1) How is legal imagery (that of a courtroom) used to examine guilt and judgment (on page 52)?
"Judge me not" is a term that we see used often on page 52 of The Crucible. We also hear the Proctor say: "I'll plead my honesty no more, Elizabeth." These two terms bring me back to a courtroom setting, as well as the fact that there seems to be an interrogation of the Proctor going on, even though Elizabeth insists that she does not judge him. This "legal imagery" seems to set up the opportunity for the reader to be exposed more deeply to the characters. We, as readers, get to see who is feeling the guilt and scrutiny. We also can see some more background on the characters (e.g. the type of relationship between this couple).
2) Who does Elizabeth think accused her of witchcraft?
Elizabeth thinks that Abigail has accused her of witchcraft so that she could supposedly have her killed and she could take her spot with the Proctor (pg 58). When Elizabeth asks him to talk to her, this only causes his temper to rise even higher.
3) Who has officially been accused of killing Mrs. Putnam's children? How is this women "proven" guilty?
I believe it is Rebecca Nurse that has been officially accused of killing Mrs. Putnam's children, since she helped give birth to the babies, who soon after died. Francis Nurse receives the information that his wife has not only been accused, but also put in jail for this accusation.
4) What does Proctor have to say about the accusers (pg. 73)? What has he just done as a sign of his faltering faith in his neighbors?
At this point, Proctor has simply lost it with having so many accusations being flung around (including those against his own wife). He demands that these men get out of his residence. When they linger around, Proctor even snatches the warrant for his wife and rips it up. He even asks this question: "Is the accuser always holy now? Were they born this morning as clean as God's fingers?" This was the man who was always asking for the proof of an accusation, and usually the same man who never got satisfactory evidence for conviction. And these questions that he asks the accusers establishes a good point in favor of his beliefs.
Sunday, May 8, 2011
Friday, March 4, 2011
Macbeth Harkness Questions
1. How does Lady Macbeth's desire to be king evolve? After she says: "unsex me here, and fill me from the crown to the toe top-full of direst cruelty. Make thick my blood" (1.5.48-50) what exactly leads to her regret after the murders?
2. First off, what does Macbeth mean when he receives word: "The Queen, my lord, is dead" (5.5.19) with his response and was this a predictable response?
3. What does the character Hecate contribute to the story? We don't meet her until Act 3, when she says: "And I, mistress of your charms, the close contriver of all harms, was never called to bear my part or show the glory of our art?" (3.5.6-9)
2. First off, what does Macbeth mean when he receives word: "The Queen, my lord, is dead" (5.5.19) with his response and was this a predictable response?
3. What does the character Hecate contribute to the story? We don't meet her until Act 3, when she says: "And I, mistress of your charms, the close contriver of all harms, was never called to bear my part or show the glory of our art?" (3.5.6-9)
Monday, February 14, 2011
Macbeth Act 1, scenes 4-7 Reading Questions
Scene 4:
1) How would you paraphrase Duncan's ll. 13-16?
"I trust in this man by what his mind thinks. Others only view him by his appearance and outside layer, but I can view deeper into his character and therefore I trust in him." (personal paraphrase).
2) Lines 55-60--what is happening to Macbeth's thinking? How would you paraphrase or understand his thinking in ll. 57-58 and then 59-60? How is there in his thinking a kind of ambivalence toward or dread of ambition? Also, in what terms or images is he sensing ambition?
Macbeth is realizing who is in his way to the king's position. Malcolm, who is the Thane of Cawdor is in his way. In the first lines he is saying how he must skip taking that position and go directly to the crown. Then in the last lines, he is saying that although the actions he might take to get the power are unjust, but my "eyes" will not notice how unjust these actions were once I have received the position. During this segment of the scene, Macbeth recognizes how dark these actions will be, but he also mentions of a strong ambition for the position.
Scene 5:
3) Lines 18-23--what distinctions does Lady Macbeth make between opposing aspects of Macbeth's thoughts and actions?
Lady Macbeth talks about Macbeth when he is not present. She realizes that Macbeth is not perfect for these high positions. He is ambitious, but feels pity for others as well, which would not make him the greatest leader.
4) Line 48--what may Lady Macbeth mean by "unsex me here"?
Macbeth demonstrates her desire to rule in this line. She further wants to take on the aspects of a man so that she could rule instead of Macbeth. She had previously stated why Macbeth is not the right man to be king, however she believes she is the perfect person for the role, unfortunately her sex is limiting her.
5) Lines 73-8--what is Lady Macbeth observing about Macbeth's face What does she desire in his countenance and behavior?
She is noticing that Macbeth's face is now confusing, for his people come to expect different actions from their Thane of Cawdor and Glamis, which supposedly Lady Macbeth can notice in the different parts of his face. She wants his behavior to reflect what he is thinking on the inside (that is not portrayed in his face), however what he is thinking inside is of plotting death, thus she refers to his behavior as a serpent.
Scene 6
6) Lines 4-12: how are Banquo's lines describing the bird's ("martlet's") behavior in opposition to Lady Macbeth's thoughts and impulses (1.5.48, 54-7;1.7.62-67)?
As opposed to Lady Macbeth's thoughts and impulses, which are of her taking actions to change reality, Banquo describes the actions of the birds as very peaceful and simply letting life come to them.
7) Are Lady Macbeth's thoughts and impulses in keeping with the natural processes and values of Nature or are they unnatural perversions of Nature?
Lady Macbeth's thoughts go along more with the unnatural happening of Nature. Lady Macbeth strongly desires power, however in Nature, no animals really desire anything very much. So therefore in nature no actions are really made to impact the future, however Lady Macbeth's ideas (although many cannot be achieved), she still takes active steps to reach her goals.
Scene 7
8) What do the repetitions of "If" and "but" suggest about the nature or process of Macbeth's thinking? How are "if" and "but" appropriate for Macbeth's kind of thinking in this soliloquy, ll. 1-28
"If" and "but" suggest that Macbeth is not positive all of these steps will happen. He recognizes that achieving the king's position would be tough, and he could still easily fail in his attempt. Unlike Mady Macbeth, the King of Cawdor is not as certain of himself.
1) How would you paraphrase Duncan's ll. 13-16?
"I trust in this man by what his mind thinks. Others only view him by his appearance and outside layer, but I can view deeper into his character and therefore I trust in him." (personal paraphrase).
2) Lines 55-60--what is happening to Macbeth's thinking? How would you paraphrase or understand his thinking in ll. 57-58 and then 59-60? How is there in his thinking a kind of ambivalence toward or dread of ambition? Also, in what terms or images is he sensing ambition?
Macbeth is realizing who is in his way to the king's position. Malcolm, who is the Thane of Cawdor is in his way. In the first lines he is saying how he must skip taking that position and go directly to the crown. Then in the last lines, he is saying that although the actions he might take to get the power are unjust, but my "eyes" will not notice how unjust these actions were once I have received the position. During this segment of the scene, Macbeth recognizes how dark these actions will be, but he also mentions of a strong ambition for the position.
Scene 5:
3) Lines 18-23--what distinctions does Lady Macbeth make between opposing aspects of Macbeth's thoughts and actions?
Lady Macbeth talks about Macbeth when he is not present. She realizes that Macbeth is not perfect for these high positions. He is ambitious, but feels pity for others as well, which would not make him the greatest leader.
4) Line 48--what may Lady Macbeth mean by "unsex me here"?
Macbeth demonstrates her desire to rule in this line. She further wants to take on the aspects of a man so that she could rule instead of Macbeth. She had previously stated why Macbeth is not the right man to be king, however she believes she is the perfect person for the role, unfortunately her sex is limiting her.
5) Lines 73-8--what is Lady Macbeth observing about Macbeth's face What does she desire in his countenance and behavior?
She is noticing that Macbeth's face is now confusing, for his people come to expect different actions from their Thane of Cawdor and Glamis, which supposedly Lady Macbeth can notice in the different parts of his face. She wants his behavior to reflect what he is thinking on the inside (that is not portrayed in his face), however what he is thinking inside is of plotting death, thus she refers to his behavior as a serpent.
Scene 6
6) Lines 4-12: how are Banquo's lines describing the bird's ("martlet's") behavior in opposition to Lady Macbeth's thoughts and impulses (1.5.48, 54-7;1.7.62-67)?
As opposed to Lady Macbeth's thoughts and impulses, which are of her taking actions to change reality, Banquo describes the actions of the birds as very peaceful and simply letting life come to them.
7) Are Lady Macbeth's thoughts and impulses in keeping with the natural processes and values of Nature or are they unnatural perversions of Nature?
Lady Macbeth's thoughts go along more with the unnatural happening of Nature. Lady Macbeth strongly desires power, however in Nature, no animals really desire anything very much. So therefore in nature no actions are really made to impact the future, however Lady Macbeth's ideas (although many cannot be achieved), she still takes active steps to reach her goals.
Scene 7
8) What do the repetitions of "If" and "but" suggest about the nature or process of Macbeth's thinking? How are "if" and "but" appropriate for Macbeth's kind of thinking in this soliloquy, ll. 1-28
"If" and "but" suggest that Macbeth is not positive all of these steps will happen. He recognizes that achieving the king's position would be tough, and he could still easily fail in his attempt. Unlike Mady Macbeth, the King of Cawdor is not as certain of himself.
Sunday, January 9, 2011
Oedipus Assignment 2: Pages 211 - 232
1) By no means is Oedipus suffering more when Jocasta enters in the beginning of this passage, than when he finds out who his real parents are at the end of this passage. However, when neither Oedipus nor Jocasta know of their situation, Jocasta reaches the temples of the gods and tells the deities first about Oedipus. She loves him and comes to Apollo for help. She tells him how miserable her husband/son is, and points out that "he's at the mercy of every passing voice" (1004). This is very interesting coming from Jocasta because, often times Oedipus refuses what a messenger or wise man says, and his wife is the one who sometimes reassures him that he is right. None the less, Jocasta demonstrates that Oedipus is helpless, and does not have any say on what has been happening and what will continue to happen to him. Jocasta perhaps knows him better than anyone and realizes he greatly desires power. When Oedipus is not receiving the freedom to think on his own she realizes that he just is not himself.
2) In the later part of the discussion between Oedipus and the messenger, Jocasta's ears all of a sudden perk up when the Messenger reveals that the shepherd was a servant of her husband Laius. Oedipus not knowing as much as his mother, continues asking questions, and for a short time Jocasta remains quiet. Then when Oedipus asking asking questions repeatedly of her, each time she increasingly becomes more and more demanding that she does not admit the truth. Her maternal instincts are demonstrated in this passage when she says: "For you sake - I want the best for you" (1170). Yet Oedipus' pride and curiosity cannot listen to Jocasta's pleas, and still demands her answer. She still never gives in, but instead says before she leaves: "You're doomed - / may you never fathom who you are" (1173). This is one large wish from Jocasta to her son, but even with her powers as queen, she cannot stop Oedipus from finding out his true self.
3) Many people always say that if one person's sense is lost, the others become stronger. This might be the case for Tiresias too, but it is much more obvious to the audience that he seems very wise and mature. Some might argue that this is because of his age, however someone losing their sense of sight causes them to slow down, and most likely reflect more. Even though, Tiresias does get angry with Oedipus, he wisely says when trying to keep the painful truth away from the king: "I'd rather not cause pain for you or me" (378).
4) As noticed in class, the Leader of the chorus speaks when someone is trying to get a direct response from the choir. Yet when the choir does sing, it usually reflects on what the previous section has been going on. They do serve as a narrator sometimes, but also prayer-offerers as well. They do react to what had just happened in the play, but with the requirement to practice (that was found out on Friday), it is difficult to be able to see the future and what would be appropriate for a certain time.
2) In the later part of the discussion between Oedipus and the messenger, Jocasta's ears all of a sudden perk up when the Messenger reveals that the shepherd was a servant of her husband Laius. Oedipus not knowing as much as his mother, continues asking questions, and for a short time Jocasta remains quiet. Then when Oedipus asking asking questions repeatedly of her, each time she increasingly becomes more and more demanding that she does not admit the truth. Her maternal instincts are demonstrated in this passage when she says: "For you sake - I want the best for you" (1170). Yet Oedipus' pride and curiosity cannot listen to Jocasta's pleas, and still demands her answer. She still never gives in, but instead says before she leaves: "You're doomed - / may you never fathom who you are" (1173). This is one large wish from Jocasta to her son, but even with her powers as queen, she cannot stop Oedipus from finding out his true self.
3) Many people always say that if one person's sense is lost, the others become stronger. This might be the case for Tiresias too, but it is much more obvious to the audience that he seems very wise and mature. Some might argue that this is because of his age, however someone losing their sense of sight causes them to slow down, and most likely reflect more. Even though, Tiresias does get angry with Oedipus, he wisely says when trying to keep the painful truth away from the king: "I'd rather not cause pain for you or me" (378).
4) As noticed in class, the Leader of the chorus speaks when someone is trying to get a direct response from the choir. Yet when the choir does sing, it usually reflects on what the previous section has been going on. They do serve as a narrator sometimes, but also prayer-offerers as well. They do react to what had just happened in the play, but with the requirement to practice (that was found out on Friday), it is difficult to be able to see the future and what would be appropriate for a certain time.
Saturday, January 8, 2011
Oedipus Self Assignment: Pages186-210 (personal)
If Oedipus is so clever, and Creon is so wise, why do they both participate in these immature arguments?
Oedipus is a clever king. He had answered the riddle of the sphinx, and had received the highest position in Thebes, but his hubris is what got him into such an "oh shit moment." His excessive pride is the reason for his curiosity. He is so concerned about his position and appearance, that he always has to know about his fate and what is being said about him. This is one of the reasons why Oedipus starts a fight in the beginning of our reading. He comes into the middle of a conversation with his wife/mother and Creon. He considers this act as part of Creon's plan, when he says: "I see it all, the marauding thief himself / scheming to steal my crown and power" (597-8). We also see from this beginning of a fight, that Oedipus's overweening pride is also the reason why he accuses others of doing something wrong. I cannot recall one single time when Oedipus admits that a problem was his fault or that he negatively contributed to that act. He feels the need to be very protective of himself in order to be a good ruler.
However Creon to some extent, keeps his cool for the beginning of this argument, and is not very attacking with his responses. Yet when he gives his speech to Oedipus saying that he is the one who has the good life, he is trying to prove his innocence by saying this. He is trying to demonstrate to the king that he would not want his position, and therefore not try and kick Oedipus from his position. This thinking is wise on Creon's part because of his equal power and such a nice form of life, but it may not have been the wisest thing to say in front of Oedipus. Oedipus instantly starts becoming very aggressive verbally, responding at one point with: "No, I want you dead" (698). Now this becomes an issue of life here. When anything becomes so extreme to the point of peoples lives are in danger, then the atmosphere can become very aggressive and immature, even for the very wise men. Also we should remember that someone's honor was a huge deal during these times. Creon had just been accused in public, which easily could have ruined his reputation and honor. Even though, when I think of a wise man, I think of someone who is very patient and always thinking what is best for himself and others in the long run, however, I do not know what Creon is thinking, being a wise man. It seems that his reaction and immature arguments are not very wise, but perhaps being attacked until his honor is damaged, and his death wanted to be ASAP, is affecting the patient attitude of Creon.
Oedipus is a clever king. He had answered the riddle of the sphinx, and had received the highest position in Thebes, but his hubris is what got him into such an "oh shit moment." His excessive pride is the reason for his curiosity. He is so concerned about his position and appearance, that he always has to know about his fate and what is being said about him. This is one of the reasons why Oedipus starts a fight in the beginning of our reading. He comes into the middle of a conversation with his wife/mother and Creon. He considers this act as part of Creon's plan, when he says: "I see it all, the marauding thief himself / scheming to steal my crown and power" (597-8). We also see from this beginning of a fight, that Oedipus's overweening pride is also the reason why he accuses others of doing something wrong. I cannot recall one single time when Oedipus admits that a problem was his fault or that he negatively contributed to that act. He feels the need to be very protective of himself in order to be a good ruler.
However Creon to some extent, keeps his cool for the beginning of this argument, and is not very attacking with his responses. Yet when he gives his speech to Oedipus saying that he is the one who has the good life, he is trying to prove his innocence by saying this. He is trying to demonstrate to the king that he would not want his position, and therefore not try and kick Oedipus from his position. This thinking is wise on Creon's part because of his equal power and such a nice form of life, but it may not have been the wisest thing to say in front of Oedipus. Oedipus instantly starts becoming very aggressive verbally, responding at one point with: "No, I want you dead" (698). Now this becomes an issue of life here. When anything becomes so extreme to the point of peoples lives are in danger, then the atmosphere can become very aggressive and immature, even for the very wise men. Also we should remember that someone's honor was a huge deal during these times. Creon had just been accused in public, which easily could have ruined his reputation and honor. Even though, when I think of a wise man, I think of someone who is very patient and always thinking what is best for himself and others in the long run, however, I do not know what Creon is thinking, being a wise man. It seems that his reaction and immature arguments are not very wise, but perhaps being attacked until his honor is damaged, and his death wanted to be ASAP, is affecting the patient attitude of Creon.
Wednesday, January 5, 2011
Oedipus Assignment 1: Pages 159 - 185
1) Right from the start of Oedipus Rex, the King of Thrace demonstrates his hubris. Oedipus refers to many people as his children, including priests who already have a paternal role. Oedipus demonstrates his pride when he tells his priests: "you all know me, the world knows my fame: I am Oedipus" (9-10). The king also is constantly reminding his people that he has the throne. A few times he tells others how his worries are much greater than those of fears that the plague has brought. All this talk is simply trying to convince others of his suffering for his people and greatness as a leader. This talk has obviously succeeding in demonstrating Oedipus' power because even Creon addresses him as "my lord" (117). Now Creon, being Oedipus' brother-in-law, plays a role as a messenger and does not have as much power as the king (or at least if he does, he is much more modest). However, when Oedipus is being informed by Tiresias of what he has done, the king tries accusing his relative Creon to get himself out of the "hot-seat".
2) The chorus calls upon a few gods and goddesses to help the citizens of Thebes. They call Athena, Artemis, and Apollo originally. They have so much trust in these three figures that they say and believe that they are a "triple shield against death." Now this death has come from the very powerful and depressing plague that has already take away the lives of so many. The chorus tells of a magnificent achievement of the deity that they are calling and ask for them to return and perform such an action again. Yet at the end of their song, they cry out to Dionysus instead of Athena, and like Apollo and Artemis, they praise the god of wine and ask him to come save the people from the plague.
There is a certain aspect of dramatic irony that is enjoyable to watch. Even though we know the end product, we still enjoy seeing such a tragedy happen not to us but a "fictional" character. Often times though in such a production where you know the ending, you begin to question the reality of the events. You sometimes judge a characters decision based on your knowledge of the future. In many instances you might consider the action (or inaction) to be so fake. Yet in the Oedipus, although the audience could be thinking why does he not get the first hints from Tiresias, this not understanding seems realistic for Oedipus because of his pride. This hubris is one of his downfalls here and is the reason he is unable to accept his harsh reality. Oedipus does resort to verbal violence and false accusations (in the case of Creon).
3) However, in Oedipus' speech to the chorus, the audience hears many ironic sayings. In the beginning Oedipus says: "I will speak out now as a stranger to the story, / a stranger to the crime" (248-9). Now the king believes all that he says in this speech and continues and curses the murderer of Laius. This is obviously ironic because he is the murderer. When Oedipus proceeds in his speech, he then talks about Laius. Oedipus had never thought he had met him, and says: "So I will fight for him as if he were my father" (301). Yet the audience knows ahead of time that Laius is really Oedipus' dad, and the tragic irony is that he had slept with his mother (but he will not find out about this until later).
4) The discussion between Oedipus and Tiresias is very interesting. Into the palace comes a blind man who works with Apollo and, according to the leader, is very important because "without him we have nothing but old, useless rumors" (329). Here is another case where we have a blind man who tells the truth. Now Oedipus refers to this man as a master in the beginning (this action is a first that has been introduced to the audience). Yet as the conversation progresses, and Tiresias continues not to reveal any of the truth, and Oedipus becomes angry. Unknowingly the king twists the truth out of the blind man, but he is so enraged that he misses his fate and needs it to be proclaimed again so that everyone could understand. Yet even though at the end, as Oedipus walks back into the palace, leaving Tiresias talking, the king had once again convinced others that he was right in saying that the "truth" was a lie. Even the leader agrees with Oedipus as he says: "I would suggest his words were spoken in anger" (460). With such large pride, Oedipus may not feel the "Oh sh*t moment for a while, while already the entire audience has felt it.
2) The chorus calls upon a few gods and goddesses to help the citizens of Thebes. They call Athena, Artemis, and Apollo originally. They have so much trust in these three figures that they say and believe that they are a "triple shield against death." Now this death has come from the very powerful and depressing plague that has already take away the lives of so many. The chorus tells of a magnificent achievement of the deity that they are calling and ask for them to return and perform such an action again. Yet at the end of their song, they cry out to Dionysus instead of Athena, and like Apollo and Artemis, they praise the god of wine and ask him to come save the people from the plague.
There is a certain aspect of dramatic irony that is enjoyable to watch. Even though we know the end product, we still enjoy seeing such a tragedy happen not to us but a "fictional" character. Often times though in such a production where you know the ending, you begin to question the reality of the events. You sometimes judge a characters decision based on your knowledge of the future. In many instances you might consider the action (or inaction) to be so fake. Yet in the Oedipus, although the audience could be thinking why does he not get the first hints from Tiresias, this not understanding seems realistic for Oedipus because of his pride. This hubris is one of his downfalls here and is the reason he is unable to accept his harsh reality. Oedipus does resort to verbal violence and false accusations (in the case of Creon).
3) However, in Oedipus' speech to the chorus, the audience hears many ironic sayings. In the beginning Oedipus says: "I will speak out now as a stranger to the story, / a stranger to the crime" (248-9). Now the king believes all that he says in this speech and continues and curses the murderer of Laius. This is obviously ironic because he is the murderer. When Oedipus proceeds in his speech, he then talks about Laius. Oedipus had never thought he had met him, and says: "So I will fight for him as if he were my father" (301). Yet the audience knows ahead of time that Laius is really Oedipus' dad, and the tragic irony is that he had slept with his mother (but he will not find out about this until later).
4) The discussion between Oedipus and Tiresias is very interesting. Into the palace comes a blind man who works with Apollo and, according to the leader, is very important because "without him we have nothing but old, useless rumors" (329). Here is another case where we have a blind man who tells the truth. Now Oedipus refers to this man as a master in the beginning (this action is a first that has been introduced to the audience). Yet as the conversation progresses, and Tiresias continues not to reveal any of the truth, and Oedipus becomes angry. Unknowingly the king twists the truth out of the blind man, but he is so enraged that he misses his fate and needs it to be proclaimed again so that everyone could understand. Yet even though at the end, as Oedipus walks back into the palace, leaving Tiresias talking, the king had once again convinced others that he was right in saying that the "truth" was a lie. Even the leader agrees with Oedipus as he says: "I would suggest his words were spoken in anger" (460). With such large pride, Oedipus may not feel the "Oh sh*t moment for a while, while already the entire audience has felt it.
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