To be honest, this play was pretty decent. However, the thing that probably bothered me the most was how Jaques' name is pronounced. OKAY PEOPLE, can you please do you and your child a favor and name them something normal and easy to pronounce?? They are in France. He should pronounce it jahck, not ja-queese.
His name reminds me of more.... ahem.... ghetto names these days. It seems like names are just getting more and more ridiculous. Here are some examples.
Orangejello (oh-rahn-gel-lo): it is in fact not pronounced like "Orange Jell-O."
La-a (la-dash-ah): the punctuation is now being called by name, not pronounced phonetically. But stay tuned! There's another interesting one coming up.
Yohiness/ Yomajesty (yo-high-ness and yo-maj-es-tee): These are legit twin names that have been put on birth certificates.
L' (lah-po-strofe): I swear this was my dad's co-worker's daughter's name. Just L-apostrophe.
Well, I hope you enjoyed laughing at these ridiculous and unnecessary names.
Showing posts with label Shakespeare. Show all posts
Showing posts with label Shakespeare. Show all posts
Thursday, February 16, 2012
Do You Like Cheese? - Drama Blog 2 (As You Like It)
"I would cure you, if you would but call me Rosalind and come every day to my cote and woo me."
~ Rosalind, As You Like It
I was re-reading this scene and I immediately thought of the movie She's the Man. The movie is actually based off of another Shakespeare comedy The Twelfth Night, but the scene matches well. Like the play, in the movie, Viola Hastings dresses up like a man (there is a lot of cross-dressing in Shakespeare plays. Why??) because she wants to play for the boys soccer team. While she's there, she meets Duke Orsino and tells him how to talk to women, all the while pretending to be one (although she actually is). It mirrors the scene from As You Like It because Rosalind dresses up like a man when she is around Orlando; she tells him how to deal with his love and woo her, then she (he) pretends to be a woman, just like Viola is to Duke. But seriously, I'm legitimately confused why there is so much cross-dressing.
Sorry that the video is so short, but this was the best one I could find
~ Rosalind, As You Like It
I was re-reading this scene and I immediately thought of the movie She's the Man. The movie is actually based off of another Shakespeare comedy The Twelfth Night, but the scene matches well. Like the play, in the movie, Viola Hastings dresses up like a man (there is a lot of cross-dressing in Shakespeare plays. Why??) because she wants to play for the boys soccer team. While she's there, she meets Duke Orsino and tells him how to talk to women, all the while pretending to be one (although she actually is). It mirrors the scene from As You Like It because Rosalind dresses up like a man when she is around Orlando; she tells him how to deal with his love and woo her, then she (he) pretends to be a woman, just like Viola is to Duke. But seriously, I'm legitimately confused why there is so much cross-dressing.
Sorry that the video is so short, but this was the best one I could find
All You Need Is Love - Drama Blog 1 (As You Like It)
"The worst fault you have is to be in love."
"'T is a fault I will not change for your best virtue."
~ Jaques, Orlando, As You Like It
The biggest thematic element in As You Like It is love. Love in this play is positively connoted; often you will see modern stories and movies portraying love, but also incorporating a much more realistic perspective of it. In the play, love magically fixes everything. It turns evil people into positive, happy people (Oliver falls in love with Celia and suddenly stops his scheming). Love makes some others ridiculously optimistic and frankly, a little annoying (Orlando turns into a poet). As You Like It is very unrealistic and shallow, but not in a negative sense - it just doesn't have a whole lot to it. We discussed in class today that if Shakespeare's writings were essays that you wrote for class, As You Like It would be the religion essay: an overused theme composed of mostly BS with maybe an insightful thought or two.
Two songs today that could be related to the play and a more modern novel are "Poison and Wine" by the Civil Wars and "Love Story" by Taylor Swift. "Poison and Wine" would be more realistic because it examines poignancies in relationships, conflict of emotion for another person. "Love Story" would relate to the play because it describes a fairy tale-like situation in which everything magically turns out well in the end.
"'T is a fault I will not change for your best virtue."
~ Jaques, Orlando, As You Like It
The biggest thematic element in As You Like It is love. Love in this play is positively connoted; often you will see modern stories and movies portraying love, but also incorporating a much more realistic perspective of it. In the play, love magically fixes everything. It turns evil people into positive, happy people (Oliver falls in love with Celia and suddenly stops his scheming). Love makes some others ridiculously optimistic and frankly, a little annoying (Orlando turns into a poet). As You Like It is very unrealistic and shallow, but not in a negative sense - it just doesn't have a whole lot to it. We discussed in class today that if Shakespeare's writings were essays that you wrote for class, As You Like It would be the religion essay: an overused theme composed of mostly BS with maybe an insightful thought or two.
Two songs today that could be related to the play and a more modern novel are "Poison and Wine" by the Civil Wars and "Love Story" by Taylor Swift. "Poison and Wine" would be more realistic because it examines poignancies in relationships, conflict of emotion for another person. "Love Story" would relate to the play because it describes a fairy tale-like situation in which everything magically turns out well in the end.
Monday, February 13, 2012
Reflective Essay! Drama Blog
From age to age, traditions and lifestyles change. Clothes, hairstyles, jobs, technology and social conventions evolve with society; however, one thing that will never change is human emotion and pain that is suffered, sometimes daily. Jealousy is the most universal, recurrent sentiment that every single person on earth experiences. People are wired to compete with others – to push the hardest, gain the most assets, and accomplish the greatest feats. Jealousy is a main theme in Othello, a play written by William Shakespeare in the late 1500’s. While jealousy was important enough to write about back then, it is still considered significant today; its magnitude is reflected in two modern products of media – the song “Jealousy” by Darren Criss and the novel The Fellowship of the Ring by J.R.R. Tolkien.
“Jealousy” describes raw envy; it portrays the destructive and irrational nature of the emotion, and it can be directly connected to Othello. One of the most relevant lines in the song is “And I don’t know what to do, it’s changing me, it’s killing you.” This connects to Othello and Desdemona’s relationship and its progression throughout the play. Because Iago has convinced himself that Othello slept with his wife Emilia, he persuades Othello that his wife Desdemona has been sleeping with his colleague Cassio (IV.i.104-157). Othello then becomes extremely jealous, and his demeanor oscillates severely because of his envy. Othello was once considered a level-headed and lucid man, even in the midst of war; now, he makes assumptions and lets his emotions violently consume him. The second half of the quote “it’s killing you” relates to Desdemona because Othello kills her out of jealousy(V.ii.83-123). A second relevant quote is “In absolutely no position to be needlessly unkind, when I’m the one writing this fiction, make it real in my mind.” When Othello heightens and imagines the lies Iago planted in his head, he does absurd things like slapping Desdemona. He becomes cruel and he submits to his rampant feelings. However, because Othello creates “this fiction,” he justifies his extreme behavior.
Not only is jealousy exposed in contemporary songs, but it is also in novels. J.R.R. Tolkien depicts jealousy throughout his fantasy, The Lord of the Rings: The Fellowship of the Ring. One scene in particular mirrors Othello well. Young hobbit Frodo Baggins suddenly acquires an omnipotent, corrupting ring from his uncle, Bilbo Baggins. He ventures with a group of warriors from various lands and races of Middle Earth to destroy the ring before it acts as a catalyst to unleash great evil and an age of darkness upon the world. During the journey, Frodo faces the tribulations of transporting the ring to Mont Doom; these trials not only include physical ailments and stress, but they also involve dealing with mental obstacles, such as the jealousy others harbor for him and the power of the ring. In one scene, Boromir physically attacks Frodo in attempts to get the ring; he thinks he could use its power for good and save his kingdom of Gondor. While this does not clearly relate to Othello, there are several key correlations. Both Boromir and Othello are influenced by a separate, evil entity – the ring for Boromir and Iago for Othello. The ring and Iago motivate the conflict in both stories; in the Fellowship, the ring’s power is so great that it annihilates any logic or reason men have – they only desire the ring. Iago similarly does this to Othello by obliterating his rationale with lies that lead to a desire for revenge against Desdemona (V.i.1-22). Jealousy stimulates Boromir and Othello to attack those that they love, and they ultimately destroy their relationships. Monday, February 6, 2012
More Jealousy - Drama Blog (Othello)
So the last time we met, I included a video of a song called "Jealousy" by Darren Criss that pretty much described a major theme in Othello. (the theme of jealousy, btw.) Here are the lyrics! I'm going to pick out two specific examples from the song; it's a little creepy how accurate they are.
"Jealousy" has a couple of key phrases that can be related to passages of Othello. One of the most prominent is, "And I don't know what to do, it's changing me, it's killing you." This can really be related back to the former of the two main characters, Othello and Iago, the two people to which the jealousy theme applies. In the beginning of the play, Othello is a level-headed, rational man who can stay calm in any situation; however, when Iago begins to fill his head with ideas of his wife Desdemona cheating, he goes crazy because of his jealousy, and then he strangles Desdemona. ("it's changing [Othello], it's killing [Desdemona]).
Another phrase is "In absolutely no position to be needlessly unkind, when I'm the one writing this fiction, make it real in my mind." This relates to when Othello is getting progressively more angry by imagining and heightening the lies Iago tells him about Desdemona and her assumed lover Cassio. Othello is a big jerk to her for no reason (he even slaps her) when she didn't do anything. But, because it's real to him, he is acting on his "justified" anger.
Well, there you go! (And here is "Jealousy" by Darren Criss)
 |
| Othello preparing to kill Desdemona |
Another phrase is "In absolutely no position to be needlessly unkind, when I'm the one writing this fiction, make it real in my mind." This relates to when Othello is getting progressively more angry by imagining and heightening the lies Iago tells him about Desdemona and her assumed lover Cassio. Othello is a big jerk to her for no reason (he even slaps her) when she didn't do anything. But, because it's real to him, he is acting on his "justified" anger.
Well, there you go! (And here is "Jealousy" by Darren Criss)
Thursday, February 2, 2012
Oh, Really?? - Drama Blog 3 (Othello)
"Villain, thou diest!"
~ Roderigo, Othello, V.i.22
This is going to be more of an observational blog.
Has anyone noticed how blunt the characters are in this play? It's probably the same in Shakespeare's other plays, for I'm assuming that it just stylistic. The only other reason I could think of is because there is no narration, so he is making up for that through dialogue. But seriously, I don't think it's necessary for the characters to announce what they are about to do, and they think it is crucial. Especially in Act 5! It's like whenever some action takes place, there has to be a commentary accompanying it. Or is it in dialogue because it isn't in stage direction? You would think good actors would just automatically do the actions and make them realistic, and the other actors would react well to it without saying it aloud. Bianca announces, "Alas, he faints!" We just saw him. Roderigo tells Cassio, "Villian, thou diest!" And then he misses. (Throw up your awkward hands.) Maybe he wouldn't have moved and you would have killed him if you wouldn't have told him. Also, Sherlock screams, "Oh, I am slain!" right after Cassio stabs him. Then Othello tells an absent Desdemona, "Strumpet, I come!" She can't hear you....
Enough with the extraneous declarations! We can see you. That's really enough. I promise.
~ Roderigo, Othello, V.i.22
This is going to be more of an observational blog.
Has anyone noticed how blunt the characters are in this play? It's probably the same in Shakespeare's other plays, for I'm assuming that it just stylistic. The only other reason I could think of is because there is no narration, so he is making up for that through dialogue. But seriously, I don't think it's necessary for the characters to announce what they are about to do, and they think it is crucial. Especially in Act 5! It's like whenever some action takes place, there has to be a commentary accompanying it. Or is it in dialogue because it isn't in stage direction? You would think good actors would just automatically do the actions and make them realistic, and the other actors would react well to it without saying it aloud. Bianca announces, "Alas, he faints!" We just saw him. Roderigo tells Cassio, "Villian, thou diest!" And then he misses. (Throw up your awkward hands.) Maybe he wouldn't have moved and you would have killed him if you wouldn't have told him. Also, Sherlock screams, "Oh, I am slain!" right after Cassio stabs him. Then Othello tells an absent Desdemona, "Strumpet, I come!" She can't hear you....
Enough with the extraneous declarations! We can see you. That's really enough. I promise.
"It's This Jealousy...." / Themes - Drama Blog 2 (Othello)
"I hate the Moor,/ And it is thought abroad that 'twixt my sheets/ He's done my office. I know not if't be true, / But I for mere suspicion in that kind/ Will do as if for surety."
~ Iago, Othello, I.iii.366-369
The suspicion that started it all....
5. What themes does the play present? To what extent do the thematic materials of the play have an effect on the dramatic experience? Does the power of the ideas increase or decrease the pleasure of the theatrical experience? Does the play seem either too didactic or insufficient in its presentation of important human concerns?
One of the biggest themes in the play is jealousy. It is involved in almost every aspect of conflict - Iago's plotting against Othello, Othello's excessive anger towards Desdemona and Cassio, and Roderigo's love for Desdemona. We see it throughout, but somehow it doesn't overwhelm the play or the experience of the audience. I think that because jealousy is something that people deal with on a daily basis and something that everyone has experienced personally at least once, the large concentration of jealous behavior and theme doesn't seem inundating. It is natural for people to see this. Also, because it is so common in everyday life, it is very relatable - while the audience would like to see everyone be friends and sit in a circle singing Kumbaya, they know that this is realistic, raw, and good - it heightens their theatrical experience. This human concern is addressed well.
And now, a song from the marvelous Darren Criss describing Othello's main theme.
~ Iago, Othello, I.iii.366-369
The suspicion that started it all....
5. What themes does the play present? To what extent do the thematic materials of the play have an effect on the dramatic experience? Does the power of the ideas increase or decrease the pleasure of the theatrical experience? Does the play seem either too didactic or insufficient in its presentation of important human concerns?
One of the biggest themes in the play is jealousy. It is involved in almost every aspect of conflict - Iago's plotting against Othello, Othello's excessive anger towards Desdemona and Cassio, and Roderigo's love for Desdemona. We see it throughout, but somehow it doesn't overwhelm the play or the experience of the audience. I think that because jealousy is something that people deal with on a daily basis and something that everyone has experienced personally at least once, the large concentration of jealous behavior and theme doesn't seem inundating. It is natural for people to see this. Also, because it is so common in everyday life, it is very relatable - while the audience would like to see everyone be friends and sit in a circle singing Kumbaya, they know that this is realistic, raw, and good - it heightens their theatrical experience. This human concern is addressed well.
And now, a song from the marvelous Darren Criss describing Othello's main theme.
Oh, the Humanity! / Drama/Tragedy - Drama Blog 1 (Week 2) (Othello)
"Speak of me as I am, nothing extenuate,/ Nor set down aught in malice. Then must you speak/ Of one that loved not wisely but too well."
~ Othello, Othello V.ii.340-342
2. Is the play a tragedy or comedy, a melodrama or a farce? If a comedy, is it primarily romantic or satiric? Does it mingle aspects of these types of drama? How important to experiencing the drama is the audience's awareness of the classification of the play?
This play is one hundred and ten percent tragedy. One of the characteristics of a tragedy is death, and even though they come at the end, you can still tell it's a tragedy before everyone gets stabbed. Basically, the whole play is Iago plotting, Cassio fighting, Roderigo whining, and Othello being ridiculously angry. It's nothing but drama - there's pretty much no way the plot could twist into something that concludes happily. Also, we see Othello's tragic flaw: his excessive love for Desdemona. If he hadn't loved her so much, he wouldn't have reacted so irrationally and strangled her to death. Then come the deaths - Cassio gets Roderigo, Othello strangles Desdemona, Iago stabbing Emilia, Othello stabbing Iago (although he doesn't die... he should have), and as the big finale, Othello committing suicide. The only hint of comic relief in the whole play is the punny clown who was involved for approximately .249 seconds. But he was mostly annoying. Hmm. Well, what it all comes down to is that the audience really didn't have to know it was a drama - they would find out in at least the first 10 minutes.
~ Othello, Othello V.ii.340-342
2. Is the play a tragedy or comedy, a melodrama or a farce? If a comedy, is it primarily romantic or satiric? Does it mingle aspects of these types of drama? How important to experiencing the drama is the audience's awareness of the classification of the play?
This play is one hundred and ten percent tragedy. One of the characteristics of a tragedy is death, and even though they come at the end, you can still tell it's a tragedy before everyone gets stabbed. Basically, the whole play is Iago plotting, Cassio fighting, Roderigo whining, and Othello being ridiculously angry. It's nothing but drama - there's pretty much no way the plot could twist into something that concludes happily. Also, we see Othello's tragic flaw: his excessive love for Desdemona. If he hadn't loved her so much, he wouldn't have reacted so irrationally and strangled her to death. Then come the deaths - Cassio gets Roderigo, Othello strangles Desdemona, Iago stabbing Emilia, Othello stabbing Iago (although he doesn't die... he should have), and as the big finale, Othello committing suicide. The only hint of comic relief in the whole play is the punny clown who was involved for approximately .249 seconds. But he was mostly annoying. Hmm. Well, what it all comes down to is that the audience really didn't have to know it was a drama - they would find out in at least the first 10 minutes.
Monday, January 30, 2012
It Takes Two to Tango - Drama Blog 3 (Othello)
"A liberal hand. The hearts of old gave hands,/ But our new heraldry is hands, not hearts."
~ Othello, Othello III.iv.40-41
Okay, food for thought: why is it such a big deal that a woman cheats on her husband, but no one cares when a man has approximately 12 mistresses?
Think about it. Othello is apparently so mad that he is going to violently kill Desdemona for cheating on him, but supposedly he also is screwing Iago's wife? (Okay, that is not proven. But if it was true, who would do anything? Iago is trying to get revenge, but Othello would not be formally punished.) What the heck?? I think I just don't understand what constitutes a man's right to murder a woman who cheats while he is doing the exact same thing and no one says anything. And it still applies today to an extent - if a girl cheats on a guy or sleeps around a lot (or in some cases (especially high school) even if she only has sex once), she is automatically a dirty little whore. But if a guy cheats or sleeps around, DON'T WORRY! IT'S OKAY! He is only satisfying his overactive sex drive and I guess that is perfectly acceptable in this society. I'm not saying that women should go out and cheat and not be punished for it, but I'm just trying to convey that if you are going to call a girl a slut for sleeping around, you might as well acknowledge her man-ho counterpart. I am only striving for equality! Also, if a girl wants to be - ahem - expressive with her assets, then who are you to judge her? Just saying.
~ Othello, Othello III.iv.40-41
Okay, food for thought: why is it such a big deal that a woman cheats on her husband, but no one cares when a man has approximately 12 mistresses?
Think about it. Othello is apparently so mad that he is going to violently kill Desdemona for cheating on him, but supposedly he also is screwing Iago's wife? (Okay, that is not proven. But if it was true, who would do anything? Iago is trying to get revenge, but Othello would not be formally punished.) What the heck?? I think I just don't understand what constitutes a man's right to murder a woman who cheats while he is doing the exact same thing and no one says anything. And it still applies today to an extent - if a girl cheats on a guy or sleeps around a lot (or in some cases (especially high school) even if she only has sex once), she is automatically a dirty little whore. But if a guy cheats or sleeps around, DON'T WORRY! IT'S OKAY! He is only satisfying his overactive sex drive and I guess that is perfectly acceptable in this society. I'm not saying that women should go out and cheat and not be punished for it, but I'm just trying to convey that if you are going to call a girl a slut for sleeping around, you might as well acknowledge her man-ho counterpart. I am only striving for equality! Also, if a girl wants to be - ahem - expressive with her assets, then who are you to judge her? Just saying.
Suspense - Drama Blog 2 (Othello)
"Blest fig's-end! The wine she drinks is made of grapes. If she had been blest, she would never have loved the Moor."
~ Iago, Othello II.i.238-239
He can't even tell his best friend the truth.
4. How is dramatic suspense created? Contrast the amount of information possessed by the audience as the play proceeds with the knowledge that various individual characters have: what is the effect of such a contrast?
So basically, all the suspense in Othello is created by knowledge of information: who has it and when they will get it. Iago's scheming and true motives/nature are always known by him and the audience. Suspense is created on a level when the audience first knows of Iago's plan, then it drastically builds as we start to see parts of the plan unraveling and the undone deeds getting more and more complex and imminent. He gradually reveals information about what he will do next (usually at the end of an act or scene), which keeps us at the edge of our seats. The second part to the suspense is the other characters onstage. At this point, no one but Iago knows the extent of his plot (Roderigo knows a little, but not a sufficient amount). The audience then wonders who will find out first, when, and if the protagonists will find out before they react poorly to the lies Iago has planted.
~ Iago, Othello II.i.238-239
He can't even tell his best friend the truth.
4. How is dramatic suspense created? Contrast the amount of information possessed by the audience as the play proceeds with the knowledge that various individual characters have: what is the effect of such a contrast?
So basically, all the suspense in Othello is created by knowledge of information: who has it and when they will get it. Iago's scheming and true motives/nature are always known by him and the audience. Suspense is created on a level when the audience first knows of Iago's plan, then it drastically builds as we start to see parts of the plan unraveling and the undone deeds getting more and more complex and imminent. He gradually reveals information about what he will do next (usually at the end of an act or scene), which keeps us at the edge of our seats. The second part to the suspense is the other characters onstage. At this point, no one but Iago knows the extent of his plot (Roderigo knows a little, but not a sufficient amount). The audience then wonders who will find out first, when, and if the protagonists will find out before they react poorly to the lies Iago has planted.
Character Studies - Drama (Week 1) (Othello)
"Not I, I must be found./ My parts, my title, and my perfect soul/ Shall manifest me rightly. Is it they?"
~ Othello, Othello I.ii.30-32
Well, since this is my first blog, let's start off easy - characters!
3. Identify the protagonists and antagonists. Are there any foil characters? What dramatic functions are served by the various minor characters? Do they shed light on the actions or motives of the major characters? Do they advance the plot by eliciting actions by others? Do they embody ideas or feelings that illuminate the major characters or the movement of the plot?
Holy crap! That was a little more involved than I anticipated. We'll only tackle the necessities.
PROTAGONIST: Othello. He's the strong, attractive, classic battle hero little girls dream about in their fairy tales. He's well-mannered, level-headed, and passionately in love with his wife, Desdemona - he's a textbook good-guy. However, as we leave Act 3, we already witness some potential tragic flaws. He's easily manipulated by that sneaky devil Iago (don't worry, we will analyze him next), so he is jealous and definitely can get a temper when provoked long enough.
ANTAGONIST: Iago. What a piece of work! There's no doubt that he is smart - he knows how to manipulate everybody to get whatever he wants when he wants it. DRAMATIC IRONY: While all the characters onstage are drooling over how honest and good Iago is, it turns out that he is a lying, scheming failure of a person, and I'm really questioning whether he even has a soul. He has that sickening quality of being ridiculously nice in public, but to those of us who have known bad people, we all sit back and gag while he makes some huge display of his affections toward the men he is willing to kill because they have supposedly "wronged" him in some way. Basically, he sucks.
FOIL CHARACTERS: Iago and Cassio. No need to describe Iago again. Cassio is completely the opposite. He is kind and loyal, and I think he likes Desdemona - which makes him an even better person because he always helped Othello court her and he stood by his friends when they had something he wanted. He doesn't let jealousy get the best of him (unlike Iago who is consumed by it), and he wants the best for other people.
As for the various minor characters, I'm not exactly sure at this point? The only one I truly remember is the Clown, who is only there for comic relief (he's punny.) in the midst of the web of deception and jealousy and bluh.
~ Othello, Othello I.ii.30-32
Well, since this is my first blog, let's start off easy - characters!
3. Identify the protagonists and antagonists. Are there any foil characters? What dramatic functions are served by the various minor characters? Do they shed light on the actions or motives of the major characters? Do they advance the plot by eliciting actions by others? Do they embody ideas or feelings that illuminate the major characters or the movement of the plot?
Holy crap! That was a little more involved than I anticipated. We'll only tackle the necessities.
PROTAGONIST: Othello. He's the strong, attractive, classic battle hero little girls dream about in their fairy tales. He's well-mannered, level-headed, and passionately in love with his wife, Desdemona - he's a textbook good-guy. However, as we leave Act 3, we already witness some potential tragic flaws. He's easily manipulated by that sneaky devil Iago (don't worry, we will analyze him next), so he is jealous and definitely can get a temper when provoked long enough.
ANTAGONIST: Iago. What a piece of work! There's no doubt that he is smart - he knows how to manipulate everybody to get whatever he wants when he wants it. DRAMATIC IRONY: While all the characters onstage are drooling over how honest and good Iago is, it turns out that he is a lying, scheming failure of a person, and I'm really questioning whether he even has a soul. He has that sickening quality of being ridiculously nice in public, but to those of us who have known bad people, we all sit back and gag while he makes some huge display of his affections toward the men he is willing to kill because they have supposedly "wronged" him in some way. Basically, he sucks.
FOIL CHARACTERS: Iago and Cassio. No need to describe Iago again. Cassio is completely the opposite. He is kind and loyal, and I think he likes Desdemona - which makes him an even better person because he always helped Othello court her and he stood by his friends when they had something he wanted. He doesn't let jealousy get the best of him (unlike Iago who is consumed by it), and he wants the best for other people.
As for the various minor characters, I'm not exactly sure at this point? The only one I truly remember is the Clown, who is only there for comic relief (he's punny.) in the midst of the web of deception and jealousy and bluh.
Thursday, October 6, 2011
Death Sums Up This Week / Couplets - Poetry Blog 1 (Week 5 and then we are done. That Time of Year)
"This thou perceivest, which makes thy love more strong, To love that well which thou must leave ere long."
~ William Shakespeare, That Time of Year
First off, I would like to point out something that will probably be discussed (or at least briefly mentioned) in class - this is a sonnet. That's 14 lines, people.
Secondly, I would like to say that I am sensing a pattern in Shakespearean sonnets. In William's last poem we analyzed, My Mistress' Eyes, he presented 12 lines of poetry that seemingly had one meaning, but then the last couplet completely changed the message; it turned the poem from critical and demeaning to realistic yet sweet. This poem is no different; the first three quatrains each have their own metaphor for death - which seems to be a recurring theme in almost every poem - the nature (birds and trees) to twilight and dusk to the "ashes of his youth," or fire. But what seems to be a reflection on imminent death takes on not a different meaning, but a more complex one. The last two lines say "this thou perceivest, which makes thy love more strong, to love that well which thou must leave ere long"; in English, that means that because the woman he loves knows he is old and may die soon, her love grows stronger for him and she cherishes it more because they have a limited amount of time until he will die. Or, I guess he may not even be that old, but the couple just recognizes how short life is. So, at first the poem meant that death was near, but now it means that we should love others to the fullest before we die.
~ William Shakespeare, That Time of Year
First off, I would like to point out something that will probably be discussed (or at least briefly mentioned) in class - this is a sonnet. That's 14 lines, people.
Secondly, I would like to say that I am sensing a pattern in Shakespearean sonnets. In William's last poem we analyzed, My Mistress' Eyes, he presented 12 lines of poetry that seemingly had one meaning, but then the last couplet completely changed the message; it turned the poem from critical and demeaning to realistic yet sweet. This poem is no different; the first three quatrains each have their own metaphor for death - which seems to be a recurring theme in almost every poem - the nature (birds and trees) to twilight and dusk to the "ashes of his youth," or fire. But what seems to be a reflection on imminent death takes on not a different meaning, but a more complex one. The last two lines say "this thou perceivest, which makes thy love more strong, to love that well which thou must leave ere long"; in English, that means that because the woman he loves knows he is old and may die soon, her love grows stronger for him and she cherishes it more because they have a limited amount of time until he will die. Or, I guess he may not even be that old, but the couple just recognizes how short life is. So, at first the poem meant that death was near, but now it means that we should love others to the fullest before we die.
Thursday, September 29, 2011
Realistically Romantic - Poetry Blog 1. Week Four. (My Mistress' Eyes)
"My mistress' eyes are nothing like the sun; Coral is far more red than her lips' red."
First up, we have William Shakespeare's My Mistress' Eyes. William is known for his romantic writings (Romeo and Juliet, the most classic love story of all time), but this poem could appear to be quite... normal. He's saying throughout the whole poem that his lover's physical attributes aren't comparable to the beauty of nature. Many other poets describe their significant other as divine - but William takes a more realistic approach to his poem. He defies the quintessential romantic similes often used in poetry by saying, "Hey, my girl doesn't look like a sunset, but I would choose her over any other woman out there." By saying this, it gives the poem a very genuine tone - he isn't just making up crap or blatantly over-exaggerating a woman's looks. He is truly acknowledging her beauty and what he loves about her; he knows how much he loves her. You've done it again, William - you've turned the everyday into something extraordinary.
Thursday, July 7, 2011
Heaven on Earth/ Imagery (Chapter 9/ Pages 140-145)
"Opening a box, he spilt a cloud of scented powder. His hands were floury with the stuff. He wiped them on his chest, on his shoulders, on his bare arms. Delicious perfume! He shut his eyes; he rubbed his cheek against his own powdered arm. Touch of smooth skin against his face, scent in his nostrils of musky dust - her real presence. "Lenina," he whispered. "Lenina!" "
~ Brave New World, page 143
When John breaks into the rest-house, he explores through Lenina's belongings. The imagery used reveals John's curious, and even child-like, nature and desire to learn about this "brave new world." When he is watching Lenina sleep, it gives her an angelic quality by beauty and youth. It shows how much John feels for Lenina. First, he expresses how beautiful he thinks she is, and how fragile she looks. Then, he quotes Shakespeare, the man who wrote brilliant, touching love stories. Lastly, he expresses his desire to simply touch her, but considering himself unworthy, he denies himself. The awe-struck mood created by the imagery makes Lenina seem as if she is a perfect, godly creature.
~ Brave New World, page 143
When John breaks into the rest-house, he explores through Lenina's belongings. The imagery used reveals John's curious, and even child-like, nature and desire to learn about this "brave new world." When he is watching Lenina sleep, it gives her an angelic quality by beauty and youth. It shows how much John feels for Lenina. First, he expresses how beautiful he thinks she is, and how fragile she looks. Then, he quotes Shakespeare, the man who wrote brilliant, touching love stories. Lastly, he expresses his desire to simply touch her, but considering himself unworthy, he denies himself. The awe-struck mood created by the imagery makes Lenina seem as if she is a perfect, godly creature.
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