Clarence Hervey

     The description of Clarence Hervey's complicates his character by creating a disconnect between his perception of himself and the way he is perceived by others. In his own opinion, Clarence Hervey is an intelligent, original and well liked individual. But when told through the narration, it is apparent that the narrator is not as intriguing as initially thought to be. The narrator points out his flaws; that he is easily manipulate by the influence of others: "He was sometimes provoked, sometimes amused and sometimes flattered" (34). This unevenness in his character suggests that his disposition is unpredictable and inconsistent which makes his motives and actions difficult to interpret.       
    Much of the descriptions provided for the reader about Mr. Hervey are of what he thinks of himself and hardly of what others think of him: "He had been flattered with the idea that he was a young man of genius" (5). The only information we are given outside of Hervey's speculated opinion are the facts from the narrator. The lack of interactions with other characters or Hervey directly sets up a very defined judgment by the reader which could be difficult to alter given the lack of outside resources.

Hamlet II.ii

     Hamlet's soliloquy, which closes the second act, is filled with contradictory declarations that causes the audience to question Hamlet's sanity. He first questions himself, asking "Am I a coward? Who calls me villain?" (II.ii). He denies then declares that he 'lacks gall" then a few lines later exclaims that his actions are "most brave" because he is seeking revenge against his murdered father based on the word of a ghost. Not only is Hamlet unclear about his disposition, the logic based on his reasoning is based on a conversation he had with a ghost. At this point it is unlikely that Hamlet is of sound mind and the definitive claims that he makes should not be interpreted as truth.

Bereft

     The word bereft means lacking and while the speaker appears to be have, "no one left but God" he describes being surrounded by nature that has taken an expressive life. The notion of being alone often conjures quiet and uneventful images but the language and diction of the poem feels very animate. Objects found in nature are given aggressive descriptions compared to their connotative images. Wind is described as having a 'deep roar', clouds are massing in the sky, sounding heavy instead of buoyant.  Leaves hiss and strike in an unfamiliar manner. These gloomy descriptions create a sense of uncertainty and that things have changed in the perspective of the speaker. This feeling is exemplified by the last lines, which break the rhyme structure and punctuate the perception of ambiguity and loneliness.

Letter of Parental Advice

   Well this is exciting. We're so happy you were accepted to [insert school name here]. Before we send you off into the world, a few words of advice from your parents who know a little something about this thing we call life. First the clichés, but they are clichés because they are true. Pursuit what you love and what makes you happy although doing what you hate will make the happy things even better. Try new things and follow opportunities, the results could be beneficial or inconvenient, but the regret will be crippling. 
    Of course, don't do anything stupid. If you can't explain it to the paramedics, it is probably a really bad idea. Also, if someone comes from the future to stop you, it is a really bad idea.
   Become good at throwing things away. There will be more space for the present, less to keep clean and fewer things to trip over. We believe this applies in both physical and metaphorical terms.
    If someone asks you to participate in an experiment that involves electroshock therapy, say no.
   Stick to beer and wine, they're much easier to control than hard liquors. However, if you do end up in a drunken stupor to the point that the room is spinning, find a corner to stare into. This will help you establish your x, y, and z coordinates and slow the spinning of the room.  This can also be avoided by not drinking alcohol that was mixed in a bath tub.
  So carry on my wayward son, I mean daughter, live long and prosper.
                                     Love, Mom and Dad

Hamlet and Ghost

   The meeting between Hamlet and the ghost of his father exemplifies Hamlet's faithfulness to his father as well as his contemplation of suicide. When the ghost beckons for Hamlet to follow him, the other men warn him not to follow but Hamlet refuses: "Why, what should be the fear? I do not see my life at a pin's fee...what can it do for that... I'll follow it."(I.iv). Not only is he eager to be reunited with his father, but he seems to show a lack of concern for his well being in the possibility of danger. Hamlet is unafraid of death because he sees little worth in his life and even if he should die, he would be in the company of his father and away from his family form whom he has felt isolated. Since there is little resistance in his response, it is possible that these are thoughts Hamlet has had for a long time.

Hamlet: The Lion King but with people

   Before he was seen by the guards as a ghost, King Hamlet was challenged by King Fortinbras of Norway to a duel it which Fortinbras was killed. The bet made before the duel was that if King Fortinbras won, he would win large amounts of land from King Hamlet which would eventually be passed down to Fortinbras' son, also named Fortinbras. Since the king did not live to witness the aftermath of his loss, Prince Fortinbras is the only character who was cheated by this defeat. Now, Denmark is preparing for the ominous attack that is bound to come from Norway as retaliation. As Horatio explains, "So by his father lost: And this I take it is the main motive of our preparation" (I.i).
    Since neither King part of the original duel survives, this conflict has been passed down to the sons of the countries. Still suffering from the death of his father, It is possible that Hamlet will lack investment in the impending war especially if it is over a conflict in which he has little involvement. Both of the princes' reputations and the fate of their countries rely on the impending war.This could cause a tumultuous relationship between Hamlet and Fortinbras because of the differences in their dedication and involvement to a rivalry.
(Apparently I pressed save instead of publish so this is a day late.)

Othello Outline

Othello Outline

Iago manages to completely take over Othello by convincing him that his fears are true, manipulating his interpretation of the other characters and turning their positive qualities against them.

Even though Othello didn’t suspect Desdemona of cheating until Iago suggested it. Once the notion entered Othello’s mind, Iago controls conversations and events to make it seem that a completely made up affair actually occurred.

[Handkerchief]  "If she lost it or made gift of it, my father's eye should hold her loathed" (III.iv).

Since Othello is convinced that Desdemona has been unfaithful, he interprets what she says as evidence to support the claim. I undone, meant to mean that she is distraught and confused by the accusations of which Othello is convinced. Instead Othello thinks this means that she has admitted to the affair which causes him to lose his temper.

“Alas, he is betrayed and I undone” (V.ii).

Desdemona is known for her virtue and obedience. Iago’s claim that she has cheated on Othello severely tarnishes her reputation and makes her crime seem especially devious. Iago has eliminated what made characters likeable, giving them no redeeming qualities in the eyes of Othello

“Full of most blessed condition” (II.i).

Dr. Iago : How I stopped brooding and learned to ruin everyone's life

    Iago's most sinister method to carrying out his plot is his ability to turn the character's most admirable aspects and turn them against themselves. In the final act of the play, Iago's plan causes Othello to finally carry out revenge against two people who started out as his closest acquaintances. Since Othello is convinced that his wife has been unfaithful with him by sleeping with Cassio that he and Iago decide to collaborate and kill them both: "Thy bed, lust-stained, shall with lust’s blood be spotted" (V.i). Desdemona, who is respected for her virtue and purity, has been made out by Iago to be an adulteress who betrayed her new husband. Cassio is well liked for his charm and charisma which makes him all the more likely to be capable of seducing Othello's wife. Instead of the expected emphasis of unpleasant characteristics, Iago has eliminated what made characters likeable, giving them no redeeming qualities in the eyes of Othello. This strategy proves Iago to be a prime example of evil in the play.

The Widow's Lament in Springtime

     The poem "The Widow's Lament in Springtime" contrasts the ways in which nature and humans cope with the circle of life. The widow described in the poem is witnessing the flora in her yard transitioning from the barren winter to a flourishing spring. Even though nature suffers loss with the arrival of winter, it does not grieve because everything will return in the spring. The widow is seemingly envious of this luxury because after the loss of her husband, the garden is less beautiful knowing they have the ability to carry on after death: "The grief in my heart is stronger than they for though they were my joy formerly, today I notice them and turned away forgetting" (14-19). This contrast is evident in the colors described in the garden. The garden that isn't grieving is filled with, "masses of flowers...yellow and some red," colors that are vivacious and optimistic. However, the area of the woods that the widow wishes to visit has, "trees of white." White, a color which can mean cleanliness and new beginnings, can also in large quantities represent isolation and emptiness. The differences in which nature and the widow process guilt is depicted in the imagery of the poem.

Emilia's contrasting opinions

    Most female characters of Shakespeare, or at least women of the time period were expected to serve as property of their husbands or fathers. At the end of act four, Emlia takes control of female sexuality and suggests that women are not to blame for their infidelity because it is the fault of their husbands: "I do think it is their husbands' fault if wives do fall" (IV.iii).  She believes that women who cheat do it for the same reasons as their husbands, they do not feel appreciated, are being cheated on, or are plagued by jealousy. Since men are considered the head of the relationship, they are the ones to punish the women even though women are perfectly capable of vengeance as well: "Let husbands know, their wives have sense like them" (IV.iii). Emilia's declaration Is contrast to Desdemona's conservative outlook. Desdemona is coveted for being virtuous and obedient while Emilia has proven herself to be defiant and astute. Both wives are also contrasting to each other's husbands. Desdemona's husband Othello is a moor who has a respectable authoritative position; a progressive anomaly for the time. Emilia's husband on the other end of the spectrum has opposite views as his outspoken wife and considers women pawns of his plan: "And nothing can or shall content my soul till I am even'd with him, wife for wife" (II.i).

Othello's Downfall

    In the following scene, Othello has fallen victim to Iago's manipulation and his control is beginning to come undone. Convinced that Desdemona has cheated on him with Cassio, Othello strikes Desdemona when she brings up her "the love I bear to Cassio" (IV.i) even though she is talking about her hopes for Othello and Cassio to reconcile their differences. This is a stark contrast to the previous interactions between Desdemona and Othello where he declares that he could not be any happier than he is with his wife. Along with his romantic happiness gone, Othello is also about to lose his power gained at Cyprus. When the messenger, Lodovico arrives from Venice with a notice stating that Othello must return from Cyprus and leave Cassio in charge, he is once more losing the assets that make him great. After being depicted as a high standing authoritative figure in a loving relationship, Othello is finally facing his downfall at the hands of Iago and fate.

Iago

   In his Act I scene 3 soliloquy, Iago establishes his determination to ruin Othello's lives. When it comes up that there are rumors that Othello slept with his Iago, he sees it as an excuse to sabotage the other characters: "That twixt my sheets he has done my office" (I.iii). While most husbands would be angry or in denial if they had heard their wife had been cheating, Iago accepts it without question and interprets it as an opportunity. The notion that Iago is willing to wreck his marriage and his wife's reputation solely to seek revenge against Othello is strong evidence of Iago's treachery. Throughout the soliloquy, Iago pretends to think over his scheme, "Let me see now...how? how? Let me see" (I.iii). While he seems to be pondering the possibilities of his plan, it is evident that these are ideas he has been mulling over for a very long time because of the lack of hesitation to drag others into his scheme.

The world is too much with us

     The central theme of Wadswoth's poem is that we have become distant from the order of nature, a criticism that is still relevant today. He claims that we are no longer in touch with the world describing it as "we are out of tune, it moves us not." The speaker emphasizes this growing unruliness by subtly adjusting stressed and unstressed syllables in the poem. The word choice of the poem is also very nature oriented using metaphors such as howling winds and sleeping flowers. He then expresses disdain for his religion as a Christian and wishes that he had been brought up Pagan, a religion pre-Christianity that is centered around nature. The speaker expresses that he would be happier to acknowledge Proteus or Triton, gods who are associated with the sea.

Othello Plot Climax

The climax of the play occurs at the end of the Act III when Othello tells Iago that he will seek revenge against Desdemona. This changing of opinion exemplifies Iago's ability to manipulate the other characters and Othello's mistrust in Iago. While Iago has subtly convinced Othello that perhaps his wife is not as virtuous as he believes her to be, he suggests Othello ought to keep a closer eye on her whereabouts: "Observe her well" (III.iii). The fatal mistake that Othello makes is having faith in Iago for no reason and giving into his manipulation despite Othello's oblivious love for Desdemona which has been established in previous scenes. The climax of the play emphasizes Iago as the manipulative villain, for convincing Othello that his wife has betrayed him. It also establishes Othello as the tragic figure as he falls victim to Iago's deceit and pursues revenge against his wife.

Iago

     Already in the first act of Othello it is established that Iago is a villain. In the opening conversation between Iago and Roderigo Iago states that he is bitter towards Othello because of his decision to promote Cassio instead of himself. Iago feels that he is more deserving of the position because of his real life experience compared to Cassio's intelligence: "And I, of whom his eyes had seen the proof  at Rhodes, at Cyprus, and on other grounds"(I.i). Iago is also manipulative in the ways he convinces others of his disdain for Othello. To retaliate for how Othello wronged Iago, Iago informs Desdemona's father of their affair. An already unsettling accusation is made more disturbing in his description of the affair. Iago says,"An old black ram is tupping your white ewe" (I.1). At the time the play takes place, black men were considered barbaric and reminiscent of the devil. The image of Desdemona's reputation and purity being tarnished by a savage is frightening and capable of conducting hatred.

It didn't end well

It didn't end well.
Like a runaway Ferris wheel slowly rolling towards the sea
Fun for awhile but now a pile of metal washed away by the tide.
But before that I felt like it was perfect.
Like violet clouds shrouding autumn
Like seltzer, straight from the bottle.
Small pleasures that felt like masterpieces
As if they were painted by Monet
Or composed by Paul Desmond,
Because when you have a quintuple meter running through your veins
In the key of E-flat minor
You can't help but close your eyes and nod your head.
But I saw it coming, like a cat falling from a rooftop terrace,
Who has a sneaking suspicion that she is not going to land on her feet this time.
So now I am sitting here, among stacks and stacks of paperbacks,
My neck in a brace,
Waiting for the tide to return.

Reconnecting with the Past

    The time spent with Julia has helped Winston reconnect with his desire for rebellion and his past memories, both of which have been repressed by the Party. Julia and Winston began renting a room above Mr. Charrington’s shop to carry on their affair and consider the possibility of changing their identities to escape the Party together. However Julia's disinterest quickly shuts down Winston's fantasy. Along with the optimistic expectations, recent events also brought about distant and upsetting memories from Winston's childhood and his family. These feelings, that have been inhibited for years by the Party, are emerging because Winston now has his relationship with Julia as an emotional and physical outlet. He realizes that since the Party has taken control of all human history and feelings, the only true history remaining only exists in his subconscious:"The only evidence is inside my own mind, and I don't know with any certainty that any other human being shares my memories"(2.5).

Aroused by Rebellion

      In the first part of 1984, it is apparent through Winston's recollections of his past compared to the harshness of the present, that he feels nostalgic in the face of rebellion. Any act against the Party is reminiscent of a time before the government changed. After having met Julia, his reaction to rebellion is now similar to Julia's search for pleasure. Instead of longing for the past, Winston's reaction has become more euphoric: "Anything that hinted at corruption filled him with a wild hope"(125). Winston enjoys the thought that every time an act of resistance takes place the government is weakened a little at a time. The description of 'wild hope' is evocative of the sexual euphoria Julia peruses to defy the government's strict laws. Winston is aroused by resistance towards the government and the more men Julia has had sex with the more he feels connected to her. Because of the government's manipulation of the people's emotions, his emotions are a result of the government and not because of Julia.

Winston and Julia

    The differences between Winston and Julia, mainly their age and the era they grew up in directly influence the ways in which they respond to the Party's repression. Winston, who is thirty-nine years old, was born and grew up before the establishment of the new government. Looking back on his childhood, Winston still remembers traditional families and how they were still based on, "privacy, love and friendship[...]and stood by one another without needing to know the reason" (30). Now an adult, living in this dystopian society, Winston recognizes just how far social norm has evolved, in this case, family structure. His neighbors the Parsons are a family shaped by the government so that the children are raised to be, "ungovernable little savages" trained from a young age to be faithful to the Party. Winston senses this change in social standards and understands the extent of the government's influence.
     Julia, age 26, is not familiar with the customs of the bygone era is not saddened by the new world. Her desire to rebel comes from her search for pleasure unlike Winston who searches for comfort in the past. Having grown up in this society, Julia's rebellious tendencies, especially her sexuality are perused specifically for personal pleasure.  Even though the presence of government in her upbringing has stunted her ability to properly process empathy, [her defiance towards the Party]... somehow seemed natural and healthy,"(122). She is however familiar with the Party's workings which helps her continue her disobedience. Although they come from different times and have different perspectives of the government, Winston and Julia's relation is strengthened by their shared  hatred for the Party and sexual desire for each other.

Essay Outline

Africa is portrayed as the antithesis of the Europe by presenting the land and its inhabitants as savage and unfamiliar compared to London which is grand and civil.

Marlow describes  London, as gloomy and ominous yet grand and a shining example of society.
     "A haze rested on the low shores that ran out to sea in vanishing flatness. The air was dark above Gravesend, and farther back seemed condensed into a mournful gloom, brooding motionless over the biggest, and the greatest, town on earth."(16)

To Marlow, the African wilderness is still dark and vast, but compared to his description of London, Africa is much more menacing and unknown.
     "This one [coast] was almost featureless, as if still in the making, with an aspect of monotonous grimness. The edge of a colossal jungle, so dark-green as to be almost black, fringed with white surf, ran straight, like a ruled line, far, far away along a blue sea whose glitter was blurred by a creeping mist. The sun was fierce, the land seemed to glisten and drip with steam." (25)

Marlow distinguishes the Europeans from the African natives, by describing the natives similarly to animals.
    "A burst of yells, a whirl of black limbs, a mass of hands clapping, of feet stamping, of bodies swaying, of eyes rolling, under the droop of heavy and motionless foliage. The steamer toiled along slowly on the edge of a black and incomprehensible frenzy." (68)

Compared to the natives, the Europeans are intelligent and scholarly.
"He was an improved specimen; he could fire up a vertical boiler. He was there below me, and, upon my word, to look at him was as edifying as seeing a dog in a parody of breeches and a feather hat, walking on his hind-legs...He ought to have been clapping his hands and stamping his feet on the bank, instead of which he was hard at work, a thrall to strange witchcraft, full of improving knowledge." (30)

Marlow nearly acknowledges the African humanity as a form of civilization.
     "But what thrilled you was just the thought of their humanity—like yours—the thought of your remote kinship with this wild and passionate uproar. Ugly. Yes, it was ugly enough; but if you were man enough you would admit to yourself that there was in you just the faintest trace of a response to the terrible frankness of that noise, a dim suspicion of there being a meaning in it."

Wizard of Darkness

    In the final part of Heart of Darkness, Marlow's heightened expectations of Mr. Kurtz are diminished by reality. Throughout the journey into the African wilderness, Marlow thinks of Mr.Kurtz as a "Prodigy, an emissary of pity, and science and progress"(40). He is the metaphorical light that enlightens Marlow as he descends into the heart of darkness and serves as refuge from being in an uncivilized region. Once Marlow actually meets Mr. Kurtz face to face, it is apparent he is not the great leader he anticipated. Mr. Kurtz's failing health has made physically weaker as well as mentally unsound. His intentions are unclear, specifically his relationship with the native people. Instead of fearing Mr. Kurtz, they seem to worship him as a savior and are willing to attack the company to ensure his safety. Whether or not Mr. Kurtz ordered the attack is unclear. The situation is very similar to the Wizard of Oz, a man who is thought to be a shining beacon of hope turns out to be a con man with ambiguous purpose.

Dulce et decorum est

   Because of the media's misrepresentation of war, it is easy to think of fighting in battle as heroic and honorable. Owen's poem convinces the reader of just the opposite, and turns a beautiful scenario into a harrowing warning. Soldiers, who are often thought of as strong and courageous, are reduced to "beggars under sacks, knock-kneed and coughing like hags"(1-2). The speaker expresses that the soldiers entered the war hoping for glory or to die with dignity but the war has robbed them of their youth and health. In truth, the soldier's die gruesome deaths, "white eyes writhing in his face...blood, gargling from the froth-corrupted lungs",the opposite of what they were promised (20-23). The speaker warns other young people looking for glory in war not to believe the Latin quotation, Dulce et Decorum est, it is sweet and becoming to die for one's country, calling it a lie.  The fact that Wilfred Owen witnessed these horrors first hand and later died under the same conditions, emphasizes the poem's message. Knowledge of Owen's fate adds to the poem's bleakness, it feels as though Owen foresaw his own death and knew its presence was ominous. Its author and the circumstances under which it was written, give the poem a candid and credible perspective of war and the affects it has on those who experience it first hand.

Marlow and Kurtz

    Before Kurtz is ever introduced in person, he still plays a major role in Marlow's experience and narration. The reason for this is because as Marlow travels farther into the depths of Africa, the heart of darkness,  Mr. Kurtz and his mysterious frontage is the culmination of his journey. Mr. Kurtz is immediately presented as a prominent character and it is evident that he is one of great importance since the other white men speak so highly of him, even referring to him as a genius. The amounting expectations towards Kurtz increase Marlow's anticipation and eagerness to meet him. There is also a air of mystery that surrounds Kurtz and his intentions. The methods in which the company operates are to ensure secrecy and order in the settlements. The white men prefer to pass messages by word of mouth than written messages for fear of who may get a hold of the information, specifically the natives. It is possible that they are aware that what they are doing isn't in the natives' best interest and could possibly lead to an uprising. Being in an unfamiliar land, away from home resources, and outnumbered by the local people, it is imperative that a mutiny of any kind is avoided.
   There are also similarities between Marlow and Mr. Kurtz. Both come from well off European backgrounds and were started from the same agency by their aunts. This resemblance suggests that Marlow could have ended up in Kurtz's position of high authority. It is also possible that Kurtz will be able to offer Marlow comfort and familiarity after being in a shockingly foreign environment. Marlow is drawn to the mysteriousness and uncertainty of Mr. Kurtz the same way he is drawn to the metaphorical darkness of the African wilderness because of his perpetual curiosity.

Culture Shock

    Marlow's initial impression of Africa is a cultural shock and uncertainty of how these observations should be interpreted. Having been raised in late 1800s Europe, Marlow is indoctrinated to possess racist ideals. His description of the natives are barbaric and savage, viewing them more as animals than humans. Contrastingly, even though he is accustomed to living among white people, Marlow emphasizes the white men's intelligence and how technologically advanced they are.
    It is difficult for Marlow to chronicle his jarring experience, comparing it to attempting to explain a dream,“It seems to me I am trying to tell you a dream--making a vain attempt, because no relation of a dream can convey the dream-sensation[...] No, it is impossible; it is impossible to convey the life-sensation of any given epoch of one's existence."(42). Marlow finds it impossible to properly characterize his encounters because it was so personal and profound. He goes on to state that everyone "dreams alone". This ambiguity of Marlow's perspective adds another aspect from which the story can be interpreted. As the reader, it may be necessary to question Marlow and his judgment as it is manipulated by his upbringing beliefs and supposed inability to properly interpret what he witnesses.  

Heart of Contrast

   Part one of Heart of Darkness includes several contradictions in the instances of the sailors and the county's imperialism. The narrator describes Marlow as a seaman and a wander. Unlike most seamen who travel but maintain stationary minds, Marlow pursues with an adventurous spirit and is willing to discover distant lands. It is ironic that the narrator describes seamen as leading sedentary lives even though their job is to travel to foreign locations and brave unpredictable waters. The uncommon mindset of Marlow suggests that his pint of view may differ from what is expected of a person of his background.
      Imperialism continues the contradictions in its motives compared to its outcome. The justification  of taking control of another country was that their influence would improve and industrialize the developing country.  The reality of the situation is that the native people of these countries, instead of being helped, faced severe oppression and violence. The irony in Heart of Darkness, present in both major and minor elements, alters the perspective in which the readers interpret the story and skew the point of view from which the characters tell it.

   Personally, I believe that it as a moral human being the correct response is to walk away from Omelas. However, I also believe that a vast majority of us already live in a less extreme form of Omelas. The story depicts a utopic town filled with people who are intelligent, happy and are not discouraged by provocative behavior. In exchange for their happy lives, a child must live alone and neglected in a basement. Just like the people in the story, children are introduced injustice when they are about ten years old. They are often repulsed by these truths and seek ways to help with little prevail, but as children grow older, they become more apathetic towards injustice and accept it as part of life.
     This is startlingly reflective of our society. Many of us live comfortably, acknowledge that there are those in the world who live with crippling oppression and yet often times we do not change our lifestyles. We watch documentaries and read articles constantly about overseas sweat shops and extreme poverty in the world and our own country but rarely does our motivation to make a difference last long enough follow through with it.  As much as I would like to say I would walk away from Omelas, in a way I am already currently living there.

Thomas Hardy - Hap

    The speaker of the poem wishes that God would laugh at his pain so that the speaker would have someone to focus his anger on since God is the cause of his misery in the first place. By the third stanza, the speaker realizes that it is not justified for him to be angry at Gad because he is also the cause of happiness and hope. The third stanza also contains a metaphor comparing happiness to a plant or flower. He describes how happiness is planted in hope and that negative emotions obstruct the metaphorical rain and sun that prevent it from growing. This relates to the poems struggle to determine whether sorrow is controlled by the individual or a higher power. The metaphor is evidence in favor of the human control argument.

A Broken Appointment

The poem, "A Broken Appointment" depicts a story of a man who is left broken hearted by a woman who failed to return his romantic feelings. There are many references to time in the poem, including 'hour-stroked' and 'time-torn' as the speaker is left to wait for the appointment that will never come. The use of time and  repetition of the line "You did not come", add to the tension leading up to the realization that this relationship will not work out or perhaps never existed. The line "You did not come"  is a very definitive statement which suggests that the speaker is not referring to an appointment but reflecting on the relationship itself.

Sonnet 29

    Shakespeare's 29th sonnet bears a striking resemblance to George Herbert's poem 'Denial'. Both poems begin with the speaker declaring that they have been outcast and left unheard by an unnamed people. The speakers wallow in self pity but eventually find optimism, for Herbert, it is in God and for the sonnet's speaker, it is the thought of the person he loves. This thought is instantly uplifting to the speaker and seems to distract him from the troubles he is facing. He is so happy thinking of his love that he would prefer their mere memory than to live like a king. This lofty statement accentuates both the magnitude of his affection and the severity of his depression if a single thought can so greatly lift his spirits.

Denial, George Herbert

   The poem is about a poet who has faced unexpected rejection. He is broken and uncertain of how to continue and pleas to God for guidance. The author's tone is overall broken heartedness and inclination to mend himself. His struggle is mirrored in his rhyme scheme which is consistent as, A/B/A/B/C until the last stanza. The last line, c, is regularly much shorter and more abrupt than the previous lines. This mimics the momentum he is assumed to have had before he his suddenly rejected and the poem takes place. The last stanza is about how the author wishes to make amends and be cheerful again. There is no longer a C line as it has been restored to a B which completes the rhyme structure suggests that he has already begun to heal.

I love you, man

    The relationship between Antonio and Bassanio is undeniably passionate but one that remains heterosexual. It is obvious that their affection is mutual, Antonio without question is willing to lend his friend a large some of money even with his finances in jeopardy , "Within the eye of honor, be assured, my purse, my person, my extremest means, lie all unlocked to your occasions" (I.i.8). Bassanio in return is eager to reimburse his friend "To you, Antonio, I owe the most, in money and in love and from your love I have a warranty[...]to get clear of all the debts I owe. (1.1.4). It is stated in the play's opening lines that Antonio is troubled over a matter that is not the uncertainty of his ships. His friends with whom he shares the scene suggest that perhaps it is because he is in love, a proposition that he immediately dismisses. The implied love is theorized to be Antonio's potentially romantic interest in Bassanio, a love which will never be requited, thus the cause of Antonio's troubles.
   Antonio is not concerned that his love for Bassanio will never be reciprocated but that their relationship will falter now that Bassanio is perusing marriage to Portia, "Well, tell me now what lady is the same to whom you swore a secret pilgrimage, that you to-day promised to tell me of?" (I.i.7). Antonio fears that he will lose his valued friendship if he marries, because this is an expected reaction that continues to occur in modern times, it is not necessary to conclude it is because of homosexual feelings. In the end, it is because Antonio so highly respects Bassanio that he ultimately accepts Bassanio's marriage, "And with affection wondrous sensible, he wrung Bassanio's hand; and so they parted."(II.viii.5). If Antonio's love for Bassanio had been more than just a friendship, it is more likely that Antonio would have taken more extreme measures in the face of losing his love, similarly to Romeo and Juliet. Even Bassanio's wife Portia is not threatened by her husband's passionate friendship and  acknowledges their confidence, "This Antonio, being the bosom lover of my lord, must needs be like my lord. (III.iv.7).

Queue the REM

   Religion plays a prominent role in the play, the Merchant of Venice, because it manipulates the audience’s perspective of the plot and characters and leaves much of their personalities and actions up for interpretation. Shylock, the antagonist of the play, is based upon and vilified by Jewish stereotypes that were prominent during Shakespeare’s time.  He is described as having red hair, a large nose and wearing disheveled clothing, a description that is similar to the 17^th century’s idea of the Devil. Shylock’s character varies throughout from being a greedy, vengeful villain to a compassionate victim who pleas for empathy from his Christian oppressors, “I am a Jew. Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions?”(III.i.58-60). Depending on the religious perspective, Shylock is either an anti Semitic Jewish representation who plagues a Christian society, or an exploited victim who is bittered by racism.    

   To modern day audiences, the outcomes that Shylock face as a result of Christianity’s presence make him a tragic figure. By the end of the play, Shylock has lost his daughter Jessica, who stole his money to be with a Christian man, and is forced to convert to Christianity or face the penalty of death. In the perspective of 17^th century audiences, it is possible that Christianity acts as a savior to Shylock; by the end of the play his daughter finds liberating happiness with a Christian man and his soul is saved because of his conversion. It also applies to the Christian characters such as Antonio and Bassiono, depending on the religious perspective. Simultaneously, Bassanio and Antonio are heroes overcoming a cruel villain, or the villains responsible for oppressing an entire religious affiliation. This disconnect makes communication between characters difficult because it is up for interpretation how each other’s religions affect opposing characters.

Shylock: Both Victim and Villian

   

    The character of Shylock is complex because he is simultaneously portrayed as both a villain set on vengeance and a victim antagonized by the prejudice that surrounds him and his religion. To Antonio, Shylock is a devious and money obsessed business man who demands a pound of flesh as revenge for Antonio's abuse as a Christian. He is introduced as a hateful character who expresses his contempt for Bassanio and Antonio, “How like a fawning publican he looks! I hate him for he is a Christian [...] I will feed fat the ancient grudge I bear him"(I.iii.). He is also manipulative, exploiting Venetian laws to pursue his revenge. Venetian laws state that it is just to own slaves, giving Shylock the right to collect a pound of flesh from Antonio if he cannot repay his debts, “The slaves are ours. So do I answer you. The pound of flesh which I demand of him is dearly bought. Tis mine, and I will have it."(IV.i.94-99). Although Antonio and Bassanio have been adverse to Shylock and treat him with impiety, it is Shylock who suggests violent harm against his enemies which further proves his villainy. It is Shylock's villainy serves as the catalyst of the play which drives the story forward.

    In his third act soliloquy, Shylock declares that his malice is due to his mistreatment by the Venetians and that Jews and Christians are more alike than society dictates, "Hath not a Jew hands, organs, dimensions, senses, affections, passions; fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer as a Christian is?"(III.i.49-54). The audience sympathizes with Shylock because his bitterness is the result of the hatred he endures from a Christian culture. It is more likely that Antonio and Shylock hate each other because of the conflict between their religions, than themselves as people. It is also that Antonio's plea for sympathy is an attempt to earn recognition for his humanity because he is self aware of his corrupt persona which would greater confirm his role as a villain. Though Shylock acts devious throughout, by the end of the play when Antonio is able to pay off his debts thanks to the return of his ships, Shylock is reduced back to a victim. Having lost the agreement, Shylock is forced to either convert to Christianity or be killed, a harsh punishment by modern audience standards and further regard him as a tragic figure. 

   Even though Shylock is portrayed as an antagonist, his villainous actions are a result of the mistreatment he has endured in an anti-Semitic society.