PODG #6

I found the rest of The Picture of Dorian Gray to be fairly interesting. The last chapter was by far my favorite. "When they entered, they found hanging upon the wall a splendid portrait of their master as they had last seen him, in all the wonder of his exquisite youth and beauty. Lying on the floor was a dead man, in evening dress, with a knife in his heart. He was withered, wrinkled, and loathsome of visage. It was not till they had examined the rings that they recognized who it was" (Orwell 165). I found this particular paragraph of the novel to be fairly interesting. Basil's portrait of Dorian changed due to the sin and evil he had committed throughout the book. At the end of the novel, Dorian attempted to ruin the portrait of himself, to rid the hideous face that he did not have, yet the portrait did. In a way, Dorian was destroying a part of himself that he did not know was part of his personality, or at least did not recognize it. This is significant because it shows that Dorian did not appreciate the changes he saw, even if they were on a portrait and not his physical changes.

This section of Orwell's The Picture of Dorian Gray further illustrates a drastic character change in Dorian. After our class discussion today, I noticed that Dorian is becoming more sinful as the book progresses, as Basil notices. In chapter twelve, Basil has an "intervention" with Dorian to explain Dorian's personality change due to an exterior factor, whom they both know to be Lord Henry. Basil is concerned for the well-being of his friend because many are talking about him behind his back, and says to Dorian, "'But you, Dorian, with your pure, bright, innocent face, and your marvellous untroubled youth--I can't believe anything against you. And yet I see you very seldom, and you never come down to the studio now, and when I am away from you, and I hear all these hideous things that people are whispering about you, I don't know what to say'" (Orwell 109). Basil does not believe that Lord Henry's influence on Dorian is beneficial. This situation relates to real-life issues amongst high school students. People will alter their moral standards to fit a societal role, or by giving in to peer pressure. Others may notice this change, and will try to get the influenced to realize what has happened to them. Basil is trying to accomplish this with Dorian, but is failing. After all, Dorian stabs Basil in the next chapter.

PODG #3

At this point in the novel, it is very clear that Dorian's attitude and personality are changing due to the effects of those around him. Dorian is easily influenced, naive, and manipulative because he is young. Lord Henry acts as a positive role model in Dorian's eyes, and Dorian becomes easily influenced by the Lord's "wise" words. When Dorian discovers Sibyl's death, he acts calm and seems as if he is unaffected by the tragic event. He says, "'What is done is done. What is past is past'" (Wilde 79). Dorian's attitude has changed greatly since he claimed his profound love to Sibyl, to not being overly emotional regarding her death. Basil notices the change in Dorian, and blames Lord Henry. Basil sees how manipulative Lord Henry is, and refuses to give into it. 

PODG #2

In chapter 7 of Oscar Wilde's The Picture of Dorian Gray, Dorian realizes that he loved Sibyl for her acting, and that he does not love her anymore. Dorian, Basil, and Lord Henry attend a play Sibyl is acting in and Dorian realizes what a terrible actress she is. Before the play, Dorian describes Sibyl with such beauty and excellence: "'she is divine beyond all living things. When she acts you will forget everything'" (Wilde 59). During Sibyl's performance, Dorian's opinion is changed drastically. He "grew pale as he watched her...[and was] puzzled and anxious" (Wilde 60). Here, Dorian realizes that his love was influenced by an alterable characteristic. Sibyl claims that before loving Dorian, she was able to become more emotionally one with her characters, and now that she loves him, all her emotion is directed in his direction. Dorian is outraged with Sibyl's performance, and calls off their love. He leaves Sibyl devastated, only to discover that she killed herself later that night in the next chapter. Dorian no longer loving Sibyl shows an important characteristic: Dorian can be easily influenced with what is presented to him, just as Lord Henry is appealing to Dorian's character.

The Picture of Dorian Gray Assignment

Dorian

1.  "'When our eyes met, I felt that I was growing pale. A curious sensation of terror came over me. I knew that I had come face to face with someone whose mere personality was so fascinating that, if I allowed it to do so, it would absorb my whole nature, my whole soul, my very art itself. I did not want any external influence in my life'" (Wilde 5).

2.  "'It is not merely that I paint from him, draw from him, sketch from him. Of course I have done all that. But he is much more to me than a model or a sitter. I won't tell you that I am dissatisfied with what I have done of him, or that his beauty is such that Art cannot express it. There is nothing that Art cannot express, and I know that the work I have done since I net Dorian Gray, is good work, is the best work of my life. But in some curious way…his personality has suggested to me an entirely new manner in art, an entirely new mode of style'" (Wilde 7-8).

3.  "The lad started and drew back. He was bare-headed, and the leaves had tossed his rebellious curls and tangled all their gilded threads. There was a look of fear in his eyes, such as people have when they are suddenly awakened. His finely-chiseled nostrils quivered, and some hidden nerve shook the scarlet of his lips and left them trembling" (Wilde 15).

4.  "'I don’t think I am likely to marry, Harry. I am too much in love. That is one of your aphorisms. I am putting it into practice, as I do everything that you say'" (Wilde 34).

-Dorian seems to be easily influenced by Lord Henry.

-As a character, he seems a bit naïve.

-Not assertive. He follows what people say and do.

-Doran treats Lord Henry as a superior figure: "'You filled me with a wild desire to know everything about life. For days after I met you, something seemed to throb in my veins'" (Wilde 35).

Lord Henry

1.  "'I believe that you are really a very good husband, but that you are thoroughly ashamed of your own virtues. You are an extraordinary fellow. You never say a moral thing, and you never do a wrong thing. Your cynicism is simply a pose'" (Wilde 3-4).

2.  '"Ah, my dear Basil, that is exactly why I can feel it. Those who are faithful know only the trivial side of love: it is the faithfulness who know love's tragedies'" (Wilde 9).

3.  "'Thanks for giving me the information I wanted. I always like to know everything about my new friends, and nothing about my old ones'" (Wilde 26).

4.  '"Good-bye, Lord Henry, you are quite delightful, and dreadfully demoralizing. I am sure I don't know what to say about your views'" (Wilde 31).

-Wants the more popular people (Dorian) to like him, and acts better in comparison to Basil.

-Social placement is important to him. He questions Dorian's family history.

-Affiliated with money.

-Seems arrogant.

Basil

1.  '"What odd chaps you painters are! You do anything in the world to gain a reputation. As soon as you have one, you seem to want to throw it away. It is silly of you, for there is only one thing in the world worse than being talked about, and that is not being talked about'" (Wilde 2).

2.  "'Oh, I can't explain. When I like people immensely I never tell their names to anyone. It is like surrendering a part of them. I have grown to love secrecy…When I leave town now I never tell my people where I am going. If I did, I would lose all my pleasure. It is a silly habit, I dare say, but somehow it seems to bring a great deal of romance into one's life. I suppose you think me awfully foolish about it?'" (Wilde 3).

3.  '"Stay, Harry, to oblige Dorian, and to oblige me,' said Hallward, gazing intently at his picture. 'It is quite true, I never talk when I am working, and never listen either, and it must be dreadfully tedious for my unfortunate sitters. I beg you to stay'" (Wilde 12).

4.  '"I believe you would, Basil. You like your art better than your friends. I am no more to you than a green bronze figure. hardly as much, I dare say'" (Wilde 19).

-Basil is more realistic than the other two characters.

-It seems as if he is jealous that Dorian may like Lord Henry more than him.

-He is intellectual, and expresses his feelings through portraits of others: '"Basil, my dear boy, puts everything that is charming in him into his work'" (Wilde 41).

- He is very honest and true to the other characters: "'Oh, Basil is the best of fellows"' (Wilde 41).

Merchant Of Venice III.i. and III.ii

In this section of The Merchant of Venice, the racism against the Jewish people really stood out to me. I practice Judaism as a religion, and to read these comments was offensive and degrading toward my religion. Toward the beginning of the section, Solanio and Salarino are conversing when Shylock walks in. Solanio says, "Let me say "amen" betimes, lest the devil/ cross my prayer, for here he comes in the likeness/ of a Jew" (III.i.20-22). Here, Solanio is referring to Shylock as a devil because of his religion. The devil is not often associated with positive connotations. Shylock is puzzled as to why Antonio speaks badly of him and takes his business: "what’s his reason? I am a Jew. Hath not a Jew eyes? Hath not/ a Jew hands, organs, dimen-/ sions, senses, affections, passions? Fed with the/ same food, hurt with the same weapons, subject to/ the same diseases, healed by the same means,/ warmed and cooled by the same winter and sum-/mer as a Christian is?" (III.i.57-63). Shylock is curious as to why Jewish people are treated differently than Christians. He says that a Jew's body is the same as a Christian's, and that people of both religions go through the same life processes.

Hamlet #8

In this section of the play, Hamlet is in the graveyard with Horatio. The two are talking with the gravedigger when a funeral procession arrives. hamlet is unaware that this is the funeral for Ophelia, since she drowned in the previous scene. When Hamlet learns that it is Ophelia who has died, he jumps into her grave alongside Laertes and declares his love for Ophelia. He says, “Forty thousand brothers / Could not with all their quantity of love/ Make up my sum” (V.i.285–287). Here, Hamlet is saying that his love for Ophelia is greater than that of forty thousand brothers. The King and Queen are astonished by this action from Hamlet. This only further shows that Hamlet is indeed crazy. However, hamlet is purely addressing his feeling for his love who has just recently died. hamlet has the right to be upset, yet, he is deemed crazy for expressing his true emotions.

Hamlet #7

In this section of Hamlet, Hamlet is influenced by Fortinbras' army to make a move on revenge for Claudius. In his soliloquy, he says, "I do not know/ Why yet I live to say “This thing’s to do,”/ Sith I have cause and will and strength and means/ To do ’t. Examples gross as earth exhort me" (IV.iv.46-49). Here, Hamlet blatantly states that he has the willpower and the motivation to avenge his father, and that it is rather obvious. However, it is evident that throughout the beginning of the play, Hamlet has been putting off the murder of Claudius. In the second scene of act three, Hamlet states that he has the proof needed to murder Claudius and the passion to commit such an act. However, he goes to see Gertrude instead. Although Hamlet claims to have the means necessary to avenge his father, he keeps putting it off, perhaps showing that he is somewhat of a coward.

Hamlet #6

In this section of Hamlet, Hamlet criticizes his mother for marrying Claudius. The two of them get into a debate which showcases Hamlet's true feelings for Claudius, and the relationship between Claudius and Gertrude. In this scene, Hamlet's madness is highlighted when the ghost of his father arrives. Hamlet's mother cannot see the ghost, and she believes that Hamlet is crazy for talking to no one. This shows that Hamlet's plan of acting insane is working in the eyes of others, even though Hamlet knows that he is not necessarily acting in such a way. This scene also demonstrates a change in Hamlet's attitude. Rather than wanting to commit suicide, Hamlet must realize that he must avenge his father's death. He still sees the world in a negative manner, but wants to serve his father right. This argument between Hamlet and Gertrude also shows a certain characteristic of Gertrude. When discussing the act of sinning, the queen says, "O Hamlet, speak no more!/ Thou turn’st mine eyes into my very soul,/ And there I see such black and grainèd spots/ As will not leave their tinct" (III.iv.99-102). Here, Gertrude mentions that her sins are so thick and dark that they will never be washed away. Perhaps she realizes that she has wronged Hamlet and her dead husband for marrying Claudius.

Hamlet #5

In this section of Hamlet, Hamlet's play is performed to his family. Also, Polonius' plan is put into action. Toward the end of act three scene two, Hamlet is conversing with Guildenstern while players with recorders enter. Hamlet uses the recorder as a metaphor for Guildenstern's treatment toward him. He says, "Why, look you now, how unworthy a thing/ you make of me! You would play upon me, you/ would seem to know my stops. You would pluck/ out the heart of my mystery...'Sblood,/ do you think I am easier to be played on than a pipe?/ Call me what instrument you will, though you can/ fret me, yet you cannot play upon me" (III.ii.393-396,399-402). In this dialogue, Hamlet is saying that Guildenstern played him to uncover the mystery as to why Hamlet acts the way he does. Hamlet rhetorically asks if he is manipulative, and says that he cannot be fooled. This quotation is important in the play because Guildenstern is supposed to be Hamlet's close friend, yet is spying on him due to orders from the King and Queen. Earlier in the play, Hamlet believed that his friend was "true" to him, unlike his family. Here, that is proved false.

Hamlet #4

In this section of the play, the audience learns of Hamlet's true motives for revenge against Claudius. Hamlet is visited by friends Rosencrantz and Guildenstern and says, "I have of late, but/ wherefore I know not, lost all my mirth, forgone all/ custom of exercises, and indeed it goes so heavily/ with my disposition that this goodly frame, the/ earth, seems to me a sterile promontory" (II.ii.318-322). Hamlet also describes his views of the world around him: "the/ earth, seems to me a sterile promontory; this most/ excellent canopy, the air—look you, this brave o'er-/ hanging firmament, this majestical roof fretted/ with golden fire—why, it appears no other thing to me/ than a foul and pestilent congregation of vapors" (II.ii.321-326). From his quote, it is editable that Hamlet glorifies the earth, but then declares it as "a foul and pestilent congregation of vapors" (II.ii.326). Although Hamlet does recognize the positive and good qualities, he chooses to ignore them and focus more on the bad ones, which has an effect on his overall attitude. Hamlet goes on to describe people as well: "What a piece of work is a man! How noble in/ reason, how infinite in faculty! In form and mov-/ ing how express and admirable; in action how like/ an angel, in apprehension how like a god: the/ beauty of the world, the paragon of animals-and/ yet, to me, what is this quintessence of dust?/ Man delights not me" (II.ii.327-333). Here, Hamlet also glorifies humans by characterizing them as noble, infinite, god-like, and angelic. This statement contradicts another statement that Hamlet makes in his speech because to Hamlet, humankind is merely dust, which perhaps symbolizes death.

Hamlet #3

In this section of Hamlet, Hamlet has an encounter with the ghost who represents his dead father. The ghost shares with Hamlet the cause to his death, which leaves Hamlet with a thirst for revenge on his uncle, and the new king. The ghost tells Hamlet that he is trapped in the fires of purgatory until he has paid time for all of his past sins: "And for the day confined to fast in fires,/ Till the foul crimes done in my days/ of nature/ Are burnt and purged away" (I.iv.16-18). Purgatory is a place where souls are punished for their sins before entering heaven. The ghost tells Hamlet that the king was killed before he could repent for his sins, which is why he is in purgatory: "Unhouseled, disappointed, unaneled./ No reckoning made, but sent to my account/ With all my imperfections on my head" (I.iv.84-86). This idea of freeing sins is similar to the final act in Shakespeare's play Othello. Before Othello killed Desdemona, he told her to pray to free herself of all her sins from the past. Unfortunately, the king was not given such an opportunity to do so.

Hamlet #1

In the first two scenes of the play, the audience learns of the ghost resembling Hamlet's father and of the grief that Hamlet suffers due to his father's death. Throughout the act one scene two, Hamlet is grieving his father's death, while his mother and Claudius are unaffected by their son's great unhappiness. The queen says to her son: "Good Hamlet, cast thy nighted color off,/ And let thine eye look like a friend on Denmark./ Do not forever with thy vailèd lids/ Seek for thy noble father in the dust./ Thou know’st ’tis common. All that lives must die,/ Passing through nature to eternity" (I.ii.70-75). The queen is telling her son to be nicer to Claudius, and to stop moping around remembering his father. She also tells her son that death is natural, and that it happens often. During Shakespeare's time, death was an mystery and was quite common. Therefore, people did not make such a great deal when one passed. However, this is contrasting to Hamlet because he is constantly upset regarding his father's death, and no one else seems to be affected by the news.

Othello #7

Shakespeare’s play Othello ends with many tragic deaths. In the last scene of the play, Othello, Emilia, and Desdemona all die in result of Iago's evil motives. Othello kills his wife Desdemona because he believes that she was having other romantic relations with Cassio, all which was false. Iago pretended to be Othello's friend, but he was feeding Othello lies about his wife, which lead to Othello killing her after debate. This particular soliloquy from Othello is particularly significant because it shows that Othello can be sympathetic. Earlier in the play, Othello was crazy, paranoid, and out of control due to Iago's mind tricks. Othello believes that killing Desdemona will be morally justified: "Yet she must die, else she’ll betray more men" (VI.ii.6). Othello wants to kill his wife partly because he does not want other men to suffer for the reasons that Othello did, and because he is trying to end this reoccurring sin that could possibly happen in the future. In his soliloquy, Othello also discusses how he plans on killing her: “But once put out thy light,/ Thou cunning’st pattern of excelling nature,/ I know not where is that Promethean heat/ That can thy light relume” (VI.ii.10-13). Othello wants to kill his wife peacefully. This is also a redundant analogy because if he kills Desdemona, Othello I partly killing his inner goodness because Desdemona brought about the goodness in Othello, before Iago brainwashed him with lies.

Othello #6

In this section of Shakespeare's Othello, the relationship between Emilia and Iago is questioned by the audience. Emilia is completely unaware of her husband's devious plan. When talking with Desdemona, she describes a person who is very much like Iago, but does not realize it because the description is negative. She also talks with Othello. She says, "If any wretch have put this in your head,/ Let heaven requite it with the serpent’s curse,/ For if she be not honest, chaste, and true,/ There’s no man happy. The purest of their wives/ Is foul as slander" (IV.ii.16-20). Emilia tries to convince Othello that Desdemona is not cheating on him, saying that God should curse anyone who makes him think otherwise. This shows that Emilia does not know her husband as well as she thinks she does. This is also ironic because in the quote above, Emilia wants God to curse her husband.

Othello #4

"To counsel Cassio to this parallel course/ Directly to his good? Divinity of hell!/ When devils will the blackest sins put on,/ They do suggest at first with heavenly shows,/ As I do now" (II.iii.370-373). In this soliloquy, Iago is being rather villainous and has horrible intentions. Iago is relating himself to the devil, and consistently calls upon hell to aid him in his plan. He is now using analogies in which he himself is the devil. The parallel between Iago and the devil is sort of a religious allegory, for all of the other characters in Othello are represented by Christian faith. However, Iago recognizes his evil, and he is okay with it. Iago also discusses Desdemona. He says, "So I will turn her virtue into pitch,/ And out of her own goodness make the net/ That shall enmesh them all" (II.iii.380-383). Here, Iago says that he wants to use Desdemona's goodness to bring down others, and that he wants to use Desdemona's own virtue against her.

Othello #2

This act of Othello primarily deals with Iago's pure hatred towards Othello, and it also deals with Iago's plan slowly, but surely, falling into place. So far in the play, it is evident that Iago is very fake, for he favors Othello to his face, but then talks about him in a negative manner to others and wants to ruin his new marriage to Desdemona: "the thought whereof/ Doth, like a poisonous mineral, gnaw my inwards,/ And nothing can or shall content my soul/ Till I am evened with him, wife for wife" (II.i.318-321). Iago wants go get revenge on Othello because Iago believes that Othello slept with his wife. To get back at Othello, Iago wants to break up the marriage between Othello and Desdemona and have her fall in love with Cassio. When discussing Othello to Roderigo, Iago says, "When the blood is made dull with the act of sport,/ there should be a game to inflame it and to give/ satiety a fresh appetite, loveliness in favor, sympathy/ in years, manners and beauties. All which the Moor/ is defective in" (II.i.248-252). Here, Iago describes Othello as old, ugly, and contrasting to Desdemona. In this segment of the play, Iago acts as a facade toward Othello, and Othello is very unaware of the fact this his friend is plotting against him.

Othello Act 1 Character Analysis

Act I of Shakespeare's Othello introduces the audience to the tragedy's characters, along with their personalities. A character that stood out was Othello. Othello falls in love with Brabantio's Desdemona, and is held responsible for her disappearance and unjust actions, in her father's eyes at least. Othello makes himself seem important, specifically when he discusses his family's past : "Which, when I know that boasting is an honor,/ I shall promulgate. I fetch my life and being/ From men of royal siege, and my demerits/ May speak unbonneted to as proud a fortune/ As this that I have reached" (I.ii.23-27). Here, Othello states that he does not like to brag, but he comes from a royal family, and that he is noble. Othello shows the conceded side of his personality here. Later in the scene, he says, "My parts, my title, and my perfect soul/ Shall manifest me rightly" (I.ii.36-37). At this specific part, Othello blatantly states that his perfection, and status will protect him from any harm.

A Doll's House

After finishing A Doll's House by Henrik Ibsen, it was clear that many themes are strong and present throughout the play. A common theme represented in the play is the role of women, and how it is superficial. In Act I of the play, the audience learns the fact that Nora obtained a loan from Krogstad, and is having to pay the loan off in secrecy. Nora must hide the loan from her husband because she knows Torvald could never accept the idea that his wife had helped to save him. In addition, it is illegal for a woman to obtain a loan without her husband’s permission, which is why Nora must work in secret to pay off her loan. At the time of the play, society dictated that Torvald be the marriage’s dominant partner, and that he take care of all business obligations. For his wife to go behind his back and obtain a loan is socially unacceptable.

When reading the play, I realized that the character of Nora did not seem happy in her place as a mother and wife. This is evident in Act III when Nora tells Torvald that she is leaving him and the children. She says, "I mean that I was simply transferred from papa's hands into yours. You arranged everything according to your own taste, and so I got the same tastes as you--or else pretended to...When I look back on it, it seems to me as if I had been living here like a poor woman--just form hand to mouth. I have existed merely to perform tricks for you, Torvald...It is your fault that I have made nothing of my life" (Act III). Women were put into a marriage, without a say. This results in an unhappy and unsatisfied marriage for one, if not both partners. Nora has existed in Torvald's life to purely entertain him, which is not how a marriage should be. In the play, Nora did not have a job, but her husband gave her money to spend, which did not make her happy in the end. Nora's role as a mother is sacrificial becuase she claims that she has made nothing of herself, except being a wife, which is unsatisfying.