Lorca Journal #4

In Act 3 Scene 1, Lorca juxtaposes poetry and prose to give some characters a sense of epic while having the other characters under their throne of control. When the Moon speaks in its poetic lyrics it gives it a sense of power and epic, "Who's hiding there? Who sobs beneath the thorns and brambles? The Moon drops down a dagger." (82). The Moon expresses itself as very powerful and almighty especially since it is speaking in a poem. When Leonardo and the Bride enter the stage they begin to speak in what I believe is prose, "The first wild birds of the morning are breaking out of the trees and now the night is dying on the sharp edge of the stone." (91). Yes the characters have nice language but we do not get this same feeling with the Moon reciting poetry. I think Lorca is saying that there are other worldly spirits and beings that just have power and influence on how we live our lives. I also think that since they are using prose the stage directions take away even more, "And I will lie at your feet guarding what you dream, naked watching the fields (Dramatically) [...]" (91). Overall Lorca juxtaposes poetry and prose to lend a sense of epic towards the Moon to convey that there is are beings that have influence over us.

Lorca Journal #3

In Act 2 a lot of young men and women appear as minor characters in the scene of the wedding But they also serve a valuable purpose in determining the theme and overall message of the play. I think these minor characters serve as maybe a conscious to certain major characters in the play. I think they could serve as the conscious for the newly wed Bride and the Groom which some young men asked if they would go have a drink with them. I see they have an influence as to what the characters do and react somewhat. This lead me to believe that they could also serve as the chorus in Lorca's play. Since there is no publicly assigned chorus, some minor characters have to play the part. When the bride is in a room with some of the young girls they talk with each other and seem to ask a lot of questions and reveal that she sort of does not like the idea of marriage. The young men and women in the play play a role of changing the themes of the play by interacting with the main characters in a way that can influence decisions just like a chorus.

Lorca Journal #2

Option #2B:

In Act I of "Blood Wedding" we see Lorca's understanding of the concept of tragedy through a few things. We see it when the Mother-in-Law and the Wife sing a lullaby to Leonardo's child to make him go to sleep. The fact that the lullaby's lyrics are repeated over and over again bring show that the lullaby has a significance in the play. While I was reading through the lullaby that the Mother-in-Law was singing to a child I came upon something interesting, "And in his eyes, A silver dagger, They went to the river, Down to the river! The blood was flowing Stronger than water." (18). Obviously this isn't just some regular lullaby, because this wouldn't be something for a little kid to hear when they are about to go to sleep and that's why it brought my attention. I think Lorca uses forshadow in order to hint to the reader that of course blood will be shed in the end. Lorca might also be using the horse mentioned in the lullaby as a symbol for a greater "force" in the world that we can't control and make us at their mercy.

Ibsen Journal #5

In the argument between Relling and Gregers, they talk essentially about what we had our debate in class today. Gregers believes that a marriage and/or relationship has to be based on truth and not lies, while Relling thinks that living with a lie will just make a person unhappy and not ready for truth, "Deprive the average man of his vital lie, and you've robbed him of happiness as well." (203). Relling takes the opposing side of idealism and thinks of it as useless and pointless when you've got "lies" to base your life upon. "Mr. Werle junior -- don't use that exotic word ideals. Not when you've got a fine native word -- lies" (203). A man will become discontent with their life once they are exposed to the truth. He also sort of implies why bother a man that is already happy with his life to screw it all up in the attempt to tell him the truth. So basically, the truth has nothing to do with happiness. But on the other hand Gregers has a different point of view on what will make a happy life, "He certainly had to pare down his early ideals." (203). Gregers thinks that everybody should have an idealistic life, and feels bad when Old Ekdal had to lower his ideals in life. Relling, at one point, compares people with ideals as sick, "Most of the world is sick I'm afraid. [...] I try to keep up the life-lie in him." (202). Relling was the one who set up Hjalmar's life of lies in order to curtain the truth from him. I think Ibsen's central point on the matter of idealism and truth is that it doesn't matter how you view or live your life whether it being based upon lies or based upon truth. All that matters in life is to be happy whether it is based on lies or the truth. At least that is what I believe on the matter.

Ibsen Journal #4

Realism in Drama
Ibsen displays the motif of blindness and irony through Hedvig and Gregers hope that idealism will cause people to be ignorant and blind to what is really happening. Hedvig is obviously an idealist in the play because she is so happy and positive about everything when there is no reason to be. In the play Hedvig is going blind and is being repeated throughout the play. "It's got to be something good, and then Daddy'll be happy and things will be pleasant again." (193). This is an example of Hedvig being idealistic and telling herself things that she wants to hear happen. When Hedvig is reading the letter for herself Hjalmar gets uneasy about the light she is reading it under, "The eyes, the eyes -- and now that letter." (194). This shows Hedvig's blindness to what is really going to happen later. Gregers is also shown as an idealistic, "I want to establish a true marriage." (186). This is Gregers' intention but ends up doing the exact opposite by telling Hjalmar the truth about Gina and causes this big argument between the two and then Hjalmar proceeds to run out of the house. These characters are so blind to what's really happening and fail to see realism in any part throughout the play.

"The Sea Bird" by Welhaven
Ibsen uses allusion to reference the poem "The Sea Bird" by Welhaven to show when pushed too far it will end in death. There are many instances where the wild duck is referenced in the play for example, "A really fantastic, clever dog, the kind that goes to the bottom after wild ducks when they dive under and bite fast into the weeds down in the mire." (155). Gregers says he wants to be the dog that rescues the wild duck from the bottom of the water just like in the poem the bird dives to the bottom to get away from the hunters. In the poem, the duck essentially kills itself in order to get away from the hunters but only because it was provoked. "But what if you know, of your own free will, sacrifice the duck for his sake." (197). Here Gregers is provoking Hedvig (aka the wild duck) to sacrifice the duck in the garret for her father, but little does he know that since he provoked her she will kill herself just like the bird in the poem. 

Ibsen Journal #3

How is the setting difference from that of Act I? What is the effect of this difference?

In Act I, the scene opened up in Werle's home with nice furniture, nice house, the clinking of glasses, and an overall elegance feel to it. We immediately get the impression that Werle is rich and lives in a nice home. "In the rear wall, open folding doors with the curtains drawn back disclose a large, fashionable room, brightly lit by lamps and candelabra." (119). But once we start reading Act II, you see that the Ekdal's home is part of a whole different social class. "The room which is fairly spacious, appears to be a loft. To the right is a sloping roof with great panes of glass [...]" (137). Now we immediately can tell the difference between the Ekdal's home and Werle's. The description is not as elegant sounding and we know that their home is not as nice like with upholstered furniture. Now since we see the difference life styles of the people we can now put them in their appropriate social classes. Werle belongs in the rich and wealthy class and Hjalmar belongs in the lower/poorer class. The effect of this difference is to get the reader's mind to have already set up which group of people belong in the wealth and the lower. We also get a different point of view in Werle's house than reading in Hjalmar's loft apartment, and see how each of them treat etiquette and interact with each other. 

Ibsen Journal #2

To start off with Werle, Gregers, Hjalmar (kind of) and the rest of the guests mostly follow the "rules" of etiquette. An example of the narration of etiquette, "a knife clinks upon a glass; silence; a toast is made; cries of 'Bravo', and the hum of conversation resumes." (119). The narration tells us that these people are having a nice and formal dinner party. The example of etiquette is found in how they make a toast then with a cry of "Bravo!" shows they come from wealth and are well-mannered. Especially Werle, and how he has a background of being wealthy and proper. The only display Werle shows breaking the rules of etiquette is when Gregers intentionally forces him to have a talk in private which escalated in the end. Gregers, I would say, also shows etiquette mostly. Since he too comes from wealth and status. His father is rich and lives in a nice home with servants and maids. He is the main reason for why his father is throwing the dinner party, which shows that he has a formal way celebrating his return. 

Mrs. Sorby and Hjalmar are kind of at the balance between violating the rules of etiquette and showing etiquette. For starters, Mrs. Sorby was once the housemaid and is acting the role as hostess of the dinner party. Some might consider it ill-mannered for a former housemaid to host a dinner party but she shows that she is moving up the social ladder from a maid to the house mistress. This depends on the way you might interpret breaking the rules of etiquette. Secondly, Hjalmar was on the line of breaking etiquette because he failed to acknowledge his father at the dinner party because his father is of lower social status and definitely condemns etiquette. But, Hjalmar is also showing etiquette by ignoring his father because of his social class, so it kind of gives him an excuse on which ever way you see it. Hjalmar also pretends he did not see his father when Old Ekdal asks if he saw him there, "You didn't see me at all did you? -- No, but they said you'd been through." (141). 

Lastly the character who breaks the most etiquette is Old Ekdal. When the wealthy dinner party guests are having their conversations, Graaber (the librarian and worker) and Old Ekdal enter throught Werle's study and the site of the dinner party which is quite awkward and not allowed. Since these are workers of Werle, it is socially unacceptable to have your workers leaving through the main doors in the front because they aren't of the social status and neither were they invited to the dinner. This is also breaking rules of etiquette because of the fact that Old Ekdal is wearing dark old clothes, "He is dressed in a shabby overcoat with a high collar, woollen gloves, and in his hand, a cane and a fur cap." (120). 

This is when Hjalmar pretends not to notice his father. In the end, Ibsen's argument regarding etiquette is that because one might show etiquette it does not mean that they have the best choices made for themselves, and their choices now may reflect later in life. 

Antigone Journal #4

The first theme that I chose was the option of having fate or free will, will determine your downfall/outcome from the play Antigone. In Oedipus, Oedipus' fate is read right in front of him but he says it is not true so he goes with the idea that he has his own free will. But of course in the end it didn't matter if he accepted it or did not. What the blind man said happened no matter what Oedipus did. The only difference I see between the two plays' themes is that Antigone chose her own fate and did nothing to stop but provoked it. Oedipus might have known his fate but went into denial, instead of acceptance. Basically, Oedipus did not choose his own fate and denied it, while Antigone chose her own fate and supported it. These were the main similarities and differences of the two themes in Antigone and Oedipus.

Another theme I see in Antigone to compare with Oedipus is the theme of having a set evil and good in the world will prohibit chaos. In Jean Anouilh's version of Antigone, it shows that King Creon had to make an automatic good and evil person, because there has to be someone to blame in a deal of crisis. He believes that this needs to happen in order to prevent chaos. Creon has the power to make his kingdom burn but instead he uses it for good of his kingdom. But in Oedipus the theme of power will corrupt and make you blind. After Oedipus knows a little bit of his own fate, he tries to persecute anybody in an attempt to secure himself in a way. While Oedipus is being corrupted by this power, Creon takes it into his own advantage for his kingdom. That is the main difference in the subject theme of power and corruption.

Antigone Journal #3

I think Antigone and Creon will make decent characters to compare & contrast. To start off with, Antigone uses a lot of similes and metaphors when talking to Creon and sort of sarcastic tone. "The thing is catching! Who knows but that lots of people will catch the disease from me!" (44). Apart from this Antigone seems to be murmuring and thinking to herself a lot, because of the gestures. "[murmurs, lost in thought]. Happiness . . ." (41). Antigone is lost in thought thinking about what Creon is saying and taking into consideration what she thinks happiness is. Next Creon who is speaking in long turns is described as fierce, but still struggles to contain Antigone, "[grasps her by the arms]. Shut up! If you could see how ugly your are, shrieking those words." (43). Even though Creon is trying his hardest to control Antigone, in a physical and verbal manner, he still fails and ultimately has to send her to her death because it is her "fate". Another example of Creon failing at controlling Antigone, "Be quiet, I tell you!" (42). I think Anouilh sets up these two characters against each other just because there has to be conflict between the sympathetic character and the person who is trying to control everything and put it in order. This effects my understanding of the play because I now see that Antigone has power over Creon and Creon cannot do anything about it because either way he is complying to what she wants: to die. If Creon does not do this she goes back to making herself look like a fool in front of the whole kingdom and causing suspicion among the citizens. He cannot get satisfaction either way. I see this as Antigone's attempt to control Creon by intimidating him that she will not comply to his demands and neither will she agree with him. This sets up further characterization such as Antigone's stubborn-ness and how she sees her death inevitable that she won't change her mind.

Antigone Journal #1

In Anouilh's adaptation of Antigone the Chorus provides a back story and informs the reader of previous events that is important to the story line. But in Anouilh's version the Chorus has been reduced to just one person, basically speaking for the people of Thebes. The Chorus provides the information on how the reader knows that Antigone is going to die and sets her up as the Tragic Hero in the end. The Chorus also provides an "in-between" view on the whole subject but can change the readers view on characters. The Chorus effects the readers' interpretation of Antigone by making the reader feel sorry for Antigone (I guess pathos). The play has not even yet started and we already feel a (sort of) sorrow for Antigone and what she is going to have to go through. Here is an example: "Another thing she is thinking is this: she is going to die. Antigone is young. She would much rather live than die." (3). Plus we already get the feel that we already know all this much information based on the characters and they do not, and this will definitely hurt them in the long run. The Chorus also sets up Ismene's character which also have an effect on how we kind of interpret her from the beginning. "[...] Ismene - to the gay and beautiful Ismene [...] Now look at Ismene again. She is certainly more beautiful than Antigone." (4) We get this obvious interpretation how beautiful Ismene is, and how much MORE beautiful she is than Antigone. This sets up rivalry between the two sisters, beauty and personality wise. Because it says that Ismene is way more beautiful than her but who knows personality-wise. The last major character that I think the Chorus effects the readers' interpretation of the characters is Creon the King. Here is an example: "That gray-haired, powerfully built man sitting lost in thought [...] his face is lined, he is tired. He practices the difficult art of a leader of men [...] when Oedipus was king [...] he was different. He loved music, bought rare manuscripts, was a kind of art patron." (4). As soon as the Chorus starts describing him we see that he has aged a lot quicker, but still kept his stature of a leader when he became king. We also see that he used to love hobbies but can no longer enjoy them because of his position of power. This effects the view of the king as seeing Creon as just a regular guy who stopped doing what he loved because of being stuck with the position and we feel sympathy towards him. 

We Journal #3

While reading the last 1/3rd of the book, I came upon realizing that social connections are appearing more strongly, as well as the language/syntax which changed drastically, motifs, and setting. 

Cultural Connections
As I get to the part of the novel where D-503 meets the Benefactor (which I finally figure out is an actual person) and that this closely resembles Big Brother in George Orwell's 1984. I am pretty sure that this is not a cultural reference but I am sure that Zamyatin used this in order to hint readers that it is the same idea and concept. But something that Zamyatin does reference is personal events that he went through during his time under Communist Russia, D-503 states,"(the number of the auditorium is familiar for some reason: 112.)" (202). The number "112" relates to Zamyatin's cell number where he served his time imprisoned, twice. He uses this reference to relate the One State's government to his own in an attempt to say that this government will fail and is corrupt. A little earlier D-503 is talking to I-330 about the revolution, "This is pointless! [...] you are starting what is called -- a revolution!" (153). The "revolution" is a cultural connection to the Bolshevik Revolution during the author's time. Since the Bolshevik Revolution did not last long, he refers the revolution as "pointless" and will not last long either. 

Language
Especially after D-503 has his "operation" which was performed on his brain removing any kind of imagination or emotion, the language and/or syntax has changed. Before the operation, D-503 got lost in thoughts and emotions, expressing them with metaphors, so quickly which then led to him getting sidetracked. He instead starts writing with many colons and straight-forward writing. "No: it is me the trembling is inside me...," (185). The colon shows that instead of writing in a fluid "go with the flow manner" he starts writing in a more, if anything, strict manner. This has to do with the fact that he had his emotions and imagination taken out of part of his brain. D-503 also starts capitalizing "He" in a repetitive manner (186). The capitalization of "H" in the word may relate to a reference of God. Maybe in this dystopian society, they view the Benefactor as their "God". This, however, is still unclear.

Motifs
Having logic and being rational are still main motifs in We, I believe. This is a big part to why they wanted everybody to have the Operation. This would bring complete logical thoughts and no interruption from feelings and imagination. "Go quickly -- upstairs -- to the Great Operation!" (182). Through the "Great Operation, shows the motif of logical reasoning. Also D-503 plainly states the 'motto' in the very last sentence of the book, "More than that: I know we will win. Because reason should win," (203). 

Setting
Near the very end of the novel D-503 is alone in his room with U. Since D has already had his  operation this helps the tone of the setting feel uncomfortable and with no remorse. "you can kill anything with laughter -- even murder itself." (184). The setting helps to intensify D's lack of consideration and caring how I see it. He laughs at everything that is not really funny. It really shows how D really does not have the same emotions anymore, especially the fact that he was laughing about murder. 

We Journal #2

As I read through the next 2/3rds of the novel more things start to reveal themselves such as motifs, setting, language, and cultural connections. The following are examples of each and how I think Zamyatin uses these devices.

I found in We that there are a lot of references and cultural connections to Totalitarianism (a lot). An example I found describes the Integral's purpose, "the Integral is contemplating its great and terrifying future, it heavy cargo of inescapable happiness, which it will carry up there, up to you, the unknown [...]," (73). The Integral will force upon you its happiness which is inevitable, meaning that their rule will be everywhere. This also relates to the Bolsheviks in Russia trying to spread communism to their neighboring countries. I also found that Zamyatin also makes a reference to how Russia's Soviet Bloc nations. "Have you ever heard? They're saying that in the Day of the One Vote?" (108). The Day of the One Vote is held every year and this closely resembles how in the USSR there were similar election practices. Zamyatin wants to reveal and unmask these things for what they really are so that is why he makes this whole book, to compare how Soviet Russia could become this corrupt society and government.

Logic answers everything and is 100% correct, logic cannot be questioned (mathematically). D-503 believes in this throughout all of the novel (motif). This logical reasoning is very influential in the lives of the people under the One State's rule. and for them every problem can be solved by making functions (equations) based on how love and death work, "And hence, if "L" signifies love and "D" signifies death, then L=f(D) -- that is, love is a function of death," (119). D-503 pu)ts love, which is still not fully explained to us now and will probably never be explained (through science at least), all in an equation along with death. (BOOM! We can't even explain what love is but this guy who lives in a fictional world manages to solve it just by thinking and comparing it to an equation. Logic?) 

Language in this book derives from the fact that he is writing through thought process and first person. The fact that he is remembering what he did in throughout his day makes his thinking process choppy and unfinished. "And so what if something had been smashed to smithereens -- it doesn't matter! Just to carry her like this, carry her, carry her..." (127). His thought process completely cuts off because we are reading just some of the highlights of his day and what remains in his conscious mind. I also find that he leaves thoughts lingering and then proceeds with ellipses, "And then, once again; bees, lips, the sweet pain of blooming..." (116). Zamyatin uses the lingering thoughts to justify the fact that logic and total control of every aspect of a person's life will not answer every question that life has to offer. Nature's answers do not derive from a person's invention; we invented numbers right? Of course in their world of numbers, D-503's lingering thoughts cannot be solved by these means. There are no numbers within the world of the natural and its problems.

The setting of the book really helps with the fact of how they think and just their culture in general. "I walked along the X-axis (Fifty-ninth Avenue) to the origin of the coordinates[...] upside down buildings and people, my tortuously extraneous arms[...]" (82). The street he named the "X-Axis" compares to what the real name of it is. Another is, "I am almost alone in the building. I can see far into the distance of the sun-flooded walls: there are rooms hanging in the air[...]" (96). I am not really clear about the setting on this particular page but then just rambles on about there is something coming out of the darkness and shadows and he could hear the footsteps.

We Journal #1

In the beginning of We, I have found that the author uses some paradoxes. In merely the beginning of the book D-503, the main character, states was was printed in the State Gazette, "If they won't understand that we bring them mathematically infallible happiness, it will be our duty to force them to be happy," (3). First of all, I believe that they rely on  math for every bit of their orderly lives because math will always be 100% (for the most part). That is what is meant by when they say "infallible". And secondly, they will force the alien people to be happy, which is strange. In the act of forcing someone to do something, does not mean that they will be happy for if everybody has their own way of being happy which in a sense does not imply force. 

As I read through I start to notice that Zamyatin uses a lot of alliteration in the text, which is followed by some imagery. Strangely, D-503 looks at the a male and a female which are at his side then suddenly starts talking about something else, "The blessed-blue sky, the tiny baby suns in each badge, faces unclouded by the folly of thought," (7). The author uses this alliteration to prove something that I cannot come to an understanding with but intrigues me. It seems very odd that the main character was explaining in his record of certain events that are occurring, and then you start reading about how there are "tiny baby suns in [a] badge". Next, after he met with I-330, he notices her teeth, "Suddenly she caught herself that sting-smile of white, sharp teeth appeared," (25). Whenever D-503 encounters I-330 he describes her teeth as sharp, white, and occasionally evil. This shows how he knows that she represents chaos in the novel, and a rebel in the eyes of D-503.

The Stranger Journal #4

In the last chapter of The Stranger, Meursault has his final epiphany. "And I felt ready to live it all again too. As if that blind rage had washed me clean, rid me of hope; for the first time, in that night alive with signs and stars, I opened myself to the gentle indifference of the world. Finding it so much like myself-so like a brother really-..." (122). Meursault here is opening himself, letting himself sink in that the gentle indifference of the world really is like him. The indifference of the world means that everybody else in the world doesn't pay much attention and does not care about the rest of it and thus will not react. For example, hundreds of thousands of people suffer from disease, war, malnutrition, etc. but really is anybody mourning about that right now? Obviously not. Meursault sees this and realizes and accepts the fact that its just almost like him, "Finding it so much like myself-so like a brother, really-I felt that I had been happy and that I was happy again," (123). The world he sees now has always been indifferent, just like himself, and not caring so much as to other people's actions and what will become of them. An example of how Meursault portrays indifference, "They were announcing departures for a world that now and forever meant nothing to me," (122). The overall effect of this epiphany is that Camus wants to get the reader that, in the idea of existentialism, he wants to give up on the world, give up his caring, and has also become indifferent to the world, because of how he sees everything in his perspective.

Meursault's final epiphany connects to the idea of existentialism. It connects to existentialism because right before Meursault even has his epiphany, he has a physical and sensual experience, "Smells of the night, earth, and salt air were cooling my temples," (122). The idea of existentialism states that you rely on physical and sensual experiences as you move forwards in your life. The starting point of philosophical thinking has to start with these sensual feelings you experience through life. Since Meursault is considered to rely on and depend on his sensual experiences he reaches his epiphany at the end of the novel. This is purposely done by Camus to portray the fact that since Meursault relies on his physical encounters he is able to achieve his "philosophical" epiphany. Since the ideas of existentialism state that moral and scientific thinking alone cannot achieve this, it explains that Meursault never has curiosity or either the desire of knowing, which is almost a human instinct.

The Stranger Journal #3

When Meursault is in court, he is being tried in a different kind of way then normally would be done. The court looks upon religious morals and repentance. Since the French culture influenced Algeria their justice system is heavily effected by religion. So, in court Meursault's magistrate judges him by the laws of religion or as to say morals, "And I tried to listen again but the prosecutor started talking about my soul." (101). I feel it to be very unfair that Meursault is put in this situation of being accused of having no morals or remorse. I don't believe it is Meursault's fault for experiencing the world as he does, by physical means and sensory experiences rather than dwelling on what is happening. It could actually be that Meursault is insane and crazy, but that is an unsure statement. I also find irony in the fact that Meursault's lawyer stating he is already suffering from internal remorse, "I barely even heard when my lawyer, wrapping up, exclaimed that the jury would not surely send an honest, hardworking man to his death because he had lost control of himself for one moment, and then he asked them to find extenuating circumstances for a crime for which I was already suffering the most agonizing of punishments---eternal remorse," (105). At this point, Meursault starts having less and less say in the case, and he expresses that, "My fate was being anyone so much as asking my opinion," (98).

Since Meursault is not given a say, he believes that his fate was in the hands of basically everyone else but him. One fact that should be given consideration is that the courtroom should be a place without any disrespect. It seemed strange to me that the whole courtroom laughed just because Meursault wanted to tell everybody what really happened in the way he saw it. "Fumbling a little with my words and realizing how ridiculous I sounded, I blurted out that it was because of the sun. People laughed. My lawyer threw up his hands, and immediately after that he was given the floor," (103). The courtroom laughs because obviously this idea that the sun had made him give the trigger and kill him is absurd and do not understand his viewpoint on the whole subject. " 'It is true I killed a man.' He went on like that saying 'I' whenever he was speaking about me. I was completely taken aback," (103). I also believe that this, speaking in the perspective of Meursault is not fair because it does not give consent to him that what he is saying is completely true. Meursault's treatment is not realistic because in real given situation, he would have say in this and not just have his fate decided by people who are not willing to see through his eyes. 

The Stranger Journal #2

Meursault lets himself get overpowered by nature. The Sun is really a big factor when you see how his actions reflect this. In the beginning Meursault is in a happy and good mood with Marie, "..., the day, already bright with sun, hit me like a slap in the face. Marie was jumping with joy and kept on saying what a beautiful day it was. I felt a little better..." (47). Right after Meursault notices how nice it is oustide, he immediately starts feeling better. When Meursault is lying down on the sand with his friends he dozes off because of the sun, the fact that the sun was present and shining down on his face shows that Meursault is controlled. "...warmth from her body and from the sun made me doze off," (51). As it gets closer to the end of Part 1, Meursault seems to be getting more and more irritated by the shining of the sun, "The sun was shining almost directly overhead onto the sand, and the glare on the water was unbearable," (52). Meursault doesn't seem to be consciously thinking when he is in control of the sun, "I wasn't thinking about anything, because I was half asleep from the sun beating down on my bare head," (53). Right before Meursault shoots the Arab, he describes how hot the sun is and compares it to how hot it was on the day of his Maman's burial, "The sun was the same as it had been the day I'd buried Maman, and like then, my forehead was especially hurting me , all the veins in it was throbbing under the skin. It was this burning, which I couldn't stand anymore, that made me move forward," (59). This quote that shows Meursault directly stating that he moved forward and shot him was that the sun was overpowering and Meursault's actions depend and reflect on nature, more specifically the sun.

Journal: Evaluation of Commentary

The commentary of the passage starts right away and does not let me get a feel as to what the writer feels towards this neither did it let me get a better feel as to what he was going to be diving into. I am not saying that the writer did not do a good job, its just that the overall flow and introduction could have used a little bit more editing and more word choice. I did, although, find some grammatical errors that could have, as I said before, been fixed with some more peer editing. Overall, I think this could have been put a little more time into; but they thought it out a lot and I think almost all o their points did make sense, and they did well. 

Journal: Chapter 8-12

In the second paragraph of Chapter 9 Zora Neale Hurston describes Janie getting ready for the funeral and for the mourning. Hurston also describes that Janie has given the people her face of mourning, "She sent her face to Joe's funeral, and herself went rollicking with the springtime across the world," (88). This conveys that Janie is not really mourning for the loss of Janie, but secretly unchained from Joe and can enjoy her special relationship with nature which was taken away from her husband. Hurston uses the simile, "It was like a wall of stone and steel," (88) to bring attention to the fact that her veil was like a wall and something to separate how she showed herself on the outside and how she really felt on the inside; which was a really big comparison one might even say Hurston used juxtapostion to compare these two completely different ideas to bring the reader the attention of how Jody was keeping her down and she needed to be free in order for her to be one with nature and with what she so desires. "Inside the expensive black folds were resurrection and life," (88) helps my point a great deal more by saying that Janie feels that she can live and breath again without the restraints of a man to keep her down.

Journal: Chapter 5-6

In the chapters 5 & 6 of Their Eyes Were Watching God, I felt that my perception of Jody keeps changing over time. In the beginning when Janie and Jody meet, Jody sweet talks to her saying she shouldn't be working behind a plow or doing any kind of hard work for that matter. For example, Jody says,"A pretty doll-baby lak you is made to sit on de front porch and rock and fan yo'self and eat p'taters that other folks plant just special for you." (29). My thoughts on Jody here seem to be that he is a nice man meant on being polite to her. As I read through it seems that Hurston starts to describe him more like a white man, more than anything and makes it difficult to perceive that Jody is black. Hurston/Janie describes, "Janie took a lot of looks at him and she was proud of what she saw. Kind of portly like rich white folks." (34). Hurston also says that Janie starts getting "proud of what she saw", meaning that Janie thought really good about herself that she had chosen a man that she can rely on and that it was of her own choosing. Jody is also very 'in control' about things, and needs to be in charge of every operation he does and he wants it done quick. Once Jody sees how the town is, he immediately demands to see the mayor, i which there is none, and then proceeds to ask questions and take over without anyone's real consent. 

Janie and Jody's relationship starts out fine. But once Jody starts feeling more in charge and more demanding once his control over the town, thieir relationship starts tension. Jody starts telling Janie that she isn't a one for making speeches. "mah wife don't know nothin' bout no speech-makin'. Ah never married her for nothin' lak dat." (43). Janie feels a little offended that he would not let her make a speech, but dismisses the thought thinking that not like she would ever make one. Janie feels like she is being repressed by Jody not letting her wear her hair out by making her wear a bonnet and yet he makes her do these things for him in a demanding tone, "Janie, Ah reckon you better go fetch me dem old black gaiters. Dese tan shoes sets mah feet on fire." (57). Janie tries really hard not to retaliate too much because she wants the marriage to work out really well. "She got up without a word and went off for the shoes. A little war of defense for helpless things was going on inside her...she wanted to fight about it." (57). Her thoughts reflect that Janie does feel like things are changing a little bit and feels a bit different about their relationship. Janie also alludes to Abraham Lincoln which is also an example of juxtaposition, "Abraham Lincoln, he had de whole United States to rule so he freed de Negroes. You got uh town so you freed the mule." This stands out a lot because Jody is not at all like Lincoln, Jody is power-hungry and only did it to please Janie, while Lincoln did the deed because it was ethical and a good change.

Literary Term Definitions

Alliteration- the occurrence of the same letter or sound of adjacent or closely connected words.
   Ex. Carrie's cat clawed her couch, creating chaos.
Allusion- an expression designed to call something to mind without mentioning it explicitly; an indirect or passing reference.
   Ex. In the poem "Yet Do I Marvel" by Countee Cullen makes an allusion of the punished King Sisyphus.
Ambiguity- a doubtfulness or uncertainty about the intention or meaning of something, may be something that has more than one interpretation.
   Ex. I saw her "duck."
Antagonist- a person who actively opposes or is hostile to someone or to something; an adversary.
   Ex. The antagonist of Super-Man would be Lex Luthor.
Apostrophe- a digression in the form of an address to someone or something not present or dead as if they were alive.
   Ex. "Oh Death where is thy sting!"
Protagonist- the leading character, or hero, or heroine of a drama or other literary work.
   Ex. Super-Man in the movie.
Assonance- rhyme in which the same vowel sounds are used with different consonants in the stressed syllables of the rhyming words.
   Ex. That solitude that which suits abstruser musings.
Chronology- the sequential order in which past events occur.
   Ex. The way that events happen in order in the novel "Their Eyes Were Watching God."
Conflict- is the struggle between the opposing forces on which the action in a work of literature depends.
   Ex. From the movie Rocky, he has internal conflict.
Connotation-an idea or feeling that a word invokes for a person in addition to its literal or primary meaning.
   Ex. Snake - evil and dangerous.
Anthropomorphism- the attribution of human characteristics or behavior to a god, animal, or object.
   Ex. Mickey Mouse
Denotation- the literal or primary meaning of a word in contrast to the feelings or ideas that the word suggests.
   Ex. The word Home, where a person lives at any given time.
Dialect- a particular form of a language that is peculiar to a specific region or social group.
   Ex. Janie's dialect from Their eyes were watching God, "ah wanted to see mah chillun."
Diction- the choice and use of words and phrases in each speech or writing.
   Ex. "Diction is done with the tip of the tongue and teeth!"
Epiphany- a term in literary criticism for a sudden realization.
   Ex. "He had won the victory over himself. He loved Big Brother." 1984
Euphemism- the substitution of a mild, indirect, or vague expression for one thought to be offensive, harsh or blunt.
   Ex. "There embrace had been a battle, the climax a victory." (105) 1984
Foil- is a character who contrasts with another character in order to highlight particular qualities of the other character.
   Ex. Horatio is Hamlet's foil.
Hyperbole- is the use of exaggeration as a rhetorical device or figure of speech.
   Ex. "I had a ton of homework last night."
Imagery- when an author of some sort is being visually descriptive or figurative language.
   Ex. "I could smell the flowers as they embraced me with their colorful passion, and their pedals were gleaming in the sun and a rainbow had sprung up out of the overwhelming brightness."
Irony- the expression of one's meaning by using language that normally signifies the opposite, usually for humorous or sympathetic effect.
   Ex. He was running across the street in a hurry for his life-or-death shot that could save his life, when an ambulance rushes by and kills him on impact.
Juxtaposition- means put two things next to each other to make them stand out.
   Ex. In Their Eyes Were Watching God, the juxtaposition between the dialect of the characters and the eloquent narration.
Metaphor- a figure of speech in which a word or a phrase is applied to an object or action to which it is not literally applicable.
   Ex. A deep dark crowd of evergreens standing arms linked for miles in a silent choir.
Mood- the atmosphere that provides the literary work with the intention of evoking a certain emotion or feeling from the audience.
   Ex. Night by Elie Weisel, the mood could make you feel dark and sad.
Motif- a reoccuring image or phrase in literary work.
   Ex. Trees are a motif in Their Eyes Were Watching God.
Motivation- the reason a character does something or behaves in a certain way.
   Ex. The reason why Janie was still with Jody was because she thought she always needed a man to be happy.
Oxymoron- a figure of speech in which apparently contradictory terms appear in conjunction.
   Ex. "Icy Hot"
Paradox- a statement that contradicts itself but in reality it can be true.
   Ex. Ignorance is strength
Parallel Structure- is a balance of two or more similar words, phrases, or clauses.
   Ex. We cannot dedicate, we cannot consecrate, we cannot hallow this ground.
Personification- the attribution to a personal nature or character to inanimate objects or abstract notions.
   Ex. The sea inhaled and exhaled deeply.
Point of View- the narrators position in relation to the story being told.
   Ex. "I saw his face, and it looked bad." first person
Onomatopoeia- the formation of a word from a sound associated with what is named.
   Ex. Cuckoo, sizzle, bark!
Satire- holding up human vices and gollies to ridicule and scorn.
   Ex. Political comic strips in the newspaper.
Plot- the events that make up a story, particularly as they relate to one another in pattern, sequence, through cause and effect, how the reader views the story , or simply by coincidence.
   Ex. Their Eyes Were Watching God; Janie gets married, runs away, finds another man, man dies, marries younger man, has to kill younger man, goes back to town to tell story.
Simile- is a figure of speech that directly compares two things, usually by employing the words "like" or "as".
   Ex. Curely was flopping like a fish on a line.
Structure- framework of a work of literature.
   Ex. Their Eyes Were Watching God, the story starts on a porch and ends on a porch.
Symbol- a thing that stands for something else, something material representing something abstract.
   Ex. The American flag is a symbol for freedom and for our country.
Syntax- the arrangement of words or phrases to create well formed sentences in a language.
   Ex. Eyeing the puddle, she jumped in her red galoshes into the massive puddle in front of her; She walked through a puddle in her red shoes.
Theme- is a central topic, subject, or concept the author is trying to point out not to be confused with any message, moral or commentary it might send.
   Ex. The theme of Romeo and Juliet is that fate is inevitable.
Tone- is a literary technique that is part of composition which conveys the authors attitude on a certain subject and is directed toward the audience/readers.
   Ex. The tone in the poem White Man by Langston Hughes, is portrayed as angry and sarcastic
Universality- the quality of being universal, being everywhere.
   Ex. When a person lives a life of goodness he or she is rewarded for those things with good events.

Journal: Chapter 1-2

Chapter 1-2 Journal

When I was reading the first two chapters of Their Eyes Were Watching God I came upon the idiom "An envious heart makes a treacherous ear." (5) In my opinion meaning that someone that is jealous or envious of something just might make that person make up stories that they hear and twist and change them to what they want to have happened. This applies to Janie's situation because when she came back from the Everglades (or muck) and she happens to pass some of the women who knew her back when she was living in Eatonville. They start talking about her and making up rumors that when she ran off with the young Tea Cake he left her for a younger lady and took all her money, and why she came back wearing overhauls. Hurston makes the decision of using the idiom because that is not what happened at all to Janie, she lived working hard because of her own decision and married Tea Cake who treated her well at most times. Janie really doesn't pay much attention to the ladies on the porch talking about her and making their own assumptions. "And Ah reckon they got me up in they mouth now." (5) But then dismisses it by saying that they are not really aware of what is really going on. "If God don't think no mo' 'bout 'em then Ah, do they's a lost ball in de high grass." (5) Hurston wants the reader to know that don't let others peoples words get caught up in your head because they are the ones who are really lost and not aware of the real situation and are just as wrong as anybody.

"She was stretched on her back beneath the pear tree soaking in the alto chant of the visiting bees, the gold of the sun and the panting breath of the breeze...then Janie felt a pain remorseless sweet that left her limp and languid." (11) There is a lot of beautiful imagery in this whole paragraph and alliteration in the last three words, limp and languid. Hurston is expressing Janie's womanhood here in these couple paragraphs. She also repeats "bees" in the paragraphs. She repeats the word" bees" is beacause bees and flowers are used in explaining sexual themes and that time when a woman goes through the change.