"There be some sports are painful, and their labour
Delight in them sets off. Some kinds of baseness
Are nobly undergone, and most poor matters
Point to rich ends. This my mean task
Would be as heavy to me as odious, but
The mistress which I serve quickens what’s dead
And makes my labours pleasures."
(III.i.1 - III.i.7)
In this passage at the opening of III.i, Ferdinand is speaking in monologue, explaining that he is accepting of the ridiculous work tasks that Prospero has created for him, because of Miranda's love. This passage suggests that Ferdinand believes that everything happens for a reason, or "for the best," which is an ironic sentiment in this specific context, since he is being freely manipulated by Prospero despite Prospero's approval of him; it is also an ironic sentiment in the larger scheme of the play, since all things on the island, in the play, and "on the globe" are suggested to be illusory. The scene of Ferdinand and the logs also ties in with a common theme of punishment and exchange throughout the play, in which sacrifice for many of the characters is necessary to claim/reclaim their "reward"/status/freedom.
Stephanie Solis
Ian Hoch, 1B
Showing posts with label Section 1B. Show all posts
Showing posts with label Section 1B. Show all posts
Friday, December 5, 2008
Thursday, December 4, 2008
Music of the Spheres
The "Music of the Spheres" is the concept that the movement of the planets makes a kind of music that contributes to a massive celestial symphony.
This idea relates to Caliban's speech of 3.2.130:
"Be not afeard. The isle is full of noises,
Sounds, and sweetairs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometimes voices
That if I then had waked after long sleep
Will make me sleep again; and then in dreaming
The clouds methought would open and show riches
Ready to drop upon me, that when I waked
I cried to dream again."
As Professor Little described in class, a true utopia will come when people stop talking and regulating the world, and learn how to find peace in listening. The world is perfect in itself, and true happiness may come from enjoying this perfection through our senses. This idea relates back to Shakespeare and the writing of plays. As The Tempest was his last play, this passage may emphasize his decision to stop writing plays and let the world continue in its perfection without his direct involvement.
Taylor Price, Ian Hoch, Section B
This idea relates to Caliban's speech of 3.2.130:
"Be not afeard. The isle is full of noises,
Sounds, and sweetairs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometimes voices
That if I then had waked after long sleep
Will make me sleep again; and then in dreaming
The clouds methought would open and show riches
Ready to drop upon me, that when I waked
I cried to dream again."
As Professor Little described in class, a true utopia will come when people stop talking and regulating the world, and learn how to find peace in listening. The world is perfect in itself, and true happiness may come from enjoying this perfection through our senses. This idea relates back to Shakespeare and the writing of plays. As The Tempest was his last play, this passage may emphasize his decision to stop writing plays and let the world continue in its perfection without his direct involvement.
Taylor Price, Ian Hoch, Section B
Lear's Utopian World Falls into Dystopia
Lear’s Utopian World Falls into Dystopia
Utopia is a name for an ideal community, taken from the title of a book written in 1516 by Sir Thomas More describing a fictional island in the Atlantic Ocean, possessing a seemingly perfect socio-politico-legal system. The term has been used to describe both intentional communities that attempted to create an ideal society, and fictional societies portrayed in literature. "Utopia" is sometimes used pejoratively, in reference to an unrealistic ideal that is impossible to achieve, and has spawned other concepts, most prominently dystopia.
A dystopian society is one in which the conditions of life are miserable, characterized by human misery, poverty, oppression, violence, disease, and/or pollution (Wikipedia).
Shakespeare takes these themes at shows them both at work in his play, King Lear. Through the betrayal of the plays characters we see a utopian world fall into dystopia. It is because of this betrayal that we see the workings of wickedness in both the familial and political realms, as brothers betray brothers and children betray fathers. Goneril and Regan’s betrayal of Lear raises them to power in Britain, where Edmund, who has betrayed both Edgar and Gloucester, joins them. It is as this betrayal occurs, that we see Lear’s utopian world turn into a barren landscape, which is filled with death and deceit. It, therefore, can be said that each of these characters are responsible for their own destinies due to their actions, which will ultimately shape the world in which they inhabit.
William Hamilton
Utopia is a name for an ideal community, taken from the title of a book written in 1516 by Sir Thomas More describing a fictional island in the Atlantic Ocean, possessing a seemingly perfect socio-politico-legal system. The term has been used to describe both intentional communities that attempted to create an ideal society, and fictional societies portrayed in literature. "Utopia" is sometimes used pejoratively, in reference to an unrealistic ideal that is impossible to achieve, and has spawned other concepts, most prominently dystopia.
A dystopian society is one in which the conditions of life are miserable, characterized by human misery, poverty, oppression, violence, disease, and/or pollution (Wikipedia).
Shakespeare takes these themes at shows them both at work in his play, King Lear. Through the betrayal of the plays characters we see a utopian world fall into dystopia. It is because of this betrayal that we see the workings of wickedness in both the familial and political realms, as brothers betray brothers and children betray fathers. Goneril and Regan’s betrayal of Lear raises them to power in Britain, where Edmund, who has betrayed both Edgar and Gloucester, joins them. It is as this betrayal occurs, that we see Lear’s utopian world turn into a barren landscape, which is filled with death and deceit. It, therefore, can be said that each of these characters are responsible for their own destinies due to their actions, which will ultimately shape the world in which they inhabit.
William Hamilton
Wednesday, December 3, 2008
Ekphrasis in Antony and Cleopatra
Ekphrasis, the dramatic, visual description or painting of a thing, person or place is used by Shakespeare to entrance the reader as Enorarbus describes Cleopatra:
The barge she sat in, like a burnish'd throne,
Burn'd on the water: the poop was beaten gold;
Purple the sails, and so perfumed that
The winds were love-sick with them; the oars were silver,
Which to the tune of flutes kept stroke, and made
The water which they beat to follow faster,
As amorous of their strokes. For her own person,
It beggar'd all description: she did lie
In her pavilion--cloth-of-gold of tissue--
O'er-picturing that Venus where we see
The fancy outwork nature: on each side her
Stood pretty dimpled boys, like smiling Cupids,
With divers-colour'd fans, whose wind did seem
To glow the delicate cheeks which they did cool,
And what they undid did. (2.2.197-211)
Her gentlewomen, like the Nereides,
So many mermaids, tended her i' the eyes,
And made their bends adornings: at the helm
A seeming mermaid steers: the silken tackle
Swell with the touches of those flower-soft hands,
That yarely frame the office. From the barge
A strange invisible perfume hits the sense
Of the adjacent wharfs. The city cast
Her people out upon her; and Antony,
Enthroned i' the market-place, did sit alone,
Whistling to the air; which, but for vacancy,
Had gone to gaze on Cleopatra too,
And made a gap in nature. (2.2.213.223)
Shakespeare paints a vivid and desirable image of the Queen of the Nile which is no longer present in the play. In many ways it teases the audience, contributing to the sense nostalgia already present in the play. The audience desires this lush, romanticized image of Cleopatra and of Egypt in both defeat and triumph, but Shakespeare only tantalizes them with this description that apeals to all senses, rather than bring the play to this desired place.
Amber Ackerman
Section 1B
Ian Hoch
The barge she sat in, like a burnish'd throne,
Burn'd on the water: the poop was beaten gold;
Purple the sails, and so perfumed that
The winds were love-sick with them; the oars were silver,
Which to the tune of flutes kept stroke, and made
The water which they beat to follow faster,
As amorous of their strokes. For her own person,
It beggar'd all description: she did lie
In her pavilion--cloth-of-gold of tissue--
O'er-picturing that Venus where we see
The fancy outwork nature: on each side her
Stood pretty dimpled boys, like smiling Cupids,
With divers-colour'd fans, whose wind did seem
To glow the delicate cheeks which they did cool,
And what they undid did. (2.2.197-211)
Her gentlewomen, like the Nereides,
So many mermaids, tended her i' the eyes,
And made their bends adornings: at the helm
A seeming mermaid steers: the silken tackle
Swell with the touches of those flower-soft hands,
That yarely frame the office. From the barge
A strange invisible perfume hits the sense
Of the adjacent wharfs. The city cast
Her people out upon her; and Antony,
Enthroned i' the market-place, did sit alone,
Whistling to the air; which, but for vacancy,
Had gone to gaze on Cleopatra too,
And made a gap in nature. (2.2.213.223)
Shakespeare paints a vivid and desirable image of the Queen of the Nile which is no longer present in the play. In many ways it teases the audience, contributing to the sense nostalgia already present in the play. The audience desires this lush, romanticized image of Cleopatra and of Egypt in both defeat and triumph, but Shakespeare only tantalizes them with this description that apeals to all senses, rather than bring the play to this desired place.
Amber Ackerman
Section 1B
Ian Hoch
The Tempest and Colonization
I thought it was interesting when Professor Little made the comment in lecture that The Tempest is Shakespeare’s most popular play in some countries, especially those that have experience with colonization. In many ways, events in The Tempest do resemble European colonization. All of the characters who land on the island find it within their rights to claim it and make it their own. Gonzalo is an example of one character who dreams that he can transform the island into what he wants it to be, creating a perfect society nostalgic of the golden age, with Gonzalo as its leader. Prospero, though, is the main allegorical colonizer figure in the play. He thinks he has complete authority over the island, even though Sycorax and Caliban had already been living there prior to his arrival. Prospero immediately turns Caliban into his servant, forcing him to do all of his work on the island. According to Caliban, he was once his “own king” (I.ii.342), but now he is a prisoner. Prospero and Miranda, acting as the colonizers, use very patronizing language toward him and act as though he owes something to them. They feel he should be happy that they found him and supposedly taught him how to be more civilized, particularly by teaching him to speak their own language. While they continue to deny Caliban his freedom throughout the play, Prospero also constantly denies Ariel his freedom. Prospero seems to promise Ariel that he will have his freedom soon, but up until the very end of the play, he withholds Ariel’s freedom, in an assertion of his own control.
Throughout the play, there are many examples of outsiders craving power and feeling they can simply go in and take it. Antonio usurped the dukedom from Prospero, Sebastian plotted to usurp the throne from Alonso, and Prospero usurped freedom from Caliban. These characters in The Tempest all want power and control. As Professor Little suggested, Shakespeare faced his own disillusionment in The Tempest, and he began to reflect on the absolutism he saw in himself as an artist through these characters.
Laura Anderson, 1B
Response: Virtus
This post is a response to the following comment made earlier:
"Volumnia is the direct challenger of Virtus. Volumnia is the sole representation of Civitas, order and a feminine connotation. And, without Volumnia, Coriolanus is unable to function. As discussed in class, behind every man there is a great woman. Rome is in a state of uproar because Coriolanus desires this sense of control, order, and masculinity, but he fails at this and is completely held up by the support of his voluptuous Volumnia.In conclusion, Rome displays the virtus but deep down it is simply a hysterical nation in a masculine disguise."
I thought this was really interesting (I'm not sure if Professor Little said this in class or if it was a student conclusion), but if Volumnia is supposed to be the embodiment of Civitas, she must be really bad at it. It's true that she's the one person who is able to prevent Coriolanus from leveling Rome with her maternal influence, but her conversation with Virginia in Act I contradicts the idea of her as civitas personified:
"To a cruel
war I sent him; from whence he returned, his brows
bound with oak. I tell thee, daughter, I sprang not
more in joy at first hearing he was a man-child
than now in first seeing he had proved himself a man." (1.3.I'd cite the lines, but the online version I'm using right now has no line numbers)
Volumnia spends the rest of the scene explaining that men are most glorious and beautiful when bloodied from war, insisting that "Hecuba/When she did suckle Hector, look'd not lovelier/Than Hector's forehead when it spit/forth blood/At Grecian sword, contemning man" (1.3).
Almost every line from Volumia in this scene is of a violent nature, therefore implying that she is at this point the embodiment of virtus, not civitas. Of course, all of her inclinations toward violence appear in speech alone, whereas her actions toward the end of the play betray a side of her perhaps more ruled by civitas. The only reason she becomes less violent, however, is because her own country is threatened; if the defense of Rome were not in question, she would probably still be behind Corialanus, urging him to bash someone's face in.
Volumnia is certainly influencial and multi-dimensional - expressed by even her name alone - but she appears to be driven by virtus, not civitas. Perhaps the tension between her and Coriolanus is similar to the tension between Coriolanus and Audifius: as Professor Little said, both men can't be the pitcher. If Volumnia is in fact an embodiment of virtus, then she is a competitor of Coriolanus who ends up topping. Her show of civitas near the end of the play, then, is perhaps only a facade to momentarily disguise her true masculine nature in a strange sort of reversal of Rome, which is merely a nation of civitas disgused as a nation of virtus.
Vanessa Yeh
Ian Hoch
1B
"Volumnia is the direct challenger of Virtus. Volumnia is the sole representation of Civitas, order and a feminine connotation. And, without Volumnia, Coriolanus is unable to function. As discussed in class, behind every man there is a great woman. Rome is in a state of uproar because Coriolanus desires this sense of control, order, and masculinity, but he fails at this and is completely held up by the support of his voluptuous Volumnia.In conclusion, Rome displays the virtus but deep down it is simply a hysterical nation in a masculine disguise."
I thought this was really interesting (I'm not sure if Professor Little said this in class or if it was a student conclusion), but if Volumnia is supposed to be the embodiment of Civitas, she must be really bad at it. It's true that she's the one person who is able to prevent Coriolanus from leveling Rome with her maternal influence, but her conversation with Virginia in Act I contradicts the idea of her as civitas personified:
"To a cruel
war I sent him; from whence he returned, his brows
bound with oak. I tell thee, daughter, I sprang not
more in joy at first hearing he was a man-child
than now in first seeing he had proved himself a man." (1.3.I'd cite the lines, but the online version I'm using right now has no line numbers)
Volumnia spends the rest of the scene explaining that men are most glorious and beautiful when bloodied from war, insisting that "Hecuba/When she did suckle Hector, look'd not lovelier/Than Hector's forehead when it spit/forth blood/At Grecian sword, contemning man" (1.3).
Almost every line from Volumia in this scene is of a violent nature, therefore implying that she is at this point the embodiment of virtus, not civitas. Of course, all of her inclinations toward violence appear in speech alone, whereas her actions toward the end of the play betray a side of her perhaps more ruled by civitas. The only reason she becomes less violent, however, is because her own country is threatened; if the defense of Rome were not in question, she would probably still be behind Corialanus, urging him to bash someone's face in.
Volumnia is certainly influencial and multi-dimensional - expressed by even her name alone - but she appears to be driven by virtus, not civitas. Perhaps the tension between her and Coriolanus is similar to the tension between Coriolanus and Audifius: as Professor Little said, both men can't be the pitcher. If Volumnia is in fact an embodiment of virtus, then she is a competitor of Coriolanus who ends up topping. Her show of civitas near the end of the play, then, is perhaps only a facade to momentarily disguise her true masculine nature in a strange sort of reversal of Rome, which is merely a nation of civitas disgused as a nation of virtus.
Vanessa Yeh
Ian Hoch
1B
Miranda's Deaf Ear
When Prospero is recounting the events that spurred him and Miranda to the island, he pauses three times in order to ask her if she is listening. Though she replies each time that she is indeed being attentive, Prospero's suspicion otherwise implies that her deaf ear is signficant on a deeper level.
As evidenced by the Masque (overly ornate and elaborate stage productions that relied on theatricality), audiences in Shakespeare's time were becoming accustomed to theater as a "visual feast," wherein the entire play is artifice. Shakespeare's possible concern was that viewers interpreted theater merely as stories that could be presented visually, rather than an audio meditation or discussion.
Miranda's deaf ear, then, is a parallel to the deaf ears of Shakespeare's audience, who may have begun to rely on the visial rather than the audio.
Vanessa Yeh
Ian Hoch
1B
As evidenced by the Masque (overly ornate and elaborate stage productions that relied on theatricality), audiences in Shakespeare's time were becoming accustomed to theater as a "visual feast," wherein the entire play is artifice. Shakespeare's possible concern was that viewers interpreted theater merely as stories that could be presented visually, rather than an audio meditation or discussion.
Miranda's deaf ear, then, is a parallel to the deaf ears of Shakespeare's audience, who may have begun to rely on the visial rather than the audio.
Vanessa Yeh
Ian Hoch
1B
Monday, December 1, 2008
Nostalgia of Realpolitick
During a lecture on Antony and Cleopatra, Professor Little brought up the concept of “the nostalgia of realpolitick.” Loosely translated as “real politics,” realpolitick refers to the idea that politics can be manipulative and influential in a controlling way. "Nostalgia of realpolitick," then, refers to the idea that we can reflect on previous eras in order to influence modern political and social thought. For example, many people in America today reflect on the 1950s as an ideal time when everyone lived in the peaceful suburbs and had a beautiful house with a picket fence, a spouse and two kids, and a solid job. Because we reminisce about this ideal time period, we often try to recapture its essence in the current twenty-first century. We may say, “How come we don’t have a nice house with a picket fence these days? How come we don’t have solid jobs anymore? We should try to regain that excellence!” This obsession with striving to recapture a long gone era gives people false hope that we can go back to an era where everything worked well. In typical realpolitick fashion, politicians and people in power will capitalize on this nostalgia for previous eras in order to fuel their own political agendas. Thus, the technique of reminding the public of their nostalgia for the past can function as a strategic device for politicians.
Professor Little brought up this concept because he wanted to show how English citizens of the 1600s would often look back on ancient Rome with a sense of nostalgia because they viewed Rome as an ideal society. This nostalgia for Rome worked to affect modern 16th and 17th century policies and politics in England. Since it is difficult, virtually impossible in fact, to consider the present time an “ideal time,” Rome most likely was not considered to be an ideal society at the time of its existence, so this concept of Rome as “ideal” was probably fabricated by England in order to influence contemporary English political and social practices by making people want to strive to be like the ancient Romans. The “nostalgia of realpolitick,” then, can be seen as “faux” nostalgia, and more strategic than realistic.
Roberta Wolfson
Discussion 1B (Ian Hoch, Thursdays at 4)
Professor Little brought up this concept because he wanted to show how English citizens of the 1600s would often look back on ancient Rome with a sense of nostalgia because they viewed Rome as an ideal society. This nostalgia for Rome worked to affect modern 16th and 17th century policies and politics in England. Since it is difficult, virtually impossible in fact, to consider the present time an “ideal time,” Rome most likely was not considered to be an ideal society at the time of its existence, so this concept of Rome as “ideal” was probably fabricated by England in order to influence contemporary English political and social practices by making people want to strive to be like the ancient Romans. The “nostalgia of realpolitick,” then, can be seen as “faux” nostalgia, and more strategic than realistic.
Roberta Wolfson
Discussion 1B (Ian Hoch, Thursdays at 4)
Monday, October 27, 2008
Women and Extramarital Affairs-Othello 5.1.82-101 : But I do think it is their husband's faults.."
Emilia is speaking to Desdemona in this passage about the double standard imposed on women in the arena of extramarital affairs. Desdemona has been discussing how no earthly temptation could ever lead her to cheat on her husband and Emilia is claiming that though adultery is not the ideal, if it brings a certain benefit to you, how can it be completely wrong? To prove her point she uses men as the primary example, explaining how it is the husband's fault when a woman cheats. Emilia argues that when a woman commits adultery, there must be a problem with the husband which would compel the wife to seek another man’s company.
Emilia also brings up the double standard of how men are allowed to cheat on their wives with no fear of punishment, while women must simply bear this treatment and suffer should they cheat. Emilia states “though we have some grace,/Yet have we some revenge” (90-91). Women are not merely senseless beings who should and will put up with their husband’s poor behavior, but feeling humans who will desire to seek out the same pleasures as men.
This passage brings up a surprisingly feminist standpoint in a play as well as a society dominated by the wills and actions of men. We cannot necessarily infer from this passage that Shakespeare would have agreed with Emilia’s belief that a woman has as much right as a man to indulge in extramarital relationships should her husband neglect or mistreat her, but he does set up an extremely viable and modernist argument concerning women’s rights and gender boundaries.
Taylor Price
Emilia also brings up the double standard of how men are allowed to cheat on their wives with no fear of punishment, while women must simply bear this treatment and suffer should they cheat. Emilia states “though we have some grace,/Yet have we some revenge” (90-91). Women are not merely senseless beings who should and will put up with their husband’s poor behavior, but feeling humans who will desire to seek out the same pleasures as men.
This passage brings up a surprisingly feminist standpoint in a play as well as a society dominated by the wills and actions of men. We cannot necessarily infer from this passage that Shakespeare would have agreed with Emilia’s belief that a woman has as much right as a man to indulge in extramarital relationships should her husband neglect or mistreat her, but he does set up an extremely viable and modernist argument concerning women’s rights and gender boundaries.
Taylor Price
Theater, Daily Entertainment and Formal Entertainment during 1600's.
- Entertainment -
Popular culture = In general was more secular. You would go to church several times
per week if you did not attend you were fined. (Side note- Shakespeare was fined for not going to church).
Most harmless form of entertainment consisted of:
1. Parades concerning religion, holidays, military and showing off captured Indian or black people (slaves).
2. Picnic at the insane asylum= Watching mad people run around while you have a lovely picnic.
3. Bear Baiting- tie bears to sticks and let dogs attack them.
4. Public Confessions- people would confess their sins
5. Hanging - hangings would take place
6. Beheading - some protesters felt this form of entertainment was too quick therefore wedged the blade of axe in order to last longer.
7. London Bridge - See heads on sticks as you passed through and see all heads which came back to villagers as a deadly plague.
-Formal Form of Entertainment-
THEATERS - out door spaces in court spaces
Earlier forms of Theater
You could also attend plays, two types of plays: morality play and miracle plays.
Morality Play
Every man "To help teach them lessons"
Miracle Play
Taught life of Jesus, as you learned a lot from the bible.
Christina Salinas / Section 1B Ian Hoch
Popular culture = In general was more secular. You would go to church several times
per week if you did not attend you were fined. (Side note- Shakespeare was fined for not going to church).
Most harmless form of entertainment consisted of:
1. Parades concerning religion, holidays, military and showing off captured Indian or black people (slaves).
2. Picnic at the insane asylum= Watching mad people run around while you have a lovely picnic.
3. Bear Baiting- tie bears to sticks and let dogs attack them.
4. Public Confessions- people would confess their sins
5. Hanging - hangings would take place
6. Beheading - some protesters felt this form of entertainment was too quick therefore wedged the blade of axe in order to last longer.
7. London Bridge - See heads on sticks as you passed through and see all heads which came back to villagers as a deadly plague.
-Formal Form of Entertainment-
THEATERS - out door spaces in court spaces
Earlier forms of Theater
You could also attend plays, two types of plays: morality play and miracle plays.
Morality Play
Every man "To help teach them lessons"
Miracle Play
Taught life of Jesus, as you learned a lot from the bible.
Christina Salinas / Section 1B Ian Hoch
Thursday, October 23, 2008
There is no woman's sides / Can bide the beating of so strong a passion... (Twelfth Night)
Orsino: "There is no woman’s sides
Can bide the beating of so strong a passion
As love doth give my heart; no woman’s heart
So big, to hold so much. They lack retention.
Alas, their love may be called appetite,
No motion of the liver, but the palate,
That suffer surfeit, cloyment, and revolt.
But mine is all as hungry as the sea,
And can digest as much. Make no compare
Between that love a woman can bear me
And that I owe Olivia."
In this passage from Twelfth Night, Orsino makes the argument that a woman's love cannot be anywhere near as strong as the love of a man; he claims that a woman's sheer physicality simply lacks the capacity for a man's love, and he compares the love of a woman to a fleeting "appetite," or superficial craving, in contrast to his love for Olivia, which he (quite wrongly) sees as substantive and everlasting. Orsino makes this speech to Viola (as "Cesario") -- who indirectly offers her own love/anguish for Orsino himself as a counterexample. He claimes that women "lack retention," but as a matter of fact, Viola's love for Orsino himself is *the* only love in the play that actually remains consistent. The audience would be aware of the ridiculousness of Orsino's speech while he makes it (especially since his love for Olivia is fairly clearly superficial), which refutes this perceived role of men and women in romantic relationships. The fact that Orsino is giving this speech to the person he ends up suddenly switching his affections to by the end creates an extra layer of metatheatrical irony. (Additionally, Orsino's response to Viola, in which he assumes that she, as a man, is actually his/her own non-existent sister, contributes to the discord / chaos of the play.) The passage also ties in to the fact that, through the play, love is demonstrated to be equally profound for men and women, but frequently in taking the form of suffering.
Stephanie Solis
1B
Can bide the beating of so strong a passion
As love doth give my heart; no woman’s heart
So big, to hold so much. They lack retention.
Alas, their love may be called appetite,
No motion of the liver, but the palate,
That suffer surfeit, cloyment, and revolt.
But mine is all as hungry as the sea,
And can digest as much. Make no compare
Between that love a woman can bear me
And that I owe Olivia."
In this passage from Twelfth Night, Orsino makes the argument that a woman's love cannot be anywhere near as strong as the love of a man; he claims that a woman's sheer physicality simply lacks the capacity for a man's love, and he compares the love of a woman to a fleeting "appetite," or superficial craving, in contrast to his love for Olivia, which he (quite wrongly) sees as substantive and everlasting. Orsino makes this speech to Viola (as "Cesario") -- who indirectly offers her own love/anguish for Orsino himself as a counterexample. He claimes that women "lack retention," but as a matter of fact, Viola's love for Orsino himself is *the* only love in the play that actually remains consistent. The audience would be aware of the ridiculousness of Orsino's speech while he makes it (especially since his love for Olivia is fairly clearly superficial), which refutes this perceived role of men and women in romantic relationships. The fact that Orsino is giving this speech to the person he ends up suddenly switching his affections to by the end creates an extra layer of metatheatrical irony. (Additionally, Orsino's response to Viola, in which he assumes that she, as a man, is actually his/her own non-existent sister, contributes to the discord / chaos of the play.) The passage also ties in to the fact that, through the play, love is demonstrated to be equally profound for men and women, but frequently in taking the form of suffering.
Stephanie Solis
1B
Disillusionment and Authoritarianism in Macbeth
In Act 5, Scene 5 of Macbeth, Seyton informs Macbeth that Lady Macbeth has just killed herself. This news prompts Macbeth to experience a moment of supreme disillusionment, as he realizes that the power he has committed murder in order to wield is meaningless. He delivers a nihilist statement in which man is characterized as “a walking shadow” and “a poor player,” and life is merely an absurd existence that ultimately, “signif[ies] nothing.” Macbeth indicates that all of man’s actions and beliefs are inevitably belittled and diminished by the passing of time, thereby rendering them meaningless. Macbeth recognizes that he is unable to exert complete control over his world and that he is not infallible. As a result, the extreme masculine authoritarianism to which Macbeth has subscribed crumbles. This brand of absolutism is revealed as an inadequate method of governance in which no real stability may be reached. After Macbeth kills Duncan, he finds that he must continue killing people to disguise the fact that he is culpable for the king’s death. The only end to the chain of events set in motion with Duncan’s death is Macbeth’s own demise. The total control that Macbeth attempts to exert over the situation proves impossible to maintain. This outcome sends Macbeth plummeting into disillusionment and demonstrates the futility of authoritarianism.
Caitlyn Chacon
Section 1B
TA: Ian Hoch
Caitlyn Chacon
Section 1B
TA: Ian Hoch
Raphael Holinshed
This is the man that Shakespeare borrowed from. It was brought up in the first Macbeth lecture because Shakespeare took the plot of "Macbeth" from Holinshed's "Chronicles." Shakespeare also used this text as the source for most of his histories and parts of "King Lear."
-Andres Barajas
-Andres Barajas
Twelfth Night: Signifiance of Title
As discussed by Professor Little during lecture, the "Twelfth Night" in the title of the play corresponds to January 6, which is twelve days after Christmas. This day signifies the official end of Christmas festivities, indicating that the play is set in an anti-regulatory world.
The instability referenced in the title is evocative of numerous themes present throughout the play, including the effects of doubling:
1) Twins Viola and Sebastian
2) Maria writing the letter to Malvolio in Olivia's hand
3) Sebastian vs. Sebastian Sr.
4) Gender switching (made more confused by the fact that male actors played female characters)
Another example of instability lies in the convoluted differentiation between actors and players. Are the actors acting at playing, or are the players playing out acting?
Vanessa Yeh
Section 1B
The instability referenced in the title is evocative of numerous themes present throughout the play, including the effects of doubling:
1) Twins Viola and Sebastian
2) Maria writing the letter to Malvolio in Olivia's hand
3) Sebastian vs. Sebastian Sr.
4) Gender switching (made more confused by the fact that male actors played female characters)
Another example of instability lies in the convoluted differentiation between actors and players. Are the actors acting at playing, or are the players playing out acting?
Vanessa Yeh
Section 1B
Wednesday, October 22, 2008
Catholicism vs Protestantism
Catholicism-
The highest level is the Pope. The Pope is given the gift of leading from God to mankind. There are 2 bodies- 1. Earthly body- the real body of the Pope. 2. The spiritual body- the idea of the Pope.
Subjects are granted things through the Pope. You are NOT in charge of your salvation. The church deals in lots of rituals.
Catholics believe in spirituality—with Chris leaving Earth, miracles remained.
Saints exist because there is still magical thinking.
There is a profound belief in purgatory, this effects the way in which we mourn.
Protestantism-
The world is not a place in which miracles, “magical thinking”, exists once Christ is gone.
There is a rise in Renaissance self fashioning
One is in charge of ones own salvation.
--It’s up to YOU to read the bible.
No intermediaries like Popes, etc.
“It’s just YOU, the BIBLE and GOD”—Professor Little.
You are in charge of your own identity.
Rise in secularism.
Protestant countries tend to be more secular, this leads to a rise in individualism. It also leads to a rise in nationalism.
Catholicism doesn’t have a rise in nationalism because the Pope is higher than political leaders.
The nation takes place of God himself in Protestantism.
Sarah Green, Section 1B
The highest level is the Pope. The Pope is given the gift of leading from God to mankind. There are 2 bodies- 1. Earthly body- the real body of the Pope. 2. The spiritual body- the idea of the Pope.
Subjects are granted things through the Pope. You are NOT in charge of your salvation. The church deals in lots of rituals.
Catholics believe in spirituality—with Chris leaving Earth, miracles remained.
Saints exist because there is still magical thinking.
There is a profound belief in purgatory, this effects the way in which we mourn.
Protestantism-
The world is not a place in which miracles, “magical thinking”, exists once Christ is gone.
There is a rise in Renaissance self fashioning
One is in charge of ones own salvation.
--It’s up to YOU to read the bible.
No intermediaries like Popes, etc.
“It’s just YOU, the BIBLE and GOD”—Professor Little.
You are in charge of your own identity.
Rise in secularism.
Protestant countries tend to be more secular, this leads to a rise in individualism. It also leads to a rise in nationalism.
Catholicism doesn’t have a rise in nationalism because the Pope is higher than political leaders.
The nation takes place of God himself in Protestantism.
Sarah Green, Section 1B
The Art of "Seeming" in Measure for Measure
The constant use of the word "seem" in Shakespeare's Measure for Measure is used to emphasize the unequal and hypocritical actions of the characters. In the play, characters only seem to be or mean certain things but rarely ever are. Even Duke Vincento participates when he makes himself seem to be a friar. He does this even while he is accusing others of their hidden abilities to seem to be something other than who they really are. Of Angelo for example he says: “That his blood flows, or that his appetite’s more to bread than stone: / hence shall we see /
If power change purpose, what our seemers be” (I.iii). The goal behind “seeming,” as the Duke suggests, is the purpose it succeeds at. If the purpose is noble, seeming to be something or someone else is acceptable. If not, it is abhorrent. To the Duke, seeming to be a poor friar, standing back to let chaos unfold around him and awaiting his chance to step in and become the hero that wins the girl at the very end is acceptable because it suits his purpose. Isabella, in fact, directly disputes this claim in the very next act when she cries, “Ha! little honour to be much believed,
And most pernicious purpose! Seeming, seeming!” (II.iv) This quote suggests that seeming to be something with an intended purpose is just as deceitful as the physical concealment of the Duke or the emotional concealment of Angelo’s lust for Isabella.
Not only does it call attention to each character’s individual way of seeming to be or do something they are not (Isabella seems to sleep with Angelo, Lucio seems to be braver than he really is, Claudio seems to be accepting of death, etc, etc) but the overuse of the word “seem” also relates to law and its way of seeming to rule over citizens equally but never really doing so in actuality. For example, Claudio is imprisoned for having pre-marital sex with a woman he intends to marry while Angelo, at the end of the play, does the same with his bride-to-be, Mariana, and is condemned to more than having to marry her. In this fictional world of Vienna, everything seems to be under control of the law. The characters constant repetition of that magical word suggests though that, with the law, nothing is ever really what it seems.
Courtney Powell
Not only does it call attention to each character’s individual way of seeming to be or do something they are not (Isabella seems to sleep with Angelo, Lucio seems to be braver than he really is, Claudio seems to be accepting of death, etc, etc) but the overuse of the word “seem” also relates to law and its way of seeming to rule over citizens equally but never really doing so in actuality. For example, Claudio is imprisoned for having pre-marital sex with a woman he intends to marry while Angelo, at the end of the play, does the same with his bride-to-be, Mariana, and is condemned to more than having to marry her. In this fictional world of Vienna, everything seems to be under control of the law. The characters constant repetition of that magical word suggests though that, with the law, nothing is ever really what it seems.
Courtney Powell
Measure for Measure as a Comedy
Measure for Measure as a Comedy:
By the end of the sixteenth century, it became clear that Elizabeth’s prosperous reign was coming to an end. Her replacement would be her cousin James, who sought to replace Elizabeth’s strong, maternal leadership and establish his absolute authority as an authoritarian ruler. During this time of transition, England entered into what Professor Little described as an era of disillusionment. The Jacobean Era, which lasted from 1603-1625 was vastly different from the optimistic, confident England of the Elizabethan Era, which persisted from 1558-1603. By the 1590s, the mood of England had already darkened. The English feared the impending reign of James, especially after his plans as king leaked in the Basilicon Duron. Professor Little suggested that once James became king, the English lost a lot of their hope. They had already determined that Catholicism was not the answer they were looking for, but now they also began to question whether Protestantism was really an improvement. From there, everything seemed dark, hopeless, and even dead. Much of the art of the period reflects this hopelessness, and Shakespeare’s plays throughout the Jacobean Era are often darker and more tragic.
Measure for Measure, a comedy first performed in the Jacobean Era, might seem out of place in an era of hopelessness and disillusionment. Measure for Measure, though, is not a typical Shakespeare comedy, and it often reflects the darkness of the atmosphere in which it was created. For a comedy, Measure for Measure dwells a lot on death. Even though there is no blood or murder, Measure for Measure alludes to death almost as much as Macbeth and Othello. The play constantly refers to executions, and as Professor Little pointed out, all of the main characters in Measure for Measure are already essentially dead. Mariana statically waits in the grange, Isabella plans to give up a part of her life and enter the nunnery, and Claudio is about to literally lose his life. All of these situations reflect individuals being isolated and alone, and even in the end, when all of the characters pair off to be married, many are unsatisfied and the conclusion feels very forced. This play, then, fits into this Jacobean tradition, even if it is a comedy, because dark elements constantly impose on the comedic.
Laura Anderson
1B
By the end of the sixteenth century, it became clear that Elizabeth’s prosperous reign was coming to an end. Her replacement would be her cousin James, who sought to replace Elizabeth’s strong, maternal leadership and establish his absolute authority as an authoritarian ruler. During this time of transition, England entered into what Professor Little described as an era of disillusionment. The Jacobean Era, which lasted from 1603-1625 was vastly different from the optimistic, confident England of the Elizabethan Era, which persisted from 1558-1603. By the 1590s, the mood of England had already darkened. The English feared the impending reign of James, especially after his plans as king leaked in the Basilicon Duron. Professor Little suggested that once James became king, the English lost a lot of their hope. They had already determined that Catholicism was not the answer they were looking for, but now they also began to question whether Protestantism was really an improvement. From there, everything seemed dark, hopeless, and even dead. Much of the art of the period reflects this hopelessness, and Shakespeare’s plays throughout the Jacobean Era are often darker and more tragic.
Measure for Measure, a comedy first performed in the Jacobean Era, might seem out of place in an era of hopelessness and disillusionment. Measure for Measure, though, is not a typical Shakespeare comedy, and it often reflects the darkness of the atmosphere in which it was created. For a comedy, Measure for Measure dwells a lot on death. Even though there is no blood or murder, Measure for Measure alludes to death almost as much as Macbeth and Othello. The play constantly refers to executions, and as Professor Little pointed out, all of the main characters in Measure for Measure are already essentially dead. Mariana statically waits in the grange, Isabella plans to give up a part of her life and enter the nunnery, and Claudio is about to literally lose his life. All of these situations reflect individuals being isolated and alone, and even in the end, when all of the characters pair off to be married, many are unsatisfied and the conclusion feels very forced. This play, then, fits into this Jacobean tradition, even if it is a comedy, because dark elements constantly impose on the comedic.
Laura Anderson
1B
Metatheater in Twelfth Night
An important element of Shakespeare’s plays is its metatheatrical qualities. Metatheater is defined as theatre that is aware of itself as theatre. By definition, theatre itself is highly metatheatrical, as is general life. Society engrains roles and scripts upon men and women, and such cultural constructions are the main source of stereotypes. An obvious example of metatheater is when a play takes place inside a play. Thus far, Twelfth Night has proved to be highly metatheatrical. Viola performs the role of a young male, Cesario. While disguised as him she tries to emulate the stereotypical part of a young man, which is somewhat ironic due to the fact that when the play was originally performed Viola was actually played by a young man who was trained to perform the role of a woman. After finding what he believes to be a love letter from Olivia, Malvolio foolishly fashions himself to be what he believes she desires—he smiles constantly and dresses in yellow stockings with cross garters, playing a ridiculous part which he believes will win her ehart. Watching this spectacle, Fabian comments, “If this were played upon a stage, now, I could condemn it as improbable fiction,” (3.4, l. 114-115), again reminding the audience of the plays theatrical state.
Amber Ackerman
Section 1B
Ian Hoch
Amber Ackerman
Section 1B
Ian Hoch
Biographical History of James VI/I
James VI and I (19 June 1566 – 27 March 1625) was King of Scots as James VI, and King of England and King of Ireland as James I. He ruled in Scotland as James VI from 24 July 1567, when he was only one year old, succeeding his mother Mary, Queen of Scots. Regents governed during his minority, which ended officially in 1578, though he did not gain full control of his government until 1581. On 24 March 1603, as James I, he succeeded the last Tudor monarch of England and Ireland, Elizabeth I, who died without issue.He then ruled England, Scotland and Ireland for 22 years, often using the title King of Great Britain, until his death at the age of 58.
James achieved most of his aims in Scotland but faced great difficulties in England, including the Gunpowder Plot in 1605 and repeated conflicts with the English Parliament. According to a tradition originating with historians of the mid-seventeenth-century, James's taste for political absolutism, his financial irresponsibility, and his cultivation of unpopular favourites established the foundation for the English Civil War.
Under James, the "Golden Age" of Elizabethan literature and drama continued, with writers such as William Shakespeare, John Donne, Ben Jonson, and Sir Francis Bacon contributing to a flourishing literary culture.
In 1597–1598, James wrote two works, The Trew Law of Free Monarchies and Basilikon Doron (Royal Gift), in which he established an ideological base for monarchy. In the Trew Law, he sets out the divine right of kings, explaining that for Biblical reasons kings are higher beings than other men, though "the highest bench is the sliddriest to sit upon".[37] The document proposes an absolutist theory of monarchy, by which a king may impose new laws by royal prerogative but must also pay heed to tradition and to God, who would "stirre up such scourges as pleaseth him, for punishment of wicked kings"
By William Hamilton
Section B
TA Ian Hoch
James achieved most of his aims in Scotland but faced great difficulties in England, including the Gunpowder Plot in 1605 and repeated conflicts with the English Parliament. According to a tradition originating with historians of the mid-seventeenth-century, James's taste for political absolutism, his financial irresponsibility, and his cultivation of unpopular favourites established the foundation for the English Civil War.
Under James, the "Golden Age" of Elizabethan literature and drama continued, with writers such as William Shakespeare, John Donne, Ben Jonson, and Sir Francis Bacon contributing to a flourishing literary culture.
In 1597–1598, James wrote two works, The Trew Law of Free Monarchies and Basilikon Doron (Royal Gift), in which he established an ideological base for monarchy. In the Trew Law, he sets out the divine right of kings, explaining that for Biblical reasons kings are higher beings than other men, though "the highest bench is the sliddriest to sit upon".[37] The document proposes an absolutist theory of monarchy, by which a king may impose new laws by royal prerogative but must also pay heed to tradition and to God, who would "stirre up such scourges as pleaseth him, for punishment of wicked kings"
By William Hamilton
Section B
TA Ian Hoch
Tuesday, October 21, 2008
Definition of Morality; Othello
Professor Little redefines the notion of "morality" by challenging popular perception of the character Iago. A moral person is described as "virtuous", "good-natured," "honest," etc. According to the common assumption of "morality," Iago is the villain;
he lies, cheats, and directs a tragic murder. However, Professor Little's definition of morality places Iago as the most moral figure in the play. According to Professor Little, morality is not defined by a standard value system of good vs evil. It doesn't matter if the values are considered "good" or "evil" because those standards are relative. Professor Little instead identifies a more stable, universal definition of morality: A character's morality depends on the actual presence of it, the honesty of it, and one's dedication to it.
Based on that definition, Iago is the moral figure while characters like Othello are the immoral ones. For example, Othello fools himself and others in believing he has a system of values and beliefs, mainly in his love and dedication to Desdemona. For example, when he comes back after the war, he speaks with such eloquence and confidence about his admiration and love for Desdemona.
Amen to that, sweet powers!
I cannot speak enough of this content;
It stops me here; it is too much of joy:
And this, and this, the greatest discords be (2.1.196-197)
The deception in these words are exposed, not created by Iago. Iago merely has to speak a couple words before Othello quickly abandons his trust in Desdemona and instead places his loyalty in Iago. This shows the immorality in Othello or more the amorality in Othello. He never has a genuine system of beliefs. He simply disguises the absence of morals with superficial emotions to fool others and himself. Because he doesn't truly believe in his morals, he is so quickly to abandon them.
Iago is the antithetical character to Othello. Iago has a set system of values and morals. Iago never deceives himself about the character of his beliefs and values. He also doesn't allow himself to waver between different values or ideas. This is why Iago's character and identity is easily recognized in the play because he doesn't hide his identity from himself or the audience. In fact, Iago is the most loyal character to the play itself. Professor Little mentions Shakespeare's character don't own the plays. They are merely part of the plays, but not the creators of the plays. Iago is part of the play and doesn't abandon his role. He is a constant, unchanging in his character, his actions, and his beliefs. He presents stability that the other characters lack.
Josephine (Josie) Lee
Section 1 B Ian Hoch
he lies, cheats, and directs a tragic murder. However, Professor Little's definition of morality places Iago as the most moral figure in the play. According to Professor Little, morality is not defined by a standard value system of good vs evil. It doesn't matter if the values are considered "good" or "evil" because those standards are relative. Professor Little instead identifies a more stable, universal definition of morality: A character's morality depends on the actual presence of it, the honesty of it, and one's dedication to it.
Based on that definition, Iago is the moral figure while characters like Othello are the immoral ones. For example, Othello fools himself and others in believing he has a system of values and beliefs, mainly in his love and dedication to Desdemona. For example, when he comes back after the war, he speaks with such eloquence and confidence about his admiration and love for Desdemona.
Amen to that, sweet powers!
I cannot speak enough of this content;
It stops me here; it is too much of joy:
And this, and this, the greatest discords be (2.1.196-197)
The deception in these words are exposed, not created by Iago. Iago merely has to speak a couple words before Othello quickly abandons his trust in Desdemona and instead places his loyalty in Iago. This shows the immorality in Othello or more the amorality in Othello. He never has a genuine system of beliefs. He simply disguises the absence of morals with superficial emotions to fool others and himself. Because he doesn't truly believe in his morals, he is so quickly to abandon them.
Iago is the antithetical character to Othello. Iago has a set system of values and morals. Iago never deceives himself about the character of his beliefs and values. He also doesn't allow himself to waver between different values or ideas. This is why Iago's character and identity is easily recognized in the play because he doesn't hide his identity from himself or the audience. In fact, Iago is the most loyal character to the play itself. Professor Little mentions Shakespeare's character don't own the plays. They are merely part of the plays, but not the creators of the plays. Iago is part of the play and doesn't abandon his role. He is a constant, unchanging in his character, his actions, and his beliefs. He presents stability that the other characters lack.
Josephine (Josie) Lee
Section 1 B Ian Hoch
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