Bartleby = Laura

I couldn't help but notice that Bartleby and Laura share an innate sense of shyness and awkwardness when it comes to human interaction. And hey, Bartleby's free, and if/when things with Jim don't go well, these two awkward love birds would make a great pair.

http://www.youtube.com/watch?v=U-9tAqdd_4Y&feature=related

Laura's face when she heard Jim's name ^

The Glass Menagerie: Relatability

"The world is full of young men employed in warehouses and offices and factories.
Do all of them find adventure in their careers?
They do o they do witout it!" (1252)

I think this is one of my favorite plays because, even though it's not really intense or scandalous, it's very realistic. For instance, the quote depicts a conversation between Amanda and Tom, but it's also a conversation I think many people have still today. The yearning for something more than what's available is a timeless and universal feeling that we all share at some point in our lives. And incorporating that feeling in a simple character like Tom creates a very relatable story line that the reader can connect to. Also, the characters' actions are pretty realistic, unlike characters in "As You Like It", persay, who convert, fall in love, and change their lives in like four days. So while this play isn't as action-packed as some of Shakespeare's plays, it is certainly more realistic, and therefor easier to read and to empathize with.

Another aspect that makes this play believable is the setting: St. Louis, not some city in Italy, or a forest, or a pirate ship. With "normal" characters, not princes or military officers, a normal setting, and normal issues like the audience, this play definitely has a wide appeal.

The Glass Menagerie: Allusion/Plot

"Oh, I can see the handwriting on the wall as plain as I see the nose in front of my face! It's terrifying!" (1253)

This quote reveals another commonly-used literary device in the play: allusions. It also reveals a big part of the plotline and a potential conflict of characters. First, the context of this quote is the secretive conversation between Amanda and Tom about Laura's characteristics influencing her romantic life. The quote is ultimately Amanda's biggest fear of Laura: that she is too awkward or shy to find a suitable husband. And the "handwriting on the wall," basically implying that something bad is about to happen (hinted at by the "ominous music" in the backround), is that Amanda's biggest fear will come true if the meeting of Jim and Laura proves unsuccessful.

Having read only the first 6 scenes so far, I suspect the conflict of Laura's awkward, anxious nature, combined with Amanda's over-parenting and Jim's laid-back attitude will soon unravel. Y'know, Laura kind of reminds me of Bartleby; in the scene we watched, he couldn't make a simple decision and worked himself up about it. That's a lot like Laura's inability to answer the door when a possible high school crush showed up. Admittedly, that could be awkward, but considering the girl couldn't even talk to another human being, I'm rooting for Jim to find another lady.

The Glass Menagerie: Irony

"But I get up. I go! For sixt-five dollars a month I give up all that I dream of doing and being ever!" (1247)

One of the literary devices used so far in the play is irony. One example is shown in the quote above. This scene is where Amanda is questioning Tom's suspicious routine of going to the movies, staying out late, and drinking, which causes her to think he's selfish. On the contrary, he voices his argument, saying he is the one who supports the family by giving up his dreams and working, unlike Amanda or Laura. So it's ironic that Tom's activities make him a bit unlovable, yet he is the one financially holding the family together.

Another instance where irony is present is in the conversation between Tom and Amanda about how a girl either becomes a businesswoman or marries a successful man. In regards to failing to find her husband's true character, Tom says, "Then how did you happen to make a tragic mistake?" (1259). So another irony is that Amanda is preaching to Tom about how Laura needs to find a wholesome man with character to marry, yet Amanda's husband ran off sixteen years ago, so she has no room to talk.

Also, a bit of irony and juxtaposition is when Amanda tells Laura that the gentleman caller she will be meeting is James O'Connor, a high school crush of hers. Instantly, Laura freaks out, having another sort of panic attack, to the point where she struggles to open the door. So this scene went from an obsessive mother getting prepared to show off her disinterested daughter to an extremely anxious daughter with a calm and charming mother.

"Rosalind: the Tranny of Venice"

I saw this picture and started wondering what a play combining Othello and As You Like It would be like. Hopefully there would be more tragedy and betrayal and deceit, not just characters who magically fall in love with cross-dressers.


Rosalind and Othello ^ in "Rosalind: the Tranny of Venice"
I'm trying to imagine how Othello would punish Rosalind for dressing up as a man and making Phebe fall in love with her/him. Also, Iago would have a field day manipulating people in this play. If they believe Rosalind was a man, there's bound to be a good reaction when he tells them that there's been some action "'twixt the sheets." I could even see a musical version of this, with such timeless classics as "Rumor Has It," "I Will Always Love You," and "Somebody to Love." It's all coming together!

"If sight and shape be true, why then, my love adieu!" (V.iv.76)
Ok, so it's good I have an opinion blog left because the ending of this play really ticked me off.  The first thing that set me off was how Ganymede, an unknown man who strangely looks like a woman, traveling with his sister (to get the full effect of my anger and suspicious, you have to imagine furrowed eyebrows and lots and lots of air quotes), magically got four couples to get married on the same day. No one thought it was odd that a random man asked a stranger to promise to marry another person? Anyways, not one character thought it was sketchy that the magical person who arranged these four marriages wasn't even at the wedding!? Ridiculous.

Then the quote from Act V shows peoples' reactions to the unveiling of Ganymede. So when Phebe finally realizes that Rosalind, a woman dressed as a man who she fell in love with in like a day, is actually a man, she says a sentence and leaves. What is that?? Scenario: you just found out you instantly fell in love with someone pretending to be a man and now, because of a bargain, have to marry another man you were disgusted by yesterday. And what's even better, she just shrugs it off, like, "Oh, you fooled me!... Ok, I think I'll marry someone else now!"

I think I despised the ending because it was so realistic, and the timeline for the play was just off. There's no way all these characters plotted to kill each other, cross-dressed, changed their religious views, were attacked by lions, and tigers, and bears (Oh my!), and all got married in under a week. I guess the abrupt ending could be a sign of Shakespeare's disinterest in his last comedy play. Well, way to go, Bill. It wasn't very funny. I'd just stick to the blood and betrayal in tragedies. :)

As You Like It- Court vs. Country Life

"Truly, shepherd, in respect of itself, it is a good life; but in respect that it is a shepherd's life, it is naught." (III.ii.35)

One theme discussed throughout the play is the "court vs. country life" argument. It begins in Act III when Corin and Touchstone voice their opinions on each lifestyle. This part was a bit confusing for me, considering Touchstone speaks in paradoxes the whole conversation. Anyways, Touchstone basically says he would find the country life good...if that was the only option available. It's like settling for a hamburger, but then you're offered a steak. And the court is Touchstone's steak. Corin responds by acknowledging that country life is good for hard work like raising "fat sheep."

 The next topic in this conversation is brought up when Touchstone tells Corin, "Why, if thou never wast at court, thou never sawest good manners; if thou never sawest good manners, then thy manners must be wicked; and wickedness is sin, and sin is damnation. Thou art in a parlous state, shepherd." Showing his equally impressive logic, Corin argues that country manners at court would be just as ridiculous as court manners in the country. At this point, the characters start talking about kissing hands in the court and performing surgery on sheep in the country, along with cat juices and all that good stuff. At least in this play the characters talk out their opinions instead of just stabbing each other.

As You Like It- "All is not what it seems."

"A lean cheek, which you have not; a blue eye and sunken, which you have not; an unquestionable spirit, which you have not; a beard neglected, which you have not;" (II.iii.44)

One of this play's theme's my group addressed was "all is not what it seems." This is just one of countless examples showing the theme. This quote is from the conversation between Rosalind, dressed as Ganymede, and Orlando, when she tells him that he must not be in love because "love is merely a madness" and he does not look mad. Although it seems he isn't in love according to Rosalind, Orlando is truly in love with her.

Another obvious example is when Rosalind decides to dress as a man and use that to tell Orlando how to "woo" her. Although everyone except Celia believes Rosalind is Ganymede, she is actually a woman.

My last example of this theme is in Act II Scene 4, in the conversation between Rosalind and Touchstone. During the talk of love, Rosalind contradicts the popular thought that Touchstone is a fool since he is a jester. But while most people are just amused by him, Rosalind points out to him that, "Thou speakest wiser than thou art ware of," showing that he is actually one of the more witty characters in the story, just with a bad reputation.

One argument against this theme is Jaques's character. The reader is introduced to "the melancholy Jaques" (II.i.18) and that's exactly what the audience gets. Later on, he cries for a deer that's been shot, calls Orlando "Signior Love" out of sarcastically, and at the end of the play, leaves the wedding party because he's got better stuff to do. So the seemingly melancholy Jaques was indeed a Debbie Downer. What you see is what you get.... At least he has a cool name.

Reflective Blog

  The play Othello provides several timeless themes which are timeless; being timeless, these related works can be seen throughout history, even in modern culture. One of these omnipresent themes is that jealousy is a powerful, often destructive force. Besides being evident in Othello, this theme can be found in the television show The Office and the book Harry Potter and the Deathly Hallows. While the situations in these sources differ in details, the end result and feelings behind it are extremely alike.
 "I hate the Moor" Scene-Iago

First, Othello emphasizes how jealousy is a powerful emotion with fatal consequences when Iago plots Cassio’s death, saying, “And, in conclusion, nonsuits my mediators, for, ‘Certes,’ says he, ‘I have already chose my officer’” (I.i.15-17). This is just one of many early signs of jealousy and contempt, along with Iago’s obviously resentful speech regarding Othello, swearing, “I hate the Moor, and it is thought abroad that ‘twixt my sheets he’s done my office. I know not if’s be true, but I for mere suspicion in that kind will do as if for surety” (I.i.366-370). These initial evidences of jealousy grow steadily through the play and cause Iago to take drastic measures like manipulating foolish Roderigo, bullying Emilia into silence, and pleading honesty and love to Othello, only to achieve his goal of eliminating threats to his success; this extreme jealousy eventually results in the deaths of Roderigo, Desdemona, Emilia, and Othello.
                                                                                                                             Episode 3: "The Coup"
Next, The Office echoes the same theme in the episode, “The Coup” where Dwight Schrute, a wickedly clever, ambitious, and determined co-worker goes behind the boss (Michael Scott)’s back to meet with a boss, Jan Gould, from their branch’s corporate office. Dwight’s jealousy of Michael’s power as regional manager results in him lying to the person he was most loyal to, saying, “I’m going to the dentist. I have to have an emergency crown put in” (Lieberstein). Although Dwight attempts to overtake the office, Michael confronts him about the instance and punishes him, making him wear a sign that reads, “Liar,“ hanging his head in shame, and doing his laundry for a year. Michael adds, “I don‘t know if I can trust you anymore“ (Lieberstein). Dwight’s willingness to betray his trusting boss by meeting with Jan to talk about how he “could run the branch better than Michael,”(Lieberstein) shows that the consequences of his jealousy, while somewhat trivialized by humor in this instance, are indeed powerful and have lasting negative impacts in that they diminish the once trusting and loyal relationship between these two characters.

Lastly, Harry Potter and the Deathly Hallows reflects this timeless theme of jealousy’s destructive consequences when Ron Weasley is emotionally challenged by a horcrux, which unleashed Voldemort’s voice, essentially torturing the person who opened the device. Saying, “’Least loved, always, by the mother who craved a daughter…Least loved, now, by the girl who prefers your friend…Second best, always, eternally overshadowed…’ (Rowling, 375-376), Voldemort exploits Ron’s greatest, ever-present fears, feeding the fire that is Ron’s jealousy of his brothers and of Harry’s reputation. Then again, Voldemort’s voice, in the persona of Hermione, says, “’Who wouldn’t prefer him, what woman would take you, you are nothing, nothing, nothing to him” (Rowling, 377), swelling even more the jealousy and hatred growing inside Ron. Finally, Ron snaps. “The sword flashed, plunged: Harry threw himself out of the way, there was a clang of metal and a long, drawn-out scream” (Rowling, 377). This sudden act of pent-up jealousy and anger towards a true friend shows that jealousy has the incredible power to manipulate the most trustworthy and loyal of people when in dire situations. So, although Harry, Ron, and Hermione still remain friends, Ron’s outburst and looming jealousy of Harry proves a constant conflict during their travels as well as its hampering their close-knit circle of friends.

Harry Potter and the Deathly Hallows: Horcrux Scene

In conclusion, while the causes, means of showing it, or consequences of jealousy differ, the idea that jealousy is a powerful and usually destructive force, shown in Othello and these two other works, is universal in that the people affected by it often lose out on relationships that without jealousy could have been salvaged.

Works Cited

Lieberstein, Paul. "The Coup." The Office. Dir. Greg Daniels. NBC. WNBC, New York,
New York, 5 Oct. 2006. Television.

Perrine, Lawrence. “Othello.” Perrine’s Literature: Structure, Sound, and Sense. Forth
Worth. Harcourt College. 2002. 1361-1462. Print.

Rowling, J. K. "The Silver Doe." Harry Potter and the Deathly Hallows. New York:
Arthur A. Levine, 2007. 375-78. Print.

Keep on Tryin'

 "Keep on Tryin'" - Poco

This assignment was a toughy because it turns out there are a lot of songs about jealousy, lust, and betrayal. I found one that was a little less violent, but still relates a great message evident in Othello. "Keep on Tryin'," by Poco, a band from like the 60s, but their song's message is still relevant. Anyways, the song is about a person who is "full of doubt" and who "just can't let it be." The singer states they want to "confide in all that is true." But, if that person "keeps comin' back for more," the other person will "keep on tryin.'" I think this really mirrors Desdemona's relationship with Othello. This is like this couple's situation because theirs involves doubt, infidelity, and a lack of trust, mostly on Othello's part. When Iago plants a seed of doubt in Othello, he begins to worry if Desdemona has cheated on him with Cassio, and slowly but surely, he is convinced she is a whore. Desdemona, on the other hand, claims innocence throughout the play, and she is right to do so. Staying loyal and honest throughout the story, she even goes so far as to tell Emilia she killed herself when Othello smothers her. Her devotion is fueled by her true love for Othello, despite his doubt and accusations. And because of this love, Desdemona continuously tried to convince Othello of her integrity (Act V), and she overlooks his vengeful actions even to the end of her life. So, because she "keeps on tryin,'" as well as the fact that she "lays it on the line to find a way to get on home to you [Othello]," she upholds her reputation as one of the few good guys and one of my favorite characters.

The original, from the 1970s, was in pretty bad condition, so here's a high-quality with a guy on a horse. :)                                                                         

 

Just because there are too many songs, and I had too many ideas, here are a few songs I think fit nicely with some of the characters:

Othello: Rumour Has It- Adele/ Love the Way You Lie- Eminem

Desdemona: I Will Always Love You- Whitney Houston

Iago- S&M- Rihanna/ Circus- Britney Spears

Emilia- Feeling Good- Jennifer Hudson/ Believe- Cher

Cassio- Hurricane Drunk- Florence + the Machine

Roderigo- Glamorous- Fergie

Montano- I Need a Doctor- Eminem

Introducing a new hit show coming to your TV next fall...

The Real Housewives of Venice!

SCANDALOUS.
                                                                                             

Iago for President

"I told him what I thought, and told no more Than what he found himself was apt and true." V. ii. 175-176
So, recently, I've been drawing a lot of comparisons between Iago and politicians. They're both smooth-talkers, people-pleasers, and they get the job done. And by that I of course mean that they kill off minor characters for no apparent reason. Anyways, because Iago is represented as the protagonist telling the story, I think I'm going to have to side with him. While despicable and vile in ways unimaginable, you gotta admit, he's talented. He can manipulate anyone around him without them knowing it- Roderigo, Cassio, Othello, Emilia, just to name a few. He pleases anyone who's around him, telling them what they want to here. And he's been known to, after delivering bad news, whip out a guilt trip on the person who should be angry at him. Just one example is when he "confesses" Cassio's dream and actions to Othello, who half-strangles him, when Iago then makes Othello feel bad for punishing honesty and love.

This guy would be a great world leader! He's obviously very passionate about leadership (or plotting the leader's gruesome death). That's not to mention he's efficient (considering he in/advertently killed 5 people in a matter of days), people love him before they know what he's done, they trust him blindly, going as far as to put "money in thy purse," and overlook anything he's done wrong, as shown in the quote. As bad as it sounds, Iago has the potential to be the perfect dictator. Point one for the bad guys!  >:)
                                                                                          ^ Iago's creepy smile

Othello Act V

"Cassio did top her, ask thy husband else. Oh, I were damned beneath all depth in Hell But that I did proceed upon just grounds To this extremity. Thy husband knew it all." V. ii. 135-138

Addressed here is the question about whether the play is a tragedy, comedy, melodrama, or farce. I would say that this play is a mixture of tragedy and melodrama, maybe with a sick sense of humor thrown in. First, I think it's safe to say the play is a tragedy because, like most things Shakespeare wrote, half the cast dies. It also shows the unraveling of the arguable protagonists Othello and Iago. Othello's flaw, his gullable and quick-to-anger nature, or Iago's not-so-fool-proof plotting.

Next, the play could be characterized as a melodrama because of the dramatized actions of the characters. Shown in the quote, Othello's thought process was essentially solid. He thought he was doing what was just, and simply believed the word of a friend, but he definitely overreacted-killing Desdemona-to show the manipulation of his character. Although the drama makes for an unrealistic scenario, the actions effectively show how quickly characters can change in a plotline.

Finally, one could argue that this play includes a comedic flavor because of the irony. For me personally, Iago's cunning and suck-up-ity (yes, I just made that up) created a perfect, honest image of himself when in reality he's a sick jerkface who manipulates people just because he can.

Othello Act IV

"But, Roderigo, if thou hast that in thee indeed which I have greater reason to believe now than ever- I mean purpose, courage, and valor- this night show it. If thou the next night following enjoy not Desdemona, take me from this world with treachery and devise engines for my life." IV. ii. 207-211
This blog addresses the question of protagonists, antagonists, and foil characters. First of all, unlike most stories, the protagonist is the bad guy. While the audience still probably hates Iago, his point of view in telling the story makes him the protagonist. I, on the other hand, hate him, so I would consider him an antagonist. One could also argue both positions for Othello. Basically, I think if you respect clever evil, Iago is your protagonist, and if you value truth and justice, Othello is your man.

There are a few foil characters in this play. The first is referenced in the quote above. This back-and-forth between Iago and Roderigo shows that opposites attrack in a repetitive but somehow humorous fashion. Several times we see Iago calm Roderigo down in an effort to use him to kill Cassio, supply jewelry, or maybe just for a good laugh. This shows Iago's personality: clever, manipulative, evil. On the other hand, Roderigo shows his true colors by constantly returning to Iago: dim-witted, malleable, and good (by default). The only reason I didn't hate Roderigo was because he was too stupid to be evil. He just followed what Iago said. Another pair of foil characters are Desdemona and Emilia. For example, in the conversation about the perfect woman, Emilia is portrayed as timid, quiet, and complacent, especially in the presence of her husband Iago. Desdemona is, however, more confident and outspoken, and plays along with Iago's criticism. Until the end, when Emilia spills the truth, she is shown as a weak character whereas Desdemona was truly innocent throughout. It's such a tragedy she died...along with half the cast.