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.

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:

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.

Inferno Commentary

Roberto Sande Carmona
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.

The Essence of Beowulf

Roberto Sande Carmona
Ms. Peifer 10 IB English
Period 5th
15th of December, 2008

He [Beowulf] picked us out/from the army deliberately, honoured us and judged us/fit for this action,made me this lavish gifts-/and all because he considered us the best/of his arms-bearing thanes. And now, although/he wanted this challenge to be one he'd face/by himself alone-the shepherd of our land,/a man unequaled in the quest for glory /and a name for daring-now the day has come/when this lord we serve needs sound men/to give him their support . Let us go to him,/help our leader through the hot flame/ and dread of the fire. As God is my witness,/I would rather my body were robed in the same/burning blaze as my gold-giver's body/than go back bearing arms. /That is unthinkable, unless we have first/slain the foe and defended the life/of the prince of the Weather-Geats. I well know/the things he has done for us deserve better. (Heaney 2638-2657)

This passage provides an insight into the very core of Beowulf. It shows that the entire epic centralizes around honor, valor, and Beowulf. It represents the level of impact the protagonist had on the people he came across. Never a negative thought is even whispered of him, he is ultimate righteousness. In this passage the audience is provided of how valuable Beowulf is to everything, more specifically his people. He's their provider-"my gold-giver's body" (2653); their leader-"the shepherd of our land"(2644); and he is also self-sacrificing and earned the claim of his people-" the things he has done for us deserve better" (2657).
This section makes the loyalty to and dependence of Beowulf blatantly evident. Any assumptions the reader has of his followers feeling resent towards him are completely vanquished by the power of this passage.
One literary device found is the allusion to God and by that Christianity. It is representative to the probable religion of the author and if we take this to be the truth, it makes the statement much more powerful through the religion. For a Christian, stating " As God is my witness..." (2650), the statement following would be something clearly powerful.
The most effective literary element for this passage however is diction. The voice the author gives to Wiglaf as he unites his fellow arms-bearers using such powerful language is incredible. It creates an increasingly moving and motivating speech and it nearly makes the reader feel as if he/she is one of the soldiers. The word choice does justice to the entire writing, again expressing their feelings for courageousness and honor.
This extract embodies Beowulf's entity-both the character and the work. It puts forth Beowulf's greatness in words other than his own, making it much more impacting. The umbrella of protection Beowulf's was over his people, and his absolute sacrifice for them is what produces this spark in his men and in his immortality through their remembrance.

Works Cited

Beowulf. Trans. Seamus Heaney. New York: W. W. Norton & Company, 2008.

Beowulf LRJ #2

Roberto Sande Carmona
Ms.Peifer 10 IB English
Period 5
8th of December, 2008

1. Values

One thing that the characters seem to hold close is friendship. Especially for someone whom wields a large influence or power, like Hrothgar. After his friend Aeschere is taken by Grendel's hag of a mother, the king seems to take a blow that truly collapses his morale.

He[Aeschere] was Yrmenlaf's elder brother/and a soul-mate to me, a true mentor,/my right-hand man when the ranks clashed/and our boar-crests had to take a battering in the line of action. Aeschere was everything/ the world admires in a wise man and a friend. (Heaney 1324-1329)

Often times it is quarreled over weather someone high in the hierarchy of a society should keep ones away or close to him. It is evident that for these strong people, or at least for their ruler, Aeschere was his nearest confidant. The posthumous recognition of Aeschere and impacting words utilized by Hrothgar, make this clear.
However, along with this ideal is that of Beowulf's value of hardened emotions. He tells Hrothgar, "Bear up/an be the man I expect you to be"(95-96). As one of my astute colleagues so put it, " Beowulf tells Hrothgar to put his man-pants on."
This represents the machismo-swayed culture. It is evidence of their beliefs of tough, emotionless warriors as the infra-structure of their societies.

2. Surrealism
One part that although may not exactly be named surreal that seem somewhat unbelievable was that of the quote stated above, where Beowulf tells the king to "bear-up." In these epics, anybody telling the king what to do in such direct terms seems outlandish. But then again that is the very definition of Beowulf as a man. This short instance carries withing itself the entire plot, that of the protagonist's awesomeness. This cuts it clear for the audience, that Beowulf is a character believed to have the power to do essentially anything he feels fit.
Beowulf is the king. He is the absolute power in this time and in this story. For people in this time he was nearly a religious image, something so incomprehensible and unattainable that it provided basically the same surrealism.

3. Favorite Quote

My favorite quote form the passage I have already referenced; where Beowulf tells the King Hrothgar, "Bear up and be the man expect you to be"(95-96). Like stated before, this, in an ancient epic seems so blasphemous that it really sparked thought and debate within myself. To me it was the sentence with most meaning in this section if not from all the sections we read.
Although it does not provide any information about the happenings in the story, to me it really defines Beowulf, and in that it defines the entire story.

Creon's Demise

Roberto Sande Carmona
10 IB English Hour 5
Ms.Peifer

The struggle of morality has always sparked human interest. The infrastructure of Antigone is made up of a particularly eristic moral debate, that of weather to side with state or kin; it is what fuels the work and what raises the question of Antigone's chastity.
There is a triad of points which ascertain her innocence. First, she only set out to do what was dictated correct by the gods, and their omnipotent authority. Second, the mandate that was set down was done so by an arrogant king, with whom the people were dubious of he, his decree, and the reasoning behind it. In defying the law she remained loyal to something more important than to a bias king- her family. Lastly, she accepted the consequences of what she set out to achieve even before she began her venture. She saw it not as something to waste energy on escaping, but as something that she would have to endue to fulfill what she and various others believed; albeit this is not proof of her innocence, it is not generally behavior displayed by the guilty.
As the reader can discover throughout the playwright's work, there are instances were it's stated that the proper burial of Polyneices is will of the gods, that it is what their laws that govern all man dictate, and that is the righteous thing to do. Antigone expresses her thoughts directly stating to her sister Ismene, "..if thou wilt, be guilty of dishonouring laws which the gods have established in honour"(Sophocles par.17). This expresses to the audience that this is the absolute law of the gods; which to the Greek religion is more important than any law any mortal could establish.
Later we even see Choragus, who resides as an adviser to Creon in the story, masquerading his suggestion in the form of a question, inquiring, "O king, my thoughts have long been whispering, can this deed, perchance, be e'en the work of gods?"(par.61)
The Leader tells that he has thought this for a period of time, not simply at that moment, revealing to the reader his, and possibly the people's, true feelings, hidden in a cloak of fear, cast by Creon; this leads to the second point.
Could it be that the Choragus's words represent the people and their reactions to this? In the story there are a couple clues such as this one that show how the majority of the populous is against Creon in this stand even if they do not say so outright. An exemplar other than the one stated previously is a small message, but it carries a monumental meaning; the Guard states in reference to Creon, "Tis sad, truly, that he who judges should misjudge" (par. 73).
It is strange that a guard whom up to this point seemed petrified about the idea of speaking to Creon and delivering bad news would insult him so, but this was no blight act by the writer. It was put in place to again assert the fact that Creon's thought went against the people and that it was the correct thing for Antigone to remain loyal to her brother and to the gods.
Antigone's purity is expressed in her posture and acceptance throughout the story. She does not take all this in panic, she thinks of the deeds presented as something that must be completed. She is fully aware of what will happen and comes to terms with it, some may even say welcome it. This citation compacts this and her thoughts of Creon;

Not through dread of any human pride could I answer to the gods for breaking these. Die I must,-I knew that well (how should I not?)-even without thy edicts. But if I am to die before my time, I count that a gain: for when any one lives, as I do, compassed about with evils, can such an one find aught but gain in death? So for me[Antigone] to meet this doom is trifling grief; but if I had suffered my mother's son to lie in death an unburied corpse, that would have grieved me; for this, I am not grieved. And if my present deeds are foolish in thy sight, it may be that a foolish judge arraigns my folly.(par. 104)

She states how she would rather "die in honor than live in shame." This is the very definition of virtue. It clearly represents her righteousness and incorruptibility. It is her acceptance speech for the ill-assigned punishment, without any attempt to evade, which can be agreed is not generally guilty behavior.

This shows the irrefutable innocence of Antigone. She was the only that stood for the man who could not do so for himself, her brother when he was in dire need.In her rebellious acts to the king, she remained loyal to the gods' maxims, remained loyal to her kin, and gave hope to the people that they could confront their ruler when they saw it fitting.

Sande 2

Works Cited

Sophocles. “Antigone.” The Internet Classics Archive. Trans. R. C. Jebb. 04 Oct. 2000.
Classics.mit.edu. 21 Nov. 2008
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LRJ #2

Roberto Sande Carmona
10 IB Hour 5 Ms. Peifer
24th of November, 2008 LRJ #2

Repeated Image

One repeated image that is crucial to the structure and basis of the work is that of the idea of proper burial rights, or to be more explicit, that of Polyneices's burial rights. This is, of course, portrayed throughout the entirety of the writing, but that could be a reason of why it would be challenging to find exactly what it stands for.
The direct meaning is the identity it has as the problem, the disagreement everything meditates around. However, it can also be seen as a sign for love, agony, and morality. With these aspects converging and diffusing into one another the reader finds loved ones of the deceased like Antigone expressing outright her actions and love for her brother whilst the other sibling Ismene conflicting over what is the correct thing to do. Pondering the morality, and the age-old question of whom or what to choose in the battle of kin or law.

[Antigone to Ismene] I shall rest, a loved with him whom I have loved, sinless in my crime; fro I owe a longer alliance to the dead than to the living: in that world I sahll abide for ever. But if thou wilt, be guilty of dishonouring laws which the gods have established in honour." ( Sophocles par. 17)

This summarizes the three points well; one can see the will and love of Antigone evident in the way she carries herself, the inner conflict of Ismene is shown, and the morality aspect is also acknowledged.

Fatal Flaw

Although a reader could discover flaws for various of the main characters, it is most portruding in that of Creon, the (revered) antagonist. Through a legion of instances, one can find his flaw. He has a sort of arrogance, which would not be dificult for someone of his power to attain, and an ignorant outlook. For somebody to be prosperous him or her must be a good listener, especially to those whom he or she disagrees with, and the failure to do so on Creon's part is the spark of his collapse. It is apperant that any idea he asides with is immediately seen as blasphemy, shown in the following exerpt:

[Leader]O king, my thoughts have long been whispering, can this deed, perchance, be e'en the work of gods?//[Creon]Cease, ere thy words fill me utterly with wrath, lest thou be found at once an old man and foolish. For thou sayest what is not to be borne, in saying that the gods have care for this corpse. (par. 61-62)

Creon's dismissal of this and numerous other ideas in the story are result of his fatal flaw; and this is tragic story's tying notion. His clashes with the other persona are the locomotive of this writing, and they provide a gritty, real-world view even if for us today the setting of life is so unimaginably altered.

Anagnorisis, Peripeteia, and Catharsis

While the writing is titled Antigone, the tragic essence of it is actually Creon. Antigone did lose her life, but it was always what she had expected, stripping it of its grim characteristic. It instead made her a martyr, whereas Creon really took the place of the tragic hero.
Anagnorisis takes place after Creon finishes his conversation with Teiresias, and takes the advice from the Choragus to bury Polyneices and free Antigone, in his realization of his faults, in paragraphs 307 to 313.
Peripeteia happens at the exact moment the king goes to free Antigone and she had already committed suicide. It was at this point, where the "beginning of the end" is shown that Anagnorisis and Peripeteia come together that Creon's fortune reverses.
In the very last scenes the reader finds Catharsis; when Creon's demised future comes from his own mouth, and the reader feels pity for him, although up to that point of frailty, he is the antagonist.

Portrayal Of Women
Very early one finds that the status of women is stated to be one of stereotypical proportions, specific to the time of the play. In Ismene's dialogue the woman herself states "we were born women, as who should not strive with men" ( par. 16).
But through the actions of Antigone the work shows the exact opposite, that a woman can defy authority when not even a man would venture to. The audience can sense the powerful will and set mind of Antigone, which is much more powerful than anything a character could simply state.