The waves of the music engulfed him like the melodic waves of the ocean, the grains of sand like the tingling in his eardrums from the pounding of the song. As his grasp on reality was suspended, he no longer knew whether he was resting on the cold cement or the warm shore, embraced by the millions of minuscule pebbles, his feet slowly submerged in the cool foam of the ocean. As the guitar's and the violin's and the cello's and the trumpet's conversation died down, as their loud voices became a dull murmur, the sand the man was holding in his left hand seeped between his fingers, the cool sea on his toes and feet became the cool gust of the wind, and the shifting, warm floor of sand became the hard, cold floor of concrete. The man's eyes reluctantly opened, his legs and arms slowly brought him upright. His feet followed one another to the band, his mouth asked them to play another song, and his hand dove into his pocket, emerged with some change and dropped it into the velvet emptiness of the instrument's case. The man's feet shuffled back along the cement, slowly crumbling as it metamorphosed into sand, his legs bent, his arms did not meet cement or sand, this new melody brought a hammock. As he rested, the violin became the creak of the of the hammock's swing, the guitar became the sounds of the seagulls, the cello the drum and repeated crash of the waves, and the trumpet the warm wind gusting through the palm umbrellas. The man shut his eyes.
© Copyright 2009 by Roberto Sande Carmona
martes, 7 de julio de 2009
domingo, 19 de abril de 2009
Chinese Literature
Tyler Dixon Dixon, Sande Carmona
10 IB Hour 5
Ms Peifer
20th Of April, 2009
"Drinking Alone Beneath the Moon" Commentary
In "Drinking Alone Beneath the Moon," Li Po's purpose is to express solidarity by using images commonly associated with loneliness. He utilizes pictures of his drinking, the moon, and his shadow to elevate the isolated mood.
In the first few lines of the poem, the author introduces the concrete detail of the character's drinking; "I drink alone, no kith or kin near, (Li Po "Drinking Alone Beneath the Moon," 2). While the image of drinking is also associated with celebration and friends, Li Po uses it here to accentuate his singleness and light melancholy. The reflection of the character's solitary toast to the moon supports this idea.
Po makes an assortment of references to the moon in this work. The connotations many attach to the moon add to the reclusive and wistful atmosphere. The author goes as far as to suggest not even the moon accompanies him; he states, after he offers his beverage to the moon, "Alas, the moon is unconcerned about drinking," ("Drinking Alone Beneath the Moon," 5). This creates a painting of the character's complete isolation, left alone beneath the moon, which also neglects him.
The poet depicts his shadow as a companion, albeit a somewhat unwilling one. He writes of his and his shadow's dancing, yet he states "my shadow merely follows me around," (Li Po "Drinking Alone Beneath the Moon," 6). This is another example of his taking of an image representing loneliness to an even larger extent, as seen with the picture of the moon, to further push the feeling already created.
Li Po uses his concrete and subtle imagery cumulatively to enhance his theme. Although the feeling of his poem his feeling is not one as tangible as found in other works, it is still striking to the audience. His use of imagery, albeit not eloquent, is concise and more than sufficient. Li Po proves his worth as a brilliant poet by creating an amazingly powerful aura.
Works Cited
Po, Li. "Drinking alone Beneath the Moon."
10 IB Hour 5
Ms Peifer
20th Of April, 2009
"Drinking Alone Beneath the Moon" Commentary
In "Drinking Alone Beneath the Moon," Li Po's purpose is to express solidarity by using images commonly associated with loneliness. He utilizes pictures of his drinking, the moon, and his shadow to elevate the isolated mood.
In the first few lines of the poem, the author introduces the concrete detail of the character's drinking; "I drink alone, no kith or kin near, (Li Po "Drinking Alone Beneath the Moon," 2). While the image of drinking is also associated with celebration and friends, Li Po uses it here to accentuate his singleness and light melancholy. The reflection of the character's solitary toast to the moon supports this idea.
Po makes an assortment of references to the moon in this work. The connotations many attach to the moon add to the reclusive and wistful atmosphere. The author goes as far as to suggest not even the moon accompanies him; he states, after he offers his beverage to the moon, "Alas, the moon is unconcerned about drinking," ("Drinking Alone Beneath the Moon," 5). This creates a painting of the character's complete isolation, left alone beneath the moon, which also neglects him.
The poet depicts his shadow as a companion, albeit a somewhat unwilling one. He writes of his and his shadow's dancing, yet he states "my shadow merely follows me around," (Li Po "Drinking Alone Beneath the Moon," 6). This is another example of his taking of an image representing loneliness to an even larger extent, as seen with the picture of the moon, to further push the feeling already created.
Li Po uses his concrete and subtle imagery cumulatively to enhance his theme. Although the feeling of his poem his feeling is not one as tangible as found in other works, it is still striking to the audience. His use of imagery, albeit not eloquent, is concise and more than sufficient. Li Po proves his worth as a brilliant poet by creating an amazingly powerful aura.
Works Cited
Po, Li. "Drinking alone Beneath the Moon."
viernes, 27 de marzo de 2009
Macbeth LRJ#6
The most crucial question posed William Shakespeare in his work Macbeth is that of ambition, and whether it aids or hinders one's success. Crazed ambition is seen by the audience especially through Macbeth and his lady.
Ambition, however, cannot be easily isolated. When it consumes one, as expressed through the Macbeths, it transcends into a sickening avarice, forcing them to do anything they believe will satisfy their greed.
Although single examples are difficult to find, if the play is seen as a whole, it is easy to perceive this characterization. Originally, Macbeth , described through his companion, is revered as compassionate and virtuous. His wife describes his gentle nature as well, "...thy nature...is too full o' the milk of human kindness,"(1.5.16-17). These connotations made early on with the character are what provide such a heavy contrast with his later transformation; his later disposition is easily seen, "Lay on, Macduff! And damned be him that first cries, 'Hold enough!'" (5.8.33-34) Macbeth puts forth a battle against his very friends, who know see Macbeth's transmogrification as irreversible, all caused by his ambition for the throne, expressing absolute disregard for his previous life, forgetting his friends and values.
2. Shakespeare does not directly answer the question of whether ambition is a positive or negative attribute, but he creates an entire work providing a warning of how devastating it can be in excess. Yet as it is know that anything can prove disastrous in excess, Shakespeare simply paints an illustration of proof for this ultimate truth.
Ambition, however, cannot be easily isolated. When it consumes one, as expressed through the Macbeths, it transcends into a sickening avarice, forcing them to do anything they believe will satisfy their greed.
Although single examples are difficult to find, if the play is seen as a whole, it is easy to perceive this characterization. Originally, Macbeth , described through his companion, is revered as compassionate and virtuous. His wife describes his gentle nature as well, "...thy nature...is too full o' the milk of human kindness,"(1.5.16-17). These connotations made early on with the character are what provide such a heavy contrast with his later transformation; his later disposition is easily seen, "Lay on, Macduff! And damned be him that first cries, 'Hold enough!'" (5.8.33-34) Macbeth puts forth a battle against his very friends, who know see Macbeth's transmogrification as irreversible, all caused by his ambition for the throne, expressing absolute disregard for his previous life, forgetting his friends and values.
2. Shakespeare does not directly answer the question of whether ambition is a positive or negative attribute, but he creates an entire work providing a warning of how devastating it can be in excess. Yet as it is know that anything can prove disastrous in excess, Shakespeare simply paints an illustration of proof for this ultimate truth.
jueves, 26 de marzo de 2009
Macbeth LRJ #5
1. The most manifested theme in Act 5 of Macbeth has to be that of revenge. It seems that most of the cast pursues some sort of vendetta against the ill-fitting ruler. The audience finds this most profusely through Macduff, If thou be'st slain, and with no stroke of mine,/ My wife and children's ghost will haunt me still," (5.7.16-17). The crowd then conceives Macduff's revenge not simply for his own pleasure, but as something he must do in order for his family to be at peace. It must be carried out at least partly by him in order to exalt the proper vengeance.
2. The image pattern of blood plays a particularly strong usage in this Act. One prime example is seen with Lady Macbeth, " Out, damned spot[of blood]!"(5.1.34) Lady Macbeth's true feelings of regret are finally revealed, with the use of blood. Her frantic sleepwalking provides a keyhole into her true character, along with proof of the Macbeth's crime. Another instance is when blood is used to foreshadows the battle and fighting that is to come, " [trumpets] clamorous harbingers of blood!"(5.7.10) This is what sets the stage for bloodshed between Macbeth and his friends-turned-archenemies, along with the saturated thirst for revenge.
2. The image pattern of blood plays a particularly strong usage in this Act. One prime example is seen with Lady Macbeth, " Out, damned spot[of blood]!"(5.1.34) Lady Macbeth's true feelings of regret are finally revealed, with the use of blood. Her frantic sleepwalking provides a keyhole into her true character, along with proof of the Macbeth's crime. Another instance is when blood is used to foreshadows the battle and fighting that is to come, " [trumpets] clamorous harbingers of blood!"(5.7.10) This is what sets the stage for bloodshed between Macbeth and his friends-turned-archenemies, along with the saturated thirst for revenge.
Macbeth LRJ#4
1. The collective purpose of this scene is to vividly reflect Macbeth's downfall into insanity and cruelty; "He[hired murderer] has killed me mother[Lady Macduff]!" (Shakespeare, Macbeth 4.2.8). For Macbeth to have his friend's wife and child killed at their most vulnerable state expresses his desperation and derangement. This action on Macbeth's part also sets him indefinitely against his previous friends, especially Macduff. This marks the beginning of Macbeth's demise, caused completely by his own exertions.
2.Macduff becomes a much more active character in his pursuit of vendetta. After he hears of his family's slaying, the audience can easily perceive his anger, determination, and lament. " Within my sword's length set him. If he scape/ Heaven forgive him too!"(5.1.263-237) Macduff becomes the symbol for the group of friend's devotion to Scotland and to overthrow the tyrant there friend has become.
3. As described in the first point, Macbeth has even more crazed, no longer expressing any traits of his original character. He longer expresses any sort of guilt or remorse, in it place a more murderous disposition. Another characteristic which is attached to the new Macbeth is arrogance; as the witches tells him he will not be harmed by any man born of a woman while at the same time they forewarn him to be wary of Macduff, he scorns and poses the next rhetoric, "...live Macduff, what need I fear thee?"(4.1.82) This is an omen of his collapse, as throughout writing and history, figures in power who express arrogance are quick to fail.
2.Macduff becomes a much more active character in his pursuit of vendetta. After he hears of his family's slaying, the audience can easily perceive his anger, determination, and lament. " Within my sword's length set him. If he scape/ Heaven forgive him too!"(5.1.263-237) Macduff becomes the symbol for the group of friend's devotion to Scotland and to overthrow the tyrant there friend has become.
3. As described in the first point, Macbeth has even more crazed, no longer expressing any traits of his original character. He longer expresses any sort of guilt or remorse, in it place a more murderous disposition. Another characteristic which is attached to the new Macbeth is arrogance; as the witches tells him he will not be harmed by any man born of a woman while at the same time they forewarn him to be wary of Macduff, he scorns and poses the next rhetoric, "...live Macduff, what need I fear thee?"(4.1.82) This is an omen of his collapse, as throughout writing and history, figures in power who express arrogance are quick to fail.
Macbeth LRJ#3
In Act 3 of William Shakespeare's play Macbeth, the audience become aware of shift in Macbeth's and Lady Macbeth's characters. While previously Lady Macbeth appeared in control, now Macbeth begins to kill those he finds in his way, with no sign of repentance. In this passage, Lady Macbeth asks her husband on the following step of the plan, "What is to be done?/ Be innocent of the knowledge, dearest chuck/ Till thou applaud the deed,"(3.3.47-49). The onlookers see as Macbeth completely omits his wife from the scheme and execution. This along with his guilt now apparently replaced by pride in his work, represents his metamorphosis into something less humane. The audience sees his very attempts to quell his insanity, are exactly what kindle it.
2.An image which strikes predominantly in Act 3 is that of sleep and lack thereof. Macbeth addresses the irony of his and his spouse's acts in the following excerpt, "Duncan is in his grave...he sleeps well," (3.4.24-25). Before this, Macbeth states that his guilt along with fear keep him awake; the author uses this image pattern to highlight the irony of Duncan's posthumous death, and Macbeth's distress although that very fact was meant to place him at rest.
3.The idea of "being a man" reoccurs often throughout the play, especially in respect to Lady Macbeth's dialogue with her husband. Whereas earlier we find his wife using the insinuation that he is not a proper man if he does not do something she specifies, we later find Macbeth using the same insinuation in company of the murderers, in order to get what he wants; " Now, if you have a station in the file/ Not i'th'worst rank of manhood, say't," (3.1.103-104). Shakespeare uses this theme to represent a common stereotype in human nature, that of how a male must meet undisclosed guidelines to be a true man. He also shows how easily men can be duped into doing someone's biding by calling out their masculinity.
2.An image which strikes predominantly in Act 3 is that of sleep and lack thereof. Macbeth addresses the irony of his and his spouse's acts in the following excerpt, "Duncan is in his grave...he sleeps well," (3.4.24-25). Before this, Macbeth states that his guilt along with fear keep him awake; the author uses this image pattern to highlight the irony of Duncan's posthumous death, and Macbeth's distress although that very fact was meant to place him at rest.
3.The idea of "being a man" reoccurs often throughout the play, especially in respect to Lady Macbeth's dialogue with her husband. Whereas earlier we find his wife using the insinuation that he is not a proper man if he does not do something she specifies, we later find Macbeth using the same insinuation in company of the murderers, in order to get what he wants; " Now, if you have a station in the file/ Not i'th'worst rank of manhood, say't," (3.1.103-104). Shakespeare uses this theme to represent a common stereotype in human nature, that of how a male must meet undisclosed guidelines to be a true man. He also shows how easily men can be duped into doing someone's biding by calling out their masculinity.
miércoles, 25 de marzo de 2009
Macbeth LRJ #2
Roberto Sande Carmona
10 IB Hour 5
Ms.Peifer
1.Macbeth, some may say as opposed to his wife, still holds a strong sense of what is conceived as right, in Act 2. Although his sense of morality does not seem to prevent him from committing treacherous acts, his guilt is evident to other characters as well as the audience. Yet there is no arguing his faltering into a darker, criminal side. We see him equivocating his actions, attempting to deviate his way through his friends' accusations, "That I did kill them[the guards],"(Shakespeare, Macbeth 2.3.108). He tries to tell his friends he killed the guards in fury of Duncan's murder. This is an alarm to the audience of Macbeth's betrayal to not only Duncan but also the rest of his circle of friends. One can see Macbeth becoming a much darker and more devious characters, using his own wrongdoings as his very excuse.
2. Although Lady Macbeth's mission is one regarded as negative by most, her strong personality is still a positive asset to her goal. Especially in the presence of her husband, she is convincing and unfaltering. She pushes her husband forward, and her determination is expressed through the interactions between them, " my hands are of your color [red with blood], but I shame/ To wear a heart so white,"(Shakespeare, Macbeth 2.2.68-69). She claims to feel no guilt, and scolds her husband for doing so. She chides him to view these as necessary actions in order to gain the treasure they covet so badly. In this scene the audience is given the message that Macbeth is somewhat of a puppet of his wife's, clinging to her biding although unwillingly. Lady Macbeth, however is too athirst. Her eagerness to murder and remove anybody, regardless of previous friendship, is what causes her friends to realize what is truly happen, and to eventually conspire and overthrow the Macbeth's. The ambition consume her entirely, eventually crazing her.
3.The image pattern most prominently used by Shakespeare in Act 2 is that of animals. He uses them to either symbolize an idea, or accentuate a theme. This is particularly vivid after the discovery of Duncan's murder; " A falcon, tow'ring in her pride of place/ was by a mouse owl...killed,"( Macbeth 2.4.12-13). This is a perfect example, both representing the ensuing chaos, and providing a metaphor for Macbeth's acts against his lord, Duncan. The surprise expressed at this sight is equally reflect on the surprise exalted by the assassination.
Shortly after , the audience experiences a second example, "[Duncan's horses] eat each other," (2.4.18). Another reinforcement of the theme of hurlyburly, this passage also provides metaphorical value of the circle of friends. Represented as Duncan's horses, the cannibalism represents each one's suspicion for the others, while creating a sense of instability for the entire scenario and play.
10 IB Hour 5
Ms.Peifer
1.Macbeth, some may say as opposed to his wife, still holds a strong sense of what is conceived as right, in Act 2. Although his sense of morality does not seem to prevent him from committing treacherous acts, his guilt is evident to other characters as well as the audience. Yet there is no arguing his faltering into a darker, criminal side. We see him equivocating his actions, attempting to deviate his way through his friends' accusations, "That I did kill them[the guards],"(Shakespeare, Macbeth 2.3.108). He tries to tell his friends he killed the guards in fury of Duncan's murder. This is an alarm to the audience of Macbeth's betrayal to not only Duncan but also the rest of his circle of friends. One can see Macbeth becoming a much darker and more devious characters, using his own wrongdoings as his very excuse.
2. Although Lady Macbeth's mission is one regarded as negative by most, her strong personality is still a positive asset to her goal. Especially in the presence of her husband, she is convincing and unfaltering. She pushes her husband forward, and her determination is expressed through the interactions between them, " my hands are of your color [red with blood], but I shame/ To wear a heart so white,"(Shakespeare, Macbeth 2.2.68-69). She claims to feel no guilt, and scolds her husband for doing so. She chides him to view these as necessary actions in order to gain the treasure they covet so badly. In this scene the audience is given the message that Macbeth is somewhat of a puppet of his wife's, clinging to her biding although unwillingly. Lady Macbeth, however is too athirst. Her eagerness to murder and remove anybody, regardless of previous friendship, is what causes her friends to realize what is truly happen, and to eventually conspire and overthrow the Macbeth's. The ambition consume her entirely, eventually crazing her.
3.The image pattern most prominently used by Shakespeare in Act 2 is that of animals. He uses them to either symbolize an idea, or accentuate a theme. This is particularly vivid after the discovery of Duncan's murder; " A falcon, tow'ring in her pride of place/ was by a mouse owl...killed,"( Macbeth 2.4.12-13). This is a perfect example, both representing the ensuing chaos, and providing a metaphor for Macbeth's acts against his lord, Duncan. The surprise expressed at this sight is equally reflect on the surprise exalted by the assassination.
Shortly after , the audience experiences a second example, "[Duncan's horses] eat each other," (2.4.18). Another reinforcement of the theme of hurlyburly, this passage also provides metaphorical value of the circle of friends. Represented as Duncan's horses, the cannibalism represents each one's suspicion for the others, while creating a sense of instability for the entire scenario and play.
Macbeth LRJ #1
1. William Shakespeare portrays his character Macbeth already as a dynamic one.The audience finds him at time a noble person, along with various other virtuous characteristics. In the very same act, however, they find him contemplating and conspiring murder of his friend and lord.
Lady Macbeth is introduced immediately as a powerhouse character, even more so if viewed from the perspectives and connotations of women in the author's time period. She is a pivotal figure in regards to her husband, proved by her convincing and encouraging nature. When the two discuss the plot to assassinate Duncan, it ends in Macbeth falling to her argument, "I am settled[to commit the murder],"(Shakespeare, Macbeth 1.7.80). This is a statement to the audience that Lady Macbeth is the force behind the relationship and the force behind their plans. It informs the audience that Macbeth still retains some of his innocence and nobility.
Banquo provides a contrast to his delirious friend's happenings. As the closest friend of the tragic hero, he goes through various of the same scenes, providing a different perspective, like seen in their first company of the witches. He is made up of a wise characterization as well, drawing the audience in, "[ to the witches] speak to me, who neither beg nor fear/ Your favors nor your hate,"( Shakespeare, Macbeth 1.3. 60-61). We see Banquo asking the witches for his predictions, wondering what is of his future fate, as any man would. Banquo is a character the audience can therefore more easily connect with as opposed to Macbeth, who is turning to ideals alien to most.
2. One particular theme reinforced in Act One of Macbeth is that of darkness. Macbeth begins his transition into a macabre personality, conspiring and committing murder, all in the name of stature and power; "...when we had marked with blood of those sleepy two/ of his own chamber and used their very daggers..."(Shakespeare, 7.76-77). The dynamic nature previously addressed is taken farther, expressing Macbeth's words into actions.
3. Shakespeare used vivid imagery (usually violent) to strike his tone through the audience. One such example is found as Lady Macbeth explains her loyalty to her husband, she tells Macbeth that if she had sworn it to him she would do the following, " while it[a baby] was smiling in my face,/Have plucked his nipple from his boneless gums / And dashed the brains out ..."(1.7.57-59).
The image of a mother breastfeeding her child present the picture of a special bond; Shakespeare provides a strong message by shifting this image into his. It shows Lady Macbeth's utter devotion to her husband, and the strength of the bond between the spouses.
Lady Macbeth is introduced immediately as a powerhouse character, even more so if viewed from the perspectives and connotations of women in the author's time period. She is a pivotal figure in regards to her husband, proved by her convincing and encouraging nature. When the two discuss the plot to assassinate Duncan, it ends in Macbeth falling to her argument, "I am settled[to commit the murder],"(Shakespeare, Macbeth 1.7.80). This is a statement to the audience that Lady Macbeth is the force behind the relationship and the force behind their plans. It informs the audience that Macbeth still retains some of his innocence and nobility.
Banquo provides a contrast to his delirious friend's happenings. As the closest friend of the tragic hero, he goes through various of the same scenes, providing a different perspective, like seen in their first company of the witches. He is made up of a wise characterization as well, drawing the audience in, "[ to the witches] speak to me, who neither beg nor fear/ Your favors nor your hate,"( Shakespeare, Macbeth 1.3. 60-61). We see Banquo asking the witches for his predictions, wondering what is of his future fate, as any man would. Banquo is a character the audience can therefore more easily connect with as opposed to Macbeth, who is turning to ideals alien to most.
2. One particular theme reinforced in Act One of Macbeth is that of darkness. Macbeth begins his transition into a macabre personality, conspiring and committing murder, all in the name of stature and power; "...when we had marked with blood of those sleepy two/ of his own chamber and used their very daggers..."(Shakespeare, 7.76-77). The dynamic nature previously addressed is taken farther, expressing Macbeth's words into actions.
3. Shakespeare used vivid imagery (usually violent) to strike his tone through the audience. One such example is found as Lady Macbeth explains her loyalty to her husband, she tells Macbeth that if she had sworn it to him she would do the following, " while it[a baby] was smiling in my face,/Have plucked his nipple from his boneless gums / And dashed the brains out ..."(1.7.57-59).
The image of a mother breastfeeding her child present the picture of a special bond; Shakespeare provides a strong message by shifting this image into his. It shows Lady Macbeth's utter devotion to her husband, and the strength of the bond between the spouses.
jueves, 26 de febrero de 2009
100 Years of Solitude...and 100 years of reading
Last night I finally finished 100 Years of Solitude by Gabriel Garcia Marquez. I feel safe stating that it is definitely one of my favorite books, and I would recommend it. Although it is very difficult to summarize, know that it is an amazing work, filled with some of the most vivid and captivating storytelling I have encountered. It is a beautiful tale about a family and their happenings down generations, with fantastical and unimaginable twists throughout. It is available translated, but if you believe you can read it in Spanish, or that you will be able to, I suggest you do.
sábado, 21 de febrero de 2009
Sonnet 55 Commentary
Shakespeare's purpose, as seen in his sonnet, is to express poetry's immortality. Shakespeare utilizes mild irony, powerful allusion, and his own audience to achieve his intent. His short work carries a deep truth.
Throughout history, expensive and lavish monuments have been erected to honor monarchs and leaders. Shakespeare valued his work above these, " Not marble, nor the gilded monuments/Of princes, shall outlive this pow'rful rhyme," (1-2).
Shakespeare acknowledges an ironic truth; his and other authors' works, constructed with simple ink and paper, can long outlive the mentioned, extravagant structures. It shows that whereas the stone tributes will forever remain costly to rebuild, poetry and writing can easily be recopied, and therefore be .
The playwright states that his work will be able to survive through even the strongest of opposition. Shakespeare shows his audience with his allusion to the god of war: "Nor Mars his sword...shall burn/the living record of your memory, "(7-8).
The Roman pantheon is very commonly alluded to in various types of work to make powerful statements. Here, Shakespeare tell his audience that his piece will prevail even in the face of Mars-through wars and through destruction.
Ultimately, Shakespeare engages his audience and uses them as living proof of his claim. "You live in this[poem], and dwell in lover's eyes," (14). This line, which partakes in the concluding couplet, show that because the audience[lover's eyes] is still reading this work, what Shakespeare declares is true; whereas his audience has not seen various fallen monuments, and numerous wars have past, his work perseveres.
Shakespeare exhibits poetry's, if not all of writing, immense power and endurance. He is not egotistical in his work by declaring its durability, only truthful. Shakespeare seems to have been aware of his talent, and foresaw its timeless nature.
Throughout history, expensive and lavish monuments have been erected to honor monarchs and leaders. Shakespeare valued his work above these, " Not marble, nor the gilded monuments/Of princes, shall outlive this pow'rful rhyme," (1-2).
Shakespeare acknowledges an ironic truth; his and other authors' works, constructed with simple ink and paper, can long outlive the mentioned, extravagant structures. It shows that whereas the stone tributes will forever remain costly to rebuild, poetry and writing can easily be recopied, and therefore be .
The playwright states that his work will be able to survive through even the strongest of opposition. Shakespeare shows his audience with his allusion to the god of war: "Nor Mars his sword...shall burn/the living record of your memory, "(7-8).
The Roman pantheon is very commonly alluded to in various types of work to make powerful statements. Here, Shakespeare tell his audience that his piece will prevail even in the face of Mars-through wars and through destruction.
Ultimately, Shakespeare engages his audience and uses them as living proof of his claim. "You live in this[poem], and dwell in lover's eyes," (14). This line, which partakes in the concluding couplet, show that because the audience[lover's eyes] is still reading this work, what Shakespeare declares is true; whereas his audience has not seen various fallen monuments, and numerous wars have past, his work perseveres.
Shakespeare exhibits poetry's, if not all of writing, immense power and endurance. He is not egotistical in his work by declaring its durability, only truthful. Shakespeare seems to have been aware of his talent, and foresaw its timeless nature.
jueves, 29 de enero de 2009
The letter F
I'm not going to write about something that will absolutely enlighten you, or the amazing encounter I had with Elvis Presley last weekend. I'm going to talk about something many of you classmates may have long ago abandoned.
Over winter break I managed to finally speak in pig Latin- the Spanish adaptation. When I was in elementary, many kids, especially my cousins, spoke in the cryptic English version, which, no matter how many times they attempted to explain to me I was never able to decipher; like the cliché story of the outcast child in the playground, I often felt lonely,and depressed. No, I lied , I wasn't that dramatic.
I did however, wish I could twist my words into the confusing sound to what these children referred to as pig Latin. Only now do I realize that this long wait would pay off because like I said before, I can now speak Spanish pig Latin.
We don't refer to it with that term, so please don't take what I have shown you today to ask your Spanish-speaking amigos and ask them about Latin de Cochino. It is commonly named Efeefe, Efe Efe, Efenefe, etc. While it sounds much more complicated than its English relative, it is actually quite simple, and I must admit it sounds much more fluid. The trick is to place the letter f after every vowel, and then placing the same vowel after the f. Here's an example:
Aung Oo no entiende la diferencia entre el aplauso y el trono de los dedos.
Aung Oo nofo efentifiefendefe lafa dififeferefencifiafa efentrefe efel afaplafaufusofo y efel trofonofo defe lofos defedofos.
Aung Oo does not understand the difference between clapping and snapping fingers.
If you would like me to say a sentence in efeefe so you can hear what it sounds like I would be glad to show you.
I fully understand that many of you will probably not be nearly as interested in this as I am, seeing as many of you don't know what in the world I am talking about. If you can remember a time however, when the simplicity of switching around the letters in a language gave so many people a smile, or when you could find entertainment in building things with Legos simply to take them apart again, or when there was no such thing as worries about money, politics, or school, then maybe, you can see why I can write so much about the letter f.
Over winter break I managed to finally speak in pig Latin- the Spanish adaptation. When I was in elementary, many kids, especially my cousins, spoke in the cryptic English version, which, no matter how many times they attempted to explain to me I was never able to decipher; like the cliché story of the outcast child in the playground, I often felt lonely,and depressed. No, I lied , I wasn't that dramatic.
I did however, wish I could twist my words into the confusing sound to what these children referred to as pig Latin. Only now do I realize that this long wait would pay off because like I said before, I can now speak Spanish pig Latin.
We don't refer to it with that term, so please don't take what I have shown you today to ask your Spanish-speaking amigos and ask them about Latin de Cochino. It is commonly named Efeefe, Efe Efe, Efenefe, etc. While it sounds much more complicated than its English relative, it is actually quite simple, and I must admit it sounds much more fluid. The trick is to place the letter f after every vowel, and then placing the same vowel after the f. Here's an example:
Aung Oo no entiende la diferencia entre el aplauso y el trono de los dedos.
Aung Oo nofo efentifiefendefe lafa dififeferefencifiafa efentrefe efel afaplafaufusofo y efel trofonofo defe lofos defedofos.
Aung Oo does not understand the difference between clapping and snapping fingers.
If you would like me to say a sentence in efeefe so you can hear what it sounds like I would be glad to show you.
I fully understand that many of you will probably not be nearly as interested in this as I am, seeing as many of you don't know what in the world I am talking about. If you can remember a time however, when the simplicity of switching around the letters in a language gave so many people a smile, or when you could find entertainment in building things with Legos simply to take them apart again, or when there was no such thing as worries about money, politics, or school, then maybe, you can see why I can write so much about the letter f.
martes, 27 de enero de 2009
Sundiata
Roberto Sande Carmona
10 IB English
Period 5 Ms. Peifer
Similarities and Differences of Sundiata in Comparison to Other Hero Tales
Through the stories of heroes and their journeys we often find archetypes that transcend authors and works of writing. Each different epic however includes certain variations taken by influences on the author like: his/her culture, upbringing, time period, etc.
In Sundiata, the audience can clearly see the similar virtues, morals and feelings commonly strewn in these stories. After the protagonist and his mother are run out, she says the following to Sundiata, "...you must take up the challenge . Better death than shame! Never forget that, my son," (Sundiata Part XI). This brief excerpt shows the importance of valor, pride, and honor Sogolon wants to instill in the hero. Like in various others of the tales, some sort of adviser or mentor ensures that the hero hold a righteous character. This also maintains the character as the heroic protagonist, describing him as being capable of holding his pride high.
The reader could also find alterations from the other epics, more prominently the beginnings of the legend. For the other stories, the paladin is revered to be glorious from their beginning, or is at least introduced as already a magnificent being.
Sundiata however begins as a more than humble human being. He is described as somewhat lame, and slow for his age. His mother's rivals relish in this, as described in this passage:
10 IB English
Period 5 Ms. Peifer
Similarities and Differences of Sundiata in Comparison to Other Hero Tales
Through the stories of heroes and their journeys we often find archetypes that transcend authors and works of writing. Each different epic however includes certain variations taken by influences on the author like: his/her culture, upbringing, time period, etc.
In Sundiata, the audience can clearly see the similar virtues, morals and feelings commonly strewn in these stories. After the protagonist and his mother are run out, she says the following to Sundiata, "...you must take up the challenge . Better death than shame! Never forget that, my son," (Sundiata Part XI). This brief excerpt shows the importance of valor, pride, and honor Sogolon wants to instill in the hero. Like in various others of the tales, some sort of adviser or mentor ensures that the hero hold a righteous character. This also maintains the character as the heroic protagonist, describing him as being capable of holding his pride high.
The reader could also find alterations from the other epics, more prominently the beginnings of the legend. For the other stories, the paladin is revered to be glorious from their beginning, or is at least introduced as already a magnificent being.
Sundiata however begins as a more than humble human being. He is described as somewhat lame, and slow for his age. His mother's rivals relish in this, as described in this passage:
The infant Sundiata had a slow and difficult childhood. At the age of three he still crawled, dragging himself along the ground like a crocodile crawling on a sandbank. He had none of the beauty of his father: a head so big that he seemed unable to support it, large eyes which stared widely whenever anyone entered his mother's house. He did little other than sit in the middle of the house, except when he was hungry and he would drag himself out to rummage about in search of food among the calabashes waiting to be washed. He seemed to be always in a bad mood and scared other children away. He spoke little and his serious little face never relaxed into a smile.( Part VIII)
The imagery and similes used in this paragraph provide quite a vivid exploit of the young hero. Whereas in the other stories only short references were made to the faults of the protagonists, this description goes on to further present Sundiata as a failed foreseeing. This allowed the audience to connect with the character while providing a less unfathomable picture to the likeness of Achilles, Odysseus and other epic persona. It sets the basis for the humble-to-super human origins of Sundiata and emphasizes his achievements to an even greater extent.
martes, 6 de enero de 2009
Inferno Commentary
Roberto Sande Carmona
10 IB English Hour 5
Ms.Peifer
9th of January, 2009
The most effective writing in this passage is simply the tone Dante takes when he scorns Nicholas III. Because Dante rarely lashes out to the people in Hell, so in this manner he sparks the audience's interest. His vivid description of the Pope's reaction-although not lengthy-also provides the reader with a fast interpretation of how Dante regarded him(as a wretch who deserved every insult he was thrown).
The rhyme scheme is well executed to emphasize the language as well, particularly in the first three lines: "Gold and silver are the gods you adore!/In what are you different from the idolator,/save that he worships one, and you a score?" ( 106- 108). The comparison he makes of the Pope with an idolator and the rhyme scheme to back up his point are the basis of his demeaning of the Pope.
This quote is essentially a summary of what Dante had to learn through his voyage. There were several examples where he felt pity for the condemned and these instances were the only times when Virgil expressed anger to his student. Virgil made it clear that for Dante to take the information he needed from his lesson, he had to understand that these people had to be looked upon as a disgrace and scorned; for Dante to feel any sort of clemency was dictating God's judgment as incorrect, and this was the path to damnation.
Since this was one scenario in which Dante properly responded to the doomed souls, it is a decisive part of his work and stands for his eventual path to eternal Heaven.
10 IB English Hour 5
Ms.Peifer
9th of January, 2009
Gold and silver are the gods you adore!/In what are you different from the idolator,/save that he worships one, and you a score?/Ah Constantine, what evil marked the hour-/ not of your conversion, but of the fee/ the first rich Father took from you in dower!/And as I sang him this tune, he began to twitch/and kick both feet out wildly, as if in rage/ or gnawed by conscience-little matter which./And I think indeed, it pleased my Guide:his look/ was all approval as he stood beside me/ intent upon each word of truth I spoke./ He approached, and with both arms he lifted me,/ and when he had gathered me against his breast,/remounted the rocky path out of the valley...(Alighieri Chapter 19, 106-120)This passage is crucial to the reader's understanding of the Inferno's main characters and overarching theme. The focal point of this excerpt is Dante's harshness towards the corrupt man and Virgil's response: "I [Dante] think indeed, it pleased my Guide:his look/ was all approval as he stood beside me/ intent upon each word of truth I spoke, " (115-117). Throughout Dante's trip through Hell, he makes a perfect representation of how one will naturally feel pity for many of the people in the Inferno, however this is wrong according to Virgil, and according to God's judgment. Hence, when Dante scolds the Pope his guide is satisfied, and gives Dante praise. This supports the theme of God's omnipotent power to judge over everybody, and that feeling pity for the ones in Hell is an insult to his wisdom.
The most effective writing in this passage is simply the tone Dante takes when he scorns Nicholas III. Because Dante rarely lashes out to the people in Hell, so in this manner he sparks the audience's interest. His vivid description of the Pope's reaction-although not lengthy-also provides the reader with a fast interpretation of how Dante regarded him(as a wretch who deserved every insult he was thrown).
The rhyme scheme is well executed to emphasize the language as well, particularly in the first three lines: "Gold and silver are the gods you adore!/In what are you different from the idolator,/save that he worships one, and you a score?" ( 106- 108). The comparison he makes of the Pope with an idolator and the rhyme scheme to back up his point are the basis of his demeaning of the Pope.
This quote is essentially a summary of what Dante had to learn through his voyage. There were several examples where he felt pity for the condemned and these instances were the only times when Virgil expressed anger to his student. Virgil made it clear that for Dante to take the information he needed from his lesson, he had to understand that these people had to be looked upon as a disgrace and scorned; for Dante to feel any sort of clemency was dictating God's judgment as incorrect, and this was the path to damnation.
Since this was one scenario in which Dante properly responded to the doomed souls, it is a decisive part of his work and stands for his eventual path to eternal Heaven.
Works Cited
- Alighieri, Dante.Inferno. Trans. John Ciardi. New York: Signet Classics, 2001.
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