Dorian Gray Blog post (12-14)

"It is never too late, Dorian. Let us kneel down and try if we can not remember a prayer" (162).

These are some of Basil's last words before Dorian kills him, but what is interesting is that these words particularly are what cause Dorian to snap. Dorian has assented to let Basil view the painting, and in a state of heightened emotion, "bears his soul" before Basil, explaining his decsent into sin over the past years. Dorian also blames Basil for allowing him to wallow in his own youth, and prize it above anything else. He talks of Henry too, but not in a accusatory fashion. He talks about how Henry awakened him to "the wonder of youth". It seems as though many parallells can be drawn between Basil and God, and Henry and Satan. Dorian was once on the side of goodness, but now that the reader gets to re-evaluate him when he goes head to head with Basil, it is clear that he has changed his allegience. Basil wishes to save Dorian's soul, a soul which Dorian says only god can typically see. Henry is characterized as being enticing and seductive, and although Dorian blames Basil for introducing Henry into his life, he does not blame Henry for enticing him.

PODG post 2 (Ch 7-8)

"But here was the visible symbol of the degradation of sin" (VIII, 100).

This one quote represents the entire theme of the novel, or at least the basis of it.When Dorian spurns Sybil, he comes home to find a change in the painting; a slight degradation in the purity of his facade. A pattern is clearly developing; Dorian will live his life free from "the burden of his shame". Henry, in a rather misogynistic rant invoking almost every single popular Shakespearean tragedy, convinces Dorian that she should live his life free of women (and therefore purity/lack of sin because in addition to referring to women as vile and weak, and whoreish, he also refers to them as boring and regulated and therefore pure) and cherish his youth. Dorian decides to follow Henry's advice, and live without guilt, allowing the portrait to take in all of his sin.

TPODG April Break Assignment (TBC)

Lord Henry:

1. "I choose my friends for their good looks, my acquaintances for their good characters, and my enemies for their good intellect" (10).
Henry appears aloof, but is actually very logical. He is reminiscent of Algernon from Earnest.

2. "The probabilities are that the more insincere a man is, the more purely intellectual will the idea be" (11).
Henry clearly views himself as intelligent, but this thought makes it apparent that he could have a dark "insincere" side to go along with his knowledge.;

3. "Don't soil him. Don't try to influence [Dorian]. Your influence would be bad" (16).
Henry  is beginning to be depicted as an intelligent devil-esque character. He is intelligent, aware of the insincerity of people with intelligence, and is highly logical and calculating.

4. "Because to influence a person is to give him one's own soul" (20).
There seem to be many parallels to draw between Satan and Henry. He understands manipulation, and relates it to divinity.

Dorian:

1. "'Oh I am tired of sitting' answered the lad, swinging round on the music-stool in a wistful, petulant manner" (17).
Dorian is depicted as a young and naiive man; either in temperament or in actual age.

2. "Stop! you bewilder me. I don't know waht to say. Don't speak. Let me think, or, rather, let me try not to think" (21).
Dorian seems to be afraid of Henry, or atleast his train of thought involving sin.

3. "Now and then he is horrible thoughtless, and seems to take a real delight in giving me pain" (14).
This affirms Dorian's youth, but also shows that he does have some sort of a dark side, though only occasionally expressed in Basil's presence.

4. "At least, you are like it in appearance. But it will never alter" (32).
This is foreshadowing to the ultimate plot of the novel, but in addition to the lack of aging, also speaks to Dorian's change of character.

Basil
1. "You can't feel what I feel. You change too often" (14).
Basil has deep set emotion, in contrast to Henry, who has deep set thought.

2. "I don't agree with a single word you've said, and what is more, Harry, I feel sure you don't either" (11).
Basil isn't afraid to disagree with Henry, but he does seem to be set up as a foil to him.

3. "There is too much of myself in the thing, Harry!" (13).
Basil says that there is too much of himself in the painting of Dorian, but that he doesn't want Dorian to be under Henry's influence. It seems like a metaphor for Henry's future influence on Dorian.

4. "I am glad you appreciate my work at last, Dorian, I never thought you would" (30).
Basil is a very emotional character. When frustrated with his painting, and Dorian and Henry's conversation about the qualities Dorian will lose in age, he almost destroys the entire work.

Merchant of Venice Act 5 Post

The Merchant of Venice is by definition, a comedy. However, when the characters and themes begin to be examined, it quickly becomes evident that this play contains matters much darker than those of other Shakespearean comedies, such as A Midsummer Night's Dream. This play deals with social and political issues; Sexuality, racism, gender roles,  and religious prejudice. It makes the reader question whether or not this play contains any element of comedy at all. Although the content seems to be more dramatic or even tragic than comedic, the plot structure of the play determines its classification. The genre "Comedy" does not mean the same thing to us today as it did in Victorian England. Back then, a play was considered a comedy if it used comedy through language, had an overarching theme of love, a complicated plot, and utilized mistaken identities.

The Merchant of Venice does all of these things. An example of comedy through language is the "stake" joke between Gratiano and Bassiano, the plot revolves around the love between characters who have to overcome certain obstacles to be together, the plot is indeed very complicated in terms of character depth and location, and the climax of the play is brought by the mistaken identities of Nerissa and Portia. Thus, The Merchant of Venice is indeed classifies as a Shakespearean comedy, even though it doesn't have the lightness of being that we expect from a modern day romcom or teen novel.

Merchant of Venice Act 3 post

Shylock's character is, without a doubt, the most complex in the play. In the first scene of Act 3 he is emotionally torn from his daughter's left and subsequent abandonment. However, it's slightly unclear which he mourns more; the diamonds and gold she stole, or the loss of his daughter herself. He says she wishes she "were dead at [his] foot and the jewels in her ear" (III.I.87). It seems as though Shylock is saying that he would rather have his daughter dead than lose his riches. Shylock is clearly suffering from his daughter's abandonment, and feels betrayed, but he also mentions that the "curse upon [his] nation" has never effected him up until this point. Could that "curse" be the decision of what is more important; riches or blood, or, is it a curse of loyalty, meaning Shylock must condemn Jessica for her lack of it thereof?

Shylock also immediately turns to Antonio in his grief. He demands that he be re-payed, even though Antonio technically hasn't done anything as of late to incur Shylock's wrath. However, since Shylock has probably figured out that Jessica's flight was aided by Christians, it is not surprising that he is taking out his anger on Antonio, who has a history of being anti Semitic. He is also tight for money since Jessica stole a large sum of it, and because he's paying people to go looking for her (and his stolen jewels). One of his men, Tubal, comes in to tell him that Antonio has lost some of his assets. Shylock actually celebrates this, as he can now send someone to arrest Antonio.

In the beginning of the play, Shylock mentions how he would be happy if he could only gain the upper hand on Antonio one time. Will this be that time, and will he be satisfied? He talks about how he wishes to be friends with Antonio, barring all of their respective hate for eachother.

Hamlet post 6

In the third scene of act 3, we see the unthinkable: an actual confession from Claudius for Hamlet the senior's murder. Claudius agonizes over his deed, wishing redemption but realizing that after committing so wicked a deed, the possibility of forgiveness is slim. Because of all these thoughts running through his head, Claudius is having some trouble praying. At the very end of the scene he states that his "words fly up, [his] thoughts remain below; words without thoughts never to heaven go" (III.IV.103-104). Throughout the scene, Claudius is contemplating the fact that, on earth, bad deeds can sometimes have good rewards for the doer that outweigh the guilt of having committed the crime. However, Claudius reasons that in heaven there are no unfair rewards, and humans are held "even to the teeth and forehead of [their] faults". Claudius is not proud of his deed, but he has effectively reaped the benefits of king Hamlet's murder, and for this his "thoughts" remain evil, and analogically in hell. He's trying to pray, so his words are physically and ideologically pointed up, but since his true thoughts are not divine, he reasons that his prayers will never make it to heaven.

Hamlet post 1

In act 1 scene two when Claudius is holding court, the scene seems almost absurdist. We soon see the situation through Hamlet's eyes, and identify with him as he appears to be the only character genuinely mourning for his father. Already we can understand why Hamlet will later suspect that his father's death was not an accident. After a conversation between Claudius, Hamlet and the Queen in which Hamlet is chided for sulking day after day, Claudius states that Hamlet is being a child, and that every man loses a father at some point, but to "persevere in obstinate condolement is a course of imperious stubbornness"(I. ii. 96). This characterizes Claudius as a cold and unsympathetic man, especially since the late king was his brother. The fact that the Hamlet's mother is also following Claudius' example in not mourning her husband's death contributes to the eerie absurdist feel of the scene.

Othello post 6

In Othello, we've viewed the character of Roderigo as Iago's idiotic underling. We also have learned that Iago's words and circular logic allow him to control those around him. At the very end of the second scene in the act, Roderigo threatens Iago's control, only for Iago to miraculously come up with a harebrained scheme that involves killing Cassio.

Roderigo enters in a rage, screaming that Iago's "words and performances are no kin together" (IV ii 213). Roderigo is angry because he has given up all his money on Iago's instructions, and he has yet to gain any affection from Desdemona. Iago craftily turns the conversation around, telling Roderigo that the situation is difficult, and that he's right to be doubtful of his plan. Iago then "reveals" the next part of the secret plan to Roderigo, telling him that Othello and Desdemona will leave the city unless Roderigo kills Cassio, thereby forcing  Othello to take his place as governor. Roderigo complies, and gleefully goes off to murder Cassio.

In actuality, none of Iago's story is true. The question then becomes, why does Iago want Cassio dead? Perhaps he next intends to "out" Roderigo, using genuine evidence of his love for Desdemona, and using Roderigo's jealousy of Cassio's "successful" affair with Desdemona as a motive for his murder?

Othello post 3

The sheer amount of dramatic irony in this play is astonishing. Iago is positively diabolical, and in this section of reading, his plan to get Cassio de-titled is executed perfectly. Iago decides to get Cassio in a fight with Roderigo and Montano. He first gets Cassio drunk, to which Cassio originally refuses because he has "very poor, and unhappy brains for drinking" (II, iii, 35). Of course Iago takes advantage of this, and when Cassio finally leaves for bed, Iago sends Roderigo after him to provoke him into a fight. Cassio comes running back, swinging his sword, and soon starts a brawl with Montano. Othello then comes out, asks Iago for the story, and promptly strips Cassio of his title.

Iago's explanation of the story, and Othello's dialogue beforehand show the dramatic irony of the scene. First, Iago states that he would rather have his "tongue cut from [his] mouth than it should do offense to Michael Cassio" (II, iii, 235). This is ridiculous because we know that Iago detests Cassio, and wishes him dead, if not stripped of his title. When Othello first sees the scene, he asks "Honest Iago, that looks dead with grieving" to tell him who began the fight (II, iii, 189). This is an example of dramatic irony because as the reader, we know  that it was Iago, and no one else, that started the brawl.

Othello post 2

One typical Shakespearean device seems to be ever present in Othello. The "asides" from each character, especially Iago, are numerous, and content wise tend towards the "knee slapper" joke or pun category. When Othello and Desdemona are finally reunited, they talk of their undying love for each other, and how even the universe could not tear them apart, or make them even happier, Iago responds with a terrible pun about the music of the heart. Iago whispers to the audience: "O, you are well tuned now, But I'll set down the pegs that make this music, honest as I am" (II, i, 218). His threat can basically be translated as "I'll get you my pretty".

However, another interesting line is in the discussion beforehand. Desdemona states that "The heavens forbid but that [their] loves and comforts should increase, even as [their] days do grow" (II, i, 210). This line has a double meaning. Read one way, it can mean that the universe cannot possibly make the couple any happier than they are now; They have all the happiness that is to be had in the world. The alternate interpretation is that the heavens forbid their love. Taken this way, the line provides a dark foreshadowing of possible future conflict regarding the couple's interracial status.

Othello post 1

In reading the first act of this play, I kept making comparisons to other Shakespearean works. The opening scene between Iago and Roderigo reminded me of the opening scene in Romeo and Juliet. The two men are jesting about someone (Othello) who they dislike, and they create a plan to irritate him. This is similar to the two Montague boys humorously starting the brawl with the Capulet boys in the beginning of Romeo and Juliet. The way Othello is referred to, and the amount of power he seems to have, reminded me of Macbeth.

However, the most obvious comparison I saw was between Iago and Caliban. Iago hates Othello, and wishes he could kill him, but understands that he must not, as he is bound to him. He states that even "though [he] hate[s] him as [he does] hell, [he] must show out a flag and sign of love- which is indeed but a sign" (I, 1, 17).

Iago later states that although he has had the opportunity to stab Othello many times, he knows that he is not capable of such murder, and must restrain himself. Iago contents himself by creating elaborate schemes against Othello, just like Caliban fantasizes about killing Prospero, and uses the shipwrecked sailors in an underhanded attempt to see his wishes through. By telling Desdemona's father that Othello took his daughter, he sets up an opportunity for Othello's arrest, but, since he left Roderigo to explain the full story to Brabantio, Iago cannot possibly be blamed by Othello for the betrayal. Iago is incredibly intelligent, but cowardly in that he will not take ownership of his actions, or his hate for Othello.