Frankenstein: Page 149-166

Frankenstein

By: Mary Shelley

"Seek happiness in tranquility, and avoid ambition...I have myself been blasted in these hopes, yet another may succeed (Page 162)." As the novel closes the themes, lessons, and morals presented throughout once more are suggested and challenged. While the reader seeks answers, they are left with questions and dual emotions. In the final pages, Victor accepts his death and passes on to the next life while the creature presents his remorse and purpose of actions. Through it all, the reader still feels complexity as they fight to understand and classify Victor and the creature as either good or bad. Yet, in analyzing such, I find a theme more desolate and unclear than the others such as the caution of knowledge and ambition. In my own search to understand the characters' dispositions, I feel that Mary Shelley leaves the truth untouched and open so as to suggest the openness required in an honorable search of knowledge. The openness correlates to relationships to perhaps suggest an aphorism of society as culture is often quick to classify people as good or bad when all poses characteristics of both and seek good. While the novel is presented as a horror story and nightmare, I think it is intended as an anecdote of an unconstrained and unchecked culture and mind. 

Frankenstein: Page 136-149

Frankenstein

By: Mary Shelley

From the beginning of the novel to the closing end, diction serves a valuable and influential role in establishing imagery and foreshadowing events. In describing the creation, others reactions, and his own view of himself, Victor states, "I abhorred the face of man...they would abhor me (Page 137)." The power of the diction used throughout the novel, as in the use of the power verb in the phrase above, encompassed the true emotional complexity and intensity felt by the characters. It illustrates the true horror of the actions and challenges faced. It illustrates the true sorrow, hatred, fear, and remorse. It illustrates the story. In guiding and directing the tale and the connections the reader makes, diction also serves as a powerful tool in devising the path of the characters and foreshadowing future events. Such is evident in the important plot-changing phrase, "Those were the last moments of my life during which I enjoyed the feeling of happiness (Page 142) ." In this simple phrase strategically placed, Mary Shelley creates suspense and anticipation, thus pushing the reader further and deeper into the novel. The literary technique of foreshadowing focuses the reader upon the emotional transitions and guides the reader to analyze what is yet to come. In the diction and word choice, not only do the characters become trapped by the wording and emotions, but so too does the reader. 

Frankenstein: Page 114-136

Frankenstein

By: Mary Shelley

A constant aspect and characteristic that both guides and directs the novel is setting. The setting is used by Mary Shelley to reflect mood changes, illustrate a change in the direction of the story, and characterize or bring to life the emotions and experiences of the characters. From Chapter XVI to Chapter XIX, the setting changes over 12 times, thus emphasizing this section as a climax and time of immense change. 

Beginning in October, Victor and Henry first begin their embankment to London by traveling to Windsor. Their journey takes them to Windsor, Oxford, Mattock  Cumberland, Westmorland, Edinburgh, Couper, St. Andrew's, Perth, Orkney Islands, and Ireland. While this change serves the purpose of illustrating the progression in the novel, I believe it also illustrates a progression in the characters. It presents a shift from fear of death to embracing death, slavery to creation and knowledge to facing and fighting for freedom, and an attempt to resolve the past by moving forward. Victor himself describes the setting by saying, "It was a monotonous yet ever-changing scene (Page 119)." This phrase illustrates the inconsistency yet the importance of setting as it created a despairing mood and set the scene of darkness and desolation as "The voyage came to an end (Page 136)." With the end of the voyage, came the eventual end of the creature. 

Frankenstein: Page 97-114

Frankenstein

By: Mary Shelley

Throughout the story of Frankenstein by Mary Shelley, characters find themselves interconnected and their stories intertwined. This union and parallelism begins in the first letters and introductory parts of the novel as Robert Walton and Victor Frankenstein are presented as doubles who both thirst for knowledge by blinding ambitions, long for friendship in adventure and glory, and have a past similar in both nature and characters. Then, as the story becomes focused upon Victor Frankenstein and his creation, a second set of doubles is presented within the embodiment of Frankenstein and the creature. 

"The human senses are insurmountable barriers to our union (Page 104)." As the creature itself states, Frankenstein and the creature are united by their similarities in emotions and qualities. Their defining difference may be their physical appearance, but their emotions and experiences connect them. Even as their paths grow apart, their stories become connected. As Victor recovers from his illness and adjusts back into society, the creature recovers from his confusion and attempts to enter society. As Victor tries to reach home, but is unable to, the creature to connect to the family, but is unable to. As Victor seeks happiness and relief from the creature, the creature seeks happiness and relief from loneliness. 

Through the frame stories of Victor, Frankenstein, and the creature, Mary Shelley presents parallelism through doubles. As each story is presented and becomes interconnected, the aspect of doubles reinforces and strengthens the themes presented in the novel. It is through doubles and parallelism that the separate stories find themselves complexly and deeply intertwined. 

Frankenstein: Page 81-97

Frankenstein

By: Mary Shelley

From Chapter XIII to Chapter XVI, the story takes a new path and new twist. Previously focused primarily on the story of Victor Frankenstein, the tale now terns to the story of his creature's development. This story illustrates the impacts of the past on the present and informs the reader of the creature's progress.

A key element used in the creature's story is that of metaphors. These metaphors provide comparisons and vivid descriptions by relating the creature to other people or events. One such example is illustrated in the phrase, "As yet I looked upon crime as a distant evil; benevolence and generosity were ever present before me, inciting within me a desire to become an actor in the busy scene where so many admirable qualities were called forth and displayed (Page 90)." This passage indicates that the creature is like a distant actor in his past. The creature is unconnected intrinsically to his past actions of evil intent as the creature himself is inherently good, but following the role of evil and violence. Slowly, however, the creature realizes that such a role begins to describe his life, and that is when the creature once more meets Frankenstein, his creator, and the play becomes real. This metaphor can also be extended to not only the creature, but also the family who act as distant actors in the creature's life. In this metaphor, the creature represents the audience as he constantly watches the story plot develop through the family's daily actions. Their story becomes, in a sense, a fairy-tale that the creature longs to be apart of and which he eventually enters. 

Frankenstein: Page 65-81

Frankenstein

By: Mary Shelley

In her own writing, Mary Shelley makes numerous references or allusions to outside sources and literature. Such an allusion is made by the creation itself as the creature describes himself saying, "Remember, that I am the creature; I out to be thy Adam...(Page 69)" This is a reference to the creation story of the Catholic faith as Frankenstein's creation describes himself as a being that was made in the image of goodness, but which did bad as Adam sinned. Further allusions are made as to "the ass and the lap-dog" to compare the ironic punishing of good behavior as the monster is punished simply for his appearance despite his intrinsic goodness. Countless allusions are made throughout the novel such as to the Canto III and Ariosto's Orlando Furioso. These allusions serve a powerful purpose in connecting the past to the present. Additionally, the allusions connect the tale to society  just as the monster connects outside information to his understanding of people and culture. The characters of the other stories serve the importance of illustrating what the characters are truly like in Mary Shelley's novel. Most importantly, it adds to the depth of the tale as it further develops the frames story stile.  By connecting the story to outside sources, the book becomes connected to society. It is through these allusions that the novel fully establishes clear meaning and becomes the timeless masterpiece it has become. 

Frankenstein: Page 46-65

Frankenstein

By: Mary Shelley

Storms are powerful aspects of nature that transform the course of the future in minutes. Throughout the novel, Frankenstein, Mary Shelley uses storms as a symbol and for imagery. For, storms not only signify important events, but also represent the conflict of knowledge and the war between life and death.

"The storm...at once in various parts of the heavens (Page 50)." Storms are used continuously within the novel to connect life on earth with immortality and greater powers. The storms are used to signify important points as in the lightning struck tree which inspired his passion for science and search for knowledge. Additionally, a storm surrounds the events of Frankenstein's scientific creation, the murder of his brother, and the climbing of the mountain in pursuit of the monster. Furthermore, the storms serve as symbols of power. Just as the terribleness of a storm can bring goodness and life, death can bring eternal life. Additionally, storms bring relief as from drought just as death brings relief from suffering. The lightning within the storms , as connected with the tree often serves as a symbol of understanding and the sudden acquisition of new knowledge. In addition to illuminating knowledge, the lightning reveals the monster as Frankenstein searches for it. The thunder represents rolling threats and fears. According to the text, the storms act as an analogy for a "noble war." As a light in the darkness, storms highlight change. 

Frankenstein: Page 29-46

Frankenstein

By: Mary Shelley

The central theme or tale of the complex frame story in Mary Shelley's Frankenstein, is that of discovery. For, in this passage, not only is the reader first introduced to Victor Frankenstein's discovery of overcoming life, but also his discovery of the impact of such actions. "I paused, examining and analyzing all the minutiae of causation, as exemplified in the change from life to death, and death to life, until from the midst of this darkness a sudden light broke in upon me...(Page 31)." 

In the phrase above, the two discoveries of Victor Frankenstein are presented through the analogy of the sudden light in darkness. This represents not only the realization of how to make the creation Frankenstein later forms, but also the realization that this creation was what led Frankenstein to the misery of his destiny. By finally realizing how to put the creation together and give it life, Frankenstein experiences an "Aha" moment in which the "light-bulb" suddenly turns on and the "pieces fall into place." Frankenstein suddenly finds light and clarity along the path of knowledge which had previously been dark and impossible to discern.  Yet, through this realization, he experienced further clarity of the effect of "causation" and the interconnected aspect of life and death. In his quest to overcome and prevent all death, Frankenstein finds that life can not exist fully without death. For, in death comes life. The two analogies thus connect in that the beast was created with the intent of overcoming death, but, Frankenstein believes it actually causes death. 

Frankenstein: Page 14-29

Frankenstein

By: Mary Shelley

In her writing, Mary Shelley uses a variety of literary techniques. From the structure of sentences to the representation of words, every element is strategic and meaningful.  Once such element, personification, is used constantly to create a  more powerful yet weak representation of death. 

Victor Frankenstein, determined to break the bonds of death to life, personifies this destiny and course he takes as an unchangeable woman. "Destiny was too potent, and her immutable laws had decreed my utter and terrible destruction (Page 23)." Through this personification, Frankenstein suggests that the consequences of his actions were thus not his own fault, but that of "destiny's" and that of unchangeable fate. Mary Shelley further uses personification to describe both the "Angel of Life" and the "Angel of Destruction." The Angel of Life is viewed as Frankenstein's apprehensions towards science which nearly guided him away from the unavoidable destiny that controlled his life (Page 23). This destiny gained power through the Angel of Destruction which was chance and evil influence (Page 25). Thus, through the technique of personification,  Frankenstein attempts to remove himself from his own past and course through death. He presents death as a separate being, powerful in its ability to manipulate and trick people, but weak in its own inherit death. 

Frankenstein: Page 1-14

Frankenstein

By: Mary Shelley

"Strange and harrowing must be his story, frightful the storm which embraced the gallant vessel on its course and wrecked it-thus (Page 14)!" As the nightmare tale first begins, the story becomes speckled with hints into the future and clues from the past. The first section, organized by letters representing the ideas, emotions, and experiences of Robert Walton, foreshadows the tale of Victor Frankenstein. Just as the phrase above suggests, the tale is foreshadowed as terrible beyond belief. Additionally, Robert Walton, as the narrator of the first frame story, introduces the reader to the beast that possesses the heart of the tale by describing him as "...being which had the shape of a man, but apparently of gigantic stature (Page 8)." Thus, through such deliberate wording and phrasing, the reader can infer that the being which Frankenstein chases has connection not only to the being previously seen, but to the tale that Frankenstein shares.

Through the deliberateness of Frankenstein's telling of his tale, the theme of caution towards the search of knowledge arises. The importance and stress placed on this idea foreshadows that the tale Frankenstein recounts is associated with the negatives and consequences of unrestrained ambitions. The theme foreshadows that Frankenstein, perhaps, had become so enveloped by the pursuit of knowledge, thus as Walton has become, that he lost sight of reality and the facts of life. In connection, I believe it is through this beginning frame story that Robert Walton suggests to the reader to proceed with caution  and to look at the story presented with an ambitious but real perspective. I believe that Frankenstein not only foreshadows and suggests to Walton that careful analyzing is necessary with any pursuit or acquisition of knowledge, but to the reader as well, that not everything is as it first appears. 

Alienation Unit- Poem Three

APO 96225

By: Larry Rottman

Ironically, the poem APO 96225 presents the grave matter of the experiences of the 25th Infantry Division in Vietnam in both a symbolic and straight forward manner. The poem becomes ironic as the family that the boy rights to constantly asks him to say what war is really like. When he complies stating, "Today I killed a man. Yesterday, I helped drop napalm on women and children," however, the family suddenly asks for less harsh truth. Thus, he returns to the symbolic writing by saying, "Dear Mom, sure rains a lot here." This simple statement is both pure and simple as well as complex and profound. The response takes greater meaning when analyzed from the prospective of a person experiencing the painful complexity of war who knows no way to update his family or express his experiences but by the coded terms of symbolism. Within the phrase, the words ironically represent more than just rain, but tears and sorrow. Similarly, "monkeys" could be seen as representing the Vietnamese people and the "sunsets," the loss of life. Further, the piece takes on more meaning once more when viewed through the perspective of the American people. Just as the mother yearns for the truth, the American people yearned to understand what the Vietnam war was truly like. Ironically though, once people began seeing the true sorrows and pains of war, they pleaded for it to go away and became fixed upon bias that the such actions could not be true. 

Alienation Unit- Poem Two

Much Madness is divinest Sense

By: Emily Dickinson

"Much Madness is divinest Sense-...Much Sense-the starkest Madness-..." Within the poem about sanity and insanity a paradoxical juxtaposition is presented. The central theme and idea is that insanity is a good sense and that good sense is insane. In the conclusion of the poem, though, the theme is spread further to scorning and refuting society for restraining individuals. 

In the first line of the poem, the first aspect of the paradox is presented as insanity is described as a good sense that allows one to look at things from a different perspective. The second aspect of the paradox then follows in the third line as the speaker describes a good sense as insanity. The speaker states that the majority have a good sense, but are insane. By following and conforming to society, one is considered sane, but if one strays from this sanity, then they dangerously challenge society. In living as the "majority" proposes, the speaker suggests that one becomes restrained by "chain." In analyzing the poem with an open perspective, I gain a clearer view of how one's insanity or differences from society restrain one from the good sense that is insane. 

Alienation Unit- Poem One

I felt a Funeral, in my Brain

By: Emily Dickinson

"I felt a Funeral, in my Brain (Page 776)." This powerful opening statement of Emily Dickinson's poem serves not only as an introduction which establishes the theme of the piece, but also as the chosen title of the work. This power implies the importance of the statement as an extended metaphor used throughout the duration of the piece. In representing the loss of one's sanity and mind control, the imagery of a funeral is used. 

Throughout the poem, imagery is used to form an extended metaphor of the speaker's mental state deterioration. Additionally, the poem invokes every sense but taste and smell through the imagery and metaphor of the funeral. Elements such as the description of mourners, the funeral service, the casket, and the final burial invoke imagery and the senses of a "beating" headache and "numb" disconnection from sanity and life.  The poem follows the progression of a funeral in connection to the deterioration of one's consciousness from the slow beginning to the abrupt end when the casket reaches the bottom of a grave and the speaker  loses connection to reality. Additionally, the speaker progresses from a crowd and raging mind to the solidarity of one's own confronting yet dying thoughts. Thus, from living thoughts the mind marches on to its own funeral. 

Alienation Unit- Bartelby, the Scrivener

Bartelby, the Scrivener

By: Herman Melville

Characterization is an attribute common to many short stories and literary works. It allows one to become connected and involved with the plot, viewing the story from the perspectives and interpretations of those involved. Within the short story, Bartelby, the Scrivener, much time is spent on fully establishing the characteristic qualities of each individual. This becomes an invaluable technique particularly in analyzing and trying to fully understand the antagonist, Bartelby. 

Bartelby appears as a complex yet simple character full of mystery and uncertainty. One of the most substantial qualities that come to trouble the other characters within the story is Bartelby's disconnection from society. Imprimis, the narrator and protagonist describes Bartelby's loneliness by saying, "But he seemed alone, absolutely alone in the universe (Page 662)." Upon first initially encountering Bartelby, Imprimis assumed that Bartelby would be the idea and dream worker and thus highers him as a balance to his other eccentric employees, Turkey and Nippers. As time passes though, Bartelby's true complexity and own eccentric qualities are revealed as he refuses to work or even leave. He becomes an influential character in the live's of those involved in the story as his passive style rubs off upon the other characters. His presence reminds and teaches the other characters to be more analytical of the challenges others face and less judgmental until one forms an understanding of the other's lives. As the short story closes, a revealing fact is presented that Bartelby had once worked in a career to destroy letters for the dead giving the reader and speaker back ground knowledge which helps explain Bartelby's reserved and separated character.  

 In discovering the character of a person, one discovers the person themself. In reading the short story by Herman Melville, one must look fully at each individual's character to understand the impact and relationships within the story. The characterization additionally helps in understanding the actions of the characters and the effects on each person. Most importantly, one can see the true person behind each name. 

Alienation Unit- Miss Brill

Miss Brill

By: Katherine Mansfield

“Tum-tum-tum tiddle-um (Page 184)!” The short story, Miss Brill by Katherine Mansfield, is a performance in itself about a performance. Thus, throughout the production, various visual techniques of imagery are used to form a more full impression of the novel. Such an example is that of the onomatopoeia which verbally displays the actions of the story. 

In analyzing the actions of the short story through the eyes of Miss Brill, one is able to not only analyze the society with which she lives, but also her qualities as an individual. As the story opens, one is able to picture Miss Brill walking through the town park on the brisk Sunday afternoon as the leaves fall signifying the passing seasons. Imagery is created as Miss Brill recounts the fine details and predicts the behaviors of those around her. One quickly discovers that these predictions, that an admirable skill, are not true predictions, but rather analysis from many Sundays of watching. As she watches, Miss Brill becomes disheartened that not everything is as grand or exciting as it once seems. In contrast though, she becomes inspired and excited once more as she realizes that the fascinating part of this behavior is that everyone involved is both an actor and the audience, including herself. The "play" takes a dramatic turn, however, when the young heroes arrive and make fun of Miss Brill and her fur. The vivid descriptions and emotional connection that is formed with Miss Brill's hurt allows the reader to then further understand the loneliness felt by Miss Brill. Thus, as the play closes, one is able to visualize and imagine, just as Miss Brill does, that the fur is crying as it is forever packed away. In other words, Miss Brill becomes disconnected from culture and society as her emotional sadness makes her disheartened and lonely. 

Death Unit- Poem 4

Death, be not proud

By: John Donne

"Die not, poor death, nor yet canst thou kill me (Page 971)." John Donne, the author of "Death, be not proud," uses many figures of speech throughout the poem about death to illustrate his idea. One such powerful technique is depicted in the phrase above as personification gives death a living a personable quality. This method of writing influences the direction of the poem as it illustrates both the power and weakness of death as an eternal comfortable and natural rest. By describing death as human-like in its susceptibility to fate and chance, death becomes more approachable. In being related to the qualities of humans, death becomes less scary and fearful. 

In reading the poem about the weaknesses of death, I was reminded of the Spanish's approach to death. In Hispanic culture, death is not seen as something to be feared, but rather celebrated. For example, death is given its own holiday as the Hispanic culture celebrates the Day of the Dead. In this celebration, the Spanish welcome back the spirits of those who have passed away and celebrate the lives they lived by making alters of pictures, objects, and food related to that person. Through such celebrations, death becomes something not feared, but human-like and embraceable. 

Death Unit- Poem 3

Do Not Go Gently Into That Good Night

By: Dylan Thomas

"Do not go gentle into that good night...Rage, rage against the dying of the light...(Page 969)." The powerful refrain used throughout Dylan Thomas's poem not only names the masterpiece, but also sets and establishes the theme of death. The contrasting yet similar phrases work together to create various meanings through the same words. Most importantly, the refrains present the vivid emotions and tone of the piece.

The two refrains which are alternated throughout the piece additionally alternate ideas. In the first phrase, positive words such as "gentle"and "good" are used to describe deaths simplicity and naturalness while the words "rage" and "dying" present the conflict experienced by the speaker. Through this contrast, a tone of desperate resistance against death is presented.  The speaker is begging death to spare their father who is daunted by its power and pull. In the speakers plea to spare their father, the speaker correlates the darkness of night with that of the ending of life.  Finally, the refrain gains further meaning as the poem progresses and the writer shifts from alternating between the two refrains to repeating the second more desperate section. Thus, the writer illustrates the gravity that progresses as death draws nearer and the seriousness of the fight to resist darkness. 

Death Unit- Poem 1 and 2

Crossing the Bar and The Time of Year

By: Alfred, Lord Tennyson and William Shakespeare

In both poems, "Crossing the Bar" by Alfred, Lord Tennyson and "The Time of Year" by William Shakespeare, structure becomes a crucial element in presenting the themes of the poems. Both follow a quatrain structure of four lines joined to form a unit. Within each unit, themes of death are presented. 

Alfred, Lord Tennyson's use of the quatrain structure follows an ABAB rhyme scheme pattern. The four sets of four are used to illustrate four individual deaths. The first quatrain presents death in departure while the second depicts death's boundlessness. The third quatrain illustrates death's darkness and finally, the fourth quatrain depicts the separation of life and death in the crossing of a sandbar.  

William Shakespeare also uses a rhyme scheme within the quatrains as the first three quatrains follow a pattern of ABAB. Additionally, like Alfred, Lord Tennyson's poem, the poem presents a different image of death within each quatrain. In the first quatrain, death is illustrated by the dormant approach of winter. In the second quatrain, death is presented sunset and the darkness of evening. Finally, in the last quatrain, death is illustrated by the ashes of fire. 

Death Unit- A Rose for Emily

A Rose for Emily

By: William Faulkner

"She carried her head high enough-even when we believed that she was fallen (Page 286)." The first person plural narration illustrated in the previous line serves as a substantially important aspect of the presentation of the short story. The mysterious narrator tells the story from the viewpoint of the town's people and reflects their opinions toward Emily Grierson. Most importantly though, the narration type adds power and support to the information presented by making it a single objective view of collective opinions. 

The narrator remains separated from the story, but also posses knowledge greater than that one would expect of a general towns person. Throughout most of the story, the narrator is considered part of a plural group as they address opinions and beliefs about the Grierson family as a unit through the terms "we." The single presentation of the group opinion makes the narrator's opinions believable and trustworthy as they are reflected by many. Most importantly though, the narration adds a connection to the story by presenting it as a tale of a small town's past. When the narrator separates them-self from the town view, the reader is then able to see the true opinions of the narrator and the emotional draws experienced toward Emily Grierson. Thus, through the first person narration, the short story begins a more reliable tale with an emotional attachment. 

Death Unit- The Lottery

The Lottery

By: Shirley Jackson

"Although the villagers had forgotten the ritual and lost the original black box, they still remembered the stones (Page 271)." "The Lottery" is both a tragic and futuristic story that addresses the faulty aspects of traditions such as persecution. In Shirley Jackson's short story, this theme is presented through the use of symbols.

In "The Lottery," the lottery acts as a symbol within itself of the faulty aspects of traditions that are simply followed and accepted without true understanding. The lottery, unlike modern lotteries where the reward is unimaginable wealth,  being drawn as the winner of the lottery is a dreaded victory of death. The lottery is an unaging tradition in which a citizen is blindly persecuted. Although no one within the town understands the purpose of the lottery, it is followed simply because it is a tradition. Within the symbol of the lottery is another symbol, the black box. The fragile and aged box represents the lottery's past which has made tradition. It represents the flaws in following the tradition as parts of the practice have been changed yet the box remains the an intricate part of the tradition simply because of its quality. Thus, through the symbols of the box and lottery itself, the implications of traditions and death are presented. 

The Glass Menagerie- Scene 7

The Glass Menagerie

By: Tennessee Williams

Life is full of countless lessons. Often such cannot be taught, but must be learned by experience. As in life, the recounting of Tom’s memory illustrates the life lessons of the characters with in the play, The Glass Menagerie. From the lesson of dreams and hope to that of love and dedication, the aphorisms of the play illustrate to the viewer or reader by experience, countless life lessons.

Aphorisms serve as a prevalent literary technique scattered within the play to provide meaning and purpose to the work. Direct aphorisms of determination like “Try and you will SUCCEED (Page 1251)” present the importance of staying hopeful and wishful of adventure and love. Others less literal like “In these trying times we live in, all that we have to cling to is each other…(Page 1251)” describe the value of love in relationships. As the play draws to a close, Laura’s potential suitor becomes only a friend as it is revealed that Jim O’Connor is actually engaged. At this revelation, the family which is built upon hopes and connectedness to each other falls apart just as the glass unicorn shattered. Amanda blames Tom for embarrassing the family causing him to run away just as his father did in the pursuit of his own freedom and dreams. Yet, he remains haunted by Laura’s fragility and beauty as he becomes daunted by the storm of reality.  As the memory becomes blown out like a candle, the life lessons presented remain aglow by the emphasis of aphorisms.

The Glass Menagerie- Scene 6

The Glass Menagerie

By: Tennessee Williams

“She is like a piece of translucent glass touched by light, given a momentary radiance, not actual, not lasting.”(1263) Symbols characterize the themes of the novel as they illustrate ideas of society and culture. The most prevalent theme and symbol of The Glass Menagerie is presented in the title of the piece.  Throughout the play, Laura’s collection of glass animals characterizes her personality as fragile and transparent.  Glasses refractive ability represents Laura’s more complex personality which is also characterized in the symbol of her nickname, “Blue Rose.”  These connected qualities are represented in Laura’s shyness as well as her inner and true beauty which is magnified by the enlightening support and confidence of James O’Connor. In a larger context, the glass animals can be traced to represent the security of society and the protections we rely upon such as government. As Laura relies upon the glass for confidence and a sense of security, citizens likewise rely upon the fragile but refractive government.  Finally, the glass unicorn more specifically represents the differences of individuals within society. The uniqueness of the glass unicorn correlates with Laura’s own uniqueness and individuality. Additionally, when the unicorn loses its horn and Laura dances with Mr. O’Connor, both become more similar to society. Like the unicorn though, Laura is not fully conformed to society though until she breaks from her past and lets go of her uniqueness or disability. 

The Glass Menagerie- Scene 5

The Glass Menagerie

By: Tennessee Williams

While the play is focused on memories from the past, little hints foreshadow the future. Such is true in Scene Five as Tom informs Amanda that he has found a gentleman caller named James Delaney O’Connor for Laura. Although the future remains unknown as to the impact this man might have on the family, the reader can infer with a new certainty as to what might lie ahead.

“Adventure and change were imminent in this year. They were waiting around the corner…they were suspended in mist… (Page 1256)” With the promise of a gentleman caller, it is foreshadowed that the future holds promise of adventure. Adventure lies not only in the fact that the caller will be coming the next day which required many hasty preparations, but also in that the caller had no knowledge of Laura. Most importantly, adventure is foreshadowed in the idea that the caller will open new doors of possibility for the family. In this statement of foreshadowing above, the reader cannot assume that the caller’s visit will lead to marriage, but the reader can hope that love might someday be possible for Laura. Additionally, the reader can infer that the future for both Amanda and Tom will also be filled with adventure as the caller would be a source of security for the family if everything worked as Amanda hoped and proposed. Tom sees this adventure most clearly as he dreams of leaving the family as his father did to pursue his own real adventure that inspires him in the movies.

Although the reader cannot fully know what lies ahead, one can infer that the next pages of the play will be full of adventure. From the adventure to love to that of pursuing dreams, the play promises change. In a memory of the past, the future is foreshadowed.  

The Glass Menagerie- Scene 3 and 4

The Glass Menagerie

By: Tennessee Williams

A common literary element within The Glass Menagerie is the use of motifs to unify new ideas to a theme. Such motifs are presented through the reference to adventure by movie viewing, drama as in music, and loneliness as a result of being left alone and deserted. Most prevalent however, is the motif of the gentleman caller as a theme of hope and love.

“Like some archetype of the universal conscious, the image of the gentleman caller haunted our small apartment…(1244)”  The focus of the memory and story told by Tom Winfield is of the expectation of a gentleman caller for Laura Wingfield, his sister. The gentleman caller becomes a recurring image used throughout the novel to symbolize hope of Laura’s marriage which would free the family. For Tom, the gentleman caller represents his freedom to no longer be responsible for the care of the family, but to be free to pursue his dream of adventure. For Amanda, Tom’s and Laura’s mother, the gentleman caller represents security for her children. For Laura, the gentleman caller is a source of uncertain hope and potential love. For the reader, the gentleman caller is a source of mysterious companionship. As an entity, however, the gentleman caller was an image of purpose and solution as explained in the excerpt “An evening at home rarely passed without some allusion to this image, this specter, this hope…(Page 1244)”

The gentleman caller was one of the most powerful motifs presented within the play. It represented and connected the idea of love to adventure, safety, and hope. Thus, the gentleman caller became a motif of the play.

The Glass Menagerie- Scene 1 and 2

The Glass Menagerie

By: Tennessee Williams

The Glass Menagerie, written by Tennessee Williams, is a story of memories. It is the tale of the past of Tom Wingfield and his family and is characterized by anecdotes and recounts of old times. It is in drawing form the past, however, that the future of the characters is formed.

“What are we going to do, what is going to become of us, what is the future (Page 1241)?” Throughout the first two scenes, the characters ask many rhetorical questions similar to the one presented above to present inner personal conflicts as well as relationship conflicts. In the beginning of the play, the idea that the future is tied to the past is presented as Mama recounts the story of her youth to encourage Laura to pursue the idea of finding a husband. Conflict arises though as Laura internally struggles with her physical disability which she sees as a weakness that no man could ever love. Externally Laura also struggles as she becomes disconnected with her mother who worries constantly about the future, especially Laura’s future, as she learns that Laura has left Rubicam’s Business College and been deceiving the family.  The rhetorical questions also present themes within the story such as deception (“You did all this to deceive me, just for deception (Page 1243)?) and reality (“Amuse ourselves with the glass menagerie, darling (Page 1243)?”). As the story progresses, the reader also develops their own rhetorical questions about the themes and symbols presented like examining the importance of acceptance, the value of love, and the meaning of the glass menagerie.  

Through simple questions that often have no required answer, conflicts, impacts, and themes can be analyzed. Just as in the quote concerning the future, the reader too is challenged to think more deeply about the conflicts of the novel. In stepping back into the past with the Wingfield family, Tom's memory comes to life. 

Family Unit- The Joy of Cooking

The Joy of Cooking

By: Elaine Magarrell

In The Joy of Cooking by Elaine Magarrell, symbolism fills the poem with illustrations and imagery. In analyzing the poem, each stanza appears to represent a different symbol and present a different idea. The first stanza’s main focus is of the narrator’s sister’s tongue. Described as rough and course, the tongue serves as a symbol of the sister’s personality and qualities. These qualities personify and characterize the sister as orderly (“neat”) and determined (“economical-it probably will grow back”), yet perhaps undesirable (“gristle”).

The second stanza presents and describes the brother’s heart which additionally serves as a symbol of the brother’s personality. The heart is described by the narrator through the statement, “It resembles muscle more than organ meat and needs an apple-onion stuffing to make it interesting at all (Lines 11-14).” This statement presents the brother as an undesirable and dull acquaintance. The brother is additionally personified and described as boring (“dull”) yet “firm” and having a small personality (“barely feeds two”).

Through the use of such symbolism as the tongue and heart, Magarrell personifies the characters of the poem. She uses vivid descriptions to create a humorous and amusing tone that holds bitterness towards the siblings. In forming vivid images of a strange cooking concoction, the author portrays the power of symbols.

Family Unit- Edward

Edward

By: Anonymous

Repetition, although at times mundane, provides and emphasizes meanings that might have otherwise been overlooked. Rhythmically defining each line, the anonymous author uses rhythm throughout the poem, Edward, by repeating names, questions, and actions. From the repetition, the reader gains a more clear understanding of the poem itself and is able to analyze, through the slight and subtle changes, the most influential and important aspects of the piece.

“For here nevermore must I be, O…For them nevermore will I see, O (Line 40, Line 48).” Through the repetition of key words such as “nevermore” in the previous phrases from two sections of the poem, the poem progresses. Initially beginning as a story full of mystery, Edward is presented as a brave noble who has slain some threat. Yet, as the poem progresses and through slight subtle changes in mostly similar phrases which are repeated, it is revealed that perhaps the characters are not who they initially seem. Through further development, the reader learns that Edward in truth has murdered his own father and must flee. Selfishly, he plans to do nothing to care for his family which is a quality he attributes to his mother. Thus, as a result of slight changes in repeated key phrases, the poem develops from a simple story of nobility to the greatest downfall of man. 

Family Unit- The Drunkard

The Drunkard

By: Frank O'Connor

In many literary works, ideas and objects are contrasted to draw attention to a focus point or

Drunkard. In this short story, Larry, the young son, acts both as a hero and a victim of alcohol.  In unintentionally preventing “The Drunkard’s Progress” for his father, Larry himself becomes the victim of the power of alcohol as he experiences its binding influence and become intoxicated. Yet, by keeping his father from drinking, he defeats alcohol’s powers over others by preventing them from drinking. Through this contrast of results, the idea of Larry as “drunkard” and “guardian angel” are juxtaposed. While the mother initially saw her son as a “drunken  corner-boy,” she also addresses him as his father’s guardian angel stating “My brave little man…You were his guardian angel (Page 351).” This juxtaposition illustrates the power of contrast as a literary technique. For, through the juxtaposition, a theme of unintentional actions leading to good results is presented. Attention is thus drawn from the initial idea of blaming the father to a focus on thanking the son. 

Family Unit- A Warn Path

A Worn Path

By: Eudora Welty

Allusions arise in culture and history, connecting the past to the present. From literature to poems or plays and even everyday life, allusions become references and connections. Like two arms, separate but united, allusions connect elements of literature.

In the short story, A Worn Path, the author, Eudora Welty makes allusions to both culture and history. The focus of the story, the path and journey of Phoenix Jackson, illustrates and alludes to the famous “path” of love and life. Just as life’s path is full of challenges and rough terrain, so to is Phoenix’s path as she must overcome daunting woods, cross narrow logs, and travel through cotton fields, corn mazes, and down seemingly endless roads. Additionally, life is full of encounters both mental and physical like the illusion of the boy, buzzard, scarecrow, quail, and dog that Phoenix confronts on her journey to the town. Other allusions in the piece include Pheonix’s own name. Just as the mythical phoenix arises from ashes, Phoenix arises from her age and completes the daunting journey to obtain the medicine for her grandson. Like the bird which serves as a symbol of perseverance, Phoenix displays personal determination as described by the man she meets who states, “You must be a hundred years old, and scared of nothing (Page 227).”

While allusions do not directly address outside references, they create a connection both within a work and between a reader and literary piece. Allusions provide a greater meaning and expand upon ideas presented. Thus, allusions connect the past to the present and literature to culture and history. 

Family Unit- Once Upon a Time

Once Upon a Time

By: Nadine Gordimer

Simple writing and literary pieces can at times possess the greatest messages. Nadine Gordimer uses such a technique in her short story, Once Upon a Time, to satirize culture and society. In telling a fairytale story of a seemingly happy and perfectly protected family, Gordimer presents the idea that obsessive precautions can lead to the undesired outcome which one attempts to avoid.

The family, well-off and safely insured in nearly every possible way works diligently throughout the whole story to build-up and establish the most intruder-proof protection imaginable and available. Yet, their attempts to protect the family leads ultimately to harm as the young son, in acting out a story of his own, falls upon the iron bars of the “dragon teeth” placed to keep intruders out. This ironic conclusion to the bedtime story satirizes the idea that society attempts to make itself “comfortable” and “safe,” but that at times these attempts are so obsessive and unlimited that they lead to the opposite result.  This idea is additionally satirized by the narrator themself in the introduction as the narrator states “I couldn’t find a position in which my mind would let go of my body. So I began to tell myself a bedtime story (Page 232).” Fearing an intruder in their house and attempting to make oneself feel “comfortable” and “safe,” the narrator tells themself a fairytale whose ending ironically would only provide worse nightmares. Thus, the idea that society is at times is own enemy is presented fully both within and as a result of the story.  

A Raisin in the Sun-Act 3

A Raisin in the Sun

By: Lorraine Hansberry

In the play, A Raisin in the Sun, many of society’s timeless dilemmas are addressed and presented. From the moral issue of racism to the individual struggle of dreams, Hansberry fully encompasses the challenges of each. Named after a poem of questions, the play provides answers. For, as Joseph Asagai states, “I LIVE THE ANSWER (Page 522)!”

The powerful quote which comes at both a trivial and conclusive point in the play, for me represents the paramount idea of personal power to do and achieve anything. As the play tells of a true family and their struggles, the masterpiece also reveals a solution to such problems of unachieved dreams and daily burdens. The play suggests that the past is a “point of no return” in which life can never be the same, but it also suggests that the future is unwritten with no predestination or limits. Although financial barricades and material limits may hinder forward progress, dreams depend upon personal determination and freedom. Through the symbolism of Mama’s plant which gains the spotlight of the last few lines of the play, such an idea is fully established. For, the plant which is grown in a poor environment grows strong and steady by its determination and Mama’s care. Additionally, the plant represents Mama’s dream of gardening, temporarily fulfilling her hope and goal.

By confronting the idea that dreams are always growing and goals of one generation only lead to new aspirations for the next, new roots of possibilities sprout. While dreams can be a hindrance and burden if left unachieved or forgotten,  they can also be a source of inspiration and hope to persevere with new and greater determination. Timelessly, dreams live on. 

A Raisin in the Sun-Act 2

A Raisin in the Sun

By: Lorraine Hansberry

“Well that’s the way the cracker crumbles (512).” Just as in this humorous and clever pun, Lorraine Hansberry uses irony throughout the entirety of the play to address social issues. In this wise statement by Beneatha in reference to Karl Lindner, the tension between races is addressed. Additionally, the statement becomes ironic and represents the separation of generations as it presents the changing attitude of African-Americans who have begun to see that their fight is no longer simply for freedom, but rights.

Irony is additionally presented throughout the work in various other ways. In the title, A Raisin in the Sun, Hansberry presents the theme of unachieved dreams and there effect on the dreamer. For, just as a grape dries in the sun to become a crinkled and depleted raisin, so to do dreams that have been forgotten. One such dream is the American dream which ironically is best understood and visualized by the one non-American in the play, Joseph Asagai. As the others begin to lose hope in achieving success and building a better life, Asagai reminds them of their freedom and that their dreams existed before the money. Asagai points out that there dreams are still achievable even if all money is lost. Money in how it is perceived to be gained additionally becomes a representation of irony in itself as Walter thinks that wealth can only be gained from graft and, resolutely, loses all wealth to graft.

From social references to individual challenges, Hansberry uses irony to present the themes of the novel with a humorous twist. Through puns and irony, the tone of the play develops a lighter touch but maintains seriousness in addressing prevalent issues. “That’s the way the cookie crumbles.”

A Raisin in the Sun-Act 2

A Raisin in the Sun

By: Lorraine Hansberry

As Marty Rubin once said, “Time does not pass, it continues.” From the end of Act I to the beginning of Act II, time has not simply passed, but continued. In Scene I of Act II, time, both in the sense of minutes and years, is reflected in the character of George Murchison.

In this section, George serves as a powerful symbol of the changes in time. A member of a wealthy African-American family, George is the cornucopia of Walter’s and many other aspiring African-Americans’ dreams. He illustrates success in the financial world as well as social as he is not only wealthy in terms of money, but education as well. George serves a symbol of a new generation in which freedoms and opinions are expressed openly as he and Beneatha openly argue about the meaning of assimilation and heritage. In George’s interaction with Walter when he states, “Good night Prometheus,” time is further unbound as the reader is drawn back and connected to Greek Mythology and the Titan god, Prometheus, who had been restrained by chains. This allegory illustrates the idea that Walter is restrained by his unachieved dreams as he is jealous of George’s success and blames others for his own failures. In the pursuit of dreams, time becomes free and open as past aspirations live on within the characters affecting and controlling their futures. Mama’s dream of a house with a garden lives on with her influencing what she does with the money. Time becomes influential in character’s actions and their involvement in the plot as Walter’s business absence shifts the story. Over time, stories change as scenes pass by. 

A Raisin in the Sun-Act 1 Scene 2

A Raisin in the Sun

By: Lorraine Hansberry

“Once upon a time freedom used to be life-now its money. I guess the world really do change (475).” In Mama’s brief anecdote, the gravity of the plot and circumstances of the family become more visible. No longer is there playful teasing, but serious arguing. In the beginning of the scene, the family is working together as one unit to complete chores and together they open the check and admire it with awe. Yet, the money slowly draws out and presents negativity and conflict within the family as love, wants, and dreams clash.

Through Mama’s anecdote about the past, the idea of money as life is presented illustrating and characterizing the changes of times as well as Mama herself.  The anecdote illustrates the separation of generations by values and communication as Mama struggles to understand the family’s focus and sacrifice for money when only generations before the family had focused and sacrificed for freedom. This change in times becomes a central aspect of the play as Hansberry dramatizes and challenges the new social values. Hansberry warns against the pressures money can impose as Mama tells Walter about Ruth’s pregnancy and warns him that Ruth might try to rid herself of the baby to protect the family from financial burden.  The burden of money additionally influences the power and success of dreams as finances begin to limit and replace the freedom to hope. As illustrated by the characters once the insurance money arrived, dreams can be inhibited by financial concerns and thoughts as such limit the size of one’s dream and the achievability of the dream.  From a story of the past, can come details of the future. 

A Raisin in the Sun- Act 1

A Raisin in the Sun

By: Lorraine Hansberry

In a time of dreams and hopes, growth and development, and new found freedoms and opportunities, culture reflects the change of time. Through Act One Scene One of the play, A Raisin in the Sun, Lorraine Hansberry reflects the changes of society in the story of the Younger family. As a result of diction and dialect, characterization develops and a plot about dreams develops.

 “Seem like God didn’t see fit to give black man nothing but dreams... (Hansberry, Page 453)” In thirteen simple words, Hansberry provides valuable clues about the setting and characters of the play. Based upon the literary technique of dialect as used in the phrase, “to give black man nothing but dreams,” the reader can infer that the speaker is a less educated person as the phrase has poor grammatical structure. This thus implies that  the Younger family might be of middle to lower social class. The setting profoundly impacts not only the story plot, but also the individual characters. In the first scene of the play, the reader is introduced to each character and their personal dreams. From Ruth’s dream of a house and stability, to Beneatha’s of becoming a doctor and liberating the oppressed, and even Walter’s of simply living like Mr. Arnold, each character has a dream towards which they are striving. The setting however impacts all of these characters as money becomes an inhibitor and divider within the home. For Ruth, Beneatha, and Walter, the need for money to support the family causes them to work tirelessly in the hopes of someday achieving their dreams. They work to adjust to their lower education and lack of money by remaining hopeful, particularly of the prospect of the $10,000 insurance check that is expected to arrive soon, and working harder.

Dialect and the way one communicates ideas reflects aspects of a person’s character and setting. It provides clues into one’s background, culture, and   personality. Hansberry uses dialect to illustrate the challenges that the characters must overcome such as poverty to prevent the “raisin” from drying “in the sun.” 

Identity Unit- Poem Three

Hazel Tells Laverne

Katharyn Howd Machan

“Classic fairy tales do not deny the existence of heartache and sorrow, but they do deny universal defeat.” This phrase of wisdom published by Greenhaven Press suggests the theme of Machan's poem, Hazel Tells Laverne. For, Machan in the words of LaVerne, questions "me a princess (Lines 13, 24-25) throughout the entirety of the poem. 

The idea of the "frog prince" is satirized throughout the course of the poem as the attainability of a fairytale is questioned and challenged by LaVerne who laughs at and does not believe in the prospect of becoming a princess herself. As a simple madden in the Howard Johnson Hotel chain, LaVerne suggests that, for the uneducated and working class, fairy tales can have no greater meaning than a dreamy story as she must be realistic in her goals and aspirations. Yet, how can she ever know without trying? Stubborn and firm in her disbelief, LaVerne flushes the from down the toilet. The openness and informality of the poem helps to satirize the unatainability and falseness of fairy tales  by making LaVerne's story humorous. Machan mocks the idea of the "frog prince" through characterization of LaVerne as a disadvantaged product of social restrain in which moving beyond one's class is a joke. For, LaVerne, with her incorrect grammar, lack of social manners, and working class past is as close to a princess as the frog itself.

Machan's craftily humorous poem suggests that, in fairytales, there is heartache and sorrow, but that the true happy ending is that such can be defeated. While there may be no "frog prince" or "fairy godmother," there can be happy endings. Whether a person becomes rich and successful or attains happiness from the pleasantry of everyday life, fairytales can come to life through imagination of identity. 

Identity Unit- Poem Two

Mr. Z

By: M. Carl Holman

In Mr. Z by M. Carl Holman, society is satirized through the use of irony. From the diction to the use of metaphors in lines 16 and 22, the irony of society and its influences on individuals is presented through the characterization of the unnamed and mysterious Mr. Z. Irony, thus, becomes a crucial literary technique directing the full meaning of the poem. 

As a poem about one man's goal to create his own identity, separate of race, one sees how such a dream can be ironically attained yet never fully achieved. For, Mr. Z, implied as a biracial minority who's life goal is to be seen unconnected from race becomes "One of the most distinguished members of his race (Holman, Page 848)." This simple phrase, initially presenting the idea that Mr. Z attains his dream by becoming a distinguished human ironically displays that the dream of personal identity is never achieved as Mr. Z is still seen as a "member of his race." For, Mr. Z is "An airborne plant plant, flourishing without roots" as presented in the metaphor in line 22. This phrase suggests that such a goal of escaping race is like taking away the roots of Mr. Z. These roots are his heritage, his culture, and part of his identity. In the poem, the irony presented leaves the phrase "I am...?" unfinished for Mr. Z. While he has become a distinguished member of his race, his identity as an individual still remains unclear. 

In the poem, Holman uses metaphors, diction, and irony to satirize society and its classification of people by qualities rather than individual characteristics. Additionally, it satirizes individuals as people searching for identity, but denying it in their past. With such irony, the idea of identity as an element of both past, present, and future qualities and aspects is fully presented. 

Identity Unit- Poem One

Dream Deferred

Langston Hughes

Rhetorical questions serve as powerful literary techniques that present the reader with dilemmas and uncertainty. The questions allow the reader to look at aspects presented in an open light and analyze the different qualities. In this short poem by Langston Hughes, the entire piece is composed of rhetorical questions. Masterfully though, these questions act not only as dilemmas to be analyzed, but as answers to themselves.  

In the piece, Hughes presents the question, "What happens to a dream deferred (Page 805)?" With this simple phrase, Hughes presents the dilemma of what becomes of unachieved dreams. With every following question, Hughes presents a possible result in the form of similes. From drying up "like a raisin" to festering "sores" or "rotting" and "crusting", Hughes suggests that dreams decay and become irreversibly damaged and unattainable. Most importantly and with the greatest  emphasis as it is italicized, Hughes suggests that dreams "explode," becoming so large and unrealistic at times that any attainable part or element holding it together simply falls apart and is shattered. Additionally, Hughes emphasizes these unstained goals as "heavy loads" in the only sentence which is not phrased in rhetorical question format. This suggests that dreams can become weights that restrain a person from other dreams, holding one back like the bars of a jail cell.