Wednesday, December 4, 2013
Tuesday, November 19, 2013
"The Rainbow"
Part 1: Initial Essay
In The Rainbow, D.H. Lawrence uses paradox, personification, and parallelism to entail the women's situation as one of struggle to discover what makes one man greater then another. She wants to go beyond the surface to the dull life the Brangwen men live and receive an education so she can live a life with more purpose.
In the last paragraph the paradox is presented; one that power is not correlated in the ways that we commonly think. Lawrence states that she wants to know, "that which makes a man strong even if he be little and fail in body..."(58-59), expressing her wonder of what gives a man power, if it is not his size and stature. She wants desperately to go beyond the simple farming life that, "was enough for the men"(1), and enter an existence where she actually had strength, and power, not in the physical sense but mentally to give herself some control.In the last line she decides that it's, "a question of knowledge"(66), what she truly needs and wants overcome her sorry expectations is an education. In the time period it is typical that, "warmth and generating and pain and death did they know in their blood"(7-9), is what gave someone strength, the highest most people wanted to achieve was this shallow level of knowingness. But the woman in this passage believes in the paradox that there was something that lifted the, "dark and dry and small"(48) vicar, "above the common men as man is raised above the beast"(55-56). She believes that thing is knowledge and that is what she wants more than anything.
Lawrence captures this want by using parallelism and personification. He writes that, "she craved to know. She craved to achieve this higher being"(56-57). The parallel of "she craved" starting both sentences emphasizes her deep desire. Lawrence also acknowledges that this thing that she craves "was not money nor power nor position"(61), clearly stating that it was not those things typically thought to place one person above another, he puts emphasis on what it is not in order to expel one's typical ideas. In speaking of the all powerful vicar, Lawrence says, " his soul was master of the other man's"(64-65). By personifying the soul he again takes us below the surface, expressing that this idea is one that sits deep beyond the traditional values of the time. Lawrence shows that knowledge is an unaccustomed want that holds the power most could not imagine.
The paradox continues, for as the education will provide you with the upper-hand, it is not something to be seen, not something an outsider can perceive. In speaking of the husband Lawrence writes, "What power had the vicar over Tom Brangwen-none. Yet strip them and set them on a desert island, and the vicar was the master."(62-64) As powerful as knowledge is it is also understated, but when push comes to shove, it is what truly shows the difference between two people. The woman ultimately wants to capture this soulful, true power that will take her beyond the simple, expected life that is lived by the men of her family, and push her to a meaningful existence.
Part 2:
1. My essay was given a score of seven by Emily Schwitzgabel. In the first paragraph the thesis addressed the prompt, I brought up the literary devices and expressed what I thought the characterization of the woman was. As I went on into the body of my essay I told how the literary devices characterized the woman and her situation and used textual evidence well when backing up my claims. Throughout the entire essay I used sophisticated diction, but could have been more perceptive in my arguments. I mostly agree with this score. After the discussion we had in class, I definitely agree that I could have been more perceptive in my overall analysis. There were other elements used within the text that would have been better to examine in order to show a greater understanding of the passage. Overall the depth of understanding concerning the passage needed to be deeper.
2. In order to improve my essay I would first address the repetition of the word knowledge. I addressed knowledge as her ultimate desire, but didn't look specifically at the repetition of the word throughout the whole piece. In our class discussion we brought up the fact that the word knowing, or some form of it shows up 10 times in the short passage, which must be very important. Towards the beginning Lawrence talks about the things the men, "know in their blood"(8-9), but later goes on to say that the woman "craved to know"(56) what made the vicar above the men in her life, suggesting that what she wants is a higher knowledge, one that differs from the men's that will take her to a knew level. Knowledge is ultimately what she decides is what she needs, but she also expresses is it as, "the battle she heard...on the edge of the unknown"(37-38). Even though she knows what she wants she doesn't know how to get it, in describing the desire as unknown, a paradox is presented in that she craves knowledge, but needs some knowledge in order to discover how to gain the knowledge she wants. There's the sense that even though she knows what she wants she doesn't really have anyway of getting it.
I would also want to go into the contrast between the woman and the men more, I mentioned that the men were content with a simple understanding of life, but the woman wanted to go deeper, but didn't really look into that contrast anymore. Towards the beginning the contrast is very evident as it says "she faced outwards"(22-23), but "the Brangwen men faced inwards"(27-28). The men were happy with their simple life of farming that allowed them to get by, and didn't feel any want or need to look for anything more, while the woman wanted desperately to look beyond that simple life. There's more contrast as she was, "looking out...from the front of her house"(30-31), and, "her husband looked out to the back"(32). While the husband only cares to look at his land and that which he knows and is familiar with, the woman looks out into the unknown, the world that holds somewhere that knowledge that she craves. The men are fine with being stagnant in their life and what they do, but the woman feels a need to go beyond complacency to something greater.
Lastly I would identify the literary device of polysyndeton in the piece. Lawrence uses polysyndeton in multiple places, first as he says, "So much warmth and generating and pain and death did they know in their blood"(7-9). Here we see him put emphasis on these simple things related to the work the men do, and how big of an impact that is on their life. It also relates to Lawrence's definition of "blood knowledge" that we had talked about in class, in that this is what they know deep inside them and that is all they need to know; for the men to live, all they need is to accept and understand these things. Polysyndeton is also present when comparing the vicar to the Brangwen men, and how the vicar is, "dark and dry and small"(48), in comparison. Again it is used for emphasis, focusing on the differences between the men and the knowledgeable vicar, enhancing the paradox of knowledge. Even though it would seem that the vicar should have no power over the men with those characteristics, he is the one who truly is above the rest.
In The Rainbow, D.H. Lawrence uses paradox, personification, and parallelism to entail the women's situation as one of struggle to discover what makes one man greater then another. She wants to go beyond the surface to the dull life the Brangwen men live and receive an education so she can live a life with more purpose.
In the last paragraph the paradox is presented; one that power is not correlated in the ways that we commonly think. Lawrence states that she wants to know, "that which makes a man strong even if he be little and fail in body..."(58-59), expressing her wonder of what gives a man power, if it is not his size and stature. She wants desperately to go beyond the simple farming life that, "was enough for the men"(1), and enter an existence where she actually had strength, and power, not in the physical sense but mentally to give herself some control.In the last line she decides that it's, "a question of knowledge"(66), what she truly needs and wants overcome her sorry expectations is an education. In the time period it is typical that, "warmth and generating and pain and death did they know in their blood"(7-9), is what gave someone strength, the highest most people wanted to achieve was this shallow level of knowingness. But the woman in this passage believes in the paradox that there was something that lifted the, "dark and dry and small"(48) vicar, "above the common men as man is raised above the beast"(55-56). She believes that thing is knowledge and that is what she wants more than anything.
Lawrence captures this want by using parallelism and personification. He writes that, "she craved to know. She craved to achieve this higher being"(56-57). The parallel of "she craved" starting both sentences emphasizes her deep desire. Lawrence also acknowledges that this thing that she craves "was not money nor power nor position"(61), clearly stating that it was not those things typically thought to place one person above another, he puts emphasis on what it is not in order to expel one's typical ideas. In speaking of the all powerful vicar, Lawrence says, " his soul was master of the other man's"(64-65). By personifying the soul he again takes us below the surface, expressing that this idea is one that sits deep beyond the traditional values of the time. Lawrence shows that knowledge is an unaccustomed want that holds the power most could not imagine.
The paradox continues, for as the education will provide you with the upper-hand, it is not something to be seen, not something an outsider can perceive. In speaking of the husband Lawrence writes, "What power had the vicar over Tom Brangwen-none. Yet strip them and set them on a desert island, and the vicar was the master."(62-64) As powerful as knowledge is it is also understated, but when push comes to shove, it is what truly shows the difference between two people. The woman ultimately wants to capture this soulful, true power that will take her beyond the simple, expected life that is lived by the men of her family, and push her to a meaningful existence.
Part 2:
1. My essay was given a score of seven by Emily Schwitzgabel. In the first paragraph the thesis addressed the prompt, I brought up the literary devices and expressed what I thought the characterization of the woman was. As I went on into the body of my essay I told how the literary devices characterized the woman and her situation and used textual evidence well when backing up my claims. Throughout the entire essay I used sophisticated diction, but could have been more perceptive in my arguments. I mostly agree with this score. After the discussion we had in class, I definitely agree that I could have been more perceptive in my overall analysis. There were other elements used within the text that would have been better to examine in order to show a greater understanding of the passage. Overall the depth of understanding concerning the passage needed to be deeper.
2. In order to improve my essay I would first address the repetition of the word knowledge. I addressed knowledge as her ultimate desire, but didn't look specifically at the repetition of the word throughout the whole piece. In our class discussion we brought up the fact that the word knowing, or some form of it shows up 10 times in the short passage, which must be very important. Towards the beginning Lawrence talks about the things the men, "know in their blood"(8-9), but later goes on to say that the woman "craved to know"(56) what made the vicar above the men in her life, suggesting that what she wants is a higher knowledge, one that differs from the men's that will take her to a knew level. Knowledge is ultimately what she decides is what she needs, but she also expresses is it as, "the battle she heard...on the edge of the unknown"(37-38). Even though she knows what she wants she doesn't know how to get it, in describing the desire as unknown, a paradox is presented in that she craves knowledge, but needs some knowledge in order to discover how to gain the knowledge she wants. There's the sense that even though she knows what she wants she doesn't really have anyway of getting it.
I would also want to go into the contrast between the woman and the men more, I mentioned that the men were content with a simple understanding of life, but the woman wanted to go deeper, but didn't really look into that contrast anymore. Towards the beginning the contrast is very evident as it says "she faced outwards"(22-23), but "the Brangwen men faced inwards"(27-28). The men were happy with their simple life of farming that allowed them to get by, and didn't feel any want or need to look for anything more, while the woman wanted desperately to look beyond that simple life. There's more contrast as she was, "looking out...from the front of her house"(30-31), and, "her husband looked out to the back"(32). While the husband only cares to look at his land and that which he knows and is familiar with, the woman looks out into the unknown, the world that holds somewhere that knowledge that she craves. The men are fine with being stagnant in their life and what they do, but the woman feels a need to go beyond complacency to something greater.
Lastly I would identify the literary device of polysyndeton in the piece. Lawrence uses polysyndeton in multiple places, first as he says, "So much warmth and generating and pain and death did they know in their blood"(7-9). Here we see him put emphasis on these simple things related to the work the men do, and how big of an impact that is on their life. It also relates to Lawrence's definition of "blood knowledge" that we had talked about in class, in that this is what they know deep inside them and that is all they need to know; for the men to live, all they need is to accept and understand these things. Polysyndeton is also present when comparing the vicar to the Brangwen men, and how the vicar is, "dark and dry and small"(48), in comparison. Again it is used for emphasis, focusing on the differences between the men and the knowledgeable vicar, enhancing the paradox of knowledge. Even though it would seem that the vicar should have no power over the men with those characteristics, he is the one who truly is above the rest.
Thursday, November 14, 2013
#18: Final Portfolio Reflection
One of the pieces I am most proud of is the Hamlet Blog Post #3, addressing the analysis of the To Be or Not To Be speech and the mis en scene analysis of the different movie clips. This is one of my favorite pieces because I feel that it helped me to gain a true understanding of the speech. I believe my analysis is strong and detailed, and upon finishing I found I had a heightened level of comprehension concerning not only this particular speech, but Hamlet as a character, and the play as a whole. I thoroughly enjoyed doing the analysis of mis en scene and thought the overall analysis of those were strong. I could have, however, gone into more depth with how Ophelia felt in response to the clips and what I would've have changed about them. I thought the mis en scene analysis was strongest in regards to the setting, but could have been enhanced when analyzing the costume and make up choices that were made. With the actual speech analysis, I thought I had a good grasp on the metaphors that were presented as well as the eternal questions that were posed. I felt like the recognition of oppositions within the speech is what needed the most work in that area. Overall I am very pleased with that analysis and the level of understanding that it brought me to.
The second piece I am most proud of is the creativity project. I felt that the game we made for this project was very interesting and the concept we went with paired well with the book. The main thing that could have been improved though was the overall analysis of the book and the lack of complexity. One of the main things that this project has helped me to learn is to always look for and identify the complexity in a work. We were to on the surface with our analysis and should have gone deeper. Looking back at it now I can see the complexity lies more in the fact that in order for Pi to finish this journey that will confirm his believes, he sometimes has to abandon those beliefs to survive. I believe our surface analysis was still correct, our thesis strong, and our overall project very well done, but this deeper level of understanding would have brought the whole project up. I am now much more aware to always look for complexity in a piece and feel very comfortable identifying and elaborating on that complexity.
In terms of my own participation in this class I feel I have participated a fair amount. I have answered some questions in class, and participated some to discussion, but definitely could have done more. I am the type of person who prefers to sit back and listen to conversations and take time in forming my own opinions but needed to speak up more and share my initial thoughts in class more. On individual papers I aimed to write them to the best of my ability and to a very high level of writing. On the compare and contrast essay specifically I drafted it several times, got your opinion on the thesis and overall paper, and created a finalized essay that I felt I had worked very hard on and was proud of. The outcome wasn't exactly what I wanted, but the part of the paper I felt was the best was very strong and I know now how to further improve my analysis and writing in the future.
With collaborative group projects I felt I had a lot to contribute. In the earliest presentations the way we had split up the work had everyone focusing on different aspects of the presentations and bringing it back together and relating everything. I often times worked on relating the background of the author, the terminology, and the Foster chapters, back to the original piece and thesis we were creating for that. In the creative project I did a lot of work on the thesis, cards for our game, and the overall explanation of the project. Once again the work was split up between everyone and I felt I was the one who wrote the explanation and helped to tie the whole project together. For the American drama assignment I did a lot of work on drafting and finalizing the thesis, as well as editing the video and putting it all together, contributing to the summary sheet, and typing up all of the scenes we were reenacting. I believe that I take on a lot of responsibility and group projects and that I can always be relied on to come through with what I said I was going to do, and that my part will be done in a way that enhances the entire project.
The goals I set back at the beginning of the trimester have been met and have help to make me more successful now that the trimester is over. While unfortunately, not all goals were met exactly on time, they were all met, and I believe they have a had a hand in some of my recent success in the class, specifically including the final AP multiple choice test we just took. One of my goals had been to read and analyze poems from the 5 steps to a 5 book in order to improve my quick analysis of poetry on tests. I hadn't initially felt comfortable with this, but on the latest test I felt the most comfortable I ever have when it came to the pieces of poetry. I felt like I could actually grasp the total concept of the poems, and could do so in a timely fashion. When we took the first practice AP test for a grade I had only practiced about half of the poems that I had wanted to and although I felt more comfortable with the poetry than I had initially, I still knew I needed a lot of work with it. This final test I felt most comfortable on after having practiced as much as I had wanted to, and it paid off, my grade on this last test was over ten percent higher than my last one.
Another goal that I wanted to focus on strongly was learning new vocabulary, and being better able to identify symbols in writing faster. Identifying the symbols came along with the poetry, and I timed myself with some other pieces as well. Now as I read a passage initially, I'm already looking for, and usually able to identify, the key symbols of a piece. My overall understanding of the piece gets better, and I am much more prepared to address the questions about it immediately. My goal regarding vocabulary had been to learn 20 new vocab words, and I have done that, as well as picked up some extras along the way. I have learned several new vocabulary words in relation to poetry and new literary devices such as, allegory, impressionism, and epigram. I was able to recognize more words on this last test we took, and feel much more prepared going into a test knowing that I'm less likely to not be able to answer a question because I don't understand all the answer choices.
Sunday, November 10, 2013
#16: Hamlet Blog 4
As I wandered throughout the castle today I did come across something quite strange. An entry in a book, handwritten, about myself. I became immediately interested and went on to read it in it's entirety. I must say I am appalled that someone would pretend to completely understand my life at this crucial point. Although some of the things they said remain true interpretations, there were things they got wrong as well. To begin, as I read, "The fact of the case seems to be that Polonius is only too willing to sacrifice morals to political expediency; and it is his spying, sneaking, and eavesdropping that finally brings about his own death."(Seng 221), I scoffed for what a wrong interpretation of my father. While he did participate in those activities at points his motives were still good, he wanted nothing more than to protect his children. As he had said to me prior when asking about Hamlet, "and that in the way of caution, I must tell you, / You do not understand yourself so clearly / As it behooves my daughter and your honour."(1.3.95-97), he just wanted to look out for me, keep me safe from someone who could do me harm is all. He went on to say later after Hamlet had begun to go mad after I had cut him off like he had suggested, "I am sorry that with better heed and judgement / I had not quoted him: I fear'd he did but trifle, / And meant to wrack thee; but, beshrew my jealousy!"(2.1.109-111). Even as his plan for helping me had in some ways backfired, he felt remorse and was still only wanting to protect me from the evils of this world. The entry I had come across went on to say that "the surface irony detected by most of the commentators - that the ballad relates to the death of Polonius - is not wrong; it simply does not go far enough."(Seng 217) This is not true, while in singing this song I was solely thinking of my poor father's death. I had not really thought of, "Gertrude for her inadequate mourning for King Hamlet, and perhaps for worse offences as well."(Seng 218) Now that it is brought up I do surely believe the queen had not mourned to the appropriate amount at her husbands death, but at the time I was far too overwhelmed for my own fathers death to think of anything other, as I had said, "...but I cannot choose but weep, / to think they would lay him i' the cold ground."(4.5.66-67) I know what has been said of me as the queen was told, "She is importunate, indeed distract: / Her mood will needs be pitied."(4.5.2-3) but what do they expect of me? It is my own father who has been taken from me unfairly and was not even given the proper respect after his death, and for this I sang, "Larded all with flowers; / Which bewept to the grave did not go"(4.5.38-39). How could this outside person even think I had other things on my mind, other intentions behind these songs? My mourning for my poor father has over taken me.
Ophelia
Ophelia
Thursday, November 7, 2013
#15: Hamlet Blog 3
1. In the play Hamlet lies one of the most famous soliloquies of all time beginning with one of the most famous phrases of all time. Here is my analysis of the To Be Or Not To Be Soliloquy.
-Imagery in reference to the uncertainty of death:
"The undiscover'd country from whose bourn / No traveller returns, puzzles the will / And makes us rather bear those ills we have / Than fly to others that we know not of?"(3.1.79-82)
"And thus the native hue of resolution/ Is sicklied o'er with the pale cast of thought"(3.1.84-85)
-Imagery referring to negative life experiences:
"The slings and arrows of outrageous fortune"(3.1.58)
"The heart-ache and the thousand natural shocks / That flesh is heir to..."(3.1.62-63)
"When we have shuffled off this mortal coil"(3.1.67)
"For who would bear the whips and scorns of time"(3.1.70)
"who would fardels bear, / To grunt and sweat under a weary life"(3.1.76-77)
-Appeals:
Pathos:
"To be, or not to be: that is the question: / Whether 'tis nobler in the mind to suffer / The slings and arrows of outrageous fortune / Or to take arms against a sea of troubles, / And by opposing end them?"(3.1. 56-60)
"Th' oppressor's wrong, the proud man's contumely, / The pangs of despis'd love, the law's delay"(3.1.71-72)
Ethos:
"Thus conscience does make cowards of us all"(3.1.83)
Logos:
"The undiscovered country from whose bourn / No traveller returns, puzzles the will"(3.1.80)
-Literary Devices:
Paradox:
"To grunt and sweat under a weary life, / But that the dread of something after death, / The undiscover'd country from whose bourn / No traveller returns, puzzles the will / And makes us rather bear those ills we have / Than fly to others that we not know of? / Thus conscience does make cowards of us all"(3.1.77-83)
The paradox presented in this soliloquy is one between life and death. Is it better to end one's life knowing that it could be worse on the other side? The fear of the unknown is what keeps us all in our current suffering. In an attempt to put an end to our horrible lives, we could end up pushing ourselves into a darker world. There is no way to know.
Parallelism:
"To be, or not to be"(3.1.56)
The essential question of the soliloquy.
"To die: to sleep; / No more; and by a sleep to say we end / The heart-ache and the thousand natural shocks / That flesh is heir to, 'tis a consummation / Devoutly to be wish'd. To die to sleep; / To sleep: perchance to dream: ay, there's the rub; / For in that sleep of death what dreams may come"(3.1.60-65)
Infinitive:
"To be, or not to be"(3.1.56)
"Devoutly to be wish'd. To die, to sleep; / To sleep: perchance to dream..."(3.1.64-65)
The start of the soliloquy is very heavy with infinitives in comparison to the end. They help to provide Hamlet's view of life, the infinitives such as "to suffer", "to be", "to die", are ongoing and are not just specific to Hamlet, not just specific to his time, but apply to everyone, at any time. By generalizing with these infinitives it allows Hamlet to ask a monumental question about life.
Synecdoche:
"The insolence of office and the spurns"(3.1.73)
Tone:
Throughout the soliloquy there are tones of despair and uncertainty. The main topic of death and trying to escape the cruelties of life are weighing on Hamlet and he expresses this as he says asks at the beginning with the opening line, is it better to live or to die? That essential question lends itself to the tone of despair. Towards the end we see the uncertainty, is it worth ending ones life not knowing if it could just get worse?
Diction:
The diction enhances the tone and mood of the soliloquy as it is very dark and depressing, gothic at parts. He uses words such as "suffer", "heart-ache", "calamity", "despair'd", "sicklied", and "pale" to lend to feeling of despair brought on by the soliloquy.
Metaphor:
One of the main metaphors expressed here is the comparing the journey of life, to a journey across the sea. In the beginning he says, "...to take arms against a sea of troubles"(3.1.59) comparing a rough sea to the hardships of life. He goes on to say at the end in reference to death, "The undiscover'd country from whose bourn / No traveller returns..."(3.1.79-80) using the word "traveller" to further the metaphor, and comparing the realm of death, with a new country that one may not return from. Another metaphor is the comparison of sleep to death. He says, "To die: to sleep; / Nor more; and by a sleep to say we end / The heart-ache and the thousand natural shocks / That flesh is heir to, 'tis a consummation / Devoutly to be wish'd. TO die, to sleep; / To sleep: perchance to dream: ay there's the rub"(3.1.60-65) Towards the end of this he talks about how sleep can sometimes bring about dreams, and this goes along with uncertainty of death. To dream is to escape the hazards of ones daily life, and that is ultimately what Hamlet wishes to seek in death.
-Evidence of Comparisons:
Life on Earth:
"When we have shuffled off this mortal coil, / Must give us pause: there's the respect / That makes calamity of so long life"(3.1.67-69)
Afterlife:
"The undiscover'd country from whose bourn / No traveller returns, puzzles the will"(3.1.79-80)
Death:
"To die: to sleep; / Nor more; and by a sleep to say we end / The heart-ache and the thousand natural shocks / That flesh is heir to, 'tis a consummation / Devoutly to be wish'd. To die, to sleep; / To sleep: perchance to dream: ay there's the rub"(3.1.60-65)
Humans:
"For who would bear the whips and scorns of time, / Th' oppressor's wrong, the proud man's contumely"(3.1.70-71)
Thinking:
"Thus conscience does make cowards of us all; / And thus the native hue of resolution / Is sicklied o'er with the pale cast of thought, / And enterprises of great pitch and moment"(3.1.83-86)
-Oppositions:
1. "Whether 'tis nobler in the mind to suffer / The slings and arrows of outrageous fortune / Or to take arms against a sea of troubles, / And by opposing end them?"(3.1. 57-60)
2. "For who would bare the whips and scorns of time, / Th'e oppressor' wrong, the proud man's contumely, / The pangs of depis'd love, the law's delay, / The insolence of office and the spurns / That patient merit of th' unworthy takes, / When he himself might his quietus make / With a bare bodkin?"(3.1.70-76)
3. "To grunt and sweat under a weary life, / But that the dread of something after death, / The undiscover'd country from whose bourn / No traveller returns, puzzles the will"(3.1.77-80)
-Eternal Philosophical Questions
The main question Hamlet asks is, is better to suffer through life, or end the suffering by taking your own life. He goes on to elaborate on this question by wondering why anyone would chose to live through such cruel circumstances as he himself is in, if they could chose to end it at any moment. Further down, he answers that question with yet another one, is it worth it to take your life, when you are unsure of what would come as an effect, what if it were to get worse?
-Conclusions
The conclusions that Hamlet draws are not much for conclusions at all, he seems to leave himself, as well as the readers, with more questions than he has answers. The main conclusion he comes to though is that thinking, which he does quiet a lot of, is what hinders us. It is what has pushed him away from ending his life, and from killing Claudius.
2. Acting Analysis
In the first clip by Kenneth Branagh the camera angles create a great effect as we see Hamlet looking at himself in the mirror. Hamlet is struggling internally with these issues and they are in constant debate, so it is helpful to see Hamlet almost discussing the problems he faces with himself. The sound at the beginning is nothing more than his voice, until towards the middle a soft music is introduced and grows toward the end of the scene. It adds a greater sense of drama to the speech, heightening the effect of one of the props he uses, the knife. The knife serves to further enhance what Hamlet is saying in the speech and show his true conflict between life and death. The makeup used makes him look pale, allowing him to mirror the "pale cast" he mentions in his speech. The setting is fitting, him alone in a large space, as far as he knows, all alone with his thoughts. The mirrors surrounding and the one he is facing are effective in showing his internal debate. The editing allows for us to only not see Hamlet once during his soliloquy when it cuts to Claudius' reaction when the knife is pulled out, again, heightening that moment. His clothes are black, a striking contrast to the rest of the room, portraying his mood in comparison to what he believes to be everyone else's.
In the second clip by Laurence Olivier the setting is very different. Hamlet is outside on the edge of a castle overlooking the harsh waves and surrounded by fog. This gives the scene an eerie effect, adding to the overall mood of the speech. This is further enhanced by the diegetic sounds of the waves crashing and the low rumble of thunder in the background, as well as the non-diegetic sound of the faster paced, higher intensity music that is playing. We also see Hamlet pull out a knife in this scene, although here he more directly points it at himself while his voice becomes a voice over and he questions whether to live or die. The knife is eventually thrown off the side into the water, and the camera angles allow us to see it fall all the way into the water from Hamlet's perspective. The make up and costume, as well as his posture, show us that he, even though discussing a very serious topic, in a relaxed and pondering state. The editing shows us the scene completely at the beginning so we immediately experience the mood, and at the end allows us to see Hamlet fading into the fog as he walks away having reached his conclusion.
In the third clip by Mel Gibson we again see a very different setting. This time we see Hamlet in a dark and stone walled tomb, entering you can only hear his footsteps, enhancing the emptiness of it. It is an appropriate place considering the question of life vs death that Hamlet is asking. You only hear Hamlet's voice during the play as he walks around, allowing the mood to be mainly influenced by the actors tone of voice. His costume is dark and at points blends in with the darkness of the setting, enhancing the dark mood and despairing topic. The camera angles move with Hamlet so we are always watching him as he wanders about, looking at all the tombs. The editing allows for the scene to be very dark, again showcasing the mood, and at the end of scene, as Hamlet retreats back up the stairs we see him fade into black, sticking with the dark color scheme to end the dramatic moment.
In the fourth clip by Ethan Hawke the scene is dramatically different from the others. It is a modern setting, specifically a Blockbuster, and Hamlet proceeds through, first through the action aisle, as he ponders the question first, whether to live or die. As he walks you can see a sign hanging behind him that says "Go Home Happy" which is quiet ironic considering home is the place where Hamlet is the least happy. As he walks down the action aisle he comes face to face with a screen showing violence, with sparks and bodies flying. In the scene he is wearing a blazer paired with a ridiculous looking winter cap sitting on top of his head, he looks a little disheveled which is symbolic of the internal debate he is having. What we hear beyond his voice is slow and depressing music, making this scene in particular seem like the saddest. We also hear the sound effects from the television screen. The scene ends with Hamlet looking back at the screen to see and hear the fire crackling on it and a man standing behind the flames. Both times we see Hamlet looking at the screen we see it from his point of view, giving the viewer further insight into what Hamlet is feeling at this time.
The perspective that I find to be most effective is the first clip by Branagh. It is here that Hamlet's feeling are truly captured. It is so obvious that he is struggling internally and by showing him looking into his own eyes in the mirror is very effective to enhance the feelings he has and the war he is at with himself. It is there as is closes in on his face, especially when he has the knife, that we seem his madness. He starts to get lost in himself, as the music plays the drama heightens and it is obvious my dear Hamlet is struggling. His blacks clothing is so opposite of the whites and light colors of the room where he stands and it strikes me how horrible he must be feeling, how far gone he has truly become.
-Ophelia
Personally, I would've not added background music to any of them. I like that in the Mel Gibson one there was no music and that the actor held the responsibility for creating the mood with his tone of voice and his actions. When solely hearing the actors voice we are only focused on the words Hamlet is saying, and truly experience what it is that he is feeling. I would not have gone with the modern setting being a blockbuster. Not knowing the context of the entire film, it seemed like an odd place for such a pivotal speech to be shown. I sometimes like the modern approach but it has to be done right, and I don't think the setting, or the costume, were very effective. For the non modern scene that didn't employ the knife I would have added it. I think it enhances the feelings Hamlet is having about killing himself, it furthers the internal debate he is having by physically showing how close he could be to ending it all.
2. Acting Analysis
In the first clip by Kenneth Branagh the camera angles create a great effect as we see Hamlet looking at himself in the mirror. Hamlet is struggling internally with these issues and they are in constant debate, so it is helpful to see Hamlet almost discussing the problems he faces with himself. The sound at the beginning is nothing more than his voice, until towards the middle a soft music is introduced and grows toward the end of the scene. It adds a greater sense of drama to the speech, heightening the effect of one of the props he uses, the knife. The knife serves to further enhance what Hamlet is saying in the speech and show his true conflict between life and death. The makeup used makes him look pale, allowing him to mirror the "pale cast" he mentions in his speech. The setting is fitting, him alone in a large space, as far as he knows, all alone with his thoughts. The mirrors surrounding and the one he is facing are effective in showing his internal debate. The editing allows for us to only not see Hamlet once during his soliloquy when it cuts to Claudius' reaction when the knife is pulled out, again, heightening that moment. His clothes are black, a striking contrast to the rest of the room, portraying his mood in comparison to what he believes to be everyone else's.
In the second clip by Laurence Olivier the setting is very different. Hamlet is outside on the edge of a castle overlooking the harsh waves and surrounded by fog. This gives the scene an eerie effect, adding to the overall mood of the speech. This is further enhanced by the diegetic sounds of the waves crashing and the low rumble of thunder in the background, as well as the non-diegetic sound of the faster paced, higher intensity music that is playing. We also see Hamlet pull out a knife in this scene, although here he more directly points it at himself while his voice becomes a voice over and he questions whether to live or die. The knife is eventually thrown off the side into the water, and the camera angles allow us to see it fall all the way into the water from Hamlet's perspective. The make up and costume, as well as his posture, show us that he, even though discussing a very serious topic, in a relaxed and pondering state. The editing shows us the scene completely at the beginning so we immediately experience the mood, and at the end allows us to see Hamlet fading into the fog as he walks away having reached his conclusion.
In the third clip by Mel Gibson we again see a very different setting. This time we see Hamlet in a dark and stone walled tomb, entering you can only hear his footsteps, enhancing the emptiness of it. It is an appropriate place considering the question of life vs death that Hamlet is asking. You only hear Hamlet's voice during the play as he walks around, allowing the mood to be mainly influenced by the actors tone of voice. His costume is dark and at points blends in with the darkness of the setting, enhancing the dark mood and despairing topic. The camera angles move with Hamlet so we are always watching him as he wanders about, looking at all the tombs. The editing allows for the scene to be very dark, again showcasing the mood, and at the end of scene, as Hamlet retreats back up the stairs we see him fade into black, sticking with the dark color scheme to end the dramatic moment.
In the fourth clip by Ethan Hawke the scene is dramatically different from the others. It is a modern setting, specifically a Blockbuster, and Hamlet proceeds through, first through the action aisle, as he ponders the question first, whether to live or die. As he walks you can see a sign hanging behind him that says "Go Home Happy" which is quiet ironic considering home is the place where Hamlet is the least happy. As he walks down the action aisle he comes face to face with a screen showing violence, with sparks and bodies flying. In the scene he is wearing a blazer paired with a ridiculous looking winter cap sitting on top of his head, he looks a little disheveled which is symbolic of the internal debate he is having. What we hear beyond his voice is slow and depressing music, making this scene in particular seem like the saddest. We also hear the sound effects from the television screen. The scene ends with Hamlet looking back at the screen to see and hear the fire crackling on it and a man standing behind the flames. Both times we see Hamlet looking at the screen we see it from his point of view, giving the viewer further insight into what Hamlet is feeling at this time.
The perspective that I find to be most effective is the first clip by Branagh. It is here that Hamlet's feeling are truly captured. It is so obvious that he is struggling internally and by showing him looking into his own eyes in the mirror is very effective to enhance the feelings he has and the war he is at with himself. It is there as is closes in on his face, especially when he has the knife, that we seem his madness. He starts to get lost in himself, as the music plays the drama heightens and it is obvious my dear Hamlet is struggling. His blacks clothing is so opposite of the whites and light colors of the room where he stands and it strikes me how horrible he must be feeling, how far gone he has truly become.
-Ophelia
Personally, I would've not added background music to any of them. I like that in the Mel Gibson one there was no music and that the actor held the responsibility for creating the mood with his tone of voice and his actions. When solely hearing the actors voice we are only focused on the words Hamlet is saying, and truly experience what it is that he is feeling. I would not have gone with the modern setting being a blockbuster. Not knowing the context of the entire film, it seemed like an odd place for such a pivotal speech to be shown. I sometimes like the modern approach but it has to be done right, and I don't think the setting, or the costume, were very effective. For the non modern scene that didn't employ the knife I would have added it. I think it enhances the feelings Hamlet is having about killing himself, it furthers the internal debate he is having by physically showing how close he could be to ending it all.
Tuesday, November 5, 2013
#14: Hamlet Blog 2
"I will kill you." These are the words uttered by Bryan Mills (Liam Neeson) in the movie Taken directed by Pierre Morel. They are directed to the kidnappers of his daughter, who was abducted in Paris, and he takes it upon himself to do everything he can to get her back. As a former CIA agent he has many skills that are valuable in his seeking of revenge, and is not afraid to use them. Along the way he kills many people that stand in his way, and when he finally finds his daughter with the kidnappers he does not hesitate to kill them, avenging her kidnap and rape.
Isn't that what all fathers would do? Are they not supposed to do everything they can to protect you? I know that is what my father wanted as he told me to cut off all communication with Hamlet. Only now it does not seem to be paying off so well as Hamlet has shown me that he is mad as he came to me yesterday, "took me by the wrist and held me hard".(2.i.85) He has retreated into madness now that our communication hath been cut off, he is no longer the same, looking "as if he had been loosed out of hell".(2.i.81) My dear father is enraged by it, and I know that he feels slightly guilty, as was his original idea that drove Hamlet to this horrid place, "I am sorry that with better heed and judgement / I had not quoted him".(2.i.109-110) It is similar to the feelings of guilt felt by father in the movie, as before his daughter leaves for Paris he says, "I don't think a seventeen year old should be travelling alone." Now that he knows his original feeling had been right he must fight even harder to ensure her safety, as my father will to ensure mine. He insisted upon doing something about it immediately, "Come, we go to the king: / This must be known".(2.i.115-116) I as well find similarities between myself and the girl from the movie, she is talking with her dad when it happens, telling him what is happening, "Dad, they're coming", turning to her father at the time of her most dire need. I too went directly to my father, "O, my lord, my lord, I have been so affrighted!"(2.i.73) I knew that he would do everything in his power to seek justice for the wrongs done to me.
Ophelia
Monday, November 4, 2013
#13: Hamlet Blog 1
Dear readers, I have come across quiet the predicament. You see, Hamlet has expressed his love to me, and I do so appreciate it, however, with advice coming from both my father and brother today I have come to a crossroads. I wish to reciprocate his love, but neither my brother nor my father is in the same place that I am. As my brother, dear Laertes, was about to leave for college he placed upon me his thoughts on my beloved, and they are not fair. He believes that Hamlet does not have the time and capacity to truly love me as "his greatness weigh'd, his will is not his own;"(1.ii.17)He continued and advised me further as to be afraid of the pain and anguish that Hamlet could cause me, "Fear it, Ophelia, fear it, my dear sister"(1.ii.33) After both my father and I bid him farewell, my father also gave his own advice in concern to Hamlet. He as well believes that Hamlet's love cannot be true, when I told him of Hamlet's declarations he scoffed, "Affection! pooh! you speak like a green girl,/Unsifted in such perilous circumstance."(1.ii.101-102)He continued on to say that I should no longer see, Hamlet, be in any communication with him. I of course told him that, "I shall obey"(1.ii.136), and had told Laertes "I shall the effect of this good lesson keep"(1.ii.45) but I am not sure I will be able to. I seek your most helpful advice in what I should do now. I feel that I must obey, it is not in my nature to go against something my father says, especially as the same message is echoed from my brother. And yet I feel the slightest urge to disobey, he is my love, and I do believe in the genuine nature of his affection. I am at a complete loss for how to precede, all suggestion is welcome.
Ophelia
Ophelia
Sunday, November 3, 2013
#12: Hamlet Character Choice
The character who I have chosen to focus on is Ophelia. I believe it will be very interesting to look from the perspective of a woman and the two sides of her that are presented in this play. In reading the introduction to her character, the two roles discussed were very intriguing. Hamlet's skewed and negative view of all women shown through her contrasted with the innocence of women also being shown is very though provoking. The ability to look through the two different sides of her and tackle the assignments from two views will hopefully prove to be engaging to the blog readers. As one of few female characters that have a role in the play, she will definitely provide a unique perspective that can enhance understanding of the play.
Wednesday, October 30, 2013
#11: American Drama Project
Independent American Drama Acting Assignment
Allie Specht, Anna Wirth, and Endya Brandon
AP British and World Literature
Ms. Wilson
October 29, 2013
I have read and understand the sections in the Student Handbook regarding Mason High School's Honesty/Cheating Policy. By affixing this statement to the title page of my paper, I am certifying that I have not cheated or plagiarized in the process of completing this assignment. If it is found that cheating and/or plagiarism did take place in the writing of this paper, I understand the possible consequences of the act, which could include a "0" on the paper, as well as an "F" as a final grade in the course.
Rationale: The prompt we selected was the 1977 prompt which entails a character looking back on their life with bitterness in order to show an overall theme. The feelings of bitterness are easily seen through all the characters and the theme is shaped with them. Through the harsh memories she comes to the realization that the greatest time in her life is when it’s all over. This theme is presented through their bitter outlook. We chose the final scene of Act one as one of the scenes because it allows for a transition into the rest of the play, and is a place where you can see A’s general negativity on her life. In this scene A has a stroke, and this sets up for the rest of the play as A has an out of body experience and looks at her life from an outsiders perspective. We wanted to show how she made this transition as well as show a crucial moment from the plot. The second scene we picked because it showed how B also has a bitter perspective on the past,and also show their relationship with their son. He is framing the scene and this helps to bring him into better context. The third scene was chosen because it is the most important scene of the play. It is the final scene and the monologue that A has is very critical relating to the overall meaning of the play. It is in this scene where A becomes the most rational and concludes the play with bringing to the forefront the fact that the greatest moment is the end. We chose to have dim lighting in many scenes to give them a darker and more negative feel in order to coincide with the bitter feelings of the characters. We also spot light the characters faces on some of the longer monologues to focus on the speeches and allow people to know the importance of what they’re saying. The focus of the play is always on the character’s speaking, not their actions, and we wanted to stay true to that in our rendition.
prompt 1977. A character’s attempt to recapture the past is important in many plays, novels, and poems. Choose a literary work in which a character views the past with such feelings as reverence, bitterness, or longing. Show with clear evidence from the work how the character’s view of the past is used to develop a theme in the work. You may base your essay on a work by one of the following authors, or you may choose a work of another author of comparable literary excellence.
thesis In Three Tall Women written by Edward Albee, the oldest character, A, looks upon her past with bitterness and regret, through her past selves represented by women B and C. Albee uses a stream of consciousness style of writing and direct dialogue expressing the idea that despite the expectations of your young self, the happiest time is when it’s all over. Albee creates an out of body experience for A so she can have an objective perspective on her past.
3 Scenes pg. 349-351 “The things we’re able…” to “I’ll call her doctor.” pg. 372-374“No! How did I change?” to “Thank you” pg. 382-384 “Is it like this?” to end
framework The son will frame the play and will give his perspective on his mother’s life. It will start with the son in a empty hospital room, or empty bedroom. “A” (his mother) will have just died and he is telling the nurse, maid, butler, etc about his mothers life.
Synopsis Sheet A General Synopsis Three Tall Women by Edward Albee, tells the story of the life of a women. There are three women in the play, “A” “B” and “C”. “A” is an old women, “B” is a middle aged women, and “C” is young. Each woman represents the same person, just at different stages of her life. In Act I, A, B , and C are all separate entities who represent different people. A is an old, rich lady who own the house. She hired B to take care of her. C is there because she is from the law firm that handles all of A’s personal affairs. During this Act I, A tells the stories of her life and by the end of the Act has a stroke. Act II starts with a mannequin of A in the bed, and the three actors (A, B, and C) are all next to the bed. It is an out of body experience. During this Act, all three women represent different times in A’s life. C is the 26 year old version of herself, and is still happy and full of life. B is 52 years old and very cynical and angry with how her life is going. A is 91 (or 92) and is very close to death. During this Act they all discuss important moments in their lives. It ends with all three women stating what the happiest time of their life is. Playwright Background Information Edward Albee: Born in 1928 in Virginia Openly gay at 12 and a half Adopted parents owned theaters where he grew up dominant and oppressive mother, did not like the fact that her son was gay At 20, he left his family and moved to Greenwich Village. He never saw his father again, and wouldn’t see his mother for 17 years. Helped reinvent the post war american theater Wrote plays from 1958 to 2009 (32 plays) Primary characters: A: She is a very old woman in her 90s. She’s bitter, angry, forceful, and proud B: B is A's 52 year-old version, to whom she is the hired caretaker. She’s is very cynical, but is patient and kind to A. C: C is B's 26 year-old version. She is present on behalf of a A's law firm because A has neglected paperwork, payment, and such. She has all of youth's common self-assurance. The Boy: The son of the three women,. He doesn’t have any lines, but is in many scenes, just standing. there. The three women talk about him, and both A and B know him personally. Key Plot Moments A’s stroke allows for a transition into the second Act and starts the new scenario of the three women all being the same person The son walks in during the second half, and then the center of conversation revolves around him. His presence connects all three of the women. At the very end of the play, all three characters give their own opinion of what the happiest moments are in their lives. All their views are different because they are all at different stages of their lives. Key Quotes “When it’s all done. When we stop. When we can stop” (Albee 384). “I was talking about...what:coming to the end of it;yes. So. There it is.You asked,after all. That’s the happiest moment” (Albee 384). “No! How did I change? What happened to me!?” (Albee 372). “You all want something;there’s nobody doesn’t want something” (Albee 322). “God, remember the lies?” (Albee 363). “The things we’re able to do and the things we’re not” (Albee 349). “Double your pleasure, double your fun? Try this on for size. They lie to you” (Albee 372). Symbols/Motifs. C is the innocent. Has no experience in her life yet and is unaccepting of what is to come. B is the caretaker. She takes care of “A” and helps her as she reaches the end of her life. A is the mentor by the end of the play. She has experienced this life and can share her knowledge of it with the younger ones who are yet to experience it. The son is a symbol not only of their disappointment, but of the author himself, Edward Albee. The three women represent the stages of life that all women go through Themes Feminism, discussing the differences between why men cheat and why women cheat. As she gets older she has a greater acceptance for death, and for the cruelties of life. Everyone changes throughout their life, it’s inevitable. Stylistic Devices short and blunt diction long monologues Flashback rhetorical questions short sentences vulgar diction
Script
Title: Three Tall Women
Playwright: Edward Albee
Cast: A-Allie Specht B-Anna Wirth C-Endya Brandon Boy-Jack Specht Introduction: I am my mother’s only son, and unfortunately I have seen more than I care too have. She was always waiting for a happier time, for happier moments, but all she got were more hard times, until she slowly started to fade out. She got older, meaner, more bitter with every concern of her life. Towards the end of her life she started to have moments where she would look at her life from an outsiders perspective, she went steadily through her past. Her life is not happy, her memories are not happy, as she comes to the end, the last moments, where she has no longer has to go on, that is the best. Scene 1: “A: (Propped up; eyes opening and closing from time to time, eyes wandering; very stream of consciousness) The things we’re able to do and the things we’re not. what we remember doing and what we’re not sure. What do I remember? I remember being tall. I remember first it making me unhappy, being taller in my class, taller than the boys. I remember, and it comes and goes. I think they’re all robbing me. I know they are, but I can’t prove it. I think I know, and then I can’t remember I know. (Cries a little.) He never comes to see me. B: (Mildly.) Yes, he does. A: When he has to; now and then. B: More than most; he’s a good son. A: (Tough.) Well, I don’t know about that. (Softer.) He brings me things; he brings me flowers-orchids, freesia, those big violets…? B: African. A: Yes. He brings me those, and he brings me chocolates-orange rind in chocolate, that dark chocolate I like; he does that. But he doesn’t love me. B: Oh, now. A: He doesn’t! He loves his...he loves his boys, those boys he has. You don’t know! He doesn’t love me and I don’t know if I love him. I can’t remember! B: He loves you. A: (Near tears.) I can’t remember; I can’t remember what I can’t remember. (Suddenly alert and self-mocking.) Isn’t that something! B: (Nicely.) It certainly is. A: (Rambling again.) There’s so much: holding on; fighting for everything; he wouldn’t do it; I had to do everything; tell him how handsome he was, clean up his blood. Everything come on me: Sis being that way, hiding her bottles in her night things where she thought I wouldn’t find them when she came to stay with me for a little; falling...falling down the way she did. Mother coming to stay, to live with us; he said she could; where else could she go? Did we like each other even? At the end? Not at the end, not when she hated me. I’m helpless, she...she screamed; I hate you! She stank; her room stank; she stank; I hate you, she screamed at me. I think they all hated me, because I was strong, because I had to be. Sis hate me; Ma hated me; all those others , they hated me; he left home; he ran away. Because I was strong. I was tall and I was strong. Somebody had to be. If I wasn’t then…(Silence; A still, eyes open. Has she shuddered a little before her silence?) (After a bit B and C look at one another. B rises, goes to the bed, leans over, gazes at A, feels her pulse.) C: (Looks over after a little.) Is she...oh, my God, is she dead? B: (After a little.) No. She’s alive. I think she’s had a stroke. C: Oh, my God! B: You better call her son. I’ll call the doctor. (C rises, exits right, looking at A as she exits; B strokes A’s head, exits left.) (A alone; still; silence.)” (Albee 349-351) Transition: When I got the call that my mother had had a stroke I felt obligated to go see her once again. Although we are no longer close I still had to go see her. She’s still my mother and despite it all I don’t want to see her dead. I know she hates me but the feeling is mutual. Scene 2: “C: No! How did I change?! What happened to me?! A: (Sighs.) Oh, God. C: (Determined.) How did I change?! B: (Sarcasm; to the audience.) She wants to know how she changed. She wants to know how she turned into me. Next she’ll want to know how I turned into her. (Indicates A.) No; I’ll want to know that; maybe I’ll want to know that. A: Hahh! B: Maybe. (To C.) You want to know how I changed? C: (Very alone.) I don’t know Do I? B: Twenty-six to fifty-two? Double it? Double your pleasure, double your fun? Try this. Try this on for size. They lie to you. You’re growing up and they go out of their way to hedge, to qualify, to...to evade; to avoid-to lie. Never tell it how it is-how it’s going to be-when a half-truth can be go in there. Never give the alternatives to the”pleasing prospects,” the “what you have to look forward to.” God, if they did the streets’d be littered with adolescent corpses! Maybe it’s better they don’t. A: (Mild ridicule.) They? They? B: Parents, teachers, all the others. You lie to us. You don’t tell us things change-that Prince Charming has the morals of a sewer rat, that you’re supposed to live with that...and like it, or give the appearance of liking it. Chasing the chambermaid into closets, the kitchen maid into the root cellar, and God knows what goes on at the stag at the club! They probably nail the whores to the billiard tables for easy access. Nobody tells you any of this. A: (Lay it on.) Poor, poor you. ... B: (Points to him.) That?!-gets himself thrown out of every school he can find, even one or two we haven’t sent him to, sense he hates you, catch him doing it with your niece-in-law and your nephew-in-law the same week?! Start reading the letters he’s getting from-how do they call it-older friends?-telling him how to outwit you, how to survive living with the fucking crystal ashtray if he doesn’t stop getting letters, doesn’t stop saying anything, doesn’t stop...just...doesn’t...stop? And he sneers, and he says very quietly that he can have me put in jail for opening his mail. Not while while you’re a minor, I tell him; you just wait, I tell him, you just wait; I’ll have you thrown out of this house so quick it’ll make your head spin. You’re going to fire me, he says, quietly, smiling; you going to fire me too? Just like you fired him? He’s good in bed, isn’t he! Of course, you wouldn’t know about bed, he says. He gets up, stops by me, touches my hair. I thought I saw some straw, he says; sorry. And he walks out of the solarium, out of the house, out of our lives. He doesn’t say good-bye to either of us. He says good-bye to Mother, upstairs; he says good-bye to the Pekingese, too, I imagine. He packs one bag, and he leaves. (To him; rage.) Get out of my house!! (Pause; to C.) Does that tell you a little something about change? Does that tell you what you want to know? C: (Pause; softly.) Yes. Thank you.” (Albee 372-374) Transition: My mother’s life was not a happy one. It was filled with regrets and she was bitter and it just got worse as things went on. I saw the progression, that’s why I had to leave. As she got older, she became worse. I don’t know if she’ll ever truly see things how they should be seen. Scene 3: “C: Is it like this? What about the happy times...the happiest moments? I haven’t had them yet, have I? All done at twenty-six? I can’t imagine that...I get to the point I can begin to think about looking back without feeling silly, though God knows when that will be!-not feeling silly-if ever. Confirmation, for example, that wonderful time: the white dress Mother made, Sis all jealous and excited, jumping up and down and sulking at the same time. But even now, you see, I’m remembering, and what I’m remembering doesn’t have to do with what I felt, but what I remember. They say you can’t remember pain. Well, maybe you can’t remember pleasure, either-in the same way, I mean, in the way you can’t remember pain. Maybe all you can remember is the memory of it...remembering, remembering it. I know my best times-what is it? happiest?-haven’t happened yet. They’re to come. Aren’t they? Please? And...and whatever evil comes, whatever loss and taking away comes, won’t it all be balanced out? Please? I’m not a fool, but there is a lot of happiness along the way. Isn’t there?! And isn’t it always ahead? Aren’t I right? Aren’t I? I mean…all along the way? No? Please? B: (Comes downstage to where C is not-either right or left, leaving center open free for A later. Shakes her head to C, not unkindly.) Silly, silly girl; silly baby. The happiest time? Now; now...always. This must be the happiest time: half of being adult done, the rest ahead of me. Old enough to be a little wise, past being really dumb…(An aside to C.) No offense. C: (Looking forward: tight smile.) None taken. B: Enough shit gone through to have a sense of the shit that’s ahead, but way past sitting and playing in it. This has to be the happiest time-in theory, anyway. Things nibble away, of course; your job is to know that, too. The wood may be rotten under your feet-your nicely spread legs-and you’ll be up to your ass in sawdust and dry rot before you know it, before you know it, before you can say, This is the happiest time. Well, I can live with that, die with that. I mean, these things happen, but what I like most about being where I am-and fifty is a peak, in the sense of a mountain. C: (An aside.) Fifty-two. B: Yes, I know, thank you. What I like most about being where I am is that there’s a lot I don’t have to go through anymore, and that doesn’t mean closing down-for me, at any rate. It opens up whole vistas-of decline, of obsolescence, peculiarity, but really interesting! Standing up here right on top of the middle of it has to be the happiest time. I mean, it’s the only time you get a three-hundred-and-sixty-degree view-see in all directions. Wow! What a view! (A moves downstage center, B and C stay where they are.) A: (Shakes her head; chuckles; to B and C.) You’re both such children. The happiest moment of all? Really? The happiest moment? (To the audience now.) Coming to the end of it, I think, when all the waves cause the greatest woes to subside, leaving breathing space, time to concentrate on the greatest woe of all-that blessed one-the end of it. Going through the whole thing and coming out...not out beyond it, of course, but sort of to...one side. None of the “further shore” nonsense, but to the point where you can think about yourself in the third person without being crazy. I’ve waked up in the morning, and I’ve thought, well, now, she’s waking up, and now she’s going to see what works-the eyes, for example. Can she see? She can? Well, good, I suppose; so much for that. Now she’s going to test all the other stuff-the joints, the inside of the mouth, and now she’s going to have to pee. What’s she going to do-go for the walker? Lurch from chair to chair-pillar to post? Is she going to call for somebody-anybody...the tiniest thought there might be nobody there, that she’s not making a sound, that maybe she’s not alive-so’s anybody’d notice, that is? I can do that. I can think about myself that way I’m living-beside myself, to one side. Is that what they mean by that?-I’m beside myself? I don’t think so. I think they’re talking about another kind of joy. There’s a difference between knowing you’re going to die and knowing you’re going to die. The second is better; it moves away from the theoretical. I’m rambling, aren’t I? B: (Gently; face forward.) A little. A: (To B.) Well, we do that at ninety, or whatever I’m supposed to be. I mean, give a girl a break! (To the audience again now.) Sometimes when I wake up and start thinking about myself like that-like I was watching-I really get the feeling that I am dead, but going on at the same time, and I wonder if she can talk and fear and...and then I wonder which has died-me, or the one I think about. It’s a fairly confusing business. I’m rambling. (A gesture to stop B.) Yes; I know! (To the audience.) I was talking about...what: coming to the end of it. yes. So. There it is. You asked after all. That’s the happiest moment. (A looks to C and B, puts her hand out takes theirs.) When it’s all done. When we stop. When we can stop.”(Albee 382-384) Conclusion: The end, the end is the only enjoyment, the end, when everything is over, there is nothing else to worry about, nothing else to reflect badly upon, there is nothing more. When there is nothing, when it all stops, that’s the greatest moment.
Bibliography
Works Cited: Albee, Edward. The Collected Plays of Edward Albee. New York: Overlook Duckworth, 2005. Print.
Works Referenced: Albee, Edward. The Collected Plays of Edward Albee. New York: Overlook Duckworth, 2005. Print.
Allie Specht, Anna Wirth, and Endya Brandon
AP British and World Literature
Ms. Wilson
October 29, 2013
I have read and understand the sections in the Student Handbook regarding Mason High School's Honesty/Cheating Policy. By affixing this statement to the title page of my paper, I am certifying that I have not cheated or plagiarized in the process of completing this assignment. If it is found that cheating and/or plagiarism did take place in the writing of this paper, I understand the possible consequences of the act, which could include a "0" on the paper, as well as an "F" as a final grade in the course.
Rationale: The prompt we selected was the 1977 prompt which entails a character looking back on their life with bitterness in order to show an overall theme. The feelings of bitterness are easily seen through all the characters and the theme is shaped with them. Through the harsh memories she comes to the realization that the greatest time in her life is when it’s all over. This theme is presented through their bitter outlook. We chose the final scene of Act one as one of the scenes because it allows for a transition into the rest of the play, and is a place where you can see A’s general negativity on her life. In this scene A has a stroke, and this sets up for the rest of the play as A has an out of body experience and looks at her life from an outsiders perspective. We wanted to show how she made this transition as well as show a crucial moment from the plot. The second scene we picked because it showed how B also has a bitter perspective on the past,and also show their relationship with their son. He is framing the scene and this helps to bring him into better context. The third scene was chosen because it is the most important scene of the play. It is the final scene and the monologue that A has is very critical relating to the overall meaning of the play. It is in this scene where A becomes the most rational and concludes the play with bringing to the forefront the fact that the greatest moment is the end. We chose to have dim lighting in many scenes to give them a darker and more negative feel in order to coincide with the bitter feelings of the characters. We also spot light the characters faces on some of the longer monologues to focus on the speeches and allow people to know the importance of what they’re saying. The focus of the play is always on the character’s speaking, not their actions, and we wanted to stay true to that in our rendition.
prompt 1977. A character’s attempt to recapture the past is important in many plays, novels, and poems. Choose a literary work in which a character views the past with such feelings as reverence, bitterness, or longing. Show with clear evidence from the work how the character’s view of the past is used to develop a theme in the work. You may base your essay on a work by one of the following authors, or you may choose a work of another author of comparable literary excellence.
thesis In Three Tall Women written by Edward Albee, the oldest character, A, looks upon her past with bitterness and regret, through her past selves represented by women B and C. Albee uses a stream of consciousness style of writing and direct dialogue expressing the idea that despite the expectations of your young self, the happiest time is when it’s all over. Albee creates an out of body experience for A so she can have an objective perspective on her past.
3 Scenes pg. 349-351 “The things we’re able…” to “I’ll call her doctor.” pg. 372-374“No! How did I change?” to “Thank you” pg. 382-384 “Is it like this?” to end
framework The son will frame the play and will give his perspective on his mother’s life. It will start with the son in a empty hospital room, or empty bedroom. “A” (his mother) will have just died and he is telling the nurse, maid, butler, etc about his mothers life.
Synopsis Sheet A General Synopsis Three Tall Women by Edward Albee, tells the story of the life of a women. There are three women in the play, “A” “B” and “C”. “A” is an old women, “B” is a middle aged women, and “C” is young. Each woman represents the same person, just at different stages of her life. In Act I, A, B , and C are all separate entities who represent different people. A is an old, rich lady who own the house. She hired B to take care of her. C is there because she is from the law firm that handles all of A’s personal affairs. During this Act I, A tells the stories of her life and by the end of the Act has a stroke. Act II starts with a mannequin of A in the bed, and the three actors (A, B, and C) are all next to the bed. It is an out of body experience. During this Act, all three women represent different times in A’s life. C is the 26 year old version of herself, and is still happy and full of life. B is 52 years old and very cynical and angry with how her life is going. A is 91 (or 92) and is very close to death. During this Act they all discuss important moments in their lives. It ends with all three women stating what the happiest time of their life is. Playwright Background Information Edward Albee: Born in 1928 in Virginia Openly gay at 12 and a half Adopted parents owned theaters where he grew up dominant and oppressive mother, did not like the fact that her son was gay At 20, he left his family and moved to Greenwich Village. He never saw his father again, and wouldn’t see his mother for 17 years. Helped reinvent the post war american theater Wrote plays from 1958 to 2009 (32 plays) Primary characters: A: She is a very old woman in her 90s. She’s bitter, angry, forceful, and proud B: B is A's 52 year-old version, to whom she is the hired caretaker. She’s is very cynical, but is patient and kind to A. C: C is B's 26 year-old version. She is present on behalf of a A's law firm because A has neglected paperwork, payment, and such. She has all of youth's common self-assurance. The Boy: The son of the three women,. He doesn’t have any lines, but is in many scenes, just standing. there. The three women talk about him, and both A and B know him personally. Key Plot Moments A’s stroke allows for a transition into the second Act and starts the new scenario of the three women all being the same person The son walks in during the second half, and then the center of conversation revolves around him. His presence connects all three of the women. At the very end of the play, all three characters give their own opinion of what the happiest moments are in their lives. All their views are different because they are all at different stages of their lives. Key Quotes “When it’s all done. When we stop. When we can stop” (Albee 384). “I was talking about...what:coming to the end of it;yes. So. There it is.You asked,after all. That’s the happiest moment” (Albee 384). “No! How did I change? What happened to me!?” (Albee 372). “You all want something;there’s nobody doesn’t want something” (Albee 322). “God, remember the lies?” (Albee 363). “The things we’re able to do and the things we’re not” (Albee 349). “Double your pleasure, double your fun? Try this on for size. They lie to you” (Albee 372). Symbols/Motifs. C is the innocent. Has no experience in her life yet and is unaccepting of what is to come. B is the caretaker. She takes care of “A” and helps her as she reaches the end of her life. A is the mentor by the end of the play. She has experienced this life and can share her knowledge of it with the younger ones who are yet to experience it. The son is a symbol not only of their disappointment, but of the author himself, Edward Albee. The three women represent the stages of life that all women go through Themes Feminism, discussing the differences between why men cheat and why women cheat. As she gets older she has a greater acceptance for death, and for the cruelties of life. Everyone changes throughout their life, it’s inevitable. Stylistic Devices short and blunt diction long monologues Flashback rhetorical questions short sentences vulgar diction
Script
Title: Three Tall Women
Playwright: Edward Albee
Cast: A-Allie Specht B-Anna Wirth C-Endya Brandon Boy-Jack Specht Introduction: I am my mother’s only son, and unfortunately I have seen more than I care too have. She was always waiting for a happier time, for happier moments, but all she got were more hard times, until she slowly started to fade out. She got older, meaner, more bitter with every concern of her life. Towards the end of her life she started to have moments where she would look at her life from an outsiders perspective, she went steadily through her past. Her life is not happy, her memories are not happy, as she comes to the end, the last moments, where she has no longer has to go on, that is the best. Scene 1: “A: (Propped up; eyes opening and closing from time to time, eyes wandering; very stream of consciousness) The things we’re able to do and the things we’re not. what we remember doing and what we’re not sure. What do I remember? I remember being tall. I remember first it making me unhappy, being taller in my class, taller than the boys. I remember, and it comes and goes. I think they’re all robbing me. I know they are, but I can’t prove it. I think I know, and then I can’t remember I know. (Cries a little.) He never comes to see me. B: (Mildly.) Yes, he does. A: When he has to; now and then. B: More than most; he’s a good son. A: (Tough.) Well, I don’t know about that. (Softer.) He brings me things; he brings me flowers-orchids, freesia, those big violets…? B: African. A: Yes. He brings me those, and he brings me chocolates-orange rind in chocolate, that dark chocolate I like; he does that. But he doesn’t love me. B: Oh, now. A: He doesn’t! He loves his...he loves his boys, those boys he has. You don’t know! He doesn’t love me and I don’t know if I love him. I can’t remember! B: He loves you. A: (Near tears.) I can’t remember; I can’t remember what I can’t remember. (Suddenly alert and self-mocking.) Isn’t that something! B: (Nicely.) It certainly is. A: (Rambling again.) There’s so much: holding on; fighting for everything; he wouldn’t do it; I had to do everything; tell him how handsome he was, clean up his blood. Everything come on me: Sis being that way, hiding her bottles in her night things where she thought I wouldn’t find them when she came to stay with me for a little; falling...falling down the way she did. Mother coming to stay, to live with us; he said she could; where else could she go? Did we like each other even? At the end? Not at the end, not when she hated me. I’m helpless, she...she screamed; I hate you! She stank; her room stank; she stank; I hate you, she screamed at me. I think they all hated me, because I was strong, because I had to be. Sis hate me; Ma hated me; all those others , they hated me; he left home; he ran away. Because I was strong. I was tall and I was strong. Somebody had to be. If I wasn’t then…(Silence; A still, eyes open. Has she shuddered a little before her silence?) (After a bit B and C look at one another. B rises, goes to the bed, leans over, gazes at A, feels her pulse.) C: (Looks over after a little.) Is she...oh, my God, is she dead? B: (After a little.) No. She’s alive. I think she’s had a stroke. C: Oh, my God! B: You better call her son. I’ll call the doctor. (C rises, exits right, looking at A as she exits; B strokes A’s head, exits left.) (A alone; still; silence.)” (Albee 349-351) Transition: When I got the call that my mother had had a stroke I felt obligated to go see her once again. Although we are no longer close I still had to go see her. She’s still my mother and despite it all I don’t want to see her dead. I know she hates me but the feeling is mutual. Scene 2: “C: No! How did I change?! What happened to me?! A: (Sighs.) Oh, God. C: (Determined.) How did I change?! B: (Sarcasm; to the audience.) She wants to know how she changed. She wants to know how she turned into me. Next she’ll want to know how I turned into her. (Indicates A.) No; I’ll want to know that; maybe I’ll want to know that. A: Hahh! B: Maybe. (To C.) You want to know how I changed? C: (Very alone.) I don’t know Do I? B: Twenty-six to fifty-two? Double it? Double your pleasure, double your fun? Try this. Try this on for size. They lie to you. You’re growing up and they go out of their way to hedge, to qualify, to...to evade; to avoid-to lie. Never tell it how it is-how it’s going to be-when a half-truth can be go in there. Never give the alternatives to the”pleasing prospects,” the “what you have to look forward to.” God, if they did the streets’d be littered with adolescent corpses! Maybe it’s better they don’t. A: (Mild ridicule.) They? They? B: Parents, teachers, all the others. You lie to us. You don’t tell us things change-that Prince Charming has the morals of a sewer rat, that you’re supposed to live with that...and like it, or give the appearance of liking it. Chasing the chambermaid into closets, the kitchen maid into the root cellar, and God knows what goes on at the stag at the club! They probably nail the whores to the billiard tables for easy access. Nobody tells you any of this. A: (Lay it on.) Poor, poor you. ... B: (Points to him.) That?!-gets himself thrown out of every school he can find, even one or two we haven’t sent him to, sense he hates you, catch him doing it with your niece-in-law and your nephew-in-law the same week?! Start reading the letters he’s getting from-how do they call it-older friends?-telling him how to outwit you, how to survive living with the fucking crystal ashtray if he doesn’t stop getting letters, doesn’t stop saying anything, doesn’t stop...just...doesn’t...stop? And he sneers, and he says very quietly that he can have me put in jail for opening his mail. Not while while you’re a minor, I tell him; you just wait, I tell him, you just wait; I’ll have you thrown out of this house so quick it’ll make your head spin. You’re going to fire me, he says, quietly, smiling; you going to fire me too? Just like you fired him? He’s good in bed, isn’t he! Of course, you wouldn’t know about bed, he says. He gets up, stops by me, touches my hair. I thought I saw some straw, he says; sorry. And he walks out of the solarium, out of the house, out of our lives. He doesn’t say good-bye to either of us. He says good-bye to Mother, upstairs; he says good-bye to the Pekingese, too, I imagine. He packs one bag, and he leaves. (To him; rage.) Get out of my house!! (Pause; to C.) Does that tell you a little something about change? Does that tell you what you want to know? C: (Pause; softly.) Yes. Thank you.” (Albee 372-374) Transition: My mother’s life was not a happy one. It was filled with regrets and she was bitter and it just got worse as things went on. I saw the progression, that’s why I had to leave. As she got older, she became worse. I don’t know if she’ll ever truly see things how they should be seen. Scene 3: “C: Is it like this? What about the happy times...the happiest moments? I haven’t had them yet, have I? All done at twenty-six? I can’t imagine that...I get to the point I can begin to think about looking back without feeling silly, though God knows when that will be!-not feeling silly-if ever. Confirmation, for example, that wonderful time: the white dress Mother made, Sis all jealous and excited, jumping up and down and sulking at the same time. But even now, you see, I’m remembering, and what I’m remembering doesn’t have to do with what I felt, but what I remember. They say you can’t remember pain. Well, maybe you can’t remember pleasure, either-in the same way, I mean, in the way you can’t remember pain. Maybe all you can remember is the memory of it...remembering, remembering it. I know my best times-what is it? happiest?-haven’t happened yet. They’re to come. Aren’t they? Please? And...and whatever evil comes, whatever loss and taking away comes, won’t it all be balanced out? Please? I’m not a fool, but there is a lot of happiness along the way. Isn’t there?! And isn’t it always ahead? Aren’t I right? Aren’t I? I mean…all along the way? No? Please? B: (Comes downstage to where C is not-either right or left, leaving center open free for A later. Shakes her head to C, not unkindly.) Silly, silly girl; silly baby. The happiest time? Now; now...always. This must be the happiest time: half of being adult done, the rest ahead of me. Old enough to be a little wise, past being really dumb…(An aside to C.) No offense. C: (Looking forward: tight smile.) None taken. B: Enough shit gone through to have a sense of the shit that’s ahead, but way past sitting and playing in it. This has to be the happiest time-in theory, anyway. Things nibble away, of course; your job is to know that, too. The wood may be rotten under your feet-your nicely spread legs-and you’ll be up to your ass in sawdust and dry rot before you know it, before you know it, before you can say, This is the happiest time. Well, I can live with that, die with that. I mean, these things happen, but what I like most about being where I am-and fifty is a peak, in the sense of a mountain. C: (An aside.) Fifty-two. B: Yes, I know, thank you. What I like most about being where I am is that there’s a lot I don’t have to go through anymore, and that doesn’t mean closing down-for me, at any rate. It opens up whole vistas-of decline, of obsolescence, peculiarity, but really interesting! Standing up here right on top of the middle of it has to be the happiest time. I mean, it’s the only time you get a three-hundred-and-sixty-degree view-see in all directions. Wow! What a view! (A moves downstage center, B and C stay where they are.) A: (Shakes her head; chuckles; to B and C.) You’re both such children. The happiest moment of all? Really? The happiest moment? (To the audience now.) Coming to the end of it, I think, when all the waves cause the greatest woes to subside, leaving breathing space, time to concentrate on the greatest woe of all-that blessed one-the end of it. Going through the whole thing and coming out...not out beyond it, of course, but sort of to...one side. None of the “further shore” nonsense, but to the point where you can think about yourself in the third person without being crazy. I’ve waked up in the morning, and I’ve thought, well, now, she’s waking up, and now she’s going to see what works-the eyes, for example. Can she see? She can? Well, good, I suppose; so much for that. Now she’s going to test all the other stuff-the joints, the inside of the mouth, and now she’s going to have to pee. What’s she going to do-go for the walker? Lurch from chair to chair-pillar to post? Is she going to call for somebody-anybody...the tiniest thought there might be nobody there, that she’s not making a sound, that maybe she’s not alive-so’s anybody’d notice, that is? I can do that. I can think about myself that way I’m living-beside myself, to one side. Is that what they mean by that?-I’m beside myself? I don’t think so. I think they’re talking about another kind of joy. There’s a difference between knowing you’re going to die and knowing you’re going to die. The second is better; it moves away from the theoretical. I’m rambling, aren’t I? B: (Gently; face forward.) A little. A: (To B.) Well, we do that at ninety, or whatever I’m supposed to be. I mean, give a girl a break! (To the audience again now.) Sometimes when I wake up and start thinking about myself like that-like I was watching-I really get the feeling that I am dead, but going on at the same time, and I wonder if she can talk and fear and...and then I wonder which has died-me, or the one I think about. It’s a fairly confusing business. I’m rambling. (A gesture to stop B.) Yes; I know! (To the audience.) I was talking about...what: coming to the end of it. yes. So. There it is. You asked after all. That’s the happiest moment. (A looks to C and B, puts her hand out takes theirs.) When it’s all done. When we stop. When we can stop.”(Albee 382-384) Conclusion: The end, the end is the only enjoyment, the end, when everything is over, there is nothing else to worry about, nothing else to reflect badly upon, there is nothing more. When there is nothing, when it all stops, that’s the greatest moment.
Bibliography
Works Cited: Albee, Edward. The Collected Plays of Edward Albee. New York: Overlook Duckworth, 2005. Print.
Works Referenced: Albee, Edward. The Collected Plays of Edward Albee. New York: Overlook Duckworth, 2005. Print.
Wednesday, October 16, 2013
#9: Creative Project and Explanation
Allie Specht, Anna Wirth, and Will Hoffman
AP British and World Literature
Ms. Wilson
October 8, 2013
Creative Assignment
Text: Yann Martel’s Life of Pi
Essence: While the journey Pi takes to reinforce his faith in multiple religions may seem unbelievable, it is belief that makes his survival possible in the first place.
The journey to self discovery is the greatest test of how strongly you hold onto your beliefs.
Brief Summary: Life of Pi by Yann Martel is the story of a teenage Indian boy named Pi Patel. He has much interest in zoology and is a practiser of three religions, Islam, Hinduism, and Christianity. His family used to own a zoo, but they were forced to move to Canada and had to sell many of their animals in North America. As they were traveling across the ocean their ship crashed and sank, leaving Pi alone on a lifeboat with several animals, including a large Bengal tiger known as Richard Parker. Together they experienced a 227 day journey of survival and self discovery on the lifeboat, until they reached the coast of Mexico. Pi is questioned after the fact and reveals another story that is much more believable, and it is up to the reader to decide which one they want to believe.
Prompt: 1978-Choose an implausible or strikingly unrealistic incident or character in a work of fiction or drama of recognized literary merit. Write an essay that explains how the incident or character is related to the more realistic of plausible elements in the rest of the work. Avoid plot summary.
Thesis: In Life of Pi by Yann Martel, the depiction of Pi’s unlikely survival is used to examine both this rational and animalistic sides in order to reinforce his beliefs in the multiplicity of God.
Explanation: In the notes at the beginning of the book, an old man tells the narrator, “I have a story that will make you believe in God”(ix). The game we created does just that. Our game has two paths that you can follow, an animalistic, and a rational, with both including questions of morality, faith, and survival. The game is based off of the game of Life, and it’s all about the journey. Throughout the game you are taken on a journey that in the end leads you to a reinforcement in Pi’s original belief, there is multiplicity in God and religion. Early in the book, we are introduced to the fact that Pi is a believer in three religions, Hinduism, Christianity, and Islam, and although he is scrutinized for it, his faith remains strong as he defends his choices by saying, “Bapu Gandhi said, ‘All religions are true.’ I just want to love God”(87). His belief does not waiver at this point, but the true test still remains in his future.
It’s not until Pi is lost at sea that this faith, as well as his morality, truly face a test. There are moments where his belief in God is tested extensively,as he describes that, “Faith in God is an opening up, a letting go, a deep trust, a free act of love-but sometimes it was so hard to love. Sometimes my heart was so fast with anger, desolation and weariness, I was afraid it would sink to the very bottom of the Pacific and I would not be able to lift it back up”(263). That is what we see in the cards for the game, you are forced to make decisions that in some cases pit survival and faith, or survival and morality against each other. If you are able to keep the faith, and reach the end of your journey first, you have won; you have reinforced the beliefs you originally had. Pi reaches his lowest point right before land is found, and it is here where he is tested most, and holding on has it’s own reward of true survival. He explains that, “It was natural that, bereft and desperate as I was, in the throes of unremitting suffering, I should turn to God”(358). That paragraph ends and the next one begins with him finally arriving on land.
After he is found on the shore and taken back to a hospital and questioned there by two Japanese men who are a part of the Japanese Ministry of Transport, who were investigating the original sinking of the ship. What Pi tells them is the story that we are told throughout the entire book, and they of course are highly questioning of it. They say several times how it is hard to believe certain aspects of his story because you can not see them, cannot prove their existence. What he ends up doing is telling them a more chilling, yet realistic story, that parallels the original tale. In the end, neither story can truly be proved, and so in the final written report, one of the men, Mr. Okamoto writes, “Very few castaways can claim to have survived so long at sea as Mr. Patel, and none in the company of an adult Bengal Tiger”(401). They choose to believe his original story, even though either story leads to the same result. Just as in the game, both paths will lead you to the same reinforcement. The choice to believe the unbelievable story parallels Pi’s overall journey. While the story holds no proof and is easily questioned, so is the belief in God; Pi has faced terrible circumstances that have caused him to question his faith, but in the end he has held on and chose to believe, just as the investigators believe the first story in the end (Wood 2002). You can choose to believe whichever story you want while playing the game, but in the end, you have to have kept the faith to end the journey.
The Game Of Life OF Pi
What do you believe?
Based off: The Game of Life
DIRECTIONS:
The Game of Life of Pi is a fantasy game directly based off an interpretation of Life of Pi a novel by Yann Martel. In an attempt make the game player believe in God, we created two card question sets. While the player progresses they don’t know where the two paths are truly leading to. At the beginning of the game the player needs to choose a place marker (either Richard Parker or Pi Patel). This place marker will represent the path they will take(look for the labels). The two paths are indicative of either the rational story or the animalistic, unrealistic story. As the player moves through the board they will find themselves experiencing both sides of the game and in order to progress further you need to answer questions that reveal (for example), underlying themes, plot, characters action, meaning in death, etc. This will eventually lead you to believe one story over another.
All games have some way to win.The Game of Life of Pi is no different. Players race to the ending. This means you answered the most questions correct and ultimately finished the storyline, thus revealing many elements of the book, as well as the essence. In order to achieve this goal players must go in order from birthday year, the person with the date closest to the beginning of the year goes first and the rest follow suit, in a clockwise fashion. The players draw cards from their selected paths deck and proceed through the game. Once one player has finished the game concludes. Places first and second are the only ones counted. At the end of the game you total up the rest of the players questions correct to find out who the second place winner is. The two players share the same realization that Pi Patel experienced (without all the days on the boat). Players should be left with the realization that Pi’s belief in God and all his religions has helped him through his journey and without it he would not have survived.
Now let’s play! Select a Piece. Find your path. Go in order. Most importantly, learn!
Tuesday, October 15, 2013
#8: Comparison/Contrast Summer Reading Paper
The Namesake Compare
and Contrast Essay
Allie
Specht
AP
British and World Literature
Ms.
Wilson
October
2, 2013
I have read and
understand the sections in the Student Handbook regarding Mason High School's
Honesty/Cheating Policy. By affixing this statement to the title page of my
paper, I am certifying that I have not cheated or plagiarized in the process of
completing this assignment. If it is found that cheating and/or plagiarism did
take place in the writing of this paper, I understand the possible consequences
of the act, which could include a "0" on the paper, as well as an
"F" as a final grade in the course.
In both The
Namesake by Jhumpa Lahiri, and the movie version directed by Mira Nair, a
family, whose parents are originally from India, experience the journey of
finding their way in America. Their eldest son, Gogol, struggles to find his
way, trying to lead himself away from home, while his parents try desperately
to keep him there. During one particular part Gogol recalls a memory shortly
after his father’s death of a time when he and his father, Ashoke, traversed
the rocks at a breakwater off of Cape Cod when he was young. Within this part a
paradox is presented between Gogol and Ashoke’s respective journeys. As Gogol’s
father’s journey has ended, Gogol’s own journey is beginning. With the final
words of that part spoken by his father, “Remember that you and I made this
journey, that we went together to a place where there was nowhere left to
go.”(187), Gogol is reminded that even though obstacles may lie in his way, he
has gone this far with and learned from his father, and is now prepared to take
on his own journey.
One of the main differences between the book and the
movie are the images presented. Lahiri uses gothic imagery, “They walked along
the water to the left, heading toward the lighthouse, past rusted boat frames,
fish spines as thick as pipes attached to yellow skulls, a dead gull whose
feathery white breast was freshly stained with blood.” (186) “rusted”,
“spines”, “skulls”, “dead”, and “blood” are all words that have a darker feel,
that symbolize decay, and this is what Gogol and his father are seeing on their
journey down the rocks. These represent the obstacles faced on the journey. But
there is still a light at the end of the tunnel; the words of decay are
juxtaposed with words like “yellow”, and “feathery white breast”, showing that
there is reason to continue; they are all leading to the lighthouse. The
lighthouse, which symbolizes guidance for Gogol, is what they are heading
towards, and Ashoke is helping him get there. Ashoke is Gogol’s mentor; he is
leading him through it all. Now, as Gogol remembers this moment after Ashoke’s
passing, he knows he can begin his own journey. “we went together”, Ashoke has
shown him the way, Gogol’s own journey is able to begin without Ashoke because
he has learned from his experiences. He knows how to handle the obstacles and Ashoke
has already provided him the direction he needs. Lahiri also says in the book,
“They paused to regard a cracked wooden buoy painted blue and white, shaped
like an old parasol. The surface was wrapped with thin brown strands of seaweed
and encrusted with barnacles. His father lifted and inspected it, pointing to a
live mussel underneath.” (186) The decaying words such as “cracked”, “thin
brown”, and “encrusted” are representative of how Gogol struggles with his
father’s death, his mentor is gone, and now he is on his own; a frightening
challenge. But Gogol is able to look beyond that and see “a live mussel
underneath”. Gogol is still there and he has learned from Ashoke. Underneath
all the sadness is a new life, Gogol beginning on his own journey, alone.
In the movie however, there is no lighthouse, no gull, no
mussel. Nair makes up for the losses of these symbols with the setting and
costumes. The juxtaposition delivered through the imagery in the text, is also
exhibited in the movie. The overcast sky, and the jagged black rocks, is
juxtaposed with the white of the crashing waves, and the red and yellow colors
of Gogol’s clothes. The ocean represents the unknown, the journey Gogol is
about to embark on by himself. The ocean is rough, dark, and deep and there is
fear of the unfamiliar for Gogol. But the movie shows young Gogol in bright
colors, holding hands with his father, and he is able to realize that it is not
as daunting as he thinks. His father had told him to “try to remember it
always,”(187) speaking of that day, and Gogol understands now that this memory
is pushing him to continue on and flourish in his journey.
The
scene ends with a point of view shot, showing the ocean that lies out in front
of them, the unknown that now lies in front of Gogol. In both the movie and the
book, this scene is placed towards the end. It is beginning to bring some
perspective to Gogol, allowing him to come to terms with his father’s death and
accept the road that is now in front of him. It is a hard time for Gogol and
his family, but the experience with Ashoke having already been presented, the
ocean is no longer as frightening. It now holds an exciting new journey for
Gogol to experience on his own. In the
book, Gogol is leaving home after he has been there for several weeks helping
his mother cope with his father’s death before the memory is presented. It is
here where his journey starts and the reflection on this moment allows him to
have the correct perspective. The camera angle used in the movie demonstrates
the all that lies ahead of Gogol.
The
paradox of Gogol’s journey beginning as Ashoke’s ends is shown by both Lahiri
and Nair in The Namesake book and
movie, respectively. While some of the images presented differed, the
juxtaposition of those displayed help to reinforce the overall paradox. Gogol
is able to embark on his journey because of the experience he and Ashoke had
together, the experience that had taught him how to handle his new journey on
his own.
The Namesake Mis
En Scene Analysis Essay
Allie
Specht
AP
British and World Literature
Ms.
Wilson
October
2, 2013
I have read and understand
the sections in the Student Handbook regarding Mason High School's
Honesty/Cheating Policy. By affixing this statement to the title page of my
paper, I am certifying that I have not cheated or plagiarized in the process of
completing this assignment. If it is found that cheating and/or plagiarism did
take place in the writing of this paper, I understand the possible consequences
of the act, which could include a "0" on the paper, as well as an
"F" as a final grade in the course.
In the
movie, The Namesake, lighting, sound,
costume choices enhance the universal them of the journey that is expressed in
this part of story. Both the lighting and sound is calm and serene, it helps to
deliver the message that was originally expressed in the book. The costume
choices are symbols for the journey and help to show how things have changed.
The
setting is simple. They are traversing a breakwater, a path of rocks leading
out into the ocean, surrounded by water on three sides. It's winter, everyone
is bundled up in scarves and hats, the sky is overcast and the ocean appears
gray. The setting contributes to the mood of the scene, it adds to the feeling
of nostalgia and provides a simple place for an important scene to be
delivered.
The
lighting is dull, colors are not illuminated and you’re really seeing many
different shades of gray. This adds to the mood of the scene, it’s nostalgic
for Gogol, as he looks back on this memory shortly after his father’s death.
The natural lighting choices enhance what Gogol is feeling, he realizes that
his father has reached the end of his journey and this memory helps him to be
at peace with it. The overcast sky gives the dull natural lighting to the
scene.
The
costumes reflect the setting of the scene well. They are all dressed in winter
clothing, scarves, coats, and hats, which helps to reflect the mood of the
passage already being presented. They’re presented in typical American clothing
and this shows how far they’ve already come on their journey. But the
connection to home is also shown. Ashima still has the dot in the middle of her
forehead so the costumes and makeup show that even though they have come a long
way in America they still hold the connections to their true home.
The lighting partnered with the sound help
convey the calm and accepting feel experienced by Gogol. The diegetic sounds in
the scene consist of Gogol, his father, and his mother, talking, the gulls
chirping, and the waves crashing onto the rocks. The waves especially give a
serene feeling to the scene, and the non-diegetic sounds of music playing in
the background also enhance this feeling. The music is simple and slow; it
paces the scene and is perfect in the background setting the overall mood.
The
camera angles in the scene show how the journey has progressed. For most of the
scene the camera is looking at Gogol and Ashoke, or viewing them from behind.
As you see them from behind, you see how they’re making their journey, how
they’re continuing down a rough path. As you look at them you can see the relationship
between Gogol and his father, and why this memory is important to him. But at
the end of the scene we see a shot of their point of view. This shows the end,
the rocks that lead out into the ocean, where they can go no further. This is
symbolic of how Ashoke’s journey has come to an end, and seeing this allows
Gogol to come to peace with it. Ashoke had been making a journey across
difficult paths his whole life. The rocks symbolize the journey he had to make
in America and they show how it has reached its end. Gogol can see how he has
had his own struggles throughout his life and that that is simply part of the
journey.
The Namesake Analysis
Essay
Allie
Specht
AP
British and World Literature
Ms.
Wilson
October
2, 2013
I have read and understand
the sections in the Student Handbook regarding Mason High School's
Honesty/Cheating Policy. By affixing this statement to the title page of my
paper, I am certifying that I have not cheated or plagiarized in the process of
completing this assignment. If it is found that cheating and/or plagiarism did
take place in the writing of this paper, I understand the possible consequences
of the act, which could include a "0" on the paper, as well as an
"F" as a final grade in the course.
In “The Namesake” by Jhumpa Lahiri, the universal theme
of a journey is examined throughout the book, and specifically on pages
185-187. In this passage we see vivid imagery used to describe a memory of
Gogol, and the memory is laid out to us as if it were a journey in miniature.
Gogol is remembering a trip out to the harbor with his father. The passage is
symbolic of the journey that both Gogol and Ashoke experienced throughout the
book.
Gogol’s memory comes at a point in
the book shortly after his father’s death. Ashoke has reached the end of his
journey and brings Gogol back to the small journey they once took together. “He
had expected his father to turn back, but still they had continued, stepping
onto the sand.”(Lahiri 186), the memory is presented as a journey, they journey
out to the rocks, across the beach and the sand, and continue until there’s
nowhere left to go. At this point in the novel Gogol’s father had reached the
point where he had nowhere left to go, and we are reminded of this as Gogol
recounts this memory. The imagery presented in this passage is extremely vivid,
as it says, “They paused to regard a cracked wooden buoy painted blue and
white, shaped like an old parasol. The surface was wrapped with thin brown
strands of seaweed and encrusted with barnacles.”(Lahiri 186) The imagery
allows you to be in their shoes and experience what the journey was like, and
why it meant so much. The passage and chapter conclude with Ashoke telling
Gogol, “Remember that you and I made this journey, that we went together to a
place where there was nowhere left to go.”(Lahiri 187) There is nowhere left to
go for Ashoke, he has travelled with Gogol on the journey as far as he could,
but now it is up to Gogol to finish his journey, and he realizes this with the
memory, a memory of home
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