The Stranger & Metamorphisis

Klara Sulce

Mr. Perez

English AP

5 December 2011

            Are there distinct similarities between the protagonist in Franz Kafka’s The Metamorphosis and Albert Camus’s The Stranger?  Are these resemblances apparent through the theme or the actual characters themselves? Is the theme not the value of life as well as existentialism in both novels? Is there not an evolving aspect of identity in the character Meursault? Moreover, is there not a devolving identity characteristic in Metamorphosis?

            Is Meursault not an empty slate in part one of The Stranger? Does he clearly identify himself to the reader? If not, then is reader not forced to compose his or her own opinion about the character based on how they feel? Does the apathy he feels towards everyone around him in the first part of the story reflect his apathy towards the society he lives in? Does part two not show that he has more depth and insight on life? Does Meursault not frequently convey existentialist ideals through a metamorphic sub human circumstance?

            Is the idea of devolving identity not evident in The Metamorphosis being that Gregor transformed into something pitiful, “a vermin”?  And in the novel, does he ever go into detail as to how he turned into a monstrous animal or slowly accepts his transformation?  Does he die with the idea that he is a pest or an actual human being? Is there even a slight progression in the character of Gregor Samsa? Does he not demonstrate extistentialist thoughts through establishing a sub human reason for existence in the human sense? Is existentialism then the most overarching theme in both The Metamorphisis and The Stranger?

As I Lay Dying Presentation

https://docs.google.com/present/edit?id=0AR4ZM8vIBfnbZGd0NG45MnhfMHY5dDR6d2Yz

Existentialism

A common question that comes to mind when we think of death is commonly, “is there an afterlife?” I do believe the concept that our bodies either ascend up to the sky or descend and belong to Satan.  The subject is so controversial that when someone makes a suitable point contradicting my idea, I begin to have second thoughts. Existentialism suggests that human nature is chosen through life choices, meaning we can change our future if we wanted to and our fate is not predetermined.  An existentialist believes that a person should be obligated to choose and be liable for their choices without the help of outside forces. Furthermore, existentialism is broadly defined in a variety of concepts and there can’t be only one answer as to what it is or if it can be seen as the correct way of thinking. Personally, I think God knows what our next move is because he knows us so well, but we do have the ability to change his mind and prove him wrong. Nothing in life is permanent except for death, which is why god looks down upon suicide so much, because you lost all hope and made a permanent solution out of a temporary problem.

Empty Page Sonnet

Klara Sulce

Mr. Perez

6 November 2011

English AP

Robert Pack’s most inspiring piece of work is “An Echo Sonnet: To an Empty Page”. The use of literary devices in the sonnet contribute drastically to its meaning. The two apparent literary terms are apostrophe and the use of dialogue to help the reader better interpret what the poem is getting across. He displays forth a conversation that the “voice” partakes in with the “echo”, thus leaving the reader to believe that he is truly grief-stricken by some kind of tragedy.

Whether it is a death or the loss of a lover, it is quite apparent that the voice is recuperating from some sort of heartbreak. This is because of the quatrains he creates in the sonnet. For example, in the second line the states “And starting must I master joy or grief?” To which the echo replies, “Grief”. He is essentially saying that upon undergoing a death or loss of some sort, should one start fresh and move on, or grief some more in hopes of someday forgetting. The reader is deprived of an answer to these rhetorical questions because either decision made will cause pain and heartache to the voice.

As the sonnet progresses, he goes on to declare, “Her beauty makes of dying, ecstasy”. And the echo’s response is “see.” This explains the reader’s reflection of the sonnet being addressed to someone who has passed away and makes dying worth looking forward to. The voice has undergone a horrible misfortune that ultimately leads him to be alone and receive responses solely from his echo, whom turns his rhetorical questions into one word answers. 

Sonnet 130

Klara Sulce

Mr. Perez

English AP

3 November 2011

In Sonnet 130, William Shakespeare utilizes literary devices to develop themes in his poems. He relates the speaker’s lover to a variety of other beauties---none of which work in the mistress's favor. During the Elizabethan era, poets accepted Petrarch’s technique for writing love poems. He makes highly overemphasized comparisons between nature and the poets’ paramour that when literally translated, sound absolutely preposterous. In Sonnet 130 William Shakespeare’s use of understatement parallels the common poets’ use of exaggeration with regards to their perception of women. As a result, the poem is uplifted and brings forth the ideas that women encompass flaws and that beauty should not be defined through comparisons to nature.

            In the first quatrain, Shakespeare states that her eyes are “nothing like the sun,” her lips are less red than coral; compared to white snow, her breasts are dun-colored, and her hairs are like black wires on her head. It is through being brutally honest that he teases the traditional metaphors, and demonstrates a speaker who somewhat bewildered, decides to tell the truth about women and their imperfections. He questions the conventions of love poetry common to his day by intimating that, “Your mistress’ eyes are like the sun?” For the speaker, this idea is bizarre. For “my mistress’ eyes aren’t at all like the sun.”

            In the couplet the speaker goes on to declare that, “by heav’n,” he finds the love he exhibits for his mistress as ultra rare and valuable. The speaker’s full intent is discovered in the last few lines of the sonnet. He demands that love does not require conceits in order to be genuine; and women do not need to look like goddesses in order to be beautiful.

Aesthetics in Sonnet 31

Understanding the art of a poem is not an easy task to accomplish, for people often refer to things as either “ugly” or “beautiful” without attempting to determine the meaning behind the object or work of art.  We indicate that something is beautiful because it holds value to us and embodies a definite purpose.  For example, lyrics are striking or significant because they remind us of an individual or moment in our lives.  This principle has been come to know as aesthetics, the branch of philosophy dealing with such notions as the beautiful, the ugly, the sublime, the comic, etc. Because artistic value is compassionately personal, it must be felt as ones own. Sonnet 31 by Sir Philip Sydney portrays beauty through its powerful poetic conceit and its ability to reflect on love.

            In Sonnet 31, Sir Philip Sidney is infatuated with Stella, the star he seems to be seeking, but yet she is far out of reach. He is hurt incontrovertibly because she rejects him.  He asks the moon rhetorical questions and confides in him about his love life with Stella. He then goes on to propose that all women must be the same and their existence on Earth or in the heavens is irrelevant.  He resembles the idea that once a man is mistreated by a woman they love, they lose hope for all the others that might potentially be different.  To go as far as question whether even in the heavenly realm faithful love is regarded as foolishness proves how ungrateful he believes Stella is by contemptuously rejecting him.

            While he speaks to the moon he remarks that both of them have now become fellow sufferers of love. It is fascinating that Sidney makes the moon into a proper noun by capitalizing it, almost giving it human qualities in doing so.  This apostrophic take on the poem shows how love can have irrational effects on people, but still holds exquisiteness behind it. The moon is beautiful because it helps morose romantics think, meditate, and dream while also creating a passionate atmosphere. Astrophel’s eyes meet with the moons at night in hope of receiving some sympathy from someone who sees all that goes on in the world and looks down at all the lovers.

Sydney’s influential vanity concerning love and his personal experience with it is the prime example of beautiful poetry. Love is a powerful emotion that conquers everyone in the world at one point in his or her life. Rejection is not pleasant, but when the person you love does not reciprocate your love, you have to have the pride to accept this fact. By confessing to the moon his dilemma, the speaker hoped to obtain compassion of some sort. As noted in Sonnet 31, love is a natural and extraordinary passion; humans are wired to fall in and out of love.  

Passion and responsibility go hand in hand.

Klara Sulce

Mr. Perez

English AP

27 October 2011

A frequently conveyed theme in literature is the classic war between passion and responsibility. William Faulkner’s novel As I Lay Dying displays forth this powerful clash between what one wants to do and what one needs to do. Most of the characters in this novel all face the challenge of deciding what is right to do and what they hope to accomplish. The most selfish person in As I Lay Dying is undeniably Addie and Anse’s daughter Dewey due to her unsympathetic attitude concerning her mother’s death and the fetus inside of her. Her actions show the predominance that one’s self-seeking passions hold against their obligations as a diligent person.

            Upon the death of her unfortunate mother, Dewey did not mourn as is expected to when one faces a dramatic loss such as this.  One of her goals in the novel should have been to abide her mother’s dying wish of being buried in Jefferson, however she becomes engrossed in her egocentric ways to accomplish this task. Although Dewey was going through a lot during her mothers’ illness being that a local farmhand left her pregnant, the reader is left feeling unsympathetic towards her. She portrays an immature and rash soon to be mother in distress and the struggles they face in modern day life. A moral duty of hers is to care for her youngest brother, Vardaman, be a mother figure to him, and to perhaps obtain some knowledge of how to take care of her own child.  However, she foolishly lets her own problems or rather; mistakes sojourn her from carrying out her responsibilities as the only woman left in charge of the Bundren residence.

            As a woman back in the 1930’s, Dewey should have taken over her mothers’ role in the family being that their family consists of five men.  Women are considered the caretakers of their families and have duties to live by such as cooking, cleaning, etc.  Dewey however, was not ready for this responsibility.  Conversely, she hopes to get rid of the fetus growing inside of her as soon as possible and demonstrates how uncivilized humanity becomes in order to fulfill their selfish needs. She is misled into exchanging sexual services at the local pharmacy in an effort to purchase abortion drugs. If Dewey had pursued help from one of her older brothers concerning her pregnancy; her outcome would have been extremely different. Ultimately, she seems to make one mistake after the other and displays the idea that once one stops being responsible, everything does downhill and leads to their decline.

            Not only did Dewey fail her responsibilities as a daughter, but she also was unsuccessful at being a potentially nurturing mother. Had she thoroughly thought things through, her life would have turned out better. She would struggle to provide for her brothers and child, but her life would hold a meaning behind it. She would have a reason to revitalize her life, her family. Consequently, Dewey’s selfish manner is significant of societies' way of acting upon their selfish needs and the consequences that follow their decisions.