Sarita Beekie
Ms. Peifer
10 IB - Hour 5
10 May 2009
LRJ #4 - The Importance of Being Earnest
Absurdity is all too apparent when Jack's true identity is discovered through the revelation that he was the son of Ernest John Moncrieff (before Miss Prism placed him in the black handbag when he was a baby), so therefore he must be Ernest John Moncrieff. This is because Jack was the eldest son of Ernest John Moncrieff, and according to social conventions of the nineteenth century, Jack would've been christened with his father's Christian name. This can be inferred when Lady Bracknell tells Jack, "Being the eldest son you were naturally christened after your father" (Wilde iii). A prime example of wit can be seen when Jack (who is now earnestly Ernest) says, "It is a terrible thing for a man to find out suddenly that all his life he has been speaking the truth" (Wilde iii). Wit, (and oddly enough) absurdity and social conventions are what resolve all of the mishaps that accumulated throughout the play, as well as conclude the play while staying characteristic to the rest of the play.
Saturday, May 9, 2009
LRJ #3 - The Importance of Being Earnest
Sarita Beekie
Ms. Peifer
10 IB - Hour 5
9 May 2009
LRJ #3 - The Importance of Being Earnest
There are several instances in The Importance of Being Earnest where wit is used to add dimension to the characters, and add humor to the play as a whole. Examples of wit include Algernon telling Jack, "It is awfully hard work to do nothing" (Wilde i) and "It is perfectly childish to be in deep mourning for a man who is staying for a whole week with you in your house a a guest (Wilde ii). Algernon also displays wit when he tells Cecily, "[Good looks] are a snare that every sensible man would like to be caught in" (Wilde ii). As well when Ms. Prism tells Dr. Chausuble, "No married man is ever attractive except to his wife" (Wilde ii).
The satire in The Importance of Being Earnest is used mostly to ridicule the actions of women and that of the upper class. When Gwendolen first meets Cecily, she politely tells her, "Cecily Cardew? What a very sweet name! Something tells me that we are going to be great friends. I like you already more than I can say. My first impressions of people are never wrong" (Wilde ii). However, this friendly conversing soon turns nasty, and eventually Gwendolen snaps at Cecily, "From the moment I saw you I distrusted you. I felt that you were false and deceitful. I am never deceived in such manners. My first impressions of people are invariably right" (Wilde ii). Oscar Wilde uses this spat to illustrate the cattiness and fickleness of women. As far as the absurdity of the upper class, Lady Bracknell's character does a most perfect job at demonstrating such a foible. When hearing of Cecily's immense inheritance, she replies, "A hundred and thirty thousand pounds! And in the Funds! Miss Cardew seems to me a most attractive young lady" (Wilde iii) and then goes onto tell Algernon, "There are distinct social possibilities in Miss Cardew's profile" (Wilde iii) as is he really cares about "social possibilities". Creating Lady Bracknell as the "aristocrat's aristocrat" Oscar Wilde portrays the British upper class of the time period as a group only concerned with appearances and money.
Comedy for comedy's sake (also known as farce) is what makes The Importance of Being Earnest so likable. The frequent "slipping-of-tongues" includes Cecily's, "Yes, to good heavens, Gwendolen, I mean to Gwendolen" (Wilde ii) and Algernon's, "Oh, I killed Bunbury this afternoon. I mean poor Bunbury died this afternoon" (Wilde iii).
Ms. Peifer
10 IB - Hour 5
9 May 2009
LRJ #3 - The Importance of Being Earnest
There are several instances in The Importance of Being Earnest where wit is used to add dimension to the characters, and add humor to the play as a whole. Examples of wit include Algernon telling Jack, "It is awfully hard work to do nothing" (Wilde i) and "It is perfectly childish to be in deep mourning for a man who is staying for a whole week with you in your house a a guest (Wilde ii). Algernon also displays wit when he tells Cecily, "[Good looks] are a snare that every sensible man would like to be caught in" (Wilde ii). As well when Ms. Prism tells Dr. Chausuble, "No married man is ever attractive except to his wife" (Wilde ii).
The satire in The Importance of Being Earnest is used mostly to ridicule the actions of women and that of the upper class. When Gwendolen first meets Cecily, she politely tells her, "Cecily Cardew? What a very sweet name! Something tells me that we are going to be great friends. I like you already more than I can say. My first impressions of people are never wrong" (Wilde ii). However, this friendly conversing soon turns nasty, and eventually Gwendolen snaps at Cecily, "From the moment I saw you I distrusted you. I felt that you were false and deceitful. I am never deceived in such manners. My first impressions of people are invariably right" (Wilde ii). Oscar Wilde uses this spat to illustrate the cattiness and fickleness of women. As far as the absurdity of the upper class, Lady Bracknell's character does a most perfect job at demonstrating such a foible. When hearing of Cecily's immense inheritance, she replies, "A hundred and thirty thousand pounds! And in the Funds! Miss Cardew seems to me a most attractive young lady" (Wilde iii) and then goes onto tell Algernon, "There are distinct social possibilities in Miss Cardew's profile" (Wilde iii) as is he really cares about "social possibilities". Creating Lady Bracknell as the "aristocrat's aristocrat" Oscar Wilde portrays the British upper class of the time period as a group only concerned with appearances and money.
Comedy for comedy's sake (also known as farce) is what makes The Importance of Being Earnest so likable. The frequent "slipping-of-tongues" includes Cecily's, "Yes, to good heavens, Gwendolen, I mean to Gwendolen" (Wilde ii) and Algernon's, "Oh, I killed Bunbury this afternoon. I mean poor Bunbury died this afternoon" (Wilde iii).
Tuesday, May 5, 2009
LRJ #2 - The Importance of Being Earnest
Sarita Beekie
Ms. Peifer
10 IB - Hour 5
5 May 2009
LRJ #2 - The Importance of Being Earnest
The mishaps in The Importance of Being Earnest were (quite naturally) meant to be comical, but were also intended to entice the readers as to how these mishaps will eventually resolve.
Gwendolen doesn't necessarily fit into the mold of the stereotypical nineteenth century lady, however, Gwendolen doesn't completely defy the role of a stereotypical nineteenth century lady, either. True, she initiates Jack's proposal for her hand in marriage and secretly rejects her mother's ideas on whom she will marry, but at the same time, she has Jack propose to her (because it would've been shocking for a lady to propose to a man at the time), and she doesn't defy her mother outright, but "beats around the bush" to make secret plans with Jack, instead (because it would've been very rude [as well as inconvenient] for a lady of her standing to defy her mother for a man's whose lineage is a mystery). Lady Bracknell, on the other hand, epitomizes the stereotypical nineteenth century lady to the point it is comical (which is usually characteristic of comedies, and all). What's better (or worse) is that Lady Bracknell seems to take on all of the "less flattering" characteristics of the stereotypical nineteenth century lady (which is where satire plays its part in The Importance of Being Earnest) which is evident when she tells Jack, "I feel bound to tell you that you are not down on my list of eligible young men...However, I am quite ready to enter your name" (Wilde i) and then proceeds to ask him of his income and lineage.
Ms. Peifer
10 IB - Hour 5
5 May 2009
LRJ #2 - The Importance of Being Earnest
The mishaps in The Importance of Being Earnest were (quite naturally) meant to be comical, but were also intended to entice the readers as to how these mishaps will eventually resolve.
Gwendolen doesn't necessarily fit into the mold of the stereotypical nineteenth century lady, however, Gwendolen doesn't completely defy the role of a stereotypical nineteenth century lady, either. True, she initiates Jack's proposal for her hand in marriage and secretly rejects her mother's ideas on whom she will marry, but at the same time, she has Jack propose to her (because it would've been shocking for a lady to propose to a man at the time), and she doesn't defy her mother outright, but "beats around the bush" to make secret plans with Jack, instead (because it would've been very rude [as well as inconvenient] for a lady of her standing to defy her mother for a man's whose lineage is a mystery). Lady Bracknell, on the other hand, epitomizes the stereotypical nineteenth century lady to the point it is comical (which is usually characteristic of comedies, and all). What's better (or worse) is that Lady Bracknell seems to take on all of the "less flattering" characteristics of the stereotypical nineteenth century lady (which is where satire plays its part in The Importance of Being Earnest) which is evident when she tells Jack, "I feel bound to tell you that you are not down on my list of eligible young men...However, I am quite ready to enter your name" (Wilde i) and then proceeds to ask him of his income and lineage.
LRJ #1 - The Importance of Being Earnest
Sarita Beekie
Ms. Peifer
10 IB - Hour 5
5 May 2009
LRJ #1 - The Importance of Being Earnest
Ms. Peifer
10 IB - Hour 5
5 May 2009
LRJ #1 - The Importance of Being Earnest
In Oscar Wilde's comedy The Importance of Being Earnest, Algernon's views marriage as "a necessary evil". This is because he thinks that marriage puts a damper on one's freedom and fun, which is apparent when he tells his friend Jack, "It is very romantic to be in love. But there is nothing romantic about a definite proposal. Why, one may be accepted. One usually is, I believe. Then the excitement is all over. The very essence of romance is uncertainty. If I ever get married, I'll certainly try to forget the fact" (Wilde i). It is also apparent that Algernon views marriage as something that shouldn't damper ones freedom and fun, which can be inferred when he gives Jack a couple pieces of advice. The first being, "You don't seem to realize, that in married life three is a company and two is none" (Wilde i) and lastly "The only way to behave to a woman is to make love to her, if she is pretty, and to someone else if she is plain" (Wilde i). Algernon's freedom and fun loving views are also blatantly evident when he complains, "The amount of women who flirt with their own husbands is quite scandalous. It looks so bad. It is simply washing one's clean linen in public" (Wilde i). Algernon's views on marriage make him out to be freewheeling, anti-commitment, and flirtatious (however that may have been defined in the nineteenth century) despite the fact that he thinks, "Lane's [his servant's] views on marriage seem somewhat lax" (Wilde i) because Lane apparently cheated on his wife back when he was married. This makes Algernon appear all the more inconsistent, and even less like the stereotypical nineteenth century British man.
The tone of the dialogue between Jack and Algernon is casual (for two nineteenth century British men) and it makes it clear that they are good friends. The trading of banter and the topic of their conversation supports this. From their first meeting in The Importance of Being Earnest, Algernon teases Jack, "My dear fellow, the way you flirt with Gwendolen is perfectly disgraceful. It is almost as bad as the way Gwendolen flirts with you" (Wilde i). The fact that Jack calls Algernon "Algy" is also a clue-in to their friendship.
Monday, April 27, 2009
LRJ #1 - Tankas
Sarita Beekie
Ms. Peifer
10 IB - Hour 5
26 April 2009
LRJ #1 - Tankas
In Princess Nakuda's tanka, "I Waited and I", the words "yearned" and "stirred" share the same "er" sound. In this poem, both words emphasize the two main ideas of the poem that the princess is waiting for someone, and is wanting that someone to arrive, but the imagery of the autumn breeze stirring her curtains also gives the reader a heightened sense of the princess' loneliness. In Oshikochi Mitsune's tanka, "journey" and "summer" also share the "er" sound, and these words are important to the imagery of the poem, which illustrates the poet on a journey in the summer, yet the poet is standing in "the tree shade" with, "[his] mind floating" which clarifies the very reflective mood of this poem. In Ki Tsurayuki's tanka "Now, I Cannot Tell", "know" and "old" which are used in the last two lines, "In this place I used to know / Keep their old fragrance" (Tsurayuki 4-5) emphasizes the familiarity the poet has with his old friend's house, despite the fact that it has been a long time since they have seen each other. In Ono Komachi's tanka " How Helpless My Heart", "helpless", "tempt", and "severed" all contain the short "e" sound, which helps convey the author's comparison of temptation to the stream, and her heart to a reed, and that "[her] body, like a reed severed at the roots would drift along" (Komachi 3-5), "were the stream to tempt" (Komachi 2). Lastly, in Priest Saigyo's tanka "Every Single Thing", the long "a" sound is prominent througout most of the "emphasis words" in this poem, such as "changes", "always", and "same", as the poet reflects on the notion that, "[everything] changes and is changing...yet with the same light the moon goes on shining" (Saigyo 2-5). All in all, these tankas all appear to portray a very reflective mood of some sort.
Tanka
Poetic musings
Tankas are impossible
Picky, portentious
Well, what about haikus?
I'm sure they cause much less blues.
Ms. Peifer
10 IB - Hour 5
26 April 2009
LRJ #1 - Tankas
In Princess Nakuda's tanka, "I Waited and I", the words "yearned" and "stirred" share the same "er" sound. In this poem, both words emphasize the two main ideas of the poem that the princess is waiting for someone, and is wanting that someone to arrive, but the imagery of the autumn breeze stirring her curtains also gives the reader a heightened sense of the princess' loneliness. In Oshikochi Mitsune's tanka, "journey" and "summer" also share the "er" sound, and these words are important to the imagery of the poem, which illustrates the poet on a journey in the summer, yet the poet is standing in "the tree shade" with, "[his] mind floating" which clarifies the very reflective mood of this poem. In Ki Tsurayuki's tanka "Now, I Cannot Tell", "know" and "old" which are used in the last two lines, "In this place I used to know / Keep their old fragrance" (Tsurayuki 4-5) emphasizes the familiarity the poet has with his old friend's house, despite the fact that it has been a long time since they have seen each other. In Ono Komachi's tanka " How Helpless My Heart", "helpless", "tempt", and "severed" all contain the short "e" sound, which helps convey the author's comparison of temptation to the stream, and her heart to a reed, and that "[her] body, like a reed severed at the roots would drift along" (Komachi 3-5), "were the stream to tempt" (Komachi 2). Lastly, in Priest Saigyo's tanka "Every Single Thing", the long "a" sound is prominent througout most of the "emphasis words" in this poem, such as "changes", "always", and "same", as the poet reflects on the notion that, "[everything] changes and is changing...yet with the same light the moon goes on shining" (Saigyo 2-5). All in all, these tankas all appear to portray a very reflective mood of some sort.
Tanka
Poetic musings
Tankas are impossible
Picky, portentious
Well, what about haikus?
I'm sure they cause much less blues.
Sunday, April 26, 2009
LRJ #2 - Haikus and Senryus
Sarita Beekie
Ms. Peifer
10 IB - Hour 5
26 April 2009
LRJ #2 - Haikus and Senryus
The significance of nature in haikus is to take an ordinary, everyday event, and make it beautiful. In Kobayashi Issa's haiku:
"A morning-glory vine
All blossoming has thatched
this hut of mine"
Issa uses the blossoming of morning-glory vines to illustrate the pleasant feeling of Spring and rebirth.
Although senryus and haikus have identical structure and are both prominent forms of Japanese poetry, the mood and tone of each form are quite different. Senryus are whimsical, and are basically jokes about the foibles of human nature in the form of poetry. Like this senryu by Senryū Karai (by which senryus are named after):
"The robber,
when I catch,
my own son."
Haikus are more reflective and can often have subliminal messaging. In Hatsuo Basho's haiku:
"On the withered branch
A crow has settled--
autumn nightfall."
The "withered branch" could represent an elderly person and the crow (which are divine messengers and the collector of souls in Japanese culture) is coming to collect this person's soul. "Autumn nightfall" can be a representation of the darkness, but also of the comfort in death.
Senryu
All across Japan
I've been searching for a man
From the ninja's clan.
Haiku
I, the butterfly,
Can feel my life's order die.
Now I'm forced to fly.
Ms. Peifer
10 IB - Hour 5
26 April 2009
LRJ #2 - Haikus and Senryus
The significance of nature in haikus is to take an ordinary, everyday event, and make it beautiful. In Kobayashi Issa's haiku:
"A morning-glory vine
All blossoming has thatched
this hut of mine"
Issa uses the blossoming of morning-glory vines to illustrate the pleasant feeling of Spring and rebirth.
Although senryus and haikus have identical structure and are both prominent forms of Japanese poetry, the mood and tone of each form are quite different. Senryus are whimsical, and are basically jokes about the foibles of human nature in the form of poetry. Like this senryu by Senryū Karai (by which senryus are named after):
"The robber,
when I catch,
my own son."
Haikus are more reflective and can often have subliminal messaging. In Hatsuo Basho's haiku:
"On the withered branch
A crow has settled--
autumn nightfall."
The "withered branch" could represent an elderly person and the crow (which are divine messengers and the collector of souls in Japanese culture) is coming to collect this person's soul. "Autumn nightfall" can be a representation of the darkness, but also of the comfort in death.
Senryu
All across Japan
I've been searching for a man
From the ninja's clan.
Haiku
I, the butterfly,
Can feel my life's order die.
Now I'm forced to fly.
Saturday, April 25, 2009
LRJ #3 - Zen Parable
Sarita Beekie
Ms. Peifer
10 IB - Hour 5
25 April 2009
LRJ #3 - Zen Parable
Ms. Peifer
10 IB - Hour 5
25 April 2009
LRJ #3 - Zen Parable
Once upon a time, there was a tall, proud ginkgo tree that could be seen from anywhere in the village. This tree grew near a small stream, and on the banks of the stream were some thin, low-lying marsh grass. The tree continuously scoffed at the grass, taunting, "Say it or no, I know for a fact that such low-lying grass like yourselves will want to be a tall and proud tree like myself at some point". The grass just sighed at the tree's boasting, and continued to gently sway with the stream's gentle current and the soft mountain wind, day in, and day out. One day, however, the wind wasn't so gentle, and stream's water began rise and crash abrasively against the shore. Before long, a fierce storm had gathered and was getting closer to the village. The marsh grass bent with the violent wind, but were not blown away. The tree, on the other hand, refused to bend and stood straight. Despite the tree's strength, the wind was much stronger, and eventually caused the tree to snap and fall into the stream. In the morning when the storm had finally died down, the marsh grass looked below the water's surface at the tree that was now at the bottom of the stream bed and said, "Your stubbornness has caused you to take a much greater fall than our willingness to bend".
Wednesday, April 15, 2009
LRJ #3: Journal
Sarita Beekie
Ms. Peifer
10 IB - Hour 5
15 April 2009
LRJ #3: Journal
In order to answer the question as to whether I believe that our society has similar values as a Confucian or Taoist society, I must add that it is not an easy task to even attempt to compare our fast-paced, grossly rich, consumeristic, greedy, unjust, power-hungry, narrow-minded, superficial society, to the ideal Confucian or Taoist society. For example, look at the "American Dream". However many different interpretations of this "dream" exist, the common thread in all of these interpretations deal with the (almost frightening) ease of obtaining material goods in our country, and yet we still find ourselves wanting more. Taoists condemn this behavior, as seen in the Tao-Te Ching, "To be overbearing when one has position when one has wealth and position is to bring calamity upon oneself" (it's almost as if that verse is speaking directly to us). It is also common knowledge that is not democracy, but instead, the wealthy and well-connected persons that control a large portion of this country's politics (think back a ways to the Blagojevich incident) but as the Master said so long ago, "The high office [is] filled by men of narrow views, ritual performed without reverence, [and] the forms of mourning observed without grief" (Waley 14). Our, "everything is about appearances" attitude is also frowned upon by Confucians. The Master himself said, "In old days men studied for the sake of self-improvement; nowadays men study in order to impress other people" (Waley 8). Speaking of impressing people, if I have anything profound to say in this journal entry, it is this: despite our country being plastered with pretty things, I know for one thing that any and all devout Confucians and Taoists would NOT be impressed by our society.
Ms. Peifer
10 IB - Hour 5
15 April 2009
LRJ #3: Journal
In order to answer the question as to whether I believe that our society has similar values as a Confucian or Taoist society, I must add that it is not an easy task to even attempt to compare our fast-paced, grossly rich, consumeristic, greedy, unjust, power-hungry, narrow-minded, superficial society, to the ideal Confucian or Taoist society. For example, look at the "American Dream". However many different interpretations of this "dream" exist, the common thread in all of these interpretations deal with the (almost frightening) ease of obtaining material goods in our country, and yet we still find ourselves wanting more. Taoists condemn this behavior, as seen in the Tao-Te Ching, "To be overbearing when one has position when one has wealth and position is to bring calamity upon oneself" (it's almost as if that verse is speaking directly to us). It is also common knowledge that is not democracy, but instead, the wealthy and well-connected persons that control a large portion of this country's politics (think back a ways to the Blagojevich incident) but as the Master said so long ago, "The high office [is] filled by men of narrow views, ritual performed without reverence, [and] the forms of mourning observed without grief" (Waley 14). Our, "everything is about appearances" attitude is also frowned upon by Confucians. The Master himself said, "In old days men studied for the sake of self-improvement; nowadays men study in order to impress other people" (Waley 8). Speaking of impressing people, if I have anything profound to say in this journal entry, it is this: despite our country being plastered with pretty things, I know for one thing that any and all devout Confucians and Taoists would NOT be impressed by our society.
LRJ #5: Tu Fu's Poetry
Sarita Beekie and Ashley Fawkes
Ms. Peifer
10 IB - Hour 5
15 April 2009
LRJ #5: Tu Fu's Poetry
As far as Tu Fu's poems, "Night Thoughts Afloat" and "Jade Flower Palace", there are many similarities and differences concerning the mood, tone, setting, imagery, and concrete details. "Night Thoughts Afloat" takes place by a river in the night, which sets a secluded and tranquil mood. The concrete details describe that Tu Fu is, "retired for ill health" (Cooper 12) and the overall imagery (which is enhanced by the setting) paints a literary portrait of Tu Fu standing in complete solace by a river beneath the quiet, peaceful, night, but despite this serene atmosphere his mind is at unrest, as he wonders about, '[his] standing among the poets" (Cooper 9-10). The imagery and concrete details create a contemplative, and slightly remorseful tone, despite the languid mood of the poem.
Like "Night Thoughts Afloat", "Jade Flower Palace" also has a very contemplative and slightly remorseful tone, as Tu Fu asks himself, "What prince, long ago, built this palace, standing in ruins beside the cliffs?" (Cooper 3-5) which also describes the setting of this poem. Tu Fu goes on to create a wild and vivid imagery of a grand palace, crumbling from the weight of time, as, "There are green ghost fires in the black rooms. The shattered pavements are all washed away. Ten thousand organ pipes whistle and roar. The storm scatters the red autumn leaves. His dancing girls are yellow dust. Their painted cheeks have crumbled away. His gold chariots and courtiers are gone. Only a stone horse is left of his glory" (Cooper 5-16). An example of concrete details includes Tu Fu stating, " 'I sit on the grass and start a poem, but the pathos of it overcomes me' " (Cooper 16-18) which is due to the ominousness of this setting. In fact, the entire mood of this poem is quite ominous, and can be summed up perfectly by the concluding lines, "The future slips imperceptibly away. Who can say what the years will bring?" (Cooper 18-20).
Ms. Peifer
10 IB - Hour 5
15 April 2009
LRJ #5: Tu Fu's Poetry
As far as Tu Fu's poems, "Night Thoughts Afloat" and "Jade Flower Palace", there are many similarities and differences concerning the mood, tone, setting, imagery, and concrete details. "Night Thoughts Afloat" takes place by a river in the night, which sets a secluded and tranquil mood. The concrete details describe that Tu Fu is, "retired for ill health" (Cooper 12) and the overall imagery (which is enhanced by the setting) paints a literary portrait of Tu Fu standing in complete solace by a river beneath the quiet, peaceful, night, but despite this serene atmosphere his mind is at unrest, as he wonders about, '[his] standing among the poets" (Cooper 9-10). The imagery and concrete details create a contemplative, and slightly remorseful tone, despite the languid mood of the poem.
Like "Night Thoughts Afloat", "Jade Flower Palace" also has a very contemplative and slightly remorseful tone, as Tu Fu asks himself, "What prince, long ago, built this palace, standing in ruins beside the cliffs?" (Cooper 3-5) which also describes the setting of this poem. Tu Fu goes on to create a wild and vivid imagery of a grand palace, crumbling from the weight of time, as, "There are green ghost fires in the black rooms. The shattered pavements are all washed away. Ten thousand organ pipes whistle and roar. The storm scatters the red autumn leaves. His dancing girls are yellow dust. Their painted cheeks have crumbled away. His gold chariots and courtiers are gone. Only a stone horse is left of his glory" (Cooper 5-16). An example of concrete details includes Tu Fu stating, " 'I sit on the grass and start a poem, but the pathos of it overcomes me' " (Cooper 16-18) which is due to the ominousness of this setting. In fact, the entire mood of this poem is quite ominous, and can be summed up perfectly by the concluding lines, "The future slips imperceptibly away. Who can say what the years will bring?" (Cooper 18-20).
Tuesday, April 14, 2009
LRJ #4: Chinese Poetry
Sarita Beekie
Ms. Peifer
10 IB - Hour 5
14 April 2009
LRJ #4: Chinese Poetry
The compilation of historical Chinese poetry called the Book of Songs consists of 305 poems, two of these poems are, "O Oriole, Yellow Bird" and "What Plant is Not Faded?". A very apparent similarity in these two poems is the use of repetition which is used to emphasize the emotion that the poet is writing in. In the poem, "O Oriole, Yellow Bird", the narrator repeats at the end of every stanza that he, "must go back, go home to [his] own land and kin" (Waley 8) or some variation of this lament. This is because the narrator is currently in a foreign and unpleasant land, where, "the people...are not minded to nurture [him]" (Waley 5-7). Also, "one can come to no covenant [with the people of this land]" (Waley 12), and "one can come come to no understanding [with these people]" (Waley 19). In the second poem, "What Plant is Not Faded?" the second and third stanzas consists of the line, "Alas, for us soldiers" (Waley 7) which suits the overall theme of the poem perfectly, because the theme of the poem deals with the hardships of a soldier's life.
In Li Po's poem, "Quiet Night Thoughts", Li Po uses the imagery of him falling asleep and dreaming to convey a serene, peaceful, and secluded mood. In his poem, "Letter to His Two Small Children", the prominent emotions conveyed in this piece include remorse and longing. Prime examples of these emotions are apparent in the verses,"This is the tree I myself put in when I left you, nearly three years past; A peach tree now, level with the eaves, and I sailing cannot yet turn home!" (Waley 11-14) and, "I dreamt like this till my wits went wild, by such yearning daily burned within; so tore some silk, wrote this distant pang from me to you living at Wen Yang…" (Waley 22-25).
Letter to Our Bàbà
Between us is the Wu River's white foam
You're so far away, away from home.
But alone with nature, your soul is free,
While we're waiting by the peach tree.
We've kept good health and have grown quite tall
The colored leaves were quite lovely last fall.
Time has been our friend, not enemy,
While we're waiting by the peach tree.
Through your journey away, the world is shown
That our family is built on solid stone.
Until our reunion, we hope that happy you will be,
While we're waiting by the peach tree.
Ms. Peifer
10 IB - Hour 5
14 April 2009
LRJ #4: Chinese Poetry
The compilation of historical Chinese poetry called the Book of Songs consists of 305 poems, two of these poems are, "O Oriole, Yellow Bird" and "What Plant is Not Faded?". A very apparent similarity in these two poems is the use of repetition which is used to emphasize the emotion that the poet is writing in. In the poem, "O Oriole, Yellow Bird", the narrator repeats at the end of every stanza that he, "must go back, go home to [his] own land and kin" (Waley 8) or some variation of this lament. This is because the narrator is currently in a foreign and unpleasant land, where, "the people...are not minded to nurture [him]" (Waley 5-7). Also, "one can come to no covenant [with the people of this land]" (Waley 12), and "one can come come to no understanding [with these people]" (Waley 19). In the second poem, "What Plant is Not Faded?" the second and third stanzas consists of the line, "Alas, for us soldiers" (Waley 7) which suits the overall theme of the poem perfectly, because the theme of the poem deals with the hardships of a soldier's life.
In Li Po's poem, "Quiet Night Thoughts", Li Po uses the imagery of him falling asleep and dreaming to convey a serene, peaceful, and secluded mood. In his poem, "Letter to His Two Small Children", the prominent emotions conveyed in this piece include remorse and longing. Prime examples of these emotions are apparent in the verses,"This is the tree I myself put in when I left you, nearly three years past; A peach tree now, level with the eaves, and I sailing cannot yet turn home!" (Waley 11-14) and, "I dreamt like this till my wits went wild, by such yearning daily burned within; so tore some silk, wrote this distant pang from me to you living at Wen Yang…" (Waley 22-25).
Letter to Our Bàbà
Between us is the Wu River's white foam
You're so far away, away from home.
But alone with nature, your soul is free,
While we're waiting by the peach tree.
We've kept good health and have grown quite tall
The colored leaves were quite lovely last fall.
Time has been our friend, not enemy,
While we're waiting by the peach tree.
Through your journey away, the world is shown
That our family is built on solid stone.
Until our reunion, we hope that happy you will be,
While we're waiting by the peach tree.
Monday, April 13, 2009
LRJ #2: Tao-Te Ching
Sarita Beekie
Ms. Peifer
10 IB - Hour 5
13 April 2009
LRJ #2: Tao-Te Ching
I - This excerpt briefly explains the foundation Taoism. A cornerstone of the Taoist theology is that anything that is tangible, is also temporary. This is apparent in the verse, "The way that can be spoken of is not the constant way; the name that can be named is not the constant name" (Lau, I, 1-4). Another key aspect of Taoist belief the is also mentioned is the "mystical force" that created the earth and everything in the earth. This force is referenced in the lines, "The nameless was the beginning of the heaven and earth; the named was the mother of the myriad creatures" (Lau, I, 5-6). It can also be inferred that this force is "mystical" because it is "nameless". The excerpt also instructs people to not strive to understand the force, but to instead understand the natural products of the world, which is visible in the verse, "Hence always rid yourself of desires in order to observe its [the force's] secrets; but always allow yourself to observe its manifestations" (Lau, I, 7-8). This is because the force can take many forms, which includes the creations of the earth (because the earth was created by the force) and they are all a part of the intricate mystery of the universe, which is shown in the stanza, "These two [creations of the world and the force] are the same but diverge in name as they issue forth. Being the same they are called mysteries, mystery upon mystery--the gateway of the manifold secrets" (Lau, I, 9-12).
III - "Not to honor men of worth will keep the people from contention" (Lau, III, 1) is another way of saying, "idolizing honorable people will not make a person honorable them self". "Not to value goods which are hard to come by will keep them from theft" (Lau, III, 2) means that placing value on worldly objects will not keep someone from being greedy. This excerpt then continues to how certain, seemingly positive actions will result in negative consequences. That is why it advises, "Do that which consists in taking no action, and order will prevail" (Lau, III, 19) which ties in with the Taoist belief that people by nature are good.
IX - The verse, "There may be gold and jade to fill a hall but there is none who can keep them" (Lau, IX, 3) draws the focus of the excerpt to the fleeting nature of worldly possessions. "To be overbearing when one has wealth and position is to bring calamity upon oneself" (Lau, IX, 4) states that indulgence is vulgar and self-destructive. However, it is right to live in accordance with moderation, as stated in the last line of the excerpt, "To retire when the task is accomplished is the way of heaven" (Lau, IX, 5).
XLIII - This excerpt uses the analogy, "The most submissive thing in the world can ride the roughshod over the hardest in the world--that which is without substance entering that which has no crevices" (Lau, XLIII, 1-4) in order to teach, "the benefit of resorting to no action", which is an important Taoist belief, along with, "the teaching that uses no words" (Lau, XLIII, 6).
The key difference between Confucianism and Taoism can be seen in the way the two schools of thought view the natural order of the world. Confucians believe that it is most important to be humble and good. As far as goodness is concerned, the Master himself said, "If out of the three hundred Songs I had to take one phrase to cover all my teachings, I would say, 'Let there be no evil in your thoughts'." (Waley 5) and as far as humility is concerned, the Master also said, "the good man does not grieve that other people do not recognize his merits. His only anxiety is lest he should fail to recognize theirs" (Waley 3). Taoists do focus on the manner in which they live and act, (however, in their case, it would be the manner in which they DON'T act), but their focus is more on understanding the manifestations of the "force", which is what governs everything known to man (according to Taoist beliefs). This is instructed in the verse, "always allow yourself to have desires in order to observe its [the force's] manifestations" (Lau, I, 8) and the importance of NOT acting is instructed in, "Do that which consists in taking no action, and order will prevail" (Lau, III, 19).
Ms. Peifer
10 IB - Hour 5
13 April 2009
LRJ #2: Tao-Te Ching
I - This excerpt briefly explains the foundation Taoism. A cornerstone of the Taoist theology is that anything that is tangible, is also temporary. This is apparent in the verse, "The way that can be spoken of is not the constant way; the name that can be named is not the constant name" (Lau, I, 1-4). Another key aspect of Taoist belief the is also mentioned is the "mystical force" that created the earth and everything in the earth. This force is referenced in the lines, "The nameless was the beginning of the heaven and earth; the named was the mother of the myriad creatures" (Lau, I, 5-6). It can also be inferred that this force is "mystical" because it is "nameless". The excerpt also instructs people to not strive to understand the force, but to instead understand the natural products of the world, which is visible in the verse, "Hence always rid yourself of desires in order to observe its [the force's] secrets; but always allow yourself to observe its manifestations" (Lau, I, 7-8). This is because the force can take many forms, which includes the creations of the earth (because the earth was created by the force) and they are all a part of the intricate mystery of the universe, which is shown in the stanza, "These two [creations of the world and the force] are the same but diverge in name as they issue forth. Being the same they are called mysteries, mystery upon mystery--the gateway of the manifold secrets" (Lau, I, 9-12).
III - "Not to honor men of worth will keep the people from contention" (Lau, III, 1) is another way of saying, "idolizing honorable people will not make a person honorable them self". "Not to value goods which are hard to come by will keep them from theft" (Lau, III, 2) means that placing value on worldly objects will not keep someone from being greedy. This excerpt then continues to how certain, seemingly positive actions will result in negative consequences. That is why it advises, "Do that which consists in taking no action, and order will prevail" (Lau, III, 19) which ties in with the Taoist belief that people by nature are good.
IX - The verse, "There may be gold and jade to fill a hall but there is none who can keep them" (Lau, IX, 3) draws the focus of the excerpt to the fleeting nature of worldly possessions. "To be overbearing when one has wealth and position is to bring calamity upon oneself" (Lau, IX, 4) states that indulgence is vulgar and self-destructive. However, it is right to live in accordance with moderation, as stated in the last line of the excerpt, "To retire when the task is accomplished is the way of heaven" (Lau, IX, 5).
XLIII - This excerpt uses the analogy, "The most submissive thing in the world can ride the roughshod over the hardest in the world--that which is without substance entering that which has no crevices" (Lau, XLIII, 1-4) in order to teach, "the benefit of resorting to no action", which is an important Taoist belief, along with, "the teaching that uses no words" (Lau, XLIII, 6).
The key difference between Confucianism and Taoism can be seen in the way the two schools of thought view the natural order of the world. Confucians believe that it is most important to be humble and good. As far as goodness is concerned, the Master himself said, "If out of the three hundred Songs I had to take one phrase to cover all my teachings, I would say, 'Let there be no evil in your thoughts'." (Waley 5) and as far as humility is concerned, the Master also said, "the good man does not grieve that other people do not recognize his merits. His only anxiety is lest he should fail to recognize theirs" (Waley 3). Taoists do focus on the manner in which they live and act, (however, in their case, it would be the manner in which they DON'T act), but their focus is more on understanding the manifestations of the "force", which is what governs everything known to man (according to Taoist beliefs). This is instructed in the verse, "always allow yourself to have desires in order to observe its [the force's] manifestations" (Lau, I, 8) and the importance of NOT acting is instructed in, "Do that which consists in taking no action, and order will prevail" (Lau, III, 19).
Wednesday, April 8, 2009
LRJ #1: Analects
Sarita Beekie
Ms. Peifer
10 IB - Hour 5
8 April 2009
LRJ #1: Analects
From the compilation of Confucius' teachings called The Analects, one can infer several of the important Confucian values, including humility, honesty, respect for superiors/elders, and providing a moral example for others. Humility is apparent in several verses from The Analects, such as, "To remain unsoured even though one's merits are unrecognized by others, is that not after all what is expected of a gentleman?" (Waley 1) and "(the good man) does not grieve that other people do recognize his merits. His only anxiety is lest he should fail to recognize theirs" (Waley 3). The importance of honesty can be seen in the verse, "In old days a man kept a hold on his words, fearing the disgrace that would ensue should he himself fail to keep pace with them" (Waley 4). The virtue respecting superiors/elders is referenced in the verse, "Behave in such a way that your father and mother have no anxiety about you, except concerning your health" (Waley 11). Lastly, the importance of providing a moral example for others can be found multiple verses throughout The Analects, such as, "In the presence of a good man, think all the time how you may learn to equal him. In the presence of a bad man, turn your gaze within" (Waley 11), and "If out of three hundred Songs I had to take one phrase to cover all my teaching, I would say, 'Let there be no evil in your thoughts.'" (Waley 5), and lastly, "Govern them by moral force, keep order among them by ritual, and they will keep their self-respect and come to you of their own accord" (Waley 10).
Another way of saying, "He who will not worry about what is far off will soon find something worse than worry close at hand" is, "Unless you act on the future and consider the future consequences of your actions, you will suffer the consequences of your present actions". A modern-day example of this is that if you don't think to do and then turn in your homework, your grade is bound to go down. (Sorry, it's the only analogy I could think of at the moment.)
Ms. Peifer
10 IB - Hour 5
8 April 2009
LRJ #1: Analects
From the compilation of Confucius' teachings called The Analects, one can infer several of the important Confucian values, including humility, honesty, respect for superiors/elders, and providing a moral example for others. Humility is apparent in several verses from The Analects, such as, "To remain unsoured even though one's merits are unrecognized by others, is that not after all what is expected of a gentleman?" (Waley 1) and "(the good man) does not grieve that other people do recognize his merits. His only anxiety is lest he should fail to recognize theirs" (Waley 3). The importance of honesty can be seen in the verse, "In old days a man kept a hold on his words, fearing the disgrace that would ensue should he himself fail to keep pace with them" (Waley 4). The virtue respecting superiors/elders is referenced in the verse, "Behave in such a way that your father and mother have no anxiety about you, except concerning your health" (Waley 11). Lastly, the importance of providing a moral example for others can be found multiple verses throughout The Analects, such as, "In the presence of a good man, think all the time how you may learn to equal him. In the presence of a bad man, turn your gaze within" (Waley 11), and "If out of three hundred Songs I had to take one phrase to cover all my teaching, I would say, 'Let there be no evil in your thoughts.'" (Waley 5), and lastly, "Govern them by moral force, keep order among them by ritual, and they will keep their self-respect and come to you of their own accord" (Waley 10).
Another way of saying, "He who will not worry about what is far off will soon find something worse than worry close at hand" is, "Unless you act on the future and consider the future consequences of your actions, you will suffer the consequences of your present actions". A modern-day example of this is that if you don't think to do and then turn in your homework, your grade is bound to go down. (Sorry, it's the only analogy I could think of at the moment.)
Thursday, March 26, 2009
The Flying Doctor LRJ
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).
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).
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
Wednesday, February 25, 2009
Macbeth LRJ #3
Sarita Beekie
Ms. Peifer
10 IB - Hour 5
25 February 2009
Macbeth LRJ #3
The third act of Macbeth begins to take the smaller, less noticeable "quirks" of Macbeth and Lady Macbeth and develops those quirks into definite characteristics that become embodied in each of their already complex personalities. Macbeth, for example, showed in act one that he had the will to murder (whether he truly thought it was the best idea or not, he did kill Duncan), but in the third act, Macbeth begins to show his first signs of being a cold-blooded murderer when thinks to himself, "They hailed him [Banquo] to a line of kings. Upon my head they placed a fruitless crown and put a barren scepter in my grip, thence to be wrenched with an unlineal hand, no son of mine succeeding...for them the gracious Duncan have I murdered...to make them kings, the seeds of Banquo kings." (Shakespeare, Macbeth, 3, i, 61-71) and then later resolves, "It is concluded . Banquo, thy soul's flight, if it find heaven, must it find out tonight." (Shakespeare, Macbeth, 3, i, 143-144) bearing in mind that Banquo is supposedly Macbeth's best friend up until this point. Also, another clue to the changing of Macbeth's character is the fact that he made arrangements to kill Banquo without Lady Macbeth's consent.
In the first two acts of Macbeth, it was apparent that Lady Macbeth had a subtle issue with being inconsistent, but her hypocritical nature becomes blatant when she says to herself, "Naught's had, all's spent, where our desire is got without content. 'Tis safer to be that which we destroy than by destruction dwell in doubtful joy" (Shakespeare, Macbeth, 3, ii, 6-9) and right after as Macbeth enters, she tells him to, "be bright and jovial among your guests tonight" (Shakespeare, Macbeth, 3 ii, 31). From this, we can also infer that Macbeth is no longer the anxious one of the two, it is now Lady Macbeth, who has all of sudden lost the brassy nerve that she once had in the previous acts.
As far as the reoccurring imagery concerning the abnormal weather patterns, no direct changes in the weather are spoken of in the third act of Macbeth, however, several references to weather are made by the characters. Like when Macbeth exclaims (to no one in particular), "Come, seeling night, scarf up the tender eye of pitiful day, and with thy bloody and invisible hand cancel and tear to pieces that great bond which keeps me pale!" (Shakespeare, Macbeth, 3, ii, 49-53) Another small reference to weather is when Banquo innocently states, "It will be rain tonight" (Shakespeare, Macbeth, 3, iii, 21) and then a murderer appears and exclaims, "Let it come down!" (Shakespeare, Macbeth, 3, iii, 22).
Ms. Peifer
10 IB - Hour 5
25 February 2009
Macbeth LRJ #3
The third act of Macbeth begins to take the smaller, less noticeable "quirks" of Macbeth and Lady Macbeth and develops those quirks into definite characteristics that become embodied in each of their already complex personalities. Macbeth, for example, showed in act one that he had the will to murder (whether he truly thought it was the best idea or not, he did kill Duncan), but in the third act, Macbeth begins to show his first signs of being a cold-blooded murderer when thinks to himself, "They hailed him [Banquo] to a line of kings. Upon my head they placed a fruitless crown and put a barren scepter in my grip, thence to be wrenched with an unlineal hand, no son of mine succeeding...for them the gracious Duncan have I murdered...to make them kings, the seeds of Banquo kings." (Shakespeare, Macbeth, 3, i, 61-71) and then later resolves, "It is concluded . Banquo, thy soul's flight, if it find heaven, must it find out tonight." (Shakespeare, Macbeth, 3, i, 143-144) bearing in mind that Banquo is supposedly Macbeth's best friend up until this point. Also, another clue to the changing of Macbeth's character is the fact that he made arrangements to kill Banquo without Lady Macbeth's consent.
In the first two acts of Macbeth, it was apparent that Lady Macbeth had a subtle issue with being inconsistent, but her hypocritical nature becomes blatant when she says to herself, "Naught's had, all's spent, where our desire is got without content. 'Tis safer to be that which we destroy than by destruction dwell in doubtful joy" (Shakespeare, Macbeth, 3, ii, 6-9) and right after as Macbeth enters, she tells him to, "be bright and jovial among your guests tonight" (Shakespeare, Macbeth, 3 ii, 31). From this, we can also infer that Macbeth is no longer the anxious one of the two, it is now Lady Macbeth, who has all of sudden lost the brassy nerve that she once had in the previous acts.
As far as the reoccurring imagery concerning the abnormal weather patterns, no direct changes in the weather are spoken of in the third act of Macbeth, however, several references to weather are made by the characters. Like when Macbeth exclaims (to no one in particular), "Come, seeling night, scarf up the tender eye of pitiful day, and with thy bloody and invisible hand cancel and tear to pieces that great bond which keeps me pale!" (Shakespeare, Macbeth, 3, ii, 49-53) Another small reference to weather is when Banquo innocently states, "It will be rain tonight" (Shakespeare, Macbeth, 3, iii, 21) and then a murderer appears and exclaims, "Let it come down!" (Shakespeare, Macbeth, 3, iii, 22).
Monday, February 23, 2009
The Violinist
Another poem. Enjoy.
Gracing her bow upon the strings
Music, her medium, is drawn,
But alas, not only from her violin
But from her own heart strings, as well.
Pulling her bow
Her magic bleeds the air,
Tenderly smiling
As she unlocks her colors and sparkle.
Observing the sky,
She extends her arm
And points her bow to draw an arch
And which she paints on utmost silence.
“A painter paints his pictures on canvas. But musicians paint their pictures on silence.” -Leopold Stokowski
Gracing her bow upon the strings
Music, her medium, is drawn,
But alas, not only from her violin
But from her own heart strings, as well.
Pulling her bow
Her magic bleeds the air,
Tenderly smiling
As she unlocks her colors and sparkle.
Observing the sky,
She extends her arm
And points her bow to draw an arch
And which she paints on utmost silence.
“A painter paints his pictures on canvas. But musicians paint their pictures on silence.” -Leopold Stokowski
Macbeth LRJ #2
Sarita Beekie
Ms. Peifer
10 IB - Hour 5
23 February 2009
Macbeth LRJ #2
As the story of Macbeth develops, readers begin to find in the second act that the "first-impression" characteristics of Macbeth and Lady Macbeth begin to become clearer and more blatant. Also, new facets of their complex characters begin to become visible in the second act, as well. As Macbeth moves into the second act, Macbeth becomes more torn between his moral conscience and his evil desires, especially now that he has killed Duncan, and because of this (and his blatant inconsistencies up to this point), he begins to suffer from extreme guilt. In response to Lady Macbeth chiding him for falling through with the last steps of their murder plot, he replies, "I'll go no more. I am afraid to think what I have done; look on't again I dare not" (Shakespeare, Macbeth, 2, ii, 53-55) and then goes on to say, "Will all great Neptune's ocean wash this blood clean from my hand? No, this my hand will rather the miltudinous seas incarnidine making the green one red." From this, readers can also infer that although Macbeth may be a warrior, he clearly does not have the heart of a cold-blooded murderer. As far as new characteristics, Macbeth begins to show his first signs of definite mental instability when he begins to monologue, "Is this the dagger which I see before me, the handle toward my hand? Come, let me clutch thee...a dagger of the mind, a false creation, proceeding from the heat-oppressed brain? I see thee yet, in form as palpable as this which now I draw" (Shakespeare, Macbeth, 2, i, 34-42).
Lady Macbeth on the other hand, shows no remorse for the heinous acts that she and Macbeth have planned and carried out, and contrary to Macbeth's increasing uncertainty with this whole operation, Lady Macbeth becomes increasingly bolder. "That which hath made them drunk hath made me bold; what hath quenched them hath given me fire" (Shakespeare, Macbeth, 2, ii, 1-2) is her response to poisoning Duncan's guards. However, as bold and as domineering as Lady Macbeth may be, she has her own share of inconsistencies, as well. As she waits for Macbeth after she has poisoned the guards, she says to herself, "Had he [Duncan] not resembled my father as he slept, I had done't" (Shakespeare, Macbeth, 2, 11, 12-13) bearing in mind that this is the same lady who said, "How tender 'tis to love the babe that milks me; I would while it was smiling in my face, have plucked my nipple from his boneless gums and dashed the brains out, had I so sworn as you have done to this" (Shakespeare, Macbeth, 1, vii, 56-59).
There are several reoccurring themes that transfer from act one to act two, as well. Such as the abnormal weather patterns. When the first witch is offended by a woman who, "wouldn't share her chestnuts", the Weird Sisters cry out, "Weary sev'nnights nine times nine shall he dwindle, peak, and pine. Though his bark cannot be lost, yet it shall be tempest-tossed." (Shakespeare, Macbeth, 1, iii, 22-25) and they send a wrathful storm out to the woman's seaward husband. Then after Duncan is discovered dead, Ross comments, "By th' clock 'tis day, and yet dark night strangles the traveling lamp. Is't night's predominance or the day's shame that darkness does the face of the earth entomb when living light should kiss it?" (Shakespeare, Macbeth, 2, iv, 6-10).
Ms. Peifer
10 IB - Hour 5
23 February 2009
Macbeth LRJ #2
As the story of Macbeth develops, readers begin to find in the second act that the "first-impression" characteristics of Macbeth and Lady Macbeth begin to become clearer and more blatant. Also, new facets of their complex characters begin to become visible in the second act, as well. As Macbeth moves into the second act, Macbeth becomes more torn between his moral conscience and his evil desires, especially now that he has killed Duncan, and because of this (and his blatant inconsistencies up to this point), he begins to suffer from extreme guilt. In response to Lady Macbeth chiding him for falling through with the last steps of their murder plot, he replies, "I'll go no more. I am afraid to think what I have done; look on't again I dare not" (Shakespeare, Macbeth, 2, ii, 53-55) and then goes on to say, "Will all great Neptune's ocean wash this blood clean from my hand? No, this my hand will rather the miltudinous seas incarnidine making the green one red." From this, readers can also infer that although Macbeth may be a warrior, he clearly does not have the heart of a cold-blooded murderer. As far as new characteristics, Macbeth begins to show his first signs of definite mental instability when he begins to monologue, "Is this the dagger which I see before me, the handle toward my hand? Come, let me clutch thee...a dagger of the mind, a false creation, proceeding from the heat-oppressed brain? I see thee yet, in form as palpable as this which now I draw" (Shakespeare, Macbeth, 2, i, 34-42).
Lady Macbeth on the other hand, shows no remorse for the heinous acts that she and Macbeth have planned and carried out, and contrary to Macbeth's increasing uncertainty with this whole operation, Lady Macbeth becomes increasingly bolder. "That which hath made them drunk hath made me bold; what hath quenched them hath given me fire" (Shakespeare, Macbeth, 2, ii, 1-2) is her response to poisoning Duncan's guards. However, as bold and as domineering as Lady Macbeth may be, she has her own share of inconsistencies, as well. As she waits for Macbeth after she has poisoned the guards, she says to herself, "Had he [Duncan] not resembled my father as he slept, I had done't" (Shakespeare, Macbeth, 2, 11, 12-13) bearing in mind that this is the same lady who said, "How tender 'tis to love the babe that milks me; I would while it was smiling in my face, have plucked my nipple from his boneless gums and dashed the brains out, had I so sworn as you have done to this" (Shakespeare, Macbeth, 1, vii, 56-59).
There are several reoccurring themes that transfer from act one to act two, as well. Such as the abnormal weather patterns. When the first witch is offended by a woman who, "wouldn't share her chestnuts", the Weird Sisters cry out, "Weary sev'nnights nine times nine shall he dwindle, peak, and pine. Though his bark cannot be lost, yet it shall be tempest-tossed." (Shakespeare, Macbeth, 1, iii, 22-25) and they send a wrathful storm out to the woman's seaward husband. Then after Duncan is discovered dead, Ross comments, "By th' clock 'tis day, and yet dark night strangles the traveling lamp. Is't night's predominance or the day's shame that darkness does the face of the earth entomb when living light should kiss it?" (Shakespeare, Macbeth, 2, iv, 6-10).
Saturday, February 21, 2009
The Cellist
Just thought I'd put this on my blog
Passion's sound hung on each enamored heart
As he graced his bow upon the taut strings,
His lovely magic, the blessed fine art
A concoction of all beautiful things.
The lustrous moon and stars began to dance
As the Lovely One continued to play,
Ev'ry ear was encompassed in a trance
As their souls were beckoned to run away.
His heart poured into the rapturous song
Forever drowned in his tragic amore,
They wept, for this angel had done no wrong
Yet cast from Heaven's face forevermore.
At his song's end, if you look in his eyes,
You'll see his soul fade as the music dies.
Passion's sound hung on each enamored heart
As he graced his bow upon the taut strings,
His lovely magic, the blessed fine art
A concoction of all beautiful things.
The lustrous moon and stars began to dance
As the Lovely One continued to play,
Ev'ry ear was encompassed in a trance
As their souls were beckoned to run away.
His heart poured into the rapturous song
Forever drowned in his tragic amore,
They wept, for this angel had done no wrong
Yet cast from Heaven's face forevermore.
At his song's end, if you look in his eyes,
You'll see his soul fade as the music dies.
Friday, February 20, 2009
Macbeth LRJ #1
Sarita Beekie
Ms. Peifer
10 IB -Hour 5
20 February 2009
Macbeth LRJ #1
In the first act of Macbeth, the two characters that readers become most acquainted with at first are Macbeth and Lady Macbeth. The first impression of Macbeth is that he is a lot like Faustus, in a sense that he is being torn by good and evil desires, which presents the play's theme of conflicting morals. When presented with the idea of killing the king and gaining the crown (as it has been premeditated by the Weird Sisters), he says to himself:
"This supernatural soliciting cannot be ill, cannot be good. If ill,
Why hath it given me earnest of success
Commencing in a truth? I am Thane of Cawdor.
If good, why do I yield to that suggestion
Whose horrid image doth unfix my hair
And make my seated heart knock at my ribs,
Against the use of nature? Present fears
Are less than horrible imaginings.
My thought, whose murder is yet but fantastical,
Shakes so my single state of man
That function is smothered in surmise,
And nothing is but what is not." (Shakespeare, Macbeth 1, iii, 131-143)
In contrast, Lady Macbeth immediately comes off as outwardly poised, yet in actuality she is very cold, calculating, and manipulative to an extent. Being an aristocratic lady, it is required that she is poised and superficially elegant, which she does well when Duncan (the king) thanks her for letting him stay in her household, and she replies, "For those of old, and the late dignities heaped up to them, we rest your hermits" (Shakespeare, Macbeth 1,vi, 18-19). This contrasts her first entrance, after Macbeth has sent word of the prophecy pertaining to him being king. At this message, she immediately calls, "Come you spirits that tend on mortal thoughts, unsex me here and fill me from the crown to the toe-top full of direst cruelty!" (Shakespeare, Macbeth 1, v, 40-43) because she believes that Macbeth is too much of a gentleman to take the actions needed in fulfilling the prophecy. So she makes up Macbeth's mind for him, and tells him:
"When Duncan is asleep--
Whereto the rather shall his day's hard journey
Soundly invite him--his to chamberlains
Will I with wine and wassail so convince
That memory, the warder of the brain,
Shall be a fume, and the receipt of reason
A limbeck only. When in a swinish sleep
Their drenched natures lie as in a death,
What cannot you and I perform upon
Th' unguarded Duncan? What not put upon
His spongy officers, who shall bear the guilt
Of our great quell?" (Shakespeare, Macbeth 1, vii, 62-72)
Lady Macbeth's character is also used in introducing the play's themes of darkness and power thirst.
One scene in the first act of Macbeth that struck me as far as imagery is concerned is the scene in which Lady Macbeth tells Macbeth, "Art thou afeard to be the same in thine own act and valor as thou art in desire?...How tender 'tis to love the babe that milks me; I would while it was smiling in my face, have plucked my nipple from his boneless gums and dashed the brains out, had I so sworn as you have done to this" (Shakespeare, Macbeth, 1, vii, 40-59). In this particular scene, Lady Macbeth is chiding Macbeth for not being "man enough" to take action in accordance with the prophecy, and then goes onto to state that she would kill her own child if she had to and had promised so. This would've been considered quite shocking for an aristocratic lady of her time to be speaking in such a way, especially to her husband. Also, the fact that she would kill her own child (for any reason) adds to already apparent darkness of her character.
Ms. Peifer
10 IB -Hour 5
20 February 2009
Macbeth LRJ #1
In the first act of Macbeth, the two characters that readers become most acquainted with at first are Macbeth and Lady Macbeth. The first impression of Macbeth is that he is a lot like Faustus, in a sense that he is being torn by good and evil desires, which presents the play's theme of conflicting morals. When presented with the idea of killing the king and gaining the crown (as it has been premeditated by the Weird Sisters), he says to himself:
"This supernatural soliciting cannot be ill, cannot be good. If ill,
Why hath it given me earnest of success
Commencing in a truth? I am Thane of Cawdor.
If good, why do I yield to that suggestion
Whose horrid image doth unfix my hair
And make my seated heart knock at my ribs,
Against the use of nature? Present fears
Are less than horrible imaginings.
My thought, whose murder is yet but fantastical,
Shakes so my single state of man
That function is smothered in surmise,
And nothing is but what is not." (Shakespeare, Macbeth 1, iii, 131-143)
In contrast, Lady Macbeth immediately comes off as outwardly poised, yet in actuality she is very cold, calculating, and manipulative to an extent. Being an aristocratic lady, it is required that she is poised and superficially elegant, which she does well when Duncan (the king) thanks her for letting him stay in her household, and she replies, "For those of old, and the late dignities heaped up to them, we rest your hermits" (Shakespeare, Macbeth 1,vi, 18-19). This contrasts her first entrance, after Macbeth has sent word of the prophecy pertaining to him being king. At this message, she immediately calls, "Come you spirits that tend on mortal thoughts, unsex me here and fill me from the crown to the toe-top full of direst cruelty!" (Shakespeare, Macbeth 1, v, 40-43) because she believes that Macbeth is too much of a gentleman to take the actions needed in fulfilling the prophecy. So she makes up Macbeth's mind for him, and tells him:
"When Duncan is asleep--
Whereto the rather shall his day's hard journey
Soundly invite him--his to chamberlains
Will I with wine and wassail so convince
That memory, the warder of the brain,
Shall be a fume, and the receipt of reason
A limbeck only. When in a swinish sleep
Their drenched natures lie as in a death,
What cannot you and I perform upon
Th' unguarded Duncan? What not put upon
His spongy officers, who shall bear the guilt
Of our great quell?" (Shakespeare, Macbeth 1, vii, 62-72)
Lady Macbeth's character is also used in introducing the play's themes of darkness and power thirst.
One scene in the first act of Macbeth that struck me as far as imagery is concerned is the scene in which Lady Macbeth tells Macbeth, "Art thou afeard to be the same in thine own act and valor as thou art in desire?...How tender 'tis to love the babe that milks me; I would while it was smiling in my face, have plucked my nipple from his boneless gums and dashed the brains out, had I so sworn as you have done to this" (Shakespeare, Macbeth, 1, vii, 40-59). In this particular scene, Lady Macbeth is chiding Macbeth for not being "man enough" to take action in accordance with the prophecy, and then goes onto to state that she would kill her own child if she had to and had promised so. This would've been considered quite shocking for an aristocratic lady of her time to be speaking in such a way, especially to her husband. Also, the fact that she would kill her own child (for any reason) adds to already apparent darkness of her character.
Thursday, January 29, 2009
Wednesday, January 28, 2009
Everyman LRJ
Sarita Beekie, Ashley Fawkes, Thomas Kendrick, and Tyler Dixon
Ms. Peifer
10 IB - Hour 5
28 January 2009
Everyman LRJ
Ms. Peifer
10 IB - Hour 5
28 January 2009
Everyman LRJ
There are only a couple of themes that can found in the Everyman play. Religious themes, and moral themes (which are closely related to religious themes). This makes a lot of sense because plays written during the time Everyman was written (around the 15th century) were often sanctioned by the church.
The church wrote religious/moral plays like Everyman in order to illustrate a biblical story or a lesson in morality. Everyman is used to teach what, "every man" will be able to take with himself when he dies. When the main character Everyman is confronted by Death, he asks Fellowship to come with him when he dies, but Fellowship replies, "Whether ye have loved me or no, by Saint John I will not with thee go." (Everyman pg. 6) and at the end of the play, we find out that, "Beauty, Five-Wits, Strength, and Discretion, they all last do everyman forsake." (Everyman pg. 15), but Good Deeds says, "Nay, Everyman, I will bide with thee, I will not forsake thee indeed; Thou shalt find me a good friend at need." (Everyman pg. 14) and is the only character that follows Everyman to his grave.
Seeing how the theme of the play is based off of morals, that would mean that the moral of the play is the theme. That being said, the moral of this story is that if you do good deeds for others, those good deeds will be good to you even after you die. The entire theme of this play is based off of what concepts will matter at the end of your life, such as good deeds or good works, and which concepts won't, like the earthly possessions of beauty and strength, or fickle concepts such as fellowhship and discretion (according to the play).
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