Poem: The Old Men admiring Themselves in the Water (85)
Poem:
I heard the old, old men say,
'Everything alters,
And one by one we drop away.'
They had hands like claws, and their knees
Were twisted like the old thorn-trees
By the waters.
I heard the old, old men say
'All that's beautiful drifts away
Like the waters.'
The poem is a declaration of sadness, that is emphasized by the tone which is conveyed through the word "old" that is used repeatedly throughout the poem. The speaker, however, is communicating the sadness; the speaker isn't the primary source, evident in the lines starting "I heard". This exchange in feeling between the "old, old men" and the speaker conveys the age motif, used throughout all of Yeats's poems. Because the speaker is narrating the poem, and what the old men are saying, it is metaphor for what the speaker will anticipate when he becomes old. The line "'Everything alters,'" serves many purposes, the reader first interprets the line as a symbol for the signs of aging (due to enjambment), however, in relation to the title "The Old Men admiring Themselves in the Water", it is also referring to the unsteady water that they are admiring themselves in. It is emphasized by the last two lines "'All that's beautiful drifts away Like the waters.'" The situation of the old men admiring themselves in water is a metaphor that "'all that's beautiful'", themselves, drift away, like the water they're admiring themselves in. Water has many connotations of purity, however, water is temporary; its always moving, it can freeze and evaporate. It is important to note the lines "'one by one we drop away.'They had hands like claws, and their knees Were twisted like the old thorn trees", the old men, with age, seem to be transfiguring into gnarled being, conveyed through natural imagery, "claws" like a bird (a motif in Yeats's poems), and they're becoming "old thorn-trees". As their beauty "drifts away" they are becoming more natural, and are looking toward the water, to admire themselves, however, the water is showing that their beauty is drifting away.
Saturday, April 4, 2009
Friday, March 27, 2009
Poems by Yeats 3 (3/27/09)
Poem: The Stolen Child (10)
Passage:
"Away with us he's going,
The solemn-eyed:
He'll hear no more the lowing
Of the calves on the warm hillside
Or the kettle on the hob
Sing peace into his breast,
Or see the brown mice bob
Round and round the oatmeal-chest.
For he comes, the human child,
To the waters and the wild
With a faery, hand in hand,
From a world more full of weeping than he can
understand."
The title of the poem "The Stolen Child", suggests a more violent or sad poem because of the word "stolen" (diction). The reader soon discovers that the poem is more about fairies. The first line reads "Where dips the rocky highland", which suggests a break in reality, which sets the opportunity for the fantastic and ethereal elements of the poem. The age motif, in which Yeats glorifies youth and childhood, dominates the poem. The poem, ultimately, is trying to save a "human child" from reality, and bring him to their world. Yeats is communicating his negative views of the world, through the metaphor of fairies and children. Although the poem is sweet, the harsh tone of "stolen" in the title is continued throughout the poem, for example, in the first line "Away with us he's going" the fairies are declaring that the child is leaving the world with them with an authoritative tone. Then they begin to list (after the colon) all the elements of the child's life he is going to leave, however, they are all positive things, emphasized by the tone. Yeats uses words like "lowing","warm", "sing", "bob", which are subtly contradictory to the message the fairies are communicating: "for the world's more full of weeping than you can understand". Yeats' positive description of what the boy will miss is a metaphor. The boy is still young, he is still a child, which means his life, so far, is "warm" and "lowing", however, the fairies are saving him from reality, and from a world "more full of weeping than you can understand". It is important to notice the diction of the statement "than you can understand", because the fairies are addressing his understanding at this very moment, when he is a child. For example, they do not say "then you can ever understand", meaning, no matter what age or maturity, he wont understand. Because he is too young to understand it, there is still time for him to be with the fairies, unlike Yeats, who is too old, and who understands the world that is "full of weeping".
The italics that are repeated throughout the poem emphasize the lyrical tone of the fairies. The use of repetition is a metaphor for the path of the child. The fairies say three times "For the world's more full of weeping than you can understand", however, by the fourth time, and the last line of the poem, it says "from a world more full of weeping than he can understand". Syntactically, by the end of the poem, the child has left the world, and is with the fairies.
Passage:
"Away with us he's going,
The solemn-eyed:
He'll hear no more the lowing
Of the calves on the warm hillside
Or the kettle on the hob
Sing peace into his breast,
Or see the brown mice bob
Round and round the oatmeal-chest.
For he comes, the human child,
To the waters and the wild
With a faery, hand in hand,
From a world more full of weeping than he can
understand."
The title of the poem "The Stolen Child", suggests a more violent or sad poem because of the word "stolen" (diction). The reader soon discovers that the poem is more about fairies. The first line reads "Where dips the rocky highland", which suggests a break in reality, which sets the opportunity for the fantastic and ethereal elements of the poem. The age motif, in which Yeats glorifies youth and childhood, dominates the poem. The poem, ultimately, is trying to save a "human child" from reality, and bring him to their world. Yeats is communicating his negative views of the world, through the metaphor of fairies and children. Although the poem is sweet, the harsh tone of "stolen" in the title is continued throughout the poem, for example, in the first line "Away with us he's going" the fairies are declaring that the child is leaving the world with them with an authoritative tone. Then they begin to list (after the colon) all the elements of the child's life he is going to leave, however, they are all positive things, emphasized by the tone. Yeats uses words like "lowing","warm", "sing", "bob", which are subtly contradictory to the message the fairies are communicating: "for the world's more full of weeping than you can understand". Yeats' positive description of what the boy will miss is a metaphor. The boy is still young, he is still a child, which means his life, so far, is "warm" and "lowing", however, the fairies are saving him from reality, and from a world "more full of weeping than you can understand". It is important to notice the diction of the statement "than you can understand", because the fairies are addressing his understanding at this very moment, when he is a child. For example, they do not say "then you can ever understand", meaning, no matter what age or maturity, he wont understand. Because he is too young to understand it, there is still time for him to be with the fairies, unlike Yeats, who is too old, and who understands the world that is "full of weeping".
The italics that are repeated throughout the poem emphasize the lyrical tone of the fairies. The use of repetition is a metaphor for the path of the child. The fairies say three times "For the world's more full of weeping than you can understand", however, by the fourth time, and the last line of the poem, it says "from a world more full of weeping than he can understand". Syntactically, by the end of the poem, the child has left the world, and is with the fairies.
Friday, March 6, 2009
Poems by Yeats 2 (3/6/09)
Poem: Adam's Curse (83)
Passage:
"I had a thought for no one's but your ears:
That you were beautiful, and that I strove
To love you in the old high way of love;
That it had all seemed happy, and yet we'd grown
As weary-hearted as that hollow moon."
Evident in the title of the poem, Yeats uses the biblical allusion to the story of Adam and Eve to set the tone for the poem "Adam's Curse", a poem about love. The first line of the poem reads, "We sat together at one summer's end". Yeats incorporates the time motif, evident in most of his poems, by using the phrase "at one summer's end", it holds an ambiguous time frame. Incorporating the allusion to Adam lets the reader know it is not a warming love story, because Adam was betrayed by Eve; Adam was banished from Eden because of Eve. Much like Adam, the speaker had "thought for no one's but your ears", clearly, the speaker is in love, however, like Adam, he is crushed to find out that they had "grown as weary-hearted as the hollow moon." The tone of the poem is mild (emphasized by the repeated "mild woman"), it uses little adjectives, and there is no flashy language. The last two stanzas, however, are switched to a more saddening tone, the switch begins on line 29, "We saw the last embers of daylight die", because the daylight was "dying" (emphasized by word choice, harsh diction, the moon has risen. It is interesting to note the juxtaposition between night and say (darkness and light), and also the tone of the poem. The sun gives life, and the moon sheds some light on darkness. The "hollow moon" is important to point out because not only is the moon associated with darkness, but also, the moon receives its light from the sun.
In the above passage, the first three lines (everything before the semi-colon) is a single syllable, except for the word "beautiful". Yeats emphasizes the focus on the narrator's love for this woman (Adam's Curse), he surrounds the feminine sound "beautiful" with all masculine single syllable words.
Passage:
"I had a thought for no one's but your ears:
That you were beautiful, and that I strove
To love you in the old high way of love;
That it had all seemed happy, and yet we'd grown
As weary-hearted as that hollow moon."
Evident in the title of the poem, Yeats uses the biblical allusion to the story of Adam and Eve to set the tone for the poem "Adam's Curse", a poem about love. The first line of the poem reads, "We sat together at one summer's end". Yeats incorporates the time motif, evident in most of his poems, by using the phrase "at one summer's end", it holds an ambiguous time frame. Incorporating the allusion to Adam lets the reader know it is not a warming love story, because Adam was betrayed by Eve; Adam was banished from Eden because of Eve. Much like Adam, the speaker had "thought for no one's but your ears", clearly, the speaker is in love, however, like Adam, he is crushed to find out that they had "grown as weary-hearted as the hollow moon." The tone of the poem is mild (emphasized by the repeated "mild woman"), it uses little adjectives, and there is no flashy language. The last two stanzas, however, are switched to a more saddening tone, the switch begins on line 29, "We saw the last embers of daylight die", because the daylight was "dying" (emphasized by word choice, harsh diction, the moon has risen. It is interesting to note the juxtaposition between night and say (darkness and light), and also the tone of the poem. The sun gives life, and the moon sheds some light on darkness. The "hollow moon" is important to point out because not only is the moon associated with darkness, but also, the moon receives its light from the sun.
In the above passage, the first three lines (everything before the semi-colon) is a single syllable, except for the word "beautiful". Yeats emphasizes the focus on the narrator's love for this woman (Adam's Curse), he surrounds the feminine sound "beautiful" with all masculine single syllable words.
Friday, February 27, 2009
Poems by Yeats 1 (2/27/09)
Poem: The Lake Isle of Innisfree (24)
Passage:
"And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight's all a glimmer, and noon a purple glow,"
The poem is Yeats' way to voice his desire to escape. The poetic connotations that are associated with the speaker's desire to escape are normally because the speaker has had an epiphany of some sort, or that the speaker has seen society to be rotten; Yeats, as he portrays with soft and subtle diction, expresses a desire to escape so he can possess "some peace". He mentions, in the first stanza, that he will "arise and go now", which means that he is not only declaring his departure, but also that he is arising from the situation, that he is arising to achieve peace. He the mentions that he will build a "small cabin" of "clay and wattles made", and "Nine bean rows". His point, essentially, is that he wishes to live by himself, but of the land. Yeats says, finally, that he will have a "a hive for the honey bee, And live alone in bee loud glade." All that he mention, the honey bee included, are ways for him to live off the land. The honey bee, however, is emphasized by the last line "live alone in bee loud glade"; Yeats is insinuating, through metaphor, like the honey bee, he wishes to make his own honey to live off of. All of the following sets up the above passage. In the above passage, Yeats mentions that peace "comes dropping slow", which is, clearly, a way to describe honey. This is relevant because of all the ways Yeats plans to live alone, the honey bee is the only living animal (earthen house, crops, etc. were all things for him that were imperative to live off). Although Yeats is alone, he makes note that he is "alone in bee-loud glade", and in doing so is achieve the peace that "drops slowly". Yeats mentions morning, noon, and midnight: all parts of the day. He starts by mentioning the peace drops "from the veils of morning", by putting morning first (syntax), Yeats emphasizes that peace, like everything else in the world, begins with morning. It then says that, "there" (Innisfree) "midnight's all a glimmer, and noon a purple glow". In the same line, Yeats notes the brightest party of the day (noon), and the darkest (mid night) (juxtaposition). Midnight, when the night is at its darkest, there is usually a "dark" connotation (for example, in many works by Joyce, he uses dusk, and darkness to set the tone, or to convey a motif), however, Yeats balks the negative connotations by characterizing darkness as "a glimmer". He then says that noon is a "purple glow". The image is softening, which is emphasized by word choice of "glow" and the color "purple". In Innisfree, Yeats has found peace, and not even the darkest of the night is something to fear.
What the reader notices first is that the first line is speaking in the future tense. The poem starts, "I will arise and go now, and go to Innisfree". By using the future tense, Yeats suggests to the reader the situation or state in which the poem is written is one of sadness, because he's leaving the state he is currently in, to go to Innisfree. Yeats repeats "peace" and "dropping" in the passage above. By repeating "peace" he is bringing the attention to the reader the core of the poem, being Yeats' pursuit of peace. He then personofies "peace" with the verb "dropping". Mentioned before, the honey motif is used to characterize peace. It is a metaphor that infers that Yeats, like honey bees, will create his "peace" (as they create their honey (that drops slowing)) in Innisfree. The repetition is also used to slow the reader down, and to literally have the reader feel the "peace" that "drops slowly".
Passage:
"And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight's all a glimmer, and noon a purple glow,"
The poem is Yeats' way to voice his desire to escape. The poetic connotations that are associated with the speaker's desire to escape are normally because the speaker has had an epiphany of some sort, or that the speaker has seen society to be rotten; Yeats, as he portrays with soft and subtle diction, expresses a desire to escape so he can possess "some peace". He mentions, in the first stanza, that he will "arise and go now", which means that he is not only declaring his departure, but also that he is arising from the situation, that he is arising to achieve peace. He the mentions that he will build a "small cabin" of "clay and wattles made", and "Nine bean rows". His point, essentially, is that he wishes to live by himself, but of the land. Yeats says, finally, that he will have a "a hive for the honey bee, And live alone in bee loud glade." All that he mention, the honey bee included, are ways for him to live off the land. The honey bee, however, is emphasized by the last line "live alone in bee loud glade"; Yeats is insinuating, through metaphor, like the honey bee, he wishes to make his own honey to live off of. All of the following sets up the above passage. In the above passage, Yeats mentions that peace "comes dropping slow", which is, clearly, a way to describe honey. This is relevant because of all the ways Yeats plans to live alone, the honey bee is the only living animal (earthen house, crops, etc. were all things for him that were imperative to live off). Although Yeats is alone, he makes note that he is "alone in bee-loud glade", and in doing so is achieve the peace that "drops slowly". Yeats mentions morning, noon, and midnight: all parts of the day. He starts by mentioning the peace drops "from the veils of morning", by putting morning first (syntax), Yeats emphasizes that peace, like everything else in the world, begins with morning. It then says that, "there" (Innisfree) "midnight's all a glimmer, and noon a purple glow". In the same line, Yeats notes the brightest party of the day (noon), and the darkest (mid night) (juxtaposition). Midnight, when the night is at its darkest, there is usually a "dark" connotation (for example, in many works by Joyce, he uses dusk, and darkness to set the tone, or to convey a motif), however, Yeats balks the negative connotations by characterizing darkness as "a glimmer". He then says that noon is a "purple glow". The image is softening, which is emphasized by word choice of "glow" and the color "purple". In Innisfree, Yeats has found peace, and not even the darkest of the night is something to fear.
What the reader notices first is that the first line is speaking in the future tense. The poem starts, "I will arise and go now, and go to Innisfree". By using the future tense, Yeats suggests to the reader the situation or state in which the poem is written is one of sadness, because he's leaving the state he is currently in, to go to Innisfree. Yeats repeats "peace" and "dropping" in the passage above. By repeating "peace" he is bringing the attention to the reader the core of the poem, being Yeats' pursuit of peace. He then personofies "peace" with the verb "dropping". Mentioned before, the honey motif is used to characterize peace. It is a metaphor that infers that Yeats, like honey bees, will create his "peace" (as they create their honey (that drops slowing)) in Innisfree. The repetition is also used to slow the reader down, and to literally have the reader feel the "peace" that "drops slowly".
Friday, January 16, 2009
The Picture of Dorian Gray: 7
Passage: (Lord Henry to Dorian) "'You said to me that Sibyl Vane represented to you all the heroines of romance-- that she was Desdemona one night, and Ophelia the other; that if she died as Juliet she came to life as Imogen.'
...
'Mourn for Ophelia, if you like. Put ashes on your head because Cordelia was strangled. Cry out against Heaven because the daughter of Barbantio died. But don't waste your tears over Sibyl Vane. She was less real than they are.'
There was a silence. The evening darkened in the room. Noiselessly, and with silver feet, the shadows crept in from the garden. That colors faded wearily out of things. After some time Dorian Gray looked up. 'You have explained me to myself, Harry' he murmured, with something of a sigh of relief.'"
In the story, the reader observes many changes in Dorian Gray's character. The reader first observed the hedonistic influence of Lord Henry, then the completely different and positive influence of Sibyl Vane. The passage shows the transformation of Dorian not only into the picture, but also the hedonist he was foreshadowed to become. Lord Henry, the emblem of the hedonistic motif of the story, is bitterly belittling Sibyl Vane's suicide. Lord Henry touches on Sibyl Vane's acting. Wilde uses irony to portray the life of Sibyl Vane. She not only acts out Shakespearean tragedies, but also lives one. Lord Henry points out the irony through intertextual references. Henry then says, with a chiding tone, "But don't waste your tears over Sibyl Vane. She was less real than they are." Harry completely debases Sibyl, stating that theatrical characters are more human and real than she was. Directly after Henry's remark about Sibyl the passage says "There was a silence. The evening darkened in the room. Noiselessly, and with silver feet, the shadows crept in from the garden. the colors faded wearily out of things." The imagery of the setting is a response to Harry's offensive words. The diction of the passage, using words like "noiselessly", "shadow", "crept", "darkened", and "silence" bombards the reader. Directly after the dark, mysterious alteration of the scene, Dorian says "You have explained me to myself". Despite the horrific words of Harry, evident in the response from the setting, Dorian has found comfort. When he was with Sibyl, and when he planned to marry her, Dorian was rebellious against Harry, he didn't worship him. After the death of Sibyl, as illustrated in this passage, Dorian is returning to Harry.
...
'Mourn for Ophelia, if you like. Put ashes on your head because Cordelia was strangled. Cry out against Heaven because the daughter of Barbantio died. But don't waste your tears over Sibyl Vane. She was less real than they are.'
There was a silence. The evening darkened in the room. Noiselessly, and with silver feet, the shadows crept in from the garden. That colors faded wearily out of things. After some time Dorian Gray looked up. 'You have explained me to myself, Harry' he murmured, with something of a sigh of relief.'"
In the story, the reader observes many changes in Dorian Gray's character. The reader first observed the hedonistic influence of Lord Henry, then the completely different and positive influence of Sibyl Vane. The passage shows the transformation of Dorian not only into the picture, but also the hedonist he was foreshadowed to become. Lord Henry, the emblem of the hedonistic motif of the story, is bitterly belittling Sibyl Vane's suicide. Lord Henry touches on Sibyl Vane's acting. Wilde uses irony to portray the life of Sibyl Vane. She not only acts out Shakespearean tragedies, but also lives one. Lord Henry points out the irony through intertextual references. Henry then says, with a chiding tone, "But don't waste your tears over Sibyl Vane. She was less real than they are." Harry completely debases Sibyl, stating that theatrical characters are more human and real than she was. Directly after Henry's remark about Sibyl the passage says "There was a silence. The evening darkened in the room. Noiselessly, and with silver feet, the shadows crept in from the garden. the colors faded wearily out of things." The imagery of the setting is a response to Harry's offensive words. The diction of the passage, using words like "noiselessly", "shadow", "crept", "darkened", and "silence" bombards the reader. Directly after the dark, mysterious alteration of the scene, Dorian says "You have explained me to myself". Despite the horrific words of Harry, evident in the response from the setting, Dorian has found comfort. When he was with Sibyl, and when he planned to marry her, Dorian was rebellious against Harry, he didn't worship him. After the death of Sibyl, as illustrated in this passage, Dorian is returning to Harry.
Friday, January 9, 2009
The Picture of Dorian Gray: 6
Passage: While Lord Henry sat dreaming on these things, a knock came to the door, and his valet entered, and reminded him it was time to dress for dinner. He got up and looked out into the street. The sunset had smitten into scarlet gold the upper windows of the houses opposite. The panes glowed like plates of heated metal. The sky above was like a faded rose. He thought of his friend's young fiery-colored life, and wondered how it was all going to end.
The observation made by Lord Henry is an important part of the novel, it's all about Dorian and his future. Harry observes the sunset he looks out of his window into the street. A window is a way to see the outside world from inside, and vice versa. After looking through the window of his room, Lord Henry sees the sunset and describes the sky as "a faded rose." Not only is Dorian (and Sibyl) always referred to as a rose, but also, syntactically, right after the mention of the faded rose, he has a thought of how Dorian's "young fiery-colored life" will end. It is ironic because the reader is introduced to Dorian (and so is Lord Henry) in Basil's studio, which is surrounded by flowers, and elegant gardens. Through an archetypal analysis, the garden represents Eden, where Dorian (and Adam) is manifested. From the garden, Dorian changes, due to the influence of Lord Henry. Lord Henry notes Dorian's change, and observes that "his nature had developed like a flower, had borne blossoms of scarlet flame". A faded rose is clearly loosing its color and probably dying; the juxtaposition of "a faded rose" and "young fiery-colored life" emphasizes the relevance and foreshadowing qualities of Lord Henry's observation. Because he is looking into the outside world, through the window, and seeing the faded sunset, it leads the reader to believe the outside world will be the end of Dorian (or rather, like Adam, he will be banished from Eden). He was found in a garden, met Lord Henry, and is progressively growing more different. After Lord Henry wonders how Dorian is going to "end", he receives a telegram from Dorian telling him that he is engaged to Sibyl. Because of the foreshadowing qualities of Lord Henry's observation, the reader infers that the engagement is a bad thing. Adam was banished from Eden when Eve ate the forbidden fruit. The similarities between Eden and Basil's studio, and Adam and Dorian, could be alluding to Sybil's similarity to Eve. Eden was where man was created (by God), and Basil's studio was where the picture of Dorian Gray was painted (by Basil). Like the snake, Lord Henry is enticing Dorian. In the beginning, Basil was hesitant to introduce Lord Henry to Dorian, which displays similarities between the enticing snake, and the enticing qualities of Lord Henry. Another note about Sibyl is that she's an actress. Wilde deliberatly puts her in tragic Shakespearean plays. She labels Dorian "Prince Charming" not only because she doesn't know his real name, but also, to make her life seem more theatrical. This sets up the relationship between Dorian and Sibyl to be more like a play, with a tragic ending.
Like the sunset, the observation is syntactically placed at the end of the chapter. When Lord Henry receives the telegram informing him of the engagement, Wilde noted that Lord Henry read the note at "about half-past twelve o'clock". The mention of time is important- he was thinking of how Dorian's life was going to end while observing the sunset (on its way to darkness), and now is reading about his plans to marry Sibyl, in complete darnkess. The setting went from a sunset, to the dark. Which provides more evidence foreshadowing that the marriage will, perhaps, bring an end to Dorian Gray (or perhaps the living Dorian Gray (as oppose to the picture). Wilde uses words like "smitten", "scarlet", "faded", and "fiery" to portray a soft tone, and listless observation, which is typical of Lord Henry. The tone is typical of Lord Henry, however, completely contrasts the profound observation Lord Henry is making.
The observation made by Lord Henry is an important part of the novel, it's all about Dorian and his future. Harry observes the sunset he looks out of his window into the street. A window is a way to see the outside world from inside, and vice versa. After looking through the window of his room, Lord Henry sees the sunset and describes the sky as "a faded rose." Not only is Dorian (and Sibyl) always referred to as a rose, but also, syntactically, right after the mention of the faded rose, he has a thought of how Dorian's "young fiery-colored life" will end. It is ironic because the reader is introduced to Dorian (and so is Lord Henry) in Basil's studio, which is surrounded by flowers, and elegant gardens. Through an archetypal analysis, the garden represents Eden, where Dorian (and Adam) is manifested. From the garden, Dorian changes, due to the influence of Lord Henry. Lord Henry notes Dorian's change, and observes that "his nature had developed like a flower, had borne blossoms of scarlet flame". A faded rose is clearly loosing its color and probably dying; the juxtaposition of "a faded rose" and "young fiery-colored life" emphasizes the relevance and foreshadowing qualities of Lord Henry's observation. Because he is looking into the outside world, through the window, and seeing the faded sunset, it leads the reader to believe the outside world will be the end of Dorian (or rather, like Adam, he will be banished from Eden). He was found in a garden, met Lord Henry, and is progressively growing more different. After Lord Henry wonders how Dorian is going to "end", he receives a telegram from Dorian telling him that he is engaged to Sibyl. Because of the foreshadowing qualities of Lord Henry's observation, the reader infers that the engagement is a bad thing. Adam was banished from Eden when Eve ate the forbidden fruit. The similarities between Eden and Basil's studio, and Adam and Dorian, could be alluding to Sybil's similarity to Eve. Eden was where man was created (by God), and Basil's studio was where the picture of Dorian Gray was painted (by Basil). Like the snake, Lord Henry is enticing Dorian. In the beginning, Basil was hesitant to introduce Lord Henry to Dorian, which displays similarities between the enticing snake, and the enticing qualities of Lord Henry. Another note about Sibyl is that she's an actress. Wilde deliberatly puts her in tragic Shakespearean plays. She labels Dorian "Prince Charming" not only because she doesn't know his real name, but also, to make her life seem more theatrical. This sets up the relationship between Dorian and Sibyl to be more like a play, with a tragic ending.
Like the sunset, the observation is syntactically placed at the end of the chapter. When Lord Henry receives the telegram informing him of the engagement, Wilde noted that Lord Henry read the note at "about half-past twelve o'clock". The mention of time is important- he was thinking of how Dorian's life was going to end while observing the sunset (on its way to darkness), and now is reading about his plans to marry Sibyl, in complete darnkess. The setting went from a sunset, to the dark. Which provides more evidence foreshadowing that the marriage will, perhaps, bring an end to Dorian Gray (or perhaps the living Dorian Gray (as oppose to the picture). Wilde uses words like "smitten", "scarlet", "faded", and "fiery" to portray a soft tone, and listless observation, which is typical of Lord Henry. The tone is typical of Lord Henry, however, completely contrasts the profound observation Lord Henry is making.
Saturday, December 20, 2008
The Picture of Dorian Gray 5
Passage: (In response to Dorian's response when it was not Lord Henry, but his wife coming into the library.)
"'You thought it was my husband. It is only his wife. You must let me introduce myself. I know you quite well by your photographs. I think my husband has got seventeen of them.'
'Not seventeen, Lady Henry?'
'Well, eighteen, then. And I saw you with him the other night at the Opera.'"
The conversation between Lady Henry and Dorian embodies many of the ongoing motifs in the novel. When Lady Henry says "It is only his wife" it is said in a casual tone that portrays marriage as nothing serious or significant (using the word "only"). Then Lady Henry goes on to say "I know you quite well by your photographs". It is ironic because one cannot know someone "well" just based off looks (relevant to the beauty motif). She, syntactically, starts the sentence saying "I know you well", which sets the conversation toward a more personal level, however, Lady Henry then balks the personal relationship by saying she knows him through photographs. It is odd that Lady Henry brings up a specific amount of photographs that Lord Henry has of Dorian Gray, and even more odd when Dorian challenges her estimate. She then slows down the specificity of the photographs, with a flippant tone, "well, eighteen, then", when she says "then", the tone of the conversation comes off as lacking interest, and almost agitated. By going one number up from seventeen, it shows that Lady Henry is not really concerned with the specific number, which is ironic that she brought "seventeen" up at all, which emphasizes why the statement is so odd. Lady Henry then mentions that she saw Dorian "with him the other night at the Opera". The statement raises the question: why was she not at the Opera with her husband, and also, why wouldn't she say hello to her husband if she saw him? The statement echoes one made by Lady Henry later in the chapter when she says "I like Wagner's music better than anybody's. it is so loud that one can talk the whole time without other people hearing what one says." Both statements embody the hedonistic way of life; a husband and wife aren't at an Opera together (casual relationships (The Wasteland)), and when attending a classy Opera, they wish the music to be tuned so that "one can talk the whole time".
This passage, syntactically, is placed at the start of Dorian's development as a hedonist, or rather, exhibiting the influences Lord Henry has had on him (echoed later by Lady Henry, saying "Ah! that is one of Harry's views, isn't it, Mr. Gray?"). When he meets Lady Henry, she is similar, if not practically the same character as Lord Henry, which is to show that beauty leaves a person vacuous, rather than intelligence, which makes a person have personality (for example, Basil, a painter, and Lord Fermor, a well educated politician, who are all foils of Lord Henry in that they have a multitude of personality) (beauty vs. intelligence motif). When Lady Henry says "you thought it was my husband" it shows she was aware Dorian's expectations to see Lord Henry, and she took it upon herself to see Dorian (she didn't happen to stumble into Dorian). The conversation transitions into Lady Henry's invitation for Dorian to attend a party of hers. The abruptness of the introduction, and the expedience leading to an invitation exhibits the hedonistic, casual actions and views of Lady and Lord Henry.
*** Although the writing styles of Wilde differ greatly from Shelley, there are a lot of qualities in common between the two, since they are both during the Romance era. Throughout the Romance era, especially in England there was a desire to reinvent Greek values. In Frankenstein, other than the homoeroticism, the beauty of characters, the relationships, and how nature is portrayed are similar in The Picture of Dorian Gray. Lord Henry says, in Chapter 2, "return to the Hellenic ideal- to something finer, richer, than the Hellenic ideal." Lord Henry, the emblem of the hedonistic motif, is voicing, and contributing to the theme and Greek motif. The rampant flower references, are similar to the nature references made in Frankenstein. Also, like a flower (nature), beauty is "destined to fade" (as Lord Henry says), so as the plot progresses, Dorian will attempt to defy nature and keep his beauty forever, similar to Victor's defiance of nature- creating the creature.
"'You thought it was my husband. It is only his wife. You must let me introduce myself. I know you quite well by your photographs. I think my husband has got seventeen of them.'
'Not seventeen, Lady Henry?'
'Well, eighteen, then. And I saw you with him the other night at the Opera.'"
The conversation between Lady Henry and Dorian embodies many of the ongoing motifs in the novel. When Lady Henry says "It is only his wife" it is said in a casual tone that portrays marriage as nothing serious or significant (using the word "only"). Then Lady Henry goes on to say "I know you quite well by your photographs". It is ironic because one cannot know someone "well" just based off looks (relevant to the beauty motif). She, syntactically, starts the sentence saying "I know you well", which sets the conversation toward a more personal level, however, Lady Henry then balks the personal relationship by saying she knows him through photographs. It is odd that Lady Henry brings up a specific amount of photographs that Lord Henry has of Dorian Gray, and even more odd when Dorian challenges her estimate. She then slows down the specificity of the photographs, with a flippant tone, "well, eighteen, then", when she says "then", the tone of the conversation comes off as lacking interest, and almost agitated. By going one number up from seventeen, it shows that Lady Henry is not really concerned with the specific number, which is ironic that she brought "seventeen" up at all, which emphasizes why the statement is so odd. Lady Henry then mentions that she saw Dorian "with him the other night at the Opera". The statement raises the question: why was she not at the Opera with her husband, and also, why wouldn't she say hello to her husband if she saw him? The statement echoes one made by Lady Henry later in the chapter when she says "I like Wagner's music better than anybody's. it is so loud that one can talk the whole time without other people hearing what one says." Both statements embody the hedonistic way of life; a husband and wife aren't at an Opera together (casual relationships (The Wasteland)), and when attending a classy Opera, they wish the music to be tuned so that "one can talk the whole time".
This passage, syntactically, is placed at the start of Dorian's development as a hedonist, or rather, exhibiting the influences Lord Henry has had on him (echoed later by Lady Henry, saying "Ah! that is one of Harry's views, isn't it, Mr. Gray?"). When he meets Lady Henry, she is similar, if not practically the same character as Lord Henry, which is to show that beauty leaves a person vacuous, rather than intelligence, which makes a person have personality (for example, Basil, a painter, and Lord Fermor, a well educated politician, who are all foils of Lord Henry in that they have a multitude of personality) (beauty vs. intelligence motif). When Lady Henry says "you thought it was my husband" it shows she was aware Dorian's expectations to see Lord Henry, and she took it upon herself to see Dorian (she didn't happen to stumble into Dorian). The conversation transitions into Lady Henry's invitation for Dorian to attend a party of hers. The abruptness of the introduction, and the expedience leading to an invitation exhibits the hedonistic, casual actions and views of Lady and Lord Henry.
*** Although the writing styles of Wilde differ greatly from Shelley, there are a lot of qualities in common between the two, since they are both during the Romance era. Throughout the Romance era, especially in England there was a desire to reinvent Greek values. In Frankenstein, other than the homoeroticism, the beauty of characters, the relationships, and how nature is portrayed are similar in The Picture of Dorian Gray. Lord Henry says, in Chapter 2, "return to the Hellenic ideal- to something finer, richer, than the Hellenic ideal." Lord Henry, the emblem of the hedonistic motif, is voicing, and contributing to the theme and Greek motif. The rampant flower references, are similar to the nature references made in Frankenstein. Also, like a flower (nature), beauty is "destined to fade" (as Lord Henry says), so as the plot progresses, Dorian will attempt to defy nature and keep his beauty forever, similar to Victor's defiance of nature- creating the creature.
Friday, December 12, 2008
The Picture of Dorian Gray 4
Passage: "One afternoon, a month later, Dorian Gray was reclining in a luxurious arm-chair. In the little library of Lord Henry's house in Mayfair. It was, in its way, a very charming room, with its high paneled wainscoting of olive-stained oak, its cream colored frieze and ceiling of raised plaster-work, and its brickdust felt carpet strewn with silk long-fringed Persian rugs."
The first sentence of the passage starts with "one afternoon", which is ambiguous and anticipated from the ongoing listless diction; however, it also says "a month later", which is startlingly specific. The reference to time is brought up solely because of Dorian Gray, who, over that "month" has been greatly influenced by Lord Henry evident because the line "Dorian Gray was reclining in a luxurious arm-chair" is syntactically placed right after. The alliteration "little library" seems negligent, however, the alliteration brings focus to the setting which sets the foundation for the luxurious diction that comes after it. The sentences that follow are so descriptive, they are similar to descriptions of a picture. Syntactically Dorian Gray is put at the beginning of the passage, the alliteration of the setting (little library) brings the focus to the setting, or the picture, and the descriptive sentences that follow use imagery to paint the picture. The metaphorical transformation of Dorian Gray into a picture is echoed in a assertion made by Lord Henry in chapter 3, "the mere shapes and pattern of things becoming as it were, refined, and gaining a kind of symbolical value, as though they were themselves patterns." It then says, in reference to Dorian Gray, "He would make that wonderful spirit his own." I believe the passage is the first signs of Dorian Gray's transformation into a hedonist, like Lord Henry, and a picture, foreshadowed in Chapter 2 (when Dorian wishes to give his soul to look like his picture).
Syntactically, the hedonistic transformation of Dorian Gray is placed after the "month" of being with Lord Henry. The luxurious, languid diction of the the following sentences emphasize the dense, listless, beauty of the setting, and Dorian Gray. Words like "high paneled", "olive-stained oak", "cream colored", and "silk", contribute to the setting, and has an affect on the tone, making it as dense, and listless as the setting. The connotations associated with Persian rugs further accentuates the lavish lifestyle of Lord Henry.
The first sentence of the passage starts with "one afternoon", which is ambiguous and anticipated from the ongoing listless diction; however, it also says "a month later", which is startlingly specific. The reference to time is brought up solely because of Dorian Gray, who, over that "month" has been greatly influenced by Lord Henry evident because the line "Dorian Gray was reclining in a luxurious arm-chair" is syntactically placed right after. The alliteration "little library" seems negligent, however, the alliteration brings focus to the setting which sets the foundation for the luxurious diction that comes after it. The sentences that follow are so descriptive, they are similar to descriptions of a picture. Syntactically Dorian Gray is put at the beginning of the passage, the alliteration of the setting (little library) brings the focus to the setting, or the picture, and the descriptive sentences that follow use imagery to paint the picture. The metaphorical transformation of Dorian Gray into a picture is echoed in a assertion made by Lord Henry in chapter 3, "the mere shapes and pattern of things becoming as it were, refined, and gaining a kind of symbolical value, as though they were themselves patterns." It then says, in reference to Dorian Gray, "He would make that wonderful spirit his own." I believe the passage is the first signs of Dorian Gray's transformation into a hedonist, like Lord Henry, and a picture, foreshadowed in Chapter 2 (when Dorian wishes to give his soul to look like his picture).
Syntactically, the hedonistic transformation of Dorian Gray is placed after the "month" of being with Lord Henry. The luxurious, languid diction of the the following sentences emphasize the dense, listless, beauty of the setting, and Dorian Gray. Words like "high paneled", "olive-stained oak", "cream colored", and "silk", contribute to the setting, and has an affect on the tone, making it as dense, and listless as the setting. The connotations associated with Persian rugs further accentuates the lavish lifestyle of Lord Henry.
Monday, December 8, 2008
The Picture of Dorian Gray 3
Passage: ...He was a marvelous type, too, this lad, whom by so curious a chance he had met in Basil's studio, or could be fashioned into a marvelous type, at any rate. Grace was his, and the white purity of boyhood, and beauty such as old Greek marbles kept for us. There was nothing that one could not do with him. He could be made a Titan or a toy. What a pity it was that such beauty was destined to fade!...
The motif of Hedonism begins to consume the plot when Lord Henry meets Dorian Gray, the real Dorian Gray. Lord Henry is characterized as a hedonist when he goes on a rant to Dorian Gray about why "there is no such thing as a good influence", continuing by saying "the aim of life is self-development". The above passage encompasses Lord Henry's hedonistic views and Dorian Gray. As the story progresses, Dorian Gray and Lord Henry are found in the garden together. Lord Henry comments on the value of youth to Dorian Gray, commenting that "youth is the one thing worth having". The statement about youth echoes the last line of the above passage, that it is a pity Dorian Gray will inevitably loose his beauty. By saying "he could be a Titan or a toy" Lord Henry both complements and demeans Dorian Gray. He complements Dorian Gray by using the profound image of a Titan, however, also says he could be made into a toy. The alliteration brings an immense focus to the juxtaposition of the two vastly different images. A Titan (defined as a pre-Olympian Greek god; often depicted as giants) is a powerful image of a valiant, sculptural looking man. A toy is a mere object, with little value other than an attractive appearance, which is the only similarity between the images: attractive appearance. In the passage above, "the white purity of boyhood, and beauty such as old Greek marbles kept for us", is in reference to the relevance of Dorian Gray to the novel. "White", syntactically placed before "purity", over accentuates "purity" because purity is very often affiliated with the color white. He then says "old Greek marbles kept for us", the statement is continuing the Greek "Hellenic" motif. The "Greek marbles", an understatement for the Greek sculptures of over accentuated muscles, etc., are furthering a point made by Lord Henry that beauty doesn't last, but is kept unchanged through art (the picture of Dorian Gray). Dorian Gray wants to give his soul to look like the painting Basil painted, similar to the beauty encapsulated in "Greek marbles", which are also white like the "white purity of boyhood".
Syntactically, the observation made by Lord Henry is framed by ellipses. By doing so, it separates the observation from the streaming thought, and brings focus to the observation. The tone is very slow moving, long flowing sentences similar to Lord Henry, until the last sentence; It is dramatic, the word choice "destined" makes the situation sound more story like. The exclamation point is placed syntactically at the end of the observation. The sentence is put at the end to tell the reader, despite all the languidly observed beautiful features of Dorian Gray, they are "destined to fade!".
The motif of Hedonism begins to consume the plot when Lord Henry meets Dorian Gray, the real Dorian Gray. Lord Henry is characterized as a hedonist when he goes on a rant to Dorian Gray about why "there is no such thing as a good influence", continuing by saying "the aim of life is self-development". The above passage encompasses Lord Henry's hedonistic views and Dorian Gray. As the story progresses, Dorian Gray and Lord Henry are found in the garden together. Lord Henry comments on the value of youth to Dorian Gray, commenting that "youth is the one thing worth having". The statement about youth echoes the last line of the above passage, that it is a pity Dorian Gray will inevitably loose his beauty. By saying "he could be a Titan or a toy" Lord Henry both complements and demeans Dorian Gray. He complements Dorian Gray by using the profound image of a Titan, however, also says he could be made into a toy. The alliteration brings an immense focus to the juxtaposition of the two vastly different images. A Titan (defined as a pre-Olympian Greek god; often depicted as giants) is a powerful image of a valiant, sculptural looking man. A toy is a mere object, with little value other than an attractive appearance, which is the only similarity between the images: attractive appearance. In the passage above, "the white purity of boyhood, and beauty such as old Greek marbles kept for us", is in reference to the relevance of Dorian Gray to the novel. "White", syntactically placed before "purity", over accentuates "purity" because purity is very often affiliated with the color white. He then says "old Greek marbles kept for us", the statement is continuing the Greek "Hellenic" motif. The "Greek marbles", an understatement for the Greek sculptures of over accentuated muscles, etc., are furthering a point made by Lord Henry that beauty doesn't last, but is kept unchanged through art (the picture of Dorian Gray). Dorian Gray wants to give his soul to look like the painting Basil painted, similar to the beauty encapsulated in "Greek marbles", which are also white like the "white purity of boyhood".
Syntactically, the observation made by Lord Henry is framed by ellipses. By doing so, it separates the observation from the streaming thought, and brings focus to the observation. The tone is very slow moving, long flowing sentences similar to Lord Henry, until the last sentence; It is dramatic, the word choice "destined" makes the situation sound more story like. The exclamation point is placed syntactically at the end of the observation. The sentence is put at the end to tell the reader, despite all the languidly observed beautiful features of Dorian Gray, they are "destined to fade!".
Friday, November 21, 2008
The Picture of Dorian Gray 2
Passage: "Dorian Gray stepped up on the dais, with the air of a young Greek martyr, and made a little moue of discontent to Lord Henry, to whom he had rather taken a fancy. He was so unlike Basil. They made a delightful contrast. And he had such a beautiful voice."
The juxtaposition of Basil Hallward and Lord Henry echoes the motif of intellect against beauty, which is emphasized by Dorian Gray. In Chapter 1, Basil says "the personality of Dorian Gray will dominate me", which is contrasted by Lord Henry's statement about Dorian Gray: "I am bound to the state that she never told me he was good-looking" (making it seem as though beauty is the only thing anyone should be paying attention to. This is ironic because Basil, the artist and "intellectual" finds obsession in Dorian Gray's "personality", whereas Lord Henry, the heidonist, finds obsession in Dorian Gray's good looks. The juxtaposition of the obessions they have of Dorian Gray is, ironically, acknowledged by Dorian Gray in the above passage "delightful contrast". Lord Henry, then says "Genius lasts longer than Beauty." The statement is foreshadwoing the plot, through the beauty and genius motif: Dorian Gray is obsessed with his beauty, and through genius (art; Basil) his beauty will last. The concept of Homosociality, theororized by Eve Sedgwick, is evident in the relationshup between the three men. Despite their ambiguous sexualities, all three discuss looks of other men. "With the air of a young Greek martyr", is reference to Dorian's Greek like beauty. Greek culture and society is associated with homosociality, and also the visual image of Greek sculptures: overaccentuated male muscles make the asociation with Dorian Gray appropriate.
Dorian Gray is characterized as youthful through childish diction. Earlier in the chapter, when Basil tells Lord Henry to leave the scene, Dorian, childishly, fights Basil's wishes by saying "Oh, please don't, Lord Henry. I see that Basil is in one of his sulky moods; and I can't bear him when he sulks. Besides, I want you to tell me why I should not go in for philanthropy." He then tries to keep Lord Henry by expressing an interest in what he has to say "I want you to tell me why". By begging, "Oh, please don't", and following with a complaint about Basil, Dorian Gray has portrayed hisself to be, not only youthful, but immature. The syntax of the first sentence "Dorian Gray stepped on the dais", sets up the paragraph to have Dorian Gray above the setting, which contributes to the imagery of Dorian Gray, being put, literally, on a pedastal.
** I find many allusions to The Wasteland, however, I, painfully, discovered that The Wasteland was written after The Picture of Dorian Gray. When describing the relationship Lord Henry has with his wife, he says "I never know where my wife is, and my wife never knows what I am doing. When we meet- we do meet occasionally,". The noncallant meetings, and relationship he has with his wife echoes the relationshups being described in The Wasteland. Then, "After a pause, Lord Henry pulled out his watch. 'I am afriad i must be going Basil,' he murmured". The time reference is similar to the allusion made in The Great Gatsby, when Gatsby almost breaks the clock- in reference to the part of The Wasteland "HURRY UP PLEASE IT'S TIME" (Line 141). I find it also relevant in that The Great Gatsby also had the homosociality motif.
The juxtaposition of Basil Hallward and Lord Henry echoes the motif of intellect against beauty, which is emphasized by Dorian Gray. In Chapter 1, Basil says "the personality of Dorian Gray will dominate me", which is contrasted by Lord Henry's statement about Dorian Gray: "I am bound to the state that she never told me he was good-looking" (making it seem as though beauty is the only thing anyone should be paying attention to. This is ironic because Basil, the artist and "intellectual" finds obsession in Dorian Gray's "personality", whereas Lord Henry, the heidonist, finds obsession in Dorian Gray's good looks. The juxtaposition of the obessions they have of Dorian Gray is, ironically, acknowledged by Dorian Gray in the above passage "delightful contrast". Lord Henry, then says "Genius lasts longer than Beauty." The statement is foreshadwoing the plot, through the beauty and genius motif: Dorian Gray is obsessed with his beauty, and through genius (art; Basil) his beauty will last. The concept of Homosociality, theororized by Eve Sedgwick, is evident in the relationshup between the three men. Despite their ambiguous sexualities, all three discuss looks of other men. "With the air of a young Greek martyr", is reference to Dorian's Greek like beauty. Greek culture and society is associated with homosociality, and also the visual image of Greek sculptures: overaccentuated male muscles make the asociation with Dorian Gray appropriate.
Dorian Gray is characterized as youthful through childish diction. Earlier in the chapter, when Basil tells Lord Henry to leave the scene, Dorian, childishly, fights Basil's wishes by saying "Oh, please don't, Lord Henry. I see that Basil is in one of his sulky moods; and I can't bear him when he sulks. Besides, I want you to tell me why I should not go in for philanthropy." He then tries to keep Lord Henry by expressing an interest in what he has to say "I want you to tell me why". By begging, "Oh, please don't", and following with a complaint about Basil, Dorian Gray has portrayed hisself to be, not only youthful, but immature. The syntax of the first sentence "Dorian Gray stepped on the dais", sets up the paragraph to have Dorian Gray above the setting, which contributes to the imagery of Dorian Gray, being put, literally, on a pedastal.
** I find many allusions to The Wasteland, however, I, painfully, discovered that The Wasteland was written after The Picture of Dorian Gray. When describing the relationship Lord Henry has with his wife, he says "I never know where my wife is, and my wife never knows what I am doing. When we meet- we do meet occasionally,". The noncallant meetings, and relationship he has with his wife echoes the relationshups being described in The Wasteland. Then, "After a pause, Lord Henry pulled out his watch. 'I am afriad i must be going Basil,' he murmured". The time reference is similar to the allusion made in The Great Gatsby, when Gatsby almost breaks the clock- in reference to the part of The Wasteland "HURRY UP PLEASE IT'S TIME" (Line 141). I find it also relevant in that The Great Gatsby also had the homosociality motif.
Friday, November 14, 2008
The Picture of Dorian Gray 1
Passage: "The dim roar of London was like the bourdon note of a distant organ."
Among the florid, and flowing words in the beginning of the novel, the passage above sticks out, deliberately, to express its qualities of foreshadowing to the reader. Chapter 1 begins with a deep, slow moving (due to use of adjectives), "light summer wind" like diction. The immense imagery is due to the deep detail of the flowers; forcing the reader to imagine what they look like. Then comes the passage above, the last sentence of the second paragraph (syntax), that is not abruptly thrown into the readers view, but still drastically differs from the rest. It is clearly foreshadowing due to the words "dim", and "distant". They not only begin with the letter "d", to show emphasis on their importance, but also share similar denotation and connotation. The word "distant" means far off, which portrays a sense of perception, alluding to something in "the distance" that could, as the story progresses, relate closer to the plot. The start of the passage begins with the paradox "the dim roar" which is in reference to London. The word "dim" contrasts the word "roar" to bring more focus and emphasis to the importance of the sentence, alluding to the relevance the "roar" of London will have as the novel progresses.
The passage holds syntactical relevance in that it is deliberately placed in the beginning of Chapter 1, and is placed at the end of the second paragraph. All sentences leading up to the above passage use words like: "rich", "light", "beauty", "honey", "heavy", "delicate"- that portray a languid and peaceful diction, which emphasizes the relevance. The sentence isn't so drastically abrupt because of the soft diction used to portray the profound foreshadowing; the words "dim" and "distant"are used to counteract the biting sounds of "roar" and "bourdon", portraying a bleak, but still soft tone. Through parallelism and simile, the "The dim roar" is directly correlated with "the bourdon note", and "London" Is directly correlated with "a distant organ". The parallelism further defines "the dim roar", and "London", by using the same structure to say "the bourdon note", and "a distant organ".
Among the florid, and flowing words in the beginning of the novel, the passage above sticks out, deliberately, to express its qualities of foreshadowing to the reader. Chapter 1 begins with a deep, slow moving (due to use of adjectives), "light summer wind" like diction. The immense imagery is due to the deep detail of the flowers; forcing the reader to imagine what they look like. Then comes the passage above, the last sentence of the second paragraph (syntax), that is not abruptly thrown into the readers view, but still drastically differs from the rest. It is clearly foreshadowing due to the words "dim", and "distant". They not only begin with the letter "d", to show emphasis on their importance, but also share similar denotation and connotation. The word "distant" means far off, which portrays a sense of perception, alluding to something in "the distance" that could, as the story progresses, relate closer to the plot. The start of the passage begins with the paradox "the dim roar" which is in reference to London. The word "dim" contrasts the word "roar" to bring more focus and emphasis to the importance of the sentence, alluding to the relevance the "roar" of London will have as the novel progresses.
The passage holds syntactical relevance in that it is deliberately placed in the beginning of Chapter 1, and is placed at the end of the second paragraph. All sentences leading up to the above passage use words like: "rich", "light", "beauty", "honey", "heavy", "delicate"- that portray a languid and peaceful diction, which emphasizes the relevance. The sentence isn't so drastically abrupt because of the soft diction used to portray the profound foreshadowing; the words "dim" and "distant"are used to counteract the biting sounds of "roar" and "bourdon", portraying a bleak, but still soft tone. Through parallelism and simile, the "The dim roar" is directly correlated with "the bourdon note", and "London" Is directly correlated with "a distant organ". The parallelism further defines "the dim roar", and "London", by using the same structure to say "the bourdon note", and "a distant organ".
Friday, October 24, 2008
Dubliners: Counterparts
Passage: "Darkness, accompanied by a thick fog, was gaining upon the dusk of February and the lamps in Eustace Street had been lit."
The passage above holds a strong relevance in not only Counterparts, but also Araby. "When the short days of winter came dusk fell before we had well eaten our dinners." The passage is referencing the myriad of motifs and themes that have been repeating. Both passages introduce the motif of darkness and British oppression. When the protagonist comes home to a dark house, he exclaims "Light the lamp. What do you mean by having the place in darkness?" For Dubliners, everything is dark. The protagonist is humiliated when he looses an arm wrestling fight. The defeat he exhibits is similar to the lead protagonist in A Little Cloud. In A Little Cloud, the protagonist exhibits intellectual defeat when he is debased by his British friend. The protagonist of Counterparts is defeated in an arm wrestling match, by a fellow Dubliner. This contrast shows the intellectual defeat, characterizing the successful British, and the physical, barbarian like, defeat, characterizing Ireland/Dubliners. The juxtaposition of the two stories help to accentuate the contrast of the British and Irish.
Similar, syntacitally, to the passage from Araby, the passage above is placed in the beginning of the story. By doing this, it creates the dark motif, and sets up the dark diction and tone. By choosing "accompanied by a thick fog", it alludes to a motif bigger than just the repeated "darkness". Since each story is syntactically placed to display a different age in life, the reader infers "a thick fog"as a symbol of what age brings into your life. At first is was "darkness", but as the protagonists get older and older, now "a thick fog" has accompanied the "darkness" that was already keeping the Dubliners down.
The passage above holds a strong relevance in not only Counterparts, but also Araby. "When the short days of winter came dusk fell before we had well eaten our dinners." The passage is referencing the myriad of motifs and themes that have been repeating. Both passages introduce the motif of darkness and British oppression. When the protagonist comes home to a dark house, he exclaims "Light the lamp. What do you mean by having the place in darkness?" For Dubliners, everything is dark. The protagonist is humiliated when he looses an arm wrestling fight. The defeat he exhibits is similar to the lead protagonist in A Little Cloud. In A Little Cloud, the protagonist exhibits intellectual defeat when he is debased by his British friend. The protagonist of Counterparts is defeated in an arm wrestling match, by a fellow Dubliner. This contrast shows the intellectual defeat, characterizing the successful British, and the physical, barbarian like, defeat, characterizing Ireland/Dubliners. The juxtaposition of the two stories help to accentuate the contrast of the British and Irish.
Similar, syntacitally, to the passage from Araby, the passage above is placed in the beginning of the story. By doing this, it creates the dark motif, and sets up the dark diction and tone. By choosing "accompanied by a thick fog", it alludes to a motif bigger than just the repeated "darkness". Since each story is syntactically placed to display a different age in life, the reader infers "a thick fog"as a symbol of what age brings into your life. At first is was "darkness", but as the protagonists get older and older, now "a thick fog" has accompanied the "darkness" that was already keeping the Dubliners down.
Friday, October 17, 2008
Dubliners: A Little Cloud
"There was no doubt about it: if you wanted to succeed you had to go away. You could do nothing in Dublin."
Throughout the story, Joyce uses the motif of British oppression. The whole motif, and idea is encompassed the passage above. The protagonist is the vehicle that conveys the motif. He desires more out of life; he wishes to be a poet. This dream to be, is echoed in the passage "When his hour had struck he stood up and took leave of his desk and of his fellow-clerks punctiliously. He emerged from under the feudal arch of the King's Inns". While he's day dreaming of being a poet, "he emerged from under the feudal arch", which is a metaphor for his dreams; the dreams are tangible ideas in his head, similar to the physical "arch", but they won't be pursued in Dublin, evident in the above passage; they're futile like the arch itself. The main focus, other than the protagonist, is his friend, Ignatius Gallaher, a successful Dubliner. Gallaher, characterized in the passage "You could tell that at once by his travelled air, his well-cut tweed suit, and fearless accent." He is the first Dubliner to be characterized in such a successful and respecting manner, which is why, when the reader discovers Gallaher found success in England, that the motif of British oppression is continuing throughout the stories, and that the above passage is the true focal point of the story. The dreams of the protagonist slowly digress as the story progresses. Gallaher contributes to the digression, as a symbol of British oppression. He degrades the protagonist- going off on tangents in French, referring to him like a child, until the protagonist relizes, and states, "Gallaher was only patronising him by his friendliness just as he was paronising Ireland by his visit." The passage initiates Gallaher as the symbol of British oppression, and Little Chandler as the symbol of the oppressed Irish. The story ends with his dreams, that once seemed possible, being dessicated- when he comes home to his wife and child. The end of the story is appropriate and anticipated by the reader in the forshadowing conversation of marriage between Gallaher and Little Chandler, ending with the bitter remark by Gallaher, saying "Must get a bit stale, I should think." Little Chandler has a wife and child, which Gallaher does not, which heightens the contrast between the Brtish and the Irish. It is because of Little Chandler's family, and his unhappiness with his wife that neither of them address, or choose to fix, that he cannot progress, that he continues to live in Ireland, and continues to be oppressed by the British.
Joyce puts a great amount of rhetoric into the syntax of the sentence. With the use of a colon, he puts syntactical definition, and focus on the most important part of the sentence, "if you wanted..." The syntax of the sentence in the paragraph, helps the reader to acknoledge its meaning. The paragraph begins with an uplifting, less morbid tone to the paragraph, beginning "Little Chandler quickened his pace" which is neither negative nor dark sounding. The uplifting tone flows through to the prodound above passage. The sentence is, however, not uplifting to a Dubliner, clearly stating that you cannot progress in Dublin. The tone of the paragraph diverts the reader's attention away from it's importance. It helps to foreshadow the protagonist's the lack of seriousness in the idea, and how the protagonist isn't going to leave Dublin.
Throughout the story, Joyce uses the motif of British oppression. The whole motif, and idea is encompassed the passage above. The protagonist is the vehicle that conveys the motif. He desires more out of life; he wishes to be a poet. This dream to be, is echoed in the passage "When his hour had struck he stood up and took leave of his desk and of his fellow-clerks punctiliously. He emerged from under the feudal arch of the King's Inns". While he's day dreaming of being a poet, "he emerged from under the feudal arch", which is a metaphor for his dreams; the dreams are tangible ideas in his head, similar to the physical "arch", but they won't be pursued in Dublin, evident in the above passage; they're futile like the arch itself. The main focus, other than the protagonist, is his friend, Ignatius Gallaher, a successful Dubliner. Gallaher, characterized in the passage "You could tell that at once by his travelled air, his well-cut tweed suit, and fearless accent." He is the first Dubliner to be characterized in such a successful and respecting manner, which is why, when the reader discovers Gallaher found success in England, that the motif of British oppression is continuing throughout the stories, and that the above passage is the true focal point of the story. The dreams of the protagonist slowly digress as the story progresses. Gallaher contributes to the digression, as a symbol of British oppression. He degrades the protagonist- going off on tangents in French, referring to him like a child, until the protagonist relizes, and states, "Gallaher was only patronising him by his friendliness just as he was paronising Ireland by his visit." The passage initiates Gallaher as the symbol of British oppression, and Little Chandler as the symbol of the oppressed Irish. The story ends with his dreams, that once seemed possible, being dessicated- when he comes home to his wife and child. The end of the story is appropriate and anticipated by the reader in the forshadowing conversation of marriage between Gallaher and Little Chandler, ending with the bitter remark by Gallaher, saying "Must get a bit stale, I should think." Little Chandler has a wife and child, which Gallaher does not, which heightens the contrast between the Brtish and the Irish. It is because of Little Chandler's family, and his unhappiness with his wife that neither of them address, or choose to fix, that he cannot progress, that he continues to live in Ireland, and continues to be oppressed by the British.
Joyce puts a great amount of rhetoric into the syntax of the sentence. With the use of a colon, he puts syntactical definition, and focus on the most important part of the sentence, "if you wanted..." The syntax of the sentence in the paragraph, helps the reader to acknoledge its meaning. The paragraph begins with an uplifting, less morbid tone to the paragraph, beginning "Little Chandler quickened his pace" which is neither negative nor dark sounding. The uplifting tone flows through to the prodound above passage. The sentence is, however, not uplifting to a Dubliner, clearly stating that you cannot progress in Dublin. The tone of the paragraph diverts the reader's attention away from it's importance. It helps to foreshadow the protagonist's the lack of seriousness in the idea, and how the protagonist isn't going to leave Dublin.
Friday, October 10, 2008
Dubliners: Two Gallants
Passage: "He turned to the left when he came to the corner of Rutland Square and felt more at ease in the dark, quiet street, the sombre look of which suited his mood."
The passage above encompasses many of the ongoing motifs, and metaphors, that are reoccurring in all the stories, prior, in Dubliners. The reference of "Rutland Square", a reference to any street name, or specific area has been repeatedly used in all the stories. "He turned to the left", the specificity of direction, and the names of all the streets conveys to the reader a tangible scene, and character. Like in all the stories, the dubliners are oppressed, and "sombre"- mentioned in the above passage. It is perplexing that the character would feel more at ease on a dark, quiet, and sombre looking road. The ease that the character feels is similar to the ongoing motifs of British oppression, and the lack of happiness that is achieved by the Irish. Rutland Square, coincidentally, is the scene of the beginning and end of the story. This circular, shape like directional motif is evident in many of the stories. In Eveline, for a vague example, in one of the last paragraphs, Frank was "saying something about the passage over and over again." In addition to Eveline, After The Race, begins with a car race, which in on a track, which is usually circular, and repeated- metaphorically, a car is always getting ahead, but repeating the same direction. The spiral directions presented to the reader are a metaphor for the Irish progression- always ending up where they began.
The "dark" tone of the passage is relevant in all stories of Dubliners. It holds a lot of meaning pertaining to the dubliners themselves. The character finds comfort in the dark and sombre street. This unusual comfort is blatant to the reader. The syntax of the passage puts, "He turned to the left... and felt more at ease" to inevitably make the reader anticipate a comforting detail, only to be flustered by "in the dark, quiet street, the sombre look of which suited his mood."By putting the feeling of "ease" before the "dark", "quiet", and "sombre", Joyce puts more emphasis on the words that have been repeating in the previous stories.
The passage above encompasses many of the ongoing motifs, and metaphors, that are reoccurring in all the stories, prior, in Dubliners. The reference of "Rutland Square", a reference to any street name, or specific area has been repeatedly used in all the stories. "He turned to the left", the specificity of direction, and the names of all the streets conveys to the reader a tangible scene, and character. Like in all the stories, the dubliners are oppressed, and "sombre"- mentioned in the above passage. It is perplexing that the character would feel more at ease on a dark, quiet, and sombre looking road. The ease that the character feels is similar to the ongoing motifs of British oppression, and the lack of happiness that is achieved by the Irish. Rutland Square, coincidentally, is the scene of the beginning and end of the story. This circular, shape like directional motif is evident in many of the stories. In Eveline, for a vague example, in one of the last paragraphs, Frank was "saying something about the passage over and over again." In addition to Eveline, After The Race, begins with a car race, which in on a track, which is usually circular, and repeated- metaphorically, a car is always getting ahead, but repeating the same direction. The spiral directions presented to the reader are a metaphor for the Irish progression- always ending up where they began.
The "dark" tone of the passage is relevant in all stories of Dubliners. It holds a lot of meaning pertaining to the dubliners themselves. The character finds comfort in the dark and sombre street. This unusual comfort is blatant to the reader. The syntax of the passage puts, "He turned to the left... and felt more at ease" to inevitably make the reader anticipate a comforting detail, only to be flustered by "in the dark, quiet street, the sombre look of which suited his mood."By putting the feeling of "ease" before the "dark", "quiet", and "sombre", Joyce puts more emphasis on the words that have been repeating in the previous stories.
Friday, September 26, 2008
Dubliners: Eveline
Passage:"He rushed beyond the barrier and called her to follow. He was shouted at to go on but he still called to her. She set her white face to him, passive, like a helpless animal. Her eyes gave him no sign of love or farewell or recognition. "
Within Dubliners, the story Eveline is not only the first short story with a female protagonist, but also a protagonist with a name: Eveline. The passage above encompasses everything Eveline is trying to get at throughout the story. At the start of the story, Eveline is a myopic, listless, individual leaning on a window, an on going motif throughout Dubliners, reminiscing in the past; which happens to be pre-British oppression, or "before the new red houses" (pg. 25). Eveline reminisces over the past, dreams about the future, and when given the opportunity to escape the present moment, she holds back. By remaining in the present- remaining in Ireland- she is dehumanized, "like a helpless animal". The dehumanization of Eveline is similar to the dehumanization of the main protagonist in Araby, who, at the end of the story "saw myself as a creature".
Though the end of Eveline is powerful, Joyce contradicts the climax, with a docile tone. Eveline undergoes an epiphany, which is why she's ostentatious enough to flee her father, a possible symbol of Ireland. When she is ready to board the ship with Frank, who is conveyed to the reader as a strong, brave, hero, she gives up. A rising climax is balked by the protagonist's incapability to leave her home, Ireland. Joyce describes, "She set her white face to him; passive, like a helpless animal", as oppose to being blunt, he eases the protagonist's defeat with a more soft tone; describing her face as, "white" instead of vacuous, or empty. He makes the reader perplexed, and draw their own conclusions, another ongoing literary element used by Joyce, begging the question: if she had the opportunity to leave, why did she succumb to defeat?
Within Dubliners, the story Eveline is not only the first short story with a female protagonist, but also a protagonist with a name: Eveline. The passage above encompasses everything Eveline is trying to get at throughout the story. At the start of the story, Eveline is a myopic, listless, individual leaning on a window, an on going motif throughout Dubliners, reminiscing in the past; which happens to be pre-British oppression, or "before the new red houses" (pg. 25). Eveline reminisces over the past, dreams about the future, and when given the opportunity to escape the present moment, she holds back. By remaining in the present- remaining in Ireland- she is dehumanized, "like a helpless animal". The dehumanization of Eveline is similar to the dehumanization of the main protagonist in Araby, who, at the end of the story "saw myself as a creature".
Though the end of Eveline is powerful, Joyce contradicts the climax, with a docile tone. Eveline undergoes an epiphany, which is why she's ostentatious enough to flee her father, a possible symbol of Ireland. When she is ready to board the ship with Frank, who is conveyed to the reader as a strong, brave, hero, she gives up. A rising climax is balked by the protagonist's incapability to leave her home, Ireland. Joyce describes, "She set her white face to him; passive, like a helpless animal", as oppose to being blunt, he eases the protagonist's defeat with a more soft tone; describing her face as, "white" instead of vacuous, or empty. He makes the reader perplexed, and draw their own conclusions, another ongoing literary element used by Joyce, begging the question: if she had the opportunity to leave, why did she succumb to defeat?
Friday, September 19, 2008
Dubliners: Araby
Passage: "I watched my master's face pass from amiability to sternness; he hoped I was not beginning to idle. I could not call my wandering thoughts together. I had hardly any patience with the serious work of life which, now that it stood between me and my desire, seemed to me child's play, ugly monotonous child's play."
Joyce uses the ongoing theme of the protagonist's struggle to grow up; evident in The Sisters, An Encounter, and Araby. In the passage above, the protagonist has an epiphany like experience in his classroom. This epiphany is foreshadowed and supported in The Sisters, and Araby. In The Sisters, Joyce uses the death of Rev. James Flynn to put the protagonist at war with himself, and to see reality for what reality is; increasing the inevitability of an epiphany. In An Encounter, Joyce uses the Mid Western motif to echo the protagonist's striver to grow up, which is balked by the the protagonist's immature escape through childish literature. "I had hardly any patience with the serious work of life", since the protagonist has found love, he puts on as if he has found the true meaning of life, or "desire". The protagonist refers to "serious work of life" as "ugly monotonous child's play." By demeaning "serious work" to "child's play" the protagonist misleads the reader into truly believing he is progressing.
In Araby, the protagonist has found love. Love- a moving, light, florid subject- is contradicted by Joyce's tone. "When the short days of winter came dusk fell before we had well eaten our dinners." This characteristic of the setting sets up Joyce's repeated use of words like: "dark", "figure", and "shadow". Mangan's sister is never fully observed, she is always described as a "brown figure", or always illuminated by lamplight. This use of illumination and vague figure contributes to the intangibility of the relationship the protagonist has with the girl; always observing her through windows, or from afar, never seeing her straight forward, always via illumination from surrounding light. "I was thankful that I could see so little", the quote echoes Joyce's "dark", "shadowy", unclear tone, and, furthermore, proves the protagonist's inability to mature.
Friday, September 12, 2008
Dubliners: The Sisters
Passage: "It was late when I fell asleep. Though I was angry with old Cotter for alluding to me as a child, I puzzled my head to extract meaning from his unfinished sentences. In the dark of my room I imagined that I saw again the heavy grey face of the paralytic. I drew the blankets over my head and tried to think of Christmas."
In "The Sisters", Joyce uses the death of the protagonist's close friend, Rev. James Flynn, to develop a theme revolved around a child's internal struggle with growing up. To further establish this theme, Joyce separates the story into three parts, each corresponding with a different chronological mindset. In the beginning, he presents the reader with a character unable to grasp the idea of the deterioration of his mentor's health, the protagonist is childlike. Joyce uses the above passage as a transition between black and white concepts of childhood, to more abstract and complex concepts of adulthood; contrasting the protagonist's childish thoughts of "Christmas" with the looming "heavy grey face of the paralytic". He explains how the priest showed him "how complex and mysterious were certain institutions of the Church which I had always regarded as the simplest acts." Rev. Flynn is much older than the protagonist, offering a wealth of insight. Joyce uses the church as a metaphor for life; the protagonist is understanding the complexity of adulthood.
Diction plays a key role in how the reader will understand the story. Joyce uses word choice to shape his tone. Using words like: "grey", "dark", and "heavy". "There was a heavy odour in the room- the flowers." The flowers were an uplifting detail to the situation- death- at first, but the beginning of the sentence: "heavy odour", although ambiguous, conveys a negative tone towards flowers, which are an emblem of optimism and happiness. Joyce also, like Mr. Cotter, leaves many passages open ended, "But I could not remember the end of the dream." In doing so, he leaves a lot of thinking to the reader.
In "The Sisters", Joyce uses the death of the protagonist's close friend, Rev. James Flynn, to develop a theme revolved around a child's internal struggle with growing up. To further establish this theme, Joyce separates the story into three parts, each corresponding with a different chronological mindset. In the beginning, he presents the reader with a character unable to grasp the idea of the deterioration of his mentor's health, the protagonist is childlike. Joyce uses the above passage as a transition between black and white concepts of childhood, to more abstract and complex concepts of adulthood; contrasting the protagonist's childish thoughts of "Christmas" with the looming "heavy grey face of the paralytic". He explains how the priest showed him "how complex and mysterious were certain institutions of the Church which I had always regarded as the simplest acts." Rev. Flynn is much older than the protagonist, offering a wealth of insight. Joyce uses the church as a metaphor for life; the protagonist is understanding the complexity of adulthood.
Diction plays a key role in how the reader will understand the story. Joyce uses word choice to shape his tone. Using words like: "grey", "dark", and "heavy". "There was a heavy odour in the room- the flowers." The flowers were an uplifting detail to the situation- death- at first, but the beginning of the sentence: "heavy odour", although ambiguous, conveys a negative tone towards flowers, which are an emblem of optimism and happiness. Joyce also, like Mr. Cotter, leaves many passages open ended, "But I could not remember the end of the dream." In doing so, he leaves a lot of thinking to the reader.
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