Why are some words and phrases---such as "Everybody for hisself" (4) and "Since you black" (6) deliberately ungrammatical?
In "Harlem Hopscotch," Angelou utilizes grammatically incorrect phrases in order to enhance the authenticity of the time period of the poem, as well as emphasize the dialect of the speaker and what type of person they are.
Angelou includes seemingly simple words/phrases that actually have a significant impact in revealing the time period and dialect of the speaker. For example, instead of saying "himself," Angelou utilizes the term "hisself." She uses a grammatically incorrect, casual term that was often spoken by African Americans during that time period. This demonstrates the significance of the fact that the speaker(s) are African American and their dialect/poor grammar represent their low status in society. Angelou also utilizes the phrase "since you black" as if to say "since you are black," which therefore indicates again the lack of proper grammar. She tries to add a sense of genuineness to the poem by really using terms and phrases that would be used by the speaker(s) during that time.
Monday, October 8, 2012
Tuesday, October 2, 2012
Heart of Darkness Five
Europe's attitude towards Africa parallels Marlow's feelings for the helmsman because Marlow believes he has a responsibility to look after him and worry about his well-being.
Marlow refers to the helmsman as "a savage who was no more account than a grain of sand in a black Sahara" (124). Marlow believes that, by himself, the helmsman is not particularly someone who has the ability to impact the situation as a whole. This coincides with the Europeans' belief that the Africans were uncivilized people who, individually, played a very insignificant role in the big picture. Marlow also refers to his relationship with the helmsman as a partnership but also calls him "a help---an instrument" (124). Marlow contradicting himself in saying they share a partnership, a relationship between two parties seen as equals, but also referring to him as an instrument. This contradiction of motive parallels that of the Europeans when they entered Africa; they claimed they were trying to help the people and work with the Africans to help them advance for their own benefit. However, they took advantage of the Africans and used them as "instruments" with which they could do whatever they pleased. Later, Marlow claims that he believes it is his responsibility "to look after him" (124) and that he "worried about [the helmsman's] deficiencies" (124). His paternal and somewhat condescending tone while he explains his feelings towards the helmsman reveals that Marlow feels as though the helmsman is his "junior brother". This term was often used by the Europeans when they described what they believed their relationship with the Africans to be. The term "junior brother" is meant to give the idea that the Europeans saw the Africans as equals (hence, "brothers") but lesser equals (hence, "junior"), as Marlow now sees the helmsman. The role of the Europeans/Marlow parallels that of an older brother to his younger brother; it is their responsibility to look after, worry for, and guide their younger brother towards the path
Marlow refers to the helmsman as "a savage who was no more account than a grain of sand in a black Sahara" (124). Marlow believes that, by himself, the helmsman is not particularly someone who has the ability to impact the situation as a whole. This coincides with the Europeans' belief that the Africans were uncivilized people who, individually, played a very insignificant role in the big picture. Marlow also refers to his relationship with the helmsman as a partnership but also calls him "a help---an instrument" (124). Marlow contradicting himself in saying they share a partnership, a relationship between two parties seen as equals, but also referring to him as an instrument. This contradiction of motive parallels that of the Europeans when they entered Africa; they claimed they were trying to help the people and work with the Africans to help them advance for their own benefit. However, they took advantage of the Africans and used them as "instruments" with which they could do whatever they pleased. Later, Marlow claims that he believes it is his responsibility "to look after him" (124) and that he "worried about [the helmsman's] deficiencies" (124). His paternal and somewhat condescending tone while he explains his feelings towards the helmsman reveals that Marlow feels as though the helmsman is his "junior brother". This term was often used by the Europeans when they described what they believed their relationship with the Africans to be. The term "junior brother" is meant to give the idea that the Europeans saw the Africans as equals (hence, "brothers") but lesser equals (hence, "junior"), as Marlow now sees the helmsman. The role of the Europeans/Marlow parallels that of an older brother to his younger brother; it is their responsibility to look after, worry for, and guide their younger brother towards the path
Sunday, September 30, 2012
Heart of Darkness Four
Throughout "Heart of Darkness," whether Marlow possesses racist qualities or tendencies remains unclear.
- "[Kurtz] began with the argument that we whites, from the point of development we had arrived at, 'must necessarily appear to them [savages] in the nature of supernatural beings---we approach them with the might as of a deity,' and so on, and so on. 'By the simple exercise of our will we can exert a power for good practically unbounded,' etc., etc. From that point he soared and took me with him. It gave me the notion of an exotic Immensity ruled by an august Benevolence. It made me tingle with enthusiasm. This was the unbounded power of eloquence---of words---of burning noble words" (123)
- "It was very simple, and at the end of that moving appeal to every altruistic sentiment it blazed at you, luminous and terrifying, like a flash of lightning in a serene sky: 'Exterminate all the brutes!'" (123).
Here, Marlow is speaking about a pamphlet that was written by Kurtz. Although the pamphlet Kurt'z ideas and strong opinions, it is obvious that his words have a significant impact on Marlow. He explains his belief that it is necessary to play a supernatural role for the savages, and that it is important the savages see them as phenomenal figures. This pamphlet is indicative of his idea that the whites have the capability and right to exert a god-like power over these uncivilized creatures. Kurtz is able to portray his ideas in these pamphlets eloquently and obviously successfully because Marlow is affected by his words. He is able to convince Marlow and make him believe in these ideas as well; Marlow says, "It made me tingle with enthusiasm. This was the unbounded power of eloquence---of words---of burning noble words" (123). Kurtz's words had the ability to make Marlow consider the idea that the whites were superior to the savages to such an extent that the relationship would be that of a servant and their master. His convincing argument and Marlow's recognition of this portrays the idea that Marlow may also actually believe white people are more distinguished than the savages. He refers to Kurtz's pamphlet as "simple" and "moving," so when it says"Exterminate all the brutes!," it gives the impression that Marlow is also agrees with this statement. There is a lack of clarity as to whether or not Marlow is wholeheartedly in agreement with Kurtz's belief of white superiority; this obscurity remains to be an issue throughout the novel.
Wednesday, September 26, 2012
Heart of Darkness Three
Throughout Heart of Darkness, the effect that isolation has on Marlow is revealed when he describes the torment, exasperation, and vulnerability caused by starvation.
"No fear can stand up to hunger, no patience can wear it out, disgust simply does not exist where hunger is; and as to superstition, beliefs, and what you may call principles, they are less than chaff in a breeze. Don't you know the devilry of lingering starvation, its exasperating torment, its black thoughts, its sombre and brooding ferocity? Well, I do. It takes a man all his inborn strength to fight hunger properly. It's really easier to face bereavement, dishonour, and the perdition of one's soul---than this kind of prolonged hunger" (113).
Marlow explains that despite how strong an individual may perceive themselves to be, their real strength is tested and proven by their ability, or inability, to survive the longing hunger that comes with isolation. A person's true self is evidenced by the realization that a desperate hunger is sometimes much more powerful than the willpower that exists inside of them. Marlow discovers that bravery, patience, supersition, beliefs, and principles are insufficient weapons against hunger's power to overcome the human body and mind. He refers to the effects of "lingering starvation" as "devilry," and says that it causes "black thoughts;" this implies that the hunger caused by isolation is evil as well as forceful: a deadly combination. In addition, he mentions that "disgust" is nonexistent when one is experiencing such a deep hunger. This demonstrates his realization that one's standards and expectations are reduced to the point of complete eradication when suffering from starvation while in isolation. Marlow also defines the brooding results of isolated hunger by comparing it to other concepts with particularly negative connotations. He claims that it is easier to "face bereavement, dishonour, and the perdition of one's soul" than to endure the effects of starvation. In Marlow's mind, death, loss, dishonor, and the damnation of one's soul to hell are preferable to having to undergo the torture of feeling hunger impossible to satisfy.
"No fear can stand up to hunger, no patience can wear it out, disgust simply does not exist where hunger is; and as to superstition, beliefs, and what you may call principles, they are less than chaff in a breeze. Don't you know the devilry of lingering starvation, its exasperating torment, its black thoughts, its sombre and brooding ferocity? Well, I do. It takes a man all his inborn strength to fight hunger properly. It's really easier to face bereavement, dishonour, and the perdition of one's soul---than this kind of prolonged hunger" (113).
Marlow explains that despite how strong an individual may perceive themselves to be, their real strength is tested and proven by their ability, or inability, to survive the longing hunger that comes with isolation. A person's true self is evidenced by the realization that a desperate hunger is sometimes much more powerful than the willpower that exists inside of them. Marlow discovers that bravery, patience, supersition, beliefs, and principles are insufficient weapons against hunger's power to overcome the human body and mind. He refers to the effects of "lingering starvation" as "devilry," and says that it causes "black thoughts;" this implies that the hunger caused by isolation is evil as well as forceful: a deadly combination. In addition, he mentions that "disgust" is nonexistent when one is experiencing such a deep hunger. This demonstrates his realization that one's standards and expectations are reduced to the point of complete eradication when suffering from starvation while in isolation. Marlow also defines the brooding results of isolated hunger by comparing it to other concepts with particularly negative connotations. He claims that it is easier to "face bereavement, dishonour, and the perdition of one's soul" than to endure the effects of starvation. In Marlow's mind, death, loss, dishonor, and the damnation of one's soul to hell are preferable to having to undergo the torture of feeling hunger impossible to satisfy.
Monday, September 24, 2012
"The Telephone" by Maya Angelou
Thesis: The personification of the telephone is a development of its previous comparison to the "spinstered aunt" because its activities are those typical of an older, unmarried woman.
Body 1: The telephone's personified actions are a progression of the "aunt" simile because Angelou uses diction that provides the reader with the image of an older woman knitting a piece of fabric.
- The specific words Angelou uses to demonstrate the actions of the telephone are meant to create the mental image of someone, in this case an older woman, knitting. She says that the telephone "tats the day" (8); "tats," technically meaning "stitches fancily," portrays the idea that the telephone creates the day in the sense that it controls the direction in which the day goes. She also says that the telephone "crotchet[s] other people's lives" (8-9). The term "crochet" connects the literal idea of the aunt manipulating fabric at needlepoint with the metaphorical idea that the telephone "crochets" people's lives and determines what is going to occur. The one doing the act of crocheting decides what the piece is going to look like when it is finished; the aunt will create a new piece of fabric as the telephone controls the lives of those around it.
- The next two terms Angelou utilizes when personifying the telephone are words whose denotations provide the image of something being altered or transformed. The terms "hemming" (12) and "darning" (14) are words typically used when speaking about tailoring clothing or changing some detail in a fabric. The words "tats" and "crotchets" are words more meant to suggest creation, whereas "hemming" and "darning" propose the idea that some sort of change is being made. Overall, the diction Angelou utilizes in the personification of the telephone is meant to convey the idea that it possesses the capability to control and change people's lives simply by existing.
Body 1: The telephone's personified actions are a progression of the "aunt" simile because Angelou uses diction that provides the reader with the image of an older woman knitting a piece of fabric.
- The specific words Angelou uses to demonstrate the actions of the telephone are meant to create the mental image of someone, in this case an older woman, knitting. She says that the telephone "tats the day" (8); "tats," technically meaning "stitches fancily," portrays the idea that the telephone creates the day in the sense that it controls the direction in which the day goes. She also says that the telephone "crotchet[s] other people's lives" (8-9). The term "crochet" connects the literal idea of the aunt manipulating fabric at needlepoint with the metaphorical idea that the telephone "crochets" people's lives and determines what is going to occur. The one doing the act of crocheting decides what the piece is going to look like when it is finished; the aunt will create a new piece of fabric as the telephone controls the lives of those around it.
- The next two terms Angelou utilizes when personifying the telephone are words whose denotations provide the image of something being altered or transformed. The terms "hemming" (12) and "darning" (14) are words typically used when speaking about tailoring clothing or changing some detail in a fabric. The words "tats" and "crotchets" are words more meant to suggest creation, whereas "hemming" and "darning" propose the idea that some sort of change is being made. Overall, the diction Angelou utilizes in the personification of the telephone is meant to convey the idea that it possesses the capability to control and change people's lives simply by existing.
Tuesday, September 11, 2012
Poetry Outline #3: "35/10" by Sharon Olds
Question: Much of the poem consists of contrasts between physical characteristics of the mother and daughter. What connotations give emotional weight to these contrasts?
Thesis: As the mother in the poem contrasts her physical appearance to her daughter's, she utilizes certain words to add a negative emotional effect to the comparisons.
Body #1: At the beginning of the poem, the mother refers to her daughter's hair as "brown" (1) and "silken" (2); she refers to her own as "grey" (3) and even calls herself her daughter's "silver-haired servant" (4).
- The mother points out the distinct beauty in her young daughter's hair by noting not only the dark color of it, but also its silken texture. She juxtaposes the appearance of her daughter's hair and her own by saying that her hair was grey/silver, while her daughter's is brown. The difference between the two hair colors indicates their significant difference in age
- Not only does the mother point out the contrast between the colors of their hair, but she also refers to herself as her daughter's "servant" (4) as she brushes her hair for her. One would not typically describe themself as their child's servant, so perhaps she chose to use this word because brushing her young daughter's hair makes her feel even older. Thus, thinking about how her daughter has her entire life ahead of her, yet hers is well past its peak, makes the mother feel the rest of her life is dedicated to her daughter's.
Body #2: When describing her own physical appearance, the mother points out her flaws caused by age and uses words with negative connotations. However, while distinguishing her daughter's physical appearance, she uses words with more positive connotations that portray her daughter's youthful beauty.
- The mother contrasts the physical characteristics bestowed upon her by old age and the physical characteristics of her daughter because of her youth. She says, "the fold in my neck clarifying as the fine bones of her hips sharpen" (6-8). As time goes on, the mother notices that wrinkles in her skin (in this case one in particular on her neck) become more evident, yet her daughter's immature body seems to grow more into adolescence.
- She also notes that her skin "shows its dry pitting" (8-9) while she compares her daughter's to "a moist precise flower" (9-10). Using the opposite words "dry" and "moist" and considering her daughter to be a "flower", (a word with a typically positive connotation) emphasizes that the mother's youthful days are over, and now it is her daughter's turn to live her life.
Body #3: In the last line, the mother refers to this process as "the story of replacement" (18). In this case, the word "replacement" has a particularly negative connotation to it.
- Out of all of the other more positive terms the mother could have used to describe this phase of life (such as simply "growing old" or "the circle of life") she chose to use the word "replacement." This demonstrates that the mother is not particularly pleased that her youth came to an end a while ago, as well as the fact that her life now consists of admiring her daughter's. It omits a bit of jealousy; the mother obviously wishes that she could switch places with her daughter and re-live her youthful ignorance, but she cannot. She feels remorseful about this and, instead of focusing on her daughter's future, she chooses to focus on her own past.
Thesis: As the mother in the poem contrasts her physical appearance to her daughter's, she utilizes certain words to add a negative emotional effect to the comparisons.
Body #1: At the beginning of the poem, the mother refers to her daughter's hair as "brown" (1) and "silken" (2); she refers to her own as "grey" (3) and even calls herself her daughter's "silver-haired servant" (4).
- The mother points out the distinct beauty in her young daughter's hair by noting not only the dark color of it, but also its silken texture. She juxtaposes the appearance of her daughter's hair and her own by saying that her hair was grey/silver, while her daughter's is brown. The difference between the two hair colors indicates their significant difference in age
- Not only does the mother point out the contrast between the colors of their hair, but she also refers to herself as her daughter's "servant" (4) as she brushes her hair for her. One would not typically describe themself as their child's servant, so perhaps she chose to use this word because brushing her young daughter's hair makes her feel even older. Thus, thinking about how her daughter has her entire life ahead of her, yet hers is well past its peak, makes the mother feel the rest of her life is dedicated to her daughter's.
Body #2: When describing her own physical appearance, the mother points out her flaws caused by age and uses words with negative connotations. However, while distinguishing her daughter's physical appearance, she uses words with more positive connotations that portray her daughter's youthful beauty.
- The mother contrasts the physical characteristics bestowed upon her by old age and the physical characteristics of her daughter because of her youth. She says, "the fold in my neck clarifying as the fine bones of her hips sharpen" (6-8). As time goes on, the mother notices that wrinkles in her skin (in this case one in particular on her neck) become more evident, yet her daughter's immature body seems to grow more into adolescence.
- She also notes that her skin "shows its dry pitting" (8-9) while she compares her daughter's to "a moist precise flower" (9-10). Using the opposite words "dry" and "moist" and considering her daughter to be a "flower", (a word with a typically positive connotation) emphasizes that the mother's youthful days are over, and now it is her daughter's turn to live her life.
Body #3: In the last line, the mother refers to this process as "the story of replacement" (18). In this case, the word "replacement" has a particularly negative connotation to it.
- Out of all of the other more positive terms the mother could have used to describe this phase of life (such as simply "growing old" or "the circle of life") she chose to use the word "replacement." This demonstrates that the mother is not particularly pleased that her youth came to an end a while ago, as well as the fact that her life now consists of admiring her daughter's. It omits a bit of jealousy; the mother obviously wishes that she could switch places with her daughter and re-live her youthful ignorance, but she cannot. She feels remorseful about this and, instead of focusing on her daughter's future, she chooses to focus on her own past.
Sunday, September 9, 2012
Poetry Outline #2: "When in Rome" by Mari Evans
Question: Who are the two speakers? What is the situation? Why are the second speaker's words enclosed in parentheses?
1) The two speakers in the poem seem to have an "awkward, distant great-aunt and young, hard-to-please teenager" relationship. It also seems to be a type of one-way relationship in the sense that one of the speakers seems to be more fond of the other.
A) "Mattie dear" (1): "..., dear" is a phrase most often used by an older generation to a person of a younger generation. The affection in the phrase also makes it seem like they are possibly related to one another. They at least care for the other speaker in some way, otherwise they would not be addressing them with a term of endearment.
B) The other speaker, who appears to be younger, seems very hard to please. To every food that the first speaker offers, they reply with some sort of discontentment, obviously not pleased. This gives the idea that perhaps this is young person who is filled with teenage angst.
2) The situation seems to be a young person who visits an older person they know who lives in Rome. The first speaker seems rather delighted by the presence of the second speaker, but the second speaker not so much. The first speaker offers the other (what they believe to be) a generous amount of delicious food. However, the second speaker seems disappointed by the lack of meat, black-eyed peas, and the first speaker's idea of delicious food. The second speaker asks (with tremendous attitude), "What she think, she got --- a bird to feed?" (24-25). Clearly, this person is not pleased with the first speaker's hospitality, or lack thereof.
3) The second speaker's words are enclosed by parentheses most likely because they are the thoughts inside of their head.
A) On the outside, this person is probably fake-smiling and nodding , pretending to be satisfied with what the other speaker is saying. Or perhaps not offering any reaction at all, but at least in their mind they are speaking their true feelings of displeasure.
B) Perhaps the second speaker is reading a letter left to them by the first and in their mind as they read, they are having these thoughts. "Mattie dear" (1) may be the address at the beginning of the note.
1) The two speakers in the poem seem to have an "awkward, distant great-aunt and young, hard-to-please teenager" relationship. It also seems to be a type of one-way relationship in the sense that one of the speakers seems to be more fond of the other.
A) "Mattie dear" (1): "..., dear" is a phrase most often used by an older generation to a person of a younger generation. The affection in the phrase also makes it seem like they are possibly related to one another. They at least care for the other speaker in some way, otherwise they would not be addressing them with a term of endearment.
B) The other speaker, who appears to be younger, seems very hard to please. To every food that the first speaker offers, they reply with some sort of discontentment, obviously not pleased. This gives the idea that perhaps this is young person who is filled with teenage angst.
2) The situation seems to be a young person who visits an older person they know who lives in Rome. The first speaker seems rather delighted by the presence of the second speaker, but the second speaker not so much. The first speaker offers the other (what they believe to be) a generous amount of delicious food. However, the second speaker seems disappointed by the lack of meat, black-eyed peas, and the first speaker's idea of delicious food. The second speaker asks (with tremendous attitude), "What she think, she got --- a bird to feed?" (24-25). Clearly, this person is not pleased with the first speaker's hospitality, or lack thereof.
3) The second speaker's words are enclosed by parentheses most likely because they are the thoughts inside of their head.
A) On the outside, this person is probably fake-smiling and nodding , pretending to be satisfied with what the other speaker is saying. Or perhaps not offering any reaction at all, but at least in their mind they are speaking their true feelings of displeasure.
B) Perhaps the second speaker is reading a letter left to them by the first and in their mind as they read, they are having these thoughts. "Mattie dear" (1) may be the address at the beginning of the note.
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