Wit is used when Farce is shown in act II when Cecily brings up Bunbury. Because Algernon told Cecily about Bunbury, Jack now has to play along with the charade. He gets angry because he now has to pretend that Algernon is his brother. Then Jack says, " Bunbury! Well, I won't have him talk to you about Bunbury or about anything else. It is enough to drive one perfectly frantic." (Wilde p. 153) This was a very clever thing for Algernon to do. Cecily and Miss Prism are discussing the point of having a diary and memory. Cecily says, "I don't like novels that end happily. They depress me so much." (Wilde. p. 143) This shows irony and makes a silly situation in the play. It is complete nonsense to say something like that. Satire is shown when Cecily tells Algernon, who is pretending to be Jacks brother, that Jack will not be back until Monday. Algernon pretends to be very surprised and disappointed, "That is a great disappointment. I am obliged to go up by the first train on Monday morning. I have a business appointment that I am anxious...to miss." (Wilde. p. 146)
Wilde makes a comment on Victorian society by putting in little hints of why he doesn't like it. He creates comical situations, which shape what he thinks of the society. He shows that they are gullible by having so many fake identities in the play and shows that they are all rich and self absorbed.
Sunday, May 10, 2009
The Importance of Being Earnest Lrj #2
These problems that Algernon and Jack experience are rather frivolous. Algernon ate all of the cucumber sandwiches that were supposed to be for Lady Bracknell and then made Lane take the blame for it. Algernon made a very big deal about it even though Lady Bracknell didn't care that much. This problem Algernon experiences shapes his characteristics which he expresses in this play. It shows he is egotistical and self absorbed. Jack acts awkward when he is alone with Gwendolen. He is dismayed to learn that Gwendolen is attracted to him largely because of what she believes his name is Earnest. He is taken back by this and says, "I think, Jack, for instance, a charming name." (Wilde. p. 129) He tries to tell her that the name Earnest doesn't really fit him but she thinks it does. He then gets anxious and worried and exclaims that they must get married soon. Jack grows very uncomfortable which also shapes his character as to being someone weak and unstable.
Lady Bracknell comes off as the head of the house by giving her daughter the rights to marry Jack. She questions Jack to see if he is eligible to marry her daughter. "I am quite ready to enter your name, should your answer be what a really affectionate mother requires." (Wilde. p. 132) This shows that Lady Bracknell shows similar characteristics to women in the 1890s by running the household and helping her daughter decide what's best for her. In the 1890s men had a more dominant roll over women but Lady Bracknell seems to be dominant over men. This is shown when Algernon apologizes for not having the cucumber sandwiches so dramatically. "I am greatly distressed, Aunt Augusta, about there being no cucumbers, not even for ready money." (Wilde. p. 126) It seems as if people are scared of her because she has so much control over the house. Gwendolen is perceived as a normal woman in the 1890s. She obeys her mother and let's her make important decisions for her like getting married. Even though she loves Jack she still obeys her mother, "Ernest, we may never be married. From the expression on mamma's face I fear we never shall." She also fits in as a woman from the 1890s because of the transportation she uses. Jack says, "You will let me see you to your carriage." (Wilde. p. 140) This form of transportation was quite common in the 1890s.
Lady Bracknell comes off as the head of the house by giving her daughter the rights to marry Jack. She questions Jack to see if he is eligible to marry her daughter. "I am quite ready to enter your name, should your answer be what a really affectionate mother requires." (Wilde. p. 132) This shows that Lady Bracknell shows similar characteristics to women in the 1890s by running the household and helping her daughter decide what's best for her. In the 1890s men had a more dominant roll over women but Lady Bracknell seems to be dominant over men. This is shown when Algernon apologizes for not having the cucumber sandwiches so dramatically. "I am greatly distressed, Aunt Augusta, about there being no cucumbers, not even for ready money." (Wilde. p. 126) It seems as if people are scared of her because she has so much control over the house. Gwendolen is perceived as a normal woman in the 1890s. She obeys her mother and let's her make important decisions for her like getting married. Even though she loves Jack she still obeys her mother, "Ernest, we may never be married. From the expression on mamma's face I fear we never shall." She also fits in as a woman from the 1890s because of the transportation she uses. Jack says, "You will let me see you to your carriage." (Wilde. p. 140) This form of transportation was quite common in the 1890s.
The Importance of Being Ernest LRJ #1
Algernon feels that there is nothing romantic about being married, "I really don't see anything romantic in proposing. It is very romantic to be in love. But there is nothing romantic about a definite proposal." (Wilde. p.118) He has negative views towards marriage and feels that it's just a waste of time. Algernon thinks that being in love is romantic but once you get married all of the romance is lost because there is no more excitement. He also believes that, "The very essence of romance is uncertainty." This shows he thinks that being unmarried is more romantic because you don't know what's lying down the path ahead of you, but when you are married you know you will be with this person forever and the same patterns begin to happen. Algernon thinks that, "Divorces are made in Heaven." which expresses is feelings of dislike towards marriage and shows that people who aren't married are better people and live a better life.
Jack and Algernon's dialogue starts off as being friendly but shows that neither is fond of one another. They make fun of each other throughout their conversation. "Eating as usual I see, Algy!" (p. 117) This shows that they know each other well and like to make fun of each other. As the dialogue continues, they begin to argue and the anger between them escalates. Jack expresses his anger by yelling "Oh, that is nonsense!" (Wilde. p. 118) at Algernon. They have very different beliefs and have a hard time coming to an agreement.
Jack and Algernon's dialogue starts off as being friendly but shows that neither is fond of one another. They make fun of each other throughout their conversation. "Eating as usual I see, Algy!" (p. 117) This shows that they know each other well and like to make fun of each other. As the dialogue continues, they begin to argue and the anger between them escalates. Jack expresses his anger by yelling "Oh, that is nonsense!" (Wilde. p. 118) at Algernon. They have very different beliefs and have a hard time coming to an agreement.
Monday, May 4, 2009
Japenese Literature Assignment: Atsumori Commentary
Colin Franken
Ms. Peifer
English 10 IB, Hour 4
5 May 2009
"Life is a lying dream, he only wakes
who casts the world aside.
I am Kumasai no Naozane, a man of the country of
Musashi. I have left my home and called myself the
priest Rensei; this I have done because of my grief
at the death of Atsumori, who fell in battle by my
hand. Hence it comes that I am dressed in priestly guise.
And now I am going down to ichi no tani to pray
for the salvation of Atsumori's soul.
I have come so fast that here I am already at Ichi no
tani, in the country of Tsu.
Truly the past returns to my mind as though it were
a thing of today."
(Motokiyo. 1-13.)
This passage is from the first 13 lines of the Play "Atsumori" by Seami Motokiyo. It introduces characters and explains the situation of Atsumori's death. "This I have done because of my grief/at the death of Atsumori, who fell in battle by my/hand." (Motokiyo. 5-7.) Motokiyo is trying show grief and care through this passage. He achieves this by using characterization, metaphor, and simile.
Characterization is used to give an idea of how the character Kumasai no Noazane has a roll in this play. "I am Kumasai no Naozane, a man of the country of/Musashi." (Motokiyo. 3-4.) He introduces himself and explains the situation of what's happening. Characterization is also used to describe what kind of person Kumasai is through the imagery of his attire, “Hence it comes that I am dressed in priestly guise." (Motokiyo. 7.) This describes how he is dressed like a priest and portrays him as a gentle character.
Metaphor is used to explain Kumasai no Naozane's perspective on life. One metaphor expresses a deep meaning, which reflects on the belief of Kumasai, “Life is a lying dream, he only wakes who casts the world aside." (Motokiyo. 1-2.) This shows that he thinks many people sleep through their lives and if they woke up and saw more of the world than what meets the eye, they could live up to their full spiritual potential. This is used to make one think of the importance of life and how Kumasai values it.
The use of simile shows how Kumasai no Naozane's thoughts are brought back from Atsumori's death. He shows that he still cares a lot for his friend that he lost and remembers every detail of it. "Truly the past returns to my mind as though it were/a thing of today."(Motokiyo. 12-13.) The simile is comparing the past with the present; tying it in with characterization, which shows Kumusai as a caring person who mourns for his good friend.
This passage introduces the play, which expresses the author’s purpose. It shows the situation that the main character, Kumasai no Naozane, is in and describes his feelings that he has for Atsumori. Motokiyo portrays care and grief by using characterization, metaphor, and simile. These devices escalate the meaning of this passage and open it up to what will come further in the play.
Ms. Peifer
English 10 IB, Hour 4
5 May 2009
"Life is a lying dream, he only wakes
who casts the world aside.
I am Kumasai no Naozane, a man of the country of
Musashi. I have left my home and called myself the
priest Rensei; this I have done because of my grief
at the death of Atsumori, who fell in battle by my
hand. Hence it comes that I am dressed in priestly guise.
And now I am going down to ichi no tani to pray
for the salvation of Atsumori's soul.
I have come so fast that here I am already at Ichi no
tani, in the country of Tsu.
Truly the past returns to my mind as though it were
a thing of today."
(Motokiyo. 1-13.)
This passage is from the first 13 lines of the Play "Atsumori" by Seami Motokiyo. It introduces characters and explains the situation of Atsumori's death. "This I have done because of my grief/at the death of Atsumori, who fell in battle by my/hand." (Motokiyo. 5-7.) Motokiyo is trying show grief and care through this passage. He achieves this by using characterization, metaphor, and simile.
Characterization is used to give an idea of how the character Kumasai no Noazane has a roll in this play. "I am Kumasai no Naozane, a man of the country of/Musashi." (Motokiyo. 3-4.) He introduces himself and explains the situation of what's happening. Characterization is also used to describe what kind of person Kumasai is through the imagery of his attire, “Hence it comes that I am dressed in priestly guise." (Motokiyo. 7.) This describes how he is dressed like a priest and portrays him as a gentle character.
Metaphor is used to explain Kumasai no Naozane's perspective on life. One metaphor expresses a deep meaning, which reflects on the belief of Kumasai, “Life is a lying dream, he only wakes who casts the world aside." (Motokiyo. 1-2.) This shows that he thinks many people sleep through their lives and if they woke up and saw more of the world than what meets the eye, they could live up to their full spiritual potential. This is used to make one think of the importance of life and how Kumasai values it.
The use of simile shows how Kumasai no Naozane's thoughts are brought back from Atsumori's death. He shows that he still cares a lot for his friend that he lost and remembers every detail of it. "Truly the past returns to my mind as though it were/a thing of today."(Motokiyo. 12-13.) The simile is comparing the past with the present; tying it in with characterization, which shows Kumusai as a caring person who mourns for his good friend.
This passage introduces the play, which expresses the author’s purpose. It shows the situation that the main character, Kumasai no Naozane, is in and describes his feelings that he has for Atsumori. Motokiyo portrays care and grief by using characterization, metaphor, and simile. These devices escalate the meaning of this passage and open it up to what will come further in the play.
Monday, March 16, 2009
As You Like It Character Journal: Rosalind Act 5
In act 5, Rosalind appears to be much calmer. She talks to Orlando in a kind way without scorning him, and accusing him of not loving her. She still tests his love and affection, but in a much more subtle way. She asks him, "Why, then, tomorrow I can-/not serve your turn for Rosalind?" (5.2.51-52) He admits he is tired of wooing a man and wants to be with Rosalind, the one he loves. Rosalind now fully understands and believes that Orlando is in love with her. She tells him that he can marry Rosalind tomorrow. Phoebe walks in to where they are standing in the Forest of Arden and begins to accuse Rosalind, Ganymede, for what she has done to her. Rosalind acts as if she is superior to everyone and acts as if she does not care. "I care not if I have. It is my study/To seem despiteful and ungentle to you./You are there followed by a faithful shepherd./Look upon him, love him; he worships you." (5.2.83-86) They go on arguing over who one loves and Rosalind tries to help everyone and tells Phoebe that if she ever marries a woman it will be her. This shows a generous side to Rosalind, because her goal right now is to have the best for everyone. This shows how her mood has changed. She was so self absorbed in her own love life, she did not see the debacle she created for others. She wants to fix what problems she created so everyone would live happily ever after.
The next day, Rosalind, dressed as Ganymede, comes to the place of the wedding. It is decorated beautifully in the Forest of Arden. She makes sure everyone keeps their word of what she has promised. This shows that her strength and boldness has increased over the play. She is more daring and more confidant with things she must carry through. She exits with Celia and they both take off their disguises and come back to the wedding. Phoebe realizes that Ganymede was a woman and marries Silvius. Rosalind accomplished all of the things she wanted in this play. She got to be with the one she loved, Ganymede and she also got to be with her father. Everything worked out for the best just as she had hoped.
The next day, Rosalind, dressed as Ganymede, comes to the place of the wedding. It is decorated beautifully in the Forest of Arden. She makes sure everyone keeps their word of what she has promised. This shows that her strength and boldness has increased over the play. She is more daring and more confidant with things she must carry through. She exits with Celia and they both take off their disguises and come back to the wedding. Phoebe realizes that Ganymede was a woman and marries Silvius. Rosalind accomplished all of the things she wanted in this play. She got to be with the one she loved, Ganymede and she also got to be with her father. Everything worked out for the best just as she had hoped.
As You Like It Character Journal: Rosalind Act 4
In act 4, Jaques approaches Rosalind in the Forest of Arden, disguised as Ganymede, hoping to become close acquaintances. Rosalind coldly scorns Jaques for being Melancholy and refuses to be friends with him, "Those that are in extrem-/ity of either are abominable fellows and betray/themselves to very modern censure worse than/drunkards." (4.1.6-9) She is disrespectful toward him even though he was just trying to get along with her. She mocks him and speaks for all the sadness that is going on at this point.
Orlando arrives late for the love lesson and Rosalind scolds him for doing so. She continues to test his love for her and acts as if she is angry with him. She tells him that a real lover would not come late and says she would rather receive wooing from a snail. "Ay, of a snail, for though he/comes slowly, he carries his house on his head-a/better jointure, I think, than you make a woman./Besides, he brings his destiny with him." (4.1.58-61) This shows that Rosalind's goal is to find out if Orlando actually loves her. Then quickly after that she scolds him, she completely changes her mood and wants Orlando to woo her once again. There is nothing more she wants but Orlando's love and she begins to realize that he does indeed love her. Orlando says that he would die for love but Rosalind disproves this by saying "Men have died from time to time, and worms have/eaten them, but not for love." (4.1.112-112) Rosalind then takes the situation over the edge by having a fake marriage between her and Orlando. Orlando eventually must depart for he has a dinner with Duke Senior but says he shall return within two hours. Rosalind becomes threatening and strict by saying that if he does not come within the exact time he says he will, he is not a true lover. "If you break one jot of/your promise or come one minute behind your/hour, I will think you the most pathetical break-/promise, and the most hollow lover, and the most/unworthy of her you call Rosalind that may be/chosen out of the gross band of the unfaithful." (4.1.201-206) Rosalind really wants her relationship with Orlando to be legit so she continuously acts harsh toward him to make sure he actually loves her. After Orlando leaves Celia accuses Rosalind of misusing the female sex for the affection of love. Rosalind blames this on her deep feelings for loving Orlando, "O coz coz coz, my pretty little coz, that thou/didst know how may fathom deep I am in love. But/it cannot be sounded; my affection hath an/ unknown bottom, like the Bay of Portugal." (4.1.218-221) She has to know she won't get hurt in the relationship and must do this. She is becoming obsessive to the point where all she cares about in the world is Orlando.
At the beginning of act 4, scene 3, Rosalind is getting anxious because Orlando has not shown to the house yet. Silvius walks in with a letter from Phoebe to Ganymede. After Rosalind reads it out loud, she sees that Phoebe is in love with her (Ganymede). She has no pity on Silvius because she cannot believe he would like a woman such as Phoebe. She does not appear to think much of this letter because she has Orlando on her mind. She writes back saying Ganymede will never love her unless she loves Silvius. After Silvius leaves, Oliver approaches with a bloody napkin from Ganymede. He tells a story about how Orlando ran into a patch of trouble and that is the explanation of why he was late. Rosalind, as Ganymede, begins to ask many questions showing that she is very worried and cares for Orlando. She then faints which creates suspicion of Oliver, for fainting is a womanly feature. He says she lacks a man's heart. Rosalind covers it up by saying, "I do so. I confess it. Ah./sirrah, a body would think this was well-counter-/feited. I pray you tell your brother how well I/counterfeited Heigh-ho." (4.3.175-178) She tries to say she faked the fainting but Oliver is still skeptical. Rosalind's deep love and affection for Orlando is beginning to become more obvious.
Orlando arrives late for the love lesson and Rosalind scolds him for doing so. She continues to test his love for her and acts as if she is angry with him. She tells him that a real lover would not come late and says she would rather receive wooing from a snail. "Ay, of a snail, for though he/comes slowly, he carries his house on his head-a/better jointure, I think, than you make a woman./Besides, he brings his destiny with him." (4.1.58-61) This shows that Rosalind's goal is to find out if Orlando actually loves her. Then quickly after that she scolds him, she completely changes her mood and wants Orlando to woo her once again. There is nothing more she wants but Orlando's love and she begins to realize that he does indeed love her. Orlando says that he would die for love but Rosalind disproves this by saying "Men have died from time to time, and worms have/eaten them, but not for love." (4.1.112-112) Rosalind then takes the situation over the edge by having a fake marriage between her and Orlando. Orlando eventually must depart for he has a dinner with Duke Senior but says he shall return within two hours. Rosalind becomes threatening and strict by saying that if he does not come within the exact time he says he will, he is not a true lover. "If you break one jot of/your promise or come one minute behind your/hour, I will think you the most pathetical break-/promise, and the most hollow lover, and the most/unworthy of her you call Rosalind that may be/chosen out of the gross band of the unfaithful." (4.1.201-206) Rosalind really wants her relationship with Orlando to be legit so she continuously acts harsh toward him to make sure he actually loves her. After Orlando leaves Celia accuses Rosalind of misusing the female sex for the affection of love. Rosalind blames this on her deep feelings for loving Orlando, "O coz coz coz, my pretty little coz, that thou/didst know how may fathom deep I am in love. But/it cannot be sounded; my affection hath an/ unknown bottom, like the Bay of Portugal." (4.1.218-221) She has to know she won't get hurt in the relationship and must do this. She is becoming obsessive to the point where all she cares about in the world is Orlando.
At the beginning of act 4, scene 3, Rosalind is getting anxious because Orlando has not shown to the house yet. Silvius walks in with a letter from Phoebe to Ganymede. After Rosalind reads it out loud, she sees that Phoebe is in love with her (Ganymede). She has no pity on Silvius because she cannot believe he would like a woman such as Phoebe. She does not appear to think much of this letter because she has Orlando on her mind. She writes back saying Ganymede will never love her unless she loves Silvius. After Silvius leaves, Oliver approaches with a bloody napkin from Ganymede. He tells a story about how Orlando ran into a patch of trouble and that is the explanation of why he was late. Rosalind, as Ganymede, begins to ask many questions showing that she is very worried and cares for Orlando. She then faints which creates suspicion of Oliver, for fainting is a womanly feature. He says she lacks a man's heart. Rosalind covers it up by saying, "I do so. I confess it. Ah./sirrah, a body would think this was well-counter-/feited. I pray you tell your brother how well I/counterfeited Heigh-ho." (4.3.175-178) She tries to say she faked the fainting but Oliver is still skeptical. Rosalind's deep love and affection for Orlando is beginning to become more obvious.
Sunday, March 15, 2009
As You Like It Character Journal: Rosalind Act 3
In act 3, Rosalind finds poems about her on trees throughout the forest of Arden. They talk about how lovely she is and say very nice things about her. She talks with Celia about how poorly the poems are written but then Celia tells her she knows who wrote them. Rosalind immediately starts to ask who wrote them, over and over again. She gets very anxious and she doesn't have any patience. "One inch of/delay more is a South Sea of discovery. I prithee,/ tell me who it is quickly, and speak apace. I would thou couldst stammer, that thou might'st pour this/concealed man out of thy mouth as wine comes out/of a narrow-mouthed bottle-either too much at/once, or none at all. I prithee take the cork out of/ thy mouth, that I may drink thy tidings." (3.2.200-207) Once she finds out Orlando has written the poems she is shocked. She is so taken back that, at first, she doesn't believe it. Then once Celia tells her it is Orlando once more, she gets extremely giddy and excited and begins to ask many questions about Orlando. "Alas the day, what shall I do with my doublet/and hose? What did he when thou saw'st him? What/said he? How looked he? Wherein went he? What/ makes he here? Did he ask for me? Where remains/he? How parted he with thee? And when shalt thou/see him again? Answer me in one word." (3.2.223-228) This shows that her feelings for Orlando are very strong and that is all that is on her mind. She only cares about being with Orlando and nothing else. She is overwhelmed with the feelings of love.
Orlando walks through the forest and comes upon the spot where Rosalind and Celia were talking. They hide and after Jaques leaves, Rosalind bravely confronts Orlando, pretending to be Ganymede. She pretends as if she doesn't know who has been putting the poems on the trees and Orlando admits it was him. Rosalind wants to test Orlando to see if she actually loves her. She tells Orlando that she doesn’t think he's in love, "There is none of my uncle's/ marks upon you./He taught me how to know a man/in love, which cage of rushes I am sure you are not prisoner." (3.3.375-378) After giving him signs of why he is not in love, she says she can cure him and make him able to love. Rosalind's feelings for Orlando appear to be almost uncontrollable for she makes Orlando pretend as if she was Rosalind and makes him woo her. I would cure you if you/would call me Rosalind and come every day to/my cote and woo me." (3.3.433-435) She can't give up her disguise but she still wants to be as close to Orlando as possible. Rosalind wants to see if he actually loves her and wants to find everything out about him.
Orlando walks through the forest and comes upon the spot where Rosalind and Celia were talking. They hide and after Jaques leaves, Rosalind bravely confronts Orlando, pretending to be Ganymede. She pretends as if she doesn't know who has been putting the poems on the trees and Orlando admits it was him. Rosalind wants to test Orlando to see if she actually loves her. She tells Orlando that she doesn’t think he's in love, "There is none of my uncle's/ marks upon you./He taught me how to know a man/in love, which cage of rushes I am sure you are not prisoner." (3.3.375-378) After giving him signs of why he is not in love, she says she can cure him and make him able to love. Rosalind's feelings for Orlando appear to be almost uncontrollable for she makes Orlando pretend as if she was Rosalind and makes him woo her. I would cure you if you/would call me Rosalind and come every day to/my cote and woo me." (3.3.433-435) She can't give up her disguise but she still wants to be as close to Orlando as possible. Rosalind wants to see if he actually loves her and wants to find everything out about him.
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