Fear, Change, Fear Of Change, Change of Fear

Ok. So maybe Austen does not often mention God. This blog unites people's relationship with God and how it affects their will power to change. Does Elizabeth seem like a model-catholic girl to you? She doesn't fear anything, but rather respects all. Is she better off than those terrified by social etiquette?

Objections?

Austen's characters continuously question the definition of marriage. Does Austen intend to criticize her characters' beliefs, or to merely inform her readers? Is it possible that Austen's alter-ego is Elizabeth? Is it her way of condemning such a society?

Respect, Fear, And Other Forms of Pride

Men and women have very specific guidelines concerning their attitude in society. How is Elizabeth's struggle against these norms seen in her society? What role do the Redcoats have in the novel? Maybe Austen chooses to include them to distract the reader as they distract its characters as well.


Letters of correspondence play a major role in the novel's development, as they reflect characters' thoughts. How is pride, prejudice represented in such letters? While respect plays a superficial role in Austen's world, fear, pride, and prejudice govern the characters' behavior. Most characters have polarized personalities, and only Darcy's, Elizabeth's, and Mr. Bennet's provide some sort of entertaining refuge from such monotony.

Two Sides To Every Page

In what light do characters view pride and prejudice in Austen's novel? Do they see them as negatively as the reader does? What motive could Austen have in showing this contrast? How do Austen's beliefs regarding pride and prejudice compare and contrast to those of her characters?

"Sin Querer, Queriendo" ("Purposely Accidental")

Throughout Pride and Prejudice, Austen poses a dichotomy, contrasting appearing and being. The novel itself ironically exemplifies this. It seems to portray a superficial story though passive voice and monotonous sentence structure, which Austen may purposely intended to truly characterize the context. In other words, does the style reflect the plot and its characters?

Pride, Prejudice, and New Clothes

I hope Austen's Pride and Prejudice has more to it than what meets the eye. For everyone's sake. I scavenge for interesting, hidden gems within the novel. The plot doesn't hint at anything interesting worth the reader's time. So, to remain calm, I must convince myself that either Austen has an intellectual reason for writing of such a shallow series of events, or that I am simply ignorant of what genius there may be in her words. Either way, I feel as if asked to make a carton of orange juice from a single bonsai fruit.

Coming soon...

Colorful, insightful blog with screen shots and references to the film on Pride and Prejudice coming soon.

Too Much Pink Frosting Causes Diabetes

As I read this book, I feel lured into a superficial story. I can gain no productive knowledge from this chick-flick (as with most chick flicks). Narrated inefficiently, I find the plot a waste of time. The characters and their concerns are inane and the passive voice is tiring. While often ironic, the humor insufficiently justifies my time. Such shallow reading renders me unsatisfied, and tired.

Women withhold the novel’s power, and so do their insignificant worries. What more can be learned from this, apart from an undying example as to what to avoid?

I could, given the opportunity, narrate the plot in its entirety, and depict the characters’ “complexities” in much fewer words than those that Austen depreciates.

This would improve the work. My statement, of course, becomes ridiculous if Austen intentionally writes in such a manner as to prove a point. If so, what point would that be?

The numerous correspondences the characters exchange within the novel epitomize my point. These may be found on pages 22, 23, 47, 89, 90, 110, 111, 112, and more to come.

Gertrude And Miss King, Preyed Upon

Mrs. Gardiner imprudently (or prudently, depending on the time period) denigrates Mr. Wickham’s scavenger attitude and attacks his dignity, as if preying Miss King. Elizabeth claims that “a man in distressed circumstances has not time for all those elegant decorum’s which other people may observe. If she does not object to it, why should we” (115)? I believe, as does Mrs. Gardiner, that “her not objecting, does not justify him. It only shows her being deficient in something herself— sense or feeling” (115). I believe what Miss King lacks is dignity.

If someone is at fault here, which is it? Considering the time period, Mr. Wickham has the right to hunt as he pleases, but the, respectful mourning paid to deceased loved ones has gone unchanged throughout time.
As Miss King, Gertrude from Shakespeare’s Hamlet dishonors the memory of a lost companion.

How Much For The Woman?

Is marriage as an attainable object depicted to intentionally conflict with the reader’s ideas, or does Austen truly advocate such beliefs? Charlotte’s marriage exemplifies this dilemma. Does Austen believe, that marriage “was the only honorable provision for well-educated women of small fortune, and however uncertain of giving happiness, must be their pleasantest preservative from want” (93)? She certainly writes her characters to believe so.

As I indulge in this seemingly pre-historic chick-flick, I question myself: Do the character’s opinions reflect Austen’s?
Certainly, Austen couldn’t have written such a novel, and expected readers to agree with the opinions it expressed. Maybe Austen decided pose intentional dissonance for an unknown purpose. Maybe she wanted to challenge the reader’s beliefs. Maybe she enjoys causing readers to cringe with disagreement. This highly disputable question defines my overall opinion of the work.

Poor Mrs. Bennet

Is pity something to crave? Is it something to be proud of, for its tendency to attract attention? Babies complain. If they remained silent throughout their childhood, they would probably starve (of attention?). A grown woman such as Mrs. Bennet has no noble use of pity. Truthfully, she states that “those who do not complain are never pitied” (86). Humorously so, she includes herself among those who “suffer as I do from nervous complaints” (86), while whining. The fact that she commands the criticizing opinion of the family poses irony. With every page I turn, I increasingly dislike Mrs. Bennet. Does my social ignorance kindle this disgust, or is it Austen’s intention to inspire it?

Words Pride Pride, Words Pride..

Quadrille (50)


Vouchsafed (50)


Obsequiousness (53)



Incumbent (53)


Conceited (63)

Lying Lyers Loath Lying Lyers

One who criticizes others for what they do themselves poses irony. Mrs. Bennet chats with her family, giving her opinion of Mr. Bennet's cousin, Mr. Collins. To her, Mr. Collins is "very hypocritical. I hate such false friends" (46). This adds an element of humor to the coldness of the mannerisms. Apparently, this is something the characters themselves ignore.

Often enough, one finds it easier to find fault in others than to look into oneself. Accepting such a negative trait requires the maturity that Austen's characters attempt to display, but actually lack.

We see that while Mr. Darcy attempts to establish self-imposed alienation to maintain high self-esteem, in reality, he behaves like a little kid. This noticeably occurs when a situation includes Elizabeth, who instills strange emotions within him. His confusion resorts to the simplest action: inaction. For "though they were at one time left by themselves for half an hour, he adhered most conscientiously to his book, and would not even look at her" (45). Even a child resorts to some form or another to seek the crush's attention, and only an idiot would attempt to make enemies of his feelings.

Marriage, Dice, And Broken Glasses

During one of my routine Judaism lessons, the Rabbi told me how he met his wife the same week he proposed to her. In shock, I asked if they were still together. He said they are. After pondering this irrational phenomenon, I came to some conclusions: Jewish orthodox marriages and those of Pride and Prejudice must have something in common. Maybe the meaning of the Rabbis' marriage differs to that which the general public gives it. Both the Rabbi and the characters of Austen's novel have an alternate purpose for marriage, which distracts the bride from the groom's character traits, and vice versa. If "happiness in marriage is entirely a matter of chance" (16), as Charlotte claims, then happiness is not the primary objective in a marriage. We know that Austen's characters have wealth and status in mind when choosing a suitor, but, like the Rabbis, being paired brings joy in itself. The rest of the partners' lives together will provide the time they need to get to know each other. Is this a barbaric custom, characteristic of uncivilized civilized society?

Some Topics for The Hamlet Essay

This is a page I found that gives some ideas for the essay on Hamlet.

Dickinson's Hamlet

"Much madness is divinest sense
To a discerning eye;
Much sense the starkest madness.
'T is the majority
In this, as all, prevails.
Assent, and you are sane;
Demur, -- you're straightway dangerous,
And handled with a chain" (Dickinson).



Does Hamlet, then, have "divinest sense" and his mother and uncle "starkest madness"? Could one say they were "handled with a chain"?

Hah! Now You're Dead!

I believe the ending of Hamlet mocks life itself. The fact that all of the main characters died while spectating a game can be interpreted in a variety of ways. On one hand, the characters all had stupid deaths, which one would expect from a video game, or something else which demeans the meaning of life. We see this in the comments exchanged by Hamlet and Laertes, and by Shakespeare's indications of how the scene should be portrayed: "Hamlet: I'll Play this bout first. Set it by awhile./ Come. {They play.} Another hit. What say you" (V. ii. 309-310)? These deaths, which occurred during a type of horseplay, were not nearly as dramatic as those of Othello, Romeo, or Juliet. Why would Shakespeare choose to kill his characters in such a way? I believe that the simplicity of the character's deaths demonstrates the lack of importance they attribute to life, and how they play with it.

Maybe Shakespeare got bored of writing so much, and decided to end his play as swiftly as possible. No. Is life's ephemeral quality being proven, or is poetic justice somehow being established?

Schizophrenia In Great Ones Must Not Unwatched Go

After watching Claudius's inability to pray, as shown in Branagh's Discovering Hamlet, not only do I now realize the infinitesimal pity Shakespeare wished to provoke in his audience (as explained in the video), but also the irony in Claudius's situation. Praying usually accompanies a favor. People pray for forgiveness, health, wealth, love... One common form of praying for forgiveness is a confession. Claudius finds himself in a constricting situation when the cause for his prayer is the same as the idea preventing it. Ironically, the reason he wants absolution prevents him from properly attaining it. I am curious as to why Shakespeare would want to make the antagonist inspire pity. Is it to establish more than one point of view and thus emphasize humanity's close-mindedness, or is it because Shakespeare can't bear to create a being without even one positive trait. An intresting character is one who has conflicting emotions, while bland characters are those who don't question themselves.

Words In Hamlet's Problems

Irrefragable:

Intractable:

Infatuation:

Superfluous:

Ruse:

Levity:

Lucid Killing

After reading some of Freud's insights on dreams and jealous children with subconscious killer ideas, I find myself speechless. I never considered killing any of my siblings, even when the stork first brought them. Hamlet doesn't have any siblings we know of, so any possible death with must be applied to his uncle. We do not know of any of Hamlet's dreams (at least in the sleeping-experience sense), and yet we could reconstruct what they would be like, according to his emotions as analyzed by Freud. If Hamlet we to have a dream, which the audience would witness, it would probably involve a weeping, scantily-clothed Hamlet, surrounded by laughing courtiers. The next scene would include Hamlet crying over the death of his uncle, which, as Freud would put it, is a "counter-wish" that tends to imply a secret. Conflictingly so, Hamlet" secret wish to end his uncle's life doesn't seem to torture him, but makes him but maniacally determined, at least in the second half of the play.

One way or another, Hamlet's desire to purge his uncle from his life is not spurred by jealousy, but by objective outrage. Because of this, I can't think of any of Hamlet's dreams that could be considered completely typical, in the Freudian sense of the term.

The Mechanics Of Prayer

Claudius knows his prayer will not be heard in heaven, for he doubts retribution. If the King doesn't completely regret his actions, how can they be forgiven? He acknowledges his dilemma when he concludes that his "words fly up, my thoughts remain below;/ Words without thoughts never to heaven go" (III. iii. 104-105). Here, there are two terms which require a contextual definition: "Words" and "thoughts". Words may be the superficial petitions and visible emotions observed in Claudius, while his thoughts are those hidden intentions that require censorship. He knows that any attempt to fool heaven will invalidate the absolution ticket he craves.

Great Madness, This Is

What does it mean to be great? Can greatness be achieved, or is it a natural trait some possess, independent from events around them? One belief, popularized in the 19th century, is the Great Man Theory, which suggests that certain men have greatness within them upon birth, which is kindled by events around them. I believe greatness involves affecting many with simple, positive ideas.

When King Claudius warns that "Madness in great ones must not unwatched go" at the end of scene 1 of act 3, we automatically assume that Claudius considers Hamlet to be a great man. Maybe this great madness to which he refers is that which we saw in Hitler and Mussolini. The person is great, but uses the potential for destructive purposes. One could say that the king is a believer of a primitive form of the Great Man Theory, for he implies that being great is separate from what one does with such power. My opinion is that great people are formed by their actions, and not by their potential. Claudius fears the potential harm Hamlet can cause, which is logical if he has something to hide. Claudius feels threatened.

Worse Than Stoicism

Perhaps the most widely known Shakespearean line is the "To be or not to be" line of Act 3 scene 1. Why is this monologue so famous? Is it one of those artistic ideas that are commonly discussed while nobody knows what it means? A hoax, for instance, where one is persuaded into admiration by following the masses? Is it famous because it is easy to remember and because it is Shakespeare, or is there more to it than that?

Doubting whether "to be or not to be" is fairly vague, which attracts the appeal of many, because each person interprets it in his or her own way. However, Hamlet questions whether there is more nobility in a stoic or in a non-conformist: "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" (III. i. 65-68).

Here we see a man who questions whether to act upon his destiny or to accept life as it treats him. He is undecided whether to take his life into his own hands or not. I believe any man who does not form his life is a wimp, not a stoic. Stoicism at least implies that the person chose to become a stoic, but if a man choses nothing, and lets life live him, then what is the point?

The question also refers to nobility in one's mind, which means that the only one who needs to accept us is ourselves, for nobility in the mind is not the same as nobility in blood, etc... We must question whether Hamlet can ever live with himself as a useless person, lacking determination.

Inmate Hamlet

The version of "Hamlet" performed by the Missouri East Correctional Institution is meant to make inmates get in touch with themselves. It is a type of getting-to-know-yourself-to-heal-the-soul activity, and the truth is that the actors easily identify themselves with Hamlet's inner conflict. My opinion is that while these people assimilate to the themes on a semi-literal level, I recognize that the sub-cutaneous conflict exists everywhere. I do not know anybody who makes decisions without first considering them, even if for an instant. The choice does not always define the life of another, but it always leads to a different course in one's destiny. Hamlet's conflict is based on the acceptance, or lack, thereof, of revenge. Other choices can sprout from different emotional experiences, like envy or greed. Everyone experiences these inner battles, and the war's victor will define everything.

When Hamlets Attack

Tenant:Branagh::
Orange shirt:Black shirt::
Flailing:Still::
Preposterous:Unbelievable::
Maniac:lunatic::
determined:passive::
Brown hair:Gray hair::
min 2:56:min 1:15::
volcano:thunderstorm::
Crime:Silence.

Silence

In this blog, I planned to contrast two interpretations of Hamlet's soliloquy in a creative way. Apparently, my thoughts require some explanation. So here are my thoughts, explained. On the left of the single colons, we see characterizing words that pertain to Tenant's interpretation, while the area to the right of the single colon is host to a description of Branagh's Hamlet. The double colons mark the end of a set of related characterizing words.

Some words refer to the physical differences, while others focus on the vibe Hamlet's monologue and mood conveys.

The words "flailing" and "still" are used to describe the movement of Hamlet's body. If I were to interpret Tenant's and Branagh's interpretations of Hamlet in a one-word scene, I would use the word "Preposterous!" to represent Tenant's version, and "Unbelievable!" to represent Branagh's. The words "determined" and "passive" characterize their individual versions of Hamlet. I used a volcano to describe tenant's version of Hamlet, because his Hamlet is an eruptive one, starting off on the ground, and ending with maniacal behavior. Branagh's Hamlet can be compared to a thunderstorm, because as the grim tempest, he has a harmless, electrifying roar. Pulsating, we know it is capable of nothing. Tenant's Hamlet plots an imminent crime, while Branagh's Hamlet has only silence to give. As he ends with "The rest is silence", I thought it appropriate to do the same. Silence.

Actively Speaking

1. The statue is being visited by hundreds of tourists every year.

Hundreds of tourists visit the statue every year.

2. My books were stolen by someone yesterday.

Someone stole my books yesterday.

3. These books had been left in the classroom by a careless student.

A careless student left these books in the classroom.

4. Coffee is raised in many parts of Hawaii by plantation workers.

In many parts of Hawaii, plantation workers raise coffee.

5. The house had been broken into by someone while the owners were on vacation.

Someone broke into the house while the owners were on vacation.

6. A woman was being carried downstairs by a very strong firefighter.

A very strong firefighter carried the woman downstairs.

7. The streets around the fire had been blocked off by the police.

The police blocked off the streets around the fire.

8. Have you seen the new movie that was directed by Ron Howard?

Have you seen the new movie directed by Ron Howard?

9. My car is in the garage being fixed by a dubious mechanic.

A dubious mechanic fixes my car in the garage.

10. A great deal of our oil will have been exported to other countries by our government.

Our government will have exported a great deal of our oil to other countries.

The Voice of Reason

Judging from his expression at the end of the event, Krapp disagrees with the voice coming from the tape, when it says that "(Pause. Perhaps my best years are gone. When there was a chance of happiness. But I wouldn't want them back. Not with the fire in me now. No, I wouldn't want them back" (Beckett). Does this mean that this bitter, old man has lost the "fire" he once had? Fire appears to be a recurrent symbol or metaphor in near-suicidal works: In The Road, the fire represents the determination to survive as humans, deserving the term 'human' in the process. Apparently, the fire mentioned in this piece does not represent the same thing. It probably refers to the emotional sediment left by experiences. Maybe, the after-taste is bad enough to regret ever trying the experience. In this thing (a term to which I must surrender, considering my inability to properly identify this artistic genre,) the fire burned the man, and his scars are what make him question the beauty of the experience in the first place. Are experiences worth the trouble?

Krapp Crapped By Krapp In Tape

Samuel Beckett's Krapp's Last Tape is a work intended to be acted, as is apparent from the start. Plays are written in a very similar style as this, and one thing that intrigued me was seeing the word "Tape" in the space where characters' names usually go. Is it possible then, that the tape can be considered a character? Furthermore, the younger Krapp featured in the tape is treated by Krapp, the viewer, in a third-person type of way, so that the viewer criticizes the young Krapp as one might criticize an obnoxious stranger. On the other hand, when I watch a recording of my younger self, I, too, get the urge to patronize the youthful person I used to be. Nevertheless, I never find myself enraged enough to say, "Just been listening to that stupid bastard I took myself for thirty years ago, hard to beleive I was ever as bad as that. Thank God that's all done with anyway. (Pause)" (Beckett). I must admit, though that I often exclaim, "I can't believe I was ever THAT bad!" All I hope is that in thirty years, I am not as rueful as Krapp. One question on my mind is the following: "Is this a monologue?"

Hamlet, I Presume

I expect Hamlet to include elements of comedy, given the participation of a comical actor (Robin Williams), as well as of psychology, and metaphysics. The mirrors mentioned in the introduction serve as a metaphorical device, as do many of the objects and events in the play. I expect the longest of Shakespeare's works to be different from the others in the sense of social and political criticisms. Why did Shakespeare require so much text to send his message? Is it conveyed as efficiently as possible, or did Shakespeare elongate the work to make a point?

Watch The Road on Carrera 7

Possibly filmed in Bogota around this time of year, the film based on the novel, The Road, adequately captures the setting and overall feel of the refugees. Now that I stop to ponder, while reading the novel and before watching the film, I used many images of Bogota to construct, in my imagination, the post-apocalyptic world described in the story. My imagination was perfectly equipped with a repertoire of bleak environments: Hail, smog, rain, you name it... all except depressing snow. Of the two places in which I have lived, both are seasoon-deprived, and one comes with the complementary addition of a post-apocalyptic climate on the side. Of the times I have travelled to snowy places, the cold powder has only instilled awe and a sense of beauty within me, and never have I seen more than a driveway or two full of dirty snow (other than in NY, but that's beside the point). In conclusion, if you are writing a book or filming a movie about a destroyed world where people eat each other, starve to death, or freeze to death (no third option, by the way), Bogota is the best place to be.

Amen

Oprah: Today’s show is for all who wonder what the beliefs of the first English writers were. This person’s works have endured for centuries, and are still being studied in schools today. Our guest today, is a writer born in October of 1400, and besides a poet, he is also a philosopher, a bureaucrat, a courtier, and a diplomat. He is credited for the renowned and unfinished The Canterbury Tales, and the first artistic use of vernacular Middle English as opposed to French or Latin. Ladies and gentlemen, Geoffrey Chaucer.

(Applause)

Chaucer: My Greetings, Madam Oprah Gail of Winfrey, and greetings to all.

Oprah: Hello, Mr. Chaucer

Chaucer:
It is, in fact, an honor to be here,
Among so many curious friends, o dear!

Oprah: So tell us, Mr. Chaucer, what motivated you to write your work, The Canterbury Tales?

Chaucer:
O my, o my, directly to the point.
So now we shall explore my sad viewpoint:
Why do all folk decide to play this game?
Hypocrisy and trickery by name,
We’ll see on days that passed and those to come.
The state of lies not spoken makes me numb.
If none decide to breach the lie they tell,
Then I shall joust the dragon from its shell.
The world now stinks of narcissistic frauds,
So proudly living openly as gods,
Defying all the laws of a true life.
I am, my friends, explaining my deep strife
With all that claims to be, yet is not so.
A cynic and a pessimist, my foe
Is the whole world, which sadly is so low.

Oprah: So are you saying that the world is full of hypocrites and always will be?

Chaucer:
I envy your naiveté with my heart
That you will never speak of any fart,
Which comes from one who you so dearly hold,
For how could such a thing from “beauty” come?
The knight is not excepted from the sum
Of those who claim to honestly conceive
A life without the riches they receive.
My sword against the lies has been my pen,
To end the falsehoods everywhere, amen.

Oprah: T-Thank you so much Mr. Chaucer for your insights. A hand for Mr. Chaucer… (Applause)

..."This program is brought to you by... Vital Radiance -Revitalizing beauty for your changing skin."

Logic, Tarnished By The Road

Ash-stained Conscience

The father character in the novel, The Road, is confronted with difficult decisions. These decisions include considering killing his son, shooting a man, exiting the food storage shelter after only a few days there, and others. These situations have hardened the man, and purged all hesitation from his heart. What drove him to kill the man who stole his supplies at the beach? The man was doing what any other starving person would have done. I believe that the father was not justified, but vengeful. The thief had no malicious intentions save stealing some food.

Truthfully, according to our standards, stealing from another would be considered heartless, and taking from a starving person would be cruel, but considering the standards of an apocalyptic world littered with cannibalistic savages, stealing some food without directly harming anyone is the most humane way to survive.

The father attempts to justify his action by saying that he wouldn't have murdered him, to which the son responds, "But we did kill him" (136). After this experience, I realized that the son's innocence demonstrated the father's increasing cruelty. There is a fine line between being cautious, and being paranoid. It is the son's duty to remain worried about ethics, while the father struggles to keep them alive by any means. While the father believes the son is simply tagging along as a liability, the son's task of kindling the "fire" is the more difficult job. The fact that this does not occur to the father makes the son's job all the more difficult.

Reviving The Truth

I am not sure whether to consider teachers' yearly rereads of course literature as true rereads. Unless the teacher is repeating the text for his or her enjoyment or better understanding, I believe that teaching a book over and over again is not the same as reading it repeatedly. I firmly think that re-readable books must be either classics or very complicated, for the reread to be worth the candle.

I do agree with what Sonya Chung in supports in her review, The Great Gatsby Revisited, including the statement that "in Gatsby, Fitzgerald also gets the essential doubleness of human nature so terribly, perfectly right. Every character is pulled in (at least) two directions; love and hate, admiration and disdain, are of a piece in almost every relationship. And the reader ultimately feels an unresolved, and yet somehow perfectly coherent dividedness about each character." (Chung) Not only is this viewpoint observed within the text, but is also a reflexion of reality. We are always deciding between two things: to go this way or that way, be with these or those people, prioritize between this and that, and hundreds of other entertaining decisions which make life malleable and spontaneous. I often ponder what would or could have been.

In the end of The Great Gatsby, the characters ruefully condemn themselves while they nostalgically yearn what they could have had. They accept the wastefulness with which they had carried their lives, and they are saddened when they know that others will undoubtedly repeat their ignorant mistakes. People never make mistakes. Errors do not exist. We all know when we are doing something we will later regret. Apparently, people enjoy learning of the suffering caused by others' errors, which they commit themselves. This is a type of ironic humor which emphasizes our repressed truths. It is no coincidence that the book Secret Regrets has been one of the top Kindle downloads.

Fire And Ash

The first time the father explains why he and his son are immune to evil, he says that "...nothing bad is going to happen to us. That's right. Because we're carrying the fire. Yes. Because we're carrying the fire" (42). At that time, the father still had his lighter. Later, when asked a similar question, the father responds with same answer; however, at that time, he had dropped his lighter, which can only mean that the fire he refers to isn't literal. In my opinion, the fire he possesses is the fire of hope and of unflinching humanity; the same hope and humanity the bad guys have lost. With regards to the terminology the child uses to refer to people as good guys and bad guys, the reader is indulged in the innocence of youth, and simplicity it enjoys.

"What is it? the man said. Nothing. We'll find something to eat. We always do. The boy didnt answer. The man watched him. That's not it, is it? It's okay. Tell me. The boy looked away down the road. I want you to tell me. It's okay. He shook his head. Look at me, the man said. He turned and looked. He looked like he'd been crying. Just tell me. We wouldnt ever eat anybody, would we? No. Of course not. Even if we were starving?
We're starving now. You said we werent. I said we werent dying. I didnt say we werent starving. But we wouldnt. No. We wouldnt. No matter what. No. No matter what. Because we're the good guys. Y es. And we're carrying the fire. And we're carrying the fire. Yes. Okay" (65).

Are We There Yet? Are We...

(59)


Undoubtedly so, a common film joke, when families are on a road trip, is for the youngest child to pester the adults with the typical "Are we there yet?" over and over. In The Road, the unnamed child asks questions which do not please the father. While his questions are not nearly as unnecessary as the question of an impatient toddler, the boy’s questions, nevertheless, give the father unwanted thoughts. The father is bombarded with a series of direct questions in staccato style: (51) (64) I believe that this style of short questions and answers emphasizes the hopeless heart of the characters and their enchained thoughts. On the other hand, when the father finds the apple orchard, the paragraphs seem to bloat with eagerness, in an attempt to send as much information to the reader in one time. As the reader, I shared the father’s relief, when he described how "he went row by row till he'd trod a puzzle in the grass. He'd more apples than he could carry. He felt out the spaces about the trunks and filled his pockets full and he piled apples in the hood of his parka behind his head and carried apples stacked along his forearm against his chest. He dumped them in a pile at the door of the barn and sat there and wrapped up his numb feet." (62)

Depressing, Worn-out Postapocalyptic Plots

While reading Cormac McCarthy's The Road, I can’t help but remember the numerous films released with the same plot. Titles that come to mind are: The Book of Eli, Twelve Monkeys, Resident Evil (all 4 sequels), and the child’s film, City of Ember, based on the novel. All of these films have something in common with The Road. The cliché being established here makes the reader dislike the plot not only because of the repetitive storyline, but also because of the depression it instills. With a scene like the following, the narrator shares his despair with the reader: “This is my child, he said. I wash a dead man's brains out of his hair. That is my job. Then he wrapped him in the blanket and carried him to the fire.” (McCarthy. 37) Perhaps our taste of film genre has mutated to include morbid depictions of vampires, post apocalyptic worlds, and worlds en-route to destruction (The Day After Tomorrow, Armageddon, The Core, 2012, Red Planet, War of The Worlds, Independence Day, The Knowing, The Matrix…).

I would also like to mention that the style with which the grim epic is portrayed symbolizes the steps taken on the road to something else. This road represents the hope the characters need to survive in their bleak environment. The justified, broken paragraphs seem to me like steps. Here is an image of what I mean:

Dice, Gluttony, and Lechery, and Chocolate

Ironically, while reading the Pardoner's Tale (which was itself ironic), I mindlessly nibbled at a chocolate I had no hunger for. When I noticed what a sinner I was, I gluttonously enjoyed devouring it. It is curious, that the Pardoner's tale inspired no guilt in my gut. This may have occurred because I knew the Pardoner was a sinner himself. I was once taught by somebody wise that criticisms loose credibility when told by one who does not take his own advice. The Pardoner is a fraud, and he admits it numerous times, like when he states that his

403 "...entente is nat but for to wynne,
"...intention is only to make a profit,
404 And nothyng for correccioun of synne."
And not at all for correction of sin."

He is also imprudent, which we can see when he insults his listeners in the prologue when he proclaims to those who have asked of him a tale, that

437 "...lewed peple loven tales olde;
"...ignorant people love old tales;
438 Swiche thynges kan they wel reporte and holde."
Such things they can well repeat and hold in memory."

It is humorous to hear a sinner preach absolution openly, and may well be Chaucer's criticism of the Church.

A Bird Named Nevermore

In Poe's poem, "Raven", we see a number of symbolic elements which can be interpreted in a variety of ways. When describing the instance of bewilderment upon opening his home's door, we may see a possible symbolism in regards to the contrasting light conditions of the scene, as well as the description of the opening of the doors wide open: The differences in light that Poe presents in his poem represent a sense of comfort within his establishment which he doesn't sense once he opens his door. There are unknown things where he cannot see them, and he fears them. What he knows is his loneliness. The body language, so aptly illustrated in this image, may allude to Jesus's crucification. This means that the narrator is sacrificing himself for what he believes - his hopeless solitude. We also see that the Raven may represent his closest friend (which may be himself), who he believes is destined to abandon him:

With this revelation, we can assume that our narrator is comfortable with his disparity, which is why he is so astonished to hear the raven's "Nevermore". At the end, the reader is told that the raven's shadow represents the narrator's dying soul. Then again, it is common to find dark animals and images to represent death, which may just be case. The raven would then be ironic shadow of death that has come to remind our narrator that he is alone in his deathbed. One way or another, our narrator is not comfortable without his solitude.

One curiosity is the fact that the balm of Gilead is mentioned, which led me to some investigation:

Dreaming Or Hoping?

In The Wife of Bath's Tale, by Chaucer, we see a story told by a bitter woman who has, apparently, lost enough hope in men, that she must seek to hopes and dreams to fantasize the perfect couple. The couple she describes has a love that does not depend on anything superficial, which seems to be the basis for repression and the other unwanted characteristics of marriage the Wife describes in her Prologue. Her ideal mentality can be linked to a basic form of Hindu teachings as seen in the Bhagavad-Gita:

1185 "Whoso that halt hym payd of his poverte,

"Whoever considers himself satisfied with his poverty,
1186 I holde hym riche, al hadde he nat a sherte."
I consider him rich, although he had not a shirt."

The question is, ultimately, the following: Is the tale told by the Wife of Bath fantasy or hope?

Marry, Cook, Breed. Repeat.

"Of five husbands' schooling am I.

45 Welcome the sixte, whan that evere he shal.

Welcome the sixth, whenever he shall appear.

46 For sothe, I wol nat kepe me chaast in al.

For truly, I will not keep myself chaste in everything.

47 Whan myn housbonde is fro the world ygon,

When my husband is gone from the world,

48 Som Cristen man shal wedde me anon,

Some Christian man shall wed me straightway,

49 For thanne th' apostle seith that I am free

For then the apostle says that I am free

50 To wedde, a Goddes half, where it liketh me.

To wed, by God's side (I swear), wherever it pleases me.

51 He seith that to be wedded is no synne;

He says that to be wedded is no sin;

52 Bet is to be wedded than to brynne."

It is better to be wedded than to burn."

One humorous film I have seen is My Big Fat Greek Wedding, which tells of a traditional Greek Orthodox family with their customs somewhat exaggerated. The most emphasized ideology is the following: Females' raison d'être is to "marry good Greek men, cook good Greek food, and make many Greek babies." The entire film's events are developed around the breaching of such a psychorigid mentality. In the same way, the prologue of Chaucer's The Wife of Bath's Tale is narrated by a woman who, after being schooled in the art being a good wife, has rebelled to become a brutal spouse:

"As help me God, I laughe whan I thynke

"So help me God, I laugh when I think

202 How pitously a-nyght I made hem swynke!

How pitifully at night I made them work!

203 And, by my fey, I tolde of it no stoor.

And, by my faith, I set no store by it.

204 They had me yeven hir lond and hir tresoor;

They had given me their land and their treasure;

205 Me neded nat do lenger diligence

I needed not work hard any longer

206 To wynne hir love, or doon hem reverence.

To win their love, or do them reverence.

207 They loved me so wel, by God above,

They loved me so well, by God above,

208 That I ne tolde no deyntee of hir love!

That I reckoned little of their love!

209 A wys womman wol bisye hire evere in oon

A wise woman will be constantly busy

210 To gete hire love, ye, ther as she hath noon.

To get their love, yes, when she has none.

211 But sith I hadde hem hoolly in myn hond,

But since I had them wholly in my hand,

212 And sith they hadde me yeven al hir lond,

And since they had me given all their land,

213 What sholde I taken keep hem for to plese,

Why should I take care to please them,

214 But it were for my profit and myn ese?"

Unless it were for my profit and my pleasure?"Every time one of her five husbands attempted to repress her, she

"...folwed ay my dames loore,

"...followed always my mother's teaching,

584 As wel of this as of othere thynges moore."

As well in this as in other things more."

In her prologue, she reveals repressed feelings, previously unknown (or ignored) by men. This information should prove valuable to a man who wants to be a good spouse, even if he thinks he already is one:

"We love no man that taketh kep or charge

"We love no man who takes notice or concern about

322Wher that we goon; we wol ben at oure large."

Where we go; we will be free (to do as we wish)."

According to the Wife of Bath, women feel especially repressed when they feel they

387 "...koude pleyne, and yit was in the gilt,

"...could complain, and yet was in the wrong,

388 Or elles often tyme hadde I been spilt."

Or else many times had I been ruined."

While I believe that men often joke about this subject, I do not believe that the average husband feels so negatively of his wife as the Wife of Bath believes it to be:

371 "Thou liknest eek wommenes love to helle,

"Thou also compare women's love to hell,

372 To bareyne lond, ther water may nat dwelle.

To barren land, where water may not remain.

373 Thou liknest it also to wilde fyr;

Thou compare it also to Greek (inextinguishable) fire;

374 The moore it brenneth, the moore it hath desir

The more it burns, the more it has desire

375 To consume every thyng that brent wole be.

To consume every thing that will be burned.

376 Thou seyest, right as wormes shende a tree,

Thou sayest, just as worms destroy a tree,

377 Right so a wyf destroyeth hire housbonde;

Right so a wife destroys her husband;

378 This knowe they that been to wyves bonde.'"

This know they who are bound to wives.'"

It may also be the case, that in the time that the Canterbury Tales were written, that the entire marriage institution was based on a different set of values than it is today. If this were the case, then not only would the Wife of Bath be very satisfied living in 2010, but Chaucer would have something else to write about; the transformation of marriage through time. However, one time-resistant truth which men often try hard to ignore is that women rarely appreciate being corrected by their husbands. Nobody enjoys being told their faults by others, for that matter.

659 "But al for noght, I sette noght an hawe

But all for nothing, I gave not a hawthorn berry

660 Of his proverbes n' of his olde sawe,

For his proverbs nor for his old sayings,

661 Ne I wolde nat of hym corrected be.

Nor would I be corrected by him.

662 I hate hym that my vices telleth me,

I hate him who tells me my vices,

663 And so doo mo, God woot, of us than I.

And so do more of us, God knows, than I."

After reading the Prologue of the Wife of Bath, I have come to the conclusion that while not as radical today, the repression women kindles deep sentiments, which may cause extreme personalities such as that of the Wife of Bath.

Harnessing The Miller's Power

In Chaucer's The Miller's Tale, the reader is told a graphic and uncensored story describing the process of deceit a person takes to be adulterous. The tale contains trickery, humiliation, pain, and obsessive love. It is clear that it is told by a Miller, due to the grotesqueness of the story line, and due to the fact that Chaucer's prologue to the tales is blunt as well: The description of the characters contains satire in a way that depicts every character as a fraud in their own esteem. I believe that this crude honesty and uncensored information is what could make one attribute Chauser to the Miller, as opposed to the Knight, who describes a world where love does not imply sex, and where chivalry and sportsmanship reign:

Of the Miller's tale,

3806 This Nicholas anon leet fle a fart

This Nicholas immediately let fly a fart

3807 As greet as it had been a thonder-dent,
As great as if it had been a thunder-bolt,
3808 That with the strook he was almoost yblent;
So that with the stroke he was almost blinded;
3809 And he was redy with his iren hoot,
And he was ready with his hot iron,
3810 And Nicholas amydde the ers he smoot.

And he smote Nicholas in the middle of the ass.

Of the Knight's Tale:

2636 Som tyme an ende ther is of every dede.
Some time there is an end of every deed.
2637 For er the sonne unto the reste wente,
For before the sun went unto its rest,
2638 The stronge kyng Emetreus gan hente
The strong king Emetreus did seize
2639 This Palamon, as he faught with Arcite,
This Palamon, as he fought with Arcite,
2640 And made his swerd depe in his flessh to byte,
And made his sword deep in his flesh to bite,
2641 And by the force of twenty is he take
And by the force of twenty he (Palamon) is taken
2642 Unyolden, and ydrawen to the stake.
Without having surrendered, and dragged to the stake.
2643 And in the rescus of this Palamoun
And in the rescue of this Palamon
2644 The stronge kyng Lygurge is born adoun,
The strong king Lygurge is born down,
2645 And kyng Emetreus, for al his strengthe,
And king Emetreus, despite all his strength,
2646 Is born out of his sadel a swerdes lengthe,
Is carried out of his saddle a sword's length,
2647 So hitte him Palamoun er he were take.
So hit him Palamon before he was taken.
2648 But al for noght; he was broght to the stake.
But all for naught; he was brought to the stake.
2649 His hardy herte myghte hym helpe naught:
His hardy heart could not help him:
2650 He moste abyde, whan that he was caught,
He must abide, when he was caught,
2651 By force and eek by composicioun.
By force and also by the agreed terms of battle.

Of the Prologue:

With us there was a DOCTOR OF MEDICINE
412 In al this world ne was ther noon hym lik,
In all this world there was no one like him,
413 To speke of phisik and of surgerye,
To speak of medicine and of surgery,
414 For he was grounded in astronomye.
For he was instructed in astronomy.
415 He kepte his pacient a ful greet deel
He took care of his patient very many times
416 In houres by his magyk natureel.
In (astronomically suitable) hours by (use of) his natural science.
417 Wel koude he fortunen the ascendent
He well knew how to calculate the planetary position
418 Of his ymages for his pacient.
Of his astronomical talismans for his patient.
419 He knew the cause of everich maladye,
He knew the cause of every malady,
420 Were it of hoot, or coold, or moyste, or drye,
Were it of hot, or cold, or moist, or dry elements,
421 And where they engendred, and of what humour.
And where they were engendered, and by what bodily fluid.
422 He was a verray, parfit praktisour:
He was a truly, perfect practitioner:
423 The cause yknowe, and of his harm the roote,
The cause known, and the source of his (patient's) harm,
424 Anon he yaf the sike man his boote.
Straightway he gave the sick man his remedy.
425 Ful redy hadde he his apothecaries
He had his apothecaries all ready
426 To sende hym drogges and his letuaries,
To send him drugs and his electuaries,
427 For ech of hem made oother for to wynne --
For each of them made the other to profit --
428 Hir frendshipe nas nat newe to bigynne.
Their friendship was not recently begun.
429 Wel knew he the olde Esculapius,
He well knew the old Aesculapius,
430 And Deyscorides, and eek Rufus,
And Dioscorides, and also Rufus,
431 Olde Ypocras, Haly, and Galyen,
Old Hippocrates, Haly, and Galen,
432 Serapion, Razis, and Avycen,
Serapion, Rhazes, and Avicenna,
433 Averrois, Damascien, and Constantyn,
Averroes, John the Damascan, and Constantine,
434 Bernard, and Gatesden, and Gilbertyn.
Bernard, and Gaddesden, and Gilbertus.
435 Of his diete mesurable was he,
He was moderate in his diet,
436 For it was of no superfluitee,
For it was of no excess,
437 But of greet norissyng and digestible.
But greatly nourishing and digestible.
438 His studie was but litel on the Bible.
His study was but little on the Bible.
439 In sangwyn and in pers he clad was al,
He was clad all in red and in blue,
440 Lyned with taffata and with sendal.
Lined with taffeta and with silk.
441 And yet he was but esy of dispence;
And yet he was moderate in spending;
442 He kepte that he wan in pestilence.
He kept what he earned in (times of) plague.
443 For gold in phisik is a cordial,
Since in medicine gold is a restorative for the heart,
444 Therefore he lovede gold in special.
Therefore he loved gold in particular.

My New Vocabulary List from "The Knight's Tale"

7.

6.
5.
4.

3.
2.
1.
1. Citole (1959)

2. Bough (1980)

3. Countenance (2010)

4. Fleetingly (2203)

5. Befuddled (2230)

6. Palfreys (2495)

7. Frothing (2506)

There is a pun on line 2208. Point, which can mean 'objective', or refer otherwise to the point of a spear.

'Bros Before Hoes'

While not explicitly mentioned, the saying "Bros before hoes" can be applied to the first part of The Knight's Tale by Geoffrey Chaucer. Arcite and Palamon, who are in fact cousins, fight over a damsel one of them sights before the other. They proceed with the childish I-called-her-first game, only to be separated following a set of events which leave each contestant in different circumstances, conflictingly equal.

Palamon seems to be the more chivalrous of the pair, while Acrite has

apparently been blinded by love. They proceed to exchange the common bankjob-film line: "Every man for himself".

Later on, Palamon's monologue from lines 1265-1264 question the nature of happiness and its role in life.

The Knight, our narrator, concludes by asking a disputable question:

Due to the fact that Theseus has two women in his life (Ypolita and Emelye), a solution to the cousins' dilemma is foreshadowed: Each will end up with a woman. That is my prediction. However, it may just be that my hypothesis is completely mistaken.

Dreams, and other excuses to have fun

Upon reading Breton's First Surrealist Manifesto, the importance I have attributed to dreams is only corroborated. The happiness obtained from their freedom is conceded at a steep price: The violent awakening only deprives us of the youthful joy within the dreams. In "Migrations", by Dorian Merina the dreams of a far off place (5:08) are pricey at best, and often, as we may see countless times, too pricey for some.

One conclusion we may approach is that which attributes bliss to change, in which case, the cultural varieties seen today occur due to peoples' belief in finding their dreams elsewhere. Elsewhere will never be reached, of course, as is the case with Alice in Through the Looking Glass. Lewis Caroll writes about a similar situation in which “The rule is, jam tomorrow and jam yesterday - but never jam today.” (Caroll)

If people enjoy exotic variety (2:26-2:48), there is no question as to why they wouldn't enjoy them in combos: We find interest in those who have mixed decent (2:59-3:35). We can no longer be curious, then, as to why people are attracted to fast food places which allow customers to be creative with their meals. Buyers acquire interesting combos, and can have fun creating them. It is the same joy we may find in dreams, whether waking or not.