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.
miércoles, 25 de marzo de 2009
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.
domingo, 14 de diciembre de 2008
The Essence of Beowulf
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)Roberto Sande Carmona
Ms. Peifer 10 IB English
Period 5th
15th of December, 2008
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.
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.
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