Sunday, February 17, 2013

Re'bird'thed


1984. Select a line or so of poetry, or a moment or scene in a novel, epic poem, or play that you find especially memorable. Write an essay in which you identify the line or the passage, explain its relationship to the work in which it is found, and analyze the reasons for its effectiveness.


            Speaking from experience, it is incredibly easy to forget things. Names, faces, birthdays, mathematical formulas, atomic numbers, phone numbers, and appointment times all slip easily through the cracks in the human mind. In order for something to be memorable, it needs to hold emotional weight or personal relevance; the brain doesn’t hold on to details that the subconscious finds unimportant. Storage space is limited, so when a line from a work sticks in deeply, it must be highly relevant. Shakespeare’s Romeo and Juliet has worked its way into the collective consciousness of Western culture, but the lines exchanged between the two lovers as Romeo departs after wooing Juliet on her balcony are especially memorable because they serve not only to characterize the pair, but also to heavily foreshadow their fate.
            The average person could probably recite ‘parting is such sweet sorrow,’ but in this case, the lines directly preceding it are far more notable:
ROMEO: I would I were thy bird
JULIET:             Sweet, so would I.
Yet I should kill thee with much cherishing.
They are exchanged at an emotionally loaded moment. Juliet and Romeo have just declared their love, and since Juliet is constantly interrupted and fluttering to and from the conversation, their farewell is extended for quite some time.  Romeo’s tendency to variance and mood swings has already been established by the time this scene arrives, but it is still an instrumental indicator that he is far too headstrong for his own good. Having met and kissed Juliet only once previously, he sneaks onto the grounds of his family’s sworn enemy and proposes to marry her, which is enough proof on its own. The way he does it also contributes to the image- for example, swearing his love on the moon which (as Juliet is quick to point out) is ever changing, and often used as an excuse for reckless and crazy behavior. He shows a slavish devotion to Juliet, throwing himself totally at her feet and wishing to be her pet bird, completely on her string and ruled by her entirely. The balcony scene shows Romeo for what he is- a young boy who is completely ruled by his emotions. He is willing to be governed, not only by his own whims, but by those of his lady-love, coming at her call and vowing to stay until she dismisses him.
Juliet, for her part, is established as the more practical one, demanding that Romeo ‘swear not by the moon’ and worrying that she will seem too forward and make him lose interest her. She is also the one, in the end, to suggest he marry her if his love is true and faithful- ensuring her own security. Sadly, she falls to Romeo’s charms and converts to his whimsy, her initial fears transforming to a proposal of marriage and the same verbose adulation that Romeo uses so often. Juliet’s practicality can partially be attributed to the location of this exchange. If she were caught with a man in her room at night un-chaperoned, the consequences for her would be devastating. While Romeo is unbothered by the risk, Juliet does much to conceal him, and worries than Romeo thought it through in the first place. It is she, after all, who delivers the death stroke of foreshadowing “I should kill thee with much cherishing.” With that line alone, she reveals her own introspective abilities, and a clearer eye to the future than Romeo.
 The phrase ‘kill thee with much cherishing’ is a massive clue that everything will not go smoothly for our star-crossed lovers. It is grim language for a thirteen-year-old girl, and it also proves that Juliet is highly cognizant of her own nature. Having just agreed to marry him, Juliet suddenly expresses fear that she would love Romeo too much, as a spoiled child loves its pet bird, that she would kill him because of it. They are her parting words to him- a warning- that her emotions will come to be too strong, and destroy him. Romeo answers with a wish for her to sleep and be at peace, which is eerily reminiscent of their ultimate fate when Juliet’s fake sleep takes on the appearance of death (or, eternal peace) and leads him to his death- another sentiment expressed in this grim farewell.
            Of course, from the beginning of the narrator’s introduction to ‘fair Verona’ the audience knows the fate of Romeo and Juliet, but there are still clues sprinkled throughout the play that the pair is doomed. Without those intermittent hints, the play would not have survived as a piece of literature, because it would have bored audiences to tears. A fated death is tragic, but one in which the reasons are evident earns the interest, and therefore the memory of the audience. While Shakespeare could have left all of the explanation and subtle reasoning out of his play and attributed it all to fate, he was wise enough to see that clever characterization and beautiful language would also be necessary to make not only the balcony scene, but Romeo and Juliet as a whole, worthy of remembrance.


Sunday, February 10, 2013

Response to Course Materials: Ressurection

Wow, it's been a while since we've had one of these, eh? We've finished Hamlet, done our finals, dealt with some multiple choice craziness, and started a new play.

I still feel like Hamlet and I have unfinished business. As I was writing my summary and analysis, I felt kind of incomplete. With the other two texts, we had enough discussion time to flesh out a group wide vision of the play, and especially with The American Dream, I felt very sure with my comments on the work. As we've gone on, I've been working off of speculation more and more. Even though I know that in lit, nothing is ever 'wrong' ect., it's still a little worrying to have to make a blind conjecture about the theme or meaning of a work and then support it. Overall, though, I enjoyed Hamlet. I didn't feel the same disdain for him that some people seemed to-- all of his reactions and his waiting felt natural to me. Of course, this is the same girl who is 100% convinced she is Nick Carraway, so keep in mind I'm actually just boring and wishy washy to begin with. I remember at the beginning of our study of Hamlet, we were asked to decide if this was Shakespeare's version of 'Saw 13' or an actual dramatic triumph. Now, this is another thing we let fall by the wayside with our discussion, but in general I'd say that while Hamlet borrows a lot from Shakespeare's other plays, it still offers such a wide range of guessing games that it has literary merit.

Our finals were just stupidly fun. I can understand and sympathise with kids who maybe didn't like acting, but trust me, if you get into it? It's great. Erin and I acted as Hamlet and Gertrude respectively, in their confrontation, and maybe I'm biased because I read her part in class, but it is way, way easier to play her as sympathetic towards Hamlet. Plus, I got to throw myself on the floor and fake cry.

And we had costumes.

I don't have a whole lot to say about the multiple choice? I knocked them out of the park, generally, and I'm really not worried about that portion of the test. What I am worried about, though, and I'd say I'm not alone in this, are the essays. Especially the closed prompt. I recall a lot of confused questioning, a lot of double meaning in prompts, and getting graded as a 5 on the sample essay I wrote. And that was what, 3 months ago? If I had to pick an area that I felt unsure in, those essays would definitely be it. Even the open prompt practice we're getting here feels a little like hollering into the void and only getting a couple of halfhearted affirmations back.

Finally, we started Rozencrantz and Guildenstern and I will spare you the long winded rant about how much I love that play. What is kind of interesting, I have found, is how freakin' difficult it is to analyze a piece as you are reading it. I love being able to participate that way, but the things you notice as you try to scan for your own lines are few and far between. You also tend to develop a bias towards your own character (this is less of a problem since we switched halfway through, heh) and it's hard to step outside those shoes and look at the work as a whole.

Still, though, I love this play. I love how it has inside jokes with those who read the script, I love how even our own commentary when some of the stage directions are weird add a dimension to the play that still suits it, I love how it plays tricks on the audience, I love the wordplay, I love Rozencrantz and Guildenstern's absolute and heartrending codependency and their singleminded devotion to their only goal in the world and I just. Agh. Every time we stop reading, I don't want it to be over. I'm honestly eager to annotate this so I can start forming my own opinions of the work and pulling things out for myself, rather than frantically circling things as I speak.

So I suppose everything's coming up roses. I wonder if there are any decent recordings of performances of this? It probably loses something outside of a theater setting.