Somewhere over "The Rainbow"

Part I
In The Rainbow, D.H. Lawrence employs artful diction, vivid imagery and the central symbol of the home as a place of security the woman desires to flee from to characterize the woman as curious and longing for opportunity while trying to find her place in the chain of being.

The woman is initially envious of the engagement the men are able to have with the world around them. Vivid imagery describes the "wet wheat" and "young ears of corn" that the men are able to explore and experience in their daily lives (3). While she speaks positively about this, the woman sees the home and area around the home as something only "enough for the men," while she desires to see beyond the confines of her own home and comfort zone (1). She expresses her curiosity about the world and affairs not of "blood-intimacy" (16).

The woman remarks of seeing the "menfolk" as she "looks outward" from her house (45). "She strains to see" and hear the accomplishments of man in his domination (33), illustrating the tension created within this passage. She desires to witness events outside of her place in the home which parallels the historical time period as in America, women were fighting for suffrage. She expresses that the men lack a "range of motion" although "native to the earth" (46-47). And perhaps in her womanhood she will be able to see further if she can be removed from her domestic affairs.

Furthermore, the woman's increasing "craving" to explore the world and make "better use" of it is evident. Lawrence employs parallel structure in stating, "She craved to know. She craved to achieve..." in order to emphasize the importance and the constancy of the woman's desires (56-57). She is certain of the power of the vicar and of her knowledge of her husband in relation. She asks herself what makes a man strong and powerful, and with the repetition of the word "power" to make her conclusion. She finds herself analyzing the power of dominance of the man and why she cannot leave her confines to satisfy her cravings, in turn questioning where she fits in this chain of being.

As the woman begins to reflect of her own curiosity and desire to see beyond domestic affairs, she also begins to come to terms with her place in relation to man and beast on the chain. She concludes simply that what separates beings of this chain is a mere "question of knowledge" (65).

Part II

1.
The initial score this essay received was a 7. Megan Than Win gave me this score because I did analyze how the literary devices help lend meaning and clarify the woman's situation. I exemplified clarity and control but perhaps did not develop the argument as well as I could have, missing many critical literary devices. Overall, I presented a developed analysis with command of the prose, but did not address the complexity as clearly as I could have. I agree with this scoring because looking at the rubric, I would have graded myself the same way.

2.
I would further analyze the contrast between the men and the woman and the differences clearly exemplified in the passage of the men looking inward and the affairs of the working class being enough for them while the woman looks outward and towards the city in desire. Furthering this contrast would also address the complexity of this passage more clearly. I would probably discard the portion of my essay with the historical context with the women's suffrage because this movement was in America and is really not significant to what was happening in England at the time.

I would also address more literary devices and explain them in greater detail than I had originally done. I forgot to mention the specific effect of the parallelism, that it mirrors the complacency and monotonous tone of events in the men's lives. I should have mentioned "anaphora" as a literary device. I should have dug more deeply into the significance behind the words "knowledge" and "blood" and how they relate to D.H. Lawrence. I could have mentioned the tone of the passage as that was very important in characterization.

Furthermore, I should have addressed the juxtaposition evident in the passage, and the significance of the order of events.The woman is at first, dissatisfied with her situation but as she ponders and considers her place in relation to the vicar, the man, and beast, she comes to recognize that knowledge sets these beings apart. Now knowing D.H. Lawrence's view on women and their relation to men in life and affairs, I can more effectively analyze the woman's situation.

#18: Final Portfolio Reflection

1.
     Out of all the enriching yet sometimes stressful assignments we have been directed to post on this blog, two favorites do stand out. I really loved writing the piece comparing myself to a fairy tale character and assessing my strengths and weaknesses within a group. It is not often that we sit down and take a second to analyze what we lack and how we can learn that from those around us. I enjoyed writing this piece specifically, because I was able to utilize one of my favorite quotes from Timothy Leary and apply that to my own way of thinking. After writing this piece, I was better able to work in a group dynamic, and when I realized that I was holding in an idea or not contributing to my fullest extent, I was able to control that.
     Another assignment I thoroughly enjoyed was the American Drama Project. I am happy to say that the people in my group for that project are now good friends of mine! Not only was this a great experience to apply what we have been learning about successful group work in class, but also a chance to fully realize our potential as actors. Through different techniques we utilized in our video, we were able to recognize how meaning is created in works of literature, through the different aspects of mise en scene. We were able to get and stay in character, and when my character achieved victory, it made me feel as if I did too. We worked very hard on this project and despite some technological problems and some other scary things the night before it was due, we somehow pulled it off seamlessly, and managed to make some people laugh in the process.

2.
     I do not consider myself a shy person. I do not consider myself a quiet person. However, as I have assessed in my group work post, I tend to hold knowledge back. Sometimes a large boulder seems to hinder my mouth from opening even though I may know the answer, simply out of fear of being incorrect. It's not my best quality, but I have definitely been working through it in the process of this class. I participate in group work and when the class in split in smaller sections. However, I could use a bit of a push when it comes to speaking out during a class discussion where an opinion-based question has been proposed. I'm afraid to say the wrong thing, and afraid that people might not understand me if I was to express something. I wish this didn't stop me, but I'm doing what I can to try and break that hindrance.
     That being said, I do participate in every way that I can, which includes reading the assigned readings, helping those around me, and paying attention during class. Although I do not raise my hand to tell everyone what Shakespeare means, I do understand and appreciate his writing in my own head, and if someone were to ask me the question one-on-one, I do answer it fully. If I have a question or I need some extra help understanding something, I usually come to Ms. Wilson and ask her directly or ask my classmates for help. I stay updated with the work in this class. In group presentations, I am learning to be a proactive leader, especially in the American Drama Project. I helped set time stamped goals for my group and took action when technology was causing problems.

3.
     I can honestly say that the goals I set at the beginning of the trimester have to be reassessed. Although I do try to review literary terms and vocabulary every week as I indicated in my first reflection post, it is unrealistic to devote  that much time to just that one activity in a AP-crammed schedule. I decided that I needed a strategy to "get the most for my buck." I made a set of flashcards that I review every couple days whenever I get a couple free moments and each Sunday, I add two more words to the list. These flashcards include the different kinds of sonnets, literary devices, and some sentence exercises and identifying the technique. This has been more helpful that setting an unrealistic goal that I could not meet. The new strategy allows me to review literary terms on my own time and work that into my busy schedule. I will often make extra time before tests and finals to review these so they will be fresh in my mind before I am tested on them.
     Even on the final multiple choice that we took today, I felt much stronger about my abilities as an AP Lit multiple choice test taker. I believe that it is due to my new strategy that I have been using. Moreover, I want to take this a step further and devise another technique I can use in my everyday life. Just like junior year when I realized I was too quiet and implemented a self goal in which I would talk to one new person a day, I have decided to complete one AP style multiple choice question a day. I found a couple practice tests online and I will complete one question a day from those. Or, if get that one question incorrect, I will keep answering questions until I get one correct. I think this is a stress-free and maintainable goal. By the AP test, I will have had a lot of practice and experience with what these questions look like and how the test makers seek to trick us with the wording of the questions.

#17 Hamlet Open Question

Extra Credit Blog Post

This song by Sugarcult is the the perfect manifestation of all the characteristics of Gertrude. Throughout the play she is shown as a vapid, go-with-the-flow kind of woman who seems to be nothing without a man.

Lyrics:
pretty girl is suffering while he confesses everything.
pretty soon she'll figure out what his intentions were about.
and that's what you get for falling again;
you can never get him out of your head.
and that's what you get for falling again;
you can never get him out of your head.

it's the way that he makes you feel.
it's the way that he kisses you.
it's the way that he makes you fall in love.

she's beautiful as usual with bruises on her ego and
the killer instinct tells her to be aware of evil men.
and that's what you get for falling again;
you can never get him out of your head.
and that's what you get for falling again;
you can never get him out of your head.

it's the way that he makes you feel.
it's the way that he kisses you.
it's the way that he makes you fall in love. [2x]

pretty girl... pretty girl...

pretty girl is suffering while he confesses everything.
pretty soon she'll figure out: you can never get him out of your head.

it's the way that he makes you cry.
it's the way that he's in your mind.
it's the way that he makes you fall in love.
it's the way that he makes you feel.
it's the way that he kisses you.
it's the way that he makes you fall in love...

She is completely aware of the reasons for her son's gloom, no other than his father's death, and our o'er hasty marriage" (2.2.56-57). And when told that Hamlet is having trouble sleeping and wanders at night in the lobby, she simply replies, "so he does indeed" (2.2.160). Gertrude allows herself to submit to her biological and mental desires for a man in her life at the risk of losing her son. Gertrude surrenders all logic without even know what Claudius's "intentions were about," like the "pretty girl" in the song. Further, Gertrude responds to King Claudius's requests with, "I shall obey you" (3.1.37) and indicates an inflated respect for him by announcing, "the king rises" (3.2.226). Although a queen and a woman with great power, she is more concerned with pleasing her new husband and being a good, obedient wife, perhaps blinded by the security that Claudius brings to the relationship. Further, she reprimands her own son on behalf of Claudius, "Hamlet, thous hast thy father much offended" (3.4.9). This is another example of Gertrude surrendering her relationship with Hamlet and taking Claudius's side. It is a common occurrence that Claudius commands Gertrude to do something or go somewhere, usually with a simple, "come, Gertrude, we'll call up our wisest friends" (4.1.37). This illustrates Claudius's inclination to order Gertrude around and take charge of what the couple does, and what kind of front they put on. Gertrude has simply no say in pressing matters. As Claudius and Laertes have secret conversations, for example when Claudius promises, "we shall jointly labour with your soul/ to give it due content" (5.1.201-202), Gertrude is left out of the loop. And as Claudius's plans become increasingly darker, Gertrude finds herself suffering as a cause of his doing. Even as her and Hamlet reconcile and she lovingly, "rubs [his] brows," (5.2.252) she is unaware of Claudius's plot to kill her own son. They are beginning to be on better terms and Claudius is plotting something that will ruin their relationship once again. The one time that Gertrude responds to Claudius with, "I will, my lord; I pray you, pardon me" (5.2.255), she drinks from the cup of poison. It is quite interesting that Claudius does not do more to stop his "beloved" wife from meeting her death. And as she figures out, "what his intentions were about," she finds that, "[she is] poision'd" (5.2.274). Gertrude was just a figurehead, a pretty girl with no real power. A pretty girl latched onto a man whose intentions were as poisoned as her drink. And "that's what [she gets] for falling again."

#16: Let's Talk, Seng

Oh Mr. Seng, what do you think of yourself? The accusations you make, the sad opinions you express. I have discovered your piece analyzing dear Ophelia. One shouldn't speak of the dead as you do and insinuate such madness. I was especially offended when you wrote, "it is easy to imagine the Queen's guilt start, her sudden dread..." I am saddened that I could not be with Ophelia in her mental decline, but I assure you that I carry none of the blame. Let's get real, Seng. Ophelia's mental instability was caused by my own son's wavering attitude, and Ophelia's great investment in the relationship, driven mad by her own love. 

Even my own son told his dear Ophelia "to a nunnery go" (3.1.140). As he continued to belittle her and reject her advances, she began to break down little by little. And as a woman, I can relate with her situation. Throughout their relationship, Hamlet continued to blame Ophelia for her womanly ways, saying that he knows "well enough what monster [women] make of men" (3.1.131). And therefore, when Mr. Seng suggests that Ophelia's home has "become a prison" for her. And who is the cause for this? Hamlet. And Laertes himself. "Let her come in" (4.5.15) I spoke when Ophelia came to us for help. I exclaimed it in hope that Ophelia would come on her own and seek my help, which was offered to her. I wish that Ophelia would have been able to see me as the mother figure she never really had in her life. Her father was clearly not able to provide the comfort she needed in that situation. 

He provides her with some form of comfort characteristic of a stoic father by saying, 

“I do know, when the blood burns, how prodigal the soul lends the tongue vows” (1.3.117). It is this advice that eventually led to Polonius's spying on Hamlet on my behalf. We simply were in search of the truth, and we were on the side of justice for Ophelia. He even says "I will find where truth is hid, though it were his indeed within the centre,” (2.2.156) which clearly proves Polonius's good intentions. This is where we truly differ, Mr. Seng. Polonius's flaw was that he cared too much that he spied on Hamlet and his daughter. This does not lead to his demise.

I encourage you Mr. Seng, visit this website they call Google. Fact check yourself. Because I was actually there. I know what happened.

#15: Do they have soft pillows in the afterlife?

1. 

     In the famous soliloquy, Hamlet makes many references to dark times and the quiet approach of death. 

Whether he should live or leave his "mind to suffer" (3.1.57). He repeatedly questions whether he should take up arms and defend himself or whether it may be easier, more worthwhile simply to "to die, to sleep" (3.1.60). He thinks that life after death may be more sound, and generally a better place, as he ponders, "for in that sleep of death, what dreams may come" (3.1.66). He does not know what the afterlife brings but the thought of having a more positive experience makes him ponder. He describes the more negative feelings in life, "pangs of despis'd love, the law's delay" (3.1.72). For him, the sweaty, arduous life can simply wear a person out. Dark moments when "no traveller returns" makes Hamlet believe that a deep sleep may be just what he needs.

     Hamlet relies largely upon pathos to persuade his audience. This can be seen most clearly in his diction, which utilizes tone to evoke feeling. For example, he wallows, "the pangs of despis'd love," and the "grunt and sweat under a weary life"(3.1.72-75). Words like "pangs" and "grunt and sweat" are rich and evoke pathos. He does further utilize logos to increase this speech's effect. Though not his major technique, he does reference some inarguable truths about human nature such as when he says, "conscience does make cowards of us all" (3.1.83).
     The tone used as Hamlet talks is contemplative, curious, and solemn, as Hamlet tries to weight the advantages and disadvantages of death. Does the uncertainty of death outweigh the pains of life itself? The diction is casual at least for that time period, as Hamlet is literally discussing with himself and does not need to be formal to indicate respect or otherwise. These are his thoughts simply spoken out loud.

     The main metaphor in this speech is the comparison of death to a deep sleep and dreaming. Also life is compared to a battle many times. Hamlet wonders about the end to suffering and hardship that death can provide by stating, “[t]he heartache, and the thousand natural shocks / That flesh is heir to" (3.1.62-63). He keeps asking himself and the universe why people can stand to suffer through the grunt and sweat of life when the promise of something better may lie ahead. What he concludes from this long questioning of life is that, death is uncertain and the afterlife will or won't be what you expect. It is this uncertainty that prevents everyone from committing suicide in order to simply get to the side with seemingly greener grass.

2. 
Kenneth Branagh. This scene begins and ends with an over the shoulder camera angle. The entirety of the speech is shown through the mirror as Hamlet inspects himself from the inside. This is a revealing of Hamlet's self-image to himself and the audience. The scene proceeds and the camera zooms closer and closer to Hamlet's face until that is the only thing within the screen. As the scene progresses, the zooming in reflects the viewers' greater understanding of who Hamlet is and what in life concerns him. He is wearing his dark attire that his mother and Claudius are often ashamed of, which traditionally symbolizes death and gloom, which parallels the content of Hamlet's speech. As Hamlet approaches the part of his speech about time as an oppressor, daunting music plays and as he reveals the blade, the music increases in pitch and therefore in suspense. The camera ultimately remains zoomed in on Hamlet's face which symbolizes his and therefore the audience's decreased visibility.

Laurence Olivier. This is the most dramatic of the four scenes, and bridges on unrealistic. At the beginning, suspenseful music plays, which seems slightly out of context. It foreshadows the troubles ahead, but does little more than add a cheesy touch. The shot pans out to the clouds and stormy skies, and then back down to the foaming seas below. This version also utilizes a shot of the back of Hamlet's head before he begins his initial speech, as if to literally provide the audience with Hamlet's point of view. Before he begins speaking, the camera zooms up on Hamlet's scalp and unrecognizable images start to encompass the screen and we see an image of a brain. This underscores the internal conflict that Hamlet is dealing with as well as his growing craziness, as well as foreshadows the contents of Hamlet's speech.  When Hamlet says “to die” in his speech, there’s a non-diegetic voice over until he reaches, “to sleep”, which is basically taking us inside of Hamlet's head, as if the soliloquy was part thought versus an actual speech. The techniques used in this scene highlight the fact that Hamlet's struggle is mainly internal.

Mel Gibson. The scene begins with Hamlet descending some dark stairs alone, immediately underscoring his the struggle within himself that he is dealing with.  The audience eventually picks up that he is inside a tomb, and the camera zooms in and out onto tombstones and skeletons, leaving nothing to the interpretation. As Hamlet ponders life and death, the camera shots increasingly become more obvious, relating directly to his words. His voice echoes slightly inside the tomb, which is important as his own words are almost replayed back to him. Most of the time, the camera is zoomed in a medium shot upon his face and other times, panned out to a wide shot when Hamlet is doing some significant body movement, except for when he reaches, “the undiscovered country,” the shot suddenly zooms in on the tombs.His face is often in and out of the shadows, and when making an important realization, he looks upwards and his face suddenly finds the light. 

Ethan Hawke. Is this even real? This is one of the more unrealistic versions of this scene as Hamlet has the biggest realization of the entire play within a BlockBuster video store. The camera shot follows Hamlet around the store as he gazes at various video displays and often at the television screens that show dark images like things being set on fire. Hamlet is still clothed in black but he is wearing a winter hat, perhaps indicating that it is cold outside, symbolizing the death and demise and freeze that comes with winter. Peacefully suspenseful and at times of real discovery, triumphant, music plays the entire time that Hamlet is speaking. This was the one scene that kept me completely engaged, though it was unrealistic. It is a modern version of the play, I assume, and thus this weird scene somehow works.

The Most Effective. I found Ethan Hawke's version of this scene to be the most effective because I could actually see it happening today. It kept me visually engaged because in a Blockbuster store, there is an awful lot to look at. His gloomy colored apparel stayed true to the original portrayal of Hamlet. I enjoyed that as dramatic moments took place in the speech, the television was burning something down or making other noises that paralleled Hamlet's realizations without being completely in the scene. I enjoyed that as he spoke "action" in his speech, he walked through the action section of the video store. It was a subtle way to highlight the significance of the video store, as it is a place where many different stories and perspectives are told.

What I would change. The version I would change would be Lawrence Olivier's scene as I found it to be way too dramatic for my taste. I would have more subtle music play at the beginning and skip the part where the camera zooms unreasonably close into Hamlet's head. I do not like having him out at sea pondering the question, as it is too unsurprising and unoriginal. Instead of having random blobs take over the screen before Hamlet actually starts speaking, I would pan out completely, showing Hamlet as simply a little speck sitting outside the castle or some place of more significance than the sea, and then zoom in to him as he begins talking.

#14: Welcome to the Girl World

Watch your back: They're your friends.

Who do you trust when your own friends are sneakily making you gain weight and stealing your boyfriend?

 In the movie Mean Girls, themes of revenge and distrust are taken to a whole new stage, your average high school. As the new girl, Cady, moves to town and begins to attend high school, she befriends Janice and Damien, who convince her to seek revenge on Regina George, in the form of weight-gaining bars, clothing malfunctions, and lies told over the phone. The revenge gives Cady awesome satisfaction at the beginning of the plan, but as the story unfolds, she finds herself becoming a plastic. Revenge backfires on Cady, as I predict it will with my dear Hamlet, should he seek it in some abrupt form. 

Who knows what he is up to these days? I did hear him speaking to himself after our hasty yet true wedding. He talks of things that worry me lately. "My father's brother, but no more like my father Than I to Hercules" (1.2.154). I fear that he believes Claudius as a replacement for his own father, which is not my intention. Perhaps guilt and jealousy is propelling him forward in his endeavors, just as the jealousy of Regina's power and popularity in Mean Girls ignites Cady's plot for revenge. Later, I did hear my dear son murmur to himself, "But break, my heart; for I must hold my tongue" (1.2.161). What is Hamlet holding back? He must have someone that he can discuss the weighty matters of the world with. Who shall be that person? I hath found that in times of revenge, even in Cady's case, it is hard to discuss truly pressing matters with those close to you. And I doubt that what is bothering my Hamlet is "no other but the main; / his father's death, and our o'erhasty marriage" (2.1.56-57). This must be the stressor for Hamlet, as plots of revenge often require one, as I have seen in Mean Girls.

I sometimes think that only Ophelia's love may bring my dear son out of his present gloom. Polonius hath showed me his letters to Ophelia, accompanied by his misgivings. He loves her, however, "so he does indeed" (2.2.160). Just as Cady's love for Aaron who eventually recognized her transformation into a Plastic and brought her back down to Earth, perhaps Hamlet may have a similar realization. I hath heard Hamlet mumbling just earlier today about his "players" who will "play something like the murder of [his] father" (2.2.523). Oh why must I concern myself with these deadly thoughts? A woman must only charm and bathe, and smell like flowers after all. Perhaps I shall just continue watching my Sunday afternoon chick flicks.

#13: My Heart Aches for Thee, My Son

Please, dearest Hamlet, please understandeth that your Father-Uncle and I only want the best for thee. Understand I am that thou hath lost a father.A prince such as yourself shall not grumble and mope wearing the darkest of colours in our grand castle. After all, son, understand I do that thou hath lost a father but "Thou know'st 'tis common; all that lives must die," (1.2.72). And yet, if it seemeth so common, "Why seems it so particular with thee?" (1.2.76). The greatest man was thy father, true be it, yet "I pray thee, stay with us" (1.2.119). We hath only beseeched Guildenstern and Rosencrantz to view your depression and informeth us about thou. As ye Queen, I plead thee, be he who is of man. Holdeth in tears of thee and be a man, Hamlet. For your mother am I, and "What have I done that thou dar'st wag thy tongue/In noise so rude against me?" (2.2. 40-41). Thou mustn't act out of haste in any instance, especially towards thine own mother. I do not doubt that the reason for thee gloom is "no other than...[thine] father's death and [my] o'erhasty marriage" (2.2.56-57). Yet, dearest Hamlet, remember thy morals, respect thy elders, if thou art to be King one day. Or not to be. These quotes highlight how Gertrude is dealing with Hamlet's sudden gloomy aura and her new husband. The quotes prove her general cluelessness and attempts at trying to understand what her son is going through, but disregard to actually communicate with him.

#12: I am Getrude, Hear me Roar

I have chosen to write in the perspective of Gertrude throughout the reading of Hamlet because frankly, she seems interesting and comical. She is shallow and only finds pleasure in the luxuries of life (although I do understand her love of "warm baths" and "trinkets"). She is beautiful yet morally and emotionally unstable, which makes her more complex than one may realize. Although as a modern woman and almost the antithesis of Gertrude, I do disapprove of Gertrude's wavering nature and her lack of critical thinking, there are some qualities to be admired about her. She admirably utilizes her charm and beauty to work a room and considers self-preservation a priority in all situations. She gravitates towards "safe" decisions in her life, which many people can definitely relate to. She is significant in that there are so many unanswered questions about whom she truly loves and her involvement in the murder. It will be interesting to follow her throughout this journey and witness her growth or demise.

Blog Post #11: Dr. Phil: The Odd Couple