My Experience with AP Lit :)

The most helpful aspect of this class that helped me with the national exam was the practice that we did with timed writings throughout the year. I think the fact that I had to ponder the "so what" of each work really helped me prepare for the open question.

In addition, timed writings for the prose passage and the poetry passage were a beneficial aspect of preparing for this AP exam. I really felt like I had acquired enough knowledge and familiarity with poetry and prose that I could dissect the passage/author's purpose without even thinking twice. Also, the fact that we did a reflection essay on our timed writing practices really helped me to improve my writing, which was really valuable for the AP exam. Two worksheets that I think were very useful for the exam are the "Tone Words" and the TW tips worksheets because they give great tips and clues on what to include in our essays.

In terms of poetry, I think our poetry notebook this semester helped me a lot for the free response of the exam. Because we had to thoroughly analyze and explore the significance of four poems, I felt much more comfortable with the general structure of poems. I also feel like I could grasp the essence of the poem and interpret the underlying meaning with confidence, whereas I was not able to before.

Another equally critical part of my preparation for the national exam was the practice AP exam we took after school because it gave me a really good gist of what I need more brushing up on and what I should focus on to be successful on the exam.

On the other hand, there isn't anything in particular that we did that was not advantageous in preparing for the exam. The only thing is maybe the short stories (group activity) we did first semester, which was not as beneficial. Also, I was surprised that allusions did not appear quite as much on the exam as I thought they would.

Overall, I had such a fantastic and unforgettable experience in this class. AP Lit has truly strengthened my writing skills. I have learned so much more about the art of literature and how to truly appreciate the work of a novelist in a whole new way. This class has opened up my eyes and I am so pleased with everything that I have accomplished and achieved. I will never forget my 2nd period AP Lit class with the wonderful Mrs. Clinch! :)Thank you for everything you have done for us Mrs. Clinch! <3

Themes + Ending of The Importance of Being Earnest

Today we read and finished Act III of The Importance of Being Earnest by Oscar Wilde in class. The ending was definitely interesting and much more amusing than I expected, which is always a good thing! Act III is the most pivotal part of the whole comedy and I think the most significant in terms of themes and underlying concepts. A lot of the play’s actions and conflicts emerge and are resolved in this Act, which makes it such an essential aspect to Wilde’s overarching message about society and the trivial versus serious.

 

In Act III, Gwendolyn and Cecily have just been informed by Jack and Algernon that neither of them are whom they claimed to be, which causes a huge understanding amongst the four lovers. As soon as Lady Bracknell enters, her presence is immediately equated with one of interruption and obstruction. Lady Bracknell is almost an impeding structure for the progression of the novel’s play. She is the ultimate force that is thwarting Jack’s chance at being content and fulfilling his only desire in his adult life, which is to marry Gwendolyn. However, Lady Bracknell is adamant about her disapproval of Jack and Gwendolyn’s union. In order to convince her otherwise, Jack uses the fact that he is Cecily’s rightful guardian (and that he has the right to dictate whom and when she can marry) in order to come to a compromise with Lady Bracknell, who wishes to marry Algernon with Cecily because she has such a large fortune.

 

Essentially, Wilde is mocking society’s beliefs in marriage and he subtly implies the incompatibility of heterosexual couples, which makes his own gender/sexual preference somewhat obscure. In Act III, Wilde ridicules the social customs and attitudes of the upper class, and how they tend to value style over depth/character. Wilde is criticizing society’s superficial values through all of the characters including Jack, Algernon, Gwendolyn, Cecily, and especially Lady Bracknell, who certainly appreciates appearance and image far more than one’s true nature. The way in which Wilde depicts the concerns of the upper class is humorous and entertaining, especially in regards to Lady Bracknell’s ridiculous beliefs about society. Lady Bracknell and Miss Prism embody the seriousness in Victorian society, which Wilde cleverly satirizes throughout the play, as he explores the true significance of earnestness versus appearance.

 

Overall, Wilde is poking fun at the fact that aristocratic Victorians seemed to be preoccupied with maintaining the appearance of a perfect marriage and such while truly leading a double life. I think Gwendolyn’s remark in Act III sums up Wilde’s purpose when she honestly states that “in matters of grave importance, style, not sincerity is the vital thing.” This is the exact notion that Wilde is encompassing in the entirety of the play, and Gwendolyn’s comment is representative of Wilde’s outlook on serious vs. trivial and how serious issues are easily overshadowed by the temptation of triviality.

The Importance of Being Earnest by Oscar Wilde: First Impressions

My first impression of The Importance of Being Earnest by Oscar Wilde is that it is very amusing and comical. This play by Wilde is a complete 180º turn from Wilde’s other novel that we read this year, The Picture of Dorian Gray. Contrary to this novel, The Importance of Being Earnest is a lighthearted and flippant comedy that reveals Wilde’s clever and witty side, while also entertaining readers by mocking society and people’s ridiculous affairs. So far, this play has been quite humorous and the characters are eccentrically funny, especially Lady Bracknell (who’s actually my favorite character so far). Although this play is “A Trivial Comedy for Serious People” (haha), it still possesses significance in portraying the ambiguousness of identity (especially in Jack), deception, and the dynamic between known and unknown truths.

Wilde immediately presents the interplay between the serious and trivial in Act I. Wilde introduces us to a society where the characters’ language is unconventional and highly intricate. This is particularly true in Algernon, who is full of sharp and shrewd criticism, as well as ironic humor. Algernon is a very interesting character to say the least. He is full of witty comments and his insults are so perfectly disguised in elegance and refinement that they are hard to detect. Also, in the Act I, Wilde emphasizes the concept of a double life in the protagonist, who is “Ernest in town and Jack in the country.” In a sense, Wilde highlights the distinction between public and private life in Victorian society, since appearance is so highly esteemed. Wilde captures the importance of appearances in society during this time prominently through Jack’s character and his deceiving image of being an upper class citizen when in fact, he literally does not know his identity (his parentage).

In fact, Jack’s ambiguous identity is appalling to Lady Bracknell, who believes social ranking and relations is of the utmost importance. Once again, Wilde uses Lady Bracknell’s beliefs regarding the insignificance of one’s genuine goodness in order to make fun of the values of London society. Similarly, Wilde also satirizes Victorian society’s fixation with image and façades through Gwendolyn, a young woman who is completely infatuated with Ernest…..’s name. Not with Ernest himself, but his name because it is oh so romantic! Clearly, Wilde is sending a big fat message about Victorian society and this time, it is not quite so subtle, but rather, as plain as day. This scene made me ponder, is Ernest really earnest? He’s not very honest with himself, but is he honest with others despite the fact that he is masking his true identity? Does he even know his own identity?

On another note, Lady Bracknell is a very intimidating woman (or so it seems) whose comments are very complex and inventive, especially in her conversation with Jack when she remarks that, “To lose one parent may be regarded as a misfortune; to lose both looks like carelessness,” which is an incredibly absurd and insensitive thing to say. However, Lady Bracknell clearly cares less about seeming polite, as much as she cares about Jack’s personal affairs. Although this scene with Lady Bracknell and her excessively shameless attitude is highly amusing, I was concerned for Jack because he has to put up with this brash woman in order to be able to marry Gwendolyn.

Final Thoughts on Emma After the Seminars

This week, we had two seminars on the novel Emma, and we discussed several important thematic concepts regarding the novel and the characters in it. Several interesting topics we covered include human fallibility, the role of society, Mr. Woodhouse as a villain and Mr. Knightley as a hero, and the conclusion of Emma. There were a lot of points that people made that were interesting regarding Emma’s character and her role in society during that time (Regency era). One important question I am considering is whether society influences Emma for the better or for the worst, because I think that is one of the key themes in this novel that unlocks a lot of Austen’s purpose.

Another question relative to the story is does Emma successfully learn from her mistakes and improve herself as an individual with the help of Mr. Knightley, or does she simply learn to tame her imagination with his restraint of logic?

I still have many more questions about the novel, like why Austen decides to end the novel on such a bittersweet note. I want to feel happy for Emma, but at the same time, I’m not sure if marriage is ultimately the best decision for her. Is Mr. Knightley indeed the perfect match? Or will he replace Mr. Woodhouse as Emma’s new prominent “father figure”? Will Emma’s relationship with Mr. Woodhouse—her not-so-manly father—change after her marriage with Knightley? Also, what is Austen’s purpose in including Mrs. Elton’s opinion of Emma’s wedding at the end? Is this all part of Austen’s satire? In the article I read for class, “Emma: Jane Austen’s Errant Heroine” it mentions Emma as an independent woman whose pride does not diminish at the end, despite her marriage to Mr. Knightley. Is this true? Does Emma still remain emotionally independent after marrying Mr. Knightley?

In addition, I find it very interesting that Mr. Woodhouse is often perceived as an evil character; one who controls and manipulates Emma. While reading the novel, I was completely oblivious to the fact that Mr. Woodhouse’s influence could be perceived as selfish and slightly cruel. Instead, I attributed his egocentricism to his high social status and position. So it is really an environment vs. personal disposition type of situation. However, after the seminar, I now see that Mr. Woodhouse isn’t as minor of a character as I thought he was. He is actually quite devious in a subtle way, but I still thing Emma’s is her own biggest enemy/obstacle. I believe Emma has to overcome her attachment to her fantasies and her tendency to resist society’s influence in order to grow and develop into a mature young woman. I think that is why Austen ties up all the loose ends of the novel. The story comes full circle in the end. In the beginning, everything was quite orderly, undisturbed, and blissful in the small town of Highbury, but then, things start to get chaotic as Emma begins to meddle in the business of others. The bulk of the novel consists of commotions, misunderstandings, and mixed emotions that emerge in many of the characters. It is not until the end, when Emma resolves to conform to society’s values by marrying Mr. Knightley that everything returns to normal. After all the matches in the novel get paired off, a calm, happy, and hopeful feeling settles over everyone at Highbury. I think it is very interesting that Austen depicts society in this sense, because I think one of Austen's points is that we are all susceptible to our own mistakes, and that we must be open to change or else we can never grow for the better.

 

Volume III of Emma

Thus far in Volume III of Emma, I am sensing a great change in several characters. For one, Emma does not come across as naïve as she once was in Volume I, for instance. However, one thing that still bothers me is the fact that she is so obsessive with Frank Churchill, when he is clearly not the man she perceives him to be. In fact, I think Frank is secretly a cynical and scheming trickster who is just trying to mislead Emma by acting like a decent and good-mannered gentleman. Evidently, Emma has grown a great deal, as she now exhibits signs of a cautious and observant young woman, rather than the wildly imaginative girl she used to be.

In Chapter 37, the commencement of Volume III reiterates the fact that Emma has greatly matured by revealing her honest feelings towards Frank in a very logical and realistic manner. Unlike previously, when Emma flattered herself by believing that Frank was madly in love with her, she now calmly admits that “it was not for herself she was feeling at all apprehensive or embarrassed—it was for him” (299). Thus, through Emma’s point of view, Austen exposes Emma as a vastly dynamic character. There is a great change in her perspective and thoughts, which makes me wonder…has Knightley finally gotten through to her? Before, Emma only expressed her affection for Frank because he gave her attention and always complimented her on trivial things. However, now Emma realizes that “her own attachment had really subsided into a mere nothing,” and that her feelings for Frank were really superfluous and meaningless. Thus, even on the first page of Volume III, we see a huge transformation in Emma and her character, as her imagination that once clouded her insight is slowly beginning to dissipate. Also, the ball in Chapter 38 is also a subtle indication of Emma’s change in personality. Austen depicts Emma as more attentive and appreciative of others rather than her own status and beauty. Emma’s growth is contrasted directly with Mrs. Elton’s self-centeredness as she “was evidently wanting to be complimented herself” after “a good many compliments to Jane on her dress and look” (307). At the end of the chapter, Emma and Mr. Knightley exchange a mutual appreciation of each other’s opinions, as they both admit their wrong preconceptions about Mr. Elton and Harriet. Emma’s civil acceptance of her own mistakes is also an indication of her growth as a polite young lady, since she no longer insists that only her opinion is the correct one.

Moreover, Emma’s advice to Harriet in Chapter 41 is also significant to the novel and the bildungsroman that Austen so cleverly develops. When Harriet divulges the truth about her little remembrances of Mr. Elton to Emma, Emma is very wise to carefully advise the meek and unassuming Harriet that she ought to “consider what [she is] about” and to “check [her] feelings while [she] can: at any rate [to not] let them carry [her] far” (324), which is extremely valuable advise if Harriet chooses to take it. Overall, I am impressed by how mature Emma is and how much she has grown since Volume I. Although Emma has grown quite a lot, she still possesses qualities of an unassuming girl living in a bubble. This is because when Harriet tells Emma that she has a crush on someone, Emma automatically assumes it is Frank Churchill, when it is really Mr. Knightley. Thus, we can conclude that Emma’s imagination is not completely inhibiting her perception of reality, but it is still a slightly encumbering factor in her character’s beliefs.

Shakespeare's Sonnet 83

This week, my group and I are examining one of Shakespeare’s sonnets earlier sonnets, which is within the set of sonnets that Shakespeare wrote towards a mysterious and anonymous rival poet who also directed his sonnets to an unidentified young man. Our group chose Sonnet 83, which is quite an honest and direct expression of the speaker’s thoughts and feelings towards “you,” which we can assume to be the nameless opponent poet. It is without hesitation that this sonnet contains four quatrains and one couplet, and that the rhyme scheme follows the pattern ABABCDCDEFEFGG, which is expected of Shakespeare because it is his signature way of writing. Moreover, Shakespeare uses paint as a medium to depict the inexplicable beauty of the young man. In the sonnet’s first quatrain, the speaker seems to be flattering the young man by admitting that the young man’s significance cannot be fathomed or articulated into words, because his worth is much more than any poet could attempt to convey. The speaker expresses this notion by saying that “you did exceed / The barren tender of a poet’s debt” (3-4), which is a direct statement to the young man, whom the speaker seems to be quite fond of. In the second quatrain, the speaker reveals his profound admiration for this young lad when he confesses to intentionally worsening his writing in hopes that “a modern quill doth come too short” (7), so that the young man can prove himself more worthy than the poet’s incompetent and inadequate writing. Thus, the speaker’s progression in thought is evident when he becomes distracted by the youthful man’s worth that “in [him] doth grow” (8). In the third quatrain, the speaker shifts his train of thought as an acknowledgment of his silence, which despite the young man’s disapproval, the speaker finds it to be “most [his] glory, being dumb” (10), if it means that his ignorance will preserve the young man’s charm. Although the youth has objected to the poet’s silence, the poet is still adamant that he would rather “impair not beauty [by] being mute” (11), unlike the rival poet, who “would give life and bring a tomb” (12). In the last lines of the third quatrain, the speaker finally mentions the rival poet, which the speaker scorns and subtly condemns for spoiling the youth’s beauty by shamelessly writing about him. In this blunt statement, the poet is harshly contrasting his superior writing, to the rhetorical writing of his rival, who is (according to the poet), ruining the young man’s loveliness. There are some hints of jealousy or competition between the two poets in this line, which underlines the tension that exists between the two poets. This is further extended in the couplet, when the speaker’s sentiments change again as he declares that there is “more life in one of your fair eyes / Than both your poets can in praise devise” (13-14). In this final pair of lines, the speaker concludes that no poet, no matter how skilled or talented, can even come close to capturing the true beauty of the young man, because it is much greater than what any two poets could ever express.

 

Emma's Undeniable Weakness in Volume 1

Our first seminar on Emma was really quite interesting and got me thinking more in depth about Emma as a complex character and the unique dynamics between all of the characters of Highbury. Overall, I am surprised by how enjoyable this novel is because Austen’s writing style is very clever and amusing, which is always a good thing. I have also been pondering Austen’s comment about how Emma is a “heroine whom no one but myself will much like.” At first I was only somewhat perplexed by her views, but now that I have read Volume 1 of the novel, I can see why Austen would make such a blunt statement regarding the main character of her book.

Emma is undeniably a very intelligent and bright young woman, but her character possesses multiple layers that slowly unravel as she encounters new obstacles and dilemmas in her life. Overall, I believe Emma grows tremendously from the beginning of Volume 1 to the end, in respect to her opinions and attitude. At first, Austen reveals Emma’s spoiled and selfish nature, which clearly emphasizes Emma’s natural tendency to get her way. It almost seems as though Emma despises negative changes and innately resists them in any manner that she can. For instance, Miss Taylor’s departure is greatly disturbing to Emma, who laments the fact that she has lost her closest companion, rather than relish in the notion that Miss Taylor is finally content after finding the love of her life (which is what most people would be happy about…except Emma of course). Thus, I think that is why Emma is so compelled to take Harriet under her wing, because she does not want to be lonely, and she must be entertained (because after all, isn’t that what upper class society is about?).

Harriet is the perfect target for Emma, since Emma immediately deems her “free from conceit; only desiring to be guided by any one she looked up to” (23), which is a perfect indication that she is in desperate need of Emma’s help and guidance…or so Emma thinks. Essentially, Emma views Harriet as a project almost, something that she can involve herself in in order to flaunt her own benevolence and generosity for the sake of her appearance. However, Emma’s true intentions in befriending Harriet remain somewhat obscure, as Austen once again manifests the complexity and depth of Emma’s character that is not always immediately apparent and clear. Austen renders Emma’s obscure motives and intentions as even more complicated when Emma assumes that “Harriet would be loved as one to whom she could be useful” since for “Mrs. Weston there was nothing to be done; for Harriet every thing” (23). Throughout Volume 1, I was very confused by Emma’s questionable intentions…are they pure? Also, does Emma truly value her friendship with Harriet or does she just consider it another perk of exerting her influence and control on a helpless being? Also, would Emma still seek to improve to Harriet if Harriet’s parentage clearly indicated that she belonged to England’s lower class society? Although I am not certain as to whether Emma is oblivious to her flaws and the impact she has on Harriet in manipulating her, at the end of Volume 1, it is clear that she has gained some insight on her imperfections (even though it took a whole Volume for her to realize this). After Emma’s brilliant matchmaking plan is ruined, and Mr. Elton confesses that he fancies Emma not Harriet, Emma is at first disturbed by her failure. However, she is finally “obliged, in common honesty, to stop and admit, that her own behavior to [Mr. Elton] had been so complaisant and obliging” and that “it was wrong, to take so active a part in bringing any two people together” (128). Therefore, we clearly see Emma transform from being adamant and headstrong about her infallible matchmaking skills, to a humble and understanding girl who is finally no longer blinded by her enormous mistake.

Impressions of Emma in Volume 1

In the novel Emma by Jane Austen, Emma Woodhouse is an intriguing young girl who seems to be far too spoiled and concerned with the affairs of other people’s lives in the village of Highbury. In the first chapter, Austen promptly warns that Emma’s most detrimental limitation in her character is the fact that she has “rather too much of her own way, and a disposition to think a little too well of herself” (3), which is essentially what we continue to see throughout Volume 1 of the novel. My first impression of Emma is that she is a self-assured, meddlesome, confident, matchmaking, perceptive, and sharp young English girl who has never faced any misfortunes in her life, despite the fact that her mother has died.

 

Emma’s prying tendencies manifest themselves in chapter 3, when we are introduced to Harriet Smith, “a short, plump, and fair [girl], with a fine bloom, blue eyes, light hair…and a look of great sweetness” (20). Emma is immediately taken by Harriet’s gentility and kindness, but more importantly, she is already contemplating a potential suitor for Harriet, a fitting gentleman whom she could marry. Very rapidly, Emma’s inclination to meddle in other people’s lives becomes evident, as she eagerly decides that Mr. Elton and Harriet “would be an excellent match; and only too palpably desirable, natural and probable, for her to have much merit in planning it” (31). This excerpt clearly exemplifies Emma’s somewhat selfish motives for encouraging and advocating this couple, as Austen emphasizes Emma’s profound concern for the originality of her match, and whether it has been thought of before. Thus, in the next few chapters, Emma makes it her number one priority to ensure that Mr. Elton clearly professes his fondness for Harriet, before Robert Martin, a gentleman who Emma considers to be a “very inferior creature” (29), even has a chance at expressing his liking. Emma purposefully degrades Mr. Martin in front of Harriet, and not-so-subtly belittles his suitability by emphasizing his inadequate social standing, which is clearly inappropriate for a woman as beautiful as Harriet.

 

Thus far, I think George Knightley is epitomizes the voice of reason, since he is the only one who has the audacity and nerve to disagree with Emma’s behavior. He a sensible and rational man who expresses his concern regarding the new friendship between Harriet and Emma, and how Harriet is the “very worst sort of companion that Emma could possibly have” because she “looks upon Emma as knowing everything” (35), which is clearly a negative thing because the last thing Emma needs is for someone as ignorant and inexperienced as Harriet to flatter Emma and encourage her meddling attitude. In chapter 8, he is the only one who tries to talk some sense into Emma and to make it clear to her that her “infatuation about [Harriet] blinds [her]” and that Harriet’s social rank is no higher than Mr. Martin’s enough to be a conflicting factor in the union of the two (56). However, Emma is unyielding and stubborn, as she refuses to listen to Mr. Knightley’s realistic and practical explanation, which could be detrimental later on.

 

Overall, I am enjoying the depth of Emma’s seemingly snobbish and proud character, and I am eager to see how Emma’s behavioral qualities will affect her and other characters throughout the novel.

The Enigma of Hamlet's Character

In Shakespeare’s play Hamlet, all of the characters possess great influence over Hamlet and his mentality in grand scheme of things. However, there is far more perplexity and mystery regarding Hamlet’s character because his soul is so complex and his mentality is often deeply inscrutable during the course of the play. Hamlet’s multifaceted character slowly unravels from Act to Act, but as these multiple dimensions to his character are slowly exposed, it only yields more questions instead of answers. It is very difficult to precisely conceive Hamlet’s real nature and individuality because it is often masked by deception, facades, and feigned sanity (or so we are led to believe). Nonetheless, it is fascinating to examine Hamlet’s dark, cynical, sarcastic, insecure, and clever character from various perspectives that can all be rendered true in solely based on interpretation and scrutiny.

At first, Hamlet is completely dejected and woeful after he learns of his father’s untimely death. Even from his very first words in the play, when he says “a little more than kin and less than kind” (1.2.67), Shakespeare intentionally emphasizes Hamlet’s isolation and forlorn character by making his first line an aside. Immediately, we are presented with Hamlet’s deep-rooted seclusion that continually manifests itself throughout the play. Additionally, Hamlet expresses his desolate sentiments towards his mother, clarifying that “‘tis not alone [his] inky cloak…that can denote [him] truly. These indeed “seem,” / For they are actions that a man might play” (1.2.80-87). These powerful lines profoundly encompass the essence of Hamlet’s character in a nutshell. The recurring notions of acting versus being, appearance versus reality, and “is-ing” versus seeming are all portrayed within some of Hamlet’s first words in the entire play. This excerpt also exemplifies Hamlet’s keen and astute understanding of the world around him, as he always relies on insight to perpetrate the truth.

Moreover, Hamlet is highly adept at manipulating and adjusting language in such a witty and intricate manner that is practically incomprehensible by any other less-intelligent character. This aspect of Hamlet’s personality is central to his character’s progression throughout the play, as he once again, further distances himself from others due to his proficient and adept understanding of words, and his remarkably rich vocabulary. However, his vast understanding of language could also be the source of his demise, since Hamlet constantly feels constrained by his own decisiveness and judgment that essentially hinder him from committing the rightful deed of avenging his father. Although Hamlet’s wits are a defense mechanism, they are also an encumbrance and a nuisance to his burning rage and ambitions. His intelligence and essentially his mind are ironically a burden to his soul, because Hamlet is innately compelled to ponder every situation in excess, which causes him to fall into a state of stagnation and immobility in regards to his intended actions.

Similarly, Hamlet can be considered an existentialist, as he believes that only actions have the ability to create man (and man has no essence), but he perpetually questions his existence and purpose in life. This is an especially prevalent concept in Hamlet’s “to be or not to be” speech, in which he truly ruminates and contemplates the core of existentialism and what it means “to be.” This speech is by far, Hamlet’s most pivotal and meaningful soliloquys in the whole play, and his question of human existence truly embodies the whole essence of his character. Hamlet is conflicted in his thoughts as he questions “To be or not to be—that is the question: / Whether ‘tis nobler in the mind to suffer…Or to take arms against a sea of troubles” (3.1.64-67), which makes me wonder, is this Hamlet’s tragic flaw? Or is this Hamlet’s madness emerging? Also, is Hamlet in fact a hero or a coward in the end?  

Final Thoughts on Memoirs of a Geisha

I’ve finished my outside reading book, Memoirs of a Geisha, for about a week now, but I wanted to reflect on the quality of Golden’s work and what I thought about the novel. Overall, my sentiments towards the end of the novel are quite conflicting. Even though I wasn’t necessarily disappointed with the ending, I wasn’t quite satisfied either. I’m not in accord with the way Golden decided to portray Sayuri’s decision to end things with Nobu, which was completely unexpected.

I guess I found it difficult to put myself in Sayuri’s shoes, because she is so in love with the Chairman that she is desperate to do anything, at whatever cost (such as pretending to sleep with the minister only to infuriate Nobu), to prevent Nobu from declaring herself as her danna. I understand Sayuri’s emotionally-torn state, but I kind empathize with Nobu because he is a man who is hard to please, yet he professes his love to Sayuri (in an extremely subtle way) despite his seemingly cold and heartless character. Nobu explains, with difficulty, to Sayuri that he doesn’t “much like geisha…But [he’s] always felt that [Sayuri] isn’t exactly like all the others” (Golden 386), which for Nobu, is a big deal, considering how unemotional and unexpressive he usually is. At the same time, however, I understand what Sayuri feels. The Chairman is the only man who showed her compassion and tenderness before she was a geisha. He’s the only man who truly sees the beauty in her soul, which is an extremely unique and rare quality to find in someone. Thus, I understand why Sayuri would feel such an urge to be with the Chairman; after all she’s been through, she deserves to be happy with a man who showed her kindness when her world seemed to be deprived of any scrap of joy or positivity.

The conversation between the Chairman and Sayuri in Chapter 34 is really touching and wonderful, as Sayuri confesses to the Chairman that everything she has done has been “because of [her] feelings for the Chairman. Every step [she has] taken in [her] life since [she] was a child in Gion, has been in the hope of bringing [herself] closer to the [Chairman]” (416), which embodies the whole scope of Sayuri’s journey throughout the novel. The Chairman was there before her transition from a caterpillar to a butterfly, he is the one who led her to her destiny, not Nobu, not the General, and certainly not “Dr. Crabs.” It was always the Chairman, even from the beginning, so much so that Sayuri felt “such a longing to turn to the Chairman and ask if he recalled a day several years ago when he’d shown kindness to a young girl” (205), the very first time she sees him at the sumo wrestling match. The fact that it took years for Sayuri to work up the courage to let the Chairman know her true feelings demonstrates the depth of her love and passion for the man, since if [she were] to have a rescuer, [she] wanted it to be the Chairman and no one else” (208). This quote also emphasizes the aspect of the damsel in distress archetype that we repeatedly see emerge in Sayuri’s character throughout the novel. However, in the end, Sayuri breaks free from this confining role (when she quits being a geisha) and the burden of her “destiny,” by becoming the Chairman’s mistress, and ultimately fulfilling her goal to self-discovery and independence.

The Tragic Hero Archetype in Hamlet

This week, the author Jackson Pierce came to speak to us about archetypes and the various molds that characters in novels may fall into. During her presentation, I was contemplating the relevance of Hamlet’s role as an archetype, and what he truly represents as an individual in the play… which could be several, considering how complex his character is and how it encompasses so many diverse notions. For one, Hamlet can be rendered as the tragic hero in the play (which is a tragedy) for numerous reasons that pertain to his characters nature and the conflicts (internal and external) that he endures throughout.

At the beginning of the play, Hamlet is presented with an extremely burdensome, exacting, and tough task that visibly takes a toll on Hamlet's sanity and reason. He must face the decision of killing his uncle in an act of vengeance for the sake of his late father. However, for the first two Acts, we see Hamlet struggle with the thought of killing Claudius, his uncle, whom he considers to be a "bloody, bawdy villain” (2.2.607). Despite the fact that Hamlet undoubtedly possesses the profound ambition and motive to carry out this grueling responsibility, he cannot get past his encumbering thoughts and reasoning. It is Hamlet’s vast intelligence and hesitance that gets the best of him, and prevents his powerful emotions from overriding his conscience. Thus, in Hamlet’s character, we can clearly detect a hint of uncertainty and doubt which deeply troubles Hamlet as he becomes torn between his righteous fate and his moral obligation to his uncle.

Like a typical tragic hero, he embarks on a quest to avenge his father’s death, as he must make a tough decision that holds no insight for what the future may hold. Essentially, Hamlet’s fate and predetermined destiny is his tragic flaw that further shapes him as a tragic hero, and what will ultimately be the premise of his death. The concept of the tragic hero archetype usually consists of a character who undergoes a “change of fortune,” which in this case, would be the late King Hamlet’s ghost imparting Hamlet with the duty of avenging his death, which completely alters Hamlet’s life from “good to bad.” Moreover, according to Aristotle, a tragic hero is one who has committed a “great wrong leading to his misfortune,” which for Hamlet, might be the secret love affair between Ophelia and him (which may have resulted in Ophelia’s pregnancy). Also, the tragic hero must also encounter some free choice, in which he must “choose one course of action over another.” In Hamlet, Hamlet’s free choice is deciding whether or not to kill Claudius. He must make the ultimate decision on his own, and what he ultimately chooses to do will determine whether or not the play will end in his demise.

So far in this play, we have come across many aspects of the tragic hero archetype that are applicable to the character of Hamlet in Shakespeare’s play. I am anxious to read the rest of the play in order to see how the tragic hero archetype manifests itself throughout the rest of the play.

Shakespeare's Hamlet: Strange Occurences in Act 2

This week in class we are reading and examining Act 2 of Hamlet, and so far it has been incredibly intense and action-packed as the plot continues to mount. Thus far, there have been recurring ideas of deception, spying, obedience, suspicion, uncertainty, and underlying financial implications. Scene 1 of this act opens with this evident notion of obscurity and espionage. The tense mood that is evoked in this scene basically emulates and foreshadows the following instances of meddling and prying that is bound to arise later on in Act 2.

In scene 1, Polonius orders Reynaldo to spy on Laertes, which once again puts emphasis on the concept of subservience and fulfilling one’s duty (especially on Reynaldo’s part), while Polonius’s actions also exemplify the intrusive and meddlesome aspect of the scene. Additionally, in this first scene, there are also questions regarding honor and trust, as Polonius encourages Reynaldo to be devious in order to “expose” the truth about Laertes’ acquaintances. This actually reveals Polonius as a pitiful and cowardly character, since he is willing to go to extreme and desperate lengths in order to pry into his son’s life instead of just confronting his son face-to-face like a real man.

Moreover, Polonius’s manner towards his daughter Ophelia is also very strange and unloving. However, this is briefly contradicted when Polonius apologizes to Ophelia if he could have potentially provoking Hamlet’s erratic and peculiar behavior and madness when he says “I am sorry that with better heed and judgment I had not coted him” (2.1.124-125). In general though, Polonius kind of treats his daughter like a plaything, especially when he says “I’ll loose my daughter to him” (2.2.176) in scene 2, as if she is an animal to be unleashed or some inanimate object. Perhaps this is another indication of the controversy between what “seems” and what “is.” Is Polonius truly sorry for causing Hamlet’s madness, or does he want to seem sorry? As of now, Polonius’s obscure motives remain somewhat unclear.

On another note, Claudius and the Queen also exhibit signs of deceit and dishonesty when they ask Guildenstern and Rosencrantz to keep an eye on Hamlet because they are “concerned” for him. Hamlet’s bizarre and inexplicable behavior has made the Queen and Claudius worried for Hamlet’s well-being, or so it seems. In truth, I believe the Queen and Claudius are hiding a dark secret, like maybe some secret past love affair that they are bothered Hamlet might discover. I think they are onto Hamlet, and they want to keep him under surveillance in order to ensure that he doesn’t do anything to harm their reputation. After all, the queen has no doubt that Hamlet’s troubles have been triggered by “his father’s death and [their] o’erhasty marriage” (2.2.60), which we know as the audience isn’t completely true. I believe Hamlet’s actual train of thought and motives for acting mad and unusual will be revealed later on, but for now, I suspect that Hamlet is fully aware of his parents’s plans and that he intends on continuing this odd act until he’s ready to avenge his father’s death.

Memoirs of a Geisha by Arthur Golden

The book I'm currently reading as my book outside of class is Memoirs of a Geisha by Arthur Golden. I immediately fell in love with the book only after reading a few sentences, thus, the statement that Golden is capable of writing a captivating and riveting novel is a huge understatement. The story takes place in the late 1920s to early 1930s Japan, where a young girl Chiyo, from the small village of Yoroido, endures many difficult challenges when she is forcibly taken to Kyoto to become a geisha at the age of nine. Golden’s style is so unique and his writing truly honors Japanese tradition which he embodies so vividly.

The novel is told in Chiyo’s point of view, as she tells the story of how she came to be a geisha, which is truly a saddening story as I can almost feel Chiyo’s pain through her thoughts and words. Chiyo’s character is so pleasant and considerate, and in my opinion, she is the epitome of a good-natured person in every sense of the word. Her story is so heartbreaking, yet touching at the same time because her audacity and courage to overcome obstacles is very admirable.

In the beginning, the way in which Chiyo describes the world around her is indicative of her youthful innocence and naiveté. Her point of view reflects that of an unassuming child who has an immense curiosity for the world and everything in it. For example, Golden elaborates Chiyo’s inquisitive character when she observes Mr. Tanaka in great detail and notes how the “creases in his brow [were] like ruts in the bark of a tree” and how he “seemed to [her] the wisest and most knowledgeable man on earth” (Golden 20), which serves to elaborate her childish innocence. Chiyo is such an imaginative child too, as she constantly concocts fantasies in her head of what she believes are people’s intentions and of her future.

Moreover, Golden’s vivid descriptions take the novel to a whole other level, especially because each literary device is explicitly true to Japanese culture and principles. Golden specifically reveals Chiyo’s depth of knowledge and understanding of the world through her language and descriptions of what she feels or thinks. For instance, when she feels tired and completely worn out, she says that she “felt as sore as a rock must feel when the waterfall has pounded on it all day long” (Golden 34), perfectly capturing the sensation of fatigue. Additionally, when Chiyo encounters Hatsumomo for the first time, she is amazed and stunned by her beauty and the extravagance of her kimono, which “was water blue, with swirling lines in ivory” and of her face, which is described like a painting with a “rich white, like the wall of a cloud when lit by the sun” (Golden 36-37). Golden’s writing is incredibly creative and flawless, in my opinion, because it is difficult to tell a story in the point of view of a girl searching to find her way in life, much less when it is a story about a foreign culture. Overall, I think the Golden is a commendable and brilliant writer, and from what I have read thus far, Memoirs of a Geisha is a great read and a fantastic novel.

"Bright Star" by John Keats

In "Bright Star," Keats immediately introduces us to the speaker in the first line, as the speaker muses, “bright star, would I were steadfast as thou art—,” indicating that they desperately yearn to acquire the same unfaltering and determined nature as a star in the sky, undying and eternal. In the very first line of the poem, Keats gives life to the star, which is depicted through the use of an apostrophe (addressing something nonhuman) so as to illuminate how the speaker’s soul is void of any flawless star-like qualities that are so sought-after. Moreover, the speaker acknowledges the star’s solitude, adding that he/she does not long to be “in lone splendor hung aloft the night,” which simultaneously evokes the star’s magnificence in its eternal existence. Keats’ solemn and somber tone vividly captures the speaker’s profound longing and despondency. The speaker bluntly asserts that in addition to not wanting to exist in isolation, he refuses to be an observer like the star, “with eternal lids apart.” Once more, Keats depicts the star as a living thing, giving it eyes that watch down upon the world endlessly. The speaker in the poem does not wish to possess the star’s ability to gaze at the world interminably, for it may be unbearable. The speaker declares that the star watches, “like nature’s patient, sleepless Eremite,” which Keats structures using a simile in order to suggest that the speaker does not seek to remain restless and sheltered indefinitely like an “Eremite,” or a hermit. Yet the speaker goes on to vividly illustrate what the bright star observes from the sky, such as the “moving waters at their priestlike task/of pure ablution round earth’s human shores,” which serves to encompass the transience and ephemerality of life as water constantly cleanses the earth’s shores. Keats intentionally describes the waters as capable of “ablution,” or cleansing and ritual washing, in order to reveal the cyclical and never-ending aspect of life in its entirety. In addition to overseeing the sweeping ocean, the speaker believes the star to be “gazing on the new soft fallen mask/of snow upon the mountains and the moors—,” which has underlying implications of purity and virtue in that snow is white and fresh. Likewise, the speaker implies that they do not want to watch the oceans and mountains patiently from above for all eternity, but that they would rather be “pillowed upon [their] fair love’s ripening breast” in a world in which cold, unfeeling purity is absent and instead replaced by a warm and welcoming lover’s chest. Here, Keats creates a striking contrast between the harsh and desolate nature of the frozen “mountains and the moors,” and the pleasant and blooming sphere of passionate love. The speaker remains dedicated to “love’s ripening breast,” longing “to feel forever its soft fall and swell,” which alludes to the permanence of the star’s existence in the sky “forever.” In effect, Keats denotes the speaker’s confliction in defining their heart’s true desire, which seems to be entangled in a profound uncertainty of whether to live in eternal isolation or indulge in a transitory love affair. Overall, Keats encapsulates the shift in the speaker’s thoughts as the speaker resolves to sacrifice the unfeasible ability to live an eternal life such as the bright star, which seemed to be so endearing at first, and instead, invest in a transitory, but meaningful notion of love and a passionate affair. Essentially, Keats exemplifies the impracticality of seeking to attain a state of immortality, such as the bright star that shines eternally in the sky, by exposing the inherent desire of an indecisive man who deeply wishes to possess the benefits of both worlds. However, in a world where eternal existence is impossible, which the speaker must mournfully accept, humans must settle on the next best thing, a seemingly undying love that lives forever, “or else swoon to death.”    

"in Just--" by e.e. cummings

This week in class, we discussed “in Just—" by e. e. cummings, which is a very interesting and insightful modern poem that depicts the pivotal moment of our childhood. The poem is visually very interesting and complex, almost as if the words are dancing across the page as if to signify the children in the poem playfully frolicking and leaping around. In analyzing this poem, I find that in an effort to vividly depict children’s transformation from lighthearted and jolly innocence to the sexual implication of adulthood, cummings explores the necessary and timely course of nature that every child endures. Moreover, I think in “in Just—,” cummings reiterates this momentous milestone in every child’s life also by emphasizing the seasonal aspect of this transition in the poem, which is springtime. This season definitely validates a sense of renewal, growth, and enlightenment that takes place throughout the poem for boys and girls.

Cummings vividly captures the fundamental moment in children’s lives by embodying the nature of this shift through varied structure and meaningful repetition. In the first stanza, cummings simply writes "in Just-/spring" which is such an impactful word in it of itself. Not only is this phrase alluding to the title of the poem, but it also possesses some level of ambiguity as we are not certain whether it means exactly or precisely in spring, or whether he means unjust spring, as if spring (and this sexual transformation) is unfair and undeserved. Then the way in which cummings arranges the structure of the phrase, “when the world is mud-/luscious” is unanticipated. Cummings’ clever arrangement of these words signify that “the world is mud-“ is somewhat given in a negative context, until it is paired with the word “luscious” which is more delightful and seems to be meant to encompass a childlike fantasy and playfulness in regards to spring. Then, we are introduced to the “little/lame balloonman” for the first time, who “whistles far and wee,” similar to the Pied Piper. Once the seemingly menacing and untrustworthy balloonman whistles, “eddieandbill come/ running from marbles,”which signifies their desertion of their innocence since they are running from their innocent childhood games and advancing towards the balloonman, which could denote their newfound sexuality.

In the next few stanzas, cummings reexamines the crucial and indispensable transition from youth to mature adulthood by employing repetition and altered structure. Cummings writes that the “world is puddle-“ which, like mud, also has a repulsive and unpleasant connotation. However, he goes on to clarify that it is “puddle-wonderful,” suddenly giving the word a whole new meaning, as it could suggest the enjoyable and joyful aspect of infancy and innocence, especially because “it’s spring.” Cummings purposefully incorporates repetition throughout the poem when he mentions “the queer/old balloonman,” which once again, is undermined by sexual implications as we get the sensation that this possibly homosexual, aged man is wicked and deceiving as he lures the children in. Subsequently, as soon as the balloonman sounds his whistle, “bettyandisbel come dancing/from hop-scotch,” which serves to manifest that the children are shedding their innocence and furthering themselves from their childish pursuits in order to encounter the balloonman, and therefore, their adult sexuality. Through varied structure and intricate repetition, cummings exemplifies the nature of children’s transformation from childhood to adulthood as they are led by the “goat-footed/balloonMan,” which could be an allusion to Pan, the Greek sex god. Overall, in “in Just—,”cummings presents the complexity of abandoning childish pursuits in order to achieve adulthood and sexual awakening as a paramount aspect of life.