Monday, December 7, 2009

some marked quotes. (i have no book)

Gregers.

Not exactly to that. I don't say that your wing has been broken; but you have strayed into a poisonous marsh, Hialmar; an insidious disease has taken hold of you, and you have sunk down to die in the dark.

___________________________

Hialmar.

Now, my dear Gregers, pray do not go on about disease and poison; I am not used to that sort of talk. In my house nobody ever speaks to me about unpleasant things.

___________________________


Gregers
[ (leaves the table).]

No airing you can give will drive out the taint I mean.


Hialmar.

Taint!


Gina.

Yes, what do you say to that, Ekdal!


Relling.

Excuse me -- may it not be you yourself that have brought the taint from those mines up there?


Gregers.

It is like you to call what I bring into this house a taint.


Relling
[ (goes up to him).]

Look here, Mr. Werle, junior: I have a strong suspicion that you are still carrying about



-69-


that "claim of the ideal" large as life, in your coat-tail pocket.
Gregers.

I carry it in my breast.

_________________________

Relling.

Well, I'll tell you, Mrs. Ekdal. He is suffering from an acute attack of integrity.

Sunday, December 6, 2009

Wild Duck Journal 2:

Heh, it happens that I misplaced my book as well as my journal 3. I am using an online version, so the version may be different from the class'.

motifs noticed: Light, illumination, lack of light, shadowing, visualizing, DUCK

Irony:
Act 2 of Ibsen's The Wild Duck is riddled with irony. Hjalmar, Hedvig's father tells Gregers that his daughter "in serious danger oflosing her eyesight" (37). So far, as a class, we have reasoned that eyes and sight in the tragedies so far (mainly Oedipus) is for seeing the truth and the physical. However, it is ironic that the young girl is the one to lose sight. Hjalmar, Ekdal's son, had failed to see his father at the party; there are items of visualizing things littered about and yet someone still loses their ability to see (the photographing tools described in the setting). Also, the Wild Duck that Ekdal reveals to Gregers is in a position of irony. As Ekdal retells the ducks story, of it being shot to the bottom of the lake and being brought up by a "clever dog". Ibsen sets up two important and juxtaposing symbols with the duck and the clever dog. The duck, a wild and untame fowl, was captured and lives comfortably in captivity, adapted to the life of living inside. However, it is still called the wild duck, playing with Ekdal's longing to go hunting again. Ironically, Ekdal refuses to go with Gregers in Hoidal to hunt in the old forests. Ibsen does this to show the illusion that Ekdal and perhaps even his whole family is living in.

Saturday, December 5, 2009

Oedipus Journals 1-4

Journal 1

Point of View:
In Sophocles'
Oedipus the King, the story is mainly told around Oedipus. Sometimes, Oedipus is out of the scene, and the Chorus is speaking, but only as a sort of narration to align the reader's thoughts, mainly about Oedipus.
Characters:
Oedipus begins as the almost godlike king, when he addresses the people of Thebes in their "Huddling at my[Oedipus'] altar, praying before me" (2-3). Oedipus is portrayed as the prime example of a king and a regular citizen. He shows respect to the old Priest, as he is "Helping a Priest to his feet" (footnotes for actions, before L10). Oedipus is shown as the hero who saved Thebes from the mysterious Sphynx, and I suppose Oedipus' legend is well known in the time this tragedy was written. The character of Oedipus is given the heroic traits and called to be on the plane of mortal heroes, or even gods. BUT, Tiresias, the ironically blind seer and prophet, calls down Oedipus' own curse onto Oedipus. He indirectly accuses Oedipus as being the murderer that he seeks. Through the point of view as an audience, Sophocles gives us knowledge that the characters beside Tiresias knows. This narrative voice is triumphant and showy until Tiresias and Oedipus get into their shouting match, in which Oedipus' weakness, hot headedness, is revealed. He is given to loss of control over his actions, and his ideas are unreliable as a result. Sophocles' persuades the reader to side with one character and use that person's bitterness towards others to judge. The blind seer rouses up a storm in the conversation with Oedipus, and since the reader was first given the heroic information on Oedipus, Tiresias' "radical" sayings have a negative effect on the reader. Oedipus' new rage towards Creon also creates a bias against Creon justified by Oedipus' seemingly spotless reputation.


Oedipus Journal 2: Poem by Oedipus


Bold, leaping into challenge

Whipping with undeserved dignity

Following prophecies, not escaping

forces a cringe.


An equal unmatched

to my dearest heart,

releases the hypocrite

now incapacitated.


Truth revealed through lies.

I tell myself this:

I blindly yearn

for my mother's hand.


Sunset flashing beneath the last hill

Blood, the purest of hues

smears my judgment.


I seem to have not saved Journal 3 on my computer and I have misplaced it for the moment. I'll post it when I find it.

Oedipus Journal 4: Letter to Oedipus, from Creon.


Brother, beggar, Oedipus,
Let go of the suffering you have caused. Jocasta is gone, you now fulfill Tiresias' prophecy, and the citizens will begin throwing rocks painted with their miseries at you. You yourself have upset the equality of our joint ruling. Jocasta is gone, and you have gouged your eyes, your sight, your judgement. Remember, with your eyes the suffering did not go. It is only kind of me to allow you your rest; let me take the wheel of this unsightly ship. Already, the people spit at your feet, and even ask me to drive you out! Tiresias saw, and still sees. I pray, Oedipus, that you can break from your name in your suffering and that you may, in your blindness, seek your final vision.

In your search, yield to time, and in doing so, yield to the gods' will, never fleeing them again. You never were in the place to be master over your fate. You stumbled into a slip of fate, and hardly even juggled the unwieldy position of Thebes. Your children, a result of the most hideous of acts, will follow in your shame. You have failed to do many things, Oedipus. Do not fail in leaving further change alone.


Creon



Thursday, December 3, 2009

Wild Duck Journal 1:

I misplaced my journal sheet for this night, so I will just compare the expositions of Wild Duck by Ibsen and Oedipus the King by Sophocles, mainly focusing on the characters.

In Oedipus the King, Oedipus is presented as an outstanding man, rescuing Thebes from the Sphynx. However, beneath the facade of a proud king lies a confused man finding his roots. This comes out and finally his parents are no longer his parents. Just as in Sophocles' novel, Greger in Wild Duck doesn't view his father as being a father figure. He accuses him of having an affair with the maid and having ulterior motives in helping the Hjalmars. Greger Werle is like Oedipus he too loses trust in his roots, as Oedipus did when the messenger arrived. But, I feel that Greger will continue to be an impressive force throughout the play, while Oedipus fades into a pathetic creature, fated by the gods to suffer. Irony in the two plays also connects the characters. In Oedipus the King, Sophocles used dramatic irony with Oedipus' origins. In The Wild Duck, Werle says to his son "Listen, Gregers, there are so very many things that keep us apart, and yet, you know - we're father and son still. I think we should be able to reach some kind of understanding" (133). This is ironic because, from the readers perspective, the only reason that there would be a separation of significance between them is from the fathers actions. He hold grand parties, ignores a dear friend, and possibly even sleeps with the house maid. Werle then goes on to say that they need to reach an understanding. This is ironic because Greger is beginning to understand that his father had other reasons to do these things besides just pleasure.

Oedipus Journals 1-4

Hi, I can use the internet again. I need to retype my journals, so I will put it up with my next journal.

Wednesday, November 4, 2009

"Tonight I Can Write The Saddest Lines" Journal 2

RENT-Your Eyes:
Your eyes
As we said our goodbyes
Can't get them out of my mind
And I find I can't hide
From your eyes
The ones that took me by surprise
The night you came into my life
Where there's moonlight I see your eyes
How'd I let you slip away
When I'm longing so to hold you
Now I'd die for one more day
'Cause there's something I should have told you
Yes there's something I should have told you
When I looked into your eyes
Why does distance make us wise?
You were the song all along
And before this song dies
I should tell you I should tell you
I have always loved you
You can see it in my eyes
Mimi

Towards the end of the musical RENT, the protagonist, Roger, watches his love die, and sings this song as a reaction. "Your Eyes" is about the regret in not openly showing his love for her, while Pablo Neruda's poem is of accepting that he is no longer with her. Roger repeatedly expresses that he will "die for one more day", and that his song for her is dying. Through his figurative dying alongside Mimi's death, the speaker emphasizes the regert and hindsight that one has on their deathbed. In "Tonight I Can write the saddest lines", the speaker is focusing on HIS feelings towards this loss of love. He does this by constantly referring back to "I" and "My" and "Me". In "Your Eyes", the speaker also uses "I" and other personal pronouns to show that he is under more burden than she is, even though she is the one dying. The main difference between these two works is that "Your Eyes" shows that it is about regret while "Tonight I Can Write the Saddest Lines" is about accepting the loss.

Monday, November 2, 2009

XIII Journal 1

1. This poem is about the despair that is inevitable in stifling emotions. A person, man, has a sexual experience with his love, then he goes into his way of lifting her spirits when she is sad. In the distance that the couple share, a sadnress lingers. He can't express himself and thus, even though he wants to, his inability of expression has negative consequences. Another way of viewing this poem is as a euphemism of sex.
2.The reader can assume that it is a man speaking to a women, as shown by the dominating positions the speaker takes over his love. This man is a sensitive but incapable lover. He lives in a mental solitude since his loss of his woman. The man is speaking to his woman, with his 'stories to tell yo u on the shore of evening".
3.The author writes this poem to warn of love from personal experience. The tone is reminiscent and almost regretful. He shows us what NOT to do. "only a few drops are left trembling." His examples of desire, shown through the imagery of the animals and water, set a path that he regrets having walked. The end of his painful relationship, the "close[s] like a nocturnal flower" is the final end of the nature imagery, and so the end of his advice. Through this poem, the author also illustrates the objectification of women, and the childish approach that men take towards women: to this man, women are for "marking" and are "toy doll[s]".
4.The overall 'glue' of the work is the letter 's'. It is always used when the woman is mentioned, but when he focuses solely on himself, he abandons 's'. Thus, this overwhelming odds of 's' vs. non's' complements his inability to decide. The author writes in a way that literally embodies the man's emotions and feelings towards her. "something ... something ... something ..." Every something is a piece of his inability to choose words to his feelings and thoughts. However, when he mentions his woman, he can immediately go to the word "doll". This comparison between "something" and "doll" emphasizes the objectification of women