Sarita Beekie
Ms. Peifer
10 IB - Hour 5
26 March 2009
The Flying Doctor LRJ
The theme of The Flying Doctor is very whimsical and comedic, in a sense that the conundrum featured in the story is portrayed in a light-hearted manner due to the facetious way the accidental hero Sganarelle sets out to solve this problem, and that all of the characters are made content in the end. The conundrum is that Lucile's father, "is bent upon marrying [her] to Villebrequin" (Moliere 1) even though Lucile is very much in love with Valere. So Lucile's cousin Sabine suggests to Valere, "Could you not find one [doctor], some friend of yours, who would be on our side, and order the invalid to go into the country for a change of air? The old man [Gorgibus] will be sure to send my cousin to live in the pavilion, which is at the bottom of our garden. In that way you will be able to see her, unknown to our uncle, and marry her" (Moliere 1). So Valere sends out his fool-hearty servant Sganarelle to act as a doctor, whose identity as a servant is almost discovered by Gorgibus, but Sganarelle tells Gorgibus, "I am [the doctor's] brother, sir; we are twins, and we resemble each other like two peas, and are often taken the one for the other" (Moliere 7). Confusion and liveliness ensues, but everything is resolved happily in the end.
The plot of the story (or lack there of) leaves plenty of room for humor. Casting a seemingly "dull-witted" servant as a knowledgeable doctor that would eventually become the hero sets up the story perfectly for comedic moments. One specifically being one the of the more dramatic moments in which Sganarelle has been jumping in and out of the window, being both the the "doctor" and the doctor's twin brother. Then is asked to appear as the doctor and the twin brother at the exact same time in front of Gorgibus, (which he manages to do) in which Gorgibus' valet exclaims, "Upon my word, he is a sorcerer!" (Moliere 11).
The Flying Doctor is a prime example of farce, seeing how the play is fairly short (the entire script is only 12 pages long), and despite the utter foolery on the Sganarelle's behalf, and the agitation he puts Gorgibus through, Sganarelle is still spared from being hung because he convinces Gorgibus that it was right to do so, and justifies his actions by simply stating, "Why sir, what good will it do you to hang me? Hear a word or two, I beg of you. It is true that, thanks to my stratagem, my master is with your daughter; but while serving him, I have done you no wrong. It is a good match for her, both as to birth and money. Believe me, do not make a scandal which would turn to your shame; but send this knave here to the devil along with Villebrequin" (Moliere, 12).
All of this being said, The Flying Doctor cannot be called a satire due to its humorous disposition and lack of any form of sarcasm, irony, or wit. The characters' shortcomings are cast in an amusing light (versus something to be ridiculed or scorned), and most importantly, the primary purpose of this literary work was to entertain, and was certainly not created to communicate some subliminal message through the work (a prominent characteristic in satires).
Thursday, March 26, 2009
Wednesday, March 25, 2009
A Modest Proposal LRJ
Sarita Beekie
Ms. Peifer
10 IB - Hour 5
25 March 2009
A Modest Proposal LRJ
In Jonathan Swift's A Modest Proposal, blatantly states that Ireland's poverty is due to a "prodigious number of children in the arms, or on the backs, or at the heels of their mothers, and frequently their fathers, [which] is in the present deplorable state of the kingdom a very great additional grievance" (Swift 1).
In order to solve this problem, he humbly suggests "that of the hundred and twenty thousand children already computed, [only] twenty thousand be reserved for breed" (Swift 2) and that the rest of the children be eaten, because "a young healthy child well nursed is at a year old a most delicious, nourishing, and wholesome food" (Swift 2).
To support the merit behind his proposal, Swift throws out statistics such as, "a child born just born will weigh 12 pounds, and in a solar year, if tolerably nursed, increaseth to 28 pounds" (Swift 2) and "a beggar's child to be about two shillings per annum" (Swift 3). Other arguments that Swift uses deal more with morality, such as, "likewise another great advantage in my scheme, [is] that it will prevent those voluntary abortions, and that horrid practice of women murdering their bastard children" (Swift 1) (which perfectly adds to the satirical irony of Swift's proposal, seeing how Swift's suggested infanticide/cannibalism and abortion both result in killing children).
In the last paragraphs, Swift is asserting that his proposal is only his "opinion", and that there are other ways to solve the crisis previously stated in the proposal. In these last paragraphs, (if it wasn't apparent before) Swift makes it clear that he doesn't feel that it is at all necessary (or even right) to kill babies in order to solve Ireland's economic crisis concerning the Irish common folk. He backs this up by saying, "I profess, in the sincerity of my heart, that I have not the least personal interest in endeavoring to promote this necessary work...I have no children by which I can propose to get a single penny; the youngest being nine years old, and my wife past child-bearing" (Swift 6).
Despite his fervent insistence on eating babies as a source of nourishment, Swift actually uses his Modest Proposal to address a completely different aspect. Swift uses the Modest Proposal as a way of attacking the Engish landlords that overtax the Irish common folk, leaving them in utter poverty. This is very apparent when Swift states, "I grant this food will be somewhat dear, and therefore very proper for landlords, who, as they have already devoured most of the parents, seem to have the best title to the children" (Swift 3). Other attacks on the richer Engish landlords include, Swift states, "Those who are more thrifty (as I must confess the times require) may flay the carcass; the skin of which artificially dressed will make admirable gloves for ladies, and summer boots for fine gentlemen" (Swift 3), and "The poorer tenants will have something valuable of their own, which by law may be made liable to distress and help to pay their landlord's rent, their corn and cattle already being seized, and money a thing unknown" (Swift 4), and lastly, "whether they would not at this day think it a great happiness to have been sold for food, at a year old in the manner I prescribe, and thereby have avoided...the oppression of landlords, the impossibility of paying rent without money or trade, the want of common sustenance, with neither house nor clothes to cover them from the inclemencies of the weather, and the most inevitable prospect of entailing the like or greater miseries upon their breed for ever" (Swift 6).
Ms. Peifer
10 IB - Hour 5
25 March 2009
A Modest Proposal LRJ
In Jonathan Swift's A Modest Proposal, blatantly states that Ireland's poverty is due to a "prodigious number of children in the arms, or on the backs, or at the heels of their mothers, and frequently their fathers, [which] is in the present deplorable state of the kingdom a very great additional grievance" (Swift 1).
In order to solve this problem, he humbly suggests "that of the hundred and twenty thousand children already computed, [only] twenty thousand be reserved for breed" (Swift 2) and that the rest of the children be eaten, because "a young healthy child well nursed is at a year old a most delicious, nourishing, and wholesome food" (Swift 2).
To support the merit behind his proposal, Swift throws out statistics such as, "a child born just born will weigh 12 pounds, and in a solar year, if tolerably nursed, increaseth to 28 pounds" (Swift 2) and "a beggar's child to be about two shillings per annum" (Swift 3). Other arguments that Swift uses deal more with morality, such as, "likewise another great advantage in my scheme, [is] that it will prevent those voluntary abortions, and that horrid practice of women murdering their bastard children" (Swift 1) (which perfectly adds to the satirical irony of Swift's proposal, seeing how Swift's suggested infanticide/cannibalism and abortion both result in killing children).
In the last paragraphs, Swift is asserting that his proposal is only his "opinion", and that there are other ways to solve the crisis previously stated in the proposal. In these last paragraphs, (if it wasn't apparent before) Swift makes it clear that he doesn't feel that it is at all necessary (or even right) to kill babies in order to solve Ireland's economic crisis concerning the Irish common folk. He backs this up by saying, "I profess, in the sincerity of my heart, that I have not the least personal interest in endeavoring to promote this necessary work...I have no children by which I can propose to get a single penny; the youngest being nine years old, and my wife past child-bearing" (Swift 6).
Despite his fervent insistence on eating babies as a source of nourishment, Swift actually uses his Modest Proposal to address a completely different aspect. Swift uses the Modest Proposal as a way of attacking the Engish landlords that overtax the Irish common folk, leaving them in utter poverty. This is very apparent when Swift states, "I grant this food will be somewhat dear, and therefore very proper for landlords, who, as they have already devoured most of the parents, seem to have the best title to the children" (Swift 3). Other attacks on the richer Engish landlords include, Swift states, "Those who are more thrifty (as I must confess the times require) may flay the carcass; the skin of which artificially dressed will make admirable gloves for ladies, and summer boots for fine gentlemen" (Swift 3), and "The poorer tenants will have something valuable of their own, which by law may be made liable to distress and help to pay their landlord's rent, their corn and cattle already being seized, and money a thing unknown" (Swift 4), and lastly, "whether they would not at this day think it a great happiness to have been sold for food, at a year old in the manner I prescribe, and thereby have avoided...the oppression of landlords, the impossibility of paying rent without money or trade, the want of common sustenance, with neither house nor clothes to cover them from the inclemencies of the weather, and the most inevitable prospect of entailing the like or greater miseries upon their breed for ever" (Swift 6).
Sunday, March 15, 2009
As You Like It LRJ #5
Sarita Beekie
Ms. Peifer
10 IB - Hour 5
15 March 2009
As You Like It LRJ #5
Dear me, my fair coz Celia shall soon be wed to my love's elder brother Oliver, along with Touchstone to the goat-herder lass Audrey, and here in the Forest of Arden shall the adoring duos live in happiness. How it must pain my love to not be able to marry his amour like Oliver is able to do such, for I am still Ganymede, and despite Oliver knowing of my identity, Orlando still knows not of my true nature.
What's worse, is that Phoebe still bids me to love her, just as she loves me. Even though Silvius loves her, she still doth love me, though I have clearly declared that I can love no woman (which is not a lie...). So I cleverly devise a way so that all the players on the stage of Arden might be happy. Silvius, Phoebe, Orlando, and myself. So I promise to appear the next day, and marry Phoebe, however, should I not appear, she shall marry Silvius. As well, I promise to Orlando that by the capabilities of magic granted to me by my uncle, I shall make Rosalind appear tomorrow so that he may merrily marry her. At last, truly now, will I finally be with my love.
So clever am I...that I should just appear as my true nature the next day and proclaim before Hymen the god of marriage and Orlando, "I'll have no husband, if you be not he" (As You Like It, Shakespeare, 5, iv, 128) and then immediately turn to Phoebe and say, "Nor ne'er wed woman, if you be not she" (As You Like It, Shakespeare, 5, iv, 129-130). So now I am to Orlando, as Celia is to Oliver, and as Audrey is to Touchstone, and (whether she like it or no) as Phoebe is to Silvius. Yea, as they oft say, all beith well that end like well.
Ms. Peifer
10 IB - Hour 5
15 March 2009
As You Like It LRJ #5
Dear me, my fair coz Celia shall soon be wed to my love's elder brother Oliver, along with Touchstone to the goat-herder lass Audrey, and here in the Forest of Arden shall the adoring duos live in happiness. How it must pain my love to not be able to marry his amour like Oliver is able to do such, for I am still Ganymede, and despite Oliver knowing of my identity, Orlando still knows not of my true nature.
What's worse, is that Phoebe still bids me to love her, just as she loves me. Even though Silvius loves her, she still doth love me, though I have clearly declared that I can love no woman (which is not a lie...). So I cleverly devise a way so that all the players on the stage of Arden might be happy. Silvius, Phoebe, Orlando, and myself. So I promise to appear the next day, and marry Phoebe, however, should I not appear, she shall marry Silvius. As well, I promise to Orlando that by the capabilities of magic granted to me by my uncle, I shall make Rosalind appear tomorrow so that he may merrily marry her. At last, truly now, will I finally be with my love.
So clever am I...that I should just appear as my true nature the next day and proclaim before Hymen the god of marriage and Orlando, "I'll have no husband, if you be not he" (As You Like It, Shakespeare, 5, iv, 128) and then immediately turn to Phoebe and say, "Nor ne'er wed woman, if you be not she" (As You Like It, Shakespeare, 5, iv, 129-130). So now I am to Orlando, as Celia is to Oliver, and as Audrey is to Touchstone, and (whether she like it or no) as Phoebe is to Silvius. Yea, as they oft say, all beith well that end like well.
Saturday, March 14, 2009
As You Like It LRJ #4
Sarita Beekie
Ms. Peifer
10 IB - Hour 5
14 March 2009
As You Like It LRJ #4
I don't particularly care for the choleric temperament of the fellow Jacques. He doth say that "'tis good to be sad and say nothing" (As You Like It, Shakespeare, 4, i, 10) whereas I proclaim, "then, 'tis good to be post" (As You Like It, Shakespeare, 4, i, 11).
However, my dearest chuck Orlando did appear soon after Jacques' departure, though in a manner most unpunctual. I, as Ganymede, chid him for this, and began to test the virtue of his love for his bonnie lass Rosalind. Soon I shall know if thou doth love me truly, soon I shall know. Though in jesting at lesser points of female nature, Celia did scold me, "You have simply misused our sex in your love-prate. We must have your doublet and hose plucked over your head and show the world what the bird hath done to her own nest" (As You Like It, Shakespeare, 4, i, 214-217). Perhaps that is so, but she is blind to the method behind my madness, as well as my unfathomable fondness for the sweet Orlando...
The next day, Silvius sent me word from Phoebe. Whether the word truly was from Phoebe or perhaps another, 'twas a contemptible word or two, I might add. She proclaimed that if I should refuse her love, she should certainly die. My Jupiter! What doth the shepherd Silvius see in such a viper?!
Orlando failed again to meet me in a timely fashion, however, his elder brother Oliver did appear before Aliena and I. He bore a bloody handkerchief, to which Orlando had asked him to give to me as an excuse of his broken promise. For it was Orlando that did save Oliver from the jaws of a ravenous lioness! I fainted at the notion that he had almost lost his life, and in doing so, revealed my true sex to Oliver. No matter, my heart will forever be light with the notion of my lovely one being so valiant and brave...*girly sigh*
Ms. Peifer
10 IB - Hour 5
14 March 2009
As You Like It LRJ #4
I don't particularly care for the choleric temperament of the fellow Jacques. He doth say that "'tis good to be sad and say nothing" (As You Like It, Shakespeare, 4, i, 10) whereas I proclaim, "then, 'tis good to be post" (As You Like It, Shakespeare, 4, i, 11).
However, my dearest chuck Orlando did appear soon after Jacques' departure, though in a manner most unpunctual. I, as Ganymede, chid him for this, and began to test the virtue of his love for his bonnie lass Rosalind. Soon I shall know if thou doth love me truly, soon I shall know. Though in jesting at lesser points of female nature, Celia did scold me, "You have simply misused our sex in your love-prate. We must have your doublet and hose plucked over your head and show the world what the bird hath done to her own nest" (As You Like It, Shakespeare, 4, i, 214-217). Perhaps that is so, but she is blind to the method behind my madness, as well as my unfathomable fondness for the sweet Orlando...
The next day, Silvius sent me word from Phoebe. Whether the word truly was from Phoebe or perhaps another, 'twas a contemptible word or two, I might add. She proclaimed that if I should refuse her love, she should certainly die. My Jupiter! What doth the shepherd Silvius see in such a viper?!
Orlando failed again to meet me in a timely fashion, however, his elder brother Oliver did appear before Aliena and I. He bore a bloody handkerchief, to which Orlando had asked him to give to me as an excuse of his broken promise. For it was Orlando that did save Oliver from the jaws of a ravenous lioness! I fainted at the notion that he had almost lost his life, and in doing so, revealed my true sex to Oliver. No matter, my heart will forever be light with the notion of my lovely one being so valiant and brave...*girly sigh*
As You Like It LRJ #3
Sarita Beekie
Ms. Peifer
10 IB - Hour 5
14 March 2009
As You Like It LRJ #3
"From the east to western Ind, no jewel is like Rosalind. Her worth being mounted on the wind, through all the world bears Rosalind. Are all the pictures fairest lined, are but black to Rosalind. Let no face be kept in mind, but the fair of Rosalind" (As You Like It, Shakespeare, 3, ii, 88-95). Amidst Touchstone's mocking, I couldn't help but wonder, "Who doth write such sweet nothings on the trees of Arden, especially about I?" Thereupon, Celia prithee me in private, "Doth you know who hath but done this?" when I answered that I did not, so she did merrily tease my forgetfulness before telling me, "It is young Orlando, that tripped up the wrestler's heels and your heart both in an instant" (As You Like It, Shakespeare, 3, ii, 216-217). Flustered as I was at the word of my love being near, I asked her, "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?" (As You Like It, Shakespeare, 3, ii, 223-227) but more importantly, I prithee, "But doth he know that I am in this forest and in man's apparel?" (As You Like It, Shakespeare, 3, ii, 233-234)
Shortly afterwards however, Orlando doth appear with a disturbingly morose fellow by the name of Jacques (who simply disliked me, wherefore, I do not know). Eventually, I did reveal myself and thus playing the knave, conversed him into admitting that he had marked the trees with lover's words. Then claiming that I could cure him of his infatuation, he rebuked that he wouldst not be cured. Hoping for no less reply, I told him to prove it (so that I might test his love for virtue that I longed for), and that he should call me Rosalind.
I have encountered my father, as well. Not recognizing me he asked of what parentage I was, and I doth reply, "as good as he" and he continued on his merry way. Yea, let me not forget either of the possessed shepherd Silvius and the most disdainful object of his attraction, the shepherdess Phoebe, whose own attraction has been carelessly aimed at me. Oh bother...whatever does one do in complexities as these?
Ms. Peifer
10 IB - Hour 5
14 March 2009
As You Like It LRJ #3
"From the east to western Ind, no jewel is like Rosalind. Her worth being mounted on the wind, through all the world bears Rosalind. Are all the pictures fairest lined, are but black to Rosalind. Let no face be kept in mind, but the fair of Rosalind" (As You Like It, Shakespeare, 3, ii, 88-95). Amidst Touchstone's mocking, I couldn't help but wonder, "Who doth write such sweet nothings on the trees of Arden, especially about I?" Thereupon, Celia prithee me in private, "Doth you know who hath but done this?" when I answered that I did not, so she did merrily tease my forgetfulness before telling me, "It is young Orlando, that tripped up the wrestler's heels and your heart both in an instant" (As You Like It, Shakespeare, 3, ii, 216-217). Flustered as I was at the word of my love being near, I asked her, "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?" (As You Like It, Shakespeare, 3, ii, 223-227) but more importantly, I prithee, "But doth he know that I am in this forest and in man's apparel?" (As You Like It, Shakespeare, 3, ii, 233-234)
Shortly afterwards however, Orlando doth appear with a disturbingly morose fellow by the name of Jacques (who simply disliked me, wherefore, I do not know). Eventually, I did reveal myself and thus playing the knave, conversed him into admitting that he had marked the trees with lover's words. Then claiming that I could cure him of his infatuation, he rebuked that he wouldst not be cured. Hoping for no less reply, I told him to prove it (so that I might test his love for virtue that I longed for), and that he should call me Rosalind.
I have encountered my father, as well. Not recognizing me he asked of what parentage I was, and I doth reply, "as good as he" and he continued on his merry way. Yea, let me not forget either of the possessed shepherd Silvius and the most disdainful object of his attraction, the shepherdess Phoebe, whose own attraction has been carelessly aimed at me. Oh bother...whatever does one do in complexities as these?
As You Like It LRJ #2
Sarita Beekie
Ms. Peifer
10 IB - Hour 5
14 March 2009
As You Like It LRJ #2
'Twas not but a few brief moments in the Forest of Arden, did I as Ganymede, and Celia as Aliena, and Touchstone as his own, stumble upon several intriguing characters in the wood. To acquaint ourselves with them, the three of us crept low and played a little game of "eavesdropping". To which we found an older man of several score by the name of Corin, and an infatuated shepherd-youth by the name of Silvius. The lad reminded me of mine own love for Orlando, of whom I wish to find soon. Then when simply listening became unbearable, Touchstone bantered with the two shepherds a bit before we asked of their aid, for "Aliena" had been much oppressed from the long travel. Corin would've been obliged to lend us a place to stay, however, his stingy master wouldn't have allowed it. Upon this conundrum, I bought the land of Corin's master (via the treasure Celia and I had gathered before our departure) and immediately settled in to the cozy, country estate.
Ms. Peifer
10 IB - Hour 5
14 March 2009
As You Like It LRJ #2
'Twas not but a few brief moments in the Forest of Arden, did I as Ganymede, and Celia as Aliena, and Touchstone as his own, stumble upon several intriguing characters in the wood. To acquaint ourselves with them, the three of us crept low and played a little game of "eavesdropping". To which we found an older man of several score by the name of Corin, and an infatuated shepherd-youth by the name of Silvius. The lad reminded me of mine own love for Orlando, of whom I wish to find soon. Then when simply listening became unbearable, Touchstone bantered with the two shepherds a bit before we asked of their aid, for "Aliena" had been much oppressed from the long travel. Corin would've been obliged to lend us a place to stay, however, his stingy master wouldn't have allowed it. Upon this conundrum, I bought the land of Corin's master (via the treasure Celia and I had gathered before our departure) and immediately settled in to the cozy, country estate.
Sunday, March 8, 2009
As You Like It LRJ #1
Sarita Beekie
Ms. Peifer
10 IB - Hour 5
8 March 2009
As You Like It LRJ #1
My name is Rosalind. I am the daughter of Duke Senior and (regretfully) the niece to his brother, Duke Frederick. Though Duke Frederick is my father's brother, as well as the father of my closest friend Celia, I detest him with a fiery passion, for it was he who claimed the throne of the dukedom to which my father was the rightful heir. Then after doing so, he exiled my father to the Forest of Arden. Now, in my father's absence, I must live with my disdainful uncle. I would've declined forthright, however, Celia insisted with equal fervency that I stay in their estate (to my uncle's dismay, of course).
On a lighter note, Celia has been chiding me for falling much too quickly for the impetuous Orlando, son of Sir Rowland de Boys, an ally of my father, when he was alive, that is. Though our meeting beith short-lived, I intend to uphold the promise that I made to him, and abide with him, soon afterwards.
Then, just as I had begun to think that the man known as my uncle couldn't have been more detestable, he forces me to depart his estate with less than ten day's notice! I decide to make this transition of settings as graceful as possible and not to make much ado about nothing, for Celia hath decided to abide with me! She insisted that we go seek my father in the Forest of Arden, but I rebuked her with the notion of the danger that would befall two ladies like ourselves. However, the clever lass suggested that she dress as a poor shepherdess calling herself Aliena, and from that I devised that I, being more than common-tall, should dress as a man hailing myself Ganymede. As well, we agreed that the court jester Touchstone would accompany us in our delighting journey to liberty, instead of remorseful banishment.
Ms. Peifer
10 IB - Hour 5
8 March 2009
As You Like It LRJ #1
My name is Rosalind. I am the daughter of Duke Senior and (regretfully) the niece to his brother, Duke Frederick. Though Duke Frederick is my father's brother, as well as the father of my closest friend Celia, I detest him with a fiery passion, for it was he who claimed the throne of the dukedom to which my father was the rightful heir. Then after doing so, he exiled my father to the Forest of Arden. Now, in my father's absence, I must live with my disdainful uncle. I would've declined forthright, however, Celia insisted with equal fervency that I stay in their estate (to my uncle's dismay, of course).
On a lighter note, Celia has been chiding me for falling much too quickly for the impetuous Orlando, son of Sir Rowland de Boys, an ally of my father, when he was alive, that is. Though our meeting beith short-lived, I intend to uphold the promise that I made to him, and abide with him, soon afterwards.
Then, just as I had begun to think that the man known as my uncle couldn't have been more detestable, he forces me to depart his estate with less than ten day's notice! I decide to make this transition of settings as graceful as possible and not to make much ado about nothing, for Celia hath decided to abide with me! She insisted that we go seek my father in the Forest of Arden, but I rebuked her with the notion of the danger that would befall two ladies like ourselves. However, the clever lass suggested that she dress as a poor shepherdess calling herself Aliena, and from that I devised that I, being more than common-tall, should dress as a man hailing myself Ganymede. As well, we agreed that the court jester Touchstone would accompany us in our delighting journey to liberty, instead of remorseful banishment.
Wednesday, March 4, 2009
Macbeth LRJ #6
Sarita Beekie
Ms. Peifer
10 IB - Hour 5
4 March 2009
Macbeth LRJ #6
Several important questions that Shakespeare invites the viewers and readers of Macbeth to ponder are:
When does ambition become insanity?
Do all impassioned desires result in destruction? and
Do suggestions [such as prophecies] influence one's destiny?
It was the original prophecy that hailed Macbeth the one, "that shalt be king hereafter" (Shakespeare, Macbeth, 1, iii, 50) that causes the bloody chain of events that would lead to the downfall of both Macbeth and Lady Macbeth. Then it was Lady Macbeth's brassy arrogance and bold ambition that would convince Macbeth that it was necessary to murder Duncan. Although Macbeth feels extremely guilty at first due to his conscience, his conscience soon turns into agonizing paranoia due to his previous actions, which causes him to murder Banquo (who was supposedly his best friend) and eventually Macduff's entire family. His paranoia also causes him to consult the witches, in which he interprets their prophecy to be completely in his favor, thus making him just as bold and brassy as Lady Macbeth was in the beginning of the story. However, these actions taken by Macbeth cause Lady Macbeth to fall into extreme guilt, which causes her to reveal the untold secrets while she is sleeping and even commit suicide. In the end, (despite the seemingly seamless prophecy), Macbeth's arrogance would result in his downfall.
Macbeth doesn't directly answer when exactly ambition turns into insanity, however, the entire tale of Macbeth is centered around answering the questions, "do all impassioned desires result in destruction?" and "do suggestions [such as prophecies] influence destiny?". It is apparent that Lady Macbeth's (and eventually Macbeth's) insatiable thirst for power would bring about their demise. However, they wouldn't have had the slightest notion of power, if it hadn't been for the witches' original prophecy and the suggestion that Macbeth would rise to power. So, in essence, the entire plot of Macbeth revolves around the witches' prophecies, as well as the destinies of each of the characters in Macbeth. Prophecies, or suggestions, that is.
Ms. Peifer
10 IB - Hour 5
4 March 2009
Macbeth LRJ #6
Several important questions that Shakespeare invites the viewers and readers of Macbeth to ponder are:
When does ambition become insanity?
Do all impassioned desires result in destruction? and
Do suggestions [such as prophecies] influence one's destiny?
It was the original prophecy that hailed Macbeth the one, "that shalt be king hereafter" (Shakespeare, Macbeth, 1, iii, 50) that causes the bloody chain of events that would lead to the downfall of both Macbeth and Lady Macbeth. Then it was Lady Macbeth's brassy arrogance and bold ambition that would convince Macbeth that it was necessary to murder Duncan. Although Macbeth feels extremely guilty at first due to his conscience, his conscience soon turns into agonizing paranoia due to his previous actions, which causes him to murder Banquo (who was supposedly his best friend) and eventually Macduff's entire family. His paranoia also causes him to consult the witches, in which he interprets their prophecy to be completely in his favor, thus making him just as bold and brassy as Lady Macbeth was in the beginning of the story. However, these actions taken by Macbeth cause Lady Macbeth to fall into extreme guilt, which causes her to reveal the untold secrets while she is sleeping and even commit suicide. In the end, (despite the seemingly seamless prophecy), Macbeth's arrogance would result in his downfall.
Macbeth doesn't directly answer when exactly ambition turns into insanity, however, the entire tale of Macbeth is centered around answering the questions, "do all impassioned desires result in destruction?" and "do suggestions [such as prophecies] influence destiny?". It is apparent that Lady Macbeth's (and eventually Macbeth's) insatiable thirst for power would bring about their demise. However, they wouldn't have had the slightest notion of power, if it hadn't been for the witches' original prophecy and the suggestion that Macbeth would rise to power. So, in essence, the entire plot of Macbeth revolves around the witches' prophecies, as well as the destinies of each of the characters in Macbeth. Prophecies, or suggestions, that is.
Tuesday, March 3, 2009
Macbeth LRJ #5
Sarita Beekie
Ms. Peifer
10 IB - Hour 5
3 March 2009
Macbeth LRJ #5
There are a couple prominent themes that play out in the fifth act of Macbeth. These themes include karma, and vengeance. Karma plays profound part in the fifth act because of the way the truth finally catches up to Macbeth and Lady Macbeth. At the beginning of the fifth act in the first scene, Lady Macbeth is talking in her sleep because of, "slumbery agitation" and the Gentlewoman and the Doctor are present to hear her give quite incriminating testimonies pertaining to the slayings of Duncan, Banquo, and the Macduff family. These testimonies include, "What need we to fear who knows it, when none can call our power to account? Yet who would've though the old man [Duncan] to have so much blood in him?" (Shakespeare, Macbeth, 5, i, 40-41) and "The Thane of Fife [Macduff] had a wife. Where is she now?" (Shakespeare, Macbeth, 5, i, 42-43) and "Wash your hands, put on your nightgown; look not so pale! I tell you yet again, Banquo's buried. He cannot come out on 's grave" (Shakespeare, Macbeth, 5, i, 63-64). Vengeance is all but apparent when Malcolm returns to Scotland, leading a mass army of Englishmen to siege Macbeth's castle, as well when Macduff challenges Macbeth to a duel and exclaims, "That way the noise is. Tyrant, show thy face! If thou be'st slain, and go with no stroke of mine, my wife and children's ghosts will haunt me still" (Shakespeare, Macbeth, 5, vii, 15-17).
Ms. Peifer
10 IB - Hour 5
3 March 2009
Macbeth LRJ #5
There are a couple prominent themes that play out in the fifth act of Macbeth. These themes include karma, and vengeance. Karma plays profound part in the fifth act because of the way the truth finally catches up to Macbeth and Lady Macbeth. At the beginning of the fifth act in the first scene, Lady Macbeth is talking in her sleep because of, "slumbery agitation" and the Gentlewoman and the Doctor are present to hear her give quite incriminating testimonies pertaining to the slayings of Duncan, Banquo, and the Macduff family. These testimonies include, "What need we to fear who knows it, when none can call our power to account? Yet who would've though the old man [Duncan] to have so much blood in him?" (Shakespeare, Macbeth, 5, i, 40-41) and "The Thane of Fife [Macduff] had a wife. Where is she now?" (Shakespeare, Macbeth, 5, i, 42-43) and "Wash your hands, put on your nightgown; look not so pale! I tell you yet again, Banquo's buried. He cannot come out on 's grave" (Shakespeare, Macbeth, 5, i, 63-64). Vengeance is all but apparent when Malcolm returns to Scotland, leading a mass army of Englishmen to siege Macbeth's castle, as well when Macduff challenges Macbeth to a duel and exclaims, "That way the noise is. Tyrant, show thy face! If thou be'st slain, and go with no stroke of mine, my wife and children's ghosts will haunt me still" (Shakespeare, Macbeth, 5, vii, 15-17).
One image pattern that is brought up quite frequently in the fifth act in particular is derived from the witches' prophecies, "Be bloody, bold, and resolute; laugh to scorn the power of man, for none of woman born shall harm Macbeth" (Shakespeare, Macbeth, 4, i, 79-81) and "Macbeth shall never vanquished be until the Great Birnham Wood to Dunsinane Hill shall come against him" (Shakespeare, Macbeth, 4, i, 92-94). These images of "a man not being born of woman" and "Birnham Wood moving to Dunsinane Hill" are important because despite the impossible-sounding nature of the images, they play a significant part in Macbeth's downfall. At first, when the various thanes of Scotland desert their stations, Macbeth boastfully exclaims, "Let them fly all! Till Birnham Wood remove to Dunsinane, I cannot taint with fear. What's the boy Malcolm? Was he not born of woman? The spirits that know all mortal consequences have pronounced me thus: 'Fear not, Macbeth. No man that's born of woman shall e'er have power upon thee'" (Shakespeare, Macbeth, 5, iii, 1-7). Then when Young Siward challenges Macbeth, Macbeth easily slays him, and Macbeth arrogantly says, "Thou wast born of woman. But swords I smile at, and weapons laugh to scorn, brandished by a man that's of a woman born" (Shakespeare, Macbeth, 5, vii, 12-14). Shortly afterwards when Macduff challenges Macbeth, Macbeth scoffs, "I bear a charmed life, which must not yield to one of woman born" (Shakespeare, Macbeth, 5, viii, 12) however, Macduff retorts, "Despair thy charm and let the angel whom thou still hast served tell thee, Macduff was from his mother's womb untimely ripped" (Shakespeare, Macbeth, 5, viii, 13-16).
Sunday, March 1, 2009
Macbeth LRJ #4
Sarita Beekie
Ms. Peifer
10 IB - Hour 5
1 March 2009
Macbeth LRJ #4
After Macbeth hears word that Macduff has fled to England in Act 4 of Macbeth, he vows not to hunt down Macduff, but to ambush Macduff's estate and "seize upon Fife, give to th'edge o'th' sword his wife, his babes, and all unfortunate souls that trace him in his line" (Shakespeare, Macbeth, 4, i, 150-153) and commences in doing just that. From these actions readers can definitely deduce that Macbeth is no longer the "nervous wreck" of a killer that he once was at the beginning of the play. Instead, he is a cold-blooded, cut-throat murderer that would go to the extent of executing the most innocent and unsuspecting of persons, even if they had absolutely no relation to himself.
Macduff's character is tested when Malcolm investigates as to whether Macduff can truly be trusted. When Malcolm says, "As [for] justice, verity, temperance, stableness, bounty, perseverance, mercy, lowliness, devotion, patience, courage, fortitude, I have no relish of them...had I power, I should pour the sweet milk of concord into hell, uproar the universal peace, confound all unity on earth" (Shakespeare, Macbeth, 4, iii, 93-100), Macduff exclaims, "Fit to govern? No, not to live. O nation miserable...when shalt thou see thy wholesome days again, since thy truest issue of thy throne by his own interdiction stands accurst and does blaspheme his breed?...These evils thou repeat'st upon thyself hath banished me from Scotland. O my breast, my hope ends here!" (Shakespeare, Macbeth, 4, iii, 104-114). From this, it becomes apparent to Malcolm that Macduff's honor is to his country and not to any "secret allegiance" or deceitful cause. At this exclamation, Malcolm is convinced of Macduff's integrity, and replies, "Macduff, this noble passion, child of integrity, hath from my soul wiped the scruples, reconciled my thoughts to thy good truth and honor" (Shakespeare
Ms. Peifer
10 IB - Hour 5
1 March 2009
Macbeth LRJ #4
After Macbeth hears word that Macduff has fled to England in Act 4 of Macbeth, he vows not to hunt down Macduff, but to ambush Macduff's estate and "seize upon Fife, give to th'edge o'th' sword his wife, his babes, and all unfortunate souls that trace him in his line" (Shakespeare, Macbeth, 4, i, 150-153) and commences in doing just that. From these actions readers can definitely deduce that Macbeth is no longer the "nervous wreck" of a killer that he once was at the beginning of the play. Instead, he is a cold-blooded, cut-throat murderer that would go to the extent of executing the most innocent and unsuspecting of persons, even if they had absolutely no relation to himself.
Macduff's character is tested when Malcolm investigates as to whether Macduff can truly be trusted. When Malcolm says, "As [for] justice, verity, temperance, stableness, bounty, perseverance, mercy, lowliness, devotion, patience, courage, fortitude, I have no relish of them...had I power, I should pour the sweet milk of concord into hell, uproar the universal peace, confound all unity on earth" (Shakespeare, Macbeth, 4, iii, 93-100), Macduff exclaims, "Fit to govern? No, not to live. O nation miserable...when shalt thou see thy wholesome days again, since thy truest issue of thy throne by his own interdiction stands accurst and does blaspheme his breed?...These evils thou repeat'st upon thyself hath banished me from Scotland. O my breast, my hope ends here!" (Shakespeare, Macbeth, 4, iii, 104-114). From this, it becomes apparent to Malcolm that Macduff's honor is to his country and not to any "secret allegiance" or deceitful cause. At this exclamation, Malcolm is convinced of Macduff's integrity, and replies, "Macduff, this noble passion, child of integrity, hath from my soul wiped the scruples, reconciled my thoughts to thy good truth and honor" (Shakespeare
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