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.