Mother Courage: Scene I - Initial Thoughts

In the play 'Mother Courage', Brecht expresses his view of society which can be demonstrated with a Marxist Paradigm where the elite are few in number but hold economic power and therefore hold the control in society. Next is the bourgeoisie which are the middle class and hold some economic power. Lastly, are the proletariats: the workers who hold little to no power and serve the aspirations of the elite and are enslaved.

Mother Courage is associated with the common people and is a very paradoxical character as there are many readings of her character.

She can be seen as:

- The archetype of mother vs. the hard-hearted mother full of selfishness

- Wise yet foolish

- The voice of judgement yet petty and unethical

An example of this is how she is against war and of her sons being taken away as soldiers, however it is the war that she is living off. Without the war, she would not have a form of income.

Her children are introduced in this scene and all of them are from different fathers showing how war has effected her life as she is peripatetic and moves with war, which fragments her life as she, along with her children seem to have no place of origin and seem to be drifting along behind the war.

Othello - Notes on Watching Play

Act 1

• When confronting council the sides are divided on stage with the council in between.
• Iago is standing silently behind Othello. Shows that he is backing Othello as he is on Othello's "side", however, standing silently behind Othello portrays his deceitfulness
• Roderigo stands with Brabantio
• Iago dressed with blacks and leathers - shows his dark, dangerous side
• The set is very simple
• Brabantio was cast as of equal build to Othello to show that he can match Othello physically if needed. Makes Brabantio's anger more effective.

Othello - Act 2, Scene 1 - Cassio and Cyprus

Points to note from previous lesson...

• The importance of the hankerchef - The hankerchef given to Desdemona symbolizes Othello's love to her. Iago uses this to 'prove' to Othello that Desdemona is having an affair with Cassio as Othello sees him handing Desdemona back the hankerchef. The story of the hankerchef suggests is more powerful than the truth.
• Story telling is an important theme in Othello - The story Iago tells Othello consumes him and prevents him from seeking the truth. / Othello asks Iago to get poison for Desdemona but ironically Iago has already poisoned Othello's mind.
• The motif of poison is present - It is the roots of Iagos powers (story vs. physical truth)

Act 2, Scene 1

The setting has changed to Cyprus in this act. The weather is stormy - "A fuller blast ne'er shook our battlements" (line 6). Everything that seems to follow the change of scene to Cyprus is framed by the wildness of the natural world. The weather becomes an objective correlative to what is happening between relationships of people on stage.

The storm makes the end of the peaceful part of the play and is a sign that Iago's meddling is about to really begin.

The character, Michael Cassio, was not of great importance in Act I, but however, in Act II, the audience can really start to understand what type of man Cassio is. Cassio has a very polished, courtly way of speaking and is seen to be very smooth with the ladies. He calls Desdemona "divine", however he is very respectful towards her and wishes Othello and Desdemona much joy together. This creates much irony, as he does not hold any love for Desdemona, only respect, he is still charged with having an affair with her, when in reality, he would be one of the only men that would not pursue her.

It is Cassio's courtly manner that makes him Othello's lieutenant as Othello admires his responsibility as a Venetian and a soldier.

Othello - Shakespeare's Desdemona Essay

Shakespeare creates Desdemona to be a very complex character as he is very careful to how she is portrayed throughout the play.

Desdemona is shown to be a character of beauty and truth however it is shown that she is capable of betrayal as she betrayed her fathers trust but eloping with Othello. This also shows her independent streak as she is prepared to stand up to any battle or controversy to follow her heart. Her independence is also shown later in Othello's utterance (around line 145), he suggests that Desdemona initiated the courtship as "she'd come again, and with a greedy ear Devour my discourse" demonstrating her determination to be with Othello.

In Desdemona's first appearance on stage, she strengthens the image of their love that Othello has presented. Along with Othello and Brabantio, she does not shy away from talking passionately and confidently in front of the senators.

She also contradicts her fathers previous statement of herself as being "A maiden never bold, of spirit so still and quiet" when she wishes not be left behind as a "moth of peace", meaning that she believes she is strong enough to face Othello's military life

Shakespeare shows Desdemona to have a full range of human feelings and capacities but ensures she does not fail in feeling and propriety. Desdeoma's liveliness, assertiveness and sensuality are corroborated in her marrying Othello. The crucial fact of her marriage is not that she elopes but that she, a white woman, weds a black man and that is what Brabantio is most disgusted with.

Othello - Act 1 Scene 2

Othello - Analysis of Characters

Othello

- the plays protagonist

- Highly respected general of the Venice Armed Forces

- A North African "a Moor" so he is seen as an outsider to the people of Venice, however, powerful and respected among the people

- Has a free and open nature and possesses Christian values

Desdemona

- Daughter of Venetian Senator Brabantio and secretly married to Othello as Brabantio does not approve of her marrying a "moor"

Iago

- the villain of the play

- Manipulative, bold and daring

- Is two-faced and related to the Greek God Jaenus as Iago announces "I am not what I am"

- Extremely jealous and controlling character

- Revolutionary attitudes as he is not a follower of the Christian beliefs at that time.

Shakespearean Tragedy Research

Shakespeare's most admired tragedies were written between 1601 and 1608, one of which was Othello.

There are many factors in a Shakespearean play that are common throughout all of his tragedies. These include:

- The protagonist must be an admirable but flawed character, with the audience able to understand and sympathize with the character. The protagonists are always capable of both good and evil.

- The love tragedies ("heart tragedies) (Romeo and Juliet, Othello, Antony and Cleopatra) involve a pair of lovers unable to be together due to fate or society. The main characters do not control their own destiny but are controlled which either leads to death or permanent seperation.

- The "head" tragedies feature a fatally-flawed protagonist fully capable of free will who unfortunately has his good traits overcome by his ego. The hero is always faced with opportunities of redemption , but never able to take them and often leading to death.

****NOTES FROM ESSAY - SHAKESPEAREAN TRAGEDY

Shakespeare emphasizes that tragedy imitiates characters [ethe], passions [pathe], and deeds or experience [praxis]

• Ethe: the characteristic moral qualities of a man - the permanent dispositions of the mind which reveal a certain condition of the will
• Pathe: The ever-changing feelings and emotions
• Praxis: The actions that are inwardly conceived and then rendered objectively on stage

- The management of a good plot concerns the relationship between peripetia (climax) and anagnorisis (the recognition of what brings this about). These two aspects of the plot should be close together and appear naturally

- Shakespearean tragedy is pre-eminently the story of one person (hero/heroine). The story leads up and includes the death of the protagonist

- The calamities of tragedy do not simply happen, nor are they sent by the gods; they proceed mainly from actions, and those actions of men.

Othello - Initials Thoughts

Today we read the opening of Othello and with little prior knowledge of the text, I am struggling to understand the meaning.

However from what I have read so far, I have interpreted it that Iago is pretending to be put on a disguise to benefit himself as he tells Roderigo "For daws to peck at: I am not what I am"

The Great Gatsby - Chapter Eight - Gatsby's Death

The Great Gatsby - Daisy Buchanan

In this passage Nick describes his first meeting with Tom and Daisy since he has moved to West Egg. While approaching he comments on Toms "Two shining arrogant eyes", eyes is a common motif in the Great Gatsby and often used to symbolize God and power which is further emphasized when Nick "could see a great pack of muscle shifting when his shoulder moved under his thin coat", Fitzgerald often associates Tom's powerful presence with his stocky and well-built body. Not only does the way Tom dresses and his possessions symbolize his wealth, status and power, but he literally embodies all of those ideas as his body becomes a symbol of empowerment.

Nick then turns his attention to Daisy by referring to her as "The other girl...[that] made an attempt to rise". Daisy, throughout the novel is often described as a "girl", striping her of her age and maturity which is in contrast to Tom's oozing presence of status and strength. The description that she "made an attempt to rise" further shows how Daisy has little mobility in her and Tom's relationship as she can only "attempt to rise" and is unable to stand and speak for herself.

Daisy embraces Nick and "[holds his] hand for a moment,looking up into [his] face, promising that there was no one in the world that she so much wanted to see". The greeting by Daisy appears to be over dramatic, as she is trying hard to show her gladness that she, in the end, lacks sincerity.

Daisy is portrayed as Gatsby's muse (muse: the source of an artist's inspiration). It is discovered later in the book that Gatsby's real name was James Gatz but he changed it because he wanted to pursue a new, better life than his current one. To Gatsby, if he could get a girl like Daisy, he could finally tell himself that he has 'made it' and become the upper-class, high status man he has always desired.

The Great Gatsby - Chapter Seven

By Daisy inviting Gatsby to her's and Toms house for lunch, she is taking a great risk at her husband finding out about their romance and Tom uses the fact of Gatsby's criminal history to humiliate Gatsby in front of Daisy, suspecting that there is more going on than what can be seen on the surface.

Gatsby did not "ever really believed in [Daisy's child] existence before" until he sees the child in front of him, this suggests how Gatsby has been clasping onto the Daisy that he knew way-back-when and not considering how Daisy has changed over the period of time. This idea of fantasy is extended further on in the passage when Daisy tells her daughter "You dream, you. You absolute little dream." Having a daughter had always been a dream of Daisy's and through the way Daisy acts towards her, Daisy still believes she is a dream - a daughter that is only there when Daisy desired one.

How Daisy acts towards the child, is somewhat similar to what is witnessed with Nora in A Doll's House. Daisy seems to treat her daughter as she is not real. She coos over her as though she is a doll, like an accessory to Daisy, something to show of the life she has made, and seems to have no real bond with her daughter as she is almost entirely in the care of the nanny, this is emphasized when the child is said to respond "shyly", showing how uncomfortable Daisy's own daughter feels around her. Daisy, in this passage, is shown to be immature and selfish, and essentially portrayed as a child herself - not really fit to be a mother.

Daisy seems to be putting on an act to show how deeply she cherishes her daughter by stating "Come to your mother that loves you.", it is like she is not only reminding the child that she is in fact her "mother", but also that she "loves [her]", but also reminding herself of these facts.

The Great Gatsby - ScreenR on Commentary

The Great Gatsby - Chapter Six Analysis

The chapter is opened to the truth about Jay Gatsby past (which is very different to the rumours and what Gatsby has told of himself).

The story begins with Gatsby being referred to with his birth name (James Gatz) which he changed when he was 17. The reason he did this becomes clear as it is revealed that "his imagination had never really accepted them as his parents at all." (pg78), meaning that he never wanted to believe that he was brought up on an unsuccessful farm run by his parents. He had been ready to change his name for a long time suggesting that he modelled himself on an idealized version of "Jay Gatsby", who becomes a personification of the 'American Dream', by changing his name, he is leaving his past and reinventing himself as someone that comes from wealth.

Though coming from very little wealth and opportunity, he quits from being a janitor - his only source of income - because he finds the work humiliating as it suggests his social class which is at odds to what he believes his social standing to be.

The awkward luncheon reinforces the great difference there is in the book between those who come from inherited wealth and those who come from new money. Tom sees Gatsby as inferior to himself, even though Gatsby may be wealthier.

The Great Gatsby - Chapter Two

In this chapter, the status hierarchy is established. This is introduced through the meeting with Tom and Mr Wilson. Tom greets Mr Wilson in a condescending manner by "slapping him jovially on the shoulder" while saying "Hello, Wilson, old man,". This type of behaviour normally occurs between friends, however Tom and Mr Wilson are none of the sort. Instead, Tom is invading Mr Wilson's personal space and not caring because to Tom, Mr Wilson is not important.

This is the chapter where Myrtle is also introduced. Though Myrtle married a handy man with little status and lives in a standard, run-of-the-mill house, she is a lover of beauty and a social climber and finds that her only escape from the Valley of Ashes is through an affair with a wealthy, high status man. Her attempts to climb in status is shown at the party she holds in her apartment. As the party begins Mrs Wilson changes her outfit and "with the influence of the dress her personality had also undergone a change. The intense vitality that had been so remarkable in the garage was converted into impressive hauteur." However, though she now appears to be a women of status, moments later when she is speaking to a guest, her heritage and true status shines through as she uses the term "fellas", language used by the lower class,also her voice is described as "mincing" which undermines the beauty of her appearance described earlier. This reinforces one of the ideas that Fitzgerald presents, that your heritage, family background and status matter and cannot be ignored.

Myrtle's apartment is also a projected symbol for the world Myrtle lives in as the apartment comes across distorted as "The living-room was crowded to the doors with a set of tapestried furniture entirely too large for it....The only picture was a over-enlarged photograph, apparently a hen sitting on a blurred rock. Looked at from a distance, however, the hen resolved itself into a bonnet, and the countenance of a stout old lady beamed down into the room." - the idea of the furniture being too large for the apartment suggests that like the furniture, Myrtle, too, is out of place. "hard dog-biscuits - one of which decomposed apathetically in the saucer of milk" suggests decay and corruption and points to the affair between Myrtle and Tom.

The Great Gatsby - pg16+

Daisy is shown to be a theatrical character and appears very naive and ignorant. This is shown through her treatment of her husband's affair. After Tom's mistress has called the house while Daisy and guests were at the table, though Daisy "glances searchingly at Miss Baker then at [Nick]" as though she seems to be panicking, she looks outside and describes the nightingale on the lawn as "romantic" and share this feeling of romance with Tom, though moments before he was on the phone to his mistress. The fact that Miss Baker thought "everybody knew" about the affair, and was surprised when Nick did not, suggests that the affair is not well hidden, either due to accident, or lack of sparing his wife's feeling, in any case, it portrays Daisy's habit of putting 'her head in the sand' and not addressing Tom, as fear of the outcome.

Also the fact that when Miss Baker tried explaining that "Tom's got some women in New York" to Nick and Nick replied "blankly" "Got some woman?", unable to grasp the meaning of what Miss Baker was saying shows that there is a world hidden for Nick. That though he is within, he is also without as some concepts of this world are hard for Nick to comprehend.

Chapter two (pg22) is the introduction of the Valley of Ashes where the Wilson's live. The area is described to be full of "hills and grotesque gardens". The contrasting images of "grotesque" and "gardens" is strong, as "gardens" are normally associated with beauty, but placed with the adjective "grotesque", the two ideas clash. The description of the town makes it become non-existent, similar to a ghosts town as it is referred to as a "solemn dumping ground"(pg22)

The Great Gatsby - Depiction of the Buchanan's in the opening chapter

Tom Buchanan is shown in the opening chapter a man of control and authority as when Nick is referring to having been invited for dinner he refers to both Tom and Daisy as the "Tom Buchanas"(pg8). This is reinforced as Nick approaches the Buchanan's house for dinner and "Tom Buchanan in riding clothes was standing with his legs apart on the front porch"(pg9). This stance portrays pride and protectiveness to what is his. He controls Nick right from the moment Nick has stepped foot on their property. "I've got a nice place here,"(pg10) he says and then "[turns Nick] around by one arm"(pg10) and announces that they will "go inside"(pg10).

Daisy presents the opposite persona however. Nick and Daisy are distant cousins, and even barely at that as Nick refers Daisy to an "old friend whom [he] scarcely knew at all". Daisy however, treats Nick as though they are personally very close when she "held [Nick's] hand for a moment, looking up into [Nick's] face, promising that there was no one else in the world she wanted to see."

Commentary on The Tollund Man

In the poem "The Tollund Man", Heaney explores what the Tollund man means to the Irish common people and then what it means to him as a poet. The "country people" or "turfcutters" as Heaney refers to the Irish community as, see the Tollund man as a type of saint, a holy figure that defines their identity. In the third stanza, the tollund man is referred to having a "saint's kept body" as the waters of "fen" have not devoured its victim but transfered the sacrificed, unidentified man into a saint. Whereas, this leads Heaney great shame as the Irish community, people that define who he is, cannot see the brutality and wrongness of the Tollund man. Heaney does not see him as a "saint", as one to be admired but as a murder due to unconventional religious beliefs. Heaney employs the metaphor of the "country people, Not knowing their tongue." to explain the common man illiteracy as they do not understand the archetype of the Tollund Man and what he truely represents.

Seamus Heaney - P.V Glob

Peter Vilhelm Glob was a Danish archaeologist. His most famous of investigations was of Denmark's bog bodies such as Tollund Man and Grauballe Man (mummified remains of Iron and Bronze Age people found preserved bogs)

Seamus Heaney: Northern Ireland History

Home rule – (1919) Northern Ireland receives self-government within the United Kingdom. Under the Government of Ireland Act was in some respects left to its own devices.

The first years of the new independent region were marked by bitter violence, particularly in Belfast. Many died in political violence from 1920.

The continuing violence created a climate of fear in the new region, and there was migration across the new border. As well as movement of Protestants from the Free State into Northern Ireland, some Catholics fled south, leaving some of those who remained feeling isolated. Despite the mixed religious affiliation of the old Royal Irish Constabulary and the transfer of many Catholic RIC police officers to the newly formed Royal Ulster Constabulary (1922), northern Catholics did not join the new force in great numbers.

The troubles, starting in the late 1960s, consisted of about thirty years of recurring acts of intense violence between elements of Northern Ireland's nationalist community (principally Roman Catholic) and unionist community (principally Protestant) during which 3,254 people were killed. The conflict was caused by the disputed status of Northern Ireland within the United Kingdom and the discrimination against the nationalist minority by the dominant unionist majority.

Seamus Heaney

The life and artistic career of Seamus Heaney
Seamus Heaney - born 13 April 1939 - is an Irish poet, writer and lecturer who was awarded the Nobel Prize in Literature in 1995 and the T.S. Eliot Prize in 2006.

In August 1965 he married Marie Devlin and, in 1994, published Over Nine Waves, a collection of traditional Irish myths and legends. Heaney's first book, Eleven Poems, was published in November 1965 for the Queen's University Festival.
In 1967, Faber and Faber published his first major volume, called Death of a Naturalist. This collection met with much critical acclaim and went on to win several awards, the Gregory Award for Young Writers and the Geoffrey Faber Prize. Also in 1966, he was appointed as a lecturer in Modern English Literature at Queen's University Belfast.

Identify one of Heaney's poem to share with the class.

Mid-Term Break by Seamus Heaney

I sat all morning in the college sick bay
Counting bells knelling classes to a close.
At two o'clock our neighbors drove me home.

In the porch I met my father crying--
He had always taken funerals in his stride--
And Big Jim Evans saying it was a hard blow.

The baby cooed and laughed and rocked the pram
When I came in, and I was embarrassed
By old men standing up to shake my hand

And tell me they were "sorry for my trouble,"
Whispers informed strangers I was the eldest,
Away at school, as my mother held my hand

In hers and coughed out angry tearless sighs.
At ten o'clock the ambulance arrived
With the corpse, stanched and bandaged by the nurses.

Next morning I went up into the room. Snowdrops
And candles soothed the bedside; I saw him
For the first time in six weeks. Paler now,

Wearing a poppy bruise on his left temple,
He lay in the four foot box as in his cot.
No gaudy scars, the bumper knocked him clear.

A four foot box, a foot for every year.

The persona, I feel, sounds almost confused about the situation as at the beginning of the poem, the mood is set to be glum but the reasons are unsure as the emotions of the persona are not shown. It is only until the last line of the poem "A four foot box, a foot for every year." that the full impact of the poem really hits the reader. By the persona calling the body a "corpse" and feeling "embarrassed" when the "old men" shake his hand shows detachment from the situation - almost like the reader is blocking out the situation as best he can.