Shakespeare’s Taming of the Shrew is centered on the story of how Petruccio turns Kate into his ideal housewife but the other story that develops is that of Lucentio and Bianca. Kate’s story is much more interesting when compared to someone that is the polar opposite of her—Bianca. Bianca’s role in the play is that of a foil that serves as a point of reference, which can be used to compare how two women act.
Bianca’s character goes through a transformation from the beginning of the book to the end that shows her to be a dynamic. Although this transformation is hardly as obvious and drastic as Kate’s it is very important. In the opening act of the play Bianca appeals to Lucentio because she is quiet and obedient. Although she wishes to marry she does not complain at having to wait until her sister is first wed. When her father declares that he will not open Bianca to suitors until Kate has been paired she states, “Sir, I will humbly obey you.” However, this is not the Bianca that is seen after Lucentio marries her. When she is no longer under her father’s control she is unwilling to obey her husband. When Lucentio sends for her Bianca states that she cannot come because she is busy when, in reality, she is “chatting by the parlor fire” according to Kate who comes the instant she is called for. This serves as an example of her change from obedient daughter to an “improper” wife (or so considered by the audience of the time). This is a contradiction to Kate’s becoming submissive wife despite beginning as an aggressive and defiant woman.
Bianca’s character is not an aid to the main plot and does not further it but is part of contrasting plot that shows an alternative to how Kate changes through marriage. Bianca is a foil to Kate and represents what would be considered by Shakespeare’s audience as a character regression.
Tuesday, December 2, 2008
Monday, December 1, 2008
Shakespeare's Use of Speech
In the mid-16th to late-17th centuries, when Shakespeare wrote his plays, the technology available for changing the stage to accommodate various settings was nothing like today. There was no curtain to shield the stage from the audience in order to rearrange sets so everything was to be done in front of the live audience. As a result, the sets included only minor changes and often did not include anything to hint to the audience what time of the day the scene took place. In order to make the setting obvious, Shakespeare would often include hints in the characters’ dialogue. In addition, he used speech to set the scene, giving names and backgrounds for the characters, a storyline, and their purposes in the play all within the first few lines of their entrance. There are various examples of this throughout The Taming of the Shrew but it is very obvious in Act 1 Scene i.
In Act 1 Scene i, Lucentio and Tranio are entering Padua after journeying from Pisa. In the very first lines of the play, Lucentio sums up a great deal of information such as the man that he is speaking to, Tranio, is his “trusty servant” and that he has been sent by his father, who is a wealthy merchant. Moreover, Lucentio states, “I have Pisa left / and am to Padua come…” which informs the audience that the scene, and most of the play, will be set in Padua and that Lucentio is from Pisa. Further evidence of Shakespeare using dialogue to give information is apparent when, in his first lines of the play, Baptista explains a major part of the plot of the play by stating that his youngest daughter shall not be wed until his eldest daughter is first married. Furthermore, Katherine’s “shrew-like” nature is commented on very early and is demonstrated in her conversation with the would-be Bianca suitors. Bianca has no stage directions but it is obvious through Lucentio’s mention of her “mild behavior and sobriety” that she acts politely and is restrained.
As more characters are introduced in the play in later scenes and their purposes are also described similarly in their opening lines. This becomes a very important tool for Shakespeare to use in his plays because of the lack of set diversity. He uses speech as a means not only of describing the setting but also of describing conflicts quickly for the audience.
In Act 1 Scene i, Lucentio and Tranio are entering Padua after journeying from Pisa. In the very first lines of the play, Lucentio sums up a great deal of information such as the man that he is speaking to, Tranio, is his “trusty servant” and that he has been sent by his father, who is a wealthy merchant. Moreover, Lucentio states, “I have Pisa left / and am to Padua come…” which informs the audience that the scene, and most of the play, will be set in Padua and that Lucentio is from Pisa. Further evidence of Shakespeare using dialogue to give information is apparent when, in his first lines of the play, Baptista explains a major part of the plot of the play by stating that his youngest daughter shall not be wed until his eldest daughter is first married. Furthermore, Katherine’s “shrew-like” nature is commented on very early and is demonstrated in her conversation with the would-be Bianca suitors. Bianca has no stage directions but it is obvious through Lucentio’s mention of her “mild behavior and sobriety” that she acts politely and is restrained.
As more characters are introduced in the play in later scenes and their purposes are also described similarly in their opening lines. This becomes a very important tool for Shakespeare to use in his plays because of the lack of set diversity. He uses speech as a means not only of describing the setting but also of describing conflicts quickly for the audience.
Monday, November 17, 2008
Eveline's Epiphany
The Joycean epiphany is a realization by a character that has negative results and is usually disappointing. Joyce uses his common literary tool when, in the short story “Eveline,” Eveline is about to embark on a journey with a man she adores in order to leave a life in which she is unappreciated and unhappy. Her epiphany is that she belongs at home because it is her duty to be there.
Until the point when she is about to leave Eveline is considering all her past memories with her family and where she lived. When she is about to depart she realizes that she must abandon this attempt at reaching her dream because Buenos Aires is not where she belongs. Instead she realizes that she needs to do her duty to her father despite the abuse she faces from him. When she asks God for guidance she does not ask him to guide her to do what is best for her. Instead, “She prayed to God to direct her, to show her what was her duty.” The author using the word “duty” here is important because it shows that she asks the unselfish question of what she should do as opposed to what would make her most happy. She comes to realize that although going to Buenos Aires with Frank may be what she wants to do, what she really needs to do is be with her father and stay in the town in which she was raised.
Eveline’s realization embodies a Joycean epiphany because it is disappointing to the character and it is an understanding that she did not grasp until this point. The point at which she chooses not to go chasing her dreams is the point where the audience is disappointed that the protagonist has not chosen to improve her life.
Until the point when she is about to leave Eveline is considering all her past memories with her family and where she lived. When she is about to depart she realizes that she must abandon this attempt at reaching her dream because Buenos Aires is not where she belongs. Instead she realizes that she needs to do her duty to her father despite the abuse she faces from him. When she asks God for guidance she does not ask him to guide her to do what is best for her. Instead, “She prayed to God to direct her, to show her what was her duty.” The author using the word “duty” here is important because it shows that she asks the unselfish question of what she should do as opposed to what would make her most happy. She comes to realize that although going to Buenos Aires with Frank may be what she wants to do, what she really needs to do is be with her father and stay in the town in which she was raised.
Eveline’s realization embodies a Joycean epiphany because it is disappointing to the character and it is an understanding that she did not grasp until this point. The point at which she chooses not to go chasing her dreams is the point where the audience is disappointed that the protagonist has not chosen to improve her life.
Gaps or Invitations for Imagination?
Humans have always had a fascination with the unknown from guessing what creatures dwell on other planets to worrying about the “boogey monster” in the closet. In James Joyce’s The Dubliners, a collection of short stories, “Araby” and “The Sisters” all provide certain unknown aspects in order to let the audience use its imagination and make its own assumptions so that the stories have a variety of meanings. These gaps are seen in the form of unmentioned characters, unspecific information and the use of ellipses.
Joyce’s element of mystery is most prevalent in “The Sisters” in which a boy, whose name is not specified deals with the death of a priest who was a mentor to him. The protagonist and narrator of this story having no name is an example of Joyce’s attempt to avoid specifics. In doing so, this provides the audience a chance to give him the identity that the author never did. Moreover, this story has many instances in which the author uses ellipses to give the reader a chance to expand. This often appears in important situations that give key glimpses into characters and their feelings toward others such as when old Cotter says, “No, I wouldn’t say he was exactly . . . but there was something queer . . . there was something uncanny about him. I’ll tell you my opinion.” This gives the reader the ability to elaborate upon what the character’s meaning is. Further use of Joyce’s gap in details is seen in “Araby” where the closest Joyce comes to revealing an important character’s name is “Mangan’s sister.” Once again Joyce gives the reader an opportunity to give the character more details using the imagination as he fails to go into detail. In both of these stories the protagonist is a boy who is being raised by his aunt and uncle but neither give any explanation as to why their parents are not present. Though this seems like this would be important to the story it is not explained which gives the story flexibility for the reader.
Whereas details can captivate a reader by giving him or her a mental image, a lack of details invites the reader to create a unique and individual image. This gives the reader a way to make the story his or her own. By leaving gaps in dialogue, by leaving out names and by not declaring why either protagonist has parents the author is leaving the story open to have a different meaning for each reader.
Joyce’s element of mystery is most prevalent in “The Sisters” in which a boy, whose name is not specified deals with the death of a priest who was a mentor to him. The protagonist and narrator of this story having no name is an example of Joyce’s attempt to avoid specifics. In doing so, this provides the audience a chance to give him the identity that the author never did. Moreover, this story has many instances in which the author uses ellipses to give the reader a chance to expand. This often appears in important situations that give key glimpses into characters and their feelings toward others such as when old Cotter says, “No, I wouldn’t say he was exactly . . . but there was something queer . . . there was something uncanny about him. I’ll tell you my opinion.” This gives the reader the ability to elaborate upon what the character’s meaning is. Further use of Joyce’s gap in details is seen in “Araby” where the closest Joyce comes to revealing an important character’s name is “Mangan’s sister.” Once again Joyce gives the reader an opportunity to give the character more details using the imagination as he fails to go into detail. In both of these stories the protagonist is a boy who is being raised by his aunt and uncle but neither give any explanation as to why their parents are not present. Though this seems like this would be important to the story it is not explained which gives the story flexibility for the reader.
Whereas details can captivate a reader by giving him or her a mental image, a lack of details invites the reader to create a unique and individual image. This gives the reader a way to make the story his or her own. By leaving gaps in dialogue, by leaving out names and by not declaring why either protagonist has parents the author is leaving the story open to have a different meaning for each reader.
Sunday, November 9, 2008
The Creature of Metamorphosis
Readers of Kafka’s Metamorphosis have many views with regards to various aspects of the novella. Many different meanings have been attached to Gregor’s transformation into some type of vermin. Some suggest that he is a sexual deviant in some way and the transformation was simply metaphorical. Another interpretation is that he literally changes into another creature because he embodies an overworked slave to industry. While these are warranted arguments that are important to the story, the argument over what type of creature he becomes is unnecessary and pointless.
It was no accident that Kafka ignored details such as what creature Gregor became. It is without any purpose that many scholars argue whether Gregor is a centipede or a rat or a cockroach. The point is that he is repulsive and disgusting and there is no need to guess the details of the author’s intentional general statements. If Kafka had found it important to his central theme or to the story that the audience knew what the actual creature is, the first sentence would have been more descriptive, something like:
“As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic centipede, about six feet in length and roughly three feet in width…”
Kafka gives hints as to the creatures appearance only to advance the story, not to help the audience understand just what Gregor looks like. For Kafka writes, “His sister noticed immediately the new amusement which Gregor had found for himself—for as he crept around he left behind here and there traces of his sticky stuff.” This passage is not meant to make the reader ponder what creature would leave behind “sticking stuff.” It’s only purpose is to show that Gregor has been all around the room. However, some people read it like a clue to a mystery, only the mystery is never meant to be solved.
What should in fact be argued is what relevance the story held in Kafka’s age and what relevance it holds now. Kafka is obviously trying to give his novella meaning beyond a certain period in time. As time changes so will our conception of what is disgusting and disturbing. As Kafka designed it to, the story will adapt and take on different meanings. Therefore, although it may be interesting what Kafka had envisioned while writing this it really holds no literary significance.
It was no accident that Kafka ignored details such as what creature Gregor became. It is without any purpose that many scholars argue whether Gregor is a centipede or a rat or a cockroach. The point is that he is repulsive and disgusting and there is no need to guess the details of the author’s intentional general statements. If Kafka had found it important to his central theme or to the story that the audience knew what the actual creature is, the first sentence would have been more descriptive, something like:
“As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic centipede, about six feet in length and roughly three feet in width…”
Kafka gives hints as to the creatures appearance only to advance the story, not to help the audience understand just what Gregor looks like. For Kafka writes, “His sister noticed immediately the new amusement which Gregor had found for himself—for as he crept around he left behind here and there traces of his sticky stuff.” This passage is not meant to make the reader ponder what creature would leave behind “sticking stuff.” It’s only purpose is to show that Gregor has been all around the room. However, some people read it like a clue to a mystery, only the mystery is never meant to be solved.
What should in fact be argued is what relevance the story held in Kafka’s age and what relevance it holds now. Kafka is obviously trying to give his novella meaning beyond a certain period in time. As time changes so will our conception of what is disgusting and disturbing. As Kafka designed it to, the story will adapt and take on different meanings. Therefore, although it may be interesting what Kafka had envisioned while writing this it really holds no literary significance.
Elation with Citation!
"What an exhausting job I've picked on! Traveling about day in, day out... there's the trouble of constant traveling, of worrying about train connections, the bed and the irregular meals..."In the first chapter of Kafka's novella, The Metamorphosis Gregor Samsa wakes up to find himself turned into a giant insect. Instantly, the reader is plunged into Kafka's bizarre world where fantasy and reality are one. In doing so, Kafka warns us to find meaning (in our lives) aside from work.
Gregor has been a traveling salesman living with his parents and younger sister, and has been their sole source of support. He ran too hard to meet the demands of business and ultimately, by overworking, he resembles a parasite. He is transformed, through workaholism, to embody the popular notion that a salesman is a scurrying bug. The young traveling salesman who was pushed around and looked down on by his boss turns into the beetle he feels himself to really be.
Exhausting himself as a provider, Gregor becomes a non-entity. The Samsas all scurry with the ambition that Gregor formerly displayed, but Gregor can now scurry only across the floor. At the beginning of the third chapter, Gregor's parents and sister are paying less and less attention to him and more and more to their own misfortune. At the end of the story a charwoman removes the flat husk of Gregor's body after his death. His family members, rejuvenated by their release from him, look forward to their new lives.
While the Samsa's depended on Gregor as sole support, they trapped him into workaholism, through which he succumbed to an irreversible illness. He worked like an unconscious bug for his family (this wouldn't link for some reason: http://www.associatedcontent.com/article/191095/kafkas_metamorphosis_resonates_90_years.html?cat=38), and eventually became just that.
Monday, November 3, 2008
Real or Imagined?
There are many stories that conclude with the protagonist awaking from a dream to find that all that had just happened was simply a dream. Similarly, Nathaniel Hawthorne’s short story “Young Goodman Brown” ends by having the audience question whether everything that took place in the story actually happened or whether goodman Brown simply dreamt of his venture into the forest. However, this must be a dream because it is simply too far-fetched to be reality.
Hawthorne’s ending leaves the audience wondering whether all of the town’s people are consciously or unconsciously hiding their true selves from one another. For the protagonist, goodman Brown, the question of whether this is a dream or not is irrelevant because he can never see the town’s people nor his family in the same light he saw them before this incident. However, it is important to the story because it determines whether it is goodman Brown or the people of his town that are insane.
After this night, goodman Brown never acts the same towards others. His life is ruined by what is evidently a dream of some sort. What makes this a dream is the fantastical elements of the tale. Many of his acquaintances make the same venture as he does into a dark forest to witness a wedding-like ceremony to welcome goodman Brown and his wife into a life of sin. Although this may be what he feels it is like to ignore his faith this cannot be a real event. It is also important that none of the people who come to witness recall the event or mention it afterward. Every other event in the story outside of this night could happen in reality but all that occurs on goodman Brown’s venture into the forest is surreal.
After this night goodman Brown is unable to see people as he did before and so this dream has as much effect upon him as any real life event. Therefore, to goodman Brown this is as real as anything in his life. For him this is reality. For the reader this is an impossible event. Therefore, goodman Brown loses his healthy mental state to nothing more than a vision.
Hawthorne’s ending leaves the audience wondering whether all of the town’s people are consciously or unconsciously hiding their true selves from one another. For the protagonist, goodman Brown, the question of whether this is a dream or not is irrelevant because he can never see the town’s people nor his family in the same light he saw them before this incident. However, it is important to the story because it determines whether it is goodman Brown or the people of his town that are insane.
After this night, goodman Brown never acts the same towards others. His life is ruined by what is evidently a dream of some sort. What makes this a dream is the fantastical elements of the tale. Many of his acquaintances make the same venture as he does into a dark forest to witness a wedding-like ceremony to welcome goodman Brown and his wife into a life of sin. Although this may be what he feels it is like to ignore his faith this cannot be a real event. It is also important that none of the people who come to witness recall the event or mention it afterward. Every other event in the story outside of this night could happen in reality but all that occurs on goodman Brown’s venture into the forest is surreal.
After this night goodman Brown is unable to see people as he did before and so this dream has as much effect upon him as any real life event. Therefore, to goodman Brown this is as real as anything in his life. For him this is reality. For the reader this is an impossible event. Therefore, goodman Brown loses his healthy mental state to nothing more than a vision.
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