To the Graduating Class...

(Frankenstein, Mary Shelley)

"He is dead who called me into being; and when I shall be no more, the
very remembrance
of us will be speedily vanished" (211).

As twisted as this sounds, I was not thinking of death or monsters when I read this passage. Rather my approaching graduation grasped my mind (shocking, I know). This passage speaks the bittersweet sorrow of seniors graduating; the hardships of the present are coming to a close yet purpose and the future are unknown to us now. But more than that, this passage displays the essential role teachers, and peers play in our lives. School is meant to be a place to cultivate more than just studies; school is meant to be a place to become the citizens of the future with leaders, peacemakers, idealists, and all those in between. Teachers create and call us to be the best we can be, and work tirelessly to provide. And when they "die" or when we go on separate paths, we must decide to "die" as well or transcend to become a new being with knowledge of the past and a passion for the future. Hopefully, the future is full of alive and passionate leaders and citizens.

Allusion of the First Time..

(Frankenstein, Mary Shelley)

" In this manner I distributed my occupations when I first arrived, but as I proceeded in my labour, it because everyday more horrible and irksome to me. sometimes I could not prevail on myself to enter my laboratory for several days...During my first experiment, a kind of enthusiastic frenzy had blinded me to the horror of my employment; my mind was intently fixed on the consummation of my labour. But now I went to it in cold blood, and my heart often sickened at the work of my hands" (157)

This scene portrays the ghastly consequence of every scientist, boredom and distaste. Scientist such and Walton and Victor thrive on the excitement and mystery of a new location and study. However, once they reflect their work and motivation, they discover the flaws in their studies, shown in the quote above. They don't love the actual subject or fame of the discoveries, rather they yearn for the satisfaction of searching for new answers. These scientist need what actors call "the allusion of the first time" or the talent of reacting one's actions over and over with emotion and careful planning. These scientist need to plan well rather than throw themselves to danger and rash experiments. A strong base of information and passion need to replace the fickle desires of such scientist.

Don't Trust Me, Don't Trust Me

(Frankenstein, Mary Shelley)

"You swear," I said, "to be harmless; but have you not always shown a
degree of malice that should reasonably make me distrust you? May not even this
be a feint that will increase your triumph by affording a wider scope for your
revenge?" (140)

Literary Term: External Conflict

The lack of relationship and trust between the creature and Victor are the central conflict of this plot. There is no trust, compassion or even respect. In this instance, the old cliche "actions speak louder than words" is defined as Victor doubts his own creation. Such a lack of trust isn't unique to Victor and the creature. Elizabeth begins to doubt Victor's true feelings; Victor doesn't tell anyone what he is doing; the old man doesn't defend the creature; Victor's parent's don't trust Victor to get his own wife. As a result, there are many obstacles and sad events that occur. These actions certainly show the lacking trust and care among these characters that has contributed to the scenes of murder, fear, and grief. A little trust and the plot of this novel would have changed drastically.

A Blinded Culture

(Frankenstein, Mary Shelley)

" Now is the time! Save and protect me! You and your family are the friends whom I seek. Do not you desert me in the hour of trial!"

"Great God!" exclaimed the old man. "Who are you?" At that the cottage door opened and Felix and Safie and Agatha entered. Who can describe their horror and consternation on beholding me?" (129)

Literary Term: Theme

This unfortunate scene portrays a powerful theme of the work: the effects of physical judgement. A major contribution of the creature is the displaying of the reactions to his physical being. From his "birth" when Victor repudiates (vocab word!) the creature from his sight to the multiple scenes of fear and fainting, it is evident that the horror of the creature's looks destroy any chance of his acceptance. This theme is the vanity of sight and the unjust human action of judging others; the creature does not deserve such harsh and stubborn reactions. This theme is further produced in the character of Safie, who learns language and lifestyle just as the monster does, yet is accepted and cherished solely because she is a beautiful, normal human. Do to this rejection, the monster becomes evil and bitter and kills many, and all his actions are the responsibly of Victor. Werther or not Victor should have created a mate for the creature is not importance, rather the focus should be his lack of responsibly of his relationship with his creation. He never tries to to the moral and just action of taking care of the monster, and this downfall leads to Victor's doom. Victor shouldn't receive any sympathy from this story, rather he should be criticized for his lack of responsibly and unjust judgement.

Gotta Have Faith.

(Frankenstein, Mary Shelley)

" Like Adam, I was apparently united by no link to any other existence; but his state was far different from mine in every other aspect. He had come forth form the hands of God a perfect creature, happy and prosperous, guarded by the special care of his Creator; he was allowed to converse with and acquire knowledge from beings of a superior nature, but I was a wretched, helpless, and alone. Many times I considered Satan as the fitter emblem of my condition, for often , like him, when I viewed the bliss of my protectors, the bitter gall of envy rose within me" (124).

Literary Term: Allusion

After discovering the story of Adam and Eve and religion, the creature of this novel relates himself to the Adam. However, as he considers this more, he titles himself more as the fallen angel of a Satan-like creator. He understands that he is not accepted and cherished as Adam was by God and yearns to have that companionship and acceptance. The creature becomes the evil and threat of the fallen angel, as he consumes Victor with fear and dread and murders those around him. At one point he refers to himself as the snake, a well-known symbol of the fallen angel and evil, shown in the following quote:

"Beware for I am fearless and therefore powerful. I will watch with the wiliness of a snake, that I may sting with its venom. Man, you shall repent of the injuries you inflict" (161).

In addition to this allusion to the story of Creation, there is an overall connection to faith throughout the novel. The monster and Victor constantly remark about sinning and repentance and guilt; the monster is also an excellent example of the extremes of free will. Just as it is thought that God gives humans free will, this monster has been given free will, and uses it for extremes of evil. If only the creature had been treated as a treasure rather than become a fallen angel.

Play me some Music

(Frankenstein, Mary Shelley)

"The young girl was occupied in arranging the cottage; but presently she took something out of a drawer, which employed her hands, and she sat down beside the old man, who, taking up an instrument, began to play and produce sounds sweeter than the voice of the thrush or the nightingale. It was a lovely sight, even for me, poor wretch who had never beheld aught beautiful before" (103)

No matter the novel or the genre of a book, there is always a respect and power within music. Music is commonly a source of freedom, beauty, or bond between characters, and it is no different within this book. The poor creature, let's call him Valli..as in the second part of Frankie Valli (oh man I crack myself up) comes into the world without a parental figure and is forced to nurture himself. It is a blessing that he comes upon this family to observe to learn compassion and beauty of life through music instead of remain in the chaos and fear he was created in (Perhaps he will learn the Monster Mash..). This growing knowledge of life continues as he witnesses his image of the seemingly blessed family become the true image of a family of sorrow and poverty. Valli has to lose his innocence quickly and become part of the real world. At least it has music and the chance of beauty. Valli was fortunate to stumble upon such a family.

It's all about the Relationships...

(Frankenstein, Mary Shelley)

"A strange multiplicity of sensations seized me, and I saw, felt heard, and smelt at the same time; and it was indeed, a long time before I learned to distinguish between the operations of my various senses" (98)

Throughout this entire novel, modern readers try to find connects with the original novel and the classic Hollywood interpretation. Overall, this novel has taken a totally opposite plot line from the common horror films. There wasn't a dark scene of creation with lighting and a eager scientist; there was no comical henchmen sent to steal a brain, and most of all, there was no horror-filled scene of the monster attacking a defense-less town. However, if there is an element that the novel and films DO have in common, it is the chaos and confusion of the monster as well as the fear of the monster. Portrayed in the films as a constantly screaming monster and in the quote above, both versions maintain the consequences of creating life without natural methods. The notion of being introduced to all senses at one time is simply a crazy thought that would confuse even the brightest of minds. This poor creature is thrown into this world without a nurturing figure. This lack of a nurturing figure creates the central theme of the films and element of the novel: fear. No matter the media, the creature always brings fear to all, including the creator. The essence of any version of Frankenstein is the relationship of the creature and the creator.

True Friends are Too Honest

(Frankenstein, Mary Shelley)

"Compose yourself," said Clerval, who observed my change of colour. "I will not mention it if it agitates you; but you father and cousin would be very happy if they received a letter from you in your own handwriting..." (61)

Literary Term: Foil Character

Henry is a clear foil of Victor. While both have a love of education, Henry is the student that Victor was expected to be when Victor's family sent him to school. He is faithful to his studies and learning. But Henry not only pursues an education, he makes sure to maintain other relationships, even those of Victor. This difference of value of relationships define Henry and Victor's differences. Henry writes to Victor's family as well as cares for Victor when he grows ill from his self-imposed sickness. The character of Henry is used to further display the isolation and ruin that Victor becomes. Victor appears as a selfish and crazed student through the calm and nursing hand of Henry. The character of Victor is also shown through his identical character: Robert Walton, who is also a crazy thinker striving to discover science. The characters of Henry and Robert simply reassure the character of Victor: a brillant thinker lost in his studies who rejects relationships, personal need, and failure.

Would You Light my Candle...

(Frankenstein, Mary Shelley)

"I was like the Arabian who had been buried with the dead and found a passage to life, aided only by one glimmering and seemingly ineffectual light" (51).

Literary Term: Imagery and Irony

This quote is found in a passage centered on Victor's studies and approaching success of making the creature. First and foremost, this passage uses the common imagery of light as a symbol for reason, success, and fulfillment. Victor is so close to his success in forming a living creature yearns to reach the "light" of completion and success. However, this phrase holds more purpose due to the use of irony. Victor's study and experiments have required him to become the illness he is trying to conquer: sickness and death. This phrase shows that instead of excitement and desire, Victor is a victim of duty and a prisoner to his own creations. The end is a chance to quit the work instead of a chance to bask in honor and glory. He has created life from a death matter by becoming dead himself. Around him, he grows physically ill, his relationships strain, and he is isolated; his only focus is the light.

Love for a Child

(Frankenstein, Mary Shelley)

"Wealth was inferior, but what glory would attend the discovery if I could banish disease from the human frame and render man invulnerable to any but a violent death" (41).

Literary Term: Motive

Following his mother's death, Victor does not face the common hopelessness of grief and sorrow. Rather he becomes restless and tries to seek ways to cure his grief for him, his family, and Elizabeth. As Victor grows, he claims to fall in love with science and learning; however, he has fallen in love with the idea of curing grief. It is often discussed that the immoral actions of Victor have no justified source because he comes from such a good life and family. But his family IS the motive! As a prized child, receiving a lavish life of travel loving parents and even a future wife, Victor views the world with rose-colored shades. He is fortunate to receive an education and begins learning with a naive perception of the world. The absolute freedom he had growing up transforms into endless study without morals or reason. Creating the creature is is source to fill his grief as well as a reflection of the freedom he had growing up. Freedom and grief are the motive of Victor.

Aqua - Barbie Girl

(1984, George Orwell)

"You think there's no other way of saving yourself, and you're quite ready to save yourself that way. You want it to happen to the other person. You don't give a damn what they suffer. All you care about is yourself" (292)

Following the trip to the Ministry of Love, Julia and Winston realise the true nature of their relationship: two selfish people joined only out of excitement. They claimed to love each other the entire novel, but the relationship simply wasn't deep. Both parties may have loved each other, but they loved themselves more. This is shown in Julia's nature to only care about her female needs and passion for sex and Winston's obsession with the idea of sex and advancing his ideals rather than creating a true relationship with Julia. The tortures of the Ministry did not pry the couple apart, rather it exposed the weakness of the relationship. Afterwards, the couple realise their selfish nature and know they need to break it off. As the human shells that the Ministry of Love created, they were simply not capable of mending the broken relationship. The following clip is of the song "Barbie Girl" an excellent example that not only shows selfish desire and human shells, but also offers a humorous video.

Back to the Future

(1984, George Orwell)

"The pencil felt thick and awkward in his fingers. He began to write down the thoughts that came to his head. He wrote in large clumsy letters..." (277)

This passage describes when Winston picks up pencil and paper, exactly like the beginning, and writes his new found knowledge. The context of the two written works are drastically different transforming from bashing to loving Big Brother. However, the motive of the action does not alter for Winston; he still uses the writing as a form of therapy for his changing thoughts. Honestly it doesn't seem to matter what Winston is actually believing or following, the only think important to him is having a peace of mind. While the reader may believe that Winston became a horrible mind-controlled creature at the end of the book, in reality he has not changed. Winston simply wants a fulfilling life which he seeks with Julia and then finds in the Party after the Ministry of Love. He is no different than the rest of the population, for he seeks security and protection in place of morals and personal beliefs. This passage in comparison to the beginning displays the major thought of conformity in exchange e for safety and community. Winston is not a hero or fighter in this story, he is simply an example of the Party at work.

Mind Over Matter

(1984, George Orwell)

"Their real weapon was the merciless questioning that went on and on hour after hour, tripping him up, laying traps for him, twisting everything that he said, convicting him of every step of lies and self-contradiction, until he began weeping as much from shame as from nervous fatigue" (241)

Literary term: Theme

One of the major themes of this novels concerns the difference between physical and mental acceptance. Before becoming a prisoner, Winston practiced the notion of accepting the Party strictly in a physical sense and learned to find mental freedom. The purpose of the Ministry of Love and the source of power for the Party is found in the mindless loyal party members that give both aspects to the Party. "Big Brother's" goal is simply to push the citizens to not only give physically but to release control of mentality and originality. This quote about the questioning displays this desire as well as the differing levels of pain between mental and physical torture. More prisoners, Winston, and citizens in general will refrain as long as possible and accept most physical pain before being defeated mentally. However once they are defeated mentally, the are at the mercy of the Party, as displayed by this quote as well as the shell Winston becomes after he is released from the Ministry of Love.

Back to the Future

(1984, George Orwell)

"The invention of print, however, made it easier to manipulate public opinion, and the film and the radio carried the process further. With the development of television, and the technical advance which made it possible to receive and transmit simultaneously on the same instrument, private life came to an end" (205)

Literary Term: Allusion

This passage of "the book" makes a reference to what is commonly referred to as the beginning of the Enlightenment: the invention of the printing press. In modern society, the invention of the printing press is praised and displayed as the spread of knowledge, thus allowing people to really think and make personal decisions. However, this image is tainted within this book to show a more negative light of government control and fickle populations. Ironically, instead of allowing knowledge to spread, the printing press is seen as an end of the spread of knowledge. This contrast of images not only portrays the major differences of the two societies, but also warns the future. The purpose of this book is to try to prevent the effects of government control, and this passage about technology really connects to modern society. As the world becomes more and more absorbed by technology, the chance to forget morals and lose humane values of patience and networking increases. Orwell has foreshadowed the future that won't have any resistance against a world of controlled technology.

The City is at War with the Young and Rich

(1984, George Orwell)

" In any case, each of the three superstates is so vast that it can obtain almost all of the materials that it needs within its own boundaries. In so far as the war has a direct economic purpose, it is a war for labor power" (187).

Literary Term: Symbol

This quote is contained in "the book" and, while it may or may not actually be true within the novel, this contains an interesting concept of war. The modern society defines war by fear and the desire for power. Countries strive to obtain the land and resources withheld from them by distance and size. Today, the world is trying to get as much as possible, but it seems in this society these nations have bitten off more than they can chew and are scrambling to fill their resources. This novel uses war as a symbol of the effects of too much power. The society uses war to give purpose to these nations rather than find purpose in conquering other nations. War has been transformed from a fearful and avoided event to a reserve of labor and cornerstone of society. 1984 displays a thirst of power and pride rather than morals and emotion. And even if war was avoided, peace would be used in a simular fashion.

You and me, me and you in our little room

(1984, George Orwell)

" And do you know what I'm going to do next? I'm going to get hold of a real woman's frock from somewhere and wear it instead of these bloody trousers. I'll wear silk stockings and high-heeled shoes! In this room I'm going to be a woman, not a Party comrade" (page 142)

The room above the Mr. Charrington's shop is a refuge, an paradise escape for Winston and Julia. Somehow they find the time to join and share love and fellowship despite fear and danger. The room itself promotes the notion of love and compassion through the double bed and chance to eat well and dress for beauty rather than purpose. This room allows Julia and Winston to grow in peace and happiness, shown in Winston's returning health. More importantly, this room represents the growing distance this couple have from the party. Instead of a temporary field or church, they have a more stable location to fester their love and non-Party ideals. It's even the connection they use with O'Brien when they join the brotherhood. The following clip is Norah Jone's song "Little Room", a song reflecting a room as a refuge for a couple. The lyrics really connect to the atmosphere and use of this room:

You and me and,
Me and you,
In my little room,
There's room enough for us to do,
The things we like to do.

Oops, I hit my elbow on the doorknob,
Its right there,
It's by the bed next to my head,
But I don't even care.

There's stars up on the wall,
And they all glow in the dark,
And we can hear the children playing,
Outside in the park.

There's bars on the window,
And if there were a fire,
We'd burn up for sure,
But that's just fine by me 'cause,
We would be together ever more.

In this little room,
In the big city we're so far,
From the people that we knew in,
My big ol' blue car.

But if we stick together,
Then I know we'll be ok,
'cause when it gets too cold outside,
This room is where we'll stay.

I Hear a Bird, It well may be it's bring me a cheerful word...

(1984, George Orwell)

"For whom, for what, was that bird singing? No mate, no rival was watching it. What made it sit at the edge of the lonely wood and pour its music into nothingness?" (page 124)

This quote captures the essence of this book: the difference between passing through life and living life. The Party views people as a renewable livestock, capable of being replaced and trained. There is no call for individuality or purpose, and certainly no call for listless happiness. Fortunately our modern society DOES allow growth of art and time for hobbies and freedom. Throughout the novel Winston has increasingly become more aware of beauty and art beyond work and duty; he yearns for rhymes and music and paintings and history. This bird transforms into a singing woman hanging clothes later in the book, as the theme of "living life" becomes more important. Her song even captures this theme:

" They sye that time 'eals all things, they sye you can always forget; but the smiles an' the ears acrocss the years they twist my 'eartstrings yet!"

Emotions and joy remain central to this woman, as she represents a happier dream Winston wishes to join and live.

You've Got Double Vision

(1984, George Orwell)

Literary Term: Motivation

Prior to really meeting Julia, Wilston considers her to a spy and devote follower of the Party, like most women of the society. He even thinks she is spying on him and will turn him in. However, in the touching scene with the note-hand-off, Wilston realises that she loves him rather than wishes to see his end. The motivation for which Julia grows to like Wilston seems to be the precise reasons why he thought she was going to turn him in. Her love and desire for Wilston is rooted in his growing separation in mind and action from the Party. One of the first examples of this is defined with the following quote:

"Suddenly his heart seemed to turn to ice and his bowels to water. A figure in blue overalls was coming down the pavement, not ten maters away. It was the girl from the Fiction Department, the girl with the dark hair" (page 100)

It is entertaining to reflect on Wilston's reaction to this situation after Julia confesses her feelings. This passage shows Julia's interest in individuals and small revolt against the Party, shown in her interest in Wilston's trip to the shop. Her motives lie in personal gain, excitement, and cunning actions all three voids Wilston can fill.

That Shoe is to Die For

(1984, George Orwell)

Literary Term: Verbal Irony

" (talking of his daughter) said she'd never seen anyone wearing shoes like that before. so the chances were he was a foreigner. Pretty smart for a nipper of seven, eh? "What happened to the man?" asked Winston" (page 57).

This simple quote offers the irony of most situations of this book; the citizens are so comfortable with the violence and wrong that other details take focus of stories rather than gore and moral wrong. Children are twisted beings, begging to go to hangings and lacking all respect for adults, even parents. The fact that "children heroes" lead to the deaths of thousands of people is so wrong, but through the brainwash of the Party through things like the Two Minute Hate and telescreens, the people have come to except it. As Winston begins really analysing his actions and the motives of the society, he realises the wrong of the Party. This example of verbal irony demonstrates the shift of Winston's focus from being a hopeless follower to a independent and moral being. This transformation is further displayed in the following quote:

"Had food always tasted like this? He looked around the canteen. A low-ceiling crowded room, its walls grimy from the contact of innumerable bodies..." (page 59).

Many of the other citizens would revolt the teachings of the Party, if they simply looked into the principles they followed. However, such knowledge impossible with the genius actions of Big Brother and the functioning Party.

The Future? Eh, doesn' t matter, the world ends in 2012 right?

(1984, George Orwell)

"How could you communicate with the future?It was of its nature impossible. Either the future would resemble the present, in which case it would not listen to him, or it would be different from it and his predicament would be meaningless" (page 9).

Literary Term: Theme

This major theme is displayed within ten pages of the book; it is a critical struggle and message of the book. The difficulty of communicating with the future in this society has two elements: the physical and mental contributions towards helping the future. As shown in the above except portrays the mental complications of reaching the future, from insecurity to fear of change. However the major feat of this theme is the physical actions required to pass information to future generations. The description and attitude Winston has towards using the book and the possible consequences of doing so display the inability of doing so. The concept that history is nonexistent is a major theme of this book shown through the memory holes, Records Department, and the following quote:

" Nothing was your own except the few cubic centimeters inside your skull" (page 27).

There is a call to separate one's mind and the fabricated world of the Party, especially when it comes to recalling history. Winston realises this early on as he reflects on the true war nature of his nation and impact of his job in changing history. Changing history and helping the future are major themes of this piece.

La Vie Boheme...

(A Raisin in the Sun, Hansberry)

The following is a clip from the movie version of the play Rent. The scene is focused on the aspects and evidence of the artistic ideas and new ideals: "La Vie Boheme". [Warning: This clip contains many crude comments and mature material, view with discretion.] This clip captures the passion of dreams and desires for equality of A Raisin in the Sun through the declaration of pride against the discriminatory image of society (the business men). Whether it be civil rights or gay-rights, both A Raisin in the Sun and Rent call for a change through an expression of courage, dignity, and pride. While A Raisin in the Sun lacks the crude and catchy music of Rent, both pieces boldly display this desire for change. There is complete honestly of opinion and conviction of Momma's family that will lead to the equality that needs to occur, despite the burning glares of society and stress of money and position. These works are computable in that both have the dreams, passion, and a call out to Langston Hughes in both!

I Don't Wanna Talk Small Talk...

(A Raisin in the Sun, Hansberry)

The characterization and setting of A Raisin in the Sun offer more information about the tale than the dialogue and plot combined. As the story opens with the well-worn and clean apartment, the intentions and history of the family are revealed. Obviously this is a family of pride and appreciation for for their lifestyle. Even though they wish for more and have dreams, they are grounded in a apartment of memories, shared meals, deep conversation, and dreams of the future. Additionally the characters reveal this pride and spirit, shown in Momma's care for all the needs of the family or Ruth's concern for every member to do as they need. Or the work of the entire family to clean and pack and dance and fight in the apartment; the apartment represents the family: traditional, loved, but too small for the future. The crowded apartment calls for a change. The emotions and stage directions of the characters reflect this crowded aura, though not only the shared beds and tightspaces but also the constant interuption in conversation and bursting-passion moods. As a play, this work is able to fully use the setting and characters.

A Shadow of Dignity

(A Raisin in the Sun, Hansberry)

Within this work, one theme stands above the rest: the effects of money. There isn't action in this book that doesn't connect to the results of having money. There are the obvious connections such as the fighting between Walter and Beneatha and Travis' desire to join his classmates by having 50 cents. However, the money has effected deeper concepts such as the family's dreams and desires. From Momma's blooming garden to Ruth's house to Walter's business. Instead of centering on hard work or determination, this family is looking for a miracle, a way of escape that they can only associsated with money. However, this theme transcends to greater importance at the very end, when Walter rejects the money for dignity. The raisin of dying dreams gains a sheltering shadow of dignity from the stresses of the society.

Beyond Themes and Plots

(The Glass Menagerie, Tennessee Williams)

The emotions and characters of this work are timeless and predictable. They can be found in other works and are easy to figure out However, while being predictable is less interesting, this element allows the characters to be relatable to the reader. Each character can become personal and impacting. Amanda is more than a nagging and old-fashion mother, she is also someone that has been heart-broken and holds fears for her children. Beyond an exterior of shyness and lacking self-confidence, Laura is a coy and patient woman willing to work with the flaws of the people she loves. This is shown as she patiently listens to her mother and accepts her brother's independence. Tom appears to only be a selfish and independent soul, but one cannot bypass his efforts to get his sister a suitor as well as his overall remembrance and care for his family by creating this memory play. In short, the characters of this play and any play should be considered for more than what their character description offers. Characters should be analyzed as much as the themes and plot of a work.

Out with the Old, in with the New

(The Glass Menagerie, Tennessee Williams)



The Theatrical elements of this play impact an important theme of this play: the rejection and differences of the two generations. While the diction and spoken word display the separating generations, the actions, costume, and stage effects paint this theme perfectly. This occurs with every violent fight between Tom and Amanda, such as when she is throwing and criticizing his books and works. The music that play throughout the work marks important times of change and emotion, such as when Amanda and Laura grow more separated in different opinions of men and their future. This difference of opinion of men is further displayed in the costuming of Laura and Amanda during the dinner party: Amanda holds onto traditional Southern values while Laura acts as her shy yet honest self. The unicorn stage piece represents Laura's unique personality, and as it breaks, she finds herself, a separate woman from her mother. She is free from her mother's nagging and worries. The lighting of the play offer lasting impacts of this theme as Tom leaves his mother and the older generation in the dark.

Please, Please Don't Leave Me

(The Glass Menagerie, Tennessee Williams)

Within Williams piece, a few distinct themes are developed among the characters and setting. From the listing of the characters and throughout the entire play, the impact and effects of the father's escape is evident. Laura, the mother, treats her children with persistent nagging and worries in fear of her husband's departure. More importantly, the "nail-less" escape has impacted Tom, who reflects his father's love of adventure and passion. This is displayed as Tom uses the fire escape only to enter/exit the house and refers to his father's leaving as a genius magic act. He is willing to destroy his family to join a union and fights constantly with his mother over his actions and books. The stage elements and directions also display this theme of departure/ the unseen force and character such as when the photo of the father was lit, a persistant grinning face. This family has been torn apart by this one action; the father is the most powerful and central character. This theme isn't unique to the family; the gentleman Jim also shows the effects of leaving as he cheats on his finance; this action is simple ripping this fictional world apart.

"How Could I Possibly Handle School on a Day Like This?"

(Othello, Shakespeare)

The character Iago matches one of the best movie characters of all time, Ferris Bueller from Ferris Bueller's Day Off. As displayed in Act IV and the movie Othello, Iago has the talent to think quickly and remain true to whatever lie he is professing. In this case, he convinces Othello that Cassio is sleeping with Desdemona by tricking Cassio into talking about his mistress. He is flawless and by the end, he has Othello beaming with rage and a thirst for anger. Much in the same way, Ferris is capable of fooling his parents, teachers, and peers alike and enjoy a day off. This ability to remain loyal to a pain as well as think quickly creates incredible characters of wit and schemes. Shakespeare's Iago is an impressive character and represents the poise and dedication needed to complete costly plans; he is even willing to kill his wife and remain speechless for the rest of his life. The lifestyle of Ferris and Iago is complex and impressive. Ferris' skillzzz are shown in the clip below, enjoy!

The Old Switcher-o

(Othello, Shakespeare)

Character Focus: Emilia and Desdemona

Within Acts I to III, the women of this play have opposite personalities: Desdemona is an independent, bright, and persistent young gal while Emilia is a simple victim to her husband Iago. However, Act IV offers a tole reversal for these two characters. After Othello confronts Desdemona about his thoughts of her cheating, one would imagine that she would defend herself and refuse to let him think such things and that Emilia would just play along. But truthfully, Desdemona steps down and weeps her accusations. It is Emilia that turns to anger and vows against gossip (III. ii. 150) and it is Emilia that calls for action and fears the future. Desdemona has resorted to a lowly state of confusion and submission, perhaps out of love and hurt.

Basically, these foil characters switch roles. This switch displays the shifting actions of the play as the plot reaches its climax and the seemingly end of Desdemona draws close. This switch seems to imply that Emilia will end on top.

Dun...Dun...DAAA

(Othello, Shakespeare)

The strength of this play, and many other dramas, is dramatic suspense and timing in general. The play has many minor plot structures fueling the major storyline of Iago's revenge; Iago and Cassio are playing musical chairs in terms of position, Othello is being graded by Lodovico, Cassio has an amusing life with his mistress, and other subplots. Each plot seems to reveal Iago's true emotion, yet the plot always moves to a bigger issue. For example, Act I revealed that Iago was upset with his position, yet once he gets the position his hatred doesn't stop and by Act IV he is planing to kill Cassio regardless of his position. Every action leads to interest for the rest of the play, as the pieces fall into place. This play also forms unrealistic but impressiveconsequences throughout the play, such as when Emilia gets the handkerchief or Othello falls for Iago's scheme of making Cassio's description of his mistress appear to be Desdemona, which increase dramatic suspense and the depth of the plot. This method holds a reader interested more than any amount of silly study questions or blogs ever could. The dramatic suspense of this piece makes the work interesting and complex.

She's Always a Woman to Me

(Othello, Shakespeare)

Desdemona and Othello's relationship is best described in Billy Joel's classic song "She's Always a Woman to Me", a song about a man declaring the free spirit of a woman and how he still loves her.

The entire song contains lyrics such as: "Oh, she takes care of herself, she can wait if she wants, she's ahead of her time. Oh, and she never gives out, and she never gives in, she just changes her mind." which define Desdemona.

In Act I, she leaves her father, going against traditions of the time and against woman's role at the time. She is noted that she loves Othello for his wit and adventure, not for his support and title. Once married, she is noted for her independent nature, such as in Act III, scene I she fights for Cassio, as she "Speaks for you stoutly". This action is foiled with Emilia shows weakness and simply gives away the handkerchief with questioning or thought. Desdemona is simply an open and free woman, which seems to be one of the reasons Othello and others love her. Othello accepts her nature and is truly hurt when he suspects that she is cheating on him.

Are You For Real?

(Othello, Shakespeare)

Unrealistic conventions for Acts I-III

Two instants of this section involving the Desdemona's handkerchief are simply unrealistic and overly dramatic. The first occurs during Act II when Emilia comes across the handkerchief; of course its the possession that Iago has desired to use in his revenge plots against Othello and Cassio. Also, its unrealistic that Emilia would simply steal it for her husband even though she knows how important it is to Desdemona. People simply don't do that.

The Second instance of drama occurs when Othello describes the history of the handkerchief. Of course the napkin holds a history of "charm" that could cause a lover to " hunt after new fancies" (Act III, scene IIII). This is the icing on the cake for Othello, as he grows in rage against his accused wife.

Both of these scenes increase the drama of the play; in theater unrealistic pieces are needed to increase drama so that the audience is entertained as well as informed of growing plots and themes. Without the handkerchief, the accused affair would hold less merit and less explication.

Drats! Foiled Again!

(Othello, Shakespeare)

Character analysis focus: Cassio and Roderigo

Upon the completion of Act III, the characters of Cassio and Roderigo have developed into unique and important characters. These characters are foil characters, with the strongest difference being their relationship with Desdemona. In Act I, Roderigo has been marked as a past rejected suitor for Desdemona; by the last scene he is torn by grief and pain as Desdemona is whisked away by Othello. Desdemona doesn't ever just to talk to him or seem to have any expressed feelings for him at this point. In contrast Desdemona holds friendship and conversation with Cassio; Act III begins with with Desdemona fighting for Cassio's honor and name. However, unlike Roderigo, Cassio doesn't hold revealed feelings for Desdemona, rather he wishes to please Othello and to maintain his title.
Additionally, Cassio and Roderigo have other minor differences. Cassio is a well-educated, polite, and young individual. Roderigo is also young and he is quite rich, but he has a rash and explosive nature. These characters use this foil nature to intensify the affairs and relationship with Desdemona. Also these differing characters are needed to complete Iago's plans.