With this false sense of confidence, Macbeth orders the killing of his family, but his wife commits suicide instead. Not long after, the English forces begin marching towards Macbeth for revenge, and in a final battle between Macduff and Macbeth, Macbeth gets beheaded as predict-ed by the witchesâ deceptive riddles. Impressions: This is the fourth time Iâve read Macbeth â once early in high school because it was on a recommended reading list, once late in high school for a literature course, once early in college for a different literature course, and once now. Itâs unfortunate to say that I still do not fully under-stand Shakespeareâs English syntax, even after reading it this many times, but I was lucky enough to get Sparknotesâ republished version with a modern-English translation in the side for assistance. It seems that this play is getting moderately better each time I read it. I think this can be attributed to a few things. The most obvious is that, after reading it so many times and getting such a good grasp on how the plot progresses, I essentially have a skeleton or template that I can fill while reading the play again, so Iâm able to focus more on the small details while still being able to keep the big picture in the back of my mind. Another reason is that I might be picking up some of Shakespeareâs syntax and becoming more alert to the small, interesting things he put into the play that I might not have noticed before. Overall, I enjoyed reading the play again. Although I might make a generic statement that I dislike Shakespeare, the reality is that I specifically dislike only his pre-modern English syntax. The actual plot of his plays are still attention-grabbing and compelling. Critical Analysis: In Shakespeareâs Macbeth, one of the biggest recurring themes throughout the book is the conflict between the desire for power versus the moral and ethical values confining the extent to which one demonstrates this ambition for power. From their actions, it is clear that Lady Macbeth, and later, Macbeth himself, are prime examples of individuals who take their power-hungry nature and follow through without much self-control. Unfortunately for them, their internal sense of morals seems to be absent, so there must have been some sort of external factor that ended up controlling them. I believe that their hallucinations were this external factor; I decided to analyze the situations surrounding the presence of their hallucinations and demonstrate that the hallucinations were symbolic substitutions of morals. Macbeth encounters his first hallucination when he is on his way to murder King Duncan. He sees a bloody knife and states, âIs this a dagger which I see before me, / The handle toward my hand? â¦ / And on thy blade and dudgeons gouts of blood.â This bloody knife is representative of the consequence of murdering Duncan, and makes Macbeth pause to think about his action. Although he later declares âI go, and it is done,â it still triggered thoughts in Macbeth. Macbethâs second hallucination occurs when he sees Banquoâs ghost, as noted by âEnter the ghost of Banquo, and sits in Macbethâs place.â The fear that the ghost strikes into Macbeth makes him think back to what he did â ordered the murder of his former friend. This is once again a reality check for Macbeth, and makes him demonstrate less of his aggressive side and more of his weaker side when the guests see his strange behavior. The third hallucination is observed by Lady Macbeth when she attempts to wipe away blood stains from her hand. This is once again a difference from her murderous past actions, and makes her think about her responsibility regarding the death of many other people. The fact that the blood stains do not wash away from her hands implies that the consequences of her actions are permanently attached to Lady Macbeth, and she needs to understand that being a proxy killer is not something morally acceptable. In summary, the hallucinations found throughout Macbeth force Macbeth and Lady Macbeth to take a step back in their ambitious actions and look at the bloody mess they are leaving behind. Because of this, the hallucinations always emphasize the contrast of the drive for more power, and thus are symbolic of the moral and reserved end of the power spectrum. - If you would to read other response papers I wrote for my literature course, or other papers I have written for other classes, feel free to check out the “Academics / Homework” category index.
Like it or not, crime is a part of our society, and as a result, society must react to crime. There are a variety of different ways of dealing with the individuals who choose to commit crimes; these methods reflect how members of a particular society view crime and criminals. There are four basic different ways that a society can react: deterrence, retribution, incapacitation, and rehabilitation.
Deterrence, or more commonly known as punishment, is providing a negative consequence to a particular deviant action to discourage people from doing the deviant action. Members of society who support deterrence believe that people will not commit a crime if the punishment is too great. As long as the benefit of committing the crime is less than the harm done by suffering the punishment, people will opt to take the better route (which is to not commit the crime). This method of dealing with criminal behavior assumes that there is an easy and concrete way to measure the costs and benefits of crimes and punishments, when in fact it is actually quite abstract and difficult to do. On top of that, not all people might make these rational comparisons as expected by the society; people who are not emotionally sensitive to these punishments might not abide by the system as society plans.
Retribution, better known classically as the âeye for an eyeâ concept, is the idea that when someone hurts someone else in some way, the victim has the right to hurt the attacker in return via the same method. Expanding off the classical term, if a man were to stab another manâs eye and turn him blind, the blind man would then have the right to stab the original stabber in his eye, thus turning him blind as well. This encourages people to only do actions that they would be comfortable having others to do them as well. Societies that support retribution believe that all people are equal, and when one person commits a crime, the society should be able to get even with the criminal. Unfortunately, this method of crime control only encourages further violence or crime, and doesnât take into consideration the fact that the particular action itself is still a crime, regardless of if it is being done as an assault or as revenge. This form of punishment is also very inflexible, as oneâs punishment is defined distinctly by oneâs actions. It leaves out the important aspect of motivation behind oneâs actions; someone who commits a crime intentionally receives the same punishment as one who commits the same crime accidentally, or as a side effect of good intentions.
Incapacitation is best known in modern society as placing people in jail or prison. The idea behind this method of reacting to crime is to protect the rest of society by preventing the criminal from committing more crimes. Societies that believe in incapacitation believe that criminals are outliers in their community, and as a result, it should be designated in a physical manner by separating their existence from the rest of the people. A clear problem of incapacitation, as seen by research and statistics, is that those who are incapacitated once are usually incapacitated again in the future as a result of committing more crimes. Thus, while they are incapacitated, many people do not change their way of life; once they are reintroduced into the society, they return to their old ways, and for many criminals, societyâs method of crime control ends up not accomplishing anything.
Rehabilitation has been increasingly supported recently and can be broken down as a moral and ethical school for criminals. When individuals commit crimes, they enter a program where their goal is to understand why their behavior is deviant. Societies that support rehabilitation view criminals as human beings who are still worthy of living with everyone else in a society, but need to be temporarily separated while they learn what is acceptable and what is not. The main goal of rehabilitation is to change criminals such that when they reenter the community from which they came, they live a life that follows all the societyâs norms and laws, and no longer engage in deviant behavior. Although, by definition, this is the most humane method of crime control, it still has its problems â individuals who are persistent in remaining criminals will not benefit from this program, as an internal motivation and desire to change oneâs self is very important during rehabilitation.
In summary, as society evolves, the methods of dealing with criminal behavior evolve with it. A variety of different methods has been developed and is being used, but there is no single strategy that is better than the others. Rather, instances of crime should be analyzed on a case-by-case basis, and proper reactionary measures should be taken in a specialized manner, rather than applying a generalized society view or theme on all crimes and possibly not providing some criminals the consequences or treatment that would work best for them.
âSonnet 116â by William Shakespeare is about how love is not affected by obstacles and persists throughout all challenges it may face.
âA Valediction: Forbidding Mourningâ by John Donne tells about a man who has to leave his lover, but does not believe the event is one that should prompt mourning. He instead thinks that the separation will be an expansion to their love and will make the bond firmer.
âTo His Coy Mistressâ by Andrew Marvell is told by a man who is attempting to acquire the love of a woman by elaborating on, emphasizing, and complimenting the positive aspects of the woman.
âElegy Written in a Country Churchyardâ by Thomas Gray takes place in a churchyard that is described in great visual detail. The narrator then shifts focus over to a poet by telling about his separated life and describing his grave in the churchyard.
âThe Tygerâ by William Blake tells of the Tyger, a being that is described as being aesthetically appealing. The poem goes on to ask what other being is powerful enough to be able to construct the Tyger with such excellence.
âA Red, Red Roseâ by Robert Burns is a poem about the narratorâs love; it is compared to various pleasant things. Towards the end, he is separated by his love, but he assures that he will once again be reunited.
âI Wandered Lonely as a Cloudâ by William Wordsworth is about the narrator who wandered around like a cloud when he encountered a field of flowers, where he enjoyed the scenery. Now, when he is lonely, he thinks back to this scene and is happy again.
âOzymandiasâ by Percy Byssche Shelley tells of an interaction with someone who traveled to an ancient land and came across a stone sculpted to resemble a king, which, according to the corresponding inscription, was powerful. There was nothing else around the sculpture.
âOde on a Grecian Urnâ by John Keats tells of various things that have happened, including a group of people being pursued, someone playing melodies on a pipe, some people being sacrificed, the lesson that âBeauty is truth, truth beauty.â
âAnnabel Leeâ by Edgar Allan Poe is told by a narrator who was the lover of Annabel Lee. One day, the angels got jealous of the love between the narrator and Annabel Lee and sent a wind that chilled Annabel to death. She was taken away by her family members. However, the narrator says that because their love was so strong, there is no way that even death can separate him from Annabel.
While reading through the first nine poems listed, I generally had a difficult time understanding the implied meanings of the poems, as I generally have a hard time interpreting syntax that is changed from conventional standards to add artistic value. However, when I got to the last poem, âAnnabel Leeâ by Edgar Allan Poe, I felt like all the literary beauty was still intact and the rhythm was pleasant, but it still flowed nicely and was easy to understand and visualize what was happening. Thus, it was my favorite poem out of the set for this week.
One thing that I particularly liked about the poem was how it was organized well as what one would expect from a conventional story. The poem starts with a description of the context and setting, which allowed me to visualize a fundamental structure upon which I could illustrate more details in my mind as the poem progressed. By the end of the poem, I was able to produce a short video in my mind and be able to really experience the poemâs message, which was difficult for many of the other poems.
There are a handful of symbolic items in Edgar Allan Poeâs âAnnabel Leeâ which form a gestalt that gives a deeper meaning to the poem.
One of the most redundant forms of symbolism found throughout the poem is the sea. It is mentioned in many different contexts: âkingdom by the sea,â âdemons down under the sea,â âsepulcher there by the sea,â and âtomb by the side of the sea.â In all of these situations, the sea is present when there is a connection between the narrator and Annabel, which leads me to conclude that the sea is symbolic of their love and union. The kingdom is near the sea because they both live in the same area, and are connected by area of residence. The demons are down under the sea, weighted down by the water, because no evil force can disrupt the link between the narrator and Annabel. After Annabel dies, her dead body is placed next to the sea because, as the narrator states, even death is not enough to pull them apart.
Another point of symbolism is the age of the narrator and Annabel. This is also a recurring item of interest â the narrator admits that âShe was a child and I was a child,â but later clarifies that ââ¦ our love it was stronger by far than the love / Of those who were older than weâ / Of many far wiser than weâ.â At first, one might think that this love is just adolescent or teenage infatuation, but, as evidenced by the dedication shown by the narrator to Annabel, even after she dies, their age is not symbolic of foolishness, but actually of the true power and dedication of their love. Even when covered by the cloak of immaturity, their love still shines brightly through.
Finally, one last symbolic object that I thought was interesting was the wind. The wind is mentioned twice, once during the recount of what happened (âA wind blew out of a cloud by night / Chilling my Annabel Lee), and once when justifying Annabel being taken away (ââ¦ the wind came out of the cloud, chilling / And killing my Annabel Leeâ). The wind here seems symbolic of an omen of evil; although it was sent from the heavens, it still inflicted Annabel with an illness (most likely a common cold) that went out of hand and ended up taking her life.
Overall, the symbols in Poeâs poem helps link together the different sections of the poem. They act as threads that allow us to tie together the different parts of the plot and find a theme that integrates one segment to the next.
Blake, William. âThe Tyger.â 250 Poems: A Portable Anthology. Ed. Peter Schakel and Jack Ridl. Boston, MA: Bedford/St. Martinâs, 2009. 35. Print.
Burns, Robert. âA Red, Red Rose.â 250 Poems: A Portable Anthology. Ed. Peter Schakel and Jack Ridl. Boston, MA: Bedford/St. Martinâs, 2009. 36. Print.
Donne, John. âA Valediction: Forbidding Mourning.â 250 Poems: A Portable Anthology. Ed. Peter Schakel and Jack Ridl. Boston, MA: Bedford/St. Martinâs, 2009. 9. Print.
Gray, Thomas. âElegy Written in a Country Churchyard.â 250 Poems: A Portable Anthology. Ed. Peter Schakel and Jack Ridl. Boston, MA: Bedford/St. Martinâs, 2009. 28. Print.
Keats, John. âOde on a Grecian Urn.â 250 Poems: A Portable Anthology. Ed. Peter Schakel and Jack Ridl. Boston, MA: Bedford/St. Martinâs, 2009. 57. Print.
Marvell, Andrew. âTo His Coy Mistress.â 250 Poems: A Portable Anthology. Ed. Peter Schakel and Jack Ridl. Boston, MA: Bedford/St. Martinâs, 2009. 23. Print.
Poe, Edgar Allan. âAnnabel Lee.â 250 Poems: A Portable Anthology. Ed. Peter Schakel and Jack Ridl. Boston, MA: Bedford/St. Martinâs, 2009. 61. Print.
Shakespeare, William. âSonnet 116.â 250 Poems: A Portable Anthology. Ed. Peter Schakel and Jack Ridl. Boston, MA: Bedford/St. Martinâs, 2009. 8. Print.
Shelley, Percy Bysshe. âOzymandias.â 250 Poems: A Portable Anthology. Ed. Peter Schakel and Jack Ridl. Boston, MA: Bedford/St. Martinâs, 2009. 51. Print.
Wordsworth, William. âI Wandered Lonely as a Cloud.â 250 Poems: A Portable Anthology. Ed. Peter Schakel and Jack Ridl. Boston, MA: Bedford/St. Martinâs, 2009. 37. Print.
âThe Horse Dealerâs Daughterâ by D.H. Lawrence tells the story of Mabel, the horse dealerâs daughter, who is currently struggling to make ends meet after the death of her mother. When visiting her mother to tidy up her grave, she gets overwhelmed by her feelings and almost commits suicide by drowning. Nearby, Jack, a doctor, comes to save her life by extracting her from the water and nursing her back to health. From Mabelâs perspective, Jack did this because he loved her; from his perspective, Jack did this because he is a doctor. As the story comes to a close, Mabel realizes that Jack doesnât actually love her, but Jack decides to marry her anyway and proposes to her before he returns to his senses.
âFlowering Judasâ by Katherine Anne Porter is about Laura, a young woman living near Xochimilco. She works for Braggioni, a large man who sings to Laura when she returns home. He is a man with great self-esteem who is not told of how bad he is at singing because of peopleâs fear of his retaliation. He is dissatisfied with his wife and chooses to go away for an extended period of time. During this leave, Laura meets a prisoner named Eugenio. When Braggioni returns home, his wife apologizes; that night, Laura dreams of Eugenio.
âA Country Love Storyâ by Jean Stafford tells the story of Daniel and May, husband and wife, who choose to purchase a house in the country. The particular house they select happens to have an antique sleigh in the front lawn; at first, they have a strange impression of it, but eventually, they just let it be and decide not to get rid of it. As the story progresses, Daniel and May have a conflict, the first of its kind in their five years of marriage, after Daniel has a hallucination indicating that May has been unfaithful. Daniel remains in his room working, while May is lonely. The sleigh begins to take a symbolic role, as it represents Mayâs loneliness, as well as acts as the residing place of Mayâs hallucinations. Eventually, Daniel realizes that his hallucinations were what was fueling the arguments, and Daniel and May proclaim their love for each other again.
âFlightâ by John Steinbeck features Pepé, a boy who lives with his mother and siblings in Mexico. Pepéâs mother always berates him for not being a man, but one day, still sends him off to get some medicine, which is a manâs job. During the trip, Pepé acquires the medicine, but also gets in a physical confrontation while he and others are consuming wine. When he returns home, the fact that he stabbed a man initiates another journey where he heads off into the mountains. During his trip, his horse gets injured by some people who are pursuing Pepé; eventually, he dies after being buried by an avalanche.
âWhy I Live at the P.O.â by Eudora Welty is narrated by Sister, a woman whose sister, Stella-Rondo, recently moved back into her house with her adopted daughter to live with family after she got a divorce. Upon Stella-Rondoâs arrival, Sister suspects that her daughter is not adopted, but biological. This insults Stella-Rondo and motivates her to turn the entire family against Sister. Stella-Rondo spreads rumors about Sister to Papa-Daddy and Uncle Rondo to make them believe that Sister has been bad-mouthing them. Eventually, Sister becomes fed up with Stella-Rondo and decides to move out to live at the post office.
When reading âThe Horse Dealerâs Daughter,â although it is somewhat apparent that it was supposed to be a sad story at first due to the sully setting and the poor situation in which Mabel is, I sort of thought it was partially a comedy in disguise. I thought the plot revolved around a perfect example of different perspectives gone wrong. Most of us have experienced a situation where two different people with two different backgrounds or levels of experience see the same scenario differently, and end up having some sort of humorous misunderstanding. I felt Lawrence integrated this concept well into this story, and twisting a developing love relationship into the confusion made it even more compelling.
I decided to expand upon my initial interest with the idea of differing perspectives and take a closer look at the primary conflict present in the story by extracting and analyzing the motivation and implications behind each characterâs actions and connecting it to the conclusion of the story. The primary conflict of perspectives is how Mabel and Jack perceived the fact that Jack rescued Mabel from drowning, as illustrated by, ââ¦ the small black figure walked slowly and deliberately towards the cent[er] of the pond â¦ gradually moving deeper into the motionless water.â
From Jackâs perspective, he identified a figure that was intentionally walking into the water to commit suicide. As a doctor, he sensed someone in danger and felt the urge to help them â his intuition is noted when it says âthe doctorâs quick eye detected a figure in black passing through the gate of the field, down towards the pond,â and later, âWhen he rescued her and restored her, he was a doctor, and she was a patient. He had had no single personal thought of her.â It can thus be concluded that, for Jack, this was just his normal work outside of regular working hours, and he was helping a person in need.
To Mabel, however, the fact that Jack saved her was something completely else. She was told of this novel experience unfolding from Jackâs perspective because her inquiry of ââWhat did I do?ââ implies she does not remember what happened. However, rather than seeing it from a perspective paralleling Jackâs, she applied her own opinions and emotions to the recount. From a normal personâs point of view, it is understandable to interpret someone risking their own life to save yours as an act of altruism so powerful that only love could motivate someone to do such a thing. To make the situation more intense, Jack undressed Mabel so she would cease to lose body heat from the cold, drenched clothing; to Jack, this was standard doctoral procedure, but to Mabel, she interpreted this as an act of intimacy.
So what made Jack cave in and decide to propose to Mabel? In Mabelâs flurry of confusion, she overwhelmed Jack with actions symbolic of love, such as forcing him to admit his love through words and kiss her. As a result, Jackâs own personal emotions took over and made him just as confused as Mabel, causing him to change his position from a professional doctor to a dutiful man. In essence, the conflict of perspectives was âresolvedâ when Jack took on the same perspective to the rescue as Mabel.
“The Egg” by Sherwood Anderson is a story narrated by a young boy about the influence of eggs on his father. From before the narrator was born, his father worked at a chicken farm where he raised chickens from birth to death; he goes on to describe the depressing cycle of life and death that raising chickens involves. The narrator’s father seems to be an emotional, detail-oriented, and materialistic person, as he had the idiosyncrasy of saving the bodies of mutated chicks. The bulk of the story has a recount of an event where his father, unable to overcome his social awkwardness, made a fool of himself in front of a guest by trying too hard to impress him, and instead, failing all his egg-related tricks.
“The Boarding House” by James Joyce features Mrs. Mooney, the former daughter of a butcher who was abused by her husband and left him to start a boarding house. While at the boarding house, she noticed a middle-aged man who was building a relationship with her daughter Polly. She did not intervene at first, but when the time came, she decided to speak with the man and demand that he follows through with marriage. At first, Polly is frightened, but eventually, has positive visions of her future.
“Marriage a la Mode” by Katherine Mansfield tells a story of the couple William and Isabel. Isabel is dissatisfied with William because they lived in a small, stuffed-up house and had a nanny that was ruining their children. Isabel begins to think of William as dull, and says bad things about him with her friends. The following day, Isabel receives a letter from William that she shares with her friends, but then feels ashamed for doing so and decides to write a letter back to William later.
âCruel and Barbarous Treatmentâ by Mary McCarthy tells the story of a married woman who decides to engage in extramarital affairs. She demonstrates her skill of manipulating her husband, lover, and friends by calculating how others will perceive her. She also considers all the positive and negative consequences of each of her potential decisions. Eventually, she has a divorce with her husband and pursues a relationship with the Young Man to enhance her life.
âA Spinsterâs Taleâ by Peter Taylor is narrated by Elizabeth, a woman who tells of the relationship she had with her brother and drunkard Mr. Speed. For Elizabeth, Mr. Speed was a curious and frightening character that she claimed she would eventually build the courage to confront. Later on in the recount, she explains that she has gotten more used to Mr. Speed with the encouragement of her father, but is still fearful. One day, Mr. Speed is accidently let into Elizabethâs house due to a case of mistaken identity, and Elizabeth reacts by calling the police.
When I first read through âThe Eggâ by Sherwood Anderson, I went through a series of emotions of confusion, depression, sympathy, and understanding â confusion as to the narratorâs fatherâs actions, depression as to the fact that he would choose to do such things, sympathy for his failures, and understanding after possibly identifying a reason for why everything happened as it did.
This story reminded me about how someoneâs emotions can severely affect how someone performs actions, and I drew the conclusion that this was most likely from what the narratorâs father was suffering. The narrator notes, ââI have handled thousands of eggs,â father said. âNo one knows more about eggs than I do.ââ This is a valid claim, as he spent his entire life working with chickens and eggs; however, his expertise in the field was severely impaired when he was trying too hard to what he was good at. I made a connection between this and the âgolferâs errorâ story that Iâve heard frequently before, which says that even professional golfers will make elementary mistakes if they overanalyze their swinging technique, and should instead rely on muscle memory.
When thinking about the narratorâs father throughout the piece, I was able to make consistent connections between him and individuals with autistic intelligence about whom I have learned in the past. (Note that autistic intelligence is not the equivalent of having autism; possessing autistic intelligence does not mean someone has autism, and not all types of autism are characterized by strong levels of autistic intelligence.)
In the beginning of the story, the narratorâs father is illustrated as being satisfied as to how his life had turned out: ââ¦ [He] himself went to bed, quite happy in his position in life. He had at that time no notion of trying to rise in the world.â This can be seen as the control or baseline situation, where he was able to decide what to do with his life, and stop when he felt he reached the edge of his comfort zone. Upon meeting his wife, this changed, as, âfor father and [the narrator] she was incurably ambitious,â which implies that she pushed them to achieve more with their lives. Those with autistic intelligence have a tendency to become uncomfortable when being pushed out of their comfort zones by an outside force; as a result, they show other peculiar and unique traits, which were also seen by the narratorâs father.
One of them is an extreme attention to details that may seem irrelevant or unimportant to most people. A common example used to describe this concept is to compare normal and autistic intelligence with flashlight use in a cave â normal intelligence shines the light on the entire cave to get the big picture, while autistic intelligence shines the light on a single stalagmite to pick out all the details. The narratorâs father did a similar thing when he focused excessively on grotesque chicks and preserved them in alcohol-filled jars.
Another defining characteristic of those with autistic intelligence is having difficulty empathizing and mirroring the emotions of others. When the narratorâs father was trying to impress Joe Kane with his egg tricks, he was so engulfed in his own emotions that he was not able to pick up on Kaneâs attempts at disengaging from the conversation.
Keeping these connections in mind, it is likely that the author attempted to characterize the narratorâs father as someone with a relatively high level of autistic intelligence. He is someone who a majority of people would perceive as strange and different, as said by his visitor: âJoe Kane decided that the man who confronted him was mildly insane but harmless.â However, those with autistic intelligence are still fully capable humans in their own ways, as demonstrated by the fatherâs ability to work like others, and receive comfort from his family.
To read more papers I wrote as homework for my classes, check out the “Academics / Homework” category index
William Faulknerâs As I Lay Dying tells a story of the Bundren familyâs journey from their home town to Jefferson, a distant village. This trip spurs into action upon the death of Addie Bundren, the mother of the family, as her last dying wish was to be buried in Jefferson near the rest of her relatives; she is placed in a coffin and carried to her destination via wagon. During the journey, we learn more about each member of the family and get a better sense of their relationships with their mother and each other. While traveling, the Bundrens face a series of obstacles, both related to the health of the coffin and to the needs of the family members. These unfortunate events include a flood that nearly washes Addieâs coffin and dead body away; the complete replacement of the team of mules due to a drowning; and a secret plot by one of Addieâs sons, Darl, to incinerate her body by lighting an entire barn on fire. Eventually, the family arrives at Jefferson and successfully buries Addieâs body. In the conclusion, we find that Darl has been tagged as insane, and Addieâs former husband, Anse, has already found a new wife.
Although this might not be one of the best books Iâve read, it will definitely be one of the most memorable because of the premise of the story â a family carrying their dead mother to a different location for burial is quite a distinct and original plotline for a novel. One thing that stuck out to me was the meaning and power of presence of Addieâs body. She states that throughout her life, she has found the love and intimate relationships between herself and her family members (husband and children) to be meaningless and empty. From her familyâs perspective, she was probably seen more as a liability than as a loving wife and mother, and it seems like this continued on after she died, but to a greater extent. I also felt the sense that Addieâs dead body was powerful enough that it was as if she was still alive, but equally empty as before. She was able to create a scene multiple times, forcing people to risk their lives to save her, and emitting a stench that brought together crowds; there were also air holes drilled into her coffin, as if she needed to breathe.
The literal setting of As I Lay Dying occurs on a trip to Jefferson, a village where Addie wishes to be buried, and where her husband Anse can finally acquire a set of false teeth for which he has been longing. However, the central point of the mental struggles and obstacles of the Bundren family seems to be the coffin, which is why I believe a secondary and more implicit setting of the book is within and in the environment surrounding the coffin.
The conflict of the book seems to begin when the coffin is being constructed and prepared. To begin, the coffin is built in front of Addieâs bedroom, which gives off the impression that her family is waiting for her to die, and is eager to see her fall. When she does finally pass away, she is not even placed in her coffin in the proper orientation, and she gets holes accidentally drilled through her head. These dysfunctional changes to the coffin seem to set off the dysfunctional events that are soon to affect the Bundren family.
The coffin then becomes a brooding ground for even more problems for the family. The first problem they encounter is almost having the coffin swept away by the flood waters. The near loss of the coffin signifies the near loss of the family â itâs as if the slipping away of the coffin resulted in the slipping away of the Bundrens mules, and if the coffin had not been saved, they would have lost more. Later in their journey, when Darl attempts to incinerate the coffin, it was as if he had identified the coffin as the source of their troubles and wanted to eliminate it. However, Jewel risks his life and saves the coffin, as he understands the simple destruction of the coffin would not bring all these problems to a proper resolution, and their troubles would not come full circle.
The burial of the coffin, as a result, represents the proper end to the Bundrensâ dysfunction, and a return back to the setting of normalcy before the construction of the coffin. Although questionable as to whether it is considered âback to normalâ or not, Anse has fulfilled his wish of acquiring his false teeth and has found a new wife, so things seem to be going better, at least for him.
Faulkner, William. As I Lay Dying. New York, NY: Jonathan Cape and Harrison Smith, 1930. Print.
If you want to take a look at last week’s paper, you can click on the “Academics / Homework” category to be taken to an index page of all blog posts that include papers I have written for homework.
Hi humans. If you’ve been around for a while, you know that I like to post my homework on my website. I wrote my first paper of the semester a few days ago, and it was due yesterday. It was for my experimental psychology course, and the paper involved writing an introduction and methods section for an experiment in which we participated on the first day of lecture. It was more or less a practice paper that we wrote leading up to our final paper, where we are going to conduct an entire experiment ourselves and write a complete paper. Of course, this paper had to be written in APA style, and it had very specific requirements, so I was very limited in how I could write. As a result, the style of writing you are going to see in this paper might seem extremely uncharacteristic compared to other stuff I have written. Update: I understand that there is apparently some sort of problem with this article’s snippet on my home page where it keeps on jumping down to this blog post. As of right now, I don’t know why this is happening, but if you would like to read newer articles, all you need to do is scroll up. Update: Upon popular demand, I have removed the embedded document because the automatic scroll-down was bothering too many people and I was getting overwhelmed with notices that there was something wrong with my website. Now, if you would like to access the paper, use the following link: https://docs.google.com/file/d/0B9VmxRhybymWNW5YRWxhZ290OEU/preview
Hi humans. This is my final response paper and last assignment for my summer literature course that I finished today. I’m done with all assignments for the class now, and all I have left to do is wait for my instructor to finish grading everything and to give me my final grade. For those of you unfamiliar with the response papers I’ve written for this class, we basically have a work of literature to read each week; then we have to write a summary, our impressions, and a critical analysis. This week we focused on the play Waiting for Godot by Samuel Beckett. Sometimes we are given a specific topic for our critical analysis, but this week, we were permitted to choose our own area of focus. This response paper might be as well-constructed, organized, or developed as other response papers I’ve written because I was extremely short of time when writing this paper due to other assignments I had to finish. To read other response papers I’ve written for this class, or to read other papers I’ve written for homework in general, check out the “Academics / Homework” category index page. — Summary: Waiting for Godot by Samuel Beckett is a play featuring Vladimir and Estragon, two men who are waiting for the arrival of Godot. The play tells of what they do while they wait, and illustrates encounters made with others while they are waiting. While waiting, Vladimir and Estragon come across Pozzo and Lucky, two other significant characters in the play. Lucky is Pozzoâs slave, and Pozzo is on his way to the market to sell Lucky. The four men have a discussion; throughout the exchange, Vladimirâs emotions fluctuate as he learns about how Pozzo treats Lucky. Eventually, the two men depart and Vladimir and Estragon are left alone again. Shortly after, a boy approaches the two main characters and declares that Godot will not be coming that night, but will be coming the following day. Night falls. The following day, Vladimir and Estragon are back waiting for Godot again. They once again encounter Pozzo and Lucky, but Pozzo has become blind, and he does not remember meeting Vladimir and Estragon the previous day. The boy also comes by again, and the boy also insists that he did not speak with Vladimir and Estragon the day before. The boy once again declares that Godot will not be coming. Vladimir and Estragon contemplate committing suicide if Godot does not come, but they remain, and continue to wait for Godot. Impressions: When I read this play, I had a very difficult time coming up with what the play was actually about. The overarching plot theme was clearly that two men were waiting for Godot, but the play was laid out in such a confusing and random manner that I had a difficult time seeing how all the events came together. I was, however, able to build a good conceptual picture about all the characters, as the way in which they speak and how they acted allowed me to pick up on implicit cues that gave me more information about their background. After thinking more about the play and reading some discussion posts made by other students, I was able to pick up on some of the messages and morals the play contained, but the lasting impression that I have of the play is still one of confusion as to the randomness of the events. Critical Analysis: Forgetfulness is a recurring theme in Samuel Beckettâs Waiting for Godot. It appears throughout the play and seems to hold a significant importance in the progression of the play. Because of the characters who experience forgetfulness and when it occurs, I believe that it is symbolic of the sanity that Vladimir retains because of his belief that Godot will be coming. The first and most obvious example of forgetfulness we observe is through Estragon. Estragon is overall portrayed as a weak and frail character, and his forgetfulness contributes greatly to that, as because of his poor memory, he is seen as unable to support himself. Estragon forgets things that happen the previous day, as he states himself: âThatâs the way I am. Either I forget immediately or I never forget.â He is also not sure why he is even at the location where they are waiting for Godot, as evidenced by Estragon saying âAnd here where we are now?â and Vladimir responding, âWhere else do you think? Do you not recognize the place?â This allows us to conclude that the reason Estragon is even at the location is because he is accompanying Vladimir, who is waiting for Godot. Thus, we can state from this evidence that Estragon himself does not necessarily have an internal desire to wait for Godot. The next example of forgetfulness is from the boy, who states that Godot will be coming the following day, but returns the next day and does not recall ever declaring such a thing. He then proceeds to agree with Vladimir stating that Godot will not be coming that night, but will be coming the next day. This repetition implies that the boy is denying the existence of Godot, and is simply claiming he will come the following day as a way to take the pressure of the question off of himself. The item we can see in common between the two examples is that both Estragon and the boy are connected not only by their forgetfulness, but also by their lack of belief of Godot. Thus, we can make an implicit conclusion by saying that forgetfulness is symbolic of the lack of belief of Godot. We move on to Vladimir, who contrasts both Estragon and the boy in the sense that he is able to remember things that have happened in the past, and also has faith in Godotâs coming. Based on this connection, one could argue that a message of this play is that, with the belief of a divine and higher power, such as Godot, one can retain his or her sanity and avoid being forgetful through the power of religion. Of course, this conclusion is loosely supported, as there may be many external factors that could have affected the charactersâ traits and actions, but it still provides insight into one of the possible messages the play aims to get through to the reader.
Hi humans. This is a continuation of the post from yesterday – here is another paper I wrote about Shakespeare’s Macbeth for my summer literature course. This is different than all the other papers I wrote for this course, and this paper is the equivalent of a final paper (even though it’s the second-to-last assignment). We were supposed to select a work we read throughout the semester about which to write an eight-page research paper arguing a specific topic of our choice. I indicate what my argument is in my thesis, so the rest of my paper should be pretty self-standing. The only other thing I have to mention is that we were supposed to include a summary of no more than a page and a half before presenting our evidence for our side of the argument. — During the progression of a story, it is common for a main character to undergo a change as a result of the events composing the primary plot. Some of these changes maybe subtle, while others may significantly hinder, enhance, or simply alter the individualâs life in some way. Some of these changes may be external and physical, while others may be internal and psychological â I will be focusing on the latter by bringing in an extreme example of a man who suffered psychological trauma that changed who he really was on the inside. In William Shakespeareâs play Macbeth, the main character Macbeth begins as a normal man, but eventually gets driven insane; this process is initiated by the witchesâ prophecy, is further fueled by his wifeâs influence, and is later confirmed by his hallucinations. As an overview, Macbeth is about a man named Macbeth and his transition from a victorious battle general, to a king, to a killed man. Throughout the process, he faces some difficult situations; during some, he makes the right choices, but during most, he makes decisions that eventually lead to his downfall. At the beginning of the play, Macbeth encounters three witches who prophesize, among other things, that he will become king. Unable to put this thought aside, and due to the strong influential power of his violent and manipulative wife, Macbeth ends up going out of his way to make sure this prediction comes true by killing the current king. He blames the murder on others, whom he kills as well, to ensure that nobody will discover he is the true killer. During this process, Macbeth begins undergoing some psychological changes, as he was forced to do something that, arguably, he would not have done otherwise. He becomes mentally insecure and begins hallucinating; this follows him to the next turning point of the play, when he orders the execution of Banquo and his son Fleance, two individuals who threaten his position as king. After seeing Banquoâs ghost, Macbeth decides to return to the witches for advice; he thinks they respond with reassuring words, but they actually respond with riddles. With this false sense of confidence, Macbeth orders the killing of his family, but his wife commits suicide instead. Not long after, the English forces begin marching towards Macbeth for revenge, and in a final battle between Macduff and Macbeth, Macbeth gets beheaded as predicted by the witchesâ deceptive riddles. Transitioning on and beginning to address the argument, in order to claim that Macbeth has become insane, we must first prove that he was initially a normal man. Taking a look at the first few scenes of the first act, we learn that Macbeth, one of King Duncanâs generals, was capable enough to lead a victorious battle against the Norwegians: âTill that Bellonaâs bridegroom, lapped in proof, / Confronted him with self-comparisons, / Point against point, rebellious arm âgainst arm, / Curbing his lavish spirit; and to conclude, / The victory fell on usâ (Shakespeare 8). This implies that he was in his right mind and had sufficient logical thought processes to win. One could attempt to discredit the previous argument by stating that many leaders were insane during their rule but still ended up successful. According to A First-Rate Madness: Uncovering the Links Between Leadership and Mental Illness, the Inverse Law of Sanity states that, although sane leaders tend to perform better in peaceful situations, insane leaders tend to perform better in situations of turmoil (Ghaemi 1-22). Thus, the success and insanity of a leader has more to do with the context and situation than simply being insane. After establishing this exception, one could then proceed to argue that Macbeth might have been insane from the start because it is unclear as to whether or not the witches are actually real, or if they are just figments of Macbethâs imagination. However, the idea that the witches were hallucinations is extremely difficult to prove because, at the beginning of the play, Banquo encounters the witches as well as Macbeth; he declares his acknowledgement of their presence by saying, âAre ye fantastical, or that indeed / Which outwardly ye showâ (Shakespeare 14). Because it is highly unlikely that two individuals have the same hallucination at the same time, as hallucinations are creations by oneâs own mind, the counterargument is rendered implausible. On top of that, Banquoâs character development suggests that he is not the type of person who would have hallucinations in the first place, as he is a very rational person, as suggested by his reaction to the witches: âAnd oftentimes, to win us to our harm, / The instruments of darkness tell us truths, / Win us with honest trifles, to betrayâs / In deepest consequenceâ (Shakespeare 20). In essence, Banquo is stating that things are not always as they seem, and something that appears good at first glance may end up causing someoneâs demise. Thus, keeping consistent with how Shakespeare portrays Banquo, the witches were, in fact, present outside of Macbethâs mind, because Banquoâs rational mind would not have fabricated the appearance of the witches like Macbethâs might have. Taking a first look at the spawn of the process of Macbethâs turn to insanity, we must identify when Macbeth started going insane. The concept of going insane is most commonly associated with the onset of schizophrenia, so we must take a look at the symptoms of schizophrenia, and compare them to Macbethâs behavior to identify when it showed signs of being present in Macbeth. According to the National Center for Biotechnology Information and the U.S. National Library of Medicine, schizophrenia is characterized by âirritable or tense feeling, trouble concentrating, trouble sleeping; bizarre behaviors, hearing or seeing things that are not there (hallucinations), isolation, lack of emotion (flat affect), problems paying attention, strongly held beliefs that are not real (delusions), [and] thoughts that âjumpâ between different topics (âloose associationsâ)â. The most obvious parallel we can make between the list of symptoms and Macbeth is his perception of a hallucination of a bloody knife before going on to murder King Duncan, as illustrated in act 2, scene 1 by âIs this a dagger which I see before me, / The handle toward my hand?â (Shakespeare 50). However, this shows that Macbeth had already developed a sense of insanity, and we want to identify that Macbeth went through a process that turned him insane, so we must backtrack and take a look at the very first environmental cue that set off his insanity. The reason Macbeth had the remotest idea to murder King Duncan was because of the witchesâ prophecy that he will become king. This brings up the argument of whether or not the witchesâ prophecy had enough of an effect on Macbeth that they actually contributed to the process of driving him insane. In past history, there is evidence that witches were deemed as supernatural beings. Depending on a societyâs religion, it was plausible for people to believe the words of witches and sorcerers, as they were grouped in the class of religious leaders. According to Prophecy and Society in Ancient Israel, ââ¦ prophets, shamans, witches, mediums, and diviners can also be priests if they have regular cultic roles in their societiesâ (Wilson 27). Thus, in these societies, it was acceptable to closely follow the words of witches, as it was possible for them to hold a position of religious power. Thus, in the general sense, it is not farfetched for someone to change their behavior or course of action because of something they heard from a witch. In Macbethâs specific case, not only were witches influential simply because they were witches and they carry the stigma of power, but they also proved their power by predicting what would happen in the future, then giving Macbeth immediate feedback of their accuracy by having two of the predictions come true shortly afterwards. Macbeth acknowledges his recognition of the witchesâ power by stating to Banquo, âTwo truths are told, / As happy prologues to the swelling act / Of the imperial themeâ (Shakespeare 20). This shows a distinct contrast from what Macbeth said earlier in disbelief: âA prosperous gentleman, and to be king / Stands not within the prospect of belief, / No more than to be Cawdorâ (Shakespeare 16). These two conflicting statements indicate that Macbeth, as a result of the witchesâ prophecy, changed his mind as to whether or not the predictions were valid. Thus, we can now safely deduce that the witches did contribute to Macbethâs process of going insane and initially set it off, as changing someoneâs mind definitely is distinctive of having a contribution to oneâs actions and an influence to oneâs thoughts. At this point, however, one might argue that Macbeth still did not have to follow through with his first murder, because Macbeth says in a daze after learning that two of the predictions came true, âIf chance will have me king, why, chance may crown me / Without my stirâ (Shakespeare 22). This essentially means that, because Macbeth did not have to take any directed action for the first two predictions to come true, he does not have to take any directed action to become king, and it will just happen on its own. If this is what Macbeth really thought, then why did he go on to commit the murder? This brings us to the next step of the insanity process, the sphere of influence exerted by Lady Macbeth. When Macbeth tells Lady Macbeth about the witchesâ prophecy, Lady Macbeth becomes driven to expedite the process and encourages Macbeth to plot with her to kill King Duncan so Macbeth can quickly take the throne. Macbeth initially goes against her plans: âWe will proceed no further in this business. / He hath honored me of late, and I have bought / Golden opinions from all sorts of people, / Which would be worn now in their newest gloss, / Not cast aside so soonâ (Shakespeare 42). Macbethâs reaction shows that he is more interested in enjoying his recent promotion to thane, and is not interested in murdering the king to climb higher in the ladder so quickly. However, Lady Macbeth does not give up her efforts there, as she begins to insult and challenge Macbethâs manliness: âWhat beast wasât then, / That made you break this enterprise to me? / When you durst do it, then you were a man; / And to be more than what you were, you would / Be so much more the manâ (Shakespeare 42, 44). She proceeds to strike bravery into Macbeth by continuing, âWe fail? / But screw your courage to the sticking-place, / And weâll not failâ (Shakespeare 44). Only after this elaborate persuasion from Lady Macbeth does Macbeth finally state, âI am settled, and bend up / Each corporal agent to this terrible feat. / Away, and mock the time with fairest show. / False face must hide what the false heart doth knowâ (Shakespeare 46). This conversation, characterized by Lady Macbeth challenging Macbeth and manipulating his thoughts, had an extremely powerful impact on Macbeth. The act of murder is an extremely sensitive topic in most cultures, and the fact that Macbeth did not want to commit murder before the conversation and agrees to commit murder after the conversation indicates that the person on the other end of the conversation has formidable persuasion skills. The conversation is clearly a part of the process of Macbethâs change to insanity, but did it have a more direct effect other than simply encouraging him to do an act he otherwise would not have done? To expand on this, we can take a closer look at the techniques Lady Macbeth used when convincing Macbeth to commit the murder. The primary modes of attack were through challenging Macbethâs manliness and energizing his thoughts such that the artificial thoughts injected into his mind by Lady Macbeth clouded his own rational thoughts. According to âMale Development and the Transformation of Shame,â a loss of a sense of manliness or masculinity is frequently directly associated with feelings of shame; a common bodily reaction to shame is anger and rage while one attempts to remove oneâs self-association with shame (Krugman 91). Lady Macbeth also instilled a feeling of bravery and courage in Macbeth when she spoke encouraging words. Anger, rage, bravery, and courage are all human emotions that are associated with the increased release of adrenaline. According to research done on manic-depressive insanity, âan over-excitement of the sympathetic nervous system, or hypersecretion of adrenaline â¦ played an unexplained part in the pathogenesis of manic-depressive insanityâ (Marshall 222-244). That is, when excess amounts of adrenaline were released, they triggered some sort of unidentified environmental cue that triggered the onset of insanity. Thus, in the process of Macbeth discussing the highly controversial topic of murder with his wife, the emotions that can be deduced from Macbethâs responses can be correlated with high amounts of adrenaline release and could have contributed in triggering Macbethâs insanity, if he had been more innately prone to acquiring it. Now that we have identified the events leading up to Macbethâs hallucinations, we can revisit the bloody knife mentioned earlier. Macbethâs encounter with the hallucination appears to be the turning point from the internalization of his mental illness to the externalization through acting upon his insane thoughts. The vision of the bloody knife happens between when Macbethâs insanity only existed inside Macbeth and when Macbeth first harms another person as a result of his insanity. This suggests that Macbethâs first visual hallucination is a significant part of the process of the production of his insanity because it marks when Macbeth actually demonstrates his undeniable insanity for the first time. Macbethâs second hallucination further confirms that the process of his conversion to insanity is complete. According to research on hallucinations experienced by individuals with schizophrenia, visual hallucinations are the second most frequent types of hallucinations, which âcan appear to be distorted or strange to the patient, and can also be frighteningâ (Stannard). Macbeth clearly shows his fear to the visual hallucination by crying out upon seeing Banquoâs ghost, âAvaunt, and quit my sight! Let the earth hide thee. / Thy bones are marrowless, thy blood is cold. / Thou hast no speculation in those eyes / Which thou dost glare with!â (Shakespeare 116). On top of that, other research shows that, for visual hallucinations, the content of the hallucination is typically people or human-like figures (American Psychiatric Association). This makes Macbethâs symptoms coincide with the symptoms experienced by the majority group of people who have schizophrenia, which enforces the fact that Macbeth has, in fact, gone insane. Now we have proven that Macbeth went from being a normal man to an insane man throughout the play, what actual importance does this have to the play? Keeping in the back of our minds that Macbeth was so prone to outside influences such that he developed a mental disorder, this could alter the way we see Macbeth as a character when reading the play. It is clear that Shakespeare wanted Macbeth to be the main character, but from our new viewpoint, Macbeth might not necessarily be the conventional main character we expect to see in most stories. Instead of the story revolving around Macbeth, Macbeth seems to be revolving around the story. This draws more attention to the secondary characters contained in the story, more specifically, the witches and Lady Macbeth. This could help uncover Shakespeareâs potentially hidden motivations for writing the play in this manner, such as attempting to bring across the moral of learning to stand up for oneâs beliefs.
Hi humans. This past week, my literature class moved on from reading poems to reading plays. Our first assigned play was Macbeth by William Shakespeare. Here is my standard response paper that I wrote. - Summary: William Shakespeareâs play Macbeth tells about Macbeth, a man who faces some difficult situations and experiences some personal changes as he goes from a victorious battle general to a king to a deceased man. The play opens when Macbeth is returning from a won battle when he encounters three witches who prophesize, among other things, that he will become king. Unable to put this thought aside, and due to the strong influential power of his violent and manipulative wife, Macbeth ends up going out of his way to make sure this prediction comes true by killing the current king. He blames the murder on others, whom he kills as well, to ensure that nobody will discover he is the true killer. During this process, Macbeth begins undergoing some psychological changes, as he was forced to do something that, arguably, he would not have done otherwise. He becomes mentally insecure and begins hallucinating; this follows him to the next turning point of the play, when he orders the execution of Banquo and his son Fleance, two individuals who threaten his position as king. After seeing Banquoâs ghost, Macbeth decides to return to the witches for advice; he thinks they respond with reassuring words, but they actually respond with riddles.
Hi humans. I’m a tad bit late posting this, but it’s better late than never – here is the response paper I wrote for my literature course for the sixth week of class. The first three paragraphs are my impressions, and the remainder of the paper is my critical analysis. - I decided to focus on âWe Real Coolâ by Gwendolyn Brooks because her poem was distinctly unique and different from the other nine poems, and it caught my attention in such a subtle but powerful way that it instantly became one of my favorite poems. I believe that a powerful writer is able to tell intricate and complete stories in a succinct manner. This poem seems to fit that description very well. In 24 words, Brooks was able to essentially tell the life story about a group of pool players who chose to live the free life by only focusing on key events that define who they are. She left out much of the detail most stories need to illustrate a vivid picture, but in Brooksâ poemâs case, because of the way it is written and how it progresses, the key words prompt our own images in our mind such that it is easy for us to visualize exactly what Brooks wanted us to visualize when reading her poem. One thing that obviously sticks out in Gwendolyn Brooksâ âWe Real Coolâ is the way the poem is formatted in print. I decided to focus on the form of the poem and analyze how the way the poem is broken up contributes to the overall meaning of the poem. There are eight lines, and every set of two lines are paired and separated into their own segment. The line break gives us a mental pause, as if it is the end of a scene and it is time to move on to the next; this is just like a scene transition in a movie where the video cuts from one location to another. Each paired segment has its own significance. The first opens the story by introducing the main characters of the story and gives background information about what they are like. The next gives us an idea about their lifestyle â they prefer to be active at night, and they are straightforward. The following segment tells us of their actions about what they do when they are together playing pool, singing and drinking alcohol. Finally, the last segment is the climax of the poem, where their actions get more intense and dangerous, like their promiscuity, and then includes the end of their lives when they die soon because of their poor choices. These breaks help tell the story because it provides a division between important aspects of their lives. Another noticeable thing about the way the poem is formatted is how the word âWe,â excluding the first line, is at the end of the previous line, rather than the beginning of each line. I believe this places emphasis on the actual activity rather than the people doing it. The âWeâ leads the first line because, not only is there no previous line, but because this is the only line where the focus is on the people. Afterwards, the âWeâ is at the end of the line as if the people are just afterthoughts, as if they do not really have a worthy identity because of the poor actions they choose to take. As the poem progresses, we begin to get accustomed to the rhythm and we begin to expect the âWeâ at the end of the final line, but it is not there. This leaves âDie soon.â on its own line, fitting its meaning â there is an abrupt and early ending to their lives because of their poor choices, just like there is an abrupt and seemingly early ending to the poem before we can get the comfort of the pattern of âWeâ at the end of the final line. Overall, I think that this poem carries such power and influence not only because of the words Brooks chose to use to write it, but also because of the way it is formatted. The spacing and breaks included in the flow of the poem contribute a great deal to the impression it leaves on the reader, and because of the reasons stated above, it would lose a lot of its implicit meaning if the formatting were to be changed or removed.
This is a pretty generic paper I wrote last night for one of my sociology courses that I’m taking at my community college this summer to get transfer credit for my university. The prompt was to write about the different types of methods for dealing with deviance, and to discuss how each strategy represents how society views criminals and deviance.
Hi humans. This is my response paper for my literature class for this week. We shifted our focus from prose to poems. We were assigned ten poems to read; for the assignment, we had to summarize all ten poems, then select one about which to write, elaborating on our impressions of the work and critically analyzing a particular topic. This week, we had to focus on symbolism.
Hi humans. Here is this week’s paper I wrote for my literature course. We had to read five designated short stories from Short Story Masterpieces and summarize all of them, then select one story to discuss further through our impressions and a critical analysis on a topic of our choice.
Hi humans. This week my literature class made a temporary transition from novels to short stories. We were instructed to read five different short stories, then select one on which we would write the remainder of our response paper. All of these short stories are found in Short Story Masterpieces, edited by Robert Penn Warren and Albert Erskine.
Hi humans. This is once again another response paper that I wrote for my literature course this past week. The topic was on the setting of As I Lay Dying by William Faulkner. If you want more information about what response papers are supposed to be, check out last week’s blog post about The Awakening by Kate Chopin for a description.