"You deal with the madmen. All men are mad in some way or the other; and insamuch as you deal discreetly with your madmen, so deal with God's madmen, too--the rest of the world. You tell not your madmen what you do nor why you do it; you tell them not what you think. So you shall keep knowledge in its place, where it may rest--where it may gather its kind around it and breed" (132).
This quote, spoken by Van Helsing to Seward, stood out to me as I read. The quote reveals the wisdom of Van Helsing's character while revealing a truth--a belief which could have been shared by the author. Van Helsing is saying that everyone possesses some degree of insanity. He's also implying that Seward and his madmen are a microcosm of the whole world under God because everybody is crazy in some way. Van Helsing then goes on to say that Seward should not tell his madmen what he thinks of them or what he plans to do with them, and I connected that to how we are unaware of what God thinks of/plans for us. I don't know if Bram Stoker intended for this passage to have religious undertones, but I interpreted it that way and found it interesting how the world under God is compared to a mental health doctor and his patients. We are all insane, we all have some kind of problem, and God is secretly working as our doctor to help us. I wonder if Stoker really felt that way, if he was trying to convey a message, or if he even intended for that interpretation to appear in the first place.
Sunday, December 21, 2008
Friday, December 12, 2008
Dracula - Blog #4
"...the silver light of the moon struck a half-reclining figure, snowy white. The coming of the cloud was too quick for me to see much, for shadow shut down on light almost immediately; but it seemed to me as though something dark stood behind the seat where the white figure shone, and bent over it. What it was, whether man or beast, I could not tell; I did not wait to catch another glance, but flew down the steep steps...The time and distance seemed endless, and my knees trembled and my breath came laboured as I toiled up the endless steps to the Abbey. I must have gone fast, and yet it seemed to me as if my feet were weighted with lead, and as though every joint in my body were rusty" (102).
This scene is one of the freakest scenes of the novel thus far. Basically, Lucy went out sleepwalking, and Mina found her with a dark figure standing nearby. The horror and excitement of this scene is effectively conveyed through Mina's description of the event. First of all, she repeatedly describes Lucy as being "white," which gives her a pale and ghostly image. The dark figure standing over Lucy directly contrasts her--the darkness gives it an evil connotation. The darkness of the scene in general, as pointed out in the phrase "for shadow shut down on light almost immediately" (notice the direct contrast between "shadow" and "light") really gives this passage a particularly gloomy and horrifying mood.
The sense of urgency that Mina conveys also makes the passage horrific but exciting. Her description of time as "endless" shows how time just seemed to go on forever as she raced to help her friend. The physical details Mina gives about herself shows how much she is struggling to get to Lucy, and the excellent simile at the end of the passage further emphasizes the struggle. Mina's struggle to get to Lucy through a seemingly endless passage of time gives this part of the novel a sense of urgency. Mina's struggle to get to Lucy in the face of danger is what really makes this part of the novel exciting.
Overall, the most intense scenes of the novel thus far have been described using a variety of devices which invoke fear, horror, and/or urgency in the reader. Stoker's effective method of illustrating these scary situations is what really gives this novel a horrific feel.
This scene is one of the freakest scenes of the novel thus far. Basically, Lucy went out sleepwalking, and Mina found her with a dark figure standing nearby. The horror and excitement of this scene is effectively conveyed through Mina's description of the event. First of all, she repeatedly describes Lucy as being "white," which gives her a pale and ghostly image. The dark figure standing over Lucy directly contrasts her--the darkness gives it an evil connotation. The darkness of the scene in general, as pointed out in the phrase "for shadow shut down on light almost immediately" (notice the direct contrast between "shadow" and "light") really gives this passage a particularly gloomy and horrifying mood.
The sense of urgency that Mina conveys also makes the passage horrific but exciting. Her description of time as "endless" shows how time just seemed to go on forever as she raced to help her friend. The physical details Mina gives about herself shows how much she is struggling to get to Lucy, and the excellent simile at the end of the passage further emphasizes the struggle. Mina's struggle to get to Lucy through a seemingly endless passage of time gives this part of the novel a sense of urgency. Mina's struggle to get to Lucy in the face of danger is what really makes this part of the novel exciting.
Overall, the most intense scenes of the novel thus far have been described using a variety of devices which invoke fear, horror, and/or urgency in the reader. Stoker's effective method of illustrating these scary situations is what really gives this novel a horrific feel.
Monday, December 8, 2008
Dracula - Blog #3
"'But I'm content, for it's comin' to me, my deary, and comin' quick. It may be comin' while we be lookin' and wonderin'. Maybe it's in that wind out over the sea that's bringin' with it loss and wreck, and sore distress, and sad hearts. Look, look!' he cried suddenly. 'There's something in that wind and in the hoast beyont that sounds, and looks, and tastes, and smells like death. It's in the air; I feel it comin'. Lord, make me answer cheerful when my call comes!' He held up his arms devoutly, and raised his hat. His mouth moved as though he were praying"(83-84).
This passage is very foreboding for a number of reasons. Most of the words and phrases that Mr. Swales uses--like "loss," "wreck," "sore distress," and "sad hearts"--connote death and bring about a very dismal mood. Swales compares death to a wind that blows in and consumes the senses with death, which brings about a very strong image of death as something that just forces its way in and consumes the life of somebody.
This foreboding mood could attribute to a number of things--first of all, the very subject that Swales is talking about, his feeling that his end is near. The mood could also be reflecting Mina's worried feelings because she hasn't heard from Jonathan in a very long time, and she could be fearing death is on his horizon as well. Lastly, the dismal mood is reflected by the crazy-looking ship that is approaching, which also seems a bit deathly in the way it is being described. Either way, the deathly undertones in this passage make it seem like there is a good chance that death will be seen in the upcoming chapters, and they serve as foreshadowing for what's to come.
This passage is very foreboding for a number of reasons. Most of the words and phrases that Mr. Swales uses--like "loss," "wreck," "sore distress," and "sad hearts"--connote death and bring about a very dismal mood. Swales compares death to a wind that blows in and consumes the senses with death, which brings about a very strong image of death as something that just forces its way in and consumes the life of somebody.
This foreboding mood could attribute to a number of things--first of all, the very subject that Swales is talking about, his feeling that his end is near. The mood could also be reflecting Mina's worried feelings because she hasn't heard from Jonathan in a very long time, and she could be fearing death is on his horizon as well. Lastly, the dismal mood is reflected by the crazy-looking ship that is approaching, which also seems a bit deathly in the way it is being described. Either way, the deathly undertones in this passage make it seem like there is a good chance that death will be seen in the upcoming chapters, and they serve as foreshadowing for what's to come.
Friday, November 21, 2008
Dracula - Blog #2
"No man knows till he has suffered from the night how sweet and how dear to his heart the morning can be. When the sun grew so high this morning that it struck the top of the great gateway opposite my window, the high spot which it touched seemed to me as if the dove from the ark had lighted there. My fear fell from me as if it had been a vaporous garment which dissolved in the warmth. I must take action of some sort whilst the courage of the day is upon me" (52).
I chose this passage partly because it was ironic and partly because it exemplifies the very literary device-filled nature of Jonathan's writing (or Stoker's...I refer to it as Jonathan's just because the novel is written in the form of his journal entries).
Throughout the novel so far, Jonathan effectively creates mood using diction, repetition of strong words and phrases, and numerous types of figurative language. This passage is full of figurative language, such as the simile (comparing fear to "vaporous garment"), biblical allusion ("dove from the ark"), and metaphor ("courage of the day"). Jonathan is attempting to describe the lightness and peace of the morning, and effectively does so by using words such as "sweet," "dear," "sun," "great," to describe his happiness. He also uses words like "lighted," "vaporous," and "dissolved" to describe morning's lightness...both in the literal sense (daylight) and in the figurative, happy sense.
This passage strikes me as ironic because the night before, Jonathan was in a horrifying situation, fearing for his life, and everything was described so darkly. Now all of a sudden, he wakes up the next morning and feels great. It shows how night and day, dark and light bring such different feelings to him. I was also finding Jonathan a bit stupid just because he thinks everything's okay because it's light out, and he's relishing in his comfort, but he's not realizing that the night is also coming and that everything bad that's been happening to him has been happening at night, and unfortunately morning's light is only a temporary comfort.
I chose this passage partly because it was ironic and partly because it exemplifies the very literary device-filled nature of Jonathan's writing (or Stoker's...I refer to it as Jonathan's just because the novel is written in the form of his journal entries).
Throughout the novel so far, Jonathan effectively creates mood using diction, repetition of strong words and phrases, and numerous types of figurative language. This passage is full of figurative language, such as the simile (comparing fear to "vaporous garment"), biblical allusion ("dove from the ark"), and metaphor ("courage of the day"). Jonathan is attempting to describe the lightness and peace of the morning, and effectively does so by using words such as "sweet," "dear," "sun," "great," to describe his happiness. He also uses words like "lighted," "vaporous," and "dissolved" to describe morning's lightness...both in the literal sense (daylight) and in the figurative, happy sense.
This passage strikes me as ironic because the night before, Jonathan was in a horrifying situation, fearing for his life, and everything was described so darkly. Now all of a sudden, he wakes up the next morning and feels great. It shows how night and day, dark and light bring such different feelings to him. I was also finding Jonathan a bit stupid just because he thinks everything's okay because it's light out, and he's relishing in his comfort, but he's not realizing that the night is also coming and that everything bad that's been happening to him has been happening at night, and unfortunately morning's light is only a temporary comfort.
Friday, November 14, 2008
Dracula - Blog #1
"I was not sleepy, as the long sleep yesterday had fortified me; but I could not help experiencing that chill which comes over one at the coming of dawn, which is like, in its way, the turn of the tide. They say that people who are near death die generally at the change to the dawn or at the turn of the tide; anyone who has when tired, and tied as it were to his post, experienced this change in the atmosphere can well believe it." (29-30)
This passage grabbed my attention as I was reading Chapter 2 of Dracula. In this scene, the main character, Jonathan Harker, is alone in his room while staying at Dracula's castle. The novel so far has a very chilling and creepy mood which is created by the diction and abundant visual and auditory imagery. This passage stood out because it seemed particularly chilling and foreboding. The use of the word "chill" at the beginning expresses Harker's fear and uneasiness that he's feeling during his stay in Dracula's castle. The description of feeling a chill before dawn seems ironic because "dawn" has such a postive connotation--bringing light, warmth, and comfort--while "chill" has exactly the opposite connotation. When Harker connects this chilling sensation to death, it gives the passage an even more foreboding mood. I feel like this passage could be possibly foreshadowing a death at the break of dawn later on in the novel because the passage in general seemed a bit too deep in comparison to the more narrative way Harker writes before and after this passage.
***Total side note, but I connected this to the title of the fourth Twilight novel entitled Breaking Dawn. I have yet to read it, but the fact that the title of that book (which is about vampires) appears to be an allusion to Dracula could indicate that there's an important reason why Stephanie Meyer chose "Breaking Dawn" as the title of her novel. Something about dawn in Dracula might be important. In addition, the word "twilight" was used repeatedly throughout the beginning of Dracula (and I connected that to Meyer's novel Twilight), which makes me wonder if twilight and dawn will have some significance throughout Dracula.
This passage grabbed my attention as I was reading Chapter 2 of Dracula. In this scene, the main character, Jonathan Harker, is alone in his room while staying at Dracula's castle. The novel so far has a very chilling and creepy mood which is created by the diction and abundant visual and auditory imagery. This passage stood out because it seemed particularly chilling and foreboding. The use of the word "chill" at the beginning expresses Harker's fear and uneasiness that he's feeling during his stay in Dracula's castle. The description of feeling a chill before dawn seems ironic because "dawn" has such a postive connotation--bringing light, warmth, and comfort--while "chill" has exactly the opposite connotation. When Harker connects this chilling sensation to death, it gives the passage an even more foreboding mood. I feel like this passage could be possibly foreshadowing a death at the break of dawn later on in the novel because the passage in general seemed a bit too deep in comparison to the more narrative way Harker writes before and after this passage.
***Total side note, but I connected this to the title of the fourth Twilight novel entitled Breaking Dawn. I have yet to read it, but the fact that the title of that book (which is about vampires) appears to be an allusion to Dracula could indicate that there's an important reason why Stephanie Meyer chose "Breaking Dawn" as the title of her novel. Something about dawn in Dracula might be important. In addition, the word "twilight" was used repeatedly throughout the beginning of Dracula (and I connected that to Meyer's novel Twilight), which makes me wonder if twilight and dawn will have some significance throughout Dracula.
Friday, October 24, 2008
The Taming of the Shrew - Blog #6
"I tell thee, Kate, 'twas burnt and dried away.
And I expressly am forbid to touch it,
For it engenders choler, planteth anger;
And better 'twhere that both of us did fast,
Since of ourselves, ourselves are choleric,
Than feed it with such over-roasted flesh.
Be patient, tomorrow 't shall be mended,
And, for this night, we'll fast for company."
4.1.147-154
This quote is spoken by Petruchio, reveals much about his character and shows how he is trying to "tame" Kate. When the servants serve the two of them overcooked mutton, Petruchio throws the meat because (according to a footnote) overcooked meat was thought to cause anger, and neither Kate nor himself needed any extra anger. In this scene, the meat is a symbol of anger and Petruchio is seemingly trying to prevent any extra anger by throwing the meat. However, Petruchio's actions are ironic because he's really trying to make Kate even more angry by forcing her to go without food for the night. Petruchio's trying to "tame" Kate by being much more vile than Kate ever was. He's making her suffer with the expectation that this will humble her. Petruchio's treatment of Kate is pretty horrible, and it shows that he cares more about having money and a submissive wife than he does about love and commitment.
And I expressly am forbid to touch it,
For it engenders choler, planteth anger;
And better 'twhere that both of us did fast,
Since of ourselves, ourselves are choleric,
Than feed it with such over-roasted flesh.
Be patient, tomorrow 't shall be mended,
And, for this night, we'll fast for company."
4.1.147-154
This quote is spoken by Petruchio, reveals much about his character and shows how he is trying to "tame" Kate. When the servants serve the two of them overcooked mutton, Petruchio throws the meat because (according to a footnote) overcooked meat was thought to cause anger, and neither Kate nor himself needed any extra anger. In this scene, the meat is a symbol of anger and Petruchio is seemingly trying to prevent any extra anger by throwing the meat. However, Petruchio's actions are ironic because he's really trying to make Kate even more angry by forcing her to go without food for the night. Petruchio's trying to "tame" Kate by being much more vile than Kate ever was. He's making her suffer with the expectation that this will humble her. Petruchio's treatment of Kate is pretty horrible, and it shows that he cares more about having money and a submissive wife than he does about love and commitment.
Friday, October 17, 2008
The Taming of the Shrew - Blog #5
"No shame but mine. I must, forsooth, be forced
To give my hand, opposed against my heart,
Unto a mad-brain rudesby, full of spleen,
Who wooed in haste and means to wed at leisure.
I told you, I, he was a frantic fool,
Hiding his bitter jests in blunt behavior,
And, to be noted for a merry man,
He'll woo a thousand, 'point the day of marriage,
Make friends, invite, and proclaim the banns,
Yet never means to wed where he hath wooed.
Now must the world point at poor Katherine
And say 'Lo, there is mad Petruchio's wife,
If it would please him come and marry her!'"
3.2.8-20
This quote is spoken by Kate because it is her wedding day, but Petruchio has not yet arrived. The way Kate speaks highlights her cynicism and hatred towards Petruchio. Her diction is very harsh and hateful--she calls Petruchio a "mad-brained rudesby" and "full of spleen," both of which convey hatred in her speech. Kate also makes use of harsh sounding alliterations (like "frantic fool" and "blunt behavior") to further emphasize her anger. Additionally, Kate's descriptions of Petruchio as a man who'll woo any woman and then let her down in the end reveals how cynical she is, not just toward Petruchio but men in general. The way she's acted towards Petruchio from the start, along with the words she speaks in this scene highlight Kate's cynicism and distrust for men. The last three lines of this passage kind of led me to feel bad for Kate. She's extremely embarassed because Petruchio's absence is making her look stupid. When Kate laments in her self-pity (saying "poor Katherine" and expressing her embarassment), I feel like she is softening a little because she's not trying to put up her whole tough front. Seeing that hurt instead of her usual anger leads me to sympathize with her a bit.
To give my hand, opposed against my heart,
Unto a mad-brain rudesby, full of spleen,
Who wooed in haste and means to wed at leisure.
I told you, I, he was a frantic fool,
Hiding his bitter jests in blunt behavior,
And, to be noted for a merry man,
He'll woo a thousand, 'point the day of marriage,
Make friends, invite, and proclaim the banns,
Yet never means to wed where he hath wooed.
Now must the world point at poor Katherine
And say 'Lo, there is mad Petruchio's wife,
If it would please him come and marry her!'"
3.2.8-20
This quote is spoken by Kate because it is her wedding day, but Petruchio has not yet arrived. The way Kate speaks highlights her cynicism and hatred towards Petruchio. Her diction is very harsh and hateful--she calls Petruchio a "mad-brained rudesby" and "full of spleen," both of which convey hatred in her speech. Kate also makes use of harsh sounding alliterations (like "frantic fool" and "blunt behavior") to further emphasize her anger. Additionally, Kate's descriptions of Petruchio as a man who'll woo any woman and then let her down in the end reveals how cynical she is, not just toward Petruchio but men in general. The way she's acted towards Petruchio from the start, along with the words she speaks in this scene highlight Kate's cynicism and distrust for men. The last three lines of this passage kind of led me to feel bad for Kate. She's extremely embarassed because Petruchio's absence is making her look stupid. When Kate laments in her self-pity (saying "poor Katherine" and expressing her embarassment), I feel like she is softening a little because she's not trying to put up her whole tough front. Seeing that hurt instead of her usual anger leads me to sympathize with her a bit.
Wednesday, October 8, 2008
The Taming of the Shrew - Blog #4
"Marry, so I mean, sweet Katherine, in thy bed.
And therefore, setting all this chat aside,
Thus in plain terms: your father hath consented
That you shall be my wife, your dowry 'greed on,
And, will you, nill you, I will marry you.
Now, Kate, I am a husband for your turn,
For, by this light, whereby I see thy beauty,
Thy beauty that doth make me like thee well,
Thou must be married to no man but me.
For I am he am born to tame you, Kate,
And bring you from a wild Kate to a Kate
Conformable as other household Kates."
2.1.263-274
This quote, spoken by Petruchio, reveals a good deal about his character. After engaging in a witty argument with Katherine, Petruchio finally speaks plainly and basically says "You're getting married to me, whether you like it or not, and there's nothing you can do about it!" Petruchio is determined to marry Kate and tame her fiery character, and he's very confident that he can do this. Additionally, the diction Petruchio uses is very commanding and shows he is decided in his actions and that he is establishing authority over Kate, saying things like "you SHALL be my wife," "I WILL marry you," "thou MUST be married to no man but me." Petruchio is very set on his actions and will not let Kate's difficult personality get in the way, and his determination is especially highlighted through the use of his definitive language.
And therefore, setting all this chat aside,
Thus in plain terms: your father hath consented
That you shall be my wife, your dowry 'greed on,
And, will you, nill you, I will marry you.
Now, Kate, I am a husband for your turn,
For, by this light, whereby I see thy beauty,
Thy beauty that doth make me like thee well,
Thou must be married to no man but me.
For I am he am born to tame you, Kate,
And bring you from a wild Kate to a Kate
Conformable as other household Kates."
2.1.263-274
This quote, spoken by Petruchio, reveals a good deal about his character. After engaging in a witty argument with Katherine, Petruchio finally speaks plainly and basically says "You're getting married to me, whether you like it or not, and there's nothing you can do about it!" Petruchio is determined to marry Kate and tame her fiery character, and he's very confident that he can do this. Additionally, the diction Petruchio uses is very commanding and shows he is decided in his actions and that he is establishing authority over Kate, saying things like "you SHALL be my wife," "I WILL marry you," "thou MUST be married to no man but me." Petruchio is very set on his actions and will not let Kate's difficult personality get in the way, and his determination is especially highlighted through the use of his definitive language.
Friday, September 26, 2008
The Taming of the Shrew - Blog #3
"Signior Hortensio, 'twixt such friends as we
Few words suffice. And therefore, if thou know
One rich enough to be Petruchio's wife,
As wealth is the burden of my wooing dance,
Be she as foul as was Florentius' love,
As old as Sibyl and as curst and shrewd
As Socrates' Xanthippe, or a worse,
She moves me not, or not removes at least
Affection's edge in me, were she as rough
As are the swelling Adriatic seas.
I come to wive it weathily in Padua;
If wealthily, then happily in Padua."
1.2.62-73
These words, spoken by Petruchio, reveal much about his character and also highlight his differences from the other characters. In this passage, Petruchio is basically saying that he will marry any rich woman, no matter how difficult, ugly, or vile she may be. Petruchio expresses this through allusions to Greek mythology, saying he will tolerate a woman as terrible as either of these terrible mythological women, as long as she is rich. He also uses a great simile ("...were she as rough as are the swelling Adriatic seas.") to further convey his feelings. When put into context, this passage reveals how different Petruchio is from the other men in the play. For example, Lucentio, Hortensio, and Gremio all want to marry Bianca because they are in love with her, while Petruchio wants to marry Katherine only because she comes with a big dowry. This passage, along with other instances of Petruchio's pompous talk (throughout Act 1, Scene 2), help to piece together Petruchio as a character. From Act 1, Scene 2, we see that Petruchio is a self-righteous guy who's looking for money and is overly confident that he will be able to handle Katherine. Of course, he hasn't even met Katherine yet, so we have yet to see if he's as tough as he thinks he is...
Few words suffice. And therefore, if thou know
One rich enough to be Petruchio's wife,
As wealth is the burden of my wooing dance,
Be she as foul as was Florentius' love,
As old as Sibyl and as curst and shrewd
As Socrates' Xanthippe, or a worse,
She moves me not, or not removes at least
Affection's edge in me, were she as rough
As are the swelling Adriatic seas.
I come to wive it weathily in Padua;
If wealthily, then happily in Padua."
1.2.62-73
These words, spoken by Petruchio, reveal much about his character and also highlight his differences from the other characters. In this passage, Petruchio is basically saying that he will marry any rich woman, no matter how difficult, ugly, or vile she may be. Petruchio expresses this through allusions to Greek mythology, saying he will tolerate a woman as terrible as either of these terrible mythological women, as long as she is rich. He also uses a great simile ("...were she as rough as are the swelling Adriatic seas.") to further convey his feelings. When put into context, this passage reveals how different Petruchio is from the other men in the play. For example, Lucentio, Hortensio, and Gremio all want to marry Bianca because they are in love with her, while Petruchio wants to marry Katherine only because she comes with a big dowry. This passage, along with other instances of Petruchio's pompous talk (throughout Act 1, Scene 2), help to piece together Petruchio as a character. From Act 1, Scene 2, we see that Petruchio is a self-righteous guy who's looking for money and is overly confident that he will be able to handle Katherine. Of course, he hasn't even met Katherine yet, so we have yet to see if he's as tough as he thinks he is...
Friday, September 19, 2008
The Taming of the Shrew - Blog #2
"Gentlemen, importune me no farther,
For how I firmly am resolved you know--
That is, not to bestow my youngest daughter
Before I have a husband for the elder.
If either of you both love Katherina,
Because I know you well and love you well
Leave shall you have to court her at your pleasure."
1.1.48-54
This passage, spoken by Baptista, is very important because it illustrates one of the central conflicts of the play. Baptista, who is the father of Katherine and Bianca, will not allow Bianca to marry until Katherine, the older of the two sisters, can find a husband. However, Bianca is a more desirable wife than Katherine, who is stingy and rude. This conflict drives the plot of the play because it affects the actions of many of the characters. Lucentio, Gremio, and Hortensio all wish to marry Bianca, but must all come up with alternate solutions when thrown this obstacle.
The problem posed in the above passage will help to develop the characterizations of Taming's main characters. Much will be revealed about them as the play goes on. For example, Lucentio's desire to get rid of his identity and take up a new persona tells much about him and shows us that he is willing to go to great heights in pursuit of Bianca. Gremio and Hortensio's alliance shows how they are willing to put their rivalry aside in order to overcome an obstacle. Baptista's firm and decided tone in the passage show that he is not going to relent, so the plot and the characterizations of the play will definitely continue to build and develop around this problem.
For how I firmly am resolved you know--
That is, not to bestow my youngest daughter
Before I have a husband for the elder.
If either of you both love Katherina,
Because I know you well and love you well
Leave shall you have to court her at your pleasure."
1.1.48-54
This passage, spoken by Baptista, is very important because it illustrates one of the central conflicts of the play. Baptista, who is the father of Katherine and Bianca, will not allow Bianca to marry until Katherine, the older of the two sisters, can find a husband. However, Bianca is a more desirable wife than Katherine, who is stingy and rude. This conflict drives the plot of the play because it affects the actions of many of the characters. Lucentio, Gremio, and Hortensio all wish to marry Bianca, but must all come up with alternate solutions when thrown this obstacle.
The problem posed in the above passage will help to develop the characterizations of Taming's main characters. Much will be revealed about them as the play goes on. For example, Lucentio's desire to get rid of his identity and take up a new persona tells much about him and shows us that he is willing to go to great heights in pursuit of Bianca. Gremio and Hortensio's alliance shows how they are willing to put their rivalry aside in order to overcome an obstacle. Baptista's firm and decided tone in the passage show that he is not going to relent, so the plot and the characterizations of the play will definitely continue to build and develop around this problem.
Thursday, September 11, 2008
The Taming of the Shrew - Blog #1
"O monstrous beast, how like a swine he lies!
Grim death, how foul and loathsome is thine image!
Sirs, I will practice on this drunken man.
What think you: if he were conveyed to bed,
Wrapped in sweet clothes, rings put upon his fingers,
A most delicious banquet by his bed,
And brave attendants near him when he wakes,
Would not the beggar than forget himself?"
Induction, Scene 1, Lines 30-37
This passage, spoken by the lord, basically summarizes the whole induction of The Taming of the Shrew. This section precedes the actual play part of the story, and it's about a lord who sees a drunken man (Christopher Sly) on the street and decides to take him into his house and trick him into thinking he's really a lord. At the lord's house, a group of actors will be performing The Taming of the Shrew, which will make up the rest of the play.
Right now I'm wondering why Shakespeare decided to create this play-within-a-play. It's possible that the outside situation will somehow connect to the story of Taming, or maybe Shakespeare just wanted to create a humorous, lighthearted opening act. Either way, the characterizations of the lord and Sly are very vivid and provide an interesting opening to the play. This passage reflects the characterization of the lord and his light, jokish nature. Throughout the induction, the lord enjoys himself as he watches Sly fight through his post-drunken confusion to "discover" that he is, in fact, really a lord. Because of this, the whole induction is very light and comedic.
Grim death, how foul and loathsome is thine image!
Sirs, I will practice on this drunken man.
What think you: if he were conveyed to bed,
Wrapped in sweet clothes, rings put upon his fingers,
A most delicious banquet by his bed,
And brave attendants near him when he wakes,
Would not the beggar than forget himself?"
Induction, Scene 1, Lines 30-37
This passage, spoken by the lord, basically summarizes the whole induction of The Taming of the Shrew. This section precedes the actual play part of the story, and it's about a lord who sees a drunken man (Christopher Sly) on the street and decides to take him into his house and trick him into thinking he's really a lord. At the lord's house, a group of actors will be performing The Taming of the Shrew, which will make up the rest of the play.
Right now I'm wondering why Shakespeare decided to create this play-within-a-play. It's possible that the outside situation will somehow connect to the story of Taming, or maybe Shakespeare just wanted to create a humorous, lighthearted opening act. Either way, the characterizations of the lord and Sly are very vivid and provide an interesting opening to the play. This passage reflects the characterization of the lord and his light, jokish nature. Throughout the induction, the lord enjoys himself as he watches Sly fight through his post-drunken confusion to "discover" that he is, in fact, really a lord. Because of this, the whole induction is very light and comedic.
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