First of all, I FINALLY GOT THIS TO WORK!!
T.S. Elliot was primarily focused on how cultural life was shaped after the civil war. He focuses mainly on the place men were forced into society after the war. In "The Love Song of J. Alfred Prufrock," Elliot explains the modern man and his personality traits. He presents the man to be educated, emotionally stunted, and neurotic in a dramatic monologue. Although throughout the poem the main masculine character seems to be attempting to address a lover, but holds himself back because he believes he can see past the thrill of it. Throughout the entire poem the mans main concern is his inadequacies, and scolds himself over his emotional thoughts. He seems to have a emotional distance from what he believes the rest of mankind to have. The character seems to be growing older throughout the poem, which poses another insecurity for him, so he attempts to stay young.
In "Tradition and the Individual Talent," Elliot presents the masculine struggle to find their place in society through his explanation of tradition, and how its changed the place where men reside in society from where they once were in the past.
In "The Waste Land" Elliot explores again culture and society after WWI and modern civilization through four speakers.
Throughout each of these works, Elliot focuses specifically on how the war affected society and how people found their place in it after the war.
Wednesday, September 30, 2009
Planting New Roots
I was having trouble last week getting on to the blog, but here's what my thoughts were from last week's readings:
I was particularly drawn to the poetry of Langston Hughes.
Hughes was greatly concerned with the black man's role in a predominantly white America at the time. Many of his poems seek to find the African-American voice in the constant buzzing of the Modernist period. One poem in particular that highlights this concept is "The Negro Speaks of Rivers." In it Hughes depicts a close relationship between his roots and his relationship to Mother Earth.
For instance, Hughes rattles off the names of three ancient rivers in the third stanza: the Euphrates, the Congo, and the Nile. He then mentions a fairly "new" river in the Mississippi. To try to understand Hughes's meaning in the poem, I tried to look at this middle stanza in pairs. For example, "I bathed in the Euphrates when dawns were young./I built my hut near the Congo and it lulled me to sleep" depict a time of innocence followed by a time of tranquility. The next two lines deal with more profound images. Hughes mentions raising pyramids before the Nile and also the singing on the Mississippi as Lincoln sails down it. Although the pyramids may at first seem like a great accomplishment, I think Hughes is actually writing with a sarcastic tone because he knows it was slaves that built the awesome structures. This line is then contrasted with the image of Lincoln wading through the South. It is an incredible vision of freedom.
This poem hit a chord with me because it made me realize that Hughes was trying to portray the black man's history in the new world. I think it was also a chance to show that the proud black race has been putting down new sturdy roots in America.
In a time period when much of the world was fractured, Hughes's poetry was an attempt to let new roots sprout through the cracks of society.
I was particularly drawn to the poetry of Langston Hughes.
Hughes was greatly concerned with the black man's role in a predominantly white America at the time. Many of his poems seek to find the African-American voice in the constant buzzing of the Modernist period. One poem in particular that highlights this concept is "The Negro Speaks of Rivers." In it Hughes depicts a close relationship between his roots and his relationship to Mother Earth.
For instance, Hughes rattles off the names of three ancient rivers in the third stanza: the Euphrates, the Congo, and the Nile. He then mentions a fairly "new" river in the Mississippi. To try to understand Hughes's meaning in the poem, I tried to look at this middle stanza in pairs. For example, "I bathed in the Euphrates when dawns were young./I built my hut near the Congo and it lulled me to sleep" depict a time of innocence followed by a time of tranquility. The next two lines deal with more profound images. Hughes mentions raising pyramids before the Nile and also the singing on the Mississippi as Lincoln sails down it. Although the pyramids may at first seem like a great accomplishment, I think Hughes is actually writing with a sarcastic tone because he knows it was slaves that built the awesome structures. This line is then contrasted with the image of Lincoln wading through the South. It is an incredible vision of freedom.
This poem hit a chord with me because it made me realize that Hughes was trying to portray the black man's history in the new world. I think it was also a chance to show that the proud black race has been putting down new sturdy roots in America.
In a time period when much of the world was fractured, Hughes's poetry was an attempt to let new roots sprout through the cracks of society.
Defense!
Although i agree with everyone's post about "the love song..." it's depressing, meek, and well...tedious. but i feel like we're all ganging up on elliot. think about some of the other people who write depressing poems, in today's culture they sound something like "save me from the nothing i've become" by evanescence or "scars" by papa roach. at least this peom is thoughtful and he deeply is involved in his feelings, and not cutting or hurting himself like we do in today's society. so this really isn't that bad in all that. and also, who doesn't over analyze themselves and their appearence. we spend too long in front of mirrors and we hardly find something we like. maybe this was one of his moments (or apparently a long stretch of moments) where he was feeling a little down about himself. so back off! haha just kidding.
my question is from waste land. why is april the cruellest month, liliacs out of hte dead and all that. generally that is why people like spring is because flowers and life come back and are plentiful and beautiful again from the long death of winter. i think this man is just angry and feels he needs to flex his writing muscle. mauybe i think he's the cruellest person because he's so angry about everything!
my question is from waste land. why is april the cruellest month, liliacs out of hte dead and all that. generally that is why people like spring is because flowers and life come back and are plentiful and beautiful again from the long death of winter. i think this man is just angry and feels he needs to flex his writing muscle. mauybe i think he's the cruellest person because he's so angry about everything!
Tuesday, September 29, 2009
Misery Loves Company
Ah, "The Love Song of J. Alfred Prufrock." If you're depressed, this would not be the poem to read (Dr. Seuss might work a bit better at cheering you up). Gone are Romanticism's majestic views of a nature whose only purpose is to inspire joy and love to the euphoria-seeking humans. Instead, Eliot invites us to wallow in a cesspool wherein misery and regret strangle our aspirations. However, beneath all of the pessimism, lies an important message. But more on that later...
Poor J. Alfred Prufrock...Here we have a man who has spent his entire life worrying about his appearance and never taking the time to look closer to find the beauty around him (that's a not-so-subtle reference to the great film American Beauty). Throughout the poem, Prufrock's pessimistic outlook permeates every aspect of the world around him and his personality. He talks of having "to prepare a face to meet the faces that you meet," i.e. masking his true self to show people what he thinks they want to see. If one does that long enough, he becomes the illusion he has created. Inevitably, this leads to an identity crisis as the person in question has spent his whole life cultivating a fake persona and now becomes a prisoner of it. Prufrock has never truly been himself and now wastes away, the victim of his own social poison. As a result of his inner emptiness, he cannot view the world as anything but a dismal place. He reduces the beauty of the evening sky to a patient pumped full of numbing drugs. People lack identities to him because he cannot comprehend his own.
Does Prufrock have any hope? Doesn't look like it. "And time for yet a hundred indecisions,/And for a hundred visions and revisions." The poor guy is never satisfied. He is insecure and indecisive. Coupled with that, he fears breaking the mold and attempting to venture into anything outside his comfort zone. He repeatedly contemplates as to whether or not he dares to disturb the universe. The irony, of course, is that he has spent his entire life wondering if he should do so while life has passed him by.
In a bizarre sense, the poem acts as a warning to people who do not live their lives to the fullest. If you spend your life putting up fronts instead of being yourself and exploring the various aspects of life, you will come to the same end as Prufrock: broken and alone. He wonders "Would it have all been worthwhile?" People who have stayed true to themselves would answer: definitely. Unfortunately, Prufrock will probably never know. In an unexpected way, Eliot uses his anti-hero as a warning to those of us who fear living life to the fullest. Prufrock did not disturb the universe, and look how he turned out.
Poor J. Alfred Prufrock...Here we have a man who has spent his entire life worrying about his appearance and never taking the time to look closer to find the beauty around him (that's a not-so-subtle reference to the great film American Beauty). Throughout the poem, Prufrock's pessimistic outlook permeates every aspect of the world around him and his personality. He talks of having "to prepare a face to meet the faces that you meet," i.e. masking his true self to show people what he thinks they want to see. If one does that long enough, he becomes the illusion he has created. Inevitably, this leads to an identity crisis as the person in question has spent his whole life cultivating a fake persona and now becomes a prisoner of it. Prufrock has never truly been himself and now wastes away, the victim of his own social poison. As a result of his inner emptiness, he cannot view the world as anything but a dismal place. He reduces the beauty of the evening sky to a patient pumped full of numbing drugs. People lack identities to him because he cannot comprehend his own.
Does Prufrock have any hope? Doesn't look like it. "And time for yet a hundred indecisions,/And for a hundred visions and revisions." The poor guy is never satisfied. He is insecure and indecisive. Coupled with that, he fears breaking the mold and attempting to venture into anything outside his comfort zone. He repeatedly contemplates as to whether or not he dares to disturb the universe. The irony, of course, is that he has spent his entire life wondering if he should do so while life has passed him by.
In a bizarre sense, the poem acts as a warning to people who do not live their lives to the fullest. If you spend your life putting up fronts instead of being yourself and exploring the various aspects of life, you will come to the same end as Prufrock: broken and alone. He wonders "Would it have all been worthwhile?" People who have stayed true to themselves would answer: definitely. Unfortunately, Prufrock will probably never know. In an unexpected way, Eliot uses his anti-hero as a warning to those of us who fear living life to the fullest. Prufrock did not disturb the universe, and look how he turned out.
Mermaids
T.S. Eliot's "Prufrock" character IS just the way that he sounds, prude. He seems to be afraid of female sexuality, though he wants to experience it. In "The Love Song of J. Alfred Prufrock," Prufrock seems to be speaking of or to a prospective lover. But unfortunately he feels too inadequate to make the relationship work or at least to go through with consummation (with the woman). The poem is about women and his uncertainity about them.
Prufrock feels isolated from the so-called normal feelings of society and as a result the poem is actually a tragedy (Ironic that "Love song" is in the title of the poem). I do like the lines,
"I have heard the mermaids singing, each to each./ I do not think that they will sing to me."
Despite my adoration of the line and the beautiful metaphors, it is a sad comment on the harsh reality of the modern world.
It is ironic that Eliot chose mermaids as the ending image, because Prufrock feels insignificant enough for human women and mermaids are known to be one of the most beautiful mythical creatures. Along with the mermaids, is the presence of the sea and dark waters (though a bit disorientated). Because Prufrock is isolated he places himself in the "chambers of the sea" due to the lonely isolation that he feels from society. The ending of the poem is quite dreamlike however at the end of the dream he ends up drowning.
Prufrock feels isolated from the so-called normal feelings of society and as a result the poem is actually a tragedy (Ironic that "Love song" is in the title of the poem). I do like the lines,
"I have heard the mermaids singing, each to each./ I do not think that they will sing to me."
Despite my adoration of the line and the beautiful metaphors, it is a sad comment on the harsh reality of the modern world.
It is ironic that Eliot chose mermaids as the ending image, because Prufrock feels insignificant enough for human women and mermaids are known to be one of the most beautiful mythical creatures. Along with the mermaids, is the presence of the sea and dark waters (though a bit disorientated). Because Prufrock is isolated he places himself in the "chambers of the sea" due to the lonely isolation that he feels from society. The ending of the poem is quite dreamlike however at the end of the dream he ends up drowning.
Where is the talent?
In the first part of the excerpt from Tradition and the Individual Talent, Eliot writes: "In English writing we seldom speak of tradition, though we occasionally apply its name in deploring its absence." Here, he acts as a critic on the relationship between poet and tradition. My question once I read that first line was, well how can Eliot expect poetry to evolve if everyone just follows the "norms" of their predecessors? This issue was cleared up when he wrote: "Yet if the only form of tradition, of handing down, consisted in following the ways of the immediate generation before us in a blind or timid adherence to its successes, 'tradition' should be positively discouraged." He's saying that we need to see and know what happened in poetry's past, but we should not copy it. Rather, he feels that the best work is where past poets' influence "assert their immortality most vigorously."
In the second part of the excerpt, Eliot focuses more on emotions in poetry. The sentences that really got me thinking-- "Poetry is not a turning loose of emotion, but an escape from emotion; it is not the expression of personality, but an escape from personality. But, of course only those who have personality and emotions know what it means to want to escape from these things." The only way this makes sense in my head would be to mean that poets need to write poems that aren't too personal or too emotionally specific to just themselves, so that way everyone can relate to it and it becomes timeless. Or is that too much of a stretch?
And one more thing... I found the title misleading. There is no mention of talent.
In the second part of the excerpt, Eliot focuses more on emotions in poetry. The sentences that really got me thinking-- "Poetry is not a turning loose of emotion, but an escape from emotion; it is not the expression of personality, but an escape from personality. But, of course only those who have personality and emotions know what it means to want to escape from these things." The only way this makes sense in my head would be to mean that poets need to write poems that aren't too personal or too emotionally specific to just themselves, so that way everyone can relate to it and it becomes timeless. Or is that too much of a stretch?
And one more thing... I found the title misleading. There is no mention of talent.
Monday, September 28, 2009
A Different Look at a Love Poem
Although it seems that everyone is dealing with "The Love Song of J. Alfred Prufrock," I was hoping to look at a few more elements of the poem. For instance, the title of the poem is quite revealing in that it sets you up for some great poem of adoration, affection, and therefore, at very least happiness. But not for J. Alfred Prufrock. He begins with "Let us go then, you and I," and you prepare yourself for this lovely scene of a guy taking a woman on an enchanting date. But the visions after this only reflect a cheap, corrupt society. But the speaker becomes distant from this world when the scene is changed from the exposed outdoors to the sheltered indoors with finer clothes and the culture of Michelangelo. But characters created in these scenes are very shallow. They have no names and the women all seem to be the same- talking of Michelangelo (almost like a parrot). The smog that slinking into the house, pressing its face against a window is very cat-like in its mannerisms. It very much thrives on getting getting into the house and holding its composure. But the "yellow" fog also suggests an indecisive evil.
Then the speaker addresses the you and me again, but this time you can understand how superficial his life is. There will be time for putting on "a face to meet the faces you meet". This clearly spells out that the speaker feels there must be a mask worn in the public eye. There is time for indecisions and revisions. There is a code that all people must follow to become accepted. And yet all the women are the same.
And there is still something unsettled in the speaker as he reflects on his life. He worries constantly that he is losing time as he is surely aging. But he is wasting away with his life at these parties. "Do I dare/ Disturb the universe?" In other words, do I do something different. I'm running out of time. Think of the image he creates. I am a worm wriggling on a pin. He is very carefully yet painfully held in place. What will happen when this life is over and he has to account for all of the things that he has done in order to fit the mold of society?
Is his excuse that he has seen the lower class good enough? He wants to fit in with this upper class society in fear that the only other option would be to become lower class. Do the ends justify the means? He isn't lower class and alone, but is the "refined" upper class at all better for him? Has he found someone there who is real?
The next phrase that finds great repetition is "That is not it at all,/ That is not what I meant at all!" Perhaps the culture of these people is reflecting an ignorant lifestyle of the upperclass. They live through the example of others even though they aren't even the truly priveledged (they aren't royalty).
Then speaker talks of mermaids and fictional beauty as he thinks about his life after he is too old to remain in the class in which he lives. He lingers on that freedom outside of the city- outside of reality. But then the voices will wake him- the voices of society. He will drown in the voices of society. It is a very bleak outlook.
So why write this as a love poem when it is so bleak? It seems the author is trying to send a message that too much of life is lost in being refined. Perhaps he was trying to get people to realize that life can be different. This strongly agrees with the modernist thought breaking from the old Victorian form into a form that is not trashy, but rather different.
Then the speaker addresses the you and me again, but this time you can understand how superficial his life is. There will be time for putting on "a face to meet the faces you meet". This clearly spells out that the speaker feels there must be a mask worn in the public eye. There is time for indecisions and revisions. There is a code that all people must follow to become accepted. And yet all the women are the same.
And there is still something unsettled in the speaker as he reflects on his life. He worries constantly that he is losing time as he is surely aging. But he is wasting away with his life at these parties. "Do I dare/ Disturb the universe?" In other words, do I do something different. I'm running out of time. Think of the image he creates. I am a worm wriggling on a pin. He is very carefully yet painfully held in place. What will happen when this life is over and he has to account for all of the things that he has done in order to fit the mold of society?
Is his excuse that he has seen the lower class good enough? He wants to fit in with this upper class society in fear that the only other option would be to become lower class. Do the ends justify the means? He isn't lower class and alone, but is the "refined" upper class at all better for him? Has he found someone there who is real?
The next phrase that finds great repetition is "That is not it at all,/ That is not what I meant at all!" Perhaps the culture of these people is reflecting an ignorant lifestyle of the upperclass. They live through the example of others even though they aren't even the truly priveledged (they aren't royalty).
Then speaker talks of mermaids and fictional beauty as he thinks about his life after he is too old to remain in the class in which he lives. He lingers on that freedom outside of the city- outside of reality. But then the voices will wake him- the voices of society. He will drown in the voices of society. It is a very bleak outlook.
So why write this as a love poem when it is so bleak? It seems the author is trying to send a message that too much of life is lost in being refined. Perhaps he was trying to get people to realize that life can be different. This strongly agrees with the modernist thought breaking from the old Victorian form into a form that is not trashy, but rather different.
Saturday, September 26, 2009
Once readers get through the shock that comes after reading T. S. Eliot's "The Love Song of J. Alfred Prufrock, it is easy to classify the poem as a center of negativity. The pessimism begins in the first few lines as Eliot compares the evening sky to a patient that's etherised on a table. Most poets would take note of the stars but Eliot envisions a person undergoing anesthetic. From the sky he moves to the "bad" part of town as he describes the cheap hotels and sawdust restaurants located in the deserted streets. However, at the end of the first stanza, readers understand that Prufrock doesn't live or associate himself with that part of the city. He is only going to make a quick visit. The scene quickly switches from the street to women talking of Michelangelo. Now readers know that Eliot has entered the world of the bourgeoisie and is focusing on upper class women, because if they are discussing art, it is apparent they are not part of the lower class.
The negativity continues as readers find the indecisive nature in Prufrock. He can't decide if it's yellow fog rubbing its back or yellow smoke rubbing its muzzle on window panes. The uncertainty doesn't stop there, though. He constantly asks the audience questions such as "Do I dare/ Disturb the universe" and "how should I presume" because he cannot answer them on his own. Prufrock also displays a sense of self-consciousness. He constantly worries about his balding spot, the simple pin that accompanies his tie, and, in general, growing old. However, Prufrock pays close attention to the physical aspects of other. He notices "Arms that are braceleted and white and bare/ (But in the lamplight, downed with light brown hair!)" and the perfume a woman wears.
The fact that Prufrock is misunderstood is also a negative image. In two separate instances it seems that a woman misinterprets the advances of Prufrock by saying "'That is not what I meant at all.'" With all the pessimistic views brought forth in "The Love Song of J. Alfred Prufrock," it appears that Eliot, Prufrock, or even both men were extremely depressed and lost in a lonely world.
The negativity continues as readers find the indecisive nature in Prufrock. He can't decide if it's yellow fog rubbing its back or yellow smoke rubbing its muzzle on window panes. The uncertainty doesn't stop there, though. He constantly asks the audience questions such as "Do I dare/ Disturb the universe" and "how should I presume" because he cannot answer them on his own. Prufrock also displays a sense of self-consciousness. He constantly worries about his balding spot, the simple pin that accompanies his tie, and, in general, growing old. However, Prufrock pays close attention to the physical aspects of other. He notices "Arms that are braceleted and white and bare/ (But in the lamplight, downed with light brown hair!)" and the perfume a woman wears.
The fact that Prufrock is misunderstood is also a negative image. In two separate instances it seems that a woman misinterprets the advances of Prufrock by saying "'That is not what I meant at all.'" With all the pessimistic views brought forth in "The Love Song of J. Alfred Prufrock," it appears that Eliot, Prufrock, or even both men were extremely depressed and lost in a lonely world.
Thursday, September 24, 2009
Identifying the Causes of J. Alfred Prufrock's Depression
Upon first reading “The Love Song of J. Alfred Prufrock” I just saw a very ugly and negative outlook on life, but once reading it a couple of times I became interested and wanted to determine the cause of Prufrock’s depression.
One of the first repetitious phrases presented in the poem is “In the room the women come and go/Talking of Michelangelo.” I perceived this repeated line to be very meaningful because throughout the poem he conveys loneliness and the desire to be with women, but here he is noticing that the women only talk of Michelangelo. Prufrock is comparing himself to a great and well known artist and sees himself as a lowly middle-aged man, which only adds to his insecurity.
Prufrock then goes onto describe the city, but he describes it in a negative light only emphasizing the yellow fog and soot covering everything. This negative view of his surroundings shows his pessimistic outlook and his inner depression.
Another thing that comes up a lot throughout the poem is the word “indecision.” This word explains Prufrock’s thoughts perfectly. He can never make a decision on what he should do, but instead contemplates over it for a long time and then convinces himself in the end he cannot do it. He justifies this backing down by stating that there is time for it, but at the same time Prufrock really fears time. He constantly brings up the fact that he has bald spots in his hair “[w]ith a bald spot in the middle of his hair…Though I have seen my head (grown slightly bald),” and he also states “I grow old…I grow old.” These lines show that while he puts off socializing with women and tells himself that he has time, he also recognizes that his time is essentially running out.
Another main element that adds to Prufrock’s indecisiveness and depression are his constant worries about being judged by others, and his inablity to value himself. An example of this can be seen when he states “(They will say: ‘But how his arms and legs are thin!’)” and later when he talks of the mermaids singing “I do not think that they will sing to me.” These statements make me really sad and compassionate for Prufrock’s lowly view of himself.
An additional element I found that adds to Prufrock’s depression can be seen in the repetition of the line “‘that is not what I meant at all. That is not it, at all.’” It seems to me that Prufrock constantly wants change to happen and really views life in general as just routine when he states “I have measured out my life with coffee spoons.” Basically, Prufrock just wishes to express all of his inner thoughts and change the society he lives in, but instead just sits there going through the motions of a life he finds valueless.
Although the poem is filled with depression there are two short scenes that are presented pleasantly, and those are Prufrock’s dreams of the sea. However, these dreams are abruptly ended when his thoughts return back to the present. The conclusion of the poem once again incorporates Prufrock’s dreaming of the sea “by sea-girls wreathed with seaweed red and brown/ Till human voices wake us, and we drown.” This ending is very fitting to the poem because Prufrock is wishing of an alternate life, but is awakened to only to realize the terrible life he leads and that realization for Prufrock is a form of death.
One of the first repetitious phrases presented in the poem is “In the room the women come and go/Talking of Michelangelo.” I perceived this repeated line to be very meaningful because throughout the poem he conveys loneliness and the desire to be with women, but here he is noticing that the women only talk of Michelangelo. Prufrock is comparing himself to a great and well known artist and sees himself as a lowly middle-aged man, which only adds to his insecurity.
Prufrock then goes onto describe the city, but he describes it in a negative light only emphasizing the yellow fog and soot covering everything. This negative view of his surroundings shows his pessimistic outlook and his inner depression.
Another thing that comes up a lot throughout the poem is the word “indecision.” This word explains Prufrock’s thoughts perfectly. He can never make a decision on what he should do, but instead contemplates over it for a long time and then convinces himself in the end he cannot do it. He justifies this backing down by stating that there is time for it, but at the same time Prufrock really fears time. He constantly brings up the fact that he has bald spots in his hair “[w]ith a bald spot in the middle of his hair…Though I have seen my head (grown slightly bald),” and he also states “I grow old…I grow old.” These lines show that while he puts off socializing with women and tells himself that he has time, he also recognizes that his time is essentially running out.
Another main element that adds to Prufrock’s indecisiveness and depression are his constant worries about being judged by others, and his inablity to value himself. An example of this can be seen when he states “(They will say: ‘But how his arms and legs are thin!’)” and later when he talks of the mermaids singing “I do not think that they will sing to me.” These statements make me really sad and compassionate for Prufrock’s lowly view of himself.
An additional element I found that adds to Prufrock’s depression can be seen in the repetition of the line “‘that is not what I meant at all. That is not it, at all.’” It seems to me that Prufrock constantly wants change to happen and really views life in general as just routine when he states “I have measured out my life with coffee spoons.” Basically, Prufrock just wishes to express all of his inner thoughts and change the society he lives in, but instead just sits there going through the motions of a life he finds valueless.
Although the poem is filled with depression there are two short scenes that are presented pleasantly, and those are Prufrock’s dreams of the sea. However, these dreams are abruptly ended when his thoughts return back to the present. The conclusion of the poem once again incorporates Prufrock’s dreaming of the sea “by sea-girls wreathed with seaweed red and brown/ Till human voices wake us, and we drown.” This ending is very fitting to the poem because Prufrock is wishing of an alternate life, but is awakened to only to realize the terrible life he leads and that realization for Prufrock is a form of death.
Wednesday, September 23, 2009
The Road Not Taken
I suppose people's constant referencing of Frost's "The Road Not Taken" has made analyzing it something of a cliche. Well, I'm proudly diving in anyway because I have a different take on the poem.
Take a look at the last few lines: "Two roads diverged in a wood, and I--/ I took the one less traveled by,/And that has made all the difference." Now most people would probably say that the speaker revels in the idea that he decided to break from the usual mold of society and dare to go where no one had gone before...except the people who traveled that road before him. In any event, from that perspective, I can see the benefit as it inspires us to forge into unfamiliar territory and experience life (ironic being that I'm looking a poem everyone else always does).
My take, however, could arguably be that less beaten path does not turn out the way the speaker wants it to. The first line of the last stanza, "I shall be telling this with a sigh," has an ambiguity about it which could indicate a sign of regret. When we look at the concept of the fork in the road and apply it figuratively to life, we have one of two possibilities: 1) People follow the crowd most of the time and we should try to see outside the box, or 2) the second road is less traveled by because taking that road will result in a psychotic break or violent death (like a road that leads to piranha-infested waters, say. It is entirely possible that our narrator had taken the path to a proverbial piranha cluster and now regrets it in ways only poetry can express.
On a more serious note though, the fact that Frost titled the poem "The Road Not Taken" stands out. Why not call it "The Road Taken?" Granted, we do not know how much time has passed from when the speaker chose the road to when he expresses this poetic sentiment. Even so, the speaker still thinks about that other road. One could see it as every person's desire to take a path and life then backtrack when it does not turn out the way he or she would like. The speaker may indeed have a good life, but still wonders if he could have done better had he taken the road more traveled by. For better or worse, he will never know, and neither will we. The ambiguity of the poem makes all the difference to us.
Shifting gears a bit, "The Road Not Taken" fits quite nicely into the Modernist perspective particularly because it involves a speaker who reaches beyond the "well-traveled roads" of yesterday to find new meaning in life. The speaker choosing the road less traveled by demonstrates a desire to break free from the faltering grip of society. It has made all the difference as the speaker has embraced existentialism therefore taking his fate into his own hands to see what will happen. While we never learn exactly how he feels about his choice, we know for certain that he made the choice himself.
P.S. Movie reference for the week: The Butterfly Effect (even though the concept comes from Bradbury, the whole idea of different paths fits nicely with this poem).
Take a look at the last few lines: "Two roads diverged in a wood, and I--/ I took the one less traveled by,/And that has made all the difference." Now most people would probably say that the speaker revels in the idea that he decided to break from the usual mold of society and dare to go where no one had gone before...except the people who traveled that road before him. In any event, from that perspective, I can see the benefit as it inspires us to forge into unfamiliar territory and experience life (ironic being that I'm looking a poem everyone else always does).
My take, however, could arguably be that less beaten path does not turn out the way the speaker wants it to. The first line of the last stanza, "I shall be telling this with a sigh," has an ambiguity about it which could indicate a sign of regret. When we look at the concept of the fork in the road and apply it figuratively to life, we have one of two possibilities: 1) People follow the crowd most of the time and we should try to see outside the box, or 2) the second road is less traveled by because taking that road will result in a psychotic break or violent death (like a road that leads to piranha-infested waters, say. It is entirely possible that our narrator had taken the path to a proverbial piranha cluster and now regrets it in ways only poetry can express.
On a more serious note though, the fact that Frost titled the poem "The Road Not Taken" stands out. Why not call it "The Road Taken?" Granted, we do not know how much time has passed from when the speaker chose the road to when he expresses this poetic sentiment. Even so, the speaker still thinks about that other road. One could see it as every person's desire to take a path and life then backtrack when it does not turn out the way he or she would like. The speaker may indeed have a good life, but still wonders if he could have done better had he taken the road more traveled by. For better or worse, he will never know, and neither will we. The ambiguity of the poem makes all the difference to us.
Shifting gears a bit, "The Road Not Taken" fits quite nicely into the Modernist perspective particularly because it involves a speaker who reaches beyond the "well-traveled roads" of yesterday to find new meaning in life. The speaker choosing the road less traveled by demonstrates a desire to break free from the faltering grip of society. It has made all the difference as the speaker has embraced existentialism therefore taking his fate into his own hands to see what will happen. While we never learn exactly how he feels about his choice, we know for certain that he made the choice himself.
P.S. Movie reference for the week: The Butterfly Effect (even though the concept comes from Bradbury, the whole idea of different paths fits nicely with this poem).
After Apple-Picking
After Apple-Picking is a poem that struck me as odd because there are So many ways of interpreting it. It holds true to several themes that Frost focuses on: life and death, the limitations of man and his struggle with existence, and reality verses the dream.
When reading this poem, I was captured by the need to identify what the apples could be representing. The apple is commonly used as a religous theme because of the Adam and Eve story. When researching Frost, the passages I found about him referred to him as skeptical, though always tosssing the ideas of God like a child tossing a ball up and down. This poem does not discard that connection. It does have a ladder that pointed "heavenward" while the speaker has not filled up a barrel of apples (possibly an allusion to sin). Once he starts dreaming, after the temptation of the apples with their soft aroma put the speaker to sleep, the situation changed. The apples grew and shrank and suddenly there are no longer a few but ten thousand thousand fruit to touch (strange wording). Consequently, the ladder starts to bough (almost as if it were ladder to heaven were breaking with the growing weight of sins and their large numbers). But once all of the apples (no matter what form they took) fell they were all the same. This is reinforced in the bible that sin is sin. Thus, the speaker seems to have a troublesome sleep- sleep alluding to death and/or actual sleep.
How does this interpretation of the poem fit the time of modernism? The modernist time was a time of unruly excess and the religious devotion decreasing. Though Frost was not devoted to religion, the speaker did say, "For I have had too much of apple-picking: I am overtired of the great harvest I myself desired." He may be trying to communicate that his is tired of this life-style.
Another way of looking at the allusion of apples without such religous ties is that the apples are unaccomplished goals of the speaker and heaven is an allusion to where he saw himself headed in life. In the subconscious, all of the speakers dreams or his true desires come out (note: Freud's Interpretions of Dreams came out around 1899 and this poem was published in 1915). Dreams created a means of understanding a person's life. Failing at his mission of life, tired of the work of the harvest, the speaker would have a disturbed sleep as well as death. Even the goals that he did manage to accomplish the ones that "struck the earth" all went to the cider-apple heap As of no worth. The apples he has picked, the goals he has accomplished, do not amount to anything.
When reading this poem, I was captured by the need to identify what the apples could be representing. The apple is commonly used as a religous theme because of the Adam and Eve story. When researching Frost, the passages I found about him referred to him as skeptical, though always tosssing the ideas of God like a child tossing a ball up and down. This poem does not discard that connection. It does have a ladder that pointed "heavenward" while the speaker has not filled up a barrel of apples (possibly an allusion to sin). Once he starts dreaming, after the temptation of the apples with their soft aroma put the speaker to sleep, the situation changed. The apples grew and shrank and suddenly there are no longer a few but ten thousand thousand fruit to touch (strange wording). Consequently, the ladder starts to bough (almost as if it were ladder to heaven were breaking with the growing weight of sins and their large numbers). But once all of the apples (no matter what form they took) fell they were all the same. This is reinforced in the bible that sin is sin. Thus, the speaker seems to have a troublesome sleep- sleep alluding to death and/or actual sleep.
How does this interpretation of the poem fit the time of modernism? The modernist time was a time of unruly excess and the religious devotion decreasing. Though Frost was not devoted to religion, the speaker did say, "For I have had too much of apple-picking: I am overtired of the great harvest I myself desired." He may be trying to communicate that his is tired of this life-style.
Another way of looking at the allusion of apples without such religous ties is that the apples are unaccomplished goals of the speaker and heaven is an allusion to where he saw himself headed in life. In the subconscious, all of the speakers dreams or his true desires come out (note: Freud's Interpretions of Dreams came out around 1899 and this poem was published in 1915). Dreams created a means of understanding a person's life. Failing at his mission of life, tired of the work of the harvest, the speaker would have a disturbed sleep as well as death. Even the goals that he did manage to accomplish the ones that "struck the earth" all went to the cider-apple heap As of no worth. The apples he has picked, the goals he has accomplished, do not amount to anything.
Frost and Williams
While reading, Frost and his poems stood out from all the other poets and their work, but not in a good way. To me, he just glorifies everyday tasks and objects. I understand the poems would mean nothing if he used ordinary words and ways to describe things. However, Frost takes the extremely long way to describe things like mowing and apple picking. He adds colorful words and phrases to make these chores appear more intersting, when, in fact, most people don't pay much attention to or care about picking apples or mowing the lawn. The majority of readers probably can't even relate to the way these events are illustrated.
Williams on the other hand, at least in my opinion, writes with more purpose, especially in "To Elsie." In this poem, he writes for and to the less recognized classes such as the proletariat and those of a mixed race. Williams gets to the point using less words than Frost and expresses how young men work six days a week just to get by. Nothing greets these men except for the mountains in Kentucky and the lakes and valleys of New Jersey, leaving them nothing to do except work. Then, Williams switches the focus from the men of the working class to Elsie, the girl born with Indian blood. Because of her ethnicity, Elsie is doomed to face disease or murder, and eventually she will be sent out to work at a young age. Readers are aware that Elsie is "different" from other desriptions as well. She has larger hips and breasts than most white women, and she wears chea[er jewelry.
While Frost exaggerates some monotonous tasks, Williams gets down to the core of things and discusses people and events more pertinent to real life.
Williams on the other hand, at least in my opinion, writes with more purpose, especially in "To Elsie." In this poem, he writes for and to the less recognized classes such as the proletariat and those of a mixed race. Williams gets to the point using less words than Frost and expresses how young men work six days a week just to get by. Nothing greets these men except for the mountains in Kentucky and the lakes and valleys of New Jersey, leaving them nothing to do except work. Then, Williams switches the focus from the men of the working class to Elsie, the girl born with Indian blood. Because of her ethnicity, Elsie is doomed to face disease or murder, and eventually she will be sent out to work at a young age. Readers are aware that Elsie is "different" from other desriptions as well. She has larger hips and breasts than most white women, and she wears chea[er jewelry.
While Frost exaggerates some monotonous tasks, Williams gets down to the core of things and discusses people and events more pertinent to real life.
Tuesday, September 22, 2009
For some reason, William Carlos Willliams never seems to disappoint me. This goes way beyond just having a really cool name. One of my major disappointments about class last Wednesday was the fact that we never got to "The Red Wheelbarrow". As a high school student I made a solid attempt to figure out just what this poem was actually saying, but ultimately got nowhere. As I read it for class last week, I had a few ideas, feel free to let me know how I did. I believe that the poem is more of a tribute to the working class and a criticism of those who mock them. The first two lines, "So much depends/upon" stress importance. Easy enough. However, the next few aren't so easy. I believe that a wheelbarrow is chosen because its only function is work, which is what the upper class believe of the working class. The fact that it is a red wheelbarrow could either mean blood or because wheelbarrow's are typically red, that there is nothing particularly special about it. "Glazed with rain/water" I figured was the sweat that comes from the labor. The last two lines "beside the white/chickens" I thought referred to the upper class or "white collar". I think he uses chickens because on a typical farm, they do little else except lay eggs, eat and are eventually killed for food. I know this post is a little late, it probably should have gone up last week, but I'm really hoping to talk about "To Elsie" in class tomorrow.
Pound and Frost
I did some minor research about any influence or acquaintance between Ezra Pound and Robert Frost because their work was circulating through the Modernist movement around the same time and I was curious to see how Pound would react to Frost and visa versa.
It turns out that Pound came a few years before Frost and was one of Frost's main influences, but I couldn't find any comment by Pound about Frost's work. The reason I was so interested is because of Pound's manifesto from last week. It lays down some pretty rigid and clear rules regarding Imagist poetry, and the more I read Frost for this week, the more I saw Frost breaking those rules.
Frost's poetry is wordy, circular, and vague. That's not to say he isn't an inspiring or meditative poet, his work just strikes me as more Neo-Elizabethan than Imagist--which is quite the deviation. When I read Frost's work I imagine a dog on a leash: Frost starts very grounded and anchored in the message of the poem but begins to trail off in metaphor and vagury until the leash jerks him back to the center of the poem. He has a tendency to do this several times in a poem which makes them quite lengthy, something on which I'm sure Pound would comment. I could really see Pound burning through a few red pens if he were given free reign on Frost's poetry.
It turns out that Pound came a few years before Frost and was one of Frost's main influences, but I couldn't find any comment by Pound about Frost's work. The reason I was so interested is because of Pound's manifesto from last week. It lays down some pretty rigid and clear rules regarding Imagist poetry, and the more I read Frost for this week, the more I saw Frost breaking those rules.
Frost's poetry is wordy, circular, and vague. That's not to say he isn't an inspiring or meditative poet, his work just strikes me as more Neo-Elizabethan than Imagist--which is quite the deviation. When I read Frost's work I imagine a dog on a leash: Frost starts very grounded and anchored in the message of the poem but begins to trail off in metaphor and vagury until the leash jerks him back to the center of the poem. He has a tendency to do this several times in a poem which makes them quite lengthy, something on which I'm sure Pound would comment. I could really see Pound burning through a few red pens if he were given free reign on Frost's poetry.
Robert Frost Misconceived
Everyone seems to romanticize Frost; most being familiar with only "The Road Not Taken" which contains some of the most famous words in poetry and modern society. However perceiving Frost as a poet who embellishes words and things in life ONLY to make them beautiful, is a very wrong perception. I suppose I realized this after reading Frost's "Out, Out-" which I had to double check the author to be Robert Frost each time I read it. I took Dr. Swerdlow's poetry class and I remember him telling me that Frost was a harsh person, though in some of his poetry you would never guess it. Even the pessimistic "Nothing Gold Can Stay," is romanticized and beautiful through Frost's word choice.
Even Shakespeare is referenced by Frost (Macbeth's "Out, out...) and Shakespeare is one of the most celebrated lyrical and sentimental poets of all time (the beautiful wording techniques of each poet & their similarities in this sense, could explain the confusion about Frost's topics being about sweet things).
"Out, Out-" is full of beautiful words like Frost's other poems, but the situation that he is illustrating is horrible (to put it plainly) and utterly unpredictable. The boy cutting his hand badly is a tragic event but when the end of the poem brings his death it turns out to be a very dark message. The tragedy and unprecedented notions come in these lines,
"Little-less-nothing!-and that ended it.
No more to build on there. And they, since they
Were not the one dead, turned to their affairs."
Despite the obvious close relationship between the boy and his sister, and the close family ties illustrated in the fact that they have family supper together, Frost is saying that even when people die life goes on. Although this could be viewed as settling, Frost springs the death upon the reader so suddenly that it is hard to believe that this is a mechanism encouraged to help those who have lost loved ones with coping. It seems to be more of Frost calling human beings out who forget. It is a sad perception of the society and the world in which we live.
Even Shakespeare is referenced by Frost (Macbeth's "Out, out...) and Shakespeare is one of the most celebrated lyrical and sentimental poets of all time (the beautiful wording techniques of each poet & their similarities in this sense, could explain the confusion about Frost's topics being about sweet things).
"Out, Out-" is full of beautiful words like Frost's other poems, but the situation that he is illustrating is horrible (to put it plainly) and utterly unpredictable. The boy cutting his hand badly is a tragic event but when the end of the poem brings his death it turns out to be a very dark message. The tragedy and unprecedented notions come in these lines,
"Little-less-nothing!-and that ended it.
No more to build on there. And they, since they
Were not the one dead, turned to their affairs."
Despite the obvious close relationship between the boy and his sister, and the close family ties illustrated in the fact that they have family supper together, Frost is saying that even when people die life goes on. Although this could be viewed as settling, Frost springs the death upon the reader so suddenly that it is hard to believe that this is a mechanism encouraged to help those who have lost loved ones with coping. It seems to be more of Frost calling human beings out who forget. It is a sad perception of the society and the world in which we live.
road less traveled??
i realize the amount of times this poem has been quoted, lived by, and used. but i'm talking about it, becuase i have some questions about the road less traveled by. i am taking a class by Dr. Rennie right now and he's taught us to look and read things differently. for example, looking at a beautiful painting and saying what is this? "a field, a flower, a beautiful skyline" rennie responds. "no. it's neurons and photons bouncing off the light and making images."
Now on to the poem. perhaps we are over doign this poem a little bit. myself included. maybe frost was taking a stroll through the park and saw a Y in the road. and becuase he's a poet, he has a way with words to make them beautiful and romantic to our ears. but really it sounds something like this...
i came to a Y in the road.
i coudln't figure out which road to take.
i looked into the road and didnt see anything in either.
they both looked traveled, but one moreso than the other.
i wondered if i took the less traveled road, if i'd come back.
i ended up taking the less traveled raod.
good road.
but if he'd written it like that, we wouldn't be talking about it today. all i am saying is that this is a little overdone. maybe he just wanted to go into town and was trying to find the quickest route. he took the road less traveled by and found a shortcut.
i realize how personal one can make this poem. but see it for it really is. words on a paper.
Now on to the poem. perhaps we are over doign this poem a little bit. myself included. maybe frost was taking a stroll through the park and saw a Y in the road. and becuase he's a poet, he has a way with words to make them beautiful and romantic to our ears. but really it sounds something like this...
i came to a Y in the road.
i coudln't figure out which road to take.
i looked into the road and didnt see anything in either.
they both looked traveled, but one moreso than the other.
i wondered if i took the less traveled road, if i'd come back.
i ended up taking the less traveled raod.
good road.
but if he'd written it like that, we wouldn't be talking about it today. all i am saying is that this is a little overdone. maybe he just wanted to go into town and was trying to find the quickest route. he took the road less traveled by and found a shortcut.
i realize how personal one can make this poem. but see it for it really is. words on a paper.
Friday, September 18, 2009
What would your Manifesto say?
I was thinking about this the other day... if you had to write your own manifesto what would it say? I don't think mine would be too controversial, but I definitely see major faults with our society. Mine would probably include the damaging effects of living in a materialistic society....I need to think about my answer more. I'm not really sure what mine would say.
Wednesday, September 16, 2009
Parallel Lines
Einstein was said, "Everything is relative." One of the main overarching themes I took from the manifestos and forms for this week was the theme that two things which seem completely unrelated do indeed have common ground when viewed side by side.
For instance, Pound's ingenious poem, "In a Station of the Metro," presents the reader with two distinct images. However, one can't help but relate these images of the apparitions and petals to one another because of their positioning in the work. If Pound placed a few more stanzas between the lines, the image the reader has in his or her head would most likely be different. Therefore, the meaning of the poem would be altered.
Another theme I took away from the selections is the push to bring man into an equal bond with his creations. For instance, Marinetti uses personification to show the relationship between man and man's inventions. He intentionally uses images such as, "bridges that stride rivers like giant gymnasts", "deep-chested locomotives", and "steamers that sniff the horizon" to create a more intimate bond between these man-made machines.
Although the period of Modernism resulted from a fractured and broken world, it seems as if the poets and writers of the time were attempting to create a new order from the chaos. The poets were looking at the splintered world and, as Ezra Pound put it, using it as an opportunity to "make it new."
For instance, Pound's ingenious poem, "In a Station of the Metro," presents the reader with two distinct images. However, one can't help but relate these images of the apparitions and petals to one another because of their positioning in the work. If Pound placed a few more stanzas between the lines, the image the reader has in his or her head would most likely be different. Therefore, the meaning of the poem would be altered.
Another theme I took away from the selections is the push to bring man into an equal bond with his creations. For instance, Marinetti uses personification to show the relationship between man and man's inventions. He intentionally uses images such as, "bridges that stride rivers like giant gymnasts", "deep-chested locomotives", and "steamers that sniff the horizon" to create a more intimate bond between these man-made machines.
Although the period of Modernism resulted from a fractured and broken world, it seems as if the poets and writers of the time were attempting to create a new order from the chaos. The poets were looking at the splintered world and, as Ezra Pound put it, using it as an opportunity to "make it new."
Vivid Imagery
The selection “The Fish” by Marianne Moore caught my attention for its heavy use of visual imagery. I had to read it more than once. The word choices in this poem are so precise and specific that with each read word, a new or more detailed image shows. Overall, the poem presents a fluid and violent picture.
Words like “injured,” “abuse,” “ac-cident,” “burns,” and “hatchet strokes” really turned the sea from a usually picturesque image to that of a destroyer and murderer. Maybe it’s because my roommate has been watching the TV series Dexter this week(it’s about a serial killer) that I’m relating this to violence, but really, how many people, when you mention the sea or the ocean, think about its brutality?
As Dan wrote, Modernism is uncommon thought toward very common subjects. Moore uses this strategy throughout the poem. My favorite example is the line that describes the shafts of sun as being “split like spun glass.”
The ending of the poem gave me a sense of the time period: the acceptance that there will always be destruction in life, and that though it is not happy, it is a fact that we all have to deal with.
Words like “injured,” “abuse,” “ac-cident,” “burns,” and “hatchet strokes” really turned the sea from a usually picturesque image to that of a destroyer and murderer. Maybe it’s because my roommate has been watching the TV series Dexter this week(it’s about a serial killer) that I’m relating this to violence, but really, how many people, when you mention the sea or the ocean, think about its brutality?
As Dan wrote, Modernism is uncommon thought toward very common subjects. Moore uses this strategy throughout the poem. My favorite example is the line that describes the shafts of sun as being “split like spun glass.”
The ending of the poem gave me a sense of the time period: the acceptance that there will always be destruction in life, and that though it is not happy, it is a fact that we all have to deal with.
Super-catchy post title!
As a guy, I typically find feminism to be a rather touchy issue. When speaking of feminism there are typically two schools of thought. The first one is that women are equal and deserve just as much respect as men, if not more. This sort of feminism I completely support. The second type however, is a little more frighting to me as a male. Basically, anything that makes me feel ashamed to have been born a male. What Mina Loy wrote seems to do a little of both. There are things in there that I absolutely support, such as women looking inside themselves to see who they are and not to men to see what they are not. I also support the destruction of the classes of mother and misteress and completely agree that all women should not be forced to be put into theses classes. However, I struggle a lot with the comments, "Men & women are enemies," and "The only point at which the interests of the sexes merge---is the sexual embrace". Those things strike me as a little harsh and quite rash. But it is not as though all is lost on me. I understand where Loy is coming from and what she is trying to do with this Manifesto.
One of the recurring themes that I am seeing in the reading selection that is due in about an hour is the slowly emerging sense of self. If there is one thing that The House of Mirth showed is that society seemed to think of itself as a collective. The individuals of said collective were very important, but the upper echelon itself was more of a group than a person. In many of these works that we are reading, the self seems to be pushing to emerge. "In a Station of the Metro" came across, to me at least, as a very powerful poem, despite its length. The imagery in the poem seemed to suggest that the collective or mob of people coming out of a metro was something bad, or a "wet black bough", but each individual was something good or "petals". However, I could possibly be wrong, I figure a disclaimer is necessary.
One of the recurring themes that I am seeing in the reading selection that is due in about an hour is the slowly emerging sense of self. If there is one thing that The House of Mirth showed is that society seemed to think of itself as a collective. The individuals of said collective were very important, but the upper echelon itself was more of a group than a person. In many of these works that we are reading, the self seems to be pushing to emerge. "In a Station of the Metro" came across, to me at least, as a very powerful poem, despite its length. The imagery in the poem seemed to suggest that the collective or mob of people coming out of a metro was something bad, or a "wet black bough", but each individual was something good or "petals". However, I could possibly be wrong, I figure a disclaimer is necessary.
Not Man Enough
While reading the poetry assigned for this section, I noticed that the female gender is not only defining their own roles in society, but they are also defining the roles of men. Women in this day realized that to become feminine, you needed to break through the superficial otherness as defined by men. This was a radical statement because as Loy expresses, masculinity was defined by the repression of women ("The man who lives a life in which his activities conform to a social code which is a protectorate of the feminine element- is no longer masculine...").
Amy Lowell, the poet of "Venus Transiens" may have her poetry simply looked at as a romantic lesbian text which broke the mold because it was a radical idea of the same-sex relationship. I feel, however, that Loy schemed to define women with their delicate beauty and seemed to give them a power of such by even comparing them to Goddesses. The image created by Botticelli's Birth of Venus, was not a strong enough image of the feminine role in Loy's eyes ("was Botticelli's vision fairer than mine"). Here, women are taking on the masculine roles of characterizing other women into a category of feminine but a more powerful, appealing image that may subliminally evoke change.
How can we see this tension between the genders in House of Mirth? By examining Lily's relationships with male characters, we can understand that the men just aren't man enough for her. Her first male to female relationship, the father-daughter relationship, showed a tension of different sorts. While Lily fulfilled her role as the feminine character, her father did not. Her relationship with him was estranged until they started to lose everything. It was then we were able to make some observations about him. He did not work- that's essentially half of masculinity within this social structure (if not more) gone. He did not provide security (financially), confine her to a feminine role (because he was always absent), nore fulfill any masculine obligations to her life. Consequently, every man that Lily encountered just didn't seem to have the total package she was looking for. The Italian prince looked like a good choice, but he couldn't confine her attention- he wasn't man enough. The second guy to fall into the trap, Percy, could never really be considered as an option because in all reality, he was being controlled by his mother-- which is neat because this actually mirrors one of Edith Wharton's real relationships that ended tragically because of his mother's disapproval. Seldon was such a great choice of a guy because he appreciated her feminine power and beauty. He is fully aware of her power when he says I am just the color you are using for today. But he did not stand a chance because although he embraced her feminine characteristics, Lily is caught between the victorian and modern worlds; therefore, she needs someone who can fulfill both roles- the old masculine and the new masculine. Seldon didn't fulfill his old masculine role completely because he wasn't financially equipped. Rosedale's character, fulfilled both roles of masculinity, but by the time it really started to show, Lily had conceded to losing everything.
You can really start to see a change in gender terms within the time period.
Amy Lowell, the poet of "Venus Transiens" may have her poetry simply looked at as a romantic lesbian text which broke the mold because it was a radical idea of the same-sex relationship. I feel, however, that Loy schemed to define women with their delicate beauty and seemed to give them a power of such by even comparing them to Goddesses. The image created by Botticelli's Birth of Venus, was not a strong enough image of the feminine role in Loy's eyes ("was Botticelli's vision fairer than mine"). Here, women are taking on the masculine roles of characterizing other women into a category of feminine but a more powerful, appealing image that may subliminally evoke change.
How can we see this tension between the genders in House of Mirth? By examining Lily's relationships with male characters, we can understand that the men just aren't man enough for her. Her first male to female relationship, the father-daughter relationship, showed a tension of different sorts. While Lily fulfilled her role as the feminine character, her father did not. Her relationship with him was estranged until they started to lose everything. It was then we were able to make some observations about him. He did not work- that's essentially half of masculinity within this social structure (if not more) gone. He did not provide security (financially), confine her to a feminine role (because he was always absent), nore fulfill any masculine obligations to her life. Consequently, every man that Lily encountered just didn't seem to have the total package she was looking for. The Italian prince looked like a good choice, but he couldn't confine her attention- he wasn't man enough. The second guy to fall into the trap, Percy, could never really be considered as an option because in all reality, he was being controlled by his mother-- which is neat because this actually mirrors one of Edith Wharton's real relationships that ended tragically because of his mother's disapproval. Seldon was such a great choice of a guy because he appreciated her feminine power and beauty. He is fully aware of her power when he says I am just the color you are using for today. But he did not stand a chance because although he embraced her feminine characteristics, Lily is caught between the victorian and modern worlds; therefore, she needs someone who can fulfill both roles- the old masculine and the new masculine. Seldon didn't fulfill his old masculine role completely because he wasn't financially equipped. Rosedale's character, fulfilled both roles of masculinity, but by the time it really started to show, Lily had conceded to losing everything.
You can really start to see a change in gender terms within the time period.
Tuesday, September 15, 2009
Painting a Picture in so Few Words
I fully agree with Dan's views on Pound's "In a Station of the Metro." I first read this poem last semester in The Roaring 20s course. When I came to the end of the second sentence, I found myself wondering 'Is that all?' However, after taking in all fourteen words and contemplating their meaning, I came to appreciate Pound's work. In just those two lines he painted a detailed picture of a scene at a metro station and at a tree. The reader can envision the ghostly figures waiting in a crowded room for a train. Then, Pound transitions from the station to the branch of a tree and the flower petals that rest upon its bark. Despite the unlikelihood of relevance between the two, he compares these scenes with such force. Something startling or remarkable appears in both the station and on the tree branch, something that doesn't require many words to describe, but an occurrence that links the once contrasting ideas in a manner that is understood in those few words.
William Carlos Williams also conveys a deep meaning through a small number of words in his poem "The Red Wheelbarrow." I read these eight lines in The Roaring 20s as well and formulated a theory based on the sixteen words. First, I took a closer look at the "red" wheelbarrow, the "blue" water, and the "white" chickens. Patriotism shouts from these colors that symbolize our country and confirms his desire to write and speak within some perspective of life in America, specifically pinpointing the lives of immigrants and the poor. Although, another meaning may exist for the publication of this poem. Perhaps Williams wanted to express the tranquility within a scene of a farm, bringing the working class and city-dwellers back to the basics of everyday life. Whatever his reason, and just as Pound, Williams paints a picture in so few words.
William Carlos Williams also conveys a deep meaning through a small number of words in his poem "The Red Wheelbarrow." I read these eight lines in The Roaring 20s as well and formulated a theory based on the sixteen words. First, I took a closer look at the "red" wheelbarrow, the "blue" water, and the "white" chickens. Patriotism shouts from these colors that symbolize our country and confirms his desire to write and speak within some perspective of life in America, specifically pinpointing the lives of immigrants and the poor. Although, another meaning may exist for the publication of this poem. Perhaps Williams wanted to express the tranquility within a scene of a farm, bringing the working class and city-dwellers back to the basics of everyday life. Whatever his reason, and just as Pound, Williams paints a picture in so few words.
Images
When I flipped to Pound's "In a Station of the Metro" I spent a solid minute trying to find the rest of the poem. I initially agreed with Dr. Hicok's assertion of his insanity and wondered why anyone would bother writing--let alone publishing--a two-line poem.
But his every word hung heavy with imagery. Pound himself wrote, "Use no superfluous word, no adjective which does not reveal something," and he made his case by painting an enveloping--if morbid and morose--image in two short lines. Because it is so short every word had weight and impact; it punched with conciseness and direction.
The poetry in this week's reading followed that same theme of consise and vivid imagery. Stevens' "Blackbird" read as dozens of short, punctuating phrases, toggling between physicality and veiled metaphor. It is abstract but gripping.
This reminds me of Modernist art as well. The themes are very abstract as are the implemented styles, but the works as a whole are usually lucid and attention-grabbing. There are very few frills, a characteristic which defines the Modernist movement as a whole. It seems to me that Modernist prose, poetry, and art all tried to shed all the excess from the core of the subject, which is what allowed Modernist authors and artists to approach these themes from such revelationary perspectives.
After reading these pieces over the last two weeks, I have come to see Modernism as uncommon thought toward very common subjects.
But his every word hung heavy with imagery. Pound himself wrote, "Use no superfluous word, no adjective which does not reveal something," and he made his case by painting an enveloping--if morbid and morose--image in two short lines. Because it is so short every word had weight and impact; it punched with conciseness and direction.
The poetry in this week's reading followed that same theme of consise and vivid imagery. Stevens' "Blackbird" read as dozens of short, punctuating phrases, toggling between physicality and veiled metaphor. It is abstract but gripping.
This reminds me of Modernist art as well. The themes are very abstract as are the implemented styles, but the works as a whole are usually lucid and attention-grabbing. There are very few frills, a characteristic which defines the Modernist movement as a whole. It seems to me that Modernist prose, poetry, and art all tried to shed all the excess from the core of the subject, which is what allowed Modernist authors and artists to approach these themes from such revelationary perspectives.
After reading these pieces over the last two weeks, I have come to see Modernism as uncommon thought toward very common subjects.
Lily: The Ideal Feminist
This is mostly in congruence with Gretchen's post, and as I still have House of Mirth on my mind, I have been thinking how women rights are incredibly relevant to Lily's circumstances (and to my own for that matter) I consider myself to be a feminist, however, I do not think that all of the feminist ways should apply to me or others. I do think that the women suffrage movement all the all things that followed were completely essential to the rest of the societal rights that women possess today. However, like Lily, why should women not be permitted to enjoy the finer things in life and still be considered independent or NOT a feminist? I know that I want a husband that worships me and I think that every woman deserves that, in the real world and in House of Mirth, predominantly Lily. We do have to remember that sometimes love isn't enough and I respect Lily for keeping that in mind throughout her life. This thought may be anti-romantic but Lily is the perfect example and she is a lot smarter than we give her credit for, she shouldn't dismiss what she deserves to be with someone that she is simply attracted to (and at times I felt that between she and Selden it was only physical attraction and the idea of being with one another).
I like the idea of men waiting on me and it may be superficial but women should be showered with attention and treated like princesses. This is how Lily was brought up and she could not allow herself to stray from the ideals that her mother instilled in her, and why should she? I don't think that because we want men to do things for us woman that that makes us dependent. If I wanted to someday I could live on my own, provide for myself, and live absent of male attention. If some feminists would like to do that then that is great for them. However, as independent ladies, we have the option to be treated well and pampered. Ultimately I believe that a woman can be independent and be spoiled simultaneously. Because I am a feminist, that does not mean that I want to live alone and purposely try to defy social roles (as Gerty did), it simply means that, like Lily, I demand respect AND appreciate and deserve admiration.
I like the idea of men waiting on me and it may be superficial but women should be showered with attention and treated like princesses. This is how Lily was brought up and she could not allow herself to stray from the ideals that her mother instilled in her, and why should she? I don't think that because we want men to do things for us woman that that makes us dependent. If I wanted to someday I could live on my own, provide for myself, and live absent of male attention. If some feminists would like to do that then that is great for them. However, as independent ladies, we have the option to be treated well and pampered. Ultimately I believe that a woman can be independent and be spoiled simultaneously. Because I am a feminist, that does not mean that I want to live alone and purposely try to defy social roles (as Gerty did), it simply means that, like Lily, I demand respect AND appreciate and deserve admiration.
response to other reads.
Hang on a second. Joy...i have no idea where that came from. and quite honestly, it sounded like you are responding to the Swine flu updates. but in response to some of your questions, i would rather have a healthy immunse system. and in response to house of mirth... i still stand by my idea to have a "sugar daddy" i am a huge independent woman, who demands respect, especially from men, but women's rights wasn't our smartest idea ladies... we still today want men to pick us up, drive us places, and pay for things..but that's not independence, (it may just sound like gentleman qualities) but in a sense we are depending on guys to do those things for us. Lilly was a beautiful woman, who was brought up thinking she deserved the best. she didn't compromise herself, by having seldan (although i am a huge fan) she thought she coudl do better. taking that chance, just as if she had taken a chance on seldan, ends badly, but none the less. she took a chance, and failed. miserably. but at least she's consistant. she hadn't succeeded yet, and at least she didn't end up succedding int he end. so in summery....i'm still looking for my sugar daddy to open my doors pay for things and keep me entertained. i mean... hey...a girl can hope right? i may turn out like lilly, but i won't compromise either.
peace out class!
peace out class!
Monday, September 14, 2009
We will glorify peace--the world's only chance
“We will glorify war—the world’s only hygiene—militarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for, and scorn for women.
“We will destroy the museums, libraries, academies of every kind, will fight moralism, feminism, every opportunistic or utilitarian cowardice.” – F. T. Marinetti
I once wrote: “they say that dog is man’s best friend, but in truth, perhaps war is. It has followed him longer than any dog. It has slept at the foot of his bed more than any dog. It has eaten more, walked with him more oft, and lived longer than any canine. It has also cost him more: more sweat, tears, and blood. It is a terrible pet, whose swath of destruction is longer than a wagging tail or biting teeth.”
But to fight this beast is not cowardice. To say that the pompous cat is better is not cowardice. To request diplomacy—moralism—is not cowardice. Which is easier? To compromise or to punch someone? To insist that everyone speak up, or to shout over all?
And if war really is the world’s only hygiene, we must realize that through our insistence of hygiene, new resistances pop up. Through our scourge against germs, we create new, worse killers. Or would you rather have a healthy immune system?
Saturday, September 12, 2009
Excessive Self-Sacrifice
Wharton's House of Mirth isn't the first work of literature to poke holes in society (Hawthorne, Wilde, and Sheridan are a few other authors who have done so). Nevertheless, it remains a potent addition to the various takes on society's flaws as well as those of the individual.
At first, readers may want to feel bad for Lily Bart. After all, she just wants those in the "popular" clique to accept her; everyone wants that. Unfortunately, she does not seem to realize that she spends all of her time trying to be a person she is not. One almost gets the feeling that she only continues her attempts at popularity because she has become a creature of habit. She made herself a Pavlovian dog in the sense that she has repeatedly told herself that she needs to belong to the upper caste. The idea of being accepted by high society has obliterated what remains of her independent self because she has told herself (at the behest of society). Had she followed her heart, she would have had to sacrifice her semi-glorified spot as a high roller and subsequently suffer the disdain of her upper class "friends," but at least she would have attained true happiness.
On the flip-side, one can hardly blame her for the attitude she adopted. Society did its own Pavlovian conditioning on Lily: it convinced her (and all women) that the only path in life was one of social acceptance by the higher orders. As with anything else, it a person hears something repeated over a period of time, the person often accepts it as a truth. During the rare moments when Lily questioned her place in the world, she would inevitably cease going against the flow and get washed away in the tides of society's social demands. What makes her situation particularly depressing is that given her spot on the social ladder, society left just enough room for her to hope. Had she not had that hope she would probably not have tried to squeeze herself into the upper class.
Essentially, Lily was doomed from the start. Could she have had the intestinal fortitude to extricate herself from a society of arrogant twits? Possibly, but she probably would have had to get a bigger inheritance from her before that would happen. Paradoxically, that would have given her lots of money and kept her in high society as a withered husk of a human being instead of encouraging her to leave and be truly happy.
P.S. I was flipping through the channels the other day and happened upon the movie version of Sex and the City. It was not, as the Brits would say, my cup of tea, but I couldn't stop watching it because it reminded me of House of Mirth. The whole time I kept thinking those women are equivalent to the types with whom Lily Bart associated. I didn't finish the movie (it's not really my type of movie) and watched The Departed instead. Ironically, The Departed is about an undercover cop and a detective who is a mole for the mob trying to maintain their respective appearances in societies to which they don't really belong. Irony rules.
At first, readers may want to feel bad for Lily Bart. After all, she just wants those in the "popular" clique to accept her; everyone wants that. Unfortunately, she does not seem to realize that she spends all of her time trying to be a person she is not. One almost gets the feeling that she only continues her attempts at popularity because she has become a creature of habit. She made herself a Pavlovian dog in the sense that she has repeatedly told herself that she needs to belong to the upper caste. The idea of being accepted by high society has obliterated what remains of her independent self because she has told herself (at the behest of society). Had she followed her heart, she would have had to sacrifice her semi-glorified spot as a high roller and subsequently suffer the disdain of her upper class "friends," but at least she would have attained true happiness.
On the flip-side, one can hardly blame her for the attitude she adopted. Society did its own Pavlovian conditioning on Lily: it convinced her (and all women) that the only path in life was one of social acceptance by the higher orders. As with anything else, it a person hears something repeated over a period of time, the person often accepts it as a truth. During the rare moments when Lily questioned her place in the world, she would inevitably cease going against the flow and get washed away in the tides of society's social demands. What makes her situation particularly depressing is that given her spot on the social ladder, society left just enough room for her to hope. Had she not had that hope she would probably not have tried to squeeze herself into the upper class.
Essentially, Lily was doomed from the start. Could she have had the intestinal fortitude to extricate herself from a society of arrogant twits? Possibly, but she probably would have had to get a bigger inheritance from her before that would happen. Paradoxically, that would have given her lots of money and kept her in high society as a withered husk of a human being instead of encouraging her to leave and be truly happy.
P.S. I was flipping through the channels the other day and happened upon the movie version of Sex and the City. It was not, as the Brits would say, my cup of tea, but I couldn't stop watching it because it reminded me of House of Mirth. The whole time I kept thinking those women are equivalent to the types with whom Lily Bart associated. I didn't finish the movie (it's not really my type of movie) and watched The Departed instead. Ironically, The Departed is about an undercover cop and a detective who is a mole for the mob trying to maintain their respective appearances in societies to which they don't really belong. Irony rules.
Thursday, September 10, 2009
Why is Lily always the victim?
When looking at Lily Bart’s downfall I always tend to wonder why she is always the victim of the drama that surrounds her. To answer this question I think a major quality Lily possess that makes her vulnerable to drama is her ignorance to the situations she encounters. When Gus Trenor offers to assist her financially Lily immediately accepts the help without analyzing the whole scenario. Lily does not wonder why he is helping her or what he might want in return for his help. Instead, she merely accepts it and then spends the money. Lily may not only be vulnerable because of her ignorance but also because of her innocence. Lily, although she is money obsessed, is a kind hearted person who does not intentionally hurt others. Gus Trenor’s way of thinking may never have occurred to her because she does not think that way. The second main situation where Lily is victimized by the drama around her is on the cruise she attends with the Dorsets. Lily gladly accepts the invitation but never thinks that it is a cruel distraction for an affair between Bertha and Ned Silverton. Even on the trip Lily remains ignorant to the affair until George Dorset himself tells Lily his fears about their relationship. Bertha then creates the drama and blames the whole ordeal on Lily stating that Lily was intentionally drawing George away from her. Lily’s fair reputation diminishes altogether once people hear the things Bertha is saying. However, Lily remains innocent in all of it, and even in a time when she could get revenge on Bertha by exposing the letters between her and Selden she does not. I personally believe Lily is kind hearted in many ways and just innocent to the drama and treachery she’s surrounded in.
Monday, September 7, 2009
Lily Bart and Reynolds's Mrs. Lloyd
This is the painting of Mrs. Richard Bennett Lloyd by Sir Joshua Reynolds that Lily Bart replicates in the tableaux vivants scene in Edith Wharton's House of Mirth. The painting dates from 1775-76.
Friday, September 4, 2009
Video Game Heros and I
How does the video game protagonist relate to Modernist principals? It is a distanced I, as the player is subject to the character’s description and the boundaries of the world. The character chooses and advances the plot; the player controls the transportation, fights, and timing. As J. Alfred Prufrock and Gatsby were subject to the opinions of others, the protagonist is subject to the player’s discretion. J. Alfred Prufrock, socially neutered himself, a victim of insecurities and rumours. Gatsby is stuck under the rock of gossip, social pressure, and the unpredictability of people. Game heroes, too, are chained to public opinion paralyzed from the movement of the analog stick.
Then there is the infamous silent protagonist. Either the least or most sympathetic being on the planet, he is shaped entirely by the player. She becomes a kind of camera, through which we see it all—the victories and losses, the helpful and hindering, the beginning through the end. Do we consider the cameraman or camera the main character of a movie? Do we consider the narrator the main character of a novel or play? No. And yet, the silent protagonist is. The cameraman or narrator does not hold an I in the story, but the protagonist interacts with the world, the people. He holds the smallest fragment of an I, the last bit of integrity, within his eyes. Her stance. His hair. Her dialogue. Even if the player names him Seymour Butts.
As I play I remember that I am not Minato, Raidou, or Serph, as they bring down their swords, climb ladders, and stand on a rooftop. When, however, I’m asked to made a decision, it is not the anorexic anime character who answers, but myself. Is this the minimum association for human empathy? Or is it merely the face? The physical existence on screen? The preference of a coat or hat? The unconscious sound made during a fall? Maybe Prufrock is not the best example of the minimalistic I.
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