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Journals
Tartuffe, ACT 1-2, Moliere
After reading the first half of Moliere’s controversial play, Tartuffe, I was not so much concerned with the commentary on the Catholic Church, but with the tension between lovers. I was agitated that the young lovers created problems over nothing in particular. It was uncomfortable to see their conversation unravel and end in bickering. They both were too proud and worried about revealing their dependence on the other, that they completely disregarded the end goal—to be together. This minute interplay between characters can also represent Moliere’s thoughts on the corruption of the Church. Officials are so concerned with being right and with the logistics, that they may lose sight of the end goal—to live a good life and attain closeness with God though this.
I understand that this play is heightening the absurd aspects of life and poking fun at the folly of man, but it is slightly frightening. Since there is a bit of truth evident in this folly, one can only laugh nervously, rather than whole-heartedly, because the flaws of the characters are the reader’s as well.
Tartuffe, ACT 3-5, Moliere
Moliere’s play, Tartuffe, appears very flat and obvious in its intent. Reading the play in its entirety, the two-dimensional characters fail to insight any connection from the reader to the text—or at least from me to the text. Yes, I understand that this play was very controversial at its inception; and I know that it is filled with political and philosophical meaning, but I cannot bring myself to take it seriously. Too much irony and satire leaves a bad taste in one’s mouth.
I admit I might have a different take on this play if I thought Moliere wrote this work from beginning to end with one goal in mind. Knowing that he added a different ending and changed the occupation of Tartuffe from his original clergy position, makes me think that Moliere cared more about irritating the masses than actually changing any significant problems. He would not have changed his play unless it was to please the king and keep himself out of trouble.
I am a practicing Catholic, but that does not mean that I dismiss the corruption that existed in Moliere’s time. If he was so motivated to write this play, criticizing the Church, why didn’t he follow through and make sure that people understood what he was trying to do?
Selected poems, Baudelaire
Out of the seven poems assigned from Baudelaire, I was most intrigued by “Carcass.” I would readily associate Baudelaire with the Romantics because of his over-the-top, grotesque description of a female corpse in this poem. At first, I noticed the care Baudelaire took in describing the aesthetics of the corpse, paying particular attention to the sexuality of the corpse. Because he described this sexual corpse with such disgust, it seems as though he has some repugnance for female sexuality, or femininity in general.
This view would reveal irony (intended or not) on Baudelaire’s part, because he is viewing this corpse with his “beloved,” who, I am assuming, is a female. Some might argue that his goal is to show the temporary nature of our bodies, and juxtapose that with the immortal (or semi-immortal) nature of his poems, which will supposedly cement the beauty of his beloved into all eternity.
That sounds wonderful, and I would believe it, except for one thing: He spends too much time and energy on revealing the grotesque and sexual nature of this female corpse. This focus negates any good intentions he may have had toward his beloved or women in general.
Selected poems, John Keats
What a romantic! I can see why Keats is seen as the quintessential romantic writer. Each of the poems we were assigned drips with emotion and sentiment, some dark and some bright. Though I am not fond of any particular poem of Keats’, I can say that the aural qualities of the poems made for a purely pleasurable experience that is best captured by reading them aloud.
“Ode on a Grecian Urn” is one of his more popular poems, and I am familiar with this one. Although I have read it before, I did have a different take on it this time around. I noticed the contrast between art and real life. The urn itself is a sign of human mortality because its very purpose is to store the ashes of the deceased. The irony is the artwork on the urn, which depicts young, beautiful people dancing and singing—one would assume captures the very essence of life. The truth is that the artwork is not indicative of real life since it is static and frozen—humans are not.
“Ode to a Nightingale,” “Ode on Melancholy,” and “To Autumn” were poems I was not familiar with up until this point. Since I am not a big fan of the gloomy, “Ode on Melancholy” was not particularly enjoyable. I did, however, find “Ode to a Nightingale” and “To Autumn” quite pleasing.
Billy Bud, Sailor, Melville
I believe that Melville is targeting nationalism with his novel, Billy Bud, Sailor. It is quite obvious that Melville is weary of blind patriotism and he uses the character, Billy, to show what can happen to an individual who gets sucked into the system.
It has also been said that Melville’s story can be read as a Christian allegory. I think this is a bit of a stretch. Yes, there is the persecuted innocent who represents perfection to his contemporaries. But, that is where the comparison ends. So, if one means to say that it is a Christian allegory because of the persecuted innocent, then I guess they are right.
None of his characters are given the depth or emotional sensitivity necessary for the reader to relate to them. Since Melville focuses more on his allegory, the reader has no choice but to notice this symbolism.
Aside from the nationalism point that Melville is
trying to make, the idea of disconnectedness really shines
through in this novel. It is almost painful the way that events in this story happen as dominoes topple over each other. No character questions policy or throws a wrench in the system when accidents occur.
Madame Bovary, Part 1, Flaubert
I immediately took to this novel. The realist elements are strong in Part 1, and the detail that Flaubert goes to is amazing. I particularly liked the part of the novel when Emma and Bovary meet for the first time and he touches her slightly, causing her to blush. That kind of detail really paints a picture for the reader.
The portion of Part 1 that I found especially touching was the wedding of Emma to Bovary. The wedding itself was not the stirring part, but immediately after the wedding. The image of Emma’s father standing in the road, watching his daughter—his only family—ride off to start her life was simply heartbreaking. While he is happy for her, you can sense the imminent loneliness creeping into his life. He recalls the bittersweet memories of his own wedding and the happy years he had with his wife before she passed. It is just too much!
What is moving beyond that is the fact that Emma does not match her father’s love for her. She is portrayed as somewhat complacent, going along with what is expected. Of course, this could relate to all parent/child relationships. How could a child (even if they are grown) ever relate to the heartache a parent has when their chicks fly the coupe?
Hedda Gabler, Henrik Ibsen
My interpretation of an Emily Dickinson stanza about Hedda Gabbler:
My life had stood-an unused broom-
In corners-till a Day-
The Butler passed-identified
And carried Me away-
Hedda’s actions are frustrating because they solidify her role as a negative female stereotype—a tool to be used. How can one show pity for her when the choices she makes justify her punishments? Perhaps this is reflective of Ibsen’s own view of women, although I would be hesitant to completely agree with that theory. In his other very popular play, Doll’s House, the leading lady is portrayed as very helpless, but the reader/viewer is made to see that this is not completely her fault. All around her create an environment in which it is convenient for her to watch her figure and entertain. Of course, this is what is expected of her, so that is why it is made convenient.
Hedda’s situation is somewhat similar. She is placed in an environment that would allow for a typical life
Endgame, Beckett
I apologize, but I really dislike stories like this. I realize these people (Beckett and his contemporaries) experienced “The War to End All Wars,” but do they have to get so experimental and dark? I am sure for one artistic reason or another, they do, but that does not mean I enjoy it.
I am aware that the four main characters could merely be representative of different countries who are so close, but cannot communicate or understand each other; or perhaps it is meant to be a genuinely realistic look into the future after nuclear war. I think that anyone who would read artistic (and not so artistic) fiction would probably not be too busy making bombs to destroy the world. My point: The people that Beckett is trying to target—if, in fact, he is attempting to teach someone a lesson—are not the people that are reading his novel, or would even care if they heard about it.
I would prefer someone with his talent to write a nice little ditty about a boy and a girl and all of the trials and mishaps that surround them on their quest for eternal happiness; or, the tale of the young innocent who makes a wrong step or two and is somehow a fallen woman with no money. Now that is a story.
“The Death of Ivan Ilyich,” Leo Tolstoy
The black sack—what does it mean?
Madame Bovary, Part 2, Flaubert
Plain and simple: Emma is a floozy. All of the sentiment and bittersweet feelings exchanged in Part 1 are completely erased in Part 2 by Emma’s promiscuity. Flaubert does, somewhat emphasize his hatred for Emma more than, say, Bovary. This is because her character is portrayed as more complex, perceptive, and even a bit more intelligent. Flaubert shows that this does not necessarily make one a better person (intelligence that is). Since Bovary is a simpler, uncomplicated creature, Flaubert does not spend as much time revealing his disgusting flaws, as he does the other, more advanced characters.
Madame Bovary, Part 3, Flaubert
Why I liked this book.
I have decided that this book is much more romantic than it is realist. Or, perhaps it is well-balanced. The beginning of the novel is very much grounded in the realist way, but a transition begins during the second part of the novel that pushes the novel into the romantic realm. Part 1 sets up the reliable facts and history of each character and lures the reader in. Because you believe in their existence, it is that much easier to believe that the ridiculous events that they participate in do, in fact, occur. What a sneak!
Notes From Underground, Dostoevsky
As we all know, Notes From Underground is a purely existentialist text. This means that I do not like it. While I can appreciate the oodles and oodles of genre that make up literature, I have my favorites, and existentialist texts are certainly not one of them.
The questioning of “being,” life, and death that make up the existentialist philosophy has always irked me. I understand that someone should do this questioning, but I would rather not know about it.
Journals
Tartuffe, ACT 1-2, Moliere
After reading the first half of Moliere’s controversial play, Tartuffe, I was not so much concerned with the commentary on the Catholic Church, but with the tension between lovers. I was agitated that the young lovers created problems over nothing in particular. It was uncomfortable to see their conversation unravel and end in bickering. They both were too proud and worried about revealing their dependence on the other, that they completely disregarded the end goal—to be together. This minute interplay between characters can also represent Moliere’s thoughts on the corruption of the Church. Officials are so concerned with being right and with the logistics, that they may lose sight of the end goal—to live a good life and attain closeness with God though this.
I understand that this play is heightening the absurd aspects of life and poking fun at the folly of man, but it is slightly frightening. Since there is a bit of truth evident in this folly, one can only laugh nervously, rather than whole-heartedly, because the flaws of the characters are the reader’s as well.
Tartuffe, ACT 3-5, Moliere
Moliere’s play, Tartuffe, appears very flat and obvious in its intent. Reading the play in its entirety, the two-dimensional characters fail to insight any connection from the reader to the text—or at least from me to the text. Yes, I understand that this play was very controversial at its inception; and I know that it is filled with political and philosophical meaning, but I cannot bring myself to take it seriously. Too much irony and satire leaves a bad taste in one’s mouth.
I admit I might have a different take on this play if I thought Moliere wrote this work from beginning to end with one goal in mind. Knowing that he added a different ending and changed the occupation of Tartuffe from his original clergy position, makes me think that Moliere cared more about irritating the masses than actually changing any significant problems. He would not have changed his play unless it was to please the king and keep himself out of trouble.
I am a practicing Catholic, but that does not mean that I dismiss the corruption that existed in Moliere’s time. If he was so motivated to write this play, criticizing the Church, why didn’t he follow through and make sure that people understood what he was trying to do?
Selected poems, Baudelaire
Out of the seven poems assigned from Baudelaire, I was most intrigued by “Carcass.” I would readily associate Baudelaire with the Romantics because of his over-the-top, grotesque description of a female corpse in this poem. At first, I noticed the care Baudelaire took in describing the aesthetics of the corpse, paying particular attention to the sexuality of the corpse. Because he described this sexual corpse with such disgust, it seems as though he has some repugnance for female sexuality, or femininity in general.
This view would reveal irony (intended or not) on Baudelaire’s part, because he is viewing this corpse with his “beloved,” who, I am assuming, is a female. Some might argue that his goal is to show the temporary nature of our bodies, and juxtapose that with the immortal (or semi-immortal) nature of his poems, which will supposedly cement the beauty of his beloved into all eternity.
That sounds wonderful, and I would believe it, except for one thing: He spends too much time and energy on revealing the grotesque and sexual nature of this female corpse. This focus negates any good intentions he may have had toward his beloved or women in general.
Selected poems, John Keats
What a romantic! I can see why Keats is seen as the quintessential romantic writer. Each of the poems we were assigned drips with emotion and sentiment, some dark and some bright. Though I am not fond of any particular poem of Keats’, I can say that the aural qualities of the poems made for a purely pleasurable experience that is best captured by reading them aloud.
“Ode on a Grecian Urn” is one of his more popular poems, and I am familiar with this one. Although I have read it before, I did have a different take on it this time around. I noticed the contrast between art and real life. The urn itself is a sign of human mortality because its very purpose is to store the ashes of the deceased. The irony is the artwork on the urn, which depicts young, beautiful people dancing and singing—one would assume captures the very essence of life. The truth is that the artwork is not indicative of real life since it is static and frozen—humans are not.
“Ode to a Nightingale,” “Ode on Melancholy,” and “To Autumn” were poems I was not familiar with up until this point. Since I am not a big fan of the gloomy, “Ode on Melancholy” was not particularly enjoyable. I did, however, find “Ode to a Nightingale” and “To Autumn” quite pleasing.
Billy Bud, Sailor, Melville
I believe that Melville is targeting nationalism with his novel, Billy Bud, Sailor. It is quite obvious that Melville is weary of blind patriotism and he uses the character, Billy, to show what can happen to an individual who gets sucked into the system.
It has also been said that Melville’s story can be read as a Christian allegory. I think this is a bit of a stretch. Yes, there is the persecuted innocent who represents perfection to his contemporaries. But, that is where the comparison ends. So, if one means to say that it is a Christian allegory because of the persecuted innocent, then I guess they are right.
None of his characters are given the depth or emotional sensitivity necessary for the reader to relate to them. Since Melville focuses more on his allegory, the reader has no choice but to notice this symbolism.
Aside from the nationalism point that Melville is
trying to make, the idea of disconnectedness really shines
through in this novel. It is almost painful the way that events in this story happen as dominoes topple over each other. No character questions policy or throws a wrench in the system when accidents occur.
Madame Bovary, Part 1, Flaubert
I immediately took to this novel. The realist elements are strong in Part 1, and the detail that Flaubert goes to is amazing. I particularly liked the part of the novel when Emma and Bovary meet for the first time and he touches her slightly, causing her to blush. That kind of detail really paints a picture for the reader.
The portion of Part 1 that I found especially touching was the wedding of Emma to Bovary. The wedding itself was not the stirring part, but immediately after the wedding. The image of Emma’s father standing in the road, watching his daughter—his only family—ride off to start her life was simply heartbreaking. While he is happy for her, you can sense the imminent loneliness creeping into his life. He recalls the bittersweet memories of his own wedding and the happy years he had with his wife before she passed. It is just too much!
What is moving beyond that is the fact that Emma does not match her father’s love for her. She is portrayed as somewhat complacent, going along with what is expected. Of course, this could relate to all parent/child relationships. How could a child (even if they are grown) ever relate to the heartache a parent has when their chicks fly the coupe?
Hedda Gabler, Henrik Ibsen
My interpretation of an Emily Dickinson stanza about Hedda Gabbler:
My life had stood-an unused broom-
In corners-till a Day-
The Butler passed-identified
And carried Me away-
Hedda’s actions are frustrating because they solidify her role as a negative female stereotype—a tool to be used. How can one show pity for her when the choices she makes justify her punishments? Perhaps this is reflective of Ibsen’s own view of women, although I would be hesitant to completely agree with that theory. In his other very popular play, Doll’s House, the leading lady is portrayed as very helpless, but the reader/viewer is made to see that this is not completely her fault. All around her create an environment in which it is convenient for her to watch her figure and entertain. Of course, this is what is expected of her, so that is why it is made convenient.
Hedda’s situation is somewhat similar. She is placed in an environment that would allow for a typical life
Endgame, Beckett
I apologize, but I really dislike stories like this. I realize these people (Beckett and his contemporaries) experienced “The War to End All Wars,” but do they have to get so experimental and dark? I am sure for one artistic reason or another, they do, but that does not mean I enjoy it.
I am aware that the four main characters could merely be representative of different countries who are so close, but cannot communicate or understand each other; or perhaps it is meant to be a genuinely realistic look into the future after nuclear war. I think that anyone who would read artistic (and not so artistic) fiction would probably not be too busy making bombs to destroy the world. My point: The people that Beckett is trying to target—if, in fact, he is attempting to teach someone a lesson—are not the people that are reading his novel, or would even care if they heard about it.
I would prefer someone with his talent to write a nice little ditty about a boy and a girl and all of the trials and mishaps that surround them on their quest for eternal happiness; or, the tale of the young innocent who makes a wrong step or two and is somehow a fallen woman with no money. Now that is a story.
“The Death of Ivan Ilyich,” Leo Tolstoy
The black sack—what does it mean?
Madame Bovary, Part 2, Flaubert
Plain and simple: Emma is a floozy. All of the sentiment and bittersweet feelings exchanged in Part 1 are completely erased in Part 2 by Emma’s promiscuity. Flaubert does, somewhat emphasize his hatred for Emma more than, say, Bovary. This is because her character is portrayed as more complex, perceptive, and even a bit more intelligent. Flaubert shows that this does not necessarily make one a better person (intelligence that is). Since Bovary is a simpler, uncomplicated creature, Flaubert does not spend as much time revealing his disgusting flaws, as he does the other, more advanced characters.
Madame Bovary, Part 3, Flaubert
Why I liked this book.
I have decided that this book is much more romantic than it is realist. Or, perhaps it is well-balanced. The beginning of the novel is very much grounded in the realist way, but a transition begins during the second part of the novel that pushes the novel into the romantic realm. Part 1 sets up the reliable facts and history of each character and lures the reader in. Because you believe in their existence, it is that much easier to believe that the ridiculous events that they participate in do, in fact, occur. What a sneak!
Notes From Underground, Dostoevsky
As we all know, Notes From Underground is a purely existentialist text. This means that I do not like it. While I can appreciate the oodles and oodles of genre that make up literature, I have my favorites, and existentialist texts are certainly not one of them.
The questioning of “being,” life, and death that make up the existentialist philosophy has always irked me. I understand that someone should do this questioning, but I would rather not know about it.
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