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?