Sirens Practice AP Essay

            Both passages deal with the deathly temptation Sirens portray; however, the first passage portrays Sirens as a protagonist struggling with himself in order to resist a temptation whereas the second passage recollects the seductiveness of temptation from a Siren’s point of view.   

            Sirens are mythological creatures whose sole purpose is to seduce sailors at sea. The first passage portrays Sirens as dangerous creatures. The fact that the speaker “stopped the ears of [his] comrades one by one” (Homer 7) and is “lashed by ropes to the mast” (Homer 9) demonstrates the sailor approaching the island in a cautious manner. By approaching the Siren’s island this way, the sailors, including the speaker, brace themselves to the power of seduction and temptation. The speaker even goes to the extreme of tying himself to the mast in order to prevent the Siren’s seductive song to force him to escape. The purpose of the speaker tied to the mast is so that he is physically constrained from escaping and being tempted to the Sirens’ call. Contrastingly, the second passage portrays Sirens by illustrating a first-person account of a Siren’s seductive nature rather than demonstrating a visual example to a Siren’s deadly shrill.

            The second passage illustrates a first-person account in order to visualize the harmful natures of seduction and temptation. Lines 10-27 of the second passage portray Sirens from a viewpoint of a Siren itself; by doing so, Atwood is able to accurately describe the origin of a Siren’s motive behind their seductive song. As the poem progresses, the seduction exponentially increases until the end, where the speaker states, “Alas / it is a boring song / but it works every time” (Atwood 25-27). The fact a Siren’s song “works every time” suggests the unavoidable seductiveness Sirens portray to sailors lost at sea. By proposing the question, “Shall I tell you the secret / and if I do, will you get me / out of this bird suit?” (Atwood 10-13), the speaker initiates a seductive call to an audience, which is similar to how a lost sailor manages to hear a Siren in the distance. Throughout the poem, the speaker increasingly seduces its audience to think that the speaker actually is calling for help. Similarly, a Siren will continuously call for help and call for an individual that has unfortunately seduced into temptation.

            Both passages tap into how Sirens are capable of being inescapably seductive. However, there is a clear distinction between the two; the first passage reflects upon a story in the Odyssey¸ an epic poem, and the second passage reflects upon a first-person recollection of a Siren’s inevitable call. A siren’s call is based on how temptation and resistance coincide with each other. Both passages portray how Sirens are discreetly dangerous. Though the two passages approach the portrayal of Sirens in different ways, the concepts of temptation and seductiveness are still achieved.

            

P&P #9 Analysis

            Jane Austen deliberately shifts Elizabeth’s character from the beginning of the novel to the point where she visits Darcy’s estate. Originally, she views Darcy as an “arrogant” man and perceives him as dislikable in society; however, she begins to realize that she has simply misunderstood Darcy’s character as a whole. What begins to convince Elizabeth that Darcy is a good man after all is the fact that he has specifically set up rooms to please his sister, Georgiana. After she encounters Darcy at the entrance, Elizabeth’s thoughts begin to race as she wonders what Darcy has been thinking ever since his absence in Longborough. Coming from a person who is sincerely pragmatic, Elizabeth rationalizes to herself that Mr. Darcy’s change of mood could be based off her comments during their random interaction at the estate. Elizabeth also realizes that, unlike her previous misconception, the people around Darcy’s estate favor his character. Contrastingly, Darcy is unfavorable in Longborough, and it is this misconception that has followed Elizabeth for the duration of the novel. Also, the fact that Mr. Darcy continuously denies to talk unfavorably to Elizabeth shows his affection towards her, which ultimately influences Elizabeth to consider Darcy’s affection. Despite Miss Bingley’s constant dislike towards Elizabeth and the Bennets, Elizabeth and Darcy manage to indirectly appreciate each other. 

P&P #8 Analysis

            Both Jane and Elizabeth experience an emotional decline when their realizations of marriage continuously diminish. Elizabeth has shown interest in Mr. Wickham, however, his relation with Mr. Darcy skews creates a cognitive dissonance: she originally admires him, but she questions whether or not she should reveal Wickham’s unpleasant character. Similarly, Jane still shows affection for Mr. Bingley even he leaves Longborough. He decides to leave Jane for another woman, and that action should spark jealousy or hatred; but to Jane, she still regards Mr. Bingley with affection. Also, Elizabeth is upset with her good friend, Charlotte, being able to inherit the estate at Longborough once Mr. Bennet passes away. Elizabeth talks favorable of Mr. Darcy and Colonel Fitzwilliam as a form of abhorring Mr. Wickham’s disdainful personality. As a result, Wickham is enraged. Evidently, both Elizabeth and Jane experience downfalls in relationships with men in society. They both cope with their relationships declining by rationally approaching their problem rather than emotionally reacting. However, Elizabeth approaches emotionally when she attempts to deceive Mr. Wickham into thinking that she shows affection for both Mr. Darcy and Colonel Fitzwilliam.  

P&P #1-7 Analysis

            The reoccurring theme of pride dominates Jane Austen’s Pride and Prejudice as materialistic and personal values of marriage regulate society. The novel begins with a direct statement regarding the societal requirements of marriage: “It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife” (Austen 5). According to Mrs. Bennet, she makes the assertion that marriage and material worth coincide with each other. The more money individuals inherit, the better the chances are for these individuals to marry. The fact that she responds with “A single man of large fortune; four or five thousand a year. What a fine thing for our girls!” (Austen 6) accentuates how materialistic worth is the defining concept of marriage. Later in the novel, Elizabeth remarks that “I am convinced that one good sonnet will starve [love] entirely away” (Austen 45). Throughout the beginning of the novel, marriage has been solely defined by inheritance. The interest in materialistic worth exceeds the interest for sheer love, even though Charlotte explains that “there are a very few of us who have heart enough to be really in love without encouragement” (Austen 22-23). In a society that seeks out materialistic worth, men are only allowed to gain access to marriage if they posses high materialistic worth. Pride, a result from high social status, is the result of favorableness among individuals in society. The characters throughout then novel exhibit pride in the sense that the amount of pride an individual has defines what their social status is as seen in Elizabeth’s remark to Mr. Darcy, “I could easily forgive his pride, if he had not mortified mine” (Austen 21). Pride, social status, and materialistic wealth all come into play in terms of marriage. Though Elizabeth proclaims that her pride is crushed since she overheard Mr. Darcy saying that she does not please him, pride plays a crucial role in being accepted into society. As Mary states, “Pride relates more to our opinion of ourselves; vanity to what we would have others to think of us” (Austen 21). Elizabeth’s pride is lost, and as a result, her social standing is crumbed based on her own opinion of herself. To others, she still remains a possibility for a suitable marriage. Marriage, as a whole, is dictated by internal assessments along with an individual’s materialistic wealth. 

1994 Essay Prompt

Prathit Kadam

Mr. George

AP English Composition and Literature

11 April 2013

1994 Essay Prompt

            The brief appearance of characters signifies an important presence in some works of literature. In relation to Shakespeare’s Hamlet, the Ghost is a textbook example of a character that barely appears in the text yet holds a firm, significant position. The Ghost’s short-lived appearance in Hamlet provides an external influence to Hamlet’s antic disposition throughout the text.

            The Ghost’s brief appearance within the text is deliberately placed in order to alleviate the theme of madness. At first, the Ghost notifies Hamlet about Claudius murdering Hamlet’s father for the throne of Denmark. By doing so, the Ghost influences Hamlet to conflict with his own thoughts. This cognitive dissonance that Hamlet experiences directly relates to the Ghost’s sudden appearance in the beginning of the text.  The disharmony between subjectivity and reality is one of the few influences the Ghost imposes on Hamlet’s interpretation of madness. Hamlet is unable to distinguish the Ghost’s presence as either real or subjective. By unable to distinguish the Ghost’s influence, Hamlet resorts to an antic disposition that convinces other characters, like Polonius and Claudius, that Hamlet’s madness is internally driven. However, Hamlet’s antic disposition creates a feigned madness; he convinces others that his madness is internally driven where in reality, it is actually externally motivated.

            The theme of madness is one of the few dominant themes within the text. The Ghost’s short-lived appearance in the beginning of the text provokes Hamlet to over-think the rationality of the Ghost’s deliverance. Prior to encountering the Ghost, Hamlet is retracted into a solemn state where he mourns about his father’s death. Once he realizes the legitimacy of the Ghost’s words, Hamlet is thrust into a position where he is unable to balance rationality versus irrationality and logic versus excessive emotion. Since one of the few predominant themes deals with madness, the appearance of the Ghost initiates this whole whirlpool of madness and confusion that floats in the text.  Although the Ghost does not appear as much as the other characters in Shakespeare’s Hamlet, his brief appearance yields significance. The Ghost’s appearance, in a way, jumpstarts the theme of madness by forcing Hamlet into an antic disposition where he convinces others that he is internally mad. By doing this, the Ghost is able to extenuate a great influence over Hamlet based on such a short-lived appearance. 

Interaction Between Hamlet and Gertrude (III. iv.)

            The interaction between Hamlet and his mother, Gertrude, exhibits polar extremes between the two: Hamlet attempts to justify his madness whereas Gertrude reactions emotionally to Hamlet’s madness.. Hamlet misinterprets Polonius’ voice as the King’s for when Polonius exclaims, “What ho! Help!” (III.iv.27) and proceeds to slay him while certain that Claudius is behind the tapestry. In response to Gertrude’s shock, Hamlet comments on his action by deliberating comparing it to the heaviness of Claudius’s marriage to Gertrude. In doing so, he explains, “A bloody deed—almost as bad, good mother, / As kill a king and marry with his brother”, as a justification for why he mistakenly killed Polonius instead of his intended target, Claudius.  He justifies his thoughts as a warning towards Gertrude, explaining to Gertrude, “Confess yourself to heaven, / Repent what’s past, avoid what is to come, / And do not spread the compost on the weeds / To make them ranker” (III.iv.170-173). Hamlet can be seen as someone who is protecting his mother from the malevolent claws of Claudius. He, rather than revenging against Gertrude, attempts to warn her from the “compost of weeds”. Unfortunately, Gertrude reacts emotionally rather than cognitively to Hamlet’s justification for his action, where she states, “O Hamlet, speak no more!” (III.iv.99) and “Alas, he’s mad” (III.iv.121). In doing so, Gertrude does not give Hamlet the chance to justify for his jagged reasoning behind his task to kill Claudius. 

Time

Time

You.

Were born

To fulfill destiny.

The stars mark the

journey you take in life.

Take, into account, all your choices

that will map out how you live.

Make the best out of all upcoming opportunities,

and let all everlasting experiences move you forward.

Time will always run its course against you,

despite your attempts to slow it down

when you are feeling incredibly overwhelmed.

When you slowly fade away,

When time fails itself

while beside you,

You are

Lost

Starting Over Poem

Starting Over

I’ve lost what I truly held onto the most,

I’ve thrown away my only opportunity

to gain what I wanted the most.

Yet, It is at this point where you will find

Two different kinds of people.

You’ll find people that learn from their experiences.

You’ll find people that are optimistic about the future.

You’ll find people that are willing to move forward

despite the hardships they face at the moment.

All in all, you’ll find people willing to seamlessly

ride the everlasting current.

You’ll find people that make the same mistakes

over and over and over again.

You’ll find people that are pessimistic about the future.

You’ll find people that are stuck where they are,

Emotionally and physically.

All in all, you’ll find people that either refuse to move on,

or are unable to do so.

Where do I fall?

I’d say in between,

But I’m willing to start over even though I can’t.

I’m willing to be optimistic after facing what seems to be a pessimistic future.

I’m willing to move forward even though gravity is holding me back.

All in all, I’m just trying, and truthfully,

I’m trying to start over.

Hamlet's Speech Analysis (to be or not to be)

Hamlet’s speech in the middle of the play holds significance to several proportions: not only does it indicate a shift within a play, but it also focuses on Hamlet’s personal opinion of man’s significance to the external world. Hamlet describes death as an escape from the body as he states, “For in that sleep of death what dreams may come, / When we have shuffled off this mortal coil, / Must give us pause” (III.i.74-76). Hamlet’s rationalization exposes itself as he attempts to explain the significance of consciousness as compared to the physical body. According to Hamlet, the body serves as a barrier that prevents the conscious from drifting off and being free. Regardless of dealing with “outrageous fortune” (III.i.66) or “take arms against a sea of troubles” (III.i.67), Hamlet’s justification for death suits his desire “To die, to sleep— / To sleep, perchance to dream”, rather than exposing himself to the yin yang of life (III.i.72-73). One’s significance to the world is measured by a clear indifference to the hostile world along with an individualistic approach to understand one’s consciousness. Reaching this stage, according to Hamlet, is achievable through death alone since he suggests that our unconscious desires are obtained through the passage from life to death. Only in death are we able to assess ourselves while disregarding any external conflicts. 

Hamlet #4 Analysis

            Hamlet’s detracted outlook of life is evidently attributed by Claudius’s absurdity towards him. Hamlet’s father, Claudius, carries out a condescending tone towards his son after Polonius attempts to explain to Claudius the “cause of Hamlet’s lunacy” (II.ii.52). Claudius, in response, remarks, “O, speak of that! That do I long to hear” (II.ii.53) as if he is obligated to assess Hamlet’s behavior. Hamlet’s indifference to the world is made apparent when he replies with, “Into my grave?” (II.ii.225) after Polonius remarks “Will you walk out of the air, my lord?” (II.ii.224). Hamlet’s disdainful response to Polonius’s question raises the question whether or not Hamlet’s absurdist character is a product of the ghost’s influence upon him, or that his absurdist character is attributed by his father’s opposition towards him. Although he wishes to avenge his father’s death, Hamlet rationalizes this by directly correlating the devil to his father’s spirit by stating, “The spirit that I have seen / May be a (devil), and the (devil) hath power / T’assume a pleasing shape” (II.ii.627-629). At this point, Hamlet recognizes the inevitable danger with his father’s speedy marriage change of power to the throne of Denmark. However, he also recognizes the disparity in how the spirit is, in fact, a representation of the devil. This realization causes Hamlet to lose rationality within himself and forces him to remain detached to others along with himself. 

It Takes Two

It Takes Two

It takes two

to connect with one another

to appreciate one another

to understand each other.

It seemed simple enough,

Yet how did we fall apart?

We were in harmony,

Yet how did we fall apart?

We were in bliss, paradise, heaven.

Yet how did we fall apart?

We had it all, until

Everything started falling out of place.

We broke the peaceful, melodious string of harmony.

We rushed it, we forced it, and we messed up.

We were too busy thinking about the future

while we failed to appreciate the present.

How does it feel, knowing that we could have done better?

We could have remained happy.

If we were meant to be together,

Then why did we dive to the cold depths of blackness?

We had our ups and downs, but they got the best of us.

Even if you forget me, or hate me, or ignore me,

Always remember that,

It takes two.

College Perspective Poem

Make Me Proud

You have succeeded in numerous feats,

and therefore, you have made me proud.

Now take your pride, happiness, excitement,

and go forth.

Wherever the winds take you, you will succeed.

Whatever you decide to do, your guiding wind will take you,

and you will succeed.

Take your happiness and excitement into the right direction,

and you will make me proud.

I promise that.

Just remember,

I want you to have the time of your life.

You only deserve the best, but please,

Make me proud.

Hamlet #2 Analysis

            Hamlet’s family is undoubtedly deemed as a dysfunctional family while compared to Laertes’s family. Shakespeare deliberately juxtaposes both Hamlet’s and Laertes’s families in hopes of exemplifying the constructive advice between Ophelia and Hamlet: Polonius and Laertes offer advice to Ophelia in order to protect her wellbeing while Claudius, the king, offers advice in order to protect his selfish wellbeing.

            The relationship between Hamlet and Claudius can be thoroughly understood through the apparent disconnection between the two. Amidst their conversation regarding Hamlet’s possible education in Wittenberg, Claudius attempts to rationalize his reasoning not to worry about Hamlet’s father’s death by explaining that maintaining high energy of emotions “is a course / of impious stubbornness. ‘Tis unmanly grief” (Hamlet I.ii.96-98). In truthfulness, Claudius’s rationalization behind Hamlet’s grief is a mere attempt to make Hamlet understand that Denmark’s success, as a state, will only be beneficial with the presence of Hamlet. If Hamlet leaves for Wittenberg, his departure will completely reflect the change of power in the state. Claudius now holds power instead of Hamlet’s father. Hamlet’s departure will yield a loss of power and trust within the entire state and more importantly to Hamlet’s family.

            Shakespeare deliberately contrasts Hamlet’s family to Laertes’s family in order to highlight the caring, selfless attitudes both Laertes and Polonius have towards Ophelia. Although Laertes originally warns Ophelia of Hamlet’s wrongful feelings towards her, Shakespeare deliberately incorporates another voice by including Polonius into Ophelia’s wellbeing. By including Polonius as Laertes leaves, Laertes exclaims that “A double blessing is a double grace. / Occasion smiles upon a second leave” (Hamlet I.iii.57-58). Both Laertes and Polonius denounce Hamlet’s attraction to Ophelia in order to sincerely protect her wellbeing. Unlike Claudius’s selfishness, Laertes and Polonius give advice with the least amount of selfishness possible. Polonius, unlike Claudius, allows Laertes to depart for his journey to France by stating “The wind sits in the shoulder of your sail, / And you are stayed for. There, my blessing with / thee” (Hamlet I.iii.61-63). The fact that Polonius allows Laertes to depart while Claudius does not exemplifies how Claudius is holding Hamlet down in order to benefit only himself. Laertes’s family, in comparison to Hamlet’s family, undoubtedly exceeds in the selfless words of advice whereas Hamlet’s family (particularly Claudius) is heavily undermined by Claudius’s selfishness.  

            

Death Poem

Death’s Ultimatum

We all know when it comes,

and we all know why it comes.

There is no question about it.

However. We all curiously question about it.

Death.

Why are we afraid to face something

that is so certain in our lives?

Why are we ever so fearful of something that others

deem as an escape, a paradise?

You see, Death is an ultimatum.

The life we live is Death’s way of saying,

"You can do whatever you want, but it comes at a heavy price”.

We are able to shape our lives

and reflect upon them when we grow older.

We are able to shape our lives to do whatever we want

regardless of any consequences and repercussions.

We are unable to accurately plan out our lives,

yet we are able to plan out our deaths.

Why is it that life is so mysterious and death is so certain?

Othello #7 Analysis

            Emilia’s role in Shakespeare’s Othello demonstrates the disturbance between rationality and irrationality. At first, Emilia repetitively questions “My husband?” (V, ii, 141) in order to clarify that truly Iago is behind his manipulative schemes. Emilia’s rationality within this scene deliberately contrasts to Othello’s irrationality and wrongful accusations he deems upon Desdemona. In Venice, Othello’s clear rationality is maintained as his logical reasoning in court deems him clear and concise; however, in Cyprus, his rationality flips to the point where Iago’s manipulative scheme interferes with Othello’s ability to think clearly and concisely. Emilia’s statements against Iago demonstrate how she, out of all other characters, possesses an ability to think rationally unlike Othello, and she refers to Iago that “O, are you come, Iago? You have done well, / That men must lay their murders on your neck” (V, ii, 170-171). Her condescending statement initiates her abrupt responsibility to defend purity and innocence against irrationality and anger. Emilia makes a clear attempt to rationalize for Desdemona’s sake in order to convince Othello that Desdemona is innocent and crime-free. Despite her attempts, Othello’s irrationality overcomes his ability to begin thinking rationally and causes a tragedy at the end of the play. The disturbance between rationality and irrationality is one of many key concepts in understanding the nature of Shakespeare’s tragedies. 

Othello (V, ii, 1-22) Analysis

            Othello’s soliloquy in the end of Shakespeare’s play is a prime example of how an individual’s cognitive power is hindered by the effects of an unfortunate event. Throughout Shakespeare’s Othello, Iago deliberately manipulates Othello into thinking that Desdemona had an affair with Cassio in order to fulfill his revenge upon Othello. As a result, Othello plummets into an unrecognizable and incomprehensible course of action against Desdemona in order to express his unbending frustration from Iago’s manipulation. Othello’s soliloquy near the end of the text explicates Othello’s reasoning to why Desdemona should be killed.

            Othello maintains a paradoxical relationship with Desdemona; he attempts to express his anger towards Desdemona but his extension of anger is interrupted by a remembrance of Desdemona’s innocence and sweetness. In the beginning of the soliloquy, Othello declares that he will “not shed her blood, / Nor scar that whiter skin of hers than snow / And smooth as monumental alabaster” (V, ii, 3-5) and expresses that Desdemona’s beautiful skin overpowers his desire to kill her. Despite this statement, Othello believes that his actions in dealing with Desdemona are constrained to only and ultimately killing her. Othello’s metaphorical statement in “When I have plucked thy rose, / I cannot give it vital growth again; / It needs must wither” (13-15) enunciates the fact how he wishes to kill Desdemona purely out of love. He behaves that the only way to vanquish his frustration is to vanquish Desdemona’s adulterous sin, which implies that he must transitively rid of Desdemona as well. His complex relationship with Desdemona demonstrates how one’s passion to love and hate are teetered in an unsteady manner between each other, and in this case, with Othello. Othello’s uncertainty in dealing with Desdemona’s actions is clarified when he states “So sweet was ne’er so fatal. I must weep, / But they are cruel tears” (V, ii, 20-21). Othello expresses his distressing tears in order to imply that killing Desdemona will not be as easy as it sounds considering how frustrated Othello is. His love for Desdemona seems to interfere with his attempt to rationalize a plausible solution to Desdemona’s adultery.

            

Othello #5 Analysis

            Shakespeare’s Othello is a symbolic representation of how villainous a character can be. The villainous nature in Iago disruptively changes the Othello’s character throughout the text. Iago’s manipulative scheme against Othello is created from the strongest characteristics of each character: he uses the apparent qualities in each character against them. Iago manages to manipulate Othello’s character from an orderly leader to a crazed and distraught citizen.

            Iago villainous nature serves as a leech against Othello: slowly and surely, Iago manages to ambush Othello’s will and use it against him. Iago’s perceptible plan is born from his pure evilness and he evidently leads Othello to think the worse where he states “What / If I had said I had seen him [Cassio] do you wrong?” (IV, i, 23-24). These questions empower Othello to critically think about the affiliation between Desdemona and Cassio and how Iago is manipulating Othello to think the possible worst. Iago’s villainous nature is demonstrated as a fatal virus that ultimately degrades Othello into a point of “epilepsy” (IV, i, 50). By stating that “My medicine works” (IV, i, 45), Iago’s ironic statement symbolizes how his manipulative scheme affects Othello to a point of an uncontrollable fit. The audience recognizes Othello’s drastic change from an orderly general to a crazed, fanatical citizen from when he remarks “You are welcome, sir, to Cyprus—Goats and monkeys!” (IV, i, 257). The ridiculousness in this statement shows how Othello has been heavily inflicted by Iago’s poisonous plot. 

Othello #4 Analysis

            Iago’s villainous scheme against Othello is apparent throughout Shakespeare’s Othello. However, the motive behind Iago’s villainous scheme remains unseen until he begins to shape Othello’s perceptions of Cassio and Desdemona.

            Iago’s conversation with Othello signifies the villainous and cunning characteristics that are needed in order to manipulate individuals. Iago remarks that “Men should be what they seem; / Or those that be not, would they might seem none” (III, iii, 126-127). Iago denounces Cassio’s image in order to convince Othello that rather than men being what they seem to be, men cannot pretend to be men but be instead the monsters that they are. The image of Cassio is warped in attempt of convincing Othello that Cassio has affiliated with Desdemona. The driving force behind Iago’s actions can be tangible between revenge and pure evilness, yet Iago’s evilness is unambiguous when he states “There are a kind of men so loose of soul / That in their sleeps will mutter their affairs. / One of this kind is Cassio” (III, iii, 416-418). Iago constructs this falseness in order to lead Othello into confusion and anger. This villainous scheme enunciates Iago’s true motive for his actions: Iago’s revenge against Othello is spawned through his pure evilness he wishes to use against Othello. Iago’s manipulation eventually forces Othello to rethink his love for Desdemona and express Iago’s honesty when Othello remarks “This fellow’s of exceeding honesty” (III, iii, 258). Iago’s true motive behind his revenge against Othello is illustrated through his pure evilness that is conjured through his manipulative scheme. 

Othello #3 Analysis

            Shakespeare’s play Othello is structured through two distinct environments. The two settings that this play takes place in are Venice and Cyprus: Venice is represented in an orderly fashion whereas Cyprus is prone to misconduct and chaos. As the play progresses to Cyprus, the storyline takes a turn from happiness and order to chaos and trickery. Iago convinces Montano and Cassio to celebrate the defeat of the Turks by offering “But one cup! I’ll drink for you” (II, iii, 33-34) and by doing so, Cassio’s eventual intoxication forces him to act irrationally towards Montano and Roderigo. The nonsensical brawl that occurs in this scene is a representation of how Cyprus is deemed as a non-orderly, chaotic society. Othello embellishes upon a representation of order by taking control of the situation when he states “Hold for your lives” (II, iii, 154). Othello’s interaction within this chaotic environment demonstrates the assertiveness he takes on dealing with the drunken brawl. He then relates the chaotic scene to the barbaric Turks by mentioning that “Are we turned Turks, and to ourselves do that / Which heaven hath forbid the Ottomites” (II, iii, 159-160). Since Othello holds a leadership quality within Shakespeare’s Othello, the representation of an orderly Venice is symbolic and represented through Othello’s assertiveness and intervention within this scene. 

S&S c.13 Exercise pg. 234

1.      The second version by Charles Churchill excels the first version through the euphonious and rhyming phrase “your way by day”. The soft sounds create a more pleasant sound while compared to “shall be your guide by day”.

2.      The second version by John Milton excels the first version through the double-lettered words in “crabbed as dull” and “Apollo’s”. This cacophonous sound deliberately heightens the harshness the poet describes “fools” to be and how these “fools” condescend upon “divine philosophy”.

3.      The second version by Elizabeth Coatsworth is far greater solely through the repetitive sounds in “out-cast crows croak”. The letter C is cacophonous in the sense that the roughness of the sound deliberately contrasts crows to the “whiteness” of the setting.

4.      The phrase “twilight over silent water” contains repetitive cacophonous sounds; however, the repetition of the consonant “t” suggests the tranquility of the scene.

5.      The first version exceeds the second purely in the sense that the second version consists of jumbled “m” and “n” consonants. The second version creates a maelstrom of intermingled sounds whereas the first version consists of a smooth, melodious flow.

6.      The second version consists of cacophonous sounds in “harsh discordant” and “doleful flats”. This version exceeds the first, although keeping in mind that both versions are structurally and meaningfully the same, since the harsh tones highlight the unpleasantness of the lark’s tone.

7.      The second version exceeds the first version. The repetitive “b” sound in “bastions, batteries, bayonets” and “bullets” create a medley of cacophonous sounds to represent the constructiveness of war.

8.      The first version exceeds the second version because the repetitive “s” sound creates a euphonious, mellow tone throughout the two lines. This euphonious sound creates a pleasant tone to the ear.

9.       The second version incorporates a melancholy tone that is supported through hard, cacophonous sounds in “homeward plods” and “world to darkness”.

10.  The second version incorporates repetition in “childs of dirt” and “stinks and strings”. Also, the phonetic intensiveness in “flap” constructs a visual image of a bug along with creating a sensuous sound in “flap”.  

Othello #2 Analysis

            Shakespeare deliberately highlights a clear, observable difference between Othello and Iago throughout his renowned work, Othello. The character foil between Othello and Iago are highlighted through the language they use while conversing with their wives. Shakespeare deliberately characterizes Othello as a man who continuously and willingly favors his wife whereas Iago is characterized as the complete opposite of Othello: insulting and denouncing.

            Iago’s condescending tone towards Emilia is emphasizes the contrast between the way he treats his wife as compared to Othello’s treatment of his wife. The way Iago denounces his wife and explicitly criticizes her is apparent when he mentions that “There’s none so foul, and foolish thereunto” (II, i, 141-142) and that “She never yet was foolish that was fair, / For even her folly helped her to an heir” (II, i, 136-137). Iago’s paradoxical language creates confusion in order to express his somewhat denouncing and condescending remarks toward Emilia. In contrast to Iago, as Othello appears in this scene he describes Desdemona as “soul’s joy” (II, i, 183) and explains that “e’re our hearts shall make!” (II, i, 198) The difference Shakespeare deliberately makes between Othello and Iago is that Othello’s descriptive, exaggerated language is symbolic of his favorable and wooing nature towards Desdemona whereas Iago’s simplistic yet paradoxical language ultimately criticizes and denounces Emilia. 

Othello #1 Analysis

Shakespeare characterizes Iago as a villainous, two-faced individual who wishes to express his anger and jealousy by the sole purpose of revenge. Iago’s revenge originates from the fact that he embodies a two-faced role. Although he completely despises Othello, Iago makes the statement that “Though I do hate him as I do hell pains, / Yet, for necessity of present life, / I must show out a flag and sign of love” (Shakespeare 1.1, 152-154) in order to suggest that his hatred for Othello is evident, yet showing “out a flag and sign of love” refers to his act of putting on a false façade towards Othello. Iago plans to deceive Othello by playing a role where he falsely admires and cares for Othello’s wellbeing. Shakespeare makes the allusion to Roman Gods through Iago stating “By Janus, I think no” (1.1, 33) when both Othello and Iago see that the duke, Cassio, and the officers are approaching instead of Brabantio and Roderigo. Janus, the two-faced Roman god, is a representation of Iago since Iago, knowing that he actually detests Othello, wears a false mask towards Othello and pretends that he is looking out for Othello’s wellbeing. Iago’s revenge is evident through his willingness to conduct such a devious plan in order to simply express his hatred towards Othello.

S&S Chapter 12 Notes

Prathit Kadam

Mr. George

AP English Language and Literature

9 January 2013

Chapter Twelve—Rhythm and Meter

There is a strong appeal for us in language that is rhythmic:

-          Rhythm -- any wavelike recurrence of motion or sound. In speech it is the natural rise and fall of language. Language varies considerably in the degree to which it exhibits rhythm.

-          Accented -- something that is given more prominence in pronunciation than the rest.

The major difference between prose and verse is that in prose, accents occur more innately; in verse, the poet may arrange them to occur at regular intervals, thus giving off a rhythmic appeal.

The rhythmic effects depend almost entirely on what a statement means—different intended meanings will produce different rhythms even in identical statements.

-          Ex// “I don’t believe YOU” vs. “I don’t beLIEVE you”

-          Rhetorical Stresses -- device that makes our intentions clear. Recognizing the meaning of a line is primarily more important than determining its rhythm.

In addition to accent or stress, rhythm is based on pauses.

-          End-Stopped Line­ -- the end of the line corresponds with a natural speech pause.

-          Run-On Line -- the sense of the line moves on without pause into the next line.

There are also pauses that occur within lines, either grammatical or rhetorical.

-          Caesuras -- pauses that occur within lines, and they are another resource for varying the rhythm of lines.

-          Free Verse -- the predominating type of poetry that contains everyday forms of syntax.

There is another sort of poetry that depends entirely on ordinary prose rhythms:

-          Prose Poem -- a form of poetry that depends heavily on prose rhythms.

People often think of the two branches of poetry—free verse and metrical verse:

-          Meter -- the identifying characteristic of rhythmic language that we can tap our feet to.

Even though the terms rhythm and meter are sometimes used interchangeably, they mean different things. Rhythm designates the flow of actual, pronounced sound whereas meter refers to the patterns that sounds follow when a poet has arranged them into metrical verse.

The word meter comes from a word meaning “measure”. To measure something, a unit of measurement must be present.

-          Foot -- basic unit of meter—consists normally of one accented syllable plus one or two unaccented syllables, though occasionally there may be no unaccented syllables. To determine which syllable in a foot is accented, we compare its sound with that of the other syllables within the foot.

There are three units of measurements for meters: foot, line, and stanza.

-          Stanza -- consists of a group of lines whose metrical pattern is repeated throughout the poem.

Metrical form is normally uniform in its regularity; however, poets may introduce metrical variations. There are three forms of metrical variations:

-          Metrical Variations -- call attention to some of the sounds because they depart from what is regular.

1.      Substitution -- replaying the regular foot with another one.

2.      Extrametrical Syllables -- addition of extra metrical lines at the beginning or ending of lines.

3.      Truncation -- the omission of an unaccented syllable at either end of a line.

How do we define metrical form?

-          Scansion -- the process of defining the metrical form of a poem. Rhythm is the actuality in sound, not the pattern or blueprint of meter.

General rule: a noun usually receives more stress than an adjective that modifies it, a verb more than its adverbs, and an adjective more than an adverb that modifies it.

-          Expected Rhythm -- silent drumbeat that is set up in our minds.

-          Heard Rhythm -- the actual rhythm of the words.