Tuesday, March 20, 2007
Sunday, March 18, 2007
Jordan-Leigh's Spec. Study.
EDITED. NEED TO PRINT FOR TO DO SPEC. STUD.
'The Penelopiad' - Margaret Atwood
'The Penelopiad' by Margaret Atwood is part of the myths series. The myths series is a set of novels written by famous authors which tell a common myth in a new and up to date way. 'The Penelopiad' tells the tale of Odysseus (told in Homer's "The Odyssey") from the perspective of his wife Penelope and the maids who he killed. Giving the masculine tale a feminine narrative in the very feminine novel, creates a new level of understanding to the tale and is effective in presenting a new side to the story. This essay will discuss how Margaret Atwood creates this feminine narrative through Penelope and how this effects the reader’s view of Odysseus.
The main form of narrative is simple first person told by Penelope. It is through this narrative that the characters are created, both Odysseus and Penelope herself. The frequent interjection of the maids conveys a contrasting view and creates a new form of narrative; verse. It is through these two types of narrative that the title of the novel originates - 'The Penelopiad' - being a mixture of both Penelope and maid. However, this essay will be focusing solely on Penelope’s narrative.
Opening the novel with "Now that I'm dead I know everything" the witty character of Penelope begins to unfold. Resentment, loyalty, jealousy, insecurity and love are among many of the characteristics we witness in Penelope throughout the novel, and it is through these characteristics that Margaret Atwood creates a strong, feminine narrative. Describing herself as "nothing special to look at" we see the insecure side to Penelope; one of the characteristics many women can relate to. Her insecurity is also shown through the jealousy she feels towards her cousin 'Helen of Troy' and the way that Penelope constantly compares herself to her. "A women who'd driven hundreds of men mad with lust”, here Penelope is talking about Helen and this provides a comparison to herself described as "a plain but smart wife". This depicts the beauty of Helen and the power she has over men and also provides insight into Penelope’s feelings of insecurity and being insignificant in comparison, but only in terms of beauty. Penelope does know that she is intelligent and uses this to her advantage later in the novel.
Penelope often muses that Odysseus holds feelings towards Helen and this jealousy is also shown through the bitter tone we witness when Penelope talks about Helen; "Helen the septic bitch, root cause of all my misfortunes.”. This quote is an example of the bitter tone used whilst discussing Helen as by saying she is the “root cause of all” her problems we see she feels like Helen is to blame, even though it is not true. Because it is not true, Penelope describing Helen as a “septic bitch” seems almost unprovoked and therefore shows the bitterness felt towards her. This quote also shows her resentment towards Helen. Penelope resents Helen for Odysseus' departure from Ithaca, as she feels that Helen is mostly to blame. This resentment can also be interpreted as Penelope's love for Odysseus though, as she misses him so much she seeks out someone to blame for his departure and all of her own problems, thus being Helen. It also shows her love because she is so unnerved by Helen’s own beauty she feels Odysseus will stray to her and this is one of her biggest fears. This adds to the creation of the character of Penelope.
Loyal to Odysseus while he is in Troy, Penelope wards of the suitors, (reluctant to leave without her hand in marriage) by using her wit. Most known for being smart, Penelope cunningly weaves a shroud and tells the suitors she will not marry until the shroud is complete - secretly she undoes all of the weaving she has done at night while the suitors sleep. It is through this plan that we see Penelope form a strong bond with the maids, "I was spoiling them" - Penelope treats the maids in a way that is frowned upon. This relationship with the maids also adds to the femininity of Penelope as the Maids are her companions in the way most women view their best friends. When Odysseus returns and kills the maids for ‘disobedience’ while he was away we see Penelope grieve for them but still, she remains loyal to Odysseus, this shows the level of adoration she feels for him and her need to be a good wife. Margaret Atwood uses Penelope’s need to be a good wife as a sign of her ultimate, stereotypical, femininity, therefore portraying a believable feminine narrator.
Odysseus is portrayed in many ways by Penelope. At the beginning of the novel, when she knows what he has done, she resents him and he is portrayed as cunning and evil. "What a fool he made of me.. It was a specialty of his, making fools.. I knew he was tricky and a liar.." Here we see how Penelope really feels about Odysseus while she reflects upon her time on earth. This quote shows Penelope's hurt and resentment towards Odysseus as she feels he has publicly made a fool of her while all she did was stay loyal and faithful to him, it also tells us a little about Odysseus’ character as it describes him as “tricky” and a “liar”. "Hadn't I been faithful? Hadn't I waited, and waited, and waited - despite the temptation?" Later we learn she resents him because she did everything in her power to protect his name and their relationship when Odysseus had been away, whilst he was cheating on her and having a good time. This portrayel of Odysseus makes the reader expect him to be a very masculine, not very nice, character.
This resentful tone towards Odysseus is not carried on throughout the novel however as when Penelope begins to tell us the story she talks of him fondly and lovingly, as she felt for him at the time (when she was alive). "Odysseus was not one of those men who, after the act, simply roll over and begin to snore...No Odysseus wanted to talk." This shows that Odysseus was loving and kind towards her and we find out that this is one of the traits that won Penelope over in the end. As it was an, in a way, arranged marriage Penelope and Odysseus did not love one another from the start but took their time to get to know each other and grew to love one another. Odysseus is portrayed as cunning when Penelope talks of his plan to get out of going to Troy and when she talks of his plan to get back into the palace unknown to the suitors, by discussing him this way Penelope shows her admiration for his intelligence. This opposing portrayel of Odysseus shows us his loving side and allows the reader to see what it was that Penelope loved in the beginning. It is through these two different interpretations of him that his character is portrayed and the overall idea of him being able to make fools is shown as we see how Penelope believed him to be a good man at the beginning of their relationship.
The interpretation of Odysseus in 'The Penelopiad' is different to in 'The Odyssey' because in 'The Odyssey' the story is told by him and is very masculine. The different feminine narrative is effective in telling this myth from a new perspective. It creates a new version of events which are non-bias to Odysseus and allow Penelope's side of the story to be heard. The maids' input allows a further perspective to be taken into account and allows the reader a choice of who to sympathise with. Penelope can be seen as a heroine as she is just a typical woman, with doubts and insecurities, trying to do right by her husband without being seen as having no mind of her own. The reader can sympathise with her as we see all of the hardship she is faced with and the way she feels within herself. Without her husband Penelope has to stand on her own two feet and make her own choices. 'The Penelopiad' is also a contrasting view of Penelope from 'The Odyssey' as she is given her own voice and is not just seen as "the plain wife." 'The Penelopiad' portrays the story of Odysseus in a way many people can relate to with humour presented through the bitter diatribes of Penelope which are witty and enjoyable. ‘The Penelopiad’ is the perfect example of 'there are two sides to every story.'
'The Penelopiad' - Margaret Atwood
'The Penelopiad' by Margaret Atwood is part of the myths series. The myths series is a set of novels written by famous authors which tell a common myth in a new and up to date way. 'The Penelopiad' tells the tale of Odysseus (told in Homer's "The Odyssey") from the perspective of his wife Penelope and the maids who he killed. Giving the masculine tale a feminine narrative in the very feminine novel, creates a new level of understanding to the tale and is effective in presenting a new side to the story. This essay will discuss how Margaret Atwood creates this feminine narrative through Penelope and how this effects the reader’s view of Odysseus.
The main form of narrative is simple first person told by Penelope. It is through this narrative that the characters are created, both Odysseus and Penelope herself. The frequent interjection of the maids conveys a contrasting view and creates a new form of narrative; verse. It is through these two types of narrative that the title of the novel originates - 'The Penelopiad' - being a mixture of both Penelope and maid. However, this essay will be focusing solely on Penelope’s narrative.
Opening the novel with "Now that I'm dead I know everything" the witty character of Penelope begins to unfold. Resentment, loyalty, jealousy, insecurity and love are among many of the characteristics we witness in Penelope throughout the novel, and it is through these characteristics that Margaret Atwood creates a strong, feminine narrative. Describing herself as "nothing special to look at" we see the insecure side to Penelope; one of the characteristics many women can relate to. Her insecurity is also shown through the jealousy she feels towards her cousin 'Helen of Troy' and the way that Penelope constantly compares herself to her. "A women who'd driven hundreds of men mad with lust”, here Penelope is talking about Helen and this provides a comparison to herself described as "a plain but smart wife". This depicts the beauty of Helen and the power she has over men and also provides insight into Penelope’s feelings of insecurity and being insignificant in comparison, but only in terms of beauty. Penelope does know that she is intelligent and uses this to her advantage later in the novel.
Penelope often muses that Odysseus holds feelings towards Helen and this jealousy is also shown through the bitter tone we witness when Penelope talks about Helen; "Helen the septic bitch, root cause of all my misfortunes.”. This quote is an example of the bitter tone used whilst discussing Helen as by saying she is the “root cause of all” her problems we see she feels like Helen is to blame, even though it is not true. Because it is not true, Penelope describing Helen as a “septic bitch” seems almost unprovoked and therefore shows the bitterness felt towards her. This quote also shows her resentment towards Helen. Penelope resents Helen for Odysseus' departure from Ithaca, as she feels that Helen is mostly to blame. This resentment can also be interpreted as Penelope's love for Odysseus though, as she misses him so much she seeks out someone to blame for his departure and all of her own problems, thus being Helen. It also shows her love because she is so unnerved by Helen’s own beauty she feels Odysseus will stray to her and this is one of her biggest fears. This adds to the creation of the character of Penelope.
Loyal to Odysseus while he is in Troy, Penelope wards of the suitors, (reluctant to leave without her hand in marriage) by using her wit. Most known for being smart, Penelope cunningly weaves a shroud and tells the suitors she will not marry until the shroud is complete - secretly she undoes all of the weaving she has done at night while the suitors sleep. It is through this plan that we see Penelope form a strong bond with the maids, "I was spoiling them" - Penelope treats the maids in a way that is frowned upon. This relationship with the maids also adds to the femininity of Penelope as the Maids are her companions in the way most women view their best friends. When Odysseus returns and kills the maids for ‘disobedience’ while he was away we see Penelope grieve for them but still, she remains loyal to Odysseus, this shows the level of adoration she feels for him and her need to be a good wife. Margaret Atwood uses Penelope’s need to be a good wife as a sign of her ultimate, stereotypical, femininity, therefore portraying a believable feminine narrator.
Odysseus is portrayed in many ways by Penelope. At the beginning of the novel, when she knows what he has done, she resents him and he is portrayed as cunning and evil. "What a fool he made of me.. It was a specialty of his, making fools.. I knew he was tricky and a liar.." Here we see how Penelope really feels about Odysseus while she reflects upon her time on earth. This quote shows Penelope's hurt and resentment towards Odysseus as she feels he has publicly made a fool of her while all she did was stay loyal and faithful to him, it also tells us a little about Odysseus’ character as it describes him as “tricky” and a “liar”. "Hadn't I been faithful? Hadn't I waited, and waited, and waited - despite the temptation?" Later we learn she resents him because she did everything in her power to protect his name and their relationship when Odysseus had been away, whilst he was cheating on her and having a good time. This portrayel of Odysseus makes the reader expect him to be a very masculine, not very nice, character.
This resentful tone towards Odysseus is not carried on throughout the novel however as when Penelope begins to tell us the story she talks of him fondly and lovingly, as she felt for him at the time (when she was alive). "Odysseus was not one of those men who, after the act, simply roll over and begin to snore...No Odysseus wanted to talk." This shows that Odysseus was loving and kind towards her and we find out that this is one of the traits that won Penelope over in the end. As it was an, in a way, arranged marriage Penelope and Odysseus did not love one another from the start but took their time to get to know each other and grew to love one another. Odysseus is portrayed as cunning when Penelope talks of his plan to get out of going to Troy and when she talks of his plan to get back into the palace unknown to the suitors, by discussing him this way Penelope shows her admiration for his intelligence. This opposing portrayel of Odysseus shows us his loving side and allows the reader to see what it was that Penelope loved in the beginning. It is through these two different interpretations of him that his character is portrayed and the overall idea of him being able to make fools is shown as we see how Penelope believed him to be a good man at the beginning of their relationship.
The interpretation of Odysseus in 'The Penelopiad' is different to in 'The Odyssey' because in 'The Odyssey' the story is told by him and is very masculine. The different feminine narrative is effective in telling this myth from a new perspective. It creates a new version of events which are non-bias to Odysseus and allow Penelope's side of the story to be heard. The maids' input allows a further perspective to be taken into account and allows the reader a choice of who to sympathise with. Penelope can be seen as a heroine as she is just a typical woman, with doubts and insecurities, trying to do right by her husband without being seen as having no mind of her own. The reader can sympathise with her as we see all of the hardship she is faced with and the way she feels within herself. Without her husband Penelope has to stand on her own two feet and make her own choices. 'The Penelopiad' is also a contrasting view of Penelope from 'The Odyssey' as she is given her own voice and is not just seen as "the plain wife." 'The Penelopiad' portrays the story of Odysseus in a way many people can relate to with humour presented through the bitter diatribes of Penelope which are witty and enjoyable. ‘The Penelopiad’ is the perfect example of 'there are two sides to every story.'
Wednesday, March 14, 2007
All NAB Assessments
On Monday those of you who have still to pass your specialist study will have your last opportunity to pass. Failure to pass this unit means that you cannot be presented for the final exam. If you are in that position, please make sure you know what you need to do before then.
Sunday, March 11, 2007
Message from sarah
My HTML didnt work. The bits in italics didnt work. Sooo Yeh improvise. The second paragragh is in italics and the bit about the taxi is also in italics. This means it is a flashback :) Thanks deary X
Writing :) Sarah's
Oh My God, Oh My God, Oh My God!
I can feel it in my throat, I’m going to be sick.
How revolting. I don’t even remember it happening. Well I do, it came back to me in parts. Moaning, slobbery kisses, clumsy, fumbling about over each other. His hands were clammy. I could still feel them grazing my sweaty, dirty skin. My heart r a c e d in disgust. Waking up I had a horrible pain through my body. I could hear his groans tracing over my skin, through my ears, It made me sick.
I was surprisingly comfortable. The bed beneath me held my weight. My body felt heavy. He was snoring. His face crushed against the pillow. He was rather unattractive. I rubbed my eyes and fell out of my warmth onto the hard floor. I didn’t want to wake him. I didn’t even want to look at him again. I fought the want to be sick. I fought it. The more I fought it the
h a r d e r ..
it got. I got up onto my feet pulled on any clothes I could see and slowly without caution, fumbled out the door into the harsh cold. The light blinded me. I had no idea of time. That’s it. That’s everything I remember about the night before. Walking home was a blur. A surreal blur. I tried not to think about what I had done.
I can still feel him. I can feel his dirt on me. It stuck to my legs.
I can’t fight it anymore.
I’m sick. Right there in the street. :(
So here I am, sitting in this clinic. Waiting on someone to tell me “To come through” and kill what I made. But it was just a mistake. I didn’t mean it. I was drunk.
What should I do?
What should I do?
What should I do?
The word rolled about in my mouth. It stuck to my tongue. It was written all over my face.
PREGNANT!
** Picture Goes Here**
People Knew.
I’m sitting here. With three other people in the room. All “mothers-to-be”. Sitting rubbing there stomachs with glee. It made me weirdly jealous. I didn’t even want this mistake but I was jealous of women that had what I could have.
I could hear them shouting at me in their heads…
“Stupid Whore! What was she thinking?”
I got in the taxi with him. He pulled down my dress and kissed my skin. It gave me such a thrill. I wanted more. Maybe some coffee? His hands traced my legs. I could taste the vodka of his lips. They stung mines. We fell into his house and onto the floor. We did it right there. I can’t even remember how we got into bed.
I’ve had better.
My stomach goes dizzy.
I start to shake.
My name is called out. (I’m next)
I freeze up. I can hear the nurses heels clicking along the corridor. I don’t want this. I can’t do this. I’m not a murderer. I can kill another living thing. I look around for an escape. I see two sliding doors opening as someone walks in.
I get up.
I’m walking out the doors.
I can feel the wind lift my hair of my neck.
I feel relief.
I’ll be fine. It will be fine.
I can feel it in my throat, I’m going to be sick.
How revolting. I don’t even remember it happening. Well I do, it came back to me in parts. Moaning, slobbery kisses, clumsy, fumbling about over each other. His hands were clammy. I could still feel them grazing my sweaty, dirty skin. My heart r a c e d in disgust. Waking up I had a horrible pain through my body. I could hear his groans tracing over my skin, through my ears, It made me sick.
I was surprisingly comfortable. The bed beneath me held my weight. My body felt heavy. He was snoring. His face crushed against the pillow. He was rather unattractive. I rubbed my eyes and fell out of my warmth onto the hard floor. I didn’t want to wake him. I didn’t even want to look at him again. I fought the want to be sick. I fought it. The more I fought it the
h a r d e r ..
it got. I got up onto my feet pulled on any clothes I could see and slowly without caution, fumbled out the door into the harsh cold. The light blinded me. I had no idea of time. That’s it. That’s everything I remember about the night before. Walking home was a blur. A surreal blur. I tried not to think about what I had done.
I can still feel him. I can feel his dirt on me. It stuck to my legs.
I can’t fight it anymore.
I’m sick. Right there in the street. :(
So here I am, sitting in this clinic. Waiting on someone to tell me “To come through” and kill what I made. But it was just a mistake. I didn’t mean it. I was drunk.
What should I do?
What should I do?
What should I do?
The word rolled about in my mouth. It stuck to my tongue. It was written all over my face.
PREGNANT!
** Picture Goes Here**
People Knew.
I’m sitting here. With three other people in the room. All “mothers-to-be”. Sitting rubbing there stomachs with glee. It made me weirdly jealous. I didn’t even want this mistake but I was jealous of women that had what I could have.
I could hear them shouting at me in their heads…
“Stupid Whore! What was she thinking?”
I got in the taxi with him. He pulled down my dress and kissed my skin. It gave me such a thrill. I wanted more. Maybe some coffee? His hands traced my legs. I could taste the vodka of his lips. They stung mines. We fell into his house and onto the floor. We did it right there. I can’t even remember how we got into bed.
I’ve had better.
My stomach goes dizzy.
I start to shake.
My name is called out. (I’m next)
I freeze up. I can hear the nurses heels clicking along the corridor. I don’t want this. I can’t do this. I’m not a murderer. I can kill another living thing. I look around for an escape. I see two sliding doors opening as someone walks in.
I get up.
I’m walking out the doors.
I can feel the wind lift my hair of my neck.
I feel relief.
I’ll be fine. It will be fine.
Sunday, March 04, 2007
Katie's Specialist Study
Higher English Specialist Study
“Jane Eyre” by Charlotte Bronte
A novel in which the theme of beauty plays an incredibly important part is “Jane Eyre” by Charlotte Bronte. Here, Bronte beauty to convey the pure nature of her heroine and to show the deep, passionate love that Jane has for her master, Edward Rochester. As neither character is physically attractive it allows the reader to become completely absorbed in the character’s emotional and internal feelings and to understand their love without differing to their physical attributes. This essay will examine how Bronte conveys the theme of beauty in the character of Jane by her use of characterisation and settings.
Jane Eyre is an incredibly kind character who has a strong sense of duty and pride. However, Jane herself is not physically attractive. She describes herself as “poor, obscure, plain and little.” She has a beautiful heart though which allows her to look beyond the physical beauty and see inside a person’s soul. As the book is written entirely through her perspective Bronte captures the pure love that Jane has for Rochester. We can see her immediate reactions when she sees him: I did not think I should tremble this way when I saw him- or lose my voice or power of motion in his presence.” Bronte manages to show the depth of Jane’s love for her master. Jane comments that he is not handsome which is important because we are never under the illusion that Jane is attracted to him because of his looks. It is his kindness, passion and soul that attracts her and makes their love even stronger. A perfect example of this is when she is commenting about his physical appearance: “were not beautiful according to rule, but they were more than beautiful to me: they were full of interest that quite mastered me.” Here, Jane is able to find the beauty in Rochester that others would never notice. This also shows how perfect Rochester and Jane are together. Her reaction to her own external beauty also changes when Rochester proposes to her. The happiness she feels inside is reflected in her face: “it was no longer plain: There was hope in its aspect and life in its colour.” Her complete happiness is shown in her rise in self esteem.
Another beautiful trait of Jane’s is that never changes herself. She resists Rochester’s attempts to glamorise her insisting “jewels for Jane Eyre sounds unnatural and strange.” Jane’s turning point in the story is her decision to flee Thornfield. She could never be true to herself if she stayed with Rochester while he had a wife. An important part of Jane’s internal beauty is her passion. We are shown her powerful struggles with her passion and conscience. When Jane tells Rochester of her decision to leave the powerful struggle is shown so effectively that the reader truly believes Jane will abandon her moral convictions and run away with him: “physically, I felt, at that moment, powerless.” However Jane stays true to herself and leaves. This is another sign of Jane’s beautiful nature. She is strong willed and is influenced by no-one. When Jane leaves Thornfield she also grows as a stronger person. Her time with the River’s family allows her to grow in independence and confidence therefore when she returns to Rochester she is now his match in power and passion. Bronte uses Jane’s departure from Thornfield to further the internal characteristics of our lovers. Their internal beauty is now equal and they are able to appreciate and love each other more. and feelings. Jane is the most perfect example of showing that inner beauty is more important than external.
Another technique that Bronte uses to personify the theme of beauty is the settings. Jane’s feelings towards Thornfield and Moor House show another characteristic of her nature. Thronfield Hall is described by Jane as a “gentleman’s manor.” However for such a young age, Jane is not intimidated by living in such grand surroundings which shows maturity and confidence. It is only until the arrival of Edward that she feels any warm appreciation for the house. When he leaves she feels sadness towards the place: “vague suggestions kept wandering through my brain of reasons why I should quit Thornfield.” Thornfield Hall is a symbol for Jane’s happiness. It is the first time that she has enjoyed a full and happy life. Her beautiful nature is also shown through her attitude towards Moor House. Jane isn’t materialistic and therefore appreciates everything she has in life. This is shown when she describes her new home as “a charm both potent and permanent. Her heart is so pure that she could never be bought with jewels or riches.
Charlotte Bronte has successfully convinced the reader of Jane’s true beauty. We do not pay attention to her physical appearance but are drawn in and become fully connected with her feelings. The lack of external beauty in our lovers is extremely important because it leaves their raw emotions completely exposed. Bronte also manages to create an inspirational role model in her heroine. She shows that in being true to yourself, happiness can be achieved. She didn’t have to be stunningly beautiful to capture his heart and it is all the more satisfying when she can finally say “Reader, I married him.”
By Katie Nicol 5M3
Higher English Specialist Study
“Jane Eyre” by Charlotte Bronte
A novel in which the theme of beauty plays an incredibly important part is “Jane Eyre” by Charlotte Bronte. Here, Bronte beauty to convey the pure nature of her heroine and to show the deep, passionate love that Jane has for her master, Edward Rochester. As neither character is physically attractive it allows the reader to become completely absorbed in the character’s emotional and internal feelings and to understand their love without differing to their physical attributes. This essay will examine how Bronte conveys the theme of beauty in the character of Jane by her use of characterisation and settings.
Jane Eyre is an incredibly kind character who has a strong sense of duty and pride. However, Jane herself is not physically attractive. She describes herself as “poor, obscure, plain and little.” She has a beautiful heart though which allows her to look beyond the physical beauty and see inside a person’s soul. As the book is written entirely through her perspective Bronte captures the pure love that Jane has for Rochester. We can see her immediate reactions when she sees him: I did not think I should tremble this way when I saw him- or lose my voice or power of motion in his presence.” Bronte manages to show the depth of Jane’s love for her master. Jane comments that he is not handsome which is important because we are never under the illusion that Jane is attracted to him because of his looks. It is his kindness, passion and soul that attracts her and makes their love even stronger. A perfect example of this is when she is commenting about his physical appearance: “were not beautiful according to rule, but they were more than beautiful to me: they were full of interest that quite mastered me.” Here, Jane is able to find the beauty in Rochester that others would never notice. This also shows how perfect Rochester and Jane are together. Her reaction to her own external beauty also changes when Rochester proposes to her. The happiness she feels inside is reflected in her face: “it was no longer plain: There was hope in its aspect and life in its colour.” Her complete happiness is shown in her rise in self esteem.
Another beautiful trait of Jane’s is that never changes herself. She resists Rochester’s attempts to glamorise her insisting “jewels for Jane Eyre sounds unnatural and strange.” Jane’s turning point in the story is her decision to flee Thornfield. She could never be true to herself if she stayed with Rochester while he had a wife. An important part of Jane’s internal beauty is her passion. We are shown her powerful struggles with her passion and conscience. When Jane tells Rochester of her decision to leave the powerful struggle is shown so effectively that the reader truly believes Jane will abandon her moral convictions and run away with him: “physically, I felt, at that moment, powerless.” However Jane stays true to herself and leaves. This is another sign of Jane’s beautiful nature. She is strong willed and is influenced by no-one. When Jane leaves Thornfield she also grows as a stronger person. Her time with the River’s family allows her to grow in independence and confidence therefore when she returns to Rochester she is now his match in power and passion. Bronte uses Jane’s departure from Thornfield to further the internal characteristics of our lovers. Their internal beauty is now equal and they are able to appreciate and love each other more. and feelings. Jane is the most perfect example of showing that inner beauty is more important than external.
Another technique that Bronte uses to personify the theme of beauty is the settings. Jane’s feelings towards Thornfield and Moor House show another characteristic of her nature. Thronfield Hall is described by Jane as a “gentleman’s manor.” However for such a young age, Jane is not intimidated by living in such grand surroundings which shows maturity and confidence. It is only until the arrival of Edward that she feels any warm appreciation for the house. When he leaves she feels sadness towards the place: “vague suggestions kept wandering through my brain of reasons why I should quit Thornfield.” Thornfield Hall is a symbol for Jane’s happiness. It is the first time that she has enjoyed a full and happy life. Her beautiful nature is also shown through her attitude towards Moor House. Jane isn’t materialistic and therefore appreciates everything she has in life. This is shown when she describes her new home as “a charm both potent and permanent. Her heart is so pure that she could never be bought with jewels or riches.
Charlotte Bronte has successfully convinced the reader of Jane’s true beauty. We do not pay attention to her physical appearance but are drawn in and become fully connected with her feelings. The lack of external beauty in our lovers is extremely important because it leaves their raw emotions completely exposed. Bronte also manages to create an inspirational role model in her heroine. She shows that in being true to yourself, happiness can be achieved. She didn’t have to be stunningly beautiful to capture his heart and it is all the more satisfying when she can finally say “Reader, I married him.”
By Katie Nicol 5M3
Danielle Malinen's Specialist study
“The Wasp Factory” By Iain Banks
“The Wasp Factory” By Iain Banks is a gripping and unforgettable story, written in first person narrative and told from the perspective of sixteen year old Frank Cauldhame. The story is set over twelve days and each day is dealt with in separate chapters. The purpose of this essay is to show how the theme identity is shown throughout the novel and how Frank’s identity is presented.
Frank’s identity is crucial in the novel, as it is the major thing that is being pin pointed in the book. Initially the reader believes he is a boy then later find out he’s a girl, this is a turning point for the narrator as he has to redefine himself as a woman. The theme of dual or split personality is being presented, Frank is warped by his upbringing, although the causes are physiological, and so another Frank takes possession of his body expressing a brutal and revengeful side to Frank encouraged by his maltreatment. The novel is somewhat similar to Robert Louis Stevenson’s “Doctor Jekyll and Mister Hyde” in that the scientific side of Jekyll is paralleled in Frank’s father with his scientific curiosity combined with a selfish personal impulse; he creates different hormones that change Frank’s appearance and physical nature from a girl to boy. The ‘Mister Hyde’ character is mirrored through Frank as he tortures the innocent and seems to have no remorse or regrets over his actions. At the end of the novel the ‘Dr Jekyll’ side of Frank comes out as she has to rediscover her lost personality.
Frank’s real identity really shock’s the reader because at the start of the novel, Frank makes his hateful feelings towards women clear and he believes that they are: “weak and stupid and live in the shadow of men and are nothing compared to them.” Frank blames his mother for all the wrong doings in the family and resents her for abandoning them when he was a baby. Earlier on in the novel Frank says: “I hate having to sit down in the toilet all the time. With my unfortunate disability I usually have to, as though I was a bloody woman, but I hate it. Sometimes in the Cauldhame Arms I stand up at the urinal, but most of it ends up running down my hands or legs.” The fact that Frank has said “bloody woman” is ironic as he is actually a woman. Women are rather too close to him for comfort; there seems to be a degree of fear in Frank’s attitude towards them.
The character of Frank contributes majorly to the shocking ending of the book, as throughout he is seen as a strong and powerful boy, who will not let anything stand in his way. But at the end the reader sees a more vulnerable side to him after he is emotionally distraught by finding out he is actually a girl. Frank has two sides to his personality, he can be eloquent: “I told her she might get a chance, though of course I would have the ultimate control” this quote is important as it shows he is in control and knew exactly what he was doing. Yet on the other hand he can be rather juvenile: “I built a big kite”. This refers back to the theme of Frank having a split personality. Frank’s father is the least developed character in the novel and you form an opinion about based on what Frank chooses to tell the reader about him, this is due to the narrative structure of the novel. The first person narrative gives a real insight into Frank’s thoughts and strange reasoning.
Frank is presented as an aggressive macho character due to the fact he kills people and animals feeling no guilt. Frank is living in a male-dominated world and has no contact with women except Mrs Clamp the elderly housekeeper. The reader’s feelings towards Frank and his actions become less hostile as more is revealed about him and his troubles. It is not a feeling that his actions are excusable, but the realisation that Frank is a victim himself and that his violence is a confused and pathetic reaction to his situation, in which he has no responsibility; he is targeting his anger at the wrong things. At the end when we find out Frank is a girl, Banks forces the reader to form new sentiments about Frank. This changes how the reader feels about Frank as you are forced to sympathise with him rather than loathe him for committing three murders.
In spite of the harsh obstacles that seem to prevent the reader from identifying with Frank, whether we see him as a vicious killer or a confused soul, it remains that Frank comes across as a strong character who you cannot help feel pity and sympathy towards. The fact that at sixteen years old she has define who she is, in her new gender. Also by Frank’s father having him on a tight leash for so many years, he will find it very difficult to interact and communicate with people.
“The Wasp Factory” By Iain Banks is a gripping and unforgettable story, written in first person narrative and told from the perspective of sixteen year old Frank Cauldhame. The story is set over twelve days and each day is dealt with in separate chapters. The purpose of this essay is to show how the theme identity is shown throughout the novel and how Frank’s identity is presented.
Frank’s identity is crucial in the novel, as it is the major thing that is being pin pointed in the book. Initially the reader believes he is a boy then later find out he’s a girl, this is a turning point for the narrator as he has to redefine himself as a woman. The theme of dual or split personality is being presented, Frank is warped by his upbringing, although the causes are physiological, and so another Frank takes possession of his body expressing a brutal and revengeful side to Frank encouraged by his maltreatment. The novel is somewhat similar to Robert Louis Stevenson’s “Doctor Jekyll and Mister Hyde” in that the scientific side of Jekyll is paralleled in Frank’s father with his scientific curiosity combined with a selfish personal impulse; he creates different hormones that change Frank’s appearance and physical nature from a girl to boy. The ‘Mister Hyde’ character is mirrored through Frank as he tortures the innocent and seems to have no remorse or regrets over his actions. At the end of the novel the ‘Dr Jekyll’ side of Frank comes out as she has to rediscover her lost personality.
Frank’s real identity really shock’s the reader because at the start of the novel, Frank makes his hateful feelings towards women clear and he believes that they are: “weak and stupid and live in the shadow of men and are nothing compared to them.” Frank blames his mother for all the wrong doings in the family and resents her for abandoning them when he was a baby. Earlier on in the novel Frank says: “I hate having to sit down in the toilet all the time. With my unfortunate disability I usually have to, as though I was a bloody woman, but I hate it. Sometimes in the Cauldhame Arms I stand up at the urinal, but most of it ends up running down my hands or legs.” The fact that Frank has said “bloody woman” is ironic as he is actually a woman. Women are rather too close to him for comfort; there seems to be a degree of fear in Frank’s attitude towards them.
The character of Frank contributes majorly to the shocking ending of the book, as throughout he is seen as a strong and powerful boy, who will not let anything stand in his way. But at the end the reader sees a more vulnerable side to him after he is emotionally distraught by finding out he is actually a girl. Frank has two sides to his personality, he can be eloquent: “I told her she might get a chance, though of course I would have the ultimate control” this quote is important as it shows he is in control and knew exactly what he was doing. Yet on the other hand he can be rather juvenile: “I built a big kite”. This refers back to the theme of Frank having a split personality. Frank’s father is the least developed character in the novel and you form an opinion about based on what Frank chooses to tell the reader about him, this is due to the narrative structure of the novel. The first person narrative gives a real insight into Frank’s thoughts and strange reasoning.
Frank is presented as an aggressive macho character due to the fact he kills people and animals feeling no guilt. Frank is living in a male-dominated world and has no contact with women except Mrs Clamp the elderly housekeeper. The reader’s feelings towards Frank and his actions become less hostile as more is revealed about him and his troubles. It is not a feeling that his actions are excusable, but the realisation that Frank is a victim himself and that his violence is a confused and pathetic reaction to his situation, in which he has no responsibility; he is targeting his anger at the wrong things. At the end when we find out Frank is a girl, Banks forces the reader to form new sentiments about Frank. This changes how the reader feels about Frank as you are forced to sympathise with him rather than loathe him for committing three murders.
In spite of the harsh obstacles that seem to prevent the reader from identifying with Frank, whether we see him as a vicious killer or a confused soul, it remains that Frank comes across as a strong character who you cannot help feel pity and sympathy towards. The fact that at sixteen years old she has define who she is, in her new gender. Also by Frank’s father having him on a tight leash for so many years, he will find it very difficult to interact and communicate with people.
Spec study
Hi Miss
On your comments for my specialist study on 'Nights at the Circus' you said I should mention what Fevvers' gilt sword symbolizes... What does it? I'm bad at symbolism!
Kirsty
On your comments for my specialist study on 'Nights at the Circus' you said I should mention what Fevvers' gilt sword symbolizes... What does it? I'm bad at symbolism!
Kirsty
Friday, March 02, 2007
The countdown begins...
It may interest you guys to know that the exam is only 35 lessons away. I don't know about you but I find that very very frightening!!!
We have a lot of work still to do, folks, so let's get really focused now.
Just remember all the hours I have given to you in marking, preparation, revision, setting this blog up, drop in sessions, checking emails, going over prelims, informal chats....
Now it is time to show me just how much you appreciate it by really putting in the hours your self with revision at home and paying attention in class. I have invested too much of myself in you guys this year for you not to.
Don't let me or yourselves down.
We have a lot of work still to do, folks, so let's get really focused now.
Just remember all the hours I have given to you in marking, preparation, revision, setting this blog up, drop in sessions, checking emails, going over prelims, informal chats....
Now it is time to show me just how much you appreciate it by really putting in the hours your self with revision at home and paying attention in class. I have invested too much of myself in you guys this year for you not to.
Don't let me or yourselves down.
Thursday, March 01, 2007
Human Spirit
Human Spirit – Snake
The poet suppresses his own conscience and conforms to society rule. He snaps under the pressure and acts rashly.
“A pettiness” shows how pathetic he feels after reacting the way he did. He feels as if he is not worth anything because the way he threw the log was so weak and the way in which he responded to it made him appear as a subordinate to the snake.
The violent images such as “burning bowels” and “Etna smoking” show how the poet’s emotions are boiling within him. The voices from his upbringing become more urgent which builds a sense of panic. We can see how his conscience presides over his human spirit. The “peaceful, pacified” contrasts with the “burning bowels” in the following line as “peaceful and pacified” show how calm and unthreatening the snake is compared with the harshness of the “burning bowels”.
The alliteration in this example highlights the conflict created between the snake and the poet. The repetition of “was it” shows how the poet begins to doubt his own education but describes his morals as “cowardice”, “perversity” and “humility”. The repetition of of “black” again creastes a harsh image. When it is followed by “innocent” it shows how the usual connotations of a snake are being reversed which justifies the poet’s feelings.
Wednesday, February 28, 2007
Snake -- D.H Lawrence.
The Natural World And The Threat Of Industrialisation.
The poet is against industrialisation. This is shown through the conflict between the voices in the narrators head. One voice is arguing to kill the snake (representing education/industrialisation) and the other is the poets own opinon. The snake is a representation of his "manhood" and also the natural world.
Evidence that shows the poet meant the snake to represent his manhood :
"proceeded to draw his slow length curving round, and climb again the broken bank of my wall face." -- This depicts the idea of a man getting an erection.
"And as he put his..." This whole stanza depicts the act of sex, but it is decribed as a "horror" because of the supression of sex in society.
"Into the black hole" -- representative of a vagina.. described as "black" because he regrets this sexual act (due to pressures from society again.)
"Stared with fascination" -- although he feels guilty for enjoying this sexual act he cannot tear himself away.
"Wished he would come back, my snake." -- Regrets caving and giving into the voices which go against his personal beliefs and feels actually like less of a man, despite being told if he DIDNT kill it (eventhough he only tried to kill it he feels as if he did within his own head.) he would be less of a man.
During the early 1900's sex was something seen as crude and peverse. This is shown by the fact the snake is going into the "burning bowels of the earth" -- HELL. This peversion on sex put upon by society is one thing which adds to the narrators inner conflict. He has been conditioned to believe sex is bad, but as a man -- he enjoys it. This makes him feel guilty.
Natural Imagery & Poets Feelings :
The poet sees Industrialisation as a growing problem which is suffocating human nature yet his education supports industrialisation so to back it up has been pushed upon him for so long that to make way for it has become almost part of his subconscious. "Voices in me said, if you were a man.. you would kill him!" This need for the snake to be killed shows just how industrialisation is taking over as the snake is representative of the natural world.
The poets own views are contrasting as he favours the natural world. It is down to this contrast that a conflict arises. We can tell his views due to the way he describes the snake -- " Peaceful, pacified."
Despite the guilt he feels after the verse about sex he still states that he feels honoured - this shows how he favours naturalness over the industrialisation.
The fact that the industrialisation over comes him in the end shows just how bad the industrialisation has become.
Religious Imagery:
"Carob-Tree" -- Adam and eve. This is from a religious story and relates to his education.
"Snake like a god a king in exile, uncrowned" -- Seems to mean waiting, like Christ and his second coming.
Lawrence also suggests that the snake will be crowned again thus showing that the narrator feels guilt and realises he waill fo a penance for driving the snake away.
"Burning Bowels" -- Image of hell.
Religious images make the snake out to be evil at the start so you can see the education coming through, convincing him to go against his own beliefs and masculinity, so that industrialisation can improve. But it is almost as if the voices know that his masculinity is very important to him and they play upon this. "If you were a man".
He does feel guilty after he "severs" himself from his masculinity showing just how powerful industrialisation can be.
The guilt is shown through his constant questioning of himself.
"Was it cowardice..?
Was it peversity..?
Was it humanity..?
In the end when the narrator gives into preasures of society, and attempts to kill the snakes. Eventhough he fails, in his mind he has killed it and given into education instead of listening to his instincts. He feels like a broken man.
And it is this image of a broken man which we are left with -- illustrating the power industrialisation can have over natural things like, sexuality and manhood.
The poet is against industrialisation. This is shown through the conflict between the voices in the narrators head. One voice is arguing to kill the snake (representing education/industrialisation) and the other is the poets own opinon. The snake is a representation of his "manhood" and also the natural world.
Evidence that shows the poet meant the snake to represent his manhood :
"proceeded to draw his slow length curving round, and climb again the broken bank of my wall face." -- This depicts the idea of a man getting an erection.
"And as he put his..." This whole stanza depicts the act of sex, but it is decribed as a "horror" because of the supression of sex in society.
"Into the black hole" -- representative of a vagina.. described as "black" because he regrets this sexual act (due to pressures from society again.)
"Stared with fascination" -- although he feels guilty for enjoying this sexual act he cannot tear himself away.
"Wished he would come back, my snake." -- Regrets caving and giving into the voices which go against his personal beliefs and feels actually like less of a man, despite being told if he DIDNT kill it (eventhough he only tried to kill it he feels as if he did within his own head.) he would be less of a man.
During the early 1900's sex was something seen as crude and peverse. This is shown by the fact the snake is going into the "burning bowels of the earth" -- HELL. This peversion on sex put upon by society is one thing which adds to the narrators inner conflict. He has been conditioned to believe sex is bad, but as a man -- he enjoys it. This makes him feel guilty.
Natural Imagery & Poets Feelings :
The poet sees Industrialisation as a growing problem which is suffocating human nature yet his education supports industrialisation so to back it up has been pushed upon him for so long that to make way for it has become almost part of his subconscious. "Voices in me said, if you were a man.. you would kill him!" This need for the snake to be killed shows just how industrialisation is taking over as the snake is representative of the natural world.
The poets own views are contrasting as he favours the natural world. It is down to this contrast that a conflict arises. We can tell his views due to the way he describes the snake -- " Peaceful, pacified."
Despite the guilt he feels after the verse about sex he still states that he feels honoured - this shows how he favours naturalness over the industrialisation.
The fact that the industrialisation over comes him in the end shows just how bad the industrialisation has become.
Religious Imagery:
"Carob-Tree" -- Adam and eve. This is from a religious story and relates to his education.
"Snake like a god a king in exile, uncrowned" -- Seems to mean waiting, like Christ and his second coming.
Lawrence also suggests that the snake will be crowned again thus showing that the narrator feels guilt and realises he waill fo a penance for driving the snake away.
"Burning Bowels" -- Image of hell.
Religious images make the snake out to be evil at the start so you can see the education coming through, convincing him to go against his own beliefs and masculinity, so that industrialisation can improve. But it is almost as if the voices know that his masculinity is very important to him and they play upon this. "If you were a man".
He does feel guilty after he "severs" himself from his masculinity showing just how powerful industrialisation can be.
The guilt is shown through his constant questioning of himself.
"Was it cowardice..?
Was it peversity..?
Was it humanity..?
In the end when the narrator gives into preasures of society, and attempts to kill the snakes. Eventhough he fails, in his mind he has killed it and given into education instead of listening to his instincts. He feels like a broken man.
And it is this image of a broken man which we are left with -- illustrating the power industrialisation can have over natural things like, sexuality and manhood.
Friday, February 23, 2007
Lady Lazarus
Sylvia Plath said, rather provocatively, that “Lady Lazarus” was “light verse”. She also remarked that it was about a “good, plain, resourceful woman.” These descriptions do not even begin to describe the power this poem, and its protagonist, possess. As in the previous poem, “Ariel”, we see the poet remaking famous myths, as she creates her own original and disquieting version of the biblical story in which an old man is raised from the dead. Sylvia Plath’s female Lazarus proves herself to be a formidable woman.
The alliteration and assonance of the title roll off the tongue smoothly, languorously. Our initial response to this work will already be very different from the impression gained when reading the fierce attack of “Daddy”, which Sylvia Plath composed a fortnight earlier. This is a different kind of assault. The luxuriant sounds of the title befit a speaker who is confident in her ability to die “exceptionally well”; so effectively, in fact, that she draws a large crowd, who are enthralled by her phoenix-like reappearance every decade. Lady Lazarus speaks to us directly, questioning us haughtily, “Do I terrify?” she wants to intimidate as well as amaze. Sylvia Plath presents her as a very theatrical persona; her deaths are presented as an “art”, she has a “call”. Like an actress, this woman is drawn to perform, addressing the crowd as “Gentlemen, ladies”. But what exactly does her “big strip tease” consist of? It is an astonishing journey through pain to vengeful rebirth.
Sylvia Plath juxtaposes images of brilliance with horrifying evocations of the Holocaust right from the start of the poem. The effect is startling. Lady Lazarus may be a “miracle”, but the components that make up the miracle are grotesque. The speaker anatomises her parts in stanzas 2 to 6. is she deliberately dehumanising herself by employing a listing technique? Her skin, her right foot, her face, nose, “eye pits”, “full set of teeth” and “sour breath” are increasingly repugnant. The precision of these images places the reader in the position of the “peanut-crunching crowd”: we are voyeurs as we watch Lady Lazarus’s display. Sylvia Plath describes her creation in such a way as to make us feel we are moving in on the speaker gradually, eventually coming so close that we can smell her breath. At this point we are pushed away, repulsed by the image of Lady Lazarus’s flesh, which, the poet says, with diabolically playful sound patterning, “The grave cave ate”. What sort of horrible curiosity would bring an audience in this close, especially to observe someone who feels persecuted? She has compared herself to a Jew twice with her references to linen and the “Nazi lampshade”, a particularly disturbing simile (the Nazis reportedly had lampshades made out of the skin of their victims). No wonder Lady Lazarus sees us as her enemy.
Nonetheless, Lady Lazarus seems pleased with her performance so far. She is smiling. She knows she has 2nine times to die”, and this is only “Number Three”. Glorying in her ability to annihilate decades, she is defiant and powerful. But we are aware that her striptease is performed at an enormous cost. In the very first stanza she talks about how she has to “manage” her resurrections. The verb suggests physical exertion; rebirth is not easy. Now, in stanzas 9 an 10, the audience becomes more intrusive. They shove in so that they can see Lady Lazarus being unwrapped. She has to defend herself; in stanzas 11 and 12 she is perhaps apologising for her “skin and bone”, reassuring the spectators that she is “the same, identical woman” they were expecting to see. In spite of the great effort she has to gird herself for, she will not disappoint.
Lady Lazarus’s history is explained in stanzas 12 to 14. in spite of her power and self-belief, she sounds increasingly victimised. Her first rebirth “happened” to her, it was an “accident”. After her second death she meant to “not come back at all”, but the ominous “They” could not escape her “call”. But how it wounds her. Sylvia Plath’s repeeateed use of colloquial slang in stanzas 16 and 17 contrasts vividly with the simple elegance of the language of the preceding stanza. It is shockingly intimate and direct. We are forced to confront the idea that Lady Lazarus is not simply a walking miracle; she is a real woman, who feels “like hell”.
However, this victim refuses to accept humiliation. She turns on her persecutors, sarcastic when she says “That knocks me out”. She retains her pride. If you wish to touch her there is “a very large charge” (her words sound like a warning at this point). Lady Lazarus becomes confrontational again, addressing her enemies – they are all male – by name. She knows her own worth, “I am your opus, / I am your valuable, / The pure gold baby”. But we cannot escape the idea that she is being pushed way beyond the limits of endurance; she “melts to a shriek” like a Jewish victim of the gas chambers, turning and burning like someone tied to a stake; she is reduced to ash that “You poke and stir” in the hope of finding some valuable item. Yet she retains her playfulness even at this dreadful moment; disdainfully she says “Do not think I underestimate your great concern”. Sylvia Plath’s use of rhyme – burn / concern – insists on the speaker’s power. This is entirely appropriate because Lady Lazarus is about to take her revenge. She has trapped her enemies; “there is nothing there” for them to find. “Beware / Beware she calls threateningly, “I eat men like air”. The final stanza provides defiant closure. In “Daddy” and her poem “Ariel” Sylvia Plath is ambiguous about the possibility of rebirth, but here she seems to present us with a more positive conclusion. The extraordinarily resourceful Lady Lazarus has triumphed over her persecutors: death allows her to wield enormous destructive power over the masculine crowd that has gathered. And she reclaims her sexual allure too; her “red hair” is a symbol of her desirable vitality. Earlier in the poem the reader will have been uneasy about the strange eroticism of the dead woman’s striptease, but here we can applaud Lady Lazarus for using her blazing beauty cruelly.
As we read this poem from a feminist perspective, we might feel that Sylvia Plath achieves something remarkable in “Lady Lazarus”. Lady Lazarus denies God’s power; she reinvents herself and has worshippers of her own. Not only this, but Sylvia Plath also sets up, subverts and then denies the male gaze. Her brazen female persona questions and commands her masculine enemies as she flaunts her scars, ridiculing the men for falling for her act, for jostling to touch her flaking corpse. And having seduced her tormentors, she rounds on them swiftly, voracious in her appetite for revenge. Her exhibitionism ultimately serves her turn. Being objectified has worked to her advantage; Herr Doktor, Herr enemy, Herr God and Herr Lucifer are all waiting there, conveniently, to be assaulted. Will the resurrection become Lady Lazarus’s personal massacre of the guily?
The alliteration and assonance of the title roll off the tongue smoothly, languorously. Our initial response to this work will already be very different from the impression gained when reading the fierce attack of “Daddy”, which Sylvia Plath composed a fortnight earlier. This is a different kind of assault. The luxuriant sounds of the title befit a speaker who is confident in her ability to die “exceptionally well”; so effectively, in fact, that she draws a large crowd, who are enthralled by her phoenix-like reappearance every decade. Lady Lazarus speaks to us directly, questioning us haughtily, “Do I terrify?” she wants to intimidate as well as amaze. Sylvia Plath presents her as a very theatrical persona; her deaths are presented as an “art”, she has a “call”. Like an actress, this woman is drawn to perform, addressing the crowd as “Gentlemen, ladies”. But what exactly does her “big strip tease” consist of? It is an astonishing journey through pain to vengeful rebirth.
Sylvia Plath juxtaposes images of brilliance with horrifying evocations of the Holocaust right from the start of the poem. The effect is startling. Lady Lazarus may be a “miracle”, but the components that make up the miracle are grotesque. The speaker anatomises her parts in stanzas 2 to 6. is she deliberately dehumanising herself by employing a listing technique? Her skin, her right foot, her face, nose, “eye pits”, “full set of teeth” and “sour breath” are increasingly repugnant. The precision of these images places the reader in the position of the “peanut-crunching crowd”: we are voyeurs as we watch Lady Lazarus’s display. Sylvia Plath describes her creation in such a way as to make us feel we are moving in on the speaker gradually, eventually coming so close that we can smell her breath. At this point we are pushed away, repulsed by the image of Lady Lazarus’s flesh, which, the poet says, with diabolically playful sound patterning, “The grave cave ate”. What sort of horrible curiosity would bring an audience in this close, especially to observe someone who feels persecuted? She has compared herself to a Jew twice with her references to linen and the “Nazi lampshade”, a particularly disturbing simile (the Nazis reportedly had lampshades made out of the skin of their victims). No wonder Lady Lazarus sees us as her enemy.
Nonetheless, Lady Lazarus seems pleased with her performance so far. She is smiling. She knows she has 2nine times to die”, and this is only “Number Three”. Glorying in her ability to annihilate decades, she is defiant and powerful. But we are aware that her striptease is performed at an enormous cost. In the very first stanza she talks about how she has to “manage” her resurrections. The verb suggests physical exertion; rebirth is not easy. Now, in stanzas 9 an 10, the audience becomes more intrusive. They shove in so that they can see Lady Lazarus being unwrapped. She has to defend herself; in stanzas 11 and 12 she is perhaps apologising for her “skin and bone”, reassuring the spectators that she is “the same, identical woman” they were expecting to see. In spite of the great effort she has to gird herself for, she will not disappoint.
Lady Lazarus’s history is explained in stanzas 12 to 14. in spite of her power and self-belief, she sounds increasingly victimised. Her first rebirth “happened” to her, it was an “accident”. After her second death she meant to “not come back at all”, but the ominous “They” could not escape her “call”. But how it wounds her. Sylvia Plath’s repeeateed use of colloquial slang in stanzas 16 and 17 contrasts vividly with the simple elegance of the language of the preceding stanza. It is shockingly intimate and direct. We are forced to confront the idea that Lady Lazarus is not simply a walking miracle; she is a real woman, who feels “like hell”.
However, this victim refuses to accept humiliation. She turns on her persecutors, sarcastic when she says “That knocks me out”. She retains her pride. If you wish to touch her there is “a very large charge” (her words sound like a warning at this point). Lady Lazarus becomes confrontational again, addressing her enemies – they are all male – by name. She knows her own worth, “I am your opus, / I am your valuable, / The pure gold baby”. But we cannot escape the idea that she is being pushed way beyond the limits of endurance; she “melts to a shriek” like a Jewish victim of the gas chambers, turning and burning like someone tied to a stake; she is reduced to ash that “You poke and stir” in the hope of finding some valuable item. Yet she retains her playfulness even at this dreadful moment; disdainfully she says “Do not think I underestimate your great concern”. Sylvia Plath’s use of rhyme – burn / concern – insists on the speaker’s power. This is entirely appropriate because Lady Lazarus is about to take her revenge. She has trapped her enemies; “there is nothing there” for them to find. “Beware / Beware she calls threateningly, “I eat men like air”. The final stanza provides defiant closure. In “Daddy” and her poem “Ariel” Sylvia Plath is ambiguous about the possibility of rebirth, but here she seems to present us with a more positive conclusion. The extraordinarily resourceful Lady Lazarus has triumphed over her persecutors: death allows her to wield enormous destructive power over the masculine crowd that has gathered. And she reclaims her sexual allure too; her “red hair” is a symbol of her desirable vitality. Earlier in the poem the reader will have been uneasy about the strange eroticism of the dead woman’s striptease, but here we can applaud Lady Lazarus for using her blazing beauty cruelly.
As we read this poem from a feminist perspective, we might feel that Sylvia Plath achieves something remarkable in “Lady Lazarus”. Lady Lazarus denies God’s power; she reinvents herself and has worshippers of her own. Not only this, but Sylvia Plath also sets up, subverts and then denies the male gaze. Her brazen female persona questions and commands her masculine enemies as she flaunts her scars, ridiculing the men for falling for her act, for jostling to touch her flaking corpse. And having seduced her tormentors, she rounds on them swiftly, voracious in her appetite for revenge. Her exhibitionism ultimately serves her turn. Being objectified has worked to her advantage; Herr Doktor, Herr enemy, Herr God and Herr Lucifer are all waiting there, conveniently, to be assaulted. Will the resurrection become Lady Lazarus’s personal massacre of the guily?
Tuesday, February 20, 2007
Valentine*
Valentine.
Nothing materialistic or fancy.
I give you a kiss.
It is a tender promise wrapped with sincerity.
A promise of love.
Simple as it is yet still so beautifully intricate.
Here.
Let it burn your tongue
Like acid.
Let it stain your lips
Like ink marking you with my name.
I am trying to be truthful.
Not a ring, a locket, or a beautiful bouquet.
I give you a kiss
Just a brush of the lips like a note,
Passed between lovers
Between the shadows and sheets,
Read into it what you will.
Take it.
Its delicacy crushing if delivered correctly,
A fatal blow.
Understatement.
Taste the desperation eternally,
Sinking beneath your skin.
* i fixed the clumsy line* - Joj
Nothing materialistic or fancy.
I give you a kiss.
It is a tender promise wrapped with sincerity.
A promise of love.
Simple as it is yet still so beautifully intricate.
Here.
Let it burn your tongue
Like acid.
Let it stain your lips
Like ink marking you with my name.
I am trying to be truthful.
Not a ring, a locket, or a beautiful bouquet.
I give you a kiss
Just a brush of the lips like a note,
Passed between lovers
Between the shadows and sheets,
Read into it what you will.
Take it.
Its delicacy crushing if delivered correctly,
A fatal blow.
Understatement.
Taste the desperation eternally,
Sinking beneath your skin.
* i fixed the clumsy line* - Joj
Monday, February 19, 2007
Thursday, February 15, 2007
Plath, Plath, Plath, Plath
Okay, so after a vote of the few who were in class today we are going to look at another couple of poems and at least one will be by Plath.
Just keep away from those gas ovens!
Just keep away from those gas ovens!
Wednesday, February 07, 2007
MIISSSS....
Yehs. It is Me.
I HAVE HAD A BRAINWAVE.
*none of the following applies if u have already dun the mag lol*
SINCE I HAVE BEEN STUDYING.
And then we have the holiday...
There is no way this mag will b ready...
But i have alot of reeli good stuff from people to put in it..
So how about we just jiggle it a little..
And make it the not so much valentines day issue....
But more like... A february issue with the left overs from valentines day it in??
LOL!
??????
Well i think it is a good idea lmfao.
but yeh.
I HAVE HAD A BRAINWAVE.
*none of the following applies if u have already dun the mag lol*
SINCE I HAVE BEEN STUDYING.
And then we have the holiday...
There is no way this mag will b ready...
But i have alot of reeli good stuff from people to put in it..
So how about we just jiggle it a little..
And make it the not so much valentines day issue....
But more like... A february issue with the left overs from valentines day it in??
LOL!
??????
Well i think it is a good idea lmfao.
but yeh.
Monday, February 05, 2007
Well done!
Well folks,
it's all over now. It is all done but the marking. I just hope that it wasn't as awful as you all anticipated! See you next week.
it's all over now. It is all done but the marking. I just hope that it wasn't as awful as you all anticipated! See you next week.
Sunday, February 04, 2007
Tomorrow's Prelim
Hi folks,
I am guessing taht since no one has posted anything this weekend taht you are all feeling super confident for tomorrow's exam. Pleased to hear it. just rememeber you all have very strong close reading skill so use them to your advantage. if you manage to get an A here it takes the pressure off the essays. Not that you should be thinking that way, but it should make you feel better about the whole situation. Remember Statement, Quotation, Analysis in every main paragraph and answer the question.
I have faith in your abilities. Just make sure you do to. You need to go in with a positive attitude and all will be fine!!!
Good luck!
I am guessing taht since no one has posted anything this weekend taht you are all feeling super confident for tomorrow's exam. Pleased to hear it. just rememeber you all have very strong close reading skill so use them to your advantage. if you manage to get an A here it takes the pressure off the essays. Not that you should be thinking that way, but it should make you feel better about the whole situation. Remember Statement, Quotation, Analysis in every main paragraph and answer the question.
I have faith in your abilities. Just make sure you do to. You need to go in with a positive attitude and all will be fine!!!
Good luck!
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