1. Passio: womanish pain. -Text definition.
Act II, Scene IV, Page 49: "KING LEAR: O, how this mother swells up toward my heart!
Hysterica passio, down, thou climbing sorrow,
Thy element's below! Where is this daughter?"
2. Edgar, on the run because of the lies planted by his brother, decides to disguise himself. He covers himself in dirt and dresses in rags, creating the "Poor Tom" persona. He plans to act like a madman escaped from an insane asylum as he wanders the land. Lear arrives at Gloucester's castle and asked to speak to Regan and Cornwall, who refuse. Eventually they comply and Lear complains to Regan about her sister's unfairness, but Regan sides with Goneril, telling Lear that he is going mad with age and should apologize to his daughter. Goneril shows up, much to Lear's dismay, and the sisters strengthen their alliance. They tell Lear that they will not allow him to bring any knights to either of their homes, and in a fit of rage, he leaves the castle in the midst of a storm. Gloucester begs the girls to let him back in but they refuse, arguing that he should do what he wants.
3. This Act is where King Lear clearly begins to lose his mind. It does not come suddenly, however; his madness is a gradual process, beginning in Act I but escalating in Act II. The incident that arguably pushes him over the "edge" is the betrayal by his two daughters. When Goneril and Regan join together to undermine his remaining power, he cannot take it. By refusing to allow him his knights and declaring him senile, the girls show Lear how little they truly care for him. He quickly transitions from astonishment to anger to madness. Lear runs from the shelter of Gloucester's castle into a storm, claiming wildly that he would rather live in nature's fury than with his traitorous daughters. I'm not sure if he actually wanted to be alone in the storm or if he hoped that someone would come after him, but either way, when nobody did it must have only added to his madness. His daughters once against demonstrated their lack of feeling toward their father by telling Gloucester to leave him alone.
While at first I did not understand what Edgar was doing in disguising himself as "Poor Tom," now that I understand, my respect for him has heightened greatly. Although I believe he first disguised himself simply as a form of protection, when he came upon his father he did not flee. Most people would have found an excuse to run away because of the risk of exposure, but Edgar did not. I think this proves how much he loved his father. He would rather stay in constant danger but help his dad than be safe but have no contact. At this point in the play I started to really like Edgar, and I think he may be my favorite character in the entire work.
4. My first question is whether Lear would have gone mad had his daughters not done so much to convince him that he was. There are multiple occasions where they tell him he is becoming senile with age, and I wonder if it influenced his mental decay or if it was just a coincidence.
My second question is whether Edgar would have looked for his father or not if he had not come across him. I know it's probably not very relevant in the context of the play, but I'm curious nonetheless. Would he have ever made contact?
My third question is why Gloucester did not go after Lear. I know that the daughters told him not to, but he is a grown man. If he wanted to help Lear he could have followed him or invited him back into his castle. After all, it wasn't Goneril or Regan's house, it was Gloucester's.
Sunday, January 24, 2010
King Lear, Act I
1. Sectary: a member of a sect. -Merriam-Webster Online
Act I, Scene II, Page 25: "EDGAR: How long have you been a sectary astronomical?"
2. The play begins with Gloucester telling Kent about his sons, Edgar and Edmund. Edmund is a bastard, but Gloucester claims to love them both. The attention then turns to King Lear, who is planning to divide his kingdom between his three daughters. He asks them to prove how much they love him, and his eldest two daughters, Goneril and Regan, who both eloquently flatter their father into appeasement. Cordelia, however, refuses to answer a question that she sees as so foolish, infuriating Lear. He disowns Cordelia and she leaves to marry the king of France without a dowry. Lear's loyal follower, Kent, stands up for Cordelia, causing Lear to banish him as well. Edmund then talks about how his brother, being a legitimate child, will inherit all of their father's wealth. Edmund schemes to plant a false letter hinting of a murder plot "written" by his brother, trying to pit his father and brother against each other. The scene then switches to Lear staying with Goneril along with the terms of his abdication. Goneril complains that her father's knights are rambunctious. Kent shows up in disguise to serve Lear, proving his faithfulness. Goneril finally snaps and tells Lear that his knights must leave the castle, and Lear is livid. Both Lear and Goneril write letters to Regan, the former asking for pity, the latter warning of trouble coming her way in the form of Lear's caravan.
3. At this point in the play, I was still very unsure of whether to side with Lear or his eldest daughters. Many of the situations in the play could be interpreted multiple ways, leading to different sympathy points. Lear appeared to be very childish and selfish. He wanted to give up the difficult parts of his job but retain the power, which is clearly very unfair. When his daughter, Cordelia, was honest and said that she loved him "according to my bond; nor more nor less," (Act I, Scene I, Page 15) Lear responded in an incredibly immature way by essentially disowning her. Ironically, Cordelia is probably the only daughter who actually loves her father. Lear, however, blinded by his foolish pride, threw a temper tantrum. On the other side of the issue, however, are the greedy daughters, Goneril and Regan. Their father gave them each half of his kingdom, and in return they plotted ways to control him completely. They refused to allow his knights to stay in their homes and in doing so demonstrated their lack of respect and his loss of power. It was especially difficult to determine which party was in the right because of Shakespeare's vagueness. One cannot be certain whether the knights are in fact rowdy and inappropriate, or whether the knights are well-behaved and the sisters simply looking for excuses.
I also thought the parallel between Gloucester and Lear was very cool. Both have multiple children, one of whom is loyal, one (or two) who is certainly not. Edgar and Cordelia both love their fathers very much, but do not show it as extravagantly as their fathers would like. Because of this, the other siblings are able to inspire doubt in the fathers, ultimately leading to the complete disownment of the honest siblings. As of this Act it was too soon to see whether Gloucester and Lear were meant to be completely parallel or if one was supposed to contrast the other.
4. My first question from this Act was whether Edmund would actually murder Gloucester, framing Edgar, or whether he was just planning to threaten Gloucester away from favoring Edgar. He is obviously very manipulative, but it was too soon to see how far he would go for the wealth that he views as rightfully his.
My second question was whether Lear or Goneril and Regan would be shown to be deserving of pity, or whether it would be up to interpretation throughout the entire play. As I mentioned in my analysis, many of the situations could be taken multiple ways, leading either to sympathy toward King Lear or toward his oldest daughters.
My third and final question from Act I was whether Cordelia would ever reunite with Lear, and if so, whether he would apologize or maintain his belief that she had mistreated him. I had heard that Lear lost his mind by the end of the play, but I was really curious as to whether he lost it believing that Cordelia wronged him or whether he came to terms with the truth.
Act I, Scene II, Page 25: "EDGAR: How long have you been a sectary astronomical?"
2. The play begins with Gloucester telling Kent about his sons, Edgar and Edmund. Edmund is a bastard, but Gloucester claims to love them both. The attention then turns to King Lear, who is planning to divide his kingdom between his three daughters. He asks them to prove how much they love him, and his eldest two daughters, Goneril and Regan, who both eloquently flatter their father into appeasement. Cordelia, however, refuses to answer a question that she sees as so foolish, infuriating Lear. He disowns Cordelia and she leaves to marry the king of France without a dowry. Lear's loyal follower, Kent, stands up for Cordelia, causing Lear to banish him as well. Edmund then talks about how his brother, being a legitimate child, will inherit all of their father's wealth. Edmund schemes to plant a false letter hinting of a murder plot "written" by his brother, trying to pit his father and brother against each other. The scene then switches to Lear staying with Goneril along with the terms of his abdication. Goneril complains that her father's knights are rambunctious. Kent shows up in disguise to serve Lear, proving his faithfulness. Goneril finally snaps and tells Lear that his knights must leave the castle, and Lear is livid. Both Lear and Goneril write letters to Regan, the former asking for pity, the latter warning of trouble coming her way in the form of Lear's caravan.
3. At this point in the play, I was still very unsure of whether to side with Lear or his eldest daughters. Many of the situations in the play could be interpreted multiple ways, leading to different sympathy points. Lear appeared to be very childish and selfish. He wanted to give up the difficult parts of his job but retain the power, which is clearly very unfair. When his daughter, Cordelia, was honest and said that she loved him "according to my bond; nor more nor less," (Act I, Scene I, Page 15) Lear responded in an incredibly immature way by essentially disowning her. Ironically, Cordelia is probably the only daughter who actually loves her father. Lear, however, blinded by his foolish pride, threw a temper tantrum. On the other side of the issue, however, are the greedy daughters, Goneril and Regan. Their father gave them each half of his kingdom, and in return they plotted ways to control him completely. They refused to allow his knights to stay in their homes and in doing so demonstrated their lack of respect and his loss of power. It was especially difficult to determine which party was in the right because of Shakespeare's vagueness. One cannot be certain whether the knights are in fact rowdy and inappropriate, or whether the knights are well-behaved and the sisters simply looking for excuses.
I also thought the parallel between Gloucester and Lear was very cool. Both have multiple children, one of whom is loyal, one (or two) who is certainly not. Edgar and Cordelia both love their fathers very much, but do not show it as extravagantly as their fathers would like. Because of this, the other siblings are able to inspire doubt in the fathers, ultimately leading to the complete disownment of the honest siblings. As of this Act it was too soon to see whether Gloucester and Lear were meant to be completely parallel or if one was supposed to contrast the other.
4. My first question from this Act was whether Edmund would actually murder Gloucester, framing Edgar, or whether he was just planning to threaten Gloucester away from favoring Edgar. He is obviously very manipulative, but it was too soon to see how far he would go for the wealth that he views as rightfully his.
My second question was whether Lear or Goneril and Regan would be shown to be deserving of pity, or whether it would be up to interpretation throughout the entire play. As I mentioned in my analysis, many of the situations could be taken multiple ways, leading either to sympathy toward King Lear or toward his oldest daughters.
My third and final question from Act I was whether Cordelia would ever reunite with Lear, and if so, whether he would apologize or maintain his belief that she had mistreated him. I had heard that Lear lost his mind by the end of the play, but I was really curious as to whether he lost it believing that Cordelia wronged him or whether he came to terms with the truth.
Thursday, December 10, 2009
3 Heart of Darkness
1. Obsequiously:
Pages 115-116: "The wastes of his weary brain were haunted by shadowy images now - images of wealth and fame revolving obsequiously round his unextinguishable gift of noble and lofty expression."
2. The Russian tells Marlow of his time with Kurtz, including the hot and cold periods. While Kurtz was ill, the Russian nursed him back to health, but Kurtz would periodically go through stages where he was violent and angry, even threatening to shoot the Russian over a small amount of ivory. Marlow also notices the heads of "rebels" stuck on the top of fence posts around the station. The Russian remains firm on his stance that Kurtz is a great man who opened his mind to many things, however, and says that he should not be judged as a normal man. He then tells Marlow that Kurtz is extremely ill and needs to return to civilization as soon as possible. Kurtz is then brought to the ship on a stretcher, causing the natives to run from the forest in uproar. Kurtz speaks to them and they hesitatingly retreat. An intricately ornamented native woman watches the steamer pull away, and Marlow learns that the woman is Kurtz's mistress. The manager talks to Marlow, indicating his belief that Kurtz is mentally unstable, and Marlow defends Kurtz, isolating himself in the process. The Russian begs Marlow to uphold Kurtz's reputation and Marlow agrees, a promise that he has upheld until the time of the storytelling. One night Marlow wakes up and Kurtz is gone. Marlow goes searching for him and catches him crawling toward a native camp. He frantically stops Kurtz before he can yell. On the return trip, Marlow and Kurtz spend a large amount of time together due to their mutual banishment. The ship breaks down once, and the voyage is rough, causing both Marlow and Kurtz to doubt their safe return. Kurtz gives Marlow a stack of paper for "safekeeping" before dying one night, exclaiming, "The horror! The horror!" in the process. When Marlow arrives back in Brussels he is very ill. His aunt nurses him back to health, and one day a Company worker comes to take Kurtz's papers. Marlow only gives him a pamphlet, but later others come and Marlow gives them various papers. Finally, Marlow delivers the rest to Kurtz's "Intended," who is still in mourning and seems to be obsessed with the idea of her relationship with Kurtz. She asks Marlow what his last words were, and Marlow lies and tells her Kurtz uttered her name last.
3. This final section of the novel brought up a plethora of interesting points and concepts. First, the idea of Kurtz not being insane, but choosing one of two evils intrigued me greatly. Marlow maintains that Kurtz justly saw that there were two ways to live life as a white Imperialist: by pretending to be civilized, non-violent and good, or by admitting that nobody is truly civilized and embracing this idea. Kurtz chose the latter, leading to his severe disapproval from the other Company members. Marlow sees this, though, and finds it brilliant. Men are not meant to civilize one another, and it is utterly ridiculous to assume that because white Europeans were civilized by the Romans a mere 2,000 years ago, they are capable and have the right to civilize others. Another aspect of this section that I enjoyed thinking about was the way females were depicted. Kurtz's African mistress is treated as an object, yet she seems similar to white women. Her behavior toward Kurtz is typical of that of a white woman in a relationship, and her ornaments and lavish jewelry suggest a vanity often pictured in only "civilized" cultures. This brings up the question of whether Kurtz somehow passed this onto her, or whether all women, civilized and noncivilized, are more alike than given credit for. Also, Kurtz's "Intended" is an unusual character. She is portrayed as irrational in her obsession over Kurtz, going so far as to be in a state of mourning a year after his death. When Marlow enters her home she immediately latches onto the opportunity to talk to him, similarly to her beloved Kurtz. Also, she seems to enjoy validifying her relationship with Kurtz, looking to compete with Marlow in every way, trying to prove that "she knew him better than anyone." Marlow was not instigating an arguement; he did not try to say that he knew Kurtz better. However, everything is a competition for her, which I found strange. Kurtz's last words were fascinating as well. They were profound, yet entirely lacking meaning. "The horror! The horror!" could be applied to nearly anything in life, yet these eloquent words seem only fitting to a man as bold and in-touch with himself as Kurtz. He saw deeper into human nature than anyone else in the novel; undoubtedly deeper than most individuals ever see in reality, as well. What he saw surely scared him, but also enlightened him. Nobody, not even Marlow or Kurtz's "Intended," could ever grasp wholly what Kurtz was referring to in his final statement (although his "Intended" never learned his true last words).
4. My first question is what exactly Kurtz's final remarks referred to. Was he talking about humanity? His life? The "heart of darkness"? I know they were probably chosen so vaguely for a reason, but I'd really like to know.
My second question is whether Joseph Conrad, the author, was a bit of a sexist. The way he portrays women in the novel makes me question whether he respected them at all. He mentions at one point that they seem to exist in another world entirely. Was this in a sexist way, or did he just see them as incomparable to men?
My final question is regarding the night Kurtz tried to slip away to the tribal bonfire. What were his intentions? Was he going to join the natives and refuse to leave? Was he going to provoke an attack?
Pages 115-116: "The wastes of his weary brain were haunted by shadowy images now - images of wealth and fame revolving obsequiously round his unextinguishable gift of noble and lofty expression."
2. The Russian tells Marlow of his time with Kurtz, including the hot and cold periods. While Kurtz was ill, the Russian nursed him back to health, but Kurtz would periodically go through stages where he was violent and angry, even threatening to shoot the Russian over a small amount of ivory. Marlow also notices the heads of "rebels" stuck on the top of fence posts around the station. The Russian remains firm on his stance that Kurtz is a great man who opened his mind to many things, however, and says that he should not be judged as a normal man. He then tells Marlow that Kurtz is extremely ill and needs to return to civilization as soon as possible. Kurtz is then brought to the ship on a stretcher, causing the natives to run from the forest in uproar. Kurtz speaks to them and they hesitatingly retreat. An intricately ornamented native woman watches the steamer pull away, and Marlow learns that the woman is Kurtz's mistress. The manager talks to Marlow, indicating his belief that Kurtz is mentally unstable, and Marlow defends Kurtz, isolating himself in the process. The Russian begs Marlow to uphold Kurtz's reputation and Marlow agrees, a promise that he has upheld until the time of the storytelling. One night Marlow wakes up and Kurtz is gone. Marlow goes searching for him and catches him crawling toward a native camp. He frantically stops Kurtz before he can yell. On the return trip, Marlow and Kurtz spend a large amount of time together due to their mutual banishment. The ship breaks down once, and the voyage is rough, causing both Marlow and Kurtz to doubt their safe return. Kurtz gives Marlow a stack of paper for "safekeeping" before dying one night, exclaiming, "The horror! The horror!" in the process. When Marlow arrives back in Brussels he is very ill. His aunt nurses him back to health, and one day a Company worker comes to take Kurtz's papers. Marlow only gives him a pamphlet, but later others come and Marlow gives them various papers. Finally, Marlow delivers the rest to Kurtz's "Intended," who is still in mourning and seems to be obsessed with the idea of her relationship with Kurtz. She asks Marlow what his last words were, and Marlow lies and tells her Kurtz uttered her name last.
3. This final section of the novel brought up a plethora of interesting points and concepts. First, the idea of Kurtz not being insane, but choosing one of two evils intrigued me greatly. Marlow maintains that Kurtz justly saw that there were two ways to live life as a white Imperialist: by pretending to be civilized, non-violent and good, or by admitting that nobody is truly civilized and embracing this idea. Kurtz chose the latter, leading to his severe disapproval from the other Company members. Marlow sees this, though, and finds it brilliant. Men are not meant to civilize one another, and it is utterly ridiculous to assume that because white Europeans were civilized by the Romans a mere 2,000 years ago, they are capable and have the right to civilize others. Another aspect of this section that I enjoyed thinking about was the way females were depicted. Kurtz's African mistress is treated as an object, yet she seems similar to white women. Her behavior toward Kurtz is typical of that of a white woman in a relationship, and her ornaments and lavish jewelry suggest a vanity often pictured in only "civilized" cultures. This brings up the question of whether Kurtz somehow passed this onto her, or whether all women, civilized and noncivilized, are more alike than given credit for. Also, Kurtz's "Intended" is an unusual character. She is portrayed as irrational in her obsession over Kurtz, going so far as to be in a state of mourning a year after his death. When Marlow enters her home she immediately latches onto the opportunity to talk to him, similarly to her beloved Kurtz. Also, she seems to enjoy validifying her relationship with Kurtz, looking to compete with Marlow in every way, trying to prove that "she knew him better than anyone." Marlow was not instigating an arguement; he did not try to say that he knew Kurtz better. However, everything is a competition for her, which I found strange. Kurtz's last words were fascinating as well. They were profound, yet entirely lacking meaning. "The horror! The horror!" could be applied to nearly anything in life, yet these eloquent words seem only fitting to a man as bold and in-touch with himself as Kurtz. He saw deeper into human nature than anyone else in the novel; undoubtedly deeper than most individuals ever see in reality, as well. What he saw surely scared him, but also enlightened him. Nobody, not even Marlow or Kurtz's "Intended," could ever grasp wholly what Kurtz was referring to in his final statement (although his "Intended" never learned his true last words).
4. My first question is what exactly Kurtz's final remarks referred to. Was he talking about humanity? His life? The "heart of darkness"? I know they were probably chosen so vaguely for a reason, but I'd really like to know.
My second question is whether Joseph Conrad, the author, was a bit of a sexist. The way he portrays women in the novel makes me question whether he respected them at all. He mentions at one point that they seem to exist in another world entirely. Was this in a sexist way, or did he just see them as incomparable to men?
My final question is regarding the night Kurtz tried to slip away to the tribal bonfire. What were his intentions? Was he going to join the natives and refuse to leave? Was he going to provoke an attack?
Wednesday, December 9, 2009
2 Heart of Darkness
1. Peroration: 1 : the concluding part of a discourse and especially an oration
2 : a highly rhetorical speech
-Merriam-Webster Online.
Page 84: "The peroration was magnificent, though difficult to remember, you know."
2. Marlow recounts overhearing two men discoursing over Kurtz, namely about Kurtz's intentions with the station and his supposed illness. They then speak of hanging another trader, and Marlow leaps up in surprise, frightening the men and ending their conversation. Marlow's ship, with the help of "cannibals," who are ironically very considerate people, continues its journey toward Kurtz's station. Eventually the boat comes across an abandoned hut along the river bank. The hut contains a stack of wood with a sign warning of danger ahead and a book that fascinates Marlow because of its "cryptic" messages. While docked, awaiting the morning to avoid the alleged danger, a tribe of savages surrounds the ship. The whites are horrified but the cannibals are eager, hoping to eat the natives. Marlow's men are ready to attack as the savages send arrows hoping to dispell the whites, but Marlow sounds the horn and the natives scatter. The only loss in the attack is the helmsman, whom Marlow feels a sudden fond attachment to. Marlow then breaks off in his storytelling to explain the strange possession Kurtz seemed to feel over everything ranging from ivory to his "Intended," his name for his fiance. He also notes Kurtz's desire to not only civilize the natives, but exterminate them. Marlow then resumes his story, telling of his crew's belief that Kurtz must be dead after the attack. When they finally reach the station, Marlow speaks with a Russian trader, to whom the mysterious book belonged. It turns out that the "codes" were actually Russian notes, and the Russian babbles on about the wondrous Kurtz.
3. This section in particular seems to illuminate the irony and idiocracy of Imperialism. Throughout the journey, the pilgrims (the white men) seem to be the unrefined, opening fire on the first battle cry they hear from the banks and proving to be rough, forceful men. The cannibals, on the other hand, are civil and respectful. They do not complain when their hippo meat is thrown overboard, even though it means that they have no food for the rest of the journey. They make no attempt to kill and/or eat any of the pilgrims or even each other, even though the temptation must have been great. It strikes me as completely absurd that the men seeking to civilize the others should actually themselves be civilized. Once again, this idea invokes the question of who has the right to judge others. What may seem enlightened to one society may seem barbaric to another, but that does not mean it cannot be right. Also, I thought the way Marlow seemed to pass off responsibility in this section was interesting. He says that Kurtz is but a voice, highly persuasive and influential, yet he uses this to justify his fascination with the man. Likewise, when the Russian speaks highly of Kurtz, making him out to be a genius and even proclaiming, "this man has enlarged my mind," (page 91), Marlow makes it seem like the Russian is a gullible fool who has understandably fallen for Kurtz's clever tricks. This idea of a lack of responsibility parallels the lack of responsibility taken by whites in Imperialism. When natives' lives were destroyed, it was said to be for the "good of the cause." When death, calamity, disease and horror were brought to the previously peaceful tribes and villages, the blame was shifted toward the altruistic goals of the white enlighteners. There was no acceptance of mistakes and no guilt or remorse. This, I believe, is the beginning of the idea of a "heart of darkness."
4. My first question is whether Kurtz is truly near death. It has been rumored many times but is yet to be substantiated. If he dies, will Marlow take over?
My second question is whether the Russian will be shown to be insane. He seems flamboyant and merry, but also a bit off of his rocker. His admiration for Kurtz is unusual as well. He blindly accepts the man, obvious flaws and all. Is he crazy or just delusional?
My final question is how Kurtz will handle being forced to return from his station. It has already been documented that he abandoned a ship in order to remain at his station, isolated; will he go without a fight, or will he put up a resistance in order to maintain dignity and power?
2 : a highly rhetorical speech
-Merriam-Webster Online.
Page 84: "The peroration was magnificent, though difficult to remember, you know."
2. Marlow recounts overhearing two men discoursing over Kurtz, namely about Kurtz's intentions with the station and his supposed illness. They then speak of hanging another trader, and Marlow leaps up in surprise, frightening the men and ending their conversation. Marlow's ship, with the help of "cannibals," who are ironically very considerate people, continues its journey toward Kurtz's station. Eventually the boat comes across an abandoned hut along the river bank. The hut contains a stack of wood with a sign warning of danger ahead and a book that fascinates Marlow because of its "cryptic" messages. While docked, awaiting the morning to avoid the alleged danger, a tribe of savages surrounds the ship. The whites are horrified but the cannibals are eager, hoping to eat the natives. Marlow's men are ready to attack as the savages send arrows hoping to dispell the whites, but Marlow sounds the horn and the natives scatter. The only loss in the attack is the helmsman, whom Marlow feels a sudden fond attachment to. Marlow then breaks off in his storytelling to explain the strange possession Kurtz seemed to feel over everything ranging from ivory to his "Intended," his name for his fiance. He also notes Kurtz's desire to not only civilize the natives, but exterminate them. Marlow then resumes his story, telling of his crew's belief that Kurtz must be dead after the attack. When they finally reach the station, Marlow speaks with a Russian trader, to whom the mysterious book belonged. It turns out that the "codes" were actually Russian notes, and the Russian babbles on about the wondrous Kurtz.
3. This section in particular seems to illuminate the irony and idiocracy of Imperialism. Throughout the journey, the pilgrims (the white men) seem to be the unrefined, opening fire on the first battle cry they hear from the banks and proving to be rough, forceful men. The cannibals, on the other hand, are civil and respectful. They do not complain when their hippo meat is thrown overboard, even though it means that they have no food for the rest of the journey. They make no attempt to kill and/or eat any of the pilgrims or even each other, even though the temptation must have been great. It strikes me as completely absurd that the men seeking to civilize the others should actually themselves be civilized. Once again, this idea invokes the question of who has the right to judge others. What may seem enlightened to one society may seem barbaric to another, but that does not mean it cannot be right. Also, I thought the way Marlow seemed to pass off responsibility in this section was interesting. He says that Kurtz is but a voice, highly persuasive and influential, yet he uses this to justify his fascination with the man. Likewise, when the Russian speaks highly of Kurtz, making him out to be a genius and even proclaiming, "this man has enlarged my mind," (page 91), Marlow makes it seem like the Russian is a gullible fool who has understandably fallen for Kurtz's clever tricks. This idea of a lack of responsibility parallels the lack of responsibility taken by whites in Imperialism. When natives' lives were destroyed, it was said to be for the "good of the cause." When death, calamity, disease and horror were brought to the previously peaceful tribes and villages, the blame was shifted toward the altruistic goals of the white enlighteners. There was no acceptance of mistakes and no guilt or remorse. This, I believe, is the beginning of the idea of a "heart of darkness."
4. My first question is whether Kurtz is truly near death. It has been rumored many times but is yet to be substantiated. If he dies, will Marlow take over?
My second question is whether the Russian will be shown to be insane. He seems flamboyant and merry, but also a bit off of his rocker. His admiration for Kurtz is unusual as well. He blindly accepts the man, obvious flaws and all. Is he crazy or just delusional?
My final question is how Kurtz will handle being forced to return from his station. It has already been documented that he abandoned a ship in order to remain at his station, isolated; will he go without a fight, or will he put up a resistance in order to maintain dignity and power?
Sunday, December 6, 2009
1 Heart of Darkness
1. Diaphanous: 1. very sheer and light; almost completely transparent or translucent.
2. delicately hazy.
-Dictionary.com
"The water shone pacifically; the sky, without a speck, was a benign immensity of unstained light; the very mist on the Essex marsh was like a gauzy and radiant fabric, hung from the wooded rises in land, and draping the low shores in diaphanous folds."
2. The story unfolds on the Nellie, with an unnamed narrator telling the story told by Marlow. In his tale Marlow recounts his time as a sailor going up the Congo. As a child he was fascinated by the "white space" on maps: the unexplored and untamed land. He secured a position with a trading company and sent to Africa to captain a boat. Marlow's predecessor was killed in a quarrel with a tribe, and Marlow later found his bones in the center of the abandoned village. He then tells of his visit to the doctor, and how there were two women dressed in all black knitting in the waiting room. The doctor had a grim disposition, solemnly informing Marlow of the "changes" that took place in the heads of those who ventured to Africa. Marlow's aunt speaks highly of her newphew, putting him on a pedestal that he rejects because of his understanding of the moral bankrupcy of the company, which operates solely for profit. Upon arrival at the station, Marlow sees starving black prisoners and laborers. He offers a biscuit to one as an act of kindness and pity. Other white workers speak highly of Mr. Kurtz, a highly esteemed agent of the company, and Marlow's curiosity grows significantly. Marlow and his band of laborers set off for the next station, but upon arrival find that their boat has sunk. He has no choice but to wait for new parts to come in order to fix his sunken vessel.
3. One of the things that really struck me about the first section of this book is the acceptance of death shown by the characters. While it seems that Marlow does not want to die, he certainly does not show much emotion when faced with the death of others. He tells of finding his predecessor's bones in an almost exhilarated fashion: "I couldn't let it rest, though; but when an opportunity offered at last to meet my predecessor, the grass growing through his ribs was tall enough to hide his bones... the supernatural being had not been touched after he fell." (Page 13, Part 1). He seems almost excited by the idea of finding these preserved bones, where most would have been frightened to fill the post of the murdered man. Numerous other times Marlow encounters death on his journey, but he seems to mention it as a side note. However, Marlow shows much more emotion toward mortality than his comrades: the other captains and white men seem to have absolutely no concern over the idea of death. I suppose this would come with being exposed to death constantly, but I cannot imagine seeing death frequently enough to be able to treat it as such a trivial matter. Also, I was intrigued by Marlow's seemingly inconsistent views on Imperialism. While at times he seems repulsed by the treatment of the "laborers," he is also very much willing to venture to Africa and lead the blacks himself. He seems torn in the aspect of whether it is right to colonize the people, yet he never attempts to change the situation (with the exception of the time he gives the biscuit to the starving African). He becomes angry with his aunt for believing the company has humanity in its intentions, yet he goes to Africa regardless. It appears to me that Marlow is not only uncertain on his stance regarding Imperialism: I believe he is uncertain in respect to himself, as well. He says that he longs to explore the "white" space; could this desire for exploration symbolize his longing to discover himself as well? Or, on a larger scale, to gain a better understanding of mankind?
4. My first question is whether "Heart of Darkness" refers to the blackness, or evil nature, of white men in Imperialism. As we talked about in class, just because someone is "pure" and "white" on the outside does not signify moral excellence and cleanliness. However, I can see other ways that "Heart of Darkness" could be implied as well.
My second question is regarding Kurtz. Who is he? Why does he have so much prestige? He is held in such high esteem by the other workers, almost worshipped. Is he truly a remarkable man, or is he unjustly adored?
My final question from Section 1 is whether Marlow will ever take a definite stance on Imperialism. Is he against it? Is he for it? Does he support the "robbery" of these people's customs, or is he appalled by it? Will he act on his decision?
2. delicately hazy.
-Dictionary.com
"The water shone pacifically; the sky, without a speck, was a benign immensity of unstained light; the very mist on the Essex marsh was like a gauzy and radiant fabric, hung from the wooded rises in land, and draping the low shores in diaphanous folds."
2. The story unfolds on the Nellie, with an unnamed narrator telling the story told by Marlow. In his tale Marlow recounts his time as a sailor going up the Congo. As a child he was fascinated by the "white space" on maps: the unexplored and untamed land. He secured a position with a trading company and sent to Africa to captain a boat. Marlow's predecessor was killed in a quarrel with a tribe, and Marlow later found his bones in the center of the abandoned village. He then tells of his visit to the doctor, and how there were two women dressed in all black knitting in the waiting room. The doctor had a grim disposition, solemnly informing Marlow of the "changes" that took place in the heads of those who ventured to Africa. Marlow's aunt speaks highly of her newphew, putting him on a pedestal that he rejects because of his understanding of the moral bankrupcy of the company, which operates solely for profit. Upon arrival at the station, Marlow sees starving black prisoners and laborers. He offers a biscuit to one as an act of kindness and pity. Other white workers speak highly of Mr. Kurtz, a highly esteemed agent of the company, and Marlow's curiosity grows significantly. Marlow and his band of laborers set off for the next station, but upon arrival find that their boat has sunk. He has no choice but to wait for new parts to come in order to fix his sunken vessel.
3. One of the things that really struck me about the first section of this book is the acceptance of death shown by the characters. While it seems that Marlow does not want to die, he certainly does not show much emotion when faced with the death of others. He tells of finding his predecessor's bones in an almost exhilarated fashion: "I couldn't let it rest, though; but when an opportunity offered at last to meet my predecessor, the grass growing through his ribs was tall enough to hide his bones... the supernatural being had not been touched after he fell." (Page 13, Part 1). He seems almost excited by the idea of finding these preserved bones, where most would have been frightened to fill the post of the murdered man. Numerous other times Marlow encounters death on his journey, but he seems to mention it as a side note. However, Marlow shows much more emotion toward mortality than his comrades: the other captains and white men seem to have absolutely no concern over the idea of death. I suppose this would come with being exposed to death constantly, but I cannot imagine seeing death frequently enough to be able to treat it as such a trivial matter. Also, I was intrigued by Marlow's seemingly inconsistent views on Imperialism. While at times he seems repulsed by the treatment of the "laborers," he is also very much willing to venture to Africa and lead the blacks himself. He seems torn in the aspect of whether it is right to colonize the people, yet he never attempts to change the situation (with the exception of the time he gives the biscuit to the starving African). He becomes angry with his aunt for believing the company has humanity in its intentions, yet he goes to Africa regardless. It appears to me that Marlow is not only uncertain on his stance regarding Imperialism: I believe he is uncertain in respect to himself, as well. He says that he longs to explore the "white" space; could this desire for exploration symbolize his longing to discover himself as well? Or, on a larger scale, to gain a better understanding of mankind?
4. My first question is whether "Heart of Darkness" refers to the blackness, or evil nature, of white men in Imperialism. As we talked about in class, just because someone is "pure" and "white" on the outside does not signify moral excellence and cleanliness. However, I can see other ways that "Heart of Darkness" could be implied as well.
My second question is regarding Kurtz. Who is he? Why does he have so much prestige? He is held in such high esteem by the other workers, almost worshipped. Is he truly a remarkable man, or is he unjustly adored?
My final question from Section 1 is whether Marlow will ever take a definite stance on Imperialism. Is he against it? Is he for it? Does he support the "robbery" of these people's customs, or is he appalled by it? Will he act on his decision?
Wednesday, December 2, 2009
10 Light in August, Ch 19-21
1. Anathema: 1 a : one that is cursed by ecclesiastical authority b : someone or something intensely disliked or loathed
2 a : a ban or curse solemnly pronounced by ecclesiastical authority and accompanied by excommunication b : the denunciation of something as accursed c : a vigorous denunciation : curse
-Merriam-Webster Online
Page 472: "They would hear of his doings though, of how in the next summer after he removed to the country he invaded a protracted al fresco church revival being held in a nearby grove and turned it into a week of amateur horse racing while to a dwindling congregation gaunt, fanaticfaced country preachers thundered anathema from the rustic pulpit at his oblivious and unregenerate head."
2. The details of Joe Christmas's death are explained through the eyes of Percy Grimm, a war-obsessed white supremacist. Grimm collects a battalion of men to patrol the town and "protect" Christmas before his trial. Christmas makes a bolt for freedom and Grimm pursues him on bicycle, eventually winding up at Hightower's house. When Grimm busts through the door, Hightower tells him that Christmas was with him the night of the murder, but it is too late. Grimm rushes up the stairs to kill and castrate Christmas. The narrative then switches to that of Hightower, who reminisces on the lives of his grandfather and father. A slave-owning lawyer, his grandfather never truly understood his father, an abolitionist and aspiring preacher. When Hightower's father joined the military, his Yankee views led him to never fire a gun, and after his service concluded he became a doctor. Meanwhile, Hightower's grandfather was killed in Jefferson during the war. Hightower remembers growing up in the shadows of these great figures, and later moving to Jefferson because of this. He then sees an array of faces, including those in his life currently, and feels as if he is dying with the thunder of horses in his heart. The narrative once again changes, this time to a new character, a furniture dealer. He tells his wife of the strange experience he has had when he offered Lena, Byron and the baby a ride. The strange group has no specific destination, just a request to travel. They stop for the night and by pretending to sleep the man discovers that Byron and Lena are not married. Late at night, Byron tries an advance on Lena, but she rejects him. He disappears but shows up in time to catch a ride in the morning. They travel on, and the book comes to a close.
3. This section gave so much dimension to Hightower. For the first time in a long time he lets his guard down and examines his past and his future. By delivering Lena's baby he has unknowingly let himself become a part of a community, however small. After this incident he still refuses to lie for Joe Christmas's sake, but when Grimm charges into his house he bears false witness in an attempt to save the man. By doing so, Hightower is overcoming a tremendous obstruction: he is doing something for another individual, regardless of the consequences he will face as repurcussion. He regains some dignity and humanity in his actions. Hightower then analyzes his life, particularly the "ghosts" that have haunted him since his youth. His desires and oddities are explained by his reflections and the reader is left to sympathize instead of ostracize. He is a torn character from a line of torn characters. His grandfather could not understand his son, who was so divergent from himself. His father joined a war on a side he could never support, perturbing him and altering him for the rest of his life. These two characters played an immense part in Hightower's life; it is no wonder he is a torn being. Growing up he gazed in wonder at his grandfather's confederate uniform. He heard the tales of the glory of these two powerful men and their conflicting opinions. He became obsessed, and his means of fulfilling his goals corresponding to this obsession involved marrying his wife and moving to Jefferson. Once in Jefferson, his wife became unfaithful and he was rejected by the community. Eventually he gave up his fight and withdrew entirely. I believe that this egress from society seemed easier to him than being shunned persistently. After he finally intercedes on the account of another, Hightower experiences "thundering" like hooves in his heart. I believe this is symbolic of his death or near death. It's ironic that the first day he truly lives also happens to be the day of his death. It seems to me as if he has been holding onto his pain and exclusion for so long that he doesn't even realize the affect it has on him until he is finally able to release it. When he is able to let go of his past, he finds that his body is weary and ready to expire. It is not a painful or untimely death; rather, he is finally able to pass into peace.
4. My first question upon completing the novel is regarding Percy Grimm. We discussed in class how he seems to be an aggregate of several characters. I definitely recognize the traits of Joe Christmas. Which other characters are included? Joanna Burden? Gail Hightower?
My second question is whether Faulkner intended the circularity that is apparent at the conclusion of the novel. The story begins and ends with the same action taking place: Lena, traveling by foot. Do other aspects of the story provide circularity as well? It seems interesting that life in Jefferson goes on, unaffected, when the week ends.
My third question is over the significance of Percy Grimm's name. Once again, we touched on this in class, but never came to a definitive solution. Does Grimm represent the Grimm reaper? This seems a stretch to me.
2 a : a ban or curse solemnly pronounced by ecclesiastical authority and accompanied by excommunication b : the denunciation of something as accursed c : a vigorous denunciation : curse
-Merriam-Webster Online
Page 472: "They would hear of his doings though, of how in the next summer after he removed to the country he invaded a protracted al fresco church revival being held in a nearby grove and turned it into a week of amateur horse racing while to a dwindling congregation gaunt, fanaticfaced country preachers thundered anathema from the rustic pulpit at his oblivious and unregenerate head."
2. The details of Joe Christmas's death are explained through the eyes of Percy Grimm, a war-obsessed white supremacist. Grimm collects a battalion of men to patrol the town and "protect" Christmas before his trial. Christmas makes a bolt for freedom and Grimm pursues him on bicycle, eventually winding up at Hightower's house. When Grimm busts through the door, Hightower tells him that Christmas was with him the night of the murder, but it is too late. Grimm rushes up the stairs to kill and castrate Christmas. The narrative then switches to that of Hightower, who reminisces on the lives of his grandfather and father. A slave-owning lawyer, his grandfather never truly understood his father, an abolitionist and aspiring preacher. When Hightower's father joined the military, his Yankee views led him to never fire a gun, and after his service concluded he became a doctor. Meanwhile, Hightower's grandfather was killed in Jefferson during the war. Hightower remembers growing up in the shadows of these great figures, and later moving to Jefferson because of this. He then sees an array of faces, including those in his life currently, and feels as if he is dying with the thunder of horses in his heart. The narrative once again changes, this time to a new character, a furniture dealer. He tells his wife of the strange experience he has had when he offered Lena, Byron and the baby a ride. The strange group has no specific destination, just a request to travel. They stop for the night and by pretending to sleep the man discovers that Byron and Lena are not married. Late at night, Byron tries an advance on Lena, but she rejects him. He disappears but shows up in time to catch a ride in the morning. They travel on, and the book comes to a close.
3. This section gave so much dimension to Hightower. For the first time in a long time he lets his guard down and examines his past and his future. By delivering Lena's baby he has unknowingly let himself become a part of a community, however small. After this incident he still refuses to lie for Joe Christmas's sake, but when Grimm charges into his house he bears false witness in an attempt to save the man. By doing so, Hightower is overcoming a tremendous obstruction: he is doing something for another individual, regardless of the consequences he will face as repurcussion. He regains some dignity and humanity in his actions. Hightower then analyzes his life, particularly the "ghosts" that have haunted him since his youth. His desires and oddities are explained by his reflections and the reader is left to sympathize instead of ostracize. He is a torn character from a line of torn characters. His grandfather could not understand his son, who was so divergent from himself. His father joined a war on a side he could never support, perturbing him and altering him for the rest of his life. These two characters played an immense part in Hightower's life; it is no wonder he is a torn being. Growing up he gazed in wonder at his grandfather's confederate uniform. He heard the tales of the glory of these two powerful men and their conflicting opinions. He became obsessed, and his means of fulfilling his goals corresponding to this obsession involved marrying his wife and moving to Jefferson. Once in Jefferson, his wife became unfaithful and he was rejected by the community. Eventually he gave up his fight and withdrew entirely. I believe that this egress from society seemed easier to him than being shunned persistently. After he finally intercedes on the account of another, Hightower experiences "thundering" like hooves in his heart. I believe this is symbolic of his death or near death. It's ironic that the first day he truly lives also happens to be the day of his death. It seems to me as if he has been holding onto his pain and exclusion for so long that he doesn't even realize the affect it has on him until he is finally able to release it. When he is able to let go of his past, he finds that his body is weary and ready to expire. It is not a painful or untimely death; rather, he is finally able to pass into peace.
4. My first question upon completing the novel is regarding Percy Grimm. We discussed in class how he seems to be an aggregate of several characters. I definitely recognize the traits of Joe Christmas. Which other characters are included? Joanna Burden? Gail Hightower?
My second question is whether Faulkner intended the circularity that is apparent at the conclusion of the novel. The story begins and ends with the same action taking place: Lena, traveling by foot. Do other aspects of the story provide circularity as well? It seems interesting that life in Jefferson goes on, unaffected, when the week ends.
My third question is over the significance of Percy Grimm's name. Once again, we touched on this in class, but never came to a definitive solution. Does Grimm represent the Grimm reaper? This seems a stretch to me.
Monday, November 30, 2009
9 Light in August, Ch 17-18
1. Querulous: 1 : habitually complaining
2 : fretful, whining
-Merriam-Webster Online.
Page 404: "But he notices that his thinking sounds querulous, like the peaceful whining of a querulous woman who is not even listening to herself; then he finds that he is preparing his usual hearty breakfast, and he stops quite still, clicking his tongue as though in displeasure."
2. Byron goes to fetch Hightower and a doctor as Lena goes in to labor. However, the doctor takes too long, and by the time he arrives with Byron, Hightower has already delivered the baby. Mrs. Hines is delusional and believes Lena to be Milly and the baby to be Joe. Byron goes to find Joe Brown and bring him to Lena and Mr. Hines sneaks out while Mrs. Hines is asleep. When Mrs. Hines awakes she follows after him, leaving Lena and the child alone. Hightower comes back and Lena explains that Mrs. Hines now seems to think the baby is Joe Christmas's. She also expresses excitement over seeing Byron, whom Hightower learns has just quit his job at the planing mill. Byron, meanwhile, arranges for Joe Brown to be brought to the cabin where Lena and her newborn are staying. He then packs his belongings and leaves on a mule. Once on the road out of town, Byron sees Brown sneak out of the cabin and run away, and immediately turns around in pursuit. The story then jumps to Brown's point of view. He is shown entering the cabin and seeing Lena. Clearly shocked and confused, Brown searches for an excuse to leave, eventually climbing out a window. He sends a note to the sheriff asking for his reward money, but Byron gets to him first. Brown beats up Byron and gets on a train out of town. At the very end of the section it is revealed that Christmas has been killed.
3. I think females are portrayed interestingly throughout the novel, accumulating in this section. There seem to be a few preeminent types of females: those who are strong yet fallen and those who are docile and incompetent in their attempts to nurture those around them. Lena Grove, Reverend Hightower's wife, Bobbie, and Milly are all examples of the disgraced, independent class. Lena has become pregnant out of wedlock, clearly defining her lack of chastity. Reverend Hightower's wife is publically known to be having an affair before her suicide, which encompasses two discrepancies to traditional Southern society. Obviously her adulterous ways would have been frowned upon, but she also would have been deprecated due to her self-immolation. Bobbie, who earns her living as a prostitute, would have been seen as abonimable by the community surrounding her. Similarly to Lena, Milly became pregnant out of wedlock, but in this case with a black man. This would have been an outrage not only because of the lack of matrimony, but also because of the racial significance. To contrast these immoral characters, Faulkner included characters such as Mrs. McEachern and Mrs. Hines. Both women strive continuously to make Joe feel adored and welcome, yet each falls terribly short. Because of their domineering husbands and their submissive behavior, the women are bullied and abused frequently. The cruelty of the men does not stop with the women, however; the obedient nature of the women allows their spouses to torment those around them, often resulting in absolute chaos and harm to others. Both are treated as if they do not matter; their opinions are disregarded entirely and it's almost as if they don't have voices. On page 148, Mrs. McEachern is completely ignored by her husband and Joe Christmas. "She was watching the door when they passed it. "Pa," she said. Neither of them so much as looked at her. They might not have heard, she might not have spoken, at all." The only woman who does not fit entirely into one of these categories is Joanna Burden, who exhibits some qualities of each classification.
4. My first question is whether Faulkner truly believed that all women fit into the two categories mentioned in my analysis. Are all females in his other books like this? Or is this theme only eminent in this particular novel?
My second question is regarding the death of Joe Christmas. Was Mr. Hines finally appeased? Was Christmas lynched, or did he die another way? If the latter is true, who killed him?
My final question is regarding Byron Bunch. What will he do? He seems to be planning to leave Lena and Jefferson, but will he follow through or will he return to the woman he seems so attached to?
2 : fretful, whining
-Merriam-Webster Online.
Page 404: "But he notices that his thinking sounds querulous, like the peaceful whining of a querulous woman who is not even listening to herself; then he finds that he is preparing his usual hearty breakfast, and he stops quite still, clicking his tongue as though in displeasure."
2. Byron goes to fetch Hightower and a doctor as Lena goes in to labor. However, the doctor takes too long, and by the time he arrives with Byron, Hightower has already delivered the baby. Mrs. Hines is delusional and believes Lena to be Milly and the baby to be Joe. Byron goes to find Joe Brown and bring him to Lena and Mr. Hines sneaks out while Mrs. Hines is asleep. When Mrs. Hines awakes she follows after him, leaving Lena and the child alone. Hightower comes back and Lena explains that Mrs. Hines now seems to think the baby is Joe Christmas's. She also expresses excitement over seeing Byron, whom Hightower learns has just quit his job at the planing mill. Byron, meanwhile, arranges for Joe Brown to be brought to the cabin where Lena and her newborn are staying. He then packs his belongings and leaves on a mule. Once on the road out of town, Byron sees Brown sneak out of the cabin and run away, and immediately turns around in pursuit. The story then jumps to Brown's point of view. He is shown entering the cabin and seeing Lena. Clearly shocked and confused, Brown searches for an excuse to leave, eventually climbing out a window. He sends a note to the sheriff asking for his reward money, but Byron gets to him first. Brown beats up Byron and gets on a train out of town. At the very end of the section it is revealed that Christmas has been killed.
3. I think females are portrayed interestingly throughout the novel, accumulating in this section. There seem to be a few preeminent types of females: those who are strong yet fallen and those who are docile and incompetent in their attempts to nurture those around them. Lena Grove, Reverend Hightower's wife, Bobbie, and Milly are all examples of the disgraced, independent class. Lena has become pregnant out of wedlock, clearly defining her lack of chastity. Reverend Hightower's wife is publically known to be having an affair before her suicide, which encompasses two discrepancies to traditional Southern society. Obviously her adulterous ways would have been frowned upon, but she also would have been deprecated due to her self-immolation. Bobbie, who earns her living as a prostitute, would have been seen as abonimable by the community surrounding her. Similarly to Lena, Milly became pregnant out of wedlock, but in this case with a black man. This would have been an outrage not only because of the lack of matrimony, but also because of the racial significance. To contrast these immoral characters, Faulkner included characters such as Mrs. McEachern and Mrs. Hines. Both women strive continuously to make Joe feel adored and welcome, yet each falls terribly short. Because of their domineering husbands and their submissive behavior, the women are bullied and abused frequently. The cruelty of the men does not stop with the women, however; the obedient nature of the women allows their spouses to torment those around them, often resulting in absolute chaos and harm to others. Both are treated as if they do not matter; their opinions are disregarded entirely and it's almost as if they don't have voices. On page 148, Mrs. McEachern is completely ignored by her husband and Joe Christmas. "She was watching the door when they passed it. "Pa," she said. Neither of them so much as looked at her. They might not have heard, she might not have spoken, at all." The only woman who does not fit entirely into one of these categories is Joanna Burden, who exhibits some qualities of each classification.
4. My first question is whether Faulkner truly believed that all women fit into the two categories mentioned in my analysis. Are all females in his other books like this? Or is this theme only eminent in this particular novel?
My second question is regarding the death of Joe Christmas. Was Mr. Hines finally appeased? Was Christmas lynched, or did he die another way? If the latter is true, who killed him?
My final question is regarding Byron Bunch. What will he do? He seems to be planning to leave Lena and Jefferson, but will he follow through or will he return to the woman he seems so attached to?
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