Thursday, January 26, 2012
Othello Act III
I can't say that I know everything about what is going to happen in this play, but I can assume a few things. Iago is probably going to successfully screw things up. He might even screw them up in the way he desires, but somehow Othello will continue with his life and success because he is the protagonist. Iago will probably end up losing his wife because let's face it, they aren't really in love. Any man that can look at his wife and say things like, "Nay, it is true, or else I am a Turk. / You rise to play, and go to bed work." (II.i.114-115) to his wife is not capable of sustaining a relationship. He outright told his wife she was a (I'll use the word that hopefully won't get me a detention) harlot! That's completely rude and disrespectful. Iago is going to suffer for his horrible, devious actions. And I think his suffering is partially going to be a result of the loss of his wife and his friends.
Othello Act II
Responding to Question #4:
How is dramatic suspense created? Contrast the amount of information possessed by the audience as the play proceeds with the knowledge that various individual characters have: what is the effect of such a contrast?
I've learned to realize that whenever Iago is left alone on the stage, I am about to learn some other deep insight into his evil plan. And I get excited for it. His tone changes, and he becomes more like the evil character he is as opposed to the gentleman he pretends to be. Even in the clip we watched on Wednesday, we saw a shift in the character portrayed by the actor. Iago's voice changed slightly, and he looked directly into the camera. Suspense is created through the expectancy of information whenever Iago begins a soliloquy.
Audience members know as much as Iago knows because he tells them. He clearly explains his feelings and decisions to those watching him in the audience. However, his fellow characters are not this privileged. Othello says this about Iago, "This fellow's of exceeding honesty, / And knows all qualities, with a learned spirit, / Of human dealings." (III.iii.259-261) Othello and the other characters think they know Iago as a gentleman and loyal companion when he is, in fact, just the opposite. He is loyal to no one but himself. The effect of this is that Iago is loved by the characters (except maybe not by his wife), but he is despised by the audience members. This literary tactic evokes sympathy from the audience as we watch/read as the characters walk blindly into Iago's traps.
How is dramatic suspense created? Contrast the amount of information possessed by the audience as the play proceeds with the knowledge that various individual characters have: what is the effect of such a contrast?
I've learned to realize that whenever Iago is left alone on the stage, I am about to learn some other deep insight into his evil plan. And I get excited for it. His tone changes, and he becomes more like the evil character he is as opposed to the gentleman he pretends to be. Even in the clip we watched on Wednesday, we saw a shift in the character portrayed by the actor. Iago's voice changed slightly, and he looked directly into the camera. Suspense is created through the expectancy of information whenever Iago begins a soliloquy.
Audience members know as much as Iago knows because he tells them. He clearly explains his feelings and decisions to those watching him in the audience. However, his fellow characters are not this privileged. Othello says this about Iago, "This fellow's of exceeding honesty, / And knows all qualities, with a learned spirit, / Of human dealings." (III.iii.259-261) Othello and the other characters think they know Iago as a gentleman and loyal companion when he is, in fact, just the opposite. He is loyal to no one but himself. The effect of this is that Iago is loved by the characters (except maybe not by his wife), but he is despised by the audience members. This literary tactic evokes sympathy from the audience as we watch/read as the characters walk blindly into Iago's traps.
Othello Act I
Responding to Question #2:
Is the play a tragedy or comedy, a melodrama or a farce? If a comedy, is it primarily romantic or satiric? Does it mingle aspects of these types of drama? How important to experiencing the drama is the audience's awareness of the classification of the play?
I have never read "Othello" before, but from what I have gathered so far, it is going to turn out to be a tragedy. It does contain some comedic value that lies just below the surface, but it is mainly (so far) the tale of a man who is not content with his position in life. Iago is jealous of Cassio, and he doesn't seem to be able to just be happy. He is extremely talented at manipulating the characters around him, and he likes to be one step ahead of everything. He is a bit melodramatic about some of his complaints in his soliloquies such as the one found on page 1382 of our text stating, "I hate the Moor, / And it is thought abroad that "twixt my sheets / He's done my office. I know not if't be true, / But I for mere suspicion in that kind / Will do as if for surety." (I.i.366-370)
Iago has issues with the Moor because Othello did not appoint him to Cassio's position and Iago is trying to devise a plan of destruction for Othello as revenge. During this soliloquy, he brainstorms ways to hate Othello, and his hatred of the Moor is partially based on the rumor that Othello slept with Iago's wife. Which is a bit ridiculous because Iago also blatantly admits that he has no proof of an affair. He simply needs a reason to hate Othello, and Iago will do whatever it takes to reprimand Othello even though the rumors about Emilia and Othello are most likely not true. Iago is crazy.
To someone not analyzing the classification of the play, it might seem a bit comedic because of Iago's hilariously ridiculous plans and schemes, but it is important to understand that this is indeed a tragedy.
Is the play a tragedy or comedy, a melodrama or a farce? If a comedy, is it primarily romantic or satiric? Does it mingle aspects of these types of drama? How important to experiencing the drama is the audience's awareness of the classification of the play?
I have never read "Othello" before, but from what I have gathered so far, it is going to turn out to be a tragedy. It does contain some comedic value that lies just below the surface, but it is mainly (so far) the tale of a man who is not content with his position in life. Iago is jealous of Cassio, and he doesn't seem to be able to just be happy. He is extremely talented at manipulating the characters around him, and he likes to be one step ahead of everything. He is a bit melodramatic about some of his complaints in his soliloquies such as the one found on page 1382 of our text stating, "I hate the Moor, / And it is thought abroad that "twixt my sheets / He's done my office. I know not if't be true, / But I for mere suspicion in that kind / Will do as if for surety." (I.i.366-370)
Iago has issues with the Moor because Othello did not appoint him to Cassio's position and Iago is trying to devise a plan of destruction for Othello as revenge. During this soliloquy, he brainstorms ways to hate Othello, and his hatred of the Moor is partially based on the rumor that Othello slept with Iago's wife. Which is a bit ridiculous because Iago also blatantly admits that he has no proof of an affair. He simply needs a reason to hate Othello, and Iago will do whatever it takes to reprimand Othello even though the rumors about Emilia and Othello are most likely not true. Iago is crazy.
To someone not analyzing the classification of the play, it might seem a bit comedic because of Iago's hilariously ridiculous plans and schemes, but it is important to understand that this is indeed a tragedy.
Tuesday, December 13, 2011
"The Lottery" - Shirley Jackson
"Tessie Hutchinson was in the center of a cleared space by now, and she held her hands out desperately as the villagers moved in on her. 'It isn't fair,' she said. A stone hit her on the side of the head." (Page 271)
ARE THESE PEOPLE CRAZY??!?!?!?!?! Why the heck are they so willing to kill someone? At the beginning of this story, I had no idea for what they were holding the lottery, but it didn't seem to be positive. I knew that some people didn't want the lottery because they mentioned other areas getting rid of the lottery and being perfectly fine. They seem to think they are sacrificing to some go of theirs. How they can kill a friend of theirs who they were talking to so cordially just ten minutes before is beyond me. It's a bit ironic that Tessie arrived late to the ceremony, and she was the one stoned to death.
This story reminded me of the Hunger Games a lot. (As I'm sure it did many other bloggers.) The situation is basically the same. The town gathers once a year to choose someone to, in essence, kill. In this story, they actually kill the unfortunate winner of the lottery. In the Hunger Games, the two winners of the lottery are forced to fight against 22 other young people until only one remains. Considering statistics, most names drawn from that lottery are condemned to death. Here's a trailer to get you excited for the upcoming movie:
ARE THESE PEOPLE CRAZY??!?!?!?!?! Why the heck are they so willing to kill someone? At the beginning of this story, I had no idea for what they were holding the lottery, but it didn't seem to be positive. I knew that some people didn't want the lottery because they mentioned other areas getting rid of the lottery and being perfectly fine. They seem to think they are sacrificing to some go of theirs. How they can kill a friend of theirs who they were talking to so cordially just ten minutes before is beyond me. It's a bit ironic that Tessie arrived late to the ceremony, and she was the one stoned to death.
This story reminded me of the Hunger Games a lot. (As I'm sure it did many other bloggers.) The situation is basically the same. The town gathers once a year to choose someone to, in essence, kill. In this story, they actually kill the unfortunate winner of the lottery. In the Hunger Games, the two winners of the lottery are forced to fight against 22 other young people until only one remains. Considering statistics, most names drawn from that lottery are condemned to death. Here's a trailer to get you excited for the upcoming movie:
"Popular Mechanics" - Raymond Carver
"No but I want the baby. I'll get someone to come by for his things. You're not touching this baby, she said." (Lines 14-15)
This story reminds me of some baby-daddy fight on Maury or Jerry Springer. Except it's ironic because usually the father is not willing to fight for his baby. Commonly, he will cheer and dance around if the child isn't his. It's also ironic that the Mom says that the Dad won't touch the baby, but he ends up trying to take it from her, and they kill the baby. This story is an exaggerated example of how a custody battle usually goes when dealing with two parents who both want their child. The parents fight like immature people, and the unfortunate child is completely stuck in the middle without the ability to walk away from the situation.
It's also extremely ironic that both parents are attempting to protect their child from the other one, but they work together to destroy the baby. Their arguing leads to the child's death. Their issue was not resolved in a manner that was anything close to civil, and they have to face the sad truth that neither will get what they want.
This story reminds me of some baby-daddy fight on Maury or Jerry Springer. Except it's ironic because usually the father is not willing to fight for his baby. Commonly, he will cheer and dance around if the child isn't his. It's also ironic that the Mom says that the Dad won't touch the baby, but he ends up trying to take it from her, and they kill the baby. This story is an exaggerated example of how a custody battle usually goes when dealing with two parents who both want their child. The parents fight like immature people, and the unfortunate child is completely stuck in the middle without the ability to walk away from the situation.
It's also extremely ironic that both parents are attempting to protect their child from the other one, but they work together to destroy the baby. Their arguing leads to the child's death. Their issue was not resolved in a manner that was anything close to civil, and they have to face the sad truth that neither will get what they want.
"The Drunkard" - Frank O'Connor
Responding to Question #6: What is the principal irony in the story?"
' "My brave little man!" she said with her eyes shining. "It was God did it you were there. You were his guardian angel." ' (Page 351)
Throughout the beginning of this story, Larry worries about and anticipates the drunken behavior of his father. He describes for the reader what will happen because it always happens that way. His father will have one drink because of the funeral and then get totally plastered. After that, he won't want to go to work because he feels sick and then he'll turn into the biggest drunk ever for a few weeks and spend all of the family's money until he gets his life back in order until the next bender. All of his previous drinking is rooted in shame. Shame of his life, shame of the first drink. He just wants to get rid of his memories of drinking by more drinking. The mother and son do not want the father to get drunk after Mr. Dooley's funeral, so the son accompanies him as a buffer. However, the son takes it upon himself to save his father by drinking until he is exactly like his father.
All of the ironies in this story contribute to the main irony that the father and son's roles are completely reversed. The son ends up acting exactly as he had feared his father would. The father is forced to play the role his wife and son usually play by caring for his drunken child. The mother thanks and praises her son for coming home completely drunk even though, in a normal situation, a mother would be irate that her 12-year-old son got drunk. It was a blessing in disguise for the family's well-being.
' "My brave little man!" she said with her eyes shining. "It was God did it you were there. You were his guardian angel." ' (Page 351)
Throughout the beginning of this story, Larry worries about and anticipates the drunken behavior of his father. He describes for the reader what will happen because it always happens that way. His father will have one drink because of the funeral and then get totally plastered. After that, he won't want to go to work because he feels sick and then he'll turn into the biggest drunk ever for a few weeks and spend all of the family's money until he gets his life back in order until the next bender. All of his previous drinking is rooted in shame. Shame of his life, shame of the first drink. He just wants to get rid of his memories of drinking by more drinking. The mother and son do not want the father to get drunk after Mr. Dooley's funeral, so the son accompanies him as a buffer. However, the son takes it upon himself to save his father by drinking until he is exactly like his father.
All of the ironies in this story contribute to the main irony that the father and son's roles are completely reversed. The son ends up acting exactly as he had feared his father would. The father is forced to play the role his wife and son usually play by caring for his drunken child. The mother thanks and praises her son for coming home completely drunk even though, in a normal situation, a mother would be irate that her 12-year-old son got drunk. It was a blessing in disguise for the family's well-being.
"You're Ugly, Too" - Lorrie Moore
Responding to Question #3: This story makes extensive use of jokes. Discuss the importance of jokes to the characterization of Zoe and to the story as a whole.
' "You want a second opinion? OK," says the doctor. "You're ugly, too." She liked that joke. She thought it was terribly, terribly funny." ' (Page 360)
Humor is a an extremely present factor in this story, but it does not do much for Zoe's prospects as a life partner. Sarcastic comments are funny...until they aren't. After a while, they got a little boring and annoying. Zoe's jokes are mostly funny, but they are so overused that she comes off as a bitter old lady who is more suited to own 9 cats than to settle down and get married. These jokes characterize her as the comedian with whom everyone laughs but no one wants to get to know on a deeper level. The jokes only detract from her appeal as a regular person. Zoe's humor changes from something to which she can turn in awkward situations to something she resorts to in every single conversation. From the presence of a 2-year relationship in her past, she is slightly likable, but her jokes and history (no pun intended) mark her as a person with zero substance. Poor thing...
' "You want a second opinion? OK," says the doctor. "You're ugly, too." She liked that joke. She thought it was terribly, terribly funny." ' (Page 360)
Humor is a an extremely present factor in this story, but it does not do much for Zoe's prospects as a life partner. Sarcastic comments are funny...until they aren't. After a while, they got a little boring and annoying. Zoe's jokes are mostly funny, but they are so overused that she comes off as a bitter old lady who is more suited to own 9 cats than to settle down and get married. These jokes characterize her as the comedian with whom everyone laughs but no one wants to get to know on a deeper level. The jokes only detract from her appeal as a regular person. Zoe's humor changes from something to which she can turn in awkward situations to something she resorts to in every single conversation. From the presence of a 2-year relationship in her past, she is slightly likable, but her jokes and history (no pun intended) mark her as a person with zero substance. Poor thing...
Subscribe to:
Posts (Atom)