Out of all the strenuous, tear-inducing, fun assignments we've completed this trimester, I definitely have a few favorites that come to mind. Overall, I found that I was better suited to the more creative projects because they combined structure with the freedom of choice. One project that I'm really proud of is my Summer reading creative piece. I chose to read Wolf Hall, by Hilary Mantel, which, as I found out after receiving the novel, was about 700 pages long. (I'm not gonna lie, just because it's more pages doesn't make it better). For my project, I decided to make a board game similar to battleship that paralleled the novel's major theme: duty vs. morality. In the beginning, I faced some challenges with choosing the medium by which to display the theme. Just coming up with a board game took my the longest time out of any other stage of the project. I hadn't been expecting everything to come together as well as it did, but when I finally crafted the game and wrote out my essay, all of my points supported the main theme while smoothly translating into a playable and educational board game.
Like many others, I really enjoyed working on the American Drama project. The assignment naturally lent itself to a more "outside-of-the-box" approach, which I liked, and which worked well for all my group members. Originally, our group only had three girls and therefore we had chosen The Women as our play because it featured all female roles. Little did we know our group would be joined by three dudes, which complicated things a bit. The start of the project was round, but once we devised a plan and wrote a schedule, (and told the boys they were playing girls), things began to run more smoothly. In the end, the testosterone addition actually added to the comedy of our video and better stressed the main theme we were trying to portray. Writing the transitions in the script was a lot of fun and they turned out extremely well when everything was put together. Although it was hard to get things going, I learned that adjusting to things that are thrown at you and not fighting them, add to the originality of a project and that you can't have control of everything.
As an individual, I can admit (painfully) that I have a hard time when I'm not in control of things. In the beginning of the trimester, I was still getting used to the idea of getting a lot of group grades in the class, and truthfully, I wasn't too happy about it. You can control your own effort, but it's hard to control other people's. My first group for this class (fellows of the pelo) turned out to be a great mix of talents and students, but it took me a while to learn to let go of all the control. The first few assignments, I did a majority of the work, which was my fault, not theirs. I was afraid that things wouldn't get done if I didn't do them. Turns out, boys stay up way later than girls and don't get things done as soon as possible. When I finally trusted them to do things and let go of the reins, the last of these groups projects turned out really well and we all contributed equally.
On individual assignments, I'd like to think that I got everything done on time, without procrastination, and gave things all my effort. With marching band conflicting first trimester, it's been really hard to get things done without distraction, and physically, to have the time to do them. I'm pretty proud of my ability to get things done without wasting time and to have worked as efficiently as possible for all assignments. I hope that the end of the trimester will end this same way, and that I'll be able to plot out my time strategically to finish things up without losing sleep or time.
Looking back over my goals, I'm shocked to see that I completed more of them than I thought I would. I said that my major weaknesses were being able to classify poems, knowing about literary time periods, analyzing quotes, and understanding the author's purpose. Through the first part of the trimester, we focused a lot on literary periods and the classifications of poetry that went along with them. Just being able to group them and generalize different types of poetry, made it a lot easier for me to identify that things I should be looking for when analyzing poetry. On our practice essays, especially, I found that this knowledge made it a lot easier to infer the purpose and overall meaning of what I was reading.
Even though I accomplished many of the major goals I had set for myself, there are of course, those that I didn't follow through on. I told myself that in order to better analyze quotes, I'd individually set aside time to practice reading essays and poems, which I didn't really get to. Probably unrealistically, I also told myself that I'd memorize words and names literary devices so that when I came across them on multiple choice tests, I wouldn't be completely taken off guard. But, that didn't really happen...Although I neglected some of these set goals, the first trimester of this class pretty adequately prepared my for the challenges I so often face in taking multiple choice tests and writing essays. Looking back over all the work we've done in the class thus far, I can confidently say my analytical and composition skills have improved greatly, and I can't wait for the second part of the class to further these skills.
Monday, November 11, 2013
Blog #17 (Hamlet # 6)
Hamlet Literary Analysis
Words, Words, Words…
Zoe Storch
Ms. Wilson
AP Literature and Composition
12 November 2013
AP Prompt:
In a novel by William Styron, a father tells his son that life "is a search for justice." Choose a character from a novel or play who responds in some significant way to justice or injustice. Then write a well-developed essay in which you analyze the character's understanding of justice, the degree to which the character's search or justice is successful, and the significance of this search for the work as a whole. Do not merely summarize the plot.
I have read and understand the sections in the Student Handbook regarding Mason High School's Honesty/Cheating Policy. By affixing this statement to the title page of my paper, I am certifying that I have not cheated or plagiarized in the process of completing this assignment. If it is found that cheating and/or plagiarism did take place in the writing of this paper, I understand the possible consequences of the act, which could include a "0" on the paper, as well as an "F" as a final grade in the course.
x__Zoe Storch__
Ms.Wilson Storch1
AP English Literature and Composition
12 November 2013
Hamlet Literary Analysis
In Shakespeare's Hamlet, a recurring theme of justice weaves itself through nearly every character’s storyline, serving not only as the catalyst for action, but as the final resolution to the play. William Styron writes in his novel that life "is a search for justice", a piece of wisdom which in itself compromises all of Hamlet’s decisions and soliloquies. The prince of Denmark fights for justice, debates life and death over it, and ultimately, perishes by it. Hamlet’s personal encounters with true justice parallel the larger theme of the work. Shakespeare himself toys with its meaning in his choice to kill off each character after they have committed a wrong. Side by side, the many exemplifications of justice in Hamlet showcase a more universal truth. They stress that true justice is only achievable through revenge, yet the fight for it is an endless cycle, one that almost always ends in tragedy.
From the bleak start of his journey, Hamlet is already faced with a decision that will shape his journey as a hero. The world seems to be crumbling around him as he struggles to come to terms with the death of his father, and the marriage of his mother to his Uncle isn’t much help. Shortly after Claudius is crowned, he is shocked by the apparition of his dead father. The arrival of the supernatural being triggers his quest for true justice, as he learns that his father has been murdered by his Uncle and he realizes he must choose a path of action. Yet, just like the many other characters in the play, his decision leads him to a fork in the road, one trail veering towards morality and the other, to revenge. His ghost father clearly directs him to "Revenge his foul and most unnatural murder." ( 1.4.25) , and initially, Hamlet obeys, convincing himself that it is "the thoughts of love" that will justify his actions (1.4.29). This pivotal choice defines Hamlet and his morality in respect to achieving justice, but in the bigger picture, serves as only the first half in his complete journey. Hamlet’s view when compared with other characters’ enforces the very loose definition given to true justice by Shakespeare. His initial stance on the matter, revenge for family bonds, represents justice’s personal nature. It hints at the fact that in reality, justice may too subjective to ever define, too strongly linked to personal beliefs to judge what is right and what is wrong.
Perhaps the most famous poetic soliloquy, Hamlet’s "to be or not to be" speech expands on Shakespeare’s understanding of justice even further, clearly illuminating the struggle between life and death, action and silence. Caught in a mental war involving his own suicide, Hamlet considers the harrows of being alive. His uncertainty to obtain revenge against Claudius has come to a head, and he theorizes that maybe living at all isn’t worth it, that "to sleep […] we end the heart-ache and the thousand natural shocks that flesh is heir to…" (3.1.61). In an artful argument against himself, Hamlet asserts that the quest for justice is an internal struggle. And, "thus," he says, "conscience does make cowards of us all […] the native hue of resolution is sicklied o’er with the pale coast of thought…" (3.1.83) He states that the imprisonment and constant contemplation of one’s mind makes action or revenge nearly impossible, concluding that being alive means fighting against this conscience and deciding for oneself what true justice really is.
Storch 2
Following the storylines of the play’s other characters, readers realize that Hamlet isn’t the only one who must choose what true justice is really worth. The final scene features the resolutions of all these storylines combined, and as a whole, asserts Shakespeare’s belief that although revenge is the only way to truly achieve justice, one’s search for it only enters them into a deadly cycle, beginning with the quest for compensation and ending with their own downfall. Claudius, very undeniably, is killed in response to his own murderous actions. As he dies, Hamlet states, "Here, thou incestuous, murd’rous, damned Dane, Drink off this potion." (5.2.289). The death of Claudius clearly reflects the play’s overall theme: revenge is the only way to achieve true justice. Following it are two more deaths, Laerte’s, similar to the King’s in the fact that he is dying after seeking an immoral revenge. The last death, however, illustrates the more paradoxical nature of justice when the archetypal hero of the play, Hamlet, also faces his own downfall after having finally achieved his own form of true justice by killing Claudius. In this demise we are confronted with the main dilemma and belief of Shakespeare’s: that although true justice is attained through revenge, revenge is an immoral action, one that ends in the demise of the immoral individual. With this in mind, the entire plotline of Hamlet is given new meaning. As a whole, the play illuminates a more universal truth involving the search for true justice. Seen in the lives of Shakespeare’s characters, it becomes apparent that true justice is subjective, and that in one’s quest to achieve it, we all become sinners.
Sunday, November 10, 2013
Blog # 16 Seng-Song (Hamlet Blog #4)
Have you ever heard of Peter Seng?
Well, either had I until eating my toast and poached eggs this morning. While
reading the daily paper, I came across his criticism piece in The Chronicle.
Upon further analysis, I found that he was analyzing the late Ophelia’s mental
state. When first reading it, I hesitantly, but for the most part, agreed with
his psychoanalysis of the girl. But
after a rereading, I picked up the more negative undertones and bashes Seng
seemed to be throwing at both myself and Ophelia. Yes, I admit that I probably didn’t always
leave myself open to Ophelia to talk to, but I hadn’t “been avoiding her” like
Seng repeatedly suggested. When talking about my reaction to Ophelia’s deranged
song-singing, Seng asserts that “It is
easy to imagine the Queen’s guilty start,
her sudden dread…” Okay, first of
all Mr. Seng-song, I had and still have absolutely no reason to feel guilty
about Ophelia’s mental lapse. You blatantly assume, with hardly any evidence,
that I am one of the people to blame for the girl’s insanity, when in all reality;
you don’t even consider just how detrimental my son has been in her
downfall. Let’s be real, a teenage girl
can only be plagued by one thing- love sickness. It was Hamlet that repeatedly
told her, “to a nunnery go” (3.1.140) when she was seeking attention and advice. He continued to harass her with his assertion
that, “men know well enough what monster you make of them.” (3.1.131) How does
that not sound like it would mentally crush the poor girl? When I heard she
wanted to see me for advice, I compassionately exclaimed, “Let her come in.”
(4.5.15) Therefore, when you, Seng, metaphorically suggest that “Denmark has
become a prison” for Ophelia as well as for Hamlet, I hope you know that you
are completely ignoring that fact that I have always been there for my
constituents and my loved-ones. It can’t be a prison if there’s a mother figure
opening her arms to hold you.
When Seng finally begins to consider
Hamlet as catalyst to Ophelia’s downfall, I definitely agree with his analysis
of the irony in Ophelia’s song and how it adds to the pathos. He says that, “the old song has its own
inexorable logic, and the romantic fiction of its tragic story becomes the only
reality Ophelia knows.” Yes, exactly.
Like I was saying before, the mind of a teenage girl is filled only with
romance. I would know, I used to be one.
But then, Seng turns his attention to Ophelia’s family for blame. Once
again, I totally disagree with his belief that anyone other than Hamlet can be
held responsible. Seng claims that “father
and son are concerned to throw a lurid light across the relationship.” From
afar, I can see how Seng could misinterpret their concern for Ophelia’s safety for
something more harsh. But I know Polonius, and I have never seen a father with
more love for his daughter. Seng characterizes Polonius’ advice to her as “bitter”,
ingraining within Ophelia “the habit of mistrust.” When I overheard their
conversation concerning Hamlet’s love for her, I only heard Polonius speaking
wise and unbiased advice. “I do know,”
he says, “when the blood burns, how prodigal the soul lends the tongue vows.”
(1.3.117) He wasn’t bombarding his daughter with feelings of mistrust and hate
against Hamlet, but merely with the realities of the world. Perhaps the most outrageous of all Seng’s assumptions
is in his opinion that, “Polonius is only willing to sacrifice morals to
political expediency; it is his spying […] that finally brings about his own
death.” Oh Seng, what has Polonius ever done to you? The only reason Ophelia’s
father would ever “sacrifice morals” as you say, is because he loves and cares
for his daughter! When we both agreed that he should spy to learn Hamlet’s true
intentions, Polonius clearly stated, “if circumstances lead me, I will find
where truth is hid, though it were his indeed within the centre.” (2.2.156). So, with all this considered, I tell you,
Seng, that number one: I will never again read your column in the paper, for it
gets me too worked up. And number two: There is no one but Hamlet to blame for
Ophelia’s tragic downfall. Wrongly
assuming and accusing everyone else will only lead to more mistrust in the
kingdom.
Thursday, November 7, 2013
Blog #15 To Be or Not to Be (Hamlet Blog #3)
SOLILOQUY ANALYSIS: To Be or
Not To Be
As Hamlet
dramatically ebbs and flows between the ideas of living and dying, he chooses
to include dark imagery related to the uncertainty of death and the negativity
of life. He asks himself whether it is “nobler in the mind to suffer the slings and arrows of outrageous fortune” or rather “to take arms against a sea of troubles, and by opposing them,
end them.” (3.1.57-59) With the inclusion of twisted metaphors, his words take
on a more emotional (pathos) weight. They highlight the main dilemma of Hamlet’s
speech and also hint at his mental instability. Even when he speaks of life, he
alludes to its “heaviness” in saying that one does, “grunt and sweat under a
weary life.” (3.1.77)
Throughout his soliloquy,
Hamlet continuously captures the reader through the use of appeals, whether
they be to emotion or character, reason or fear. To appear as an equal, he stresses the
specific words related to mankind as a whole. “…and makes us rather bear those ills we
have,” he exclaims, “than fly to others that we know not of.” (3.1.81) Whoever the speech is addressed to, even
if it is just to himself, Hamlet’s use of these words portrays him as if he’s
like us all, and turns the focus of the speech not just on him, but on the
audience (ethos). Emotionally, Hamlet is an expert as tugging heartstrings.
With skillful wordplay, he emphasizes the very negative aspects of life and all
its struggles, suggesting that, “…by a sleep to say we end the heart-ache and the thousand natural shocks that flesh is heir to, ‘tis
a consummation devoutly to be wished.” (3.1.61) Concurrently, the prince is able to employ
logic even through a cloud of insanity. He warns that “the conscience does make
cowards of us all”, asserting that even the “native hue of resolution is
sicklied o’er with the pale cast of thought.” (3.1.83-85)
Like a true poet,
Hamlet’s speech is interwoven with literary devices, all working towards one
purpose, to highlight his appeals and strengthen his assertions and
uncertainties. The overall tone of the piece can be seen as morbid and pained.
He can’t seem to make up his mind, and even at the speech’s resolution, is
plagued with the same dilemma as well as the suffocating confinement of his own
mind. Carefully selected and crafted, Hamlet pieces together dark diction as
enforcement of tone. Words like, “suffer”,
“whips and scorns”, and “mortal coil” illuminate a feeling of imprisonment in
the live human body. (3.1.) The entire soliloquy hints at the larger irony
(paradox) that death may be the only relief from the weight of life. He draws
parallels between death and sleep, dreams and mortality. In numerous cases, the infinitive is used in
support of these parallels, when he twice states, “To die: to sleep.”
(3.1.61,64) or perhaps the more famous “to be, or not to be.” (3.1.56)
Speaking
metaphorically Hamlet compares Time to an oppressor, saying that one must bear
its “whips and scorns.” (3.1.73) He also talks about the place after death to
be something like, “the undiscovered country from whose bourn, No traveler returns…”
(3.1.79) Similarly, he draws a connection between life on earth and
imprisonment, arguing that our body is a cell of confinement. Therefore, our
mind, he says, is another prison in which we must remain, left only to face our
own uncertainties, inevitably doomed to remain cowards. Although, he makes
solid arguments, he often doubts himself, and therefore is seen as not completely
sure of his own assertions. Like many other greats, he ponders the infamous “meaning
of life” as well as the struggle between painful life and easy death. In the end, he is still being pulled in
different directions, but concludes that we all will be forever afraid to act
upon our thoughts and that death may be the only resolution to the weight of
being alive.
ACTING ANALYSIS
Kenneth Branagh: This
scene begins and ends with a shot over the back of Hamlet. Almost the entire soliloquy
was a shot of a mirror and Hamlet’s own reflection in it. This hints at the
prince’s own “self-reflection” and discovery, by both literally and
figuratively revealing an image of Hamlet to himself. As the scene continues,
the camera shot zooms closer and closer, until we are left to view only Hamlet’s
face. Just like the audience is
uncovering more about his mental state as the speech matures, they are
physically getting closer to him in what the director chooses to reveal in the
shot. Wearing all black, Hamlet’s costume choice symbolizes the stereotypical
relationship between the color black and death as he goes through his rant
about the struggle of life versus suicide. When he hits the part about time as
the oppressor, scary music begins to play and when he unsheathes the blade, the
music increases in suspense. Zooming completely in on his reflection in the
mirror, the scene leaves us unsure about reality and reflection, life and
death.
Laurence Olivier: Definitely
the most dramatic of the four, this version
begins with suspenseful music, overlooking the stormy sea, which alludes to
Hamlet’s image of the “sea of troubles”. Before he begins speaking, there are
some really weird, trippy blob-like images and then the camera zooms in on his head.
This sets us up for Hamlet’s soliloquy by hinting at his mental instability and
the internal conflict he feels. At the “to
die” moment in his speech, there’s a non-diegetic voice over (we barely notice
it changed) until he reaches, “to sleep”, where there’s a flash back to
diegetic sound and reality. This
technique illuminates the larger theme and uncertainty between life and death,
as well as what is reality and what could be considered a dream.
Mel Gibson: The
shot starts off with Hamlet walking down dimly lit stairs, and then pans over
the inside of castle, until we eventually realize that he is inside of a
tomb. While considering his own life and
death, the camera constantly zooms back to tombstones and skeletons, very
bluntly emphasizing how close he is to death, literally. As he walks and talks,
little bits of light from ceiling sometimes illuminate his face, showing his
emotions, and also illustrating the contrast between light and dark, death and
life. The entire scene is very quiet, which leaves us to hear only Hamlet’s
inner thoughts. The camera sometimes zooms in on his face, and other times features
a wide shot, except for when he reaches, “the undiscovered country” where the
camera zooms in on the tombs.
Ethan Hawke: Probably
the most unrealistic, yet most effective of the different versions, this one
begins with Hamlet walking through the aisle in a present-day movie store
(Blockbuster). The cheery setting and modern day background create a stark contrast
between death and life. The director, like the other versions, chose to clothe
Hamlet in black, but unlike the others, gave him a very attractive winter
hat. Just like the seasons coincide with
rebirth and death, the winter hat could be symbolizing the thoughts of death
that are confined inside of his head (or in this case, that he is wearing on
his head.) At the conclusion of his speech, an image of a burning man flashes
on the tv screen, paralleling his inner struggle.
Most Effective Version (From
Gertrude’s Perspective)
As I watched from the cold outside air of
Blockbuster, my face pressed against the glass window, I could clearly see
Hamlet as he perused the aisles carefully.
His black suit and shirt made me think that what he was ranting about
had to be something a bit morbid. I may
have been thinking into it too much, but the fact that he was wearing a winter
hat could have been symbolizing the season’s relation to death. He does have
a flair for the dramatic. I found it strange that I was hearing background
music, but you know, sometimes that’s what characters hear when they’re acting
in movies. It was really intense and
dark, and it actually scared me a little.
It made me question Hamlet’s sanity- was he going to kill himself right
then and there? In a movie store? That’d be a mess to clean up. I also found it
ironic that he was walking through the “action” aisles, because since he’d
entered the store, he’d been asking himself if he should “take action”. Get it?
Yeah, that might be a reach, but like I said, Hamlet’s a character. When he
finally finished talking to himself, I noticed the television screen had a
picture of a burning man, which seemed to parallel his internal conflict and
anger. As a whole, ever since Hamlet entered Blockbuster, the contrasting
colors and ironic undertones seemed to highlight his dilemma better than any
old-time Shakespearean movie ever could.
What Would I Change?
If I could change anything about any of these “To be or not to be”
approaches, I’d have to go with the Mel Gibson version. Although he was really
great to look at, I didn’t really like how obvious the whole “standing-in-a-tomb”
thing was. I think the director could
have highlighted his inner turmoil in a more subtle way. Maybe he could have
been glimpsing his reflection in water or even in a sword (like Mulan). I’d also change the lighting and make it more
purposeful instead of randomly shining onto his face. I think it would “shed a lot of light” onto
his mental struggle if the light from the ceiling could have fallen on his face
when he was talking about life and then he could have stepped into the shadows
when mentioning death. However, I did like how the camera zoomed onto the tombs
when he talked about the “undiscover’d country”, but it would have been
interesting if instead of walking by the tombs, he would have interacted with
them more. If he had climbed into them
or hung on them, he might have helped play up the paradox between the struggle
of life and the easy relief of death.
Tuesday, November 5, 2013
Blog # 14 Mr. and Mrs. Smith (Gertrude Said It #2)
Jane Smith once said, “Happy endings are
just stories that haven’t finished yet.” And you know what? I totally
agree. Life’s always going to be messy.
People will always be hiding things, and sometimes you need to spin a web of
lies to uncover the truth. Just like my
favorite chick flick/spy thriller, Mr.
and Mrs. Smith, my life and the people in it seem to be revolving around
lies and trickery. Just like the two main characters (husband and wife/secret
spies), I feel that my son and I are always hiding something from each
other. John and Jane Smith are trained
assassins working for competing organizations, and in a way, you could say that
Hamlet and I are on two different sides, always trying to get one step ahead of
the other, keeping secrets. Like I’ve always said, “More matter, with less art.”
(2.2.95) I really hate when people dance around their point, just like I hate
elaborate lies. But sometimes, lying is a necessity (for me, of course, there’s
no justification for Hamlet lying).
Hamlet himself has been trying to hide something from me for days, but I’m a mother with instincts. I know Hamlet’s not really insane- it’s all an act. I’m not exactly sure why he’s doing it yet, but just like Mr. and Mrs. Smith, I feel that the truth will come out eventually. Just the other day, I heard Hamlet being all crazy and mumbling something to himself in the other room. I didn’t catch all of it, but I did hear him say that he would put on an “antic disposition” (1.5.172) which I can only imagine means he is faking his insanity. But why?! Just a wild guess, but it could have something to do with my marrying his uncle. In Mr. and Mrs. Smith, Benjamin (the prisoner they are both assigned to kill) makes quite a coincidental comment about marriage. “Oh, I must have missed that day. Just like you missed the one about not marrying the enemy.” Yes, I guess you could say I married Hamlet’s enemy and that may be the source of his frustration. Because of this, I’m afraid that he is formulating a plan behind my back, similar to the paranoia I imagine Mrs. Smith must have had regarding her husband. Yesterday, he said, “the play’s the thing, wherein I’ll catch the conscience of the king.” (2.2.532). Why are we hiding so many things from each other? I’m his mother for crying out loud! Maybe it’s okay in the movies, but in reality, I’m just plain scared of my own son.
Sunday, November 3, 2013
Blog # 13 Gertrude Said It. (Hamlet Blog Post #1)
Okay, I know that
Hamlet’s my son, but c’mon kid, rub some dirt on it. Yes, your father, my husband is gone forever,
but that doesn’t mean you have to sulk around and gloom everything up. Oh, and
how many times do I have to tell you I don’t want you running off to
Wittenburg? The last time I brought it
up, you were all like, “I shall in all my best obey you, madam.” (1.2.120) Just
because you have a fancy shmancy new title doesn’t mean you can backsass your
mother. I know you don’t know it, Hammy,
but I heard about that bratty little comment you made about me to Horatio. When
he told you that he came to see your dad’s funeral you answered, “I prithee, do
not mock me, fellow-student; I think it was to see my mother’s wedding.”
(1.2.178) Seriously? Why do you have to be like that? Oh, one more thing on the
topic of my dear baby Hamlet- who’s Ophelia and why did no one tell me about
her? I overheard Polonius say that you had “given private time” to her (Act
1.3.92) What does that mean? Your mother
has a right to know these things!
Breathe, Gertrude, breathe. I know I’m ranting again, but I’m in a bit of
a dark place right now and I feel like everyone’s against me. You’re probably thinking, “Really, Gertrude?
Everyone in the whole world?” And to that I say, no. Not everyone... Just all
of Denmark! I really didn’t think this
whole marrying- your- deceased- husband’s- brother thing would be a big deal,
but apparently people aren’t too into it. When the King first addressed his new
constituency, he referred to me as “our sometime sister, now our Queen” (1.2.8)
and I didn’t think anything of it. But now I’m hearing people talking about me
behind my back and it’s really starting to get on my nerves. Can I just remind people that my marriage is
the one thing holding this kingdom together? It’s actually kind of a heavy
weight on my shoulders, thank you. Sure, the old king died. Who doesn’t die?
But marriage is a happy occasion, one that people better start accepting or
they’ll be depressed just like my whiny, little Hamlet. As my new husband, Claudius, put it, “With
mirth in funeral and with dirge in marriage, In equal scale weighing delight
and dole,- taken to wife: nor have we herein barr’d your better wisdoms, which
have freely gone with this affair along.” (1.2.12). BOOM goes the dynamite.
Saturday, November 2, 2013
Blog #12 Hamlet Character Justification
For my character to blog from, I would have to choose Gertrude, because she seems pretty drama-prone and self-centered: two great qualities for social media. I'm imagining she's going to have a lot of fights with her family members and will probably want to turn to an audience to rant about them (blog). At a quick glimpse her life seems to imitate that of a reality television show: her husband is murdered, she marries his brother, her son is insane...Her character description also hints at her longing for material objects and beauty. Although there will probably be some pretty deep conflicts going on around her, she is sure to keep the mood light-hearted and I think blogging from her perspective could be very humorous.
Wednesday, October 30, 2013
Blog #10c The Women paper
The Women: A Feminist’s View of Marriage and Divorce
By Clare Booth Luce
Shagun Bhardwaj, Matt Hauer, Gabrielle Honda, Hailey Spencer, Zoe Storch, Richard Wu
Ms. Nicole Wilson
AP British and World Lit A
30 October 2013
1987. Some novels and plays seem to advocate changes in social or political attitudes or in traditions. Choose such a novel or play and note briefly the particular attitudes or traditions that the author apparently wishes to modify. Then analyze the techniques the author uses to influence the reader’s or audience’s views. Avoid plot summary.
I have read and understand the sections in the Student Handbook regarding Mason High School's Honesty/Cheating Policy. By affixing this statement to the title page of my paper, I am certifying that I have not cheated or plagiarized in the process of completing this assignment. If it is found that cheating and/or plagiarism did take place in the writing of this paper, I understand the possible consequences of the act, which could include a "0" on the paper, as well as an "F" as a final grade in the course.
Rationale
In order to effectively capture and exemplify the theme of The Women by Clare Boothe Luce, we decided to utilize the 1987 prompt due to its discussion of societal attitudes towards norms, and how the author seems to oppose or seek to change them. In accordance with the prompts assertion, The Women discusses the traditional nature of a woman’s standing in the early twentieth century, as they were looked strictly as housekeepers and child-bearers. As a group we saw the ironic complexity Luce used in her writing, which overall illuminated the contrasting roles of men and women in society at the time. By choosing the 1987 prompt, our group was best able to address and capture the essence of The Women in the representation of our project.
The specific scenes were chosen because they were not only crucial plot moments, but because they also showed varying views about marriage and a woman’s role among the conversations and interactions between the various women in the play. The scenes showed the inside workings of 1900s society and the roles and expectations certain groups were supposed to fill, in this case the high-society women on New York. These specific scenes showed the relationship between the different women and how they changed the way they interacted based on who they were around. The scenes show conversations with and without Mary, the inside feelings of the different women, and what they believe Mary should do in her situation.
In our short film, we chose to adapt the setting to the play to the best of our abilities. We started off with very short (transition) scene not in the play to help introduce the audience to the plot. Two ladies at a nail salon are gossiping about what happened to Mary, and then the flashback starts.We chose to start our movie like this as it not only helps the audience acclimate to the story, it also introduces a major concept of the play: gossip. We created a similar setting and used older style dresses and accessories to adapt to the 1930s fashion. We manipulated the setting to match that of the script and also altered the background music and sounds to go along with as, as can be seen through the nail salon scenes. We also altered the locations of the variety of scenes to show different settings and places in the play. Our stylistic choices bring our play to life.
The Women (1936)
Author: Clare Booth Luce
· Born in NYC March 10, 1903
· As a young woman, very active in the women’s suffrage movement
· 1929- divorced George Brokaw (alcoholic)
· 1930- became associate editor for Vanity Fair, but resigned to become a playwright
· 1942-involved in wartime politics and was elected as representative to Congress (CT)
· 1944- car crash killed her only child (Ann, 19)z
· Instrumental in establishing the Atomic Energy Commission
· appointed U.S. Ambassador to Italy (one of first American woman to represent U.S. to a world power)
· 1981- appointed by Reagan to President’s Foreign Intelligence Advisory Board
· 1983- received Presidential Medal of Freedom
· Died Oct. 9th, 1987 (age 84) - the majority of her estate went to funding women’s achievement in science, math, and engineering
Synopsis: During the height of the Great Depression in New York City, the main character, Mary Haines, learns that her husband, Stephen, is having an affair with a shopgirl named Crystal. Mary and other friends seeking divorces go to Reno, Nevada where divorces are easily attainable. While in Reno, Mary hears that Crystal and Stephen have gotten married. Two years later, Mary is back in New York with her children. When she learns that Crystal is cheating on Stephen, Mary devises a plan to expose Crystal’s infidelity in order to win back her husband.
Historical Context
By 1936, women had only had voting rights for sixteen years (1920)
Women’s roles were still very limited
Great Depression (1919-1939)
Primary characters:
Mary (Mrs. Stephen Haines)- protagonist, graceful, faithful in her marriage; seeks divorce, then seeks to remarry her ex-husband
Crystal Allen- Stephen’s mistress and perfume salesperson; blonde bombshell, often classless and rude, takes advantage of Stephen for his money
Sylvia (Mrs. Howard Fowler)- biggest gossip and troublemaker of the group, disloyal in her marriage
Mary and Sylvia’s Circle of Friends: Miriam, Peggy, Edith, Countess De Lage
Setting: The majority of the play takes place in high-status New York City as well as in the female-dominated areas (beauty parlor, clothing stores, characters’ homes ) that are popular to its wealthy inhabitants. For a short scene, the women are in Reno and then brought back again to formal parties of New York.
Key Plot Moments
•
Mary goes to the hairdresser and learns from Olga (a manicurist suggested by her friends for her knowledge) that her husband is having an affair with a shopgirl named Crystal.
•
Mary and Sylvia are in the dressing rooms of a dress shop when they realize that Crystal is in the adjacent dressing room. Mary confronts Crystal.
•
After news of Stephen’s affair becomes common knowledge among other socialite women, Mary makes the decision to divorce Stephen. ( It is important to note that the woman seeking divorce is unheard of in the time of the novel.)
•
A group of divorced women (including Mary and Sylvia) travel to Reno, Nevada to take advantage of the liberal divorce laws. There, Mary finds out that Stephen intends to marry Crystal.
•
When Mary returns to New York, she discovers that Crystal is cheating on Stephen.
•
In the final scene, Mary goes with some of her friends to an evening party where she confronts Crystal in the powder room, reveals her plan to publicize Crystal’s affair, and finally leaves to meet Stephen and win him back.
Key Quotes
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“After all, this is a man’s world. The sooner our girls are taught to accept the fact graciously--” Miss Fordyce (Little Mary’s nanny)
•
“Damn these modern laws! […] Fifty years ago, when women couldn’t get divorces, they made the best out of situations like this.” – Mrs. Morehead (mother of Mary Haines)
•
“Lopsided amour is better than no amour at all. Flora, let him make a fool of you. Let him do anything he wants, as long as he stays. He’s taking the trouble to deceive you.” – Mary (final scene)
•
“It don’t matter what he’s got in his mind. It’s what those two women [Mary and Crystal] got in theirs that will settle the matter.” – Maggie (Mary Haines’ cook)
Symbols/Motifs
Jungle red nailpolish- represents the animosity and passion that is associated with the color red (appears in both the beginning and ending scenes of the play) – animalistic
Card game (bridge)- symbolizes the game-like relationship between women- can’t trust one another, always bluffing each other, never know what they’re hiding. pg 676 “Well, I’ve had two years to sharpen my claws. Jungle-red, Sylvia! Goodnight, ladies!” (Mary)
Dress in clothing shop- both Mary and Crystal are eyeing the same dress (like they’re eyeing the same man)-dress begins in Mary’s dressing room, then brought over to Crystal’s (like Stephen) pg 623 “This isn’t her type. That isn’t her type.”
Character names- Crystal’s name reflects her capricious, superficial nature. Sylvia’s surname, Fowler, draws parallels between her personality and the behavior of domestic birds, most notably the chicken.
Themes
Feminism - Shows the injustice of womens’ inability to simultaneously hold both pride and power in a marital relationship
The “Ideal Woman” - Every character has a unique description of the Ideal Woman.
Marriage and Divorce - purpose of marriage; questions whether women are entitled to seek divorce ( was newly accessible for women)
Socioeconomic classes & beauty standards - as they relate to social expectations
Stylistic Devices
- Horatian Satire
- Use of period vernacular
- Foils of characters to highlight contrasting philosophies and create dynamic interactions
- Only female characters portrayed to empower women by focusing on their own perceptions of the social issues that affect them
-Catchphrases to further dramatize characterization and emphasize drastically different views on womanhood, marriage
-Sylvia: “After all I’ve done for you!”
-Mary and her daughter Little Mary: “Mother” in nearly every sentence addressing their respective mothers
The Women
By: Clare Boothe Luce
Cast:
Zoe Storch: Agatha, Miriam, Nancy
Hailey Spencer: Marge,Olga, Lucy
Matt Hauer: Mary Haines, Peggy
Shagun Bhardwaj: Manicurist, Countess De Lage
Richard Wu: Sylvia
Introduction with Thesis: Originally opening as a Broadway play starring the famous faces of the day, The Women featured an all-female cast and was liberal its ideas concerning marriage and divorce. In this 1936 play by Clare Booth Luce, the institution of marriage is dramatized and satirized in order to assert Luce’s belief that women are entitled to holding both pride and power in a marital relationship. Horatian satire and character foils illuminate Booth’s frustration that even when women are legally able to achieve freedom from marriage, women are pressured back into its restrictions because the only way to attain social grace is to accept the low status of the married woman.
Opening Transition Scene:
Marge. No, no I’ve despised the color red my whole life, why would I want it smothered on ten of my fingers?
Manicurist (softly). Sorry, ma’am. (exits)
Agatha. It’s impossible to get a good worker nowadays, isn’t it?
Marge. My thoughts exactly -ouch, ouch! My hair’s on fire, Agatha. (removes hair dryer)
Agatha. Quiet down, you old bat. I just read the most outrageous thing in the gossip column. Do you know Mary Haines?
Marge. Oh, I’ve known about her husband’s affair for days.
Agatha. Oh, spit it out, I want to know everything!
Marge. Well, it all started in a small downtown salon, quite like this one actually...
Act I Scene II
[Michael’s Hair and Nail Salon]
Olga. Know Mrs. Potter? She’s awful pregnant--
Mary (she wants to read). I know.
Olga. Soak it, please. (Puts Mary’s hand in water. Begins on other hand) Know Mrs. Stephen Haines?
Mary. What? Why, yes I--
Olga. I guess Mrs. Fowler’s told you about that! Mrs. Fowler feels awfully sorry for her.
Mary (laughing). Oh, she does! Well, I don’t. I--
Olga. You would if you knew this girl.
Mary. What Girl?
Olga. Crystal Allen.
Mary. Crystal Allen?
Olga. Yes, you know. The girl who’s living with Mr. Haines. (Mary starts violently) Don’t you like the file? Mrs. Potter says it sets her unborn child’s teeth on edge.
Mary (indignant). Whoever told you such a thing?
Olga. Oh, I thought you knew. Didn’t Mrs. Fowler--?
Mary. No--
Olga. Then you will be interested. You see, Crystal Allen is a friend of mine. She’s really a terrible man-trap. Soak it, please. (Mary, dazed, puts her hand in the dish) She’s behind the perfume counter at Saks’. So was I before I got fi-left. That’s how she met him.
Mary. Stephen Haines?
Olga. Yeah. It was a couple a months ago. Us girls wasn’t busy. It was an awful rainy day, I remember. So this gentleman walks up to the counter. He was the serious type, nice-looking, but kind of thin on top. Well, Crystal nabs him. “I want some perfume,” he says. “May I ask what type of woman for?” Crystal says, very Ritzy. That didn’t mean a thing. She was going to sell him Summer Rain, our feature anyway. “Is she young?” Crystal says. “No,” he says, sort of embarrassed. “Is she the glamorous type?” Crystal says. “No, thank God,” he says. “Thank God?” Crystal says and bats her eyes. She’s got those eyes which run up and down a man like a searchlight. Well, she puts perfume on her palm and in the crook fo her arm for him to spell. So he got to smelling around and I guess he liked it. Because we heard him tell her his name, which one of the girls recognized from Cholly Knickerbocker’s column--Gee, you’re nervous-- Well, it was after that I left. I wouldn't of thought no more about it. But a couple of weeks ago I stopped by where Crystal lives to say hello. And the landlady says she’d moved to the kind of house where she could entertain her gentleman friend--”what gentleman friend?” I says. “Why, that Mr. Haines that she’s had up in her room all hours of the night,” the landlady says--Did I hurt? (Mary draws her hand away) One coat, or two? (Picks up a red bottle.)
Mary. None. (Rises and goes to the chair, where she has left her purse.)
Olga. But I thought that’s what you came for? All Mrs. Fowler’s friends--
Mary. I think I’ve gotten what all Mrs. Fowler’s friends came for. (Puts a coin on the table.)
Olga (picks up coin). Oh, thanks-- Well, good-bye. I’ll tell her you were in Mrs. --?
Mary. Mrs. Stephen Haines.
Olga. Mrs. --? Oh, gee, gee! Gee, Mrs. Haines--I’m sorry! Oh, isn’t there something I can do?
Mary. Stop telling that story!
Olga. Oh, sure, sure, I will!
Mary. And please, don’t tell anyone-- (Her voice breaks) that you told it to me--
Olga. Oh I won’t gee, I promise! gee, that wouldn’t be kind of humiliating for you! (Defensively) But in a way, Mrs. Haines. I’m kinda glad you know. Crystal’s a terrible girl--I mean, she’s terribly clever. And she’s terribly pretty, Mrs. Haines--I mean, if I was you I wouldn’t waste no time getting Mr. Haines away from her-- (Mary turns abruptly away) I mean, now you know, Mrs. Haines!
Voice. So she said: “I wouldn’t want anybody in the world to know,” and I said: “My dear, you know you can trust me!”
Act II Scene V
[ A Hotel in Reno (Post- Divorce)]
A few weeks later. MARY’S living room in a Reno hotel. In the rear wall, a bay window showing a view of Reno’s squat rooftops and distant Nevada ranges. Left, doors to the kitchenette, the bedroom. Right, a door to the corridor. A plush armchair, a sofa. In the corner, MARY’S half-packed trunks and bags. It is all very drab and ugly. As the curtain rises, LUCY, a slattery, middle-ages, husky woman in a house-dress, is packing the clothes that are strewn on the armchair and the table. She is singing in a nasal falsetto.
(Enter COUNTESS DE LAGE, left, She is a silly, amiable, middle-aged woman with carefully-waved, bleached hair. She wears a gaudily-checked riding habit, carries an enormous new sombrero and a jug of corn liquor.)
COUNTESS. I’ve been galloping madly over the desert all day. Lucy, here’s a wee juggie. We must celebrate Mrs. Haines’ divorce.
PEGGY. Oh, Countess de Lage, I don’t think a divorce is anything to celebrate.
COUNTESS. Wait till you’ve lost as many husbands as I have, Peggy. (Wistfully) Married, divorced, married, divorced! But where Lord leads I always follow. So here I am, in Reno.
PEGGY. Oh, I wish I were anywhere else on earth.
COUNTESS. My dear, you’ve got the Reno jumpy-wumpies. Did you to the doctor? What did he say?
PEGGY. He said it was - the attitude.
COUNTESS. Well, la, la, you’ll get used to that. My third husband was a Swiss. If one lives in Switzerland, Peggy, one has simply got to accept the Alps. As I used to say to myself, Flora, there those damn Alps are, and there's very little even you can do about it.
PEGGY. Yes, Countess de Lage. (Exits, hurriedly, left.)
COUNTESS. Ah, I wish she hadn’t brought up the Alps, Lucy. It always reminds me of that nasty moment I had the day Gustav made me climb to the top of one of them. (Sits in armchair) Lucy, pull off my boots. (LUCY kneels, tugs at her boots) Anyhow, there we were. And suddenly it struck me that Gustav didn’t love me any more. (Gaily) But Love takes care of its own, Lucy. I slid right into the arms of my fourth husband, the Count.
LUCY (rises, with boots). Ain’t that the one you’re divorcing now?
COUNTESS. But, of course, Lucy. (Plaintively) What could I do when I found out he was putting arsenic in my headache powders. Ah! L’amour! L’amour! Lucy, were you ever in love?
LUCY. Yes, ma’am.
COUNTESS. Tell me about it, Lucy…(she’s cut off in the middle of her question)
(enter Miriam)
Miriam. Hya Countess, how’s rhythm on the range?
Countess. Gallop, gallop, gallop madly over the sagebrush. But now Miriam, I’m having an emotional relapse. In two weeks I’ll be free. But whither, oh whither shall I fly?
Miriam. To the arms of that cowboy up at the dude ranch? Why, he’s nuts for you, Countess. He likes you better than his horse, and it’s such a damn big horse. Even Mrs. Astor would have to admit Buck’s handsome. If I had your dough, I’d take him to Hollywood
first, then Newport.
(enter Sylvia)
Miriam. Hya, Sylvia. Going to a ball?
Sylvia. Doing the town with a boyfriend. I’m not going to sit around moping, like Mary.
Countess. Poor Mary. If her husband gave her the flimsiest excuse, she’d take him back.
Sylvia. She has no pride. I’d roast in hell before I’d take Howard Fowler back.
Countess. Helas, what else can a woman do with her youth, but give it to a man?
(enter Mary)
Miriam. Hy’a queen?
Mary. Fine.
Miriam. Ya lie.
Mary (gives a letter to Sylvia, glancing at the inscription) For you Sylvia, from Edith.
Sylvia. You couldn’t miss that infantile handwriting. You didn’t hear from anyone?
Mary. No.
Sylvia. Well, darling, Stephen’s hardly worth a broken heart.
Mary. The less you have to say about Stephen and me the better I like it!
Sylvia. I’m only trying to cheer you up. That’s more than you do for me.
Miriam. Hey Sylvia, we’re all here in the same boat. Mary’s laid off you, why don’t you lay off her?
Sylvia. Oh, I’m just trying to make her life seem like it isn’t over just because Stephen let her down. (picks up press clippings in newspaper and reads them)
Countess (looks over Sylvia’s shoulder at clippings). Miriam, you sly puss, you never told us you even knew Sylvia’s husband. Listen to this (takes paper) “Miriam Vanities Aarons. Prominent Stockbroker, Fowler, and Aarons to marry.”
Miriam. Why you little hypocrite!
Mary. Now, Sylvia.
Sylvia(at Miriam) you want him for his money.
Miriam. So what do you want him for? I’ll stay bought. Thats more than you did Sylvia.
Sylvia. Why, you dirty little trollop!
(Sylvia gives Miriam a terrific smack. In the twinkling of an eye, they are pulling hair, Mary seizes Sylvia’s arm. The countess tugs at Miriam’s belt. The stop fighting and Sylvia exits for the smelling salts)
Countess. Poor Creatures. They’ve lost their equilbrium becuase they’ve lost their faith in love.
(phone rings)
Mary. (goes to get it) Hello-hello? Stephen? Mary. Yes. I’m very cheerful. It’s so good to hear your voice, Stephen. I-why yes, it’s scheduled for tomorrow at 10 but---Stephen i can (frightfully)- but Stephen! I haven’t seen the papers. How could I out here? Yes, I’d rather you told me. Of course I understand the position you’re both in. No, I’m not bitter. I hope you’ll both be very happy. Good bye, Stephen, Good-bye-
Miriam. He’s marrying her?
Mary. We had a good life, oh God I’ve been a fool!
Miriam. Sure you have, haven’t we all sister?
Mary. But she doesn’t love him. I do. That’s the way it is. (she goes to the window and looks out). But it’s not ended if your heart doesn’t say so. It’s not ended!
Act III Scene III
[The Powder Room- Two Years Later]
Later, the same night. The Powder Room at the Casino Roof. The decoration is rich, tawdry and modernistic. Right, a swinging door from the lobby. Left, another to the washrooms. The rest of the wall space, left and right, is taken up by counter-like dressing tables and mirrors. The rear wall is a great window overlooking the glitter of midnight Manhattan. An overstuffed sofa and an armchair upholstered in modernistic fabric. Near the door, right, a screen hides the coat-rack. By this, a chair for Sadie, a little old woman in a black’s maid’s uniform and apron. As the curtain rises, Sadie is reading a tabloid, which she puts down when two flashily-dressed girls enter from the lobby.
Countess (tacking). How could Buck do such a thing to me! Oh, the Dr. Jekyll! The Mr. Hyde! Which was which?
Miriam. Pipe down or you’ll put an awful dent in his career, Flora.
Countess. What of my career? I’ve had five husbands. Buck’s the first one who ever told me what he really thought of me--in public.
Nancy. It takes all kinds of husbands to round out a career like yours, Flora.
Countess. He told me he'd been deceiving me for months. Right in the middle of the Organ-Grinder. (Kicks off shoes) Oh, I feel so--superfluous!
Miriam (to Sadie). A bromo-seltzer.
Countess. Bromo-seltzer? Qu’-est-que c’est que ca?
Nancy. It will settle your--superfluity. Flora, did he tell you the lady’s name?
Countess (indignant). Certainly not, nancy. He’s not that drunk.
Miriam (as Sadie exists, right). And another drink for Mrs. Winston!
Countess. No, Mariam. He wouldn’t tell me her name, because she’s a married woman. Buck is a very proletarian, but he’s not a bounder. He just said she was a natural blonde.
Nancy. That ought to narrow down the field considerably.
Countess. He said she was pretty as a painted wagon.
Miriam. Oh, you’re not such a bad calliope. Snap out of it, Flora. You know, you’re going to forgive him. ( wave and Exit Miriam)
Countess (firmly). I’d forgive unfaithfulness, but not base ingratitude. I rescued him from those prairies. I married him. What thanks do I get? (Wailing) He says he’ll be a cockeyed coyote if he’ll herd an old beef like me back to the coast!
Nancy. Let this be your lesson. Don’t let your next husband become financially independent of you.
Countess. Now, don’t lecture me, Nancy. Every time I marry I learn something. This has taught me once and for all--you can’t expect noblesse oblige from a cowboy-- (Sitting up) Ohhh, my eyes! They’re full of mascara.
Nancy (helping her off the couch.). We’ve got to get her home.
(enter Mary pulling Miriam by the arm)
Miriam (protesting). Crystal’s not in here. I don’t think she’s in the joint.
Mary. She’s coming. I know it.
Miriam. So what are you doing to do when you find her? (Sadie takes mary’s wrap.)
Mary. I don’t know. But I’ve got to find her tonight. Buck’s going to Hollywood in the morning.
Miriam. Say, why don’t you settle this matter with Stephen?
Mary. I have no proof, I tell you! But if Buck is a drunk as you say, he’ll give away something.
miriam. Listen, he’s been trying all night to give FLora away to the doorman. Got a twenty-dollar bill?
Mary. Yes.
Miriam. That’ll lock him in the men’s room till we need him. (Exists, right, with Mary, as enter, left, the two Society Women. They cross the stage.)
(enter Sylvia and Crystal)
Sylvia. (they go to mirror, left). Stephen is in a mood.
Crystal. Is my mouth on straight?
Sylvia. Crystal, you didn’t come here to see somebody did you?
Crystal. Oh sylvia, can’t you lay off that for a minute? (enter mary and miriam)
Mary. Mrs. Haines this is a great pleasure!
Crystal (turning) I beg your pardon.
Mary. Such a lovely party! I was afraid you weren’t coming. (introducing Crystal and Miriam,, Miriam and sylvia) Mrs. Fowler, Mrs.Haines, Mrs. Fowler, Mrs. Fowler)
Sylvia. Mary when did you begin drinking?
Mary (to Crystal) Early in the evening, with Mr. Winston. You know Mr. winston don’t you?
Crystal. I’m afraid I don’t
Mary. Well he’s in the lobby now, waiting for someone, Mrs. Haines, and drunker than you can possibly imagine. You’ll find him very difficult to handle, in front of Stephen. (Crystal turns to go)
Sylvia. Crystal, where are you going?
Crystal. (to Mary) You’re trying to break up my marriage!
Sylvia. The way you did hers, you floosie!
(enter Countess)
Countess. (rushing for Crystal) You- you painted wagon! (the girls pull her off crystal)
(enter Nancy)
Nancy. There’s a gentlemen called Mr. Haines. He says he’s been waiting a long time for his wife. (Crystal moves to get her wrap)
Mary. Tell him I’m coming.
Sylvia. What a dirty female trick!
Crystal. Yes! From the great, noble little woman! You’re just a cat, like all the rest of us!
Mary. Well, I’ve had two years to sharpen my claws. (waves her hand gaily to Sylvia) Jungle-red, Sylvia! Good night ladies! (end scene)
Closing Transition Scene
Fades back into the beauty parlor/nail salon where Agatha and Marge have been recalling the events of Mary’s story
Marge. And that’s how it ended up.
Agatha. How what ended up? Does she get Stephen back or not?
Marge. Oh well, I didn’t really get to hear that part when I was listening to her conversation.
Agatha. Marge!
Marge. What can I say? I guess nothing changes once you get to be our age.
Agatha. Yeah, your skin droops and you can’t bend over.
Marge. No I mean marriage, the one thing women won’t stop clawing over. Nothing gets you through life like a new man and his money.
Agatha. Except nail polish.
Margee. Oh yes, nail polish is the cat’s meow!
CURTAIN
Conclusion:
At a time in American history where women’s roles in society were being molded by feminist ideals and radical outlooks, Clare Booth Luce asserted her opinions on marriage and women’s advancement through the entertainment industry. The Women not only established a new, all-female cast for Broadway plays, it advocated for a change in social attitudes towards divorce. Luce believed that it wasn’t a disgrace for women to be separated from the husbands, but a freedom that allowed them to live fully and contribute to society. Without The Women, the entertainment industry as well as society would be lacking in a critical piece of feminist literature.
Storyboard
Bibliography
"By Clare Boothe Luce." Enotes.com. Enotes.com, n.d. Web. 24 Oct. 2013.
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"Clare Boothe Luce Biography." Bio.com. A&E Networks Television, 2013. Web. 24 Oct. 2013. .
Grolier. "History of Women's Suffrage | Scholastic.com." History of Women's Suffrage
Scholastic.com. N.p., 2013. Web. 24 Oct. 2013.
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J, Morris S. "Clare Boothe Luce." Clare Boothe Luce. N.p., 1997. Web. 24 Oct. 2013.
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Longwood University. n.d. The Women. October 2013
Luce, Clare Boothe. The Women: A Play in Three Acts. New York: Dramatists Play Service, 1937.
Print.
PBS. PBS, n.d. Web. 29 Oct. 2013. .
"Writer, Diplomat Clare Boothe Luce." CBLPI. N.p., n.d. Web. 29 Oct. 2013.
.
Tuesday, October 8, 2013
Blog #9 The Kings Pawn (Wolf Hall Summer Creative Project)
Zoe Storch
Wilson
AP English Literature and Composition
Wolf Hall Creative Project
8 October, 2013
Text: Wolf Hall by Hilary Mantel
Essence: The commitment to one’s duty results in the destruction of morality and creates a blurred line between what is right and what is necessary.
(Duty vs Morality)
Summary: In early 16th century England, the people worry that if King Henry VIII doesn’t produce a male heir, their country will be plagued by war and destruction. Unknown to much of his constituency, the King has already begun an affair with Anne Boleyn and is trying to rid of his wife, Catherine of Aragon. Thomas Cromwell, a self-made, high-ranking official of the king, is caught in the middle of Henry VIII’s affair, as well as the struggles and death of his own family. In order to maintain his position under the King, he must sacrifice his personal needs to focus on manipulating all who oppose the King’s decision. Navigating the corruption and controversy of the King’s court, Cromwell ultimately attempts to seal Henry VIII’s marriage to Anne without losing himself in the process.
Prompt:
1979. Choose a complex and important character in a novel or a play of recognized literary merit who might on the basis of the character’s actions alone be considered evil or immoral. In a well-organized essay, explain both how and why the full presentation of the character in the work makes us react more sympathetically than we otherwise might. Avoid plot summary.
Thesis which addresses prompt: In Hilary Mantel’s Wolf Hall, self-made man Thomas Cromwell is forced to choose duty over morality and although he works his way to the top by shoving others to the bottom, Mantel’s relatability and characterization of Cromwell causes us to react sympathetically in a way that makes his actions seem justifiable.
Creative Project: In a game called The Kings Pawn (based off of the board game Battleship), two players, each with a battle board, must attempt to destroy their opponents’ team while simultaneously protecting their own pawns.
Hilary Mantel’s Wolf Hall centers on the dilemma that exists between duty and morality. Mantel uses Thomas Cromwell to carry out her belief that there is no possible way to balance the two. Through the characters many trials and tribulations, it becomes apparent that focusing on one’s family leaves behind the commitment to your career, but focusing only on career destroys the family unit and individual happiness. It is only in the end of the novel that Cromwell takes a step back to glimpse at the monster he has become. Even at this point, we as readers still react sympathetically to his condition because of Cromwell’s “self-made” personality and unfortunate childhood. We see his inner struggle and true intentions to provide for his family when he says to his newborn son “...I shall be tender to you as my father was not to me. For what’s the point of breeding children, if each generation does not improve on what went before?” (40)
My creative project illustrates this theme physically in a strategy/luck game called The King’s Pawn, based on the board game Battleship. In this game there are two players, each with a battle board, who must try to kill their opponent’s team while at the same time, protecting their own pawns. While opponents try to kill the other’s pawns, they may forget to about their own. This very simple task parallels Cromwell’s personal struggle to balance family with duty. Just like players of the game may see, Cromwell experienced failure when the death of his daughter caused him to realize he was working to help the King instead of spending the time getting to know her. “Grace dies in his arms...I never knew her, he thinks;I never knew I had her.” (140)
Players have the chance to answer trivia cards if they destroy an opponent’s pawn. Answering a trivia card right gifts them a free life card to bring one of their dead pawns back in the game. This paradox of killing to bring back life illustrates the bloody mentality of the King’s court and its constituents. Anne Boleyn, Henry’s mistress, highlights this mindset in her answer to Cromwell’s question concerning the Pope (who was against Anne and Henry’s marriage). “Yes,” Anne says, “but the cardinal fixed him, and most unfortunately the cardinal is dead.” (346). Although we think of him as the “good guy”, Cromwell is part of this court and must choose to hurt others in order to protect and provide for his own family. The temptation to injure for personal benefit it apparent when King Henry VIII tells Cromwell plainly, “You are to be Master Secretary. Rewards shall follow.” (528)
The purpose in creating The King’s Pawn is to prove Mantel’s belief as well as the main essence of Wolf Hall. In theory, players will realize at the end of the game that doing their “duty” and destroying their opponent’s team may be saving their own pawns but is killing the pawns of another player who is working for the same goals as himself. At the end of the novel, Cromwell has a similar realization as he turns to the self portrait a painter has recently gifted him with. “He turns to the painting. ‘I fear Mark was right...I heard him once say I looked like a murderer.’ Gregory says, ‘Did you not know?’”(489) By finally taking a step back to look at his own identity, Cromwell begins to see that he has made a choice to value duty over personal interests. His family is already broken and his friendships shattered, but he at the very least becomes aware of what he has become, which is what players should ultimately get out of The King’s Pawn.
Works Cited
"Interesting Facts about Henry VIII." Interesting Facts about Henry VIII. N.p., n.d. Web. 07 Oct. 2013.
"Lists." TIME.com. N.p., n.d. Web. 07 Oct. 2013.
Mantel, Hilary. Wolf Hall: A Novel. New York: Henry Holt and, 2009. Print.
"VIII Random Facts About Henry VIII." Mental Floss. N.p., n.d. Web. 07 Oct. 2013.
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