Macbeth and Macduff Revisited

2008. In a literary work, a minor character, often known as a foil, possesses traits that emphasize, by contrast or comparison, the distinctive characteristics and qualities of the main character. For example, the ideas or behavior of a minor character might be used to highlight the weaknesses or strengths of the main character. Choose a novel or play in which a minor character serves as a foil for the main character. Then write an essay in which you analyze how the relation between the minor character and the major character illuminates the meaning of the work.

In the famous play by William Shakespeare, The Tragedy of Macbeth, Lord Macbeth expresses insecurity on his own masculinity, which are cast further into light by the scheming words of his wife as she presses him to strive for power by killing the king of Scotland so he can take control of the kingdom.  This is in stark contrast to the attitudes of Lord Macduff, who is unafraid to show sorrow or pain and expresses them freely when he views appropriate.  Through Macbeth and his foil, Shakespeare provides commentary on the appropriate balance of masculinity and femininity.

Lord Macbeth's insecurity is easily seen through his wife's methods of controlling him.  When he expresses discomfort with the idea of killing the king of Scotland, who has taken him in, is a good leader, and is his kin, she scorns him and accuses him of being weak and feminine.  In response, he performs the necessary actions which lead to the deaths of the king, as well as his friend Banquo, who discovers the actions.  Macbeth continues to order atrocious actions to be performed, including the murder of Lady Macduff and her innocent children in hearing that Lord Macduff would cause his downfall.  Through his titular character's heinous actions, Shakespeare denounces those who focus too heavily on their appearance of masculinity and being what men ought to be.

Macbeth's foil, Lord Macduff, on the other hand, provides a contrasting take on masculinity.  When Macduff is informed of the deaths of his wife and children, he does not pretend to hide his sorrow, but openly displays his grief.  When the prince and rightful heir to the throne, Malcolm, questions him on his display, Macduff's response indicates that it is not shameful to mourn that which has been lost, nor does it show any sign of weakness in his status as a man.  Though a minor character, Macduff's righteousness and honor endear him to the reader and his actions proclaim the appropriate response of man to painful news.  Shakespeare uses Macduff to illustrate that proper balance of emotions, acclaiming his actions as those of a proper and dignified man who has nothing of which to be ashamed.

In the end, Macbeth and Macduff meet in person in the last act and fight.  At first, Macbeth, whose arrogance has grown from the fact that he is unable to be killed by any man, does not seem to worry when confronting his foil.  Even after Macduff reveals that he was not born by a woman but instead taken from his mother's womb early, Macbeth refuses to surrender.  This may have also been partially due to his concept of surrendering as weak.  His wife accused him of being weak and feminine when he wanted to turn back from killing the king and taking his position as ruler of Scotland and he could fear her reaction if he were to surrender then.  Furthermore, the sword-fight itself between Macbeth and Macduff can be seen as a play on the word "foil," since foils are a type of weapon similar to a sword.  However, in the end, Macduff kills Macbeth, indicating that in spite of all of what Macbeth would perceive as signs of femininity and weakness in Macduff, he can still kill and solve the conflict.  As such, Shakespeare indicates that having more feminine aspects does not detract from a man's capabilities.

By setting up very contrasting characters in both personality and morality, Shakespeare uses Macbeth as a method of indicating the proper balance of femininity and masculinity in an honorable man.  It does not do to be wholly one, Shakespeare insists, but a balance will create a much better man, such as the strengths of Macduff over Macbeth, which eventually lead to the downfall of the main character.

Rosenstern and Guildencrantz

Yeah, so that was a terrible attempt at an interesting blog title.  But that essentially sums up what we did...

So first we finished Hamlet.  I loved loved LOVED Tennant's Hamlet.  Except I didn't really like the Ophelia.  She wasn't quite what I was imagining for Ophelia.  (Side note: Does anyone else have a really hard typing the name "Ophelia"?  I can't ever seem to get it right.)  The last version that we saw, with the genderbent Polonius and Horatio was weird.  I mean, I didn't understand it.  At all.  I am intrigued though.  I kind of want to sit down and watch the whole thing.  I did enjoy the Horatio and Hamlet scene at the end.  I was kind of hoping that by changing the gender, they'd make it better for a kiss to take place (though I resent the fact that because it's a straight couple, it's more reasonable to show them kissing).  But I digress...

After finishing everything on Hamlet, we've been reading Rosencrantz and Guildenstern are Dead.  It's certainly... interesting.  I'm finding a lot of things catching my attention, but at the same time, I'm feeling like I'm missing a lot as well.  It's really quite confusing, but our occasional pauses help to work certain things out.  It kind of reminds me of when we first started reading The American Dream because we had no idea what we were getting into and we didn't understand what's going on.  Except this has a little bit of understandable plot because scenes are taken from Hamlet - and then elaborated, of course.  It's like a spin-off, only one that changes how we see the entire thing as a whole?  I don't know but it's certainly interesting.  I can't wait to finish it!

Words, Words, Words about Hamlet

Title because I really love the way that was said, okay?  That line became ten times funnier after...  Was that Tennant's acting or Branagh's?  I don't actually remember.  But I digress...

William Shakespeare

• Elizabethan era playwright
• Rumored to have been more than one person?
• Wrote many famous tragedies, comedies, and histories
• Took famous stories and fleshed them out or changed them; played with them to make them interesting but not necessarily accurate

Setting

• Essentially all set in Elsinore, the royal castle in Denmark.
• Taking place in the past, possibly medieval era?
• Other locations: "A plain in Denmark" and a churchyard

Plot

Act 1

Scene 1

• Watchmen are wandering a platform before the castle.  The guards are changing.  They possibly talk in code? - "Nay, answer me: stand and unfold yourself."  "Long live the king!"  "Friends to this ground."  "And liegemen to the Dane."
• Marcellus and Bernardo tell Horatio about the ghost and Horatio doesn't believe them.  They see the ghost and Horatio realizes the ghost does exist.  "Before my God, I might not this believe/ Without the sensible and true avouch/ Of mine own eyes."
• Horatio gives a history lesson: Old Hamlet killed Old Fortinbras many years ago and now young Fortinbras wants to march on Denmark to get land and honor back.  Implied that Horatio disapproves of the whole thing. - "In which our valiant Hamlet-/ For so this side of our known world esteem'd him..."
• The ghost comes back.  The men try to talk to it, but it hears a cock crow and it goes away.  They decide to tell young Hamlet about it.  Hinting at distrust to Claudius. - "Do you consent we shall acquaint [Hamlet] with this/ As needful in our loves, fitting our duty?"

Scene 2

• Claudius explains his recent marriage to Gertrude and works to address the problem with Fortinbras. - "Therefore, our sometimes sister, now our queen..."
• Laertes asks for permission to return to France and obtains it.  The King and Queen question and shame Hamlet on his downcast mood. - "But you must know, your father lost a father..."  "But to persever/ In obstinate condolement is a course/ Of impious stubbornness: 'tis unmanly grief."
• Everyone leaves.  Hamlet bemoans how quickly his mother forgot his father.  Dislike of women? - "Frailty, thy name is woman."
• Horatio comes and tells Hamlet about seeing his father's ghost.  He agrees to go meet them.  Hamlet doesn't want them to tell anyone else. - "Give it an understanding, but no tongue:/ I will requite your loves."

Scene 3

• Laertes and Ophelia talk about Hamlet's relationship with Ophelia.  Laertes warns her against loving him. - "Fear it, Ophelia, fear it, my dear sister,/ And keep you in the rear of your affection..."
• Polonius comes and gives Laertes very Machiavellian advise on friendship and trusting others. - "Give every man thy ear but few thy voice."
• Laertes leaves and Polonius scolds Ophelia for expressing love for Hamlet.  He tells her to stay away from him. - "Affection! pooh! you speak like a green girl..."

Scene 4

• Hamlet, Horatio, and Marcellus all return to the platform.  Hamlet curses a custom of Denmark and expresses something on the customs of the land.
• The ghost comes and will only speak to Hamlet.
• Marcellus and Horatio worry about Hamlet leaving without them. - "Something is rotten in the state of Denmark."  Horatio trusts Providence. - "Heaven will direct it."

Scene 5

• The ghost reveals it is the ghost of King Hamlet.  Tells that he is stuck in Purgatory.
• Reveals that Claudius killed him.  Hamlet must therefore kill Claudius. - "The serpent that did sting thy father's life/ Now wears his crown."
• Hamlet vows to do so, and gets Horatio and Marcellus to swear on his sword that they will not talk about what they witnessed.  Must swear three times.

Act 2

Scene 1

• Polonius tells Reynaldo to spy on Laertes.  Using lies to obtain truth.
• Ophelia tells Polonius about Hamlet entering her closet and acting crazy.  Polonius says (or truly believes?) that Hamlet is mad for his love for her.  They go to tell the King and Queen.

Scene 2

• Rosencrantz and Guildenstern visit.  The King and Queen ask them to find out more information about what is up with Hamlet.  Essentially more spying.
• Polonius reveals the ambassadors are back (they say that Fortinbras will no longer try to take over Denmark but will go attack Poland instead).
• Polonius also tells the King and Queen about his theory on Hamlet's behavior.  Read one of Hamlet's love letters to Ophelia. - "Doubt thou the stars are fire;/ Doubt that the sun doth move;/ Doubt truth to be a liar;/ But never doubt I love."
• Polonius decides to have Ophelia talk to Hamlet.  First he talks to Hamlet.  Hamlet makes a fool of him while pretending to be mad.
• Rosencrantz and Guildenstern try to talk to Hamlet.  He reveals that he's having nightmares but they keep trying to ask about other things and don't tell him the truth, so he gives up on them. - "By the obligation of our ever preserved love..."  "If you love me, hold not off."  Hamlet also reveals that he's not truly mad, but they (probably) missed it.
• Polonius enters, announcing the arrival of the players.  Hamlet asks for a speech.  Polonius gets bored.  Hamlet asks for a play and tells them to add in something.  Everyone leaves to get the players settled in.
• Hamlet is annoyed that the player can express so much feeling for Hecuba, a random character from history, but he can't get angry enough towards Claudius to kill him.  He decides to use the play to "catch the conscience of the king."

Act 3

Scene 1

• Rosencrantz and Guildenstern report to the King and Queen.  The king tells them to try and find out more.
• Ophelia, Polonius, Gertrude, and Claudius prepare for Hamlet's entrance and his interactions with Ophelia.
• Claudius and Polonius hide.  Hamlet enters and gives his "To be or not to be" speech.  Considering suicide but decides against it.
• Hamlet interacts with Ophelia.  Half the time accusing her of cheating/not loving her/ telling her to "get thee to a nunnery."  Half the time cursing himself and his family.  He also tests to see if he can trust her.  She lies and he gives up on her. - "Where is your father?"  "At home, my lord."
• Ophelia mourns the loss of his original self.  The King thinks that Hamlet is merely pretending to be mad.  Polonius maintains (only vocally or fully?) that Hamlet is acting such ways because he loves Ophelia.  He tells the King to have the Queen talk to Hamlet.  Polonius will hide and eavesdrop.

Scene 2

• Hamlet instructs the players on how to act and sends Polonius, Guildenstern, and Rosencrantz to check that the King and Queen will watch the play.
• Horatio is summoned and they discuss that Horatio is the only person Hamlet trusts and that he must keep an eye out for any possible reactions from the King that show his guilt.
• Hamlet banters with Polonius and especially Ophelia. - "Shall I lie in your lap?"  "I mean my head upon your lap?"  "Do you think I meant country matters?"
• The play unfolds.  Hamlet jibes for reactions from the rest of the audience as the Player King and Queen act out scenes similar to the story of his parents and Claudius. - "The lady doth protest too much, methinks."
• The King freaks out when Lucianus poisons the King and everyone leaves.  Hamlet and Horatio discuss the meaning and decide that Claudius must have poisoned King Hamlet.
• Rosencrantz and Guildenstern summon Hamlet to his mother's closet to discuss his behavior.  Hamlet accuses them of trying to manipulate him but they (purposely?) ignore him.  Hamlet tests Polonius to find his level of servitude high.  Hamlet is determined to lay things out to his mother.

Scene 3

• The King discuss the situation with Rosencrantz and Guildenstern.  Claudius decides that Hamlet must be sent away.
• Polonius says that Hamlet is coming and that he will hide in the Queen's closet to overhear the conversation.
• The King regrets killing the old King, but thinks that his regret won't do any good when he still possesses and treasures what he gained from the murder: Queen, throne, power.  He tries to pray but can't.
• Hamlet sees him praying but can't kill him because he's praying.  Likely an excuse.  He can't bring himself to kill the man just yet.

Scene 4

• Gertrude and Hamlet talk.  Polonius cries out for help and Hamlet kills him, thinking that he is Claudius hiding.
• Hamlet accuses Gertrude of betraying his father and committing a sin.  Gertrude is truly upset?  She sounds like she begins to feel guilty.
• The ghost appears to try and push Hamlet into doing his duty.  Gertrude can't see the ghost and thinks Hamlet mad.  Hamlet starts to desperately reassure her that he's sane.
• Hamlet leaves, telling Gertrude to not tell Claudius anything and to not sleep with him anymore.  He drags out Polonius' dead body.

Act 4

Scene 1

• Gertrude tells Claudius what happened (including the fact that Hamlet is mad).  Claudius tells Gertrude that he's going to send Hamlet away, to keep everyone safe.
• Claudius calls in Rosencrantz and Guildenstern to find the body, and decides to call in a group of advisers to figure out what else they should do.

Scene 2

• Rosencrantz and Guildenstern find Hamlet and try to get him to tell them where they hid the body.
• Hamlet tells them that they're being used by the king.  They don't understand.
• Hamlet agrees to meet Claudius.

Scene 3

• Rosencrantz and Guildenstern tell the king that they can't get Hamlet to tell them where the body is.
• When the King asks, Hamlet is very clever in his replies.  Eventually, he reveals it and men are sent to retrieve it.
• Claudius tells Hamlet that he is going to be sent to England.  Hamlet agrees, and the King send people to make sure it happens.
• When alone, the King reveals that he has asked the English king to kill Hamlet.

Scene 4

• Hamlet and co. meets a Captain and Fortinbras on the road.  He discovers that Fortinbras intends to fight over a small piece of land that isn't worth anything.
• Hamlet is impressed by Fortinbras' dedication to honor and disregard for life, and he vows that he will focus only on killing Claudius from then on. - "My thoughts be bloody, or be nothing worth."

Scene 5

• Gertrude refuses to see Ophelia until she is entreated by the possibility of word getting out about the situation at Elsinore.
• Ophelia is shown to be mad, singing snatches of songs, all about pregnancy and losing virginity, or death.  The King and Queen are shocked and believe it to be mindless singing due to her father's death.
• Claudius reveals after Ophelia is gone that Laertes has returned from France to discover the truth of what happened to his father.
• They are interrupted by a riot.  Laertes leads a crowd of men to overthrow the king.  He demands to have his father, and to ensure whoever killed him paid for it.  The King talks him out of killing Claudius and works to maintain his innocence.
• Ophelia enters again and performs the flower scene, offering different flowers to different characters, and herself.  She continues to sing about death before leaving.
• The King offers Laertes up the throne and his life if Laertes should not get his revenge and the truth in time.  Laertes accepts.

Scene 6

• Horatio gets a letter from Hamlet.  His boat was taken captive by pirates (Deus Ex Machina) and he was the only one who was taken over.
• Hamlet convinced the pirates to let him back with payment later, and asks Horatio to meet him, for he has nothing.

Scene 7

• The King and Laertes are talking about who to blame.  The King says that Hamlet also wanted to kill him, again taking the blame off of him?
• Laertes asks why Claudius can't kill Hamlet.  Claudius says it's because the public and Gertrude love him, and he doesn't want to lose their support.
• A messenger enters to reveal that Hamlet is not dead, but is back in Denmark and asks to see the King.  Claudius is shocked at the failing of his plan.
• Laertes asks to be part of the murder plot of Hamlet.  They plot for an exhibition of swordsmanship, where Laertes' blade be poisonous and Hamlet's drink be poisoned.
• The Queen comes in to reveal that Ophelia had drowned.  Laertes is again upset and Claudius worries that he'll have to calm him down again.

Act 5

Scene 1

• Two clowns are digging the grave for Ophelia and commenting on how she can be buried there when everyone knows that it was a suicide.
• Hamlet and Horatio arrive.  Hamlet asks whose grave it is.  He gets in a discussion about death, and how everyone is equal.  He sees Yorick's skull and realizes the true fate of the dead. - "Alas, poor Yorick!"
• The funeral procession for Ophelia comes and Laertes asks for more to be done.  The priest refuses because they cannot be sure that Ophelia didn't kill herself.  Laertes jumps into the grave to hug her again.
• Hamlet leaps in after him and they fight as Hamlet says that nobody can match his love for Ophelia.  The King and Queen get them to separate and Claudius promises Laertes his revenge later.

Scene 2

• Hamlet and Horatio talk about what happened.  Hamlet tells about how he discovered the plot to kill him, and wrote a new notice that Rosencrantz and Guildenstern were to be killed instead.  Horatio comments on his lack of humanity. - "Why what a king is this!"
• Osric enters to entreat Hamlet to enter in a duel against Laertes.  Both Horatio and Hamlet see through his methods of trying to make Hamlet jealous and therefore agree to the duel.
• Horatio thinks that Hamlet cannot win.  Hamlet says that he's been practicing, but he feels uneasy about the whole situation.  Horatio tells him to change his mind but Hamlet now believes in Providence and does not want to change his fate.
• Hamlet apologizes to Laertes and Laertes lies in saying that he accepts the apology.  Claudius announces the usage of the pearls to be added to the drink every time Hamlet scores a hit.
• They fight.  Hamlet scores two hits.  The Queen drinks the poison and eventually dies.  Laertes feels bad about the plan to kill Hamlet, but cuts him anyway.  The swords switch and Hamlet cuts Laertes.
• Everyone reveals that Claudius was behind it all.  Hamlet kills Claudius, forgives Laertes as he dies, and then Hamlet dies. - "Good night, sweet prince;/ And flights of angels sing thee to thy rest!"
• Fortinbras enters with ambassadors to announce that Rosencrantz and Guildenstern are dead.  Horatio tells Fortinbras that he is the new king.  Fortinbras gives Hamlet a soldier's funeral.

Characters

Hamlet, Prince of Denmark

• A typically philosophizing person
• Disapproves of his mother's marriage to his uncle
• Seems to worship his father - "I'll call thee Hamlet, King, father, Royal Dane..."
• Depression? - "To be or not to be: that is the question..."
• Set by the ghost to kill Claudius, but does not seem to be able to bring himself to
• Believes in giving people chances (tests Rosencrantz & Guildenstern and Ophelia several times) but if trust is not received, then will never forgive
• Only trusts Horatio?
• Clever and witty, uses metaphors and wordplay a lot - "Excellent well; you are a fishmonger."  "Get thee to a nunnery."  "In heaven; send thither to see: if your messenger find him not there, seek him i' the other place yourself."

Horatio

• Friend to Hamlet
• Scholarly character, only believes in what he can see - "Before my God, I might not this believe/ Without the sensible and true avouch/ Of mine own eyes."
• Trusted by many of the court
• Audience's moral compass
• Disapproves of hasty actions and fiery revenge - "Now, sir, young Fortinbras/ Of unimprovd mettle hot and full..."

Claudius, King of Denmark

• Brother to King Hamlet, uncle to Prince Hamlet
• Married to Gertrude recently
• Killed King Hamlet by poisoning him through the ear
• Possessive and self-preserving, caring more about his own life than Polonius' death
• Focus goal on power - "My crown, mine own ambition..."
• Loves Gertrude?
• Feels some regret for his actions, but not enough - "But , O, what form of prayer/ Can serve my turn?"  "May one be pardon'd and retain th' offence?"

Gertrude, Queen of Denmark

• Wife of Old Hamlet and to Claudius
• Mother of Hamlet
• Seems to be a bit of an airhead - "What have I done, that thou dar'st wag they tongue/ In noise so rude against me?"
• Truly fond of Hamlet? - "Here, Hamlet, take my napkin, rub thy brows:/ The queen carouses to thy fortune, Hamlet."
• Illustrates the weakness of women? - "The lady doth protest too much, methinks."  "Frailty, thy name is women."

Polonius

• Trusted adviser of Claudius
• Machiavellian, sneaky, sly air - "Give every man thy ear but few thy voice."
• Uses lies to detect truth.
• Works to establish himself as indispensable, but also gives credit to the King, skilled politician
• Foolishness can be seen sometimes? - "By the mass, and 'tis like a camel, indeed."  "It is backed like a weasel."  "Very like a whale."

Ophelia

• Daughter of Polonius
• Can either be understood as an innocent girl caught up in the machinations around her, or as clever as her family in politics
• Very close to her brother
• Love(d?) Hamlet
• Possibly proposed to? - "And hath given countenance to his speech, my lord,/ With almost all of the holy vows of heaven."
• Possibly had sex with Hamlet/pregnant? - "Let in a maid, that out a maid/ Never departed more."
• Father's death drove her to madness
• Suicide via drowning - more hints of pregnancy

Laertes

• Son of Polonius
• Probably just as socially and politically clever as his father - "Then if he says he loves you,/ It fits your wisdom so far to believe it..."
• Sees his sister as innocent? - "Thought and affliction, passion, hell itself/ She turns to favour and to prettiness."
• Foil to Hamlet in that his father was killed and he acts immediately for revenge
• In the end, feels remorse for his actions - "And yet 'tis almost 'gainst my conscience."  "Exchange forgiveness with me, noble Hamlet;/ Mine and my father's death come not upon thee,/ Nor thine on me!"

Others

• Fortinbras: Another foil to Hamlet; didn't seek revenge (in the end) and obtained the throne
• Rosencrantz and Guildenstern: Almost comedic relief, original friends of Hamlet but turned against him to aid the King, killed for betraying Hamlet - "'Tis dangerous when the baser nature comes/ Between the pass and fell incensed points/ Of mighty opposites."
• Marcellus and Bernardo: Guards, help point out the loyalty of the soldiers to Hamlet instead of Claudius by wanting to tell him about the ghost
• Ghost of King Hamlet: Ghost of the original King, helps bring about the conflict, influenced by his own desires, not for the soul of his son?
• Osric: Foolish courtier, shows the typical ways of servants and men-in-waiting?

Style and Voice

Point of View

• Play so written in the third person
• Soliloquies and asides help express the thoughts of certain characters - "To be or not to be...", "And yet 'tis almost 'gainst my conscience."
• Commentary on women - Gertrude is a relatively weak character, women are seen as innocent and sweet, "Frailty, thy name is women."
• No one interpretation of the play

Tone

• Dark, cold - "The air bites shrewdly; it is bitter cold."
• Mysterious, ominous - "Something is rotten in the state of Denmark."
• Very hidden emotions and feelings - everyone is an actor and nobody seems to be sincere
• Violent - "My thoughts be bloody, or be nothing worth."

Imagery

• Vivid descriptions of death and dying emphasize the different sides and perspectives, the sleep that Hamlet discusses versus the dead skull of Yorick and the painful Purgatory
• Cold and dark descriptions deserve to highlight the atmosphere of the play
• Figurative language and allusions provide for deeper understanding of thoughts and connections of characters

Symbolism

• Flowers - Female representation of thoughts and emotions, particularly violets, which represent Ophelia
• Yorick's Skull - The physical finality of death, Hamlet recognizes the equality and lack of importance that is given towards those who are dead, no matter who they were in life.
• The Ghost and Hamlet - The Holy Trinity and Christianity as a whole; some versions (see Kenneth Branagh version) even have Hamlet's arms open in a sort of cross at the end, as if the Hamlet is Jesus thing isn't obvious enough

Themes

• "It is impossible to escape your fate." - Hamlet's fate seemed to be in following his father's footsteps.  While he rebelled against killing his uncle (internally perhaps, because he was given many opportunities to but he didn't), in the end, he did it.  And died.  Hamlet also comes to learn about trusting in Providence himself, instead of taking things into his own hands.  Furthermore, in trying to control where Claudius' soul would end up, we end with no sure conclusion on how anybody's soul would have ended.  Ophelia was buried in a churchyard but committed suicide.  Hamlet and Laertes both forgave each other, but killed each other.  There is no information on how that would have ended for them in the afterlife.
• "Everyone is equal in death." - Hamlet seemed to be very set on the importance of having Claudius be spiritually below Old Hamlet after being killed.  After seeing Yorick's skull and many other signs, however, he came to realize that all are viewed the same in death, at least on the physical level.

Elizabeth and Mrs. Bennet Revisited

1990. Choose a novel or play that depicts a conflict between a parent (or a parental figure) and a son or daughter. Write an essay in which you analyze the sources of the conflict and explain how the conflict contributes to the meaning of the work. Avoid plot summary.

Perhaps one of the most recognizable opening lines ever penned, "It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife" is Jane Austen's manner of setting the stage for her satirical novel, Pride and Prejudice.  Through the story of the changes and struggles in Elizabeth Bennet and Mr. Darcy's relationship, she addresses what she perceives as oddities or flaws in society of Regency England.  One particular way this is done is by the relationship between the protagonist, Elizabeth, and her mother, Mrs. Bennet, which works to symbolize the relationship Elizabeth has to the societal norms around her.

From the very opening of the book, it is hinted that Mrs. Bennet does not have a very close relationship to her second-oldest daughter.  When Mr. Bennet comments that he wishes to mention Lizzy's good traits to the newly arrived Mr. Bingley, her mother protests vehemently, insisting that she is not as pretty as Jane and not as friendly as Lydia.  Mr. Bennet goes to his favorite child's defense, insisting that she is more clever and witty than any of the other girls, she responds by insisting that he cannot abuse his children in such a way.  She completely ignoring her own hypocrisy in doing the same only moments earlier when she implied that Elizabeth was not worthy of positive words and attentions from the new neighbor when compared to her sisters. In general, Elizabeth's personalities and beliefs contrast strongly with her mother's, resulting in many moments of exasperation throughout the book.  Seeing the tale from Elizabeth's perspective, the reader sympathizes with her in various stages as she rebels against the expectations that society, and her mother, have set for her.  This can be seen in Mrs. Bennet's reaction to Elizabeth turning down a marriage proposal from Mr. Collins, a man of extreme self-esteem and strange attitudes, with whom Elizabeth asserts that she could never be happy.  The reader can understand the situation from Elizabeth's perspective.  However, Mrs. Bennet completely ignores her daughter's protests, insisting that her daughter marry the man and proclaiming dramatically that the family shall be turned out to the hedgerows  - that is, be without home - due to her daughter's pigheadedness.  Thus, Mrs. Bennet shows that her thoughts are primarily that of marriage for security, rather than for the love, respect, and happiness that her daughter wishes for.  The mother's view more closely resembles that of her society as a whole, while Elizabeth protests such ideas.

As a satirical author, Austen likes to show problems in the society in which she lives.  Her characterization of Mrs. Bennet addresses her dislikes of the concerns of society as a whole.  From the very first sentence of the novel, her distaste for the pressing importance of marital concerns on women of the gentry class from Regency era is apparent.  Throughout Pride and Prejudice, this abhorrence of societal expectations continues through her ridicule of Mrs. Bennet, who represents them.  The woman is established as silly and nervous, making a fool of herself and her family in public, as Elizabeth complains about quite often.  She constantly embarrasses her children through her loud proclamations that Mr. Bingley will marry her beautiful and gentle Jane, insisting, in spite of Elizabeth's cautions, on showing off her daughter's good fortune before there is any established proof of an engagement.  Again and again, through Mrs. Bennet's loud and rather rude behavior and Elizabeth's mortification, Austen emphasizes the silliness and shamefulness of the typical views and hopes of society.

Through the rocky relationship between Elizabeth and her mother, the reader can find more than just a woman who does not understand her daughter.  Instead, the reader can discover through the portrayal and actions of Mrs. Bennet the faults of the society itself and the way her daughter can find happiness even without following society's norms.

Hamlet, Hamlet, Hamlet.

To be read in the same way as Hamlet's "Words, words, words."

Because, honestly, that's basically all we've done.  Oh, wait, there was also the thing where we came up with words to describe atmospheres of pictures and stuff.  I still remember our class doing the dinosaur one.  I mean, obviously Ms. Holmes loves us the most because did any other hour get dinosaurs with ice cream cones?  Nope!  In all seriousness, those are actually quite useful, I think.  They help work us through understanding what kind of methods in syntax, imagery, and word choice can help get our point across.  I hope it'll make analyzing it easier too, but we'll have to see on that.  And, of course, they're fun, which makes them memorable.

And now, to Hamlet.  We finished our close reading, and are watching a lot of movies.  Really.  A ton.  The first one was cool, but that's mainly just because Patrick Stewart is awesome.  I'm not a fan of all of their interpretations, but it's a reminder that the play can have many interpretations.  Just because I didn't see the scene between Hamlet and his mother in her closet as him raping her, or the relationship between Laertes and Ophelia as anything but sibling doesn't mean other people won't.  And while it was kind of awkward to watch, I could understand that.  Then there was the Kenneth Branagh version, which I'm still torn on.  On one hand, I really didn't like his acting at times; that scene when he's talking to the ghost and then falls flat on his face will never not remind me of Lockhart.  On the other hand, I appreciate some of the interpretations and that castle was really awesome.  Still looking forward to David Tennant, but that's a personal bias.  I know nothing about it.  Except I know that David Tennant is awesome.

Annotations are... going.  It's interesting to watch the movies while working on the annotations because sometimes they point out things that I haven't already noticed.  I think it'll be interesting to watch the movies after I finish as well, because I'll have more of an idea of everything, and what I found was interesting, and what I think I need to focus on.  And while they are a little tedious - especially in a really long, five act play, I understand why they're necessary.  I'm seeing more about the play as a whole, and getting close-ups on the genius that is Shakespeare.  All of Hamlet's puns, and some of his references (which I'm looking up if I don't already understand them), are cast into a sharper relief and I feel like I'm really understanding the points that Shakespeare is trying to make.  I'll have finished annotations by the time we get to Tennant.  I'm excited.  I want to see whether the play is different and fun with having finished them.  And with Tennant, of course.

Close Reading Assignment 4

Death in Connecticut
http://www.nytimes.com/2012/12/15/opinion/death-in-connecticut.html?partner=rssnyt&emc=rss&_r=0


In the editorial, Death in Connecticut, the author discusses the Newton, Connecticut elementary school shooting and the push for gun control that accompanies it.  The article appeals to pathos from the reader to emphasizes the importance of gun control through its use of emotional details, rhetorical questions, and dramatic word choice.

The topic of the article, an elementary school shooting, lends itself to a method to draw emotion out of the reader, and the author capitalizes on the fact by emphasizing specific details.  The children killed are described as "little more than babies".  The parents too who "agonized for hours before taking their traumatized children home."  These details provide information that allows the reader to step into the shoes of the parents, waiting to hear about their young child.  In this way, the author appeals to the sympathies of the readers and perhaps try to turn them towards increasing gun control.

Rhetorical questions are also used throughout the editorial as a method of obtaining the reader's agreement in increasing gun control and the tragedy of the shooting.  The beginning of the article asks questions about the children.  "What are their names? What did they dream of becoming? Did they enjoy finger painting? Or tee ball?"  These give life to the children, making them less statistics and more living, breathing humans, whose lives were tragically cut short.  It makes the reader think of them even more as individuals and not simply names or numbers.  In this way, the author appeals still more towards the compassion of the readers and makes his points more understandable.

Finally, the word choice used by the author create a sense of the horrors of shootings and the lack of gun control.  Words like "torn away" and "traumatized" emphasize the horror and tragedy in the shooting and may plant the seed in the reader's mind that something must be done to prevent more of such horrors from occurring.  The stance on continuing the current freedom of gun ownership is debased, describing the Republicans who support that belief as "mired" in their ideology, a word implying stubbornness and entrenched in something distasteful.  Equally condemning is the description of an argument that the teachers would be better off if they had guns as "grotesque".  The automatic connotation of such a word is disgusting and unpalatable.  Such word choice deeply conveys a disgust of the current system and provides support for the author's argument towards gun control.

Through these techniques, the author discusses the tragedy that took place in Newtown, Connecticut and points out society's need for increased gun control in an effort to prevent future shootings.  The editorial argues to push readers to support those who want to make the nation a safer place.

I Do (Not): The First Marriage of Jane Eyre

1997. Novels and plays often include scenes of weddings, funerals, parties, and other social occasions. Such scenes may reveal the values of the characters and the society in which they live. Select a novel or play that includes such a scene and, in a focused essay, discuss the contribution the scene makes to the meaning of the work as a whole. You may choose a work from the list below or another novel or play of literary merit.


Weddings are commonly seen as joyous occasions that celebrate love and an interrupted wedding never bodes well for the characters.  This can especially be seen in the classic novel, Jane Eyre by Charlotte Bronte.  Through the use of the incomplete wedding, the author divulges information about the plot, about the characters themselves, and about the society in which they live.

The interrupted wedding between Mr. Rochester and Jane first serves to provide the conclusion and solution to a mystery that had been plaguing Jane - and the reader - throughout her time at Thornfield.  There had been hints that something was not right scattered within the text, of the laughter Jane hears in the halls of the manor on occasion, and the mysterious figure who lights Mr. Rochester's curtains afire.  More ominous omens rested in the attack upon Mr. Mason and the woman who sneaks into her room and rips her wedding veil in two.  They are all explained during the wedding: Mr. Rochester is already married to a madwoman and therefore cannot marry Jane.  This also furthers the plot, as Jane feels required to leave Thornfield for good after her disastrous attempted wedding.  At its most basic level, Bronte uses the wedding to create a plot twist that pushes the plot forward.

The scene also provides more characterization to Mr. Rochester and Jane, however.  Jane had already been proven to be a woman who is very morally straight.  During the wedding scene, she refuses to go through or even stay with Mr. Rochester as Adele's governess after his deception is revealed.  Her morality would not allow it and she runs away.  This dedication  to her beliefs in the face of such adversary helps indicate Jane's internal strength.  On the other hand, Mr. Rochester shows his ability to be swayed by his feelings, passions, and desires in his determination to marry Jane without any thought for the consequences.  He hopes to live his life with her, even though she is not aware of much of his life.  Combined with his eventual fate of being injured and blinded in the fire that kills his wife, this scene illustrates the weakness of his character and moral compass.  Thus, the wedding scene reveals much to the reader about the characters themselves.

Aspects of Bronte's society can also be found in the scene.  For instance, the shock and dismay of the characters as Rochester's attempt at infidelity reveal a very different society from the one in which the modern reader lives.  Now, though it is still looked down upon, it is not unbelievable for characters to be unfaithful to their spouses.  Mr. Rochester's attempts of ridding himself of his wife would also be a much easier path; American society is much more accepting of divorce than England during the 1800s.  The modern reader can learn a lot about marriage customs and beliefs during 19th century England from this scene.  Furthermore, the story told about Mr. Rochester's marriage to Bertha Rochester reveals the nature of many marriages during the time in that the wife and husband do not have enough time to become intimate with each other's secrets.  The events in Jane's incomplete marriage therefore reveal much to the modern reader about the society in which Bronte lived.

Through the fiasco that became of what was meant to be a happy occasion for Mr. Rochester and Jane, Bronte shares a lot of information about the plot and characters of Jane Eyre, as well as of the society in which she and her characters live.