lonely man wrapped up in his own insanity. He is so insecure and untrusting that it is miraculous that he feels confident enough to share the inner workings of his plan with Horatio.

During the final massacre, Hamlet pleads for Horatio to not commit suicide so that he may live on to tell the tale: "If thou didst ever hold me in thy heart, / Absent thee from felicity awhile / And in this harsh world draw thy breath in pain / To tell my story" (V.ii.381-84).

The final man entrusted with the story of Hamlet is none other than Horatio. Shakespeare has already killed nine characters, but he makes a point of keeping Horatio alive to reward those who are true and pure. Horatio is unlike any of the other characters in the play because he does not seem to be something he is not.

4.      The duplicitous Claudius puts on a false act of grief for the kingdom, although he begins to suffer when sentiments of guilt and remorse for murdering his brother weld up internally.

Shortly after the death of the King, the new King, Claudius, addresses the court about the passing of their ruler. The false words of sorrow and misgivings deceive the court into believing the honest intentions of Claudius. However, Hamlet senses a shortcoming in the honesty of the king and considers him, "A little more than kin and less than kind" (I.ii.67).

It is not until Claudius begins to feel the pangs of guilt that the audience feels confident in labeling him a murderer.

"O, my offense is rank, it smells to heaven; / It hath the primal eldest curse upon't, / A brother's murder" (III.iii.40-43).

Claudius is a unique character in the sense that the other deceitful characters do not admit to their crimes and express signs of remorse. Although Claudius talks about forgiveness, he is shown none by Shakespeare as Hamlet forces the poisoned drink down his throat. This second attempt at murder only allows more toxins to be injected into his body, and it prevents Claudius the honor of having his final words.

5.      The constant state of turmoil and pain in which Hamlet resides is brought upon by his twisted and entangled character. Throughout the play, the audience has glimpses of Hamlet the grieving son, Hamlet the actor, the performer, and the director. All of these personalities begin to intertwine until Hamlet is no longer able to discern one from the other.

Hamlet begins as a very overt character with clear intentions. However, he is lost, and the ghost of his father gives him a purpose to live. He was hopeful that he may one day feel joy again, but his isolation pushed him father down into disparity. After he realizes that his own friends have been turned against him he pitifully remarks, "Now I am alone. / O, what a rogue and peasant slave am I!" (II.ii.576-77).

Hamlet is a slave to the kingdom, bound by societal expectations. He also feels obligated to revenge the death of the king, shackled by the honor and love he has for his father. The more obligations that arise, the more isolated Hamlet becomes, and the farther he strips away into his lunacy.

The various personalities of Hamlet force him into a constant state of torment. Between the "slings and arrows of outrageous fortune [and the] sea of troubles" (III.i.66-67), Hamlet hopes for death, finality: "a consummation / Devoutly to be wished" (III.i.71-72).

The constant pain and suffering Hamlet endures in his mortal life encourages thoughts of suicide, but he eventually resists the temptation because he is more fearful of the unknown. Hamlet, the most complex character in the play, is not coincidentally the one who suffers most. Shakespeare punishes his deception towards others by placing him in a constant state of agony.

Conclusion: Shakespeare punishes the duplicitous characters in Hamlet by allowing their deception to lead to painful and unforgiving ends.

The play begins, "who's there," and in the end, the only characters that survive are the ones that remained honest and loyal. Through the theme of 'seeming,' Shakespeare is trying to show the audience the peril of deceit and the value of kinship and morality.

Hamlet #7

     Poor Ophelia has become overtaken by insanity in response to her father's murder. She mopes around the castle, and she is now singing her way through life with hopeless songs about betrayal and sorrow. This side of Ophelia is the third and final phase of her character. Ophelia begins as the loving and honest 'girlfriend' of Hamlet. When Polonius and Cluadius order her to spy on Hamlet, she is forced into deception and falsehood, which Hamlet heavily criticizes and mocks. The extreme polarity of these identities, added to the unforeseen death of her father, launches Ophelia into a bewildered state of insanity. Her lunacy tends to differ from Hamlet's perceived madness because Ophelia does not feel angered by the murder, but instead she is devastated, weakened, and physically and mentally destroyed. As she wanders about the castle, she sings; perhaps because she no longer trusts the value of words. She is not simply rhyming her speech, but she is trying to express the depth her pain and emotions. This is the first time where the audience witnesses the boldness of Ophelia and her emotions ruling over her reason.
     In my opinion, the most depressing line of the play thus far is when Ophelia begins to distribute the flowers. Flowers become very symbolic in her for this section, perhaps because they are a beautiful piece of nature that she believes cannot betray her. She begins to distribute the flowers, and she gives rue to Laertes, which symbolizes sorrow or repentance. Then, in the heart wrenching remark she says, "There's a daisy. I would / give you some violets, but they withered all when / my father died" (IV.v.207-09). Ophelia is not guilty of any crime except for trusting and loving. To hear her say that all of the violets, which symbolize faithfulness, have died, it symbolizes how she no longer has anything for which to hope or live. As Hamlet voiced, when the pain of living overbears the fear of the unknown, people will be courageous enough to end their mortal suffering. "The heart-ache and the thousand natural shocks / That flesh is heir to- 'tis a consummation / Devoutly to be wished" (III.i.70-72).

Hamlet #6

     Hamlet and Claudius may commit the same crimes, but they will never comprehend their actions in the same manner. In this section, the King has a soliloquy where he finally discloses information about the murder: "O, my offense is rank, it smells to heaven; / It hath the primal eldest curse upon 't, / A brother's murder" (III.iii.40-42). The first curse issued by God was upon Cain for murdering his brother Abel. Therefore, Claudius is directly admitting his crime to the audience (although he never employs the name of King Hamlet). Within Claudius' soliloquy, he acknowledges the two conflicting forces he faces, demonstrating his reasoning and logic. While describing the motivation behind the murder, Claudius says, "My stronger guilt defeats my strong intent, / And, like a man to double business bound, / I stand in pause where I shall first begin / And both neglect" (III.iii.44-47). Claudius sees the murder as the outcome of an internal battle fought between moral dilemmas and personal prosperity. And even after the sin has been committed, he still suffers between pangs of guilt and resentment for his act even though he thrived from the murder.
     Hamlet, on the contrary, is singularly focused on achieving revenge for his father's death, and there appears to be no remorse, regardless of the collateral damage. When Hamlet is talking with his mother, he spears Polonius from behind the curtain (...so much for solely confining the daggers to words...) and follows with a sarcastic remark when his mother frantically questions if he understands what he has done: "Nay, I know not. Is it the king?" (III.iv.32). Hamlet does not appear to be shaken by any guilt, and he voices his disappointment about preferring it would have been Claudius. Hamlet considers the murders he commits justifiable by the death of his beloved father. Although the ends align, Claudius strategically murdered his brother and is now plagued with guilt, whereas, Hamlet is emotionally committing these acts of terror without the slightest hint of remorse.

Hamlet #5

     The hypocrisy coming from the men of the play is unbelievable! Whenever Shakespeare wants to allude to deception or duplicity, a female reference will soon follow. However, the primary source of treachery and betrayal resides within the male characters.

     The image of women in this play is linked with derogatory and misgiving connotations such as untruthful and conniving. As a sliver of guilt begins to emerge from the King about his prior deceitful actions, he compares himself to a whore: "The harlot's cheek beautied with plast'ring art / Is not more ugly to the thing that helps it / Than is my deed to my most painted word. / O heavy burden!" (III.i.59-62). The audience is under the impression that Claudius killed his brother, the King, in order to be enthroned himself and marry Gertrude. A promiscuous woman may have more than one bed friend, but to stoop so low as to compare murder and treason to undisciplined sexuality is a little out of proportion. Similarly, Hamlet is quick to judge and make assumptions about an entire gender. Poor Ophelia has obeyed her father's wishes to resist the temptation of Hamlet even though she cares deeply for him. When Hamlet and Ophelia are united, Hamlet denies his love for her and then criticizes and condemns the unfaithful fate of all women: "God hath given you one face, and you / make yourselves another" (III.i.155-56). He lashes out on all of womankind, and he adds his comment about God to show that women are not only unfaithful to their husbands, but also to God and religion. Womankind is consistently degraded and accused of being deceitful and conniving by the men in the play.

     The irony of this accusation is that the majority of the duplicitous actions are performed by the men. Claudius is the one who supposedly murdered his brother, and subsequently (metaphorically) poisoned the ear of the kingdom through his false grief and dishonest motives. Polonius attempted to use Hamlet's friends and lover against him, contrary to their desires. And finally, Hamlet is the most deceitful character of all! The twenty year old is concocting a plan to overthrow the king on account of a rumor he heard from a ghost. He also turns his back on his loving Ophelia, and he cannot seem to keep his stories straight. Hamlet says, "I did love you once" (III.i.125), and then less than four lines later he says, "I loved you not" (III.i.129). Hamlet is beginning to utter multiple variations of the same concept because he is internally struggling with his own duplicity. The men in this play have committed far greater acts of betrayal and deception thus far, yet the women act as a scapegoat for the manipulative thoughts and actions plaguing the men.

Prose Passage #2

Thesis: The young man and his father share a complex relationship because although the boy begins to hesitantly assert his independence, the father selflessly supports this growth, arousing sentiments of guilt and sympathy in his son.

     The young man is hesitant to break tradition and go fishing without his father because the son fears his father's disappointment. Every year for the past fifteen years, the father and son have shared the tradition of camping and fishing. Much like the routine and upkeep of their camping adventures, the father always made sure his fishing rod was in pristine condition: "The man in Colorado Springs carefully scraped the varnish off the rod and rewound it and revarnished it and it came back glistening new each year" (49-52). The excessive use of 'it' towards the end of the quote begins to blur the lines between the camping trip and the rod. In the following sentence the son mentions, "There was nothing his father treasured more" (52-53). The ambiguity of the word choice illustrates the lack of clear communication between the father and the son. The son recognizes the importance of the rod and trip to his father, but neither of them expressly state the impact of the son's assertion for independence. Although there is a deep love and understanding between the father and son, their ambiguous and indirect style of communication complicates their relationship.