Othello #3 blog post

     In the play Othello by William Shakespeare, Cassio and Roderigo are two characters who are heavily influenced by Iago. Iago is able to influence Cassio and Roderigo due to the pair’s dire need to accomplish a goal; Roderigo wants Desdemona to fall in love with him, and Cassio wants to restore his reputation.  Iago suggests for Cassio to convince Desdemona to talk to Othello on Cassio’s behalf. Desdemona’s influence on Othello could restore Cassio to the position of lieutenant. Cassio listens to the advice and thanks “honest Iago” (II.iii.335). However, Iago is not trustworthy. Iago tells Roderigo to hint to Othello that Cassio and Desdemona are involved with each other. Ultimately, Iago is not trustworthy because Iago is manipulating both Cassio and Roderigo so that Iago can get revenge on Othello. Iago wants revenge because he believes Othello wrongly chose Cassio to be lieutenant over himself. Although Cassio is portrayed as an intellectual while Roderigo is portrayed as a fool, Iago is able to easily manipulate both of the men into taking his own advice. The two men are unable to see Iago is only working for his personal benefit because both men are blinded by a goal; Cassio wants Othello’s forgiveness while Roderigo wants Desdemona’s love. These goals leave both men vulnerable to Iago’s manipulation, and the audience realizes that Iago cannot be trusted. 

Sound and Sense #13 p. 234 exercise

1. Choice A more successfully adapts sound to sense because the repeated ‘your’ followed by a soft g sound melodically links the last two clauses.

2. Choice B more successfully adapts sound to sense because the excerpt is written in iambic pentameter, while the last line in Choice A has an extra syllable in the last line breaking the musical effects of the excerpt.

3. Choice B more successfully adapts sound to sense because the hard c sound links ‘out-cast’ and ‘crows’ which adds to the negative connotation of crows, and the soft s sound links ‘across’ and ‘whiteness’ painting a vast scenery for the reader.

4. Choice B more successfully adapts sound to sense because the euphonious l, v, and s sounds add to the melodious feel of the poem. Also, the soft t sounds in ‘tells’ and ‘twilight’ links the two lines together.

5. Choice A more successfully adapts sound to sense because the poet uses alliteration to link ‘thousand’ to ‘through’, ‘moan’ to ‘gnarled’, and ‘quiet’ to ‘countless’.

6. Choice A more successfully adapts sound to sense because the harsh sh and st sounds add to the larks lack of tune.

7. Choice B more successfully adapts sound to sense because the end rhyme of the couplet connects the two lines and brings attention to the harsh b and g sounds.

8. Choice A more successfully adapts sound to sense because the repeated s sounds within the excerpt link the actions of the Night and Day to the world.

9. Choice B more successfully adapts sound to sense because the ABAB rhyme scheme adds to the melodic effect of the poem that symbolizes the routine of the end of the day.

10. Choice B more successfully adapts sound to sense because the end rhyme of the couplet gives rhythm to the poem making the poem more pleasing to the reader. 

Othello #2: Act 2, Scene 1

            In the play Othello by William Shakespeare, Iago continues to manipulate others for his own benefit; however, no one seems to know that Iago is being deceitful. When Desdemona asks Iago how he ‘praises’ different types of people, Iago describes each type in a clever, but somewhat cruel, way. Desdemona appears horrified by Iago’s classifications, so Cassio explains that Iago “speaks home” (II.i.180). ‘Speaking home’ means that Iago speaks bluntly and honestly about others; Iago is not the best speaker, but Iago speaks the truth. However, Iago is not truthful. Iago is trying to go behind Cassio’s back so that Iago can be promoted to the position of Lieutenant. Iago reveals the plan to get Cassio demoted to Roderigo after Cassio and Desdemona leave the scene. The audience knows of Iago’s selfish intentions, but Iago continues to convince each person he talks to that he is acting in the person’s best interest. All in all, Iago cannot be trusted, for Iago is only looking to get revenge on Othello for choosing Cassio to be Lieutenant instead of Iago. 

Othello #1: Iago's Motives

     In the play Othello by William Shakespeare, the reader meets Iago. Iago is a sneaky character who appears to manipulate others for his own benefit. Namely, Iago wants to take down Othello. Although these manipulations make Iago seem selfish, Iago may have reasons to dislike Othello. First, Othello made Cassio lieutenant of the army which is a position Iago was hoping to attain. Iago says, Cassio “never sat a squadron in the field” (I.i.23). Since Cassio is much less experienced in warfare than Iago, Iago believes Othello was wrong to make Cassio the lieutenant. However, Othello is already experienced in warfare and may want an intellectual man to be the second in command. Cassio is an intellectual man who may be a good complement for Othello. Another contributing factor towards Iago’s hatred for Othello is that Iago suspects that his wife has slept with Othello: “it is thought abroad that ‘twixt my sheet / ‘Has done my office” (I.iii.430-431). However, Iago is unable to conclude whether or not Othello has in fact slept with his wife. Iago is jealous of Othello and therefore may be trying to come up with reasons to hate Othello. Iago’s jealously also shows when he describes Othello: “But he, as loving his own pride and purposes, / Evades them with a bombast circumstance” (I.i.13-14).  Iago describes Othello as very arrogant. Although Othello may overestimate himself at times, Iago definitely exaggerates Othello’s pride. Iago is most likely jealous of Othello since Othello is a highly respected army official even though Othello is also a Moor. All in all, Iago is unhappy that Othello chose Cassio to be lieutenant of the army over himself. Thus, Iago attempts to convince himself that Othello has done many wrongs in order to justify the hatred Iago feels towards Othello.

Poetry Blog Post #12

Chapter 12: Rhythm and Meter

(Flow) rhythm- any wavelike recurrence of motion or sound

Accented/stressed- given more prominence in pronunciation than the rest

Rhetorical stresses (in speech) - stressing words you want to emphasize

End-stopped line- end of line corresponds with natural speech pause

Run-on line- line moves on without pause into next line

Caesuras- pauses within line

Free verse- poetic line is basic rhythmic unit

Prose poem- depends entirely on ordinary prose rhythms

(Pattern) meter- identifying characteristic of rhythmic language we can tap our feet to

Foot- unit of meter; 1 accented syllable and 1 or 2 unaccented syllables

Kinds of feet:

1.      u/ u/ Iamb/Iambic

2.      /u /u Trochee/Trochaic

3.      uu/ uu/ Anapest/Anapestic

4.      /uu /uu Dactyl/ Dactylic

5.      // Spondee/Spondaic

Metrical lines measured by naming number of feet in them ex. Monometer = 1 foot

Metrical variations:

1.      Substitution (replace one foot with another)

2.      Extrametrical syllables (additions to beginning/end of lines)

3.      Truncation (omission of unaccented syllable at either end of line)

Scansion-process of defining metrical form of poem

1.      Identify prevailing foot

2.      Name number of feet in line

3.      Describe stanzaic pattern (if any)

Expected rhythm- meter we expect to hear

Heard rhythm- actual rhythm of words

Grammatical and rhetorical pauses- contribute to variations

The Stranger Essay Outline: Topic #5

Thesis: Through Meursault’s reaction to his own execution and Maman’s death, the reader is able to determine that Camus feels death is a personal journey that causes an appreciation for life.

1.       Camus writes Meursault as a character that is completely indifferent to Maman’s death which raises questions surrounding the social norms of mourning a loved one.

“Maman died today. Or yesterday maybe, I don’t know” (3).

“So close to death, Maman must have felt free then and ready to live it all again” (122).

These two contrasting views Meursault has on Maman’s death show that Maman did not mourn his mother’s death because Maman was truly living life when she died. Meursault does not want to spend his life obsessing over the death of others.

2.       Camus emphasizes the fear the human race has towards death through Maman’s choice to have a religious burial after leading an impious life.

“While not an atheist, Maman had never in her life given a thought to religion” (6).

More than likely Maman chose a religious burial with the fear of death in mind. Camus acknowledges that there is fear surrounding death, but Camus also expresses that religion seems to take away from the appreciation of the current life.

3.      Once Meursault realizes he is to be executed, Meursault’s sudden appreciation for life supports Camus’ statement that death causes an appreciation for life.

“I spend my days watching how the dwindling of color turns day into night” (108).

***find other quotation

Meursault no longer feels constrained by society, and now realizes he can appreciate the world around him. According to Camus a life without societal pressures instills the most personal happiness.

4.      Camus criticizes society’s reflex to turn to religion when faced with death through Meursault’s reaction to the chaplain.

(Meursault speaking about religion) “I just didn’t have time to interest myself in what didn’t interest me” (117).

(The chaplain talking to Meursault) “You’re wrong, my son” (118).

The chaplain is utterly horrified that Meursault refuses God so close to Meursault’s execution, but Meursault is living with very limited time. Meursault wants to enjoy living the last moments of life and not preoccupy himself with preparations for death.

The Stranger #5

            In the novel The Stranger by Albert Camus, Mersault explains his thoughts on the way the guillotine is used during an execution. Mersault tells the reader that a person “walks up to [the guillotine] the way you walk up to another person. That bothered me” (112). Mersault is bothered by the guillotine’s use due to the lack of imagination. Mersault compares executions by the guillotine to the way the structure of life takes away from personal contentment. Mersault does not see beauty in society’s structure; rather, Mersault believes that structure dismisses the beauty of life. Merasult’s view of life can by contrasted to Dorian’s view of life in The Picture of Dorian Gray. Generally, Dorian can find beauty in the world around him and appreciate the aesthetic appeal of a situation. Contrarily, Mersault is only able to look beyond societal structure appreciate the world’s beauty once Mersault realizes he is going to die. Throughout the novel The Stranger, the reader is lead to believe that Mersault lacks emotions. However, Mersault does not lack emotions. Mersault simply cannot find meaning behind social norms that do not focus on being content with life in the present moment. According to Mersault, societal structure takes away personal free will just like how the guillotine executes a victim. 

The Stranger #4

            In the novel The Stranger by Albert Camus, the reader is unable to discern whether or not Mersault has emotions. The reader questions Mersault’s lack of emotions especially during Mersault’s trial. Mersault rarely appears to show emotion during the trial even though Mersault is on trial for killing an Arab. During one part of the trial, Mersault explains, “I had this stupid urge to cry, because I could feel how much all these people hated me” (90). Mersault definitely concerns himself with social acceptance since external hatred makes Mersault want to cry. However, Mersault experiences a rather emotionless urge to cry. Mersault describes the urge as ‘stupid’, for Mersault usually does not cry. Crying would mean showing emotion, and Mersault is definitely not comfortable showing emotion to the reader. Mersault does not see a point in crying, and once again pushes a human emotion away. Since Mersault does not show emotion to the reader, the reader is still unable to declare whether or not Mersault is capable of human emotion.