P&P 10

The controversy surrounding Lydia and Wickham is the culminating event where Darcy and Elizabeth come together and develop closeness between each other. Both ELizabeth and Darcy blame themselves for Lydia's eloping. Darcy wishes that he revealed Wickham earlier and Elizabeth wishes the same. The meeting almost seems strange to Elizabeth, as Darcy has never been so close to her before:

As [Darcy] quitted the room, Elizabeth felt how improbable it was that they should ever see each other again on such terms of cordiality as had marked their several meetings in Derbyshire; and as she threw a retrospective glance over the whole of their acquaintance, so full of contradictions and varieties, sighed at the perverseness of those feelings which would now have promoted its continuance, and would formerly have rejoiced in its termination (233)

The second half of the book starkly contrasts the first half where Darcy and Elizabeth's relations are toxic and poor. Not until Darcy reveals his proper character and the poor from of Wickham, does Elizabeth begin to see a possible relationship.

P&P 7-8

The turning point in both the novel and the mindset of Elizabeth Bennet comes after she reads the letter given to her by Mr. Darcy. The contents of the letter precipitated her thoughts about Wickham  to change. She realized that he was not the cordial and proper gentleman the he portrays himself to be. Her thoughts state, "She tried to recollectsome instance of goodness, some distinguished trait of integrity or benevolence, that might rescue him from the attacks of Mr. Darcy [...] But no such recollection befriended her" (175). Elizabeth only realizes Wickham's impertinence after she reads through the entire letter multiple times and re-evaluates her thoughts. Elizabeth's view completely change in this scene, as she begins to favor Darcy, a man of favorable and honest character, over Wickham, who lacks acceptable behaviors.

Pride and Prejudice

The title of the novel, Pride and Prejudice, highlights the cynicism of the characters and society in the setting of the story. Both pride and prejudice are key elements of this cynical society. The cynical attitude of society is first introduced when Mrs. Bennet describes her new neighbor, Mr. Bingley.  Mrs. Bennett focuses primarily on the wealth of Charles Bingely and the social status in which he will provide to her daughters if they are to wed. Mrs. Bennet is intent on the daughters meeting Mr. Bingley, and is far more focused on the status they will get from being married to him, than on the daughter's happiness. Prejudice is a theme that plagues the upper class in the novel. Darcy, a friend of Mr. Bingely, represents the pompous attitude of the high society. When asked to dance with one of the Bennet daughters, he exclaims, "she is tolerable, but not handsome enough to tempt me” (12). Darcy care a lot about the vanity of the girls in which he attends to. He is prejudice in his selection of women and would not dare court a girl of lower society (as the Bennet sisters are). The main theme of the novel is the contrast between high society and the lower class. The lower class desires pride offered by the upper class, however the upper class maintains a deep prejudice against the lower peoples.

1994 AP Prompt

In the novel Heart of Darkness, by Joseph Conrad, the character of Mr. Kurtz is spoken about frequently by Marlow and his shipmates. However, the true character of Mr. Kurtz is revealed only very briefly when Marlow finally makes his way down the river to Kurtz's domain. The brief meeting of Kurtz and the introduction of his eccentric personality drastically change Marlow's views of the ivory business and forebode the corruption that awaits Marlow if he continues down this path. The short amount of time Marlow spends with Kurtz lead's to Marlow's final realization that he must leave the Congo at once.

Before meeting with Kurtz, Marlow's view of the world, and specifically the ivory business, is one of adventure and romance. One of Marlow's reasons for accepting a job as a river boat captain is to follow the romantic appeal of the unknown. Marlow is constantly compared to Mr. Kurtz. Mr. Kurtz is an example of a man who has traveled into the unknown and has conquered the wild. His station is renowned as the highest producing station and he is revered by the other agents of the company. As he is compared to Kurtz, Marlow's view of this man develops. In his Marlow's mind, Kurtz is an ambitious worker, a brilliant example of Western superiority and it's ability to tame the barbaric unknown. However when Marlow finally encounters Kurtz, when he finally reaches the end of his journey, he is shocked at what he finds.

Unlike any previous descriptions Marlow has heard, Mr. Kurtz is just as wild as the natives that surround him. This the climactic moment when Marlow realizes that power has the ability to corrupt. Immediately before Marlow reaches Kurtz, he finds a journal written by Mr Kurtz. The journal details the ambitions of a once benevolent Kurtz. However, all actions preformed by Kurtz are in direct contrast to his journal writings. Kurtz has changed and this change has stemmed from the corrupting ability of the power bestowed to him. The Western superiority mindset has plagued Kurtz and has turned him into something that is no less than barbaric. Marlow describes Kurtz as unable to be appealed to. His power has bestowed upon him a selfish and ruthless demeanor.

This pivotal point in the novel contradicts all that has been said previously in the text. The power of the west is revealed to not be benevolent; and truly, the wild has not been conquered, it has merely absorbed Kurtz and the ivory business with it. In the short time Marlow spends with Kurtz, Marlow realizes the imminent fate he faces if he continues on the path into the wild. The corrupting force of power is all mighty, and it will condemn all those who flirt with it. This message is delivered in the very short time that Kurtz appears. Kurtz is the vessel in which Marlow is taught his lesson: the power of the West is not a benevolent force that will open the unknown, it is a corrupting evil power which merely adopts the practices of the wild.

Hamlet 6

The contrasts between the mindsets of King Claudius and Hamlet highlight the pondering, over-thinking mindset of Hamlet. As Claudius is praying, Hamlet contemplates killing him and getting revenge for his father. Hamlet ponders, "To take him in the purging of his soul/ When he is fit and seasoned for his passage?/ No" (III.iii.86-88). Hamlet believes that if he kills Claudius while Claudius is praying, Claudius will go to heaven and will not suffer for his crimes. Claudius, however, thinks the opposite of Hamlet. He states, "My words fly up, my thoughts remain below./ Words without thoughts never to heaven go" (III.iii.98-99). Claudius is hopeless that his prayers are going to make it to heaven. Claudius thinks very briefly about the matter then moves on. Hamlet states an entire soliloquy on the fact of Claudius going to heaven. Hamlet's mind is very complex and and complicated. His thoughts are often conflicting and he often fights between his emotions and logic.

Next Stop Wonderland

Red to Blue is where I go, 

A stop in Downtown -- State Street too. 

Next stop Wonderland, 

To stroll down Ocean Avenue. 

The Beach is ugly,

The girls are too.

But it's the only place,

That reminds me of you.

A place so far,

from where I am now:

A double-decker brownstone

Right outside of downtown.

Now, I'm doing well ,

Have a job and a wife.

A nice BMW 

That I drive down the Pike.

I'm a real yuppie, sure

The type we used to hate.

Hell I'm an executive

At old Fleet bank.

But I'm still missing you,

Every single day.

Even though you leaving, 

Caused me to change.

It's funny how things work like that.

You were important then,

But now, 

You're not.

Now you're higher,

Than ever before.

When the man from the sky,

Knocked on your door.

But my trains almost here,

It's time for me to go.

Next stop Prudential.

Have to carry on my show.

Hamlet 5

In his infamous "To be, or not to be" (III.i.57), prince Hamlet debates the reason for living. Like Meursault from The Stranger, Hamlet ponders the struggle of a meaningless life. Hamlet's, similarly to Meursault, views life as full of "nasty things" (III.i.58) and "troubles" (III.i.60). However, the ways in which Hamlet and Meursault view life is where they differ. Meursault believes that it is one's purpose to create meaning in an utterly meaningless world; that one should attempt to find a purpose to thrive on in life. On the contrary Hamlet believes that the only escape from the tortures of life is suicide. Hamlet's only reservations towards suicide are worries about after death. He states, "For in that sleep of death what dreams may come/ When we have shuffled off this mortal coil,/ Must give us pause" (II.i.67-69). Suicide is the only option for Hamlet. He cannot attribute meaning to his life therefore he has no purpose. Towards the end of his monologue he confirms his future death by stating "The fair Ophelia!—Nymph, in thy orisons/ Be all my sins remembered" (III.i.90-91).

Hamlet 4

Hamlet identifies his low self-esteem and low self worth when he compares himself to one of the actors. After the actor has preformed a deeply emotional speech, Hamlet remarks,

Oh, what a rogue and peasant slave am I!/ Is it not monstrous that this player here,/ But in a fiction, in a dream of passion,/ Could force his soul so to his own conceit/ That from her working all his visage wanned,/ Tears in his eyes, distraction in his aspect,/ A broken voice, and his whole function suiting/ With forms to his conceit? And all for nothing—[...]Yet I,/ A dull and muddy-mettled rascal, peak/ Like John-a-dreams, unpregnant of my cause,/ And can say nothing (II.ii.509-528)

Hamlet feels as if he has not done enough to mourn and avenge his father. He believes that the actor has shown more emotion in a fictional display than Hamlet is capable of truely expressing. The melancholy outlook on his own life is a foreboding sign of Hamlets future; he feels inadequacy even in sadness. The deep hopelessness felt by Hamlet continues to fuel Hamlet's isolation from the real world. He is failing to honor the one task that the Ghost (the last connection to his father) asked of him. This failure to take action further progresses his depression.

The Climber

I trek up the mountain.
Up and up,
Further and further,
deeper and deeper
the snow gets.
Then there's wind
The wind is stronger, blowing faster,
pushing me back; the wind is whipping, the snow is stirring, the air is leaving,
my lungs.

Only in the trees,
do I find ease.
A peaceful respite,
a warmer delight
than the mountain.

But the thicket ends,

I trek up the mountain,
Up and up,
Further and further,
deeper and deeper
the snow gets.

the wind returns and fills my lungs with cold.
The ice and snow whip at my face, the wind reds my cheeks, It burns like the cold fire it is,
the icy breath of the mountain.

Money

Go to UMASS,

The cost's so low!

My friends said it was great,

and I think you should go!

Mom, no.

It's to far away.

It's Framingham part two

Honestly I'd rather stay.

Well that'd save us more!

I could buy you car!

Live up in your bedroom,

and we'd never be far!

Absolutely not.

I'm going away,

you better suck it up,

you're going to pay.

Then take out loans,

Write scholarship apps.

You need to get money,

A full ride perhaps?

Hamlet 1

The contrast between Hamlet and Gertrude's reactions to King Hamlets death highlights the misogynistic undertones of Hamlet's relationship with his mother. Hamlet reacts very dramatically towards the death of his father. He is emotionally exhausted and tormented by the lost. He laments, "Oh, that this too, too sullied flesh would melt,/ Thaw, and resolve itself into a dew,/ Or that the Everlasting had not fixed/ His canon 'gainst self-slaughter! O God, God/ How weary, stale, flat, and unprofitable/ Seem to me all the uses of this world!" (I.ii.133-138). The deep melancholy of Hamlets inner feelings displays the emotions of a hurt and distressed man. However, this is in stark contrast to Gertrude's reaction which Hamlet describes as:

Within a month—/ Let me not think on ’t. Frailty, thy name is woman!—/ A little month, or ere those shoes were old/ With which she followed my poor father’s body,/ Like Niobe, all tears. Why she, even she—/ O God, a beast that wants   discourse of reason/ Would have mourned longer!—married with my uncle,/ My father’s brother, but no more like my father/ Than I to Hercules" (149-157)

The conflict between Hamlet and his mother stems from the improper actions of Gertrude towards King Hamlets death. The contrasting reactions between Hamlet and Gertrude lead Hamlet to think  in a Misogynistic tone. His disapproval for his mothers actions leads to a conflict which Hamlet must address in order to maintain his proper purpose in the kingdom.

 

Death

I know nothing about death.
I have not seen death,
I have not suffered death.
I have not heard death,
I have not mourned death.
Shrouded in complete mystery,
Is the reason death,
So scares me.

Othello 7

In Othello's final speech to his officers, he asks the men to give a truthful account of what crimes he committed and why. Othello does not want the reports to be plagued with under and over-exaggerations, he wants the utmost truth to be sent back to Venice. Othello states, "Speak of me as I am [...] Of one that loved not wisely, but too well; Of one not easily jealous, but being wrought" (V.ii.402-405). Othello wants it to be clear that he did not act out of jealousy; Iago's deception of Othello was the true reason for Othello's actions. Othello wants to be remembered as one who pledged his honor and allegiance to Venice, he does not want to be plagued with the sin of jealousy, therefore he blames his actions on Iago's deception.

V.ii.1-27 Soliloquy

Othello opens Act five Scene two with a soliloquy. In this soliloquy he attempts to make a final justification for murdering Desdemona. Othello does not want to change his mind on the issue; he repeats to himself, "It is the cause, it is the cause, my soul. Let me not name it to you, you chaste stars. It is the cause" (V.ii.1-3). The repetition of "the cause", the reason for murder (her supposed infidelity), must be drilled into Othello's mind. This is Othello's last attempt to convince himself of Desdemona's guiltiness, he has to ensure that he is killing out of honor and justice; he does not want to kill due to jealousy. Othello states "Yet she must die, else she'll betray more men" (V.ii.6). He uses reason to justify his decision. If Desdemona betrays her father and Othello alike, she is bound to betray more men. The only way to end her reign is by death. The goal of Othello's soliloquy is to ultimately justify the killing of his wife. He wants to be sure that he is killing justly and not out of jealously.

Othello 5

Othello is a dynamic character whose personality drastically changes in Act four Scene one of Othello. In the first three Acts, Othello is characterized as an eloquent, intelligent member of the upper class. Through his advance diction and respectful relationships with Venetian socialites, Othello solidifies his place among the aristocrats. However, in Cyprus, Othello's actions are very different. Because of Iago's deception, Othello is convinced that Desdemona is an adulterer. Othello's speech changes from eloquence to harsh hateful commentary. His demeanor is no longer of an upstanding general, but of a menacing child. When an envoy from Venice comes to visit Othello, he is very surprised by Othello's changed personality. The envoy remarks, "My lord, this would not be believed in Venice, Though I should swear I saw 't" (IV.i.270-1). Othello's actions to his wife are shocking to the messenger. The past views of Othello are so drastically different than the new Othello that the messenger cannot believe what he is seeing. The characterization of Othello quickly changes from an honorable general to a distressed man all because of Iago's deception and trickery.

Othello 4

Many characters in the play Othello often attribute Othello's shortcomings to his race. In Act three, even Othello himself blames his skin color for his inferiority. Othello states, "I'd whistle her off and let her down the wind To prey at fortune. Haply, for I am black And have not those soft parts of conversation" (III.iii.303-305). Othello's excuse for  his poor people-skills is him being black. He blames his race on not being able to  fix his relationship with his wife; because he is black, he would abandon Desdemona as apposed to attempting to fix his problems.

Sound and Sense - Pg 234 Exercise

1. The second section is better because of it's use of meter. The first section does not flow as well as the second lines, which contains more syllables and therefore a more euphonious meter.

2. The second section is better than the first due to the second's use of onomatopoeia  The second section uses "crabbed" in place of "rough"; crabbed is an onomatopoeia and better attributes sense and meaning to the line than "rough".

3. The second section is better than the first due to it's use of consonance and onomatopoeia. The words "out-cast crows croak" utilizes the 'c' sound to create a more euphonious line than the first section. Also, the word "snow", from the first section is replaced with the much more descriptive "whiteness", an onomatopoeia.

4. The use of consonance in part b better attributes sense to the lines. The repetition of 'l' and 't' sounds create euphony.

5. Part b utilizes multiple onomatopoeia, assonance  and consonance to create a greater sense. The assonance and consonance allow the line to flow much smoother while the onomatopoeias evoke sensation.

6. The second section is more successfully adapted than the first because it utilizes onomatopoeia in replacing "sings" with "warbles".

7. The use of phonetic intensives in part b emphasizes the meaning of each word and better attributes sound to sense than the first section. The short words also flow much better and created meter.

8. By replacing "sisters" with the word "twins" in part b, consonance, in the form of repeating 't' sounds, is developed which makes the lines much more euphonious.

9. Part b better utilizes meter than part a and also uses assonance of the 'o' sound (by replacing "cross" from part a, with "o'er") to develop euphony.

10. The second section uses both onomatopoeia (in switching "chastise" with "flap") and assonance of the 'i' sound in the second line to better adapt sound to sense.

Othello 3

The relationship between Michael Cassio and Iago is very similar to the complex relationships Iago has with various other characters. While Iago appears to protect Cassio from Othello's rage, after Cassio's drunken brawl, Iago really intends to hurt Cassio's reputation and wreck Othello's marriage. Iago decieves Cassio in saying, "I had rather have this tounge cut from my mouth Than it should do offense to Michael Cassio" (97). Iago's friendliness to Cassio decievingly demostrates to everyone, except the audience, that Iago indends to help Cassio. Yet in reality Iago has much more sinister plans. Through Iago's soliloquies dramatic irony is created between Iago and the audience. The true evil of Iago is only known by the audience as he continues to decieve all other characters.

Chapter 12 Notes

Rhyme and Meter
Rhythm

• Rhythm refers to any wavelike recurrence of motion or sound
• In speech it is the natural rise and fall of language
• In every multi-syllable word, certain syllables are accented or stressed
• Stressing certain parts of words to indicate a certain meaning is rhetorical stress
• Pauses:
• Also based on pauses: end-stopped line ends a line at normal speech pattern, run-on line moves on into the next line without pause
• Pauses in lines are caesuras
• Poetic line is the basic rhythmic unit of free verse
• Prose poems follow prose rhythms

Meter

• Meter is the identifying characteristic of rhythmic language that "we can tap our feet to"
• One basic unit of meter is the foot: normally one-accented syllable plus one or two unaccented syllables.
• The other basic measurements of verse are lines and stanzas
• Metrical Variations: call attention to sounds because they depart from norm
• Substitution - replace regular foot with another
• Extrametrical syllables added at the beginnings or endings of lines
• Truncation - omission of an unaccented syllable at either end of a line

• The process of identifying metrical form is scansion: identify prevailing foot, name number of feet in the line, describe stanzaic pattern

Stranger Prompt 4 Outline

Thesis: Through the span of the novel, Meursault embodies the absurdist philosophy and ultimately accepts the greatest truth of absurdism.

Body 1: Meursault actions and relationships have no deeper meanings. Meursault's intentions are based solely on the pro and cons of the matter.

• Meursault's murder of the Arab had no connection to his emotional state or his current situation. Meursault simply killed the man, in such a detached manner, because he could. He had the ability to kill the man so he took it. ~"I can either shoot or not shoot"
• Meursault's relationship with Marie is spawned from the pure pleasure that it provides. He has no deeper intentions to marry her or love her. In leaving out the fact that they had sex, Meursault hides (and makes it very clear) the fact that he gets pleasure from Marie and he ~"enjoys her company"

Body 2: Every other character attempts to attach meaning to Meursault's actions. The extreme difficulty and frustration they have in doing this shows that Meursault truly has no intentions.

• The prosecution in Meursault's trial focuses intently on the death of Maman and how that affected (or did not affect) Meursault. The prosecution attempts to connect Meursault's lack of empathy to his murder. But Meursault only kills because "the sun made [him] do it" 
• Marie ponder's Meursault's detachment from the relationship. She figures that Meursault's kisses are attributed to his love, even though they truly are not. There is large miss communication.

Body 3: While living his final days in his cell, Meursault discovers the true point of absurdism. He realizes that everyone will die eventually and recognizes the “gentle indifference of the world". He realizes that because life has no meaning, he does not need to care about what others think  he does not need to abide by the rules of society. Meursault identifies himself as an outsider, a stranger.

The Stranger 5

During Meursault's trial, every participant attempts to put meaning into Meursault's actions. Instead of looking solely at Mersault's murder and the objective evidence, the persecution chooses to focus on Mersault's inner psyche and emotions. The attempted to put attribute meaning to Meursault's meaningless actions. Meursault comments on their feudal efforts saying, "But all the long speeches, all the interminable days and hours that people had spent talking about my soul, had left me with the impression of a colorless swirling river that was making me dizzy" (104). The death of Maman and Meursault's lack of sympathy have no effect on Meursault's decision to murder (as Meusault says, his narration may be biased and misleading). Meursault goes through live weighing each decision he makes on pros and cons. No decision affects another.