Tone/Mood- Blog #8

Tone is the speaker's attitude, whereas mood is the reader’s feeling. These devices are therefore crucial to literature in order to familiarize and personalize the text, providing an emotional relationship to the reader. In “To His Coy Mistress”, Marvell’s tone shifts throughout the poem. Seeming romantic, the poet explains how his love for his mistress transcends time, "My vegetable love should grow Vaster than empires, and more slow". The reader expects the poem to be a progression of their mutual love and unwavering loyalty to each other. However, the speaker expresses urgency, with morbid descriptions of inevitable death, contradicting his previous claims about boundless and timeless love, "Nor, in thy marble vault, shall sound My echoing song; then worms shall try".  In lines 27, 29, and 30, the words "worms,” “dust,” and “ashes" alter the pleading (manipulative?) tone introduced through imagery associated with decomposition. These words firmly establish the crass reality of looming death, developing a melancholy tone. The jarring juxtaposition leads the reader to question the speaker's true desires regarding his lover. The matter becomes convoluted and the only solution is the passionate tone, devoid of genuine affection: "And now, like amorous birds of prey, rather at once our time devour". "To His Coy Mistress" begins with a tone of romance and tranquility but concludes with almost violent lust. In response to this tonal transition, the mood of the poem changes drastically. The reader is clued into the mood shift by obvious word such as “But” and “Now”. From sweet and romantic to sexual and tense, the reader responds to the man’s shift in mentality.

Diction- Blog #7

     Diction conveys emotions, intent, and point of view by the author. Evidently, diction is the key of exploration into Shakespeare's world. The playwright uses different types of diction to develop a character's thought process, intent, and desire. In his "To be or not to be" soliloquy, Hamlet weighs the value of life and fortune and suicide as an escape, further revealing his indecisiveness. He relates death to sleeping and by metonymy, claims that self-destruction is just a pleasant and extended rest. However, he stops at the realization that to sleep implies dreaming, and "in that sleep of death what dreams may come, when we have shuffled off this mortal coil, must give us pause." In other words, Hamlet, fearing to find himself in Hell should he commit suicide, discovers that his fear of the after-life prevents people with fortune to commit suicide.
     Therefore, diction is not only an essential foundation for a coherent Shakespearean plot , but also for the actors, who need to speak seeminly without effort in order for audience to become engaged rather than regard Shakespearan literature as archaic monotonous. To do so,  enunciation rather than pronunciation of Shakespeare is vital for the audience, as variation in tone will facilitate meaning and give depth to stark words rather than existing as a mere distraction. As evidenced above, analysis of diction, often minimized, leads to a crucial understanding of Hamlet's soliloquy, his character, and the entire play. Hence by firm belief that  diction is the actor on the stage of emotion, storytelling, and experience, namely drama.

Fig Language/ Imagery- Blog #6

Through carefully chosen syntax, diction, and meter, Shakespeare defines Claudius and Gertrude’s culpability in their current situations. Thus, Shakespeare’s craftsmanship of language enables him to create the roles necessary to fulfill his plot. The playwright used lightweight language for Gertrude because he needed a petty queen and stilted language for King Claudius, crucial for his imitation of his nearest royal model, Hamlet Sr. By imitating his brother, Claudius fools himself and this deception creates a degree of dysfunction by definition. Claudius and Gertrude’s syntax, vocabulary, and meter, depending on their situations, create these duplicitous impressions imperative for the actors, audience, and themes. Furthermore, Shakespeare’s figurative language is transformational, manipulating the audience’s imagination through verbal communication, rather than visual setting. Even without physical descriptions, the reader still draws a mental picture based on the characters’ speech. 

Poetic Sounds- #5

The sound of poetry? The poetry of sound? Both provide the literature with a melody that connects the brain memory and mental image to colorful diction and meaning. Unlike many other abstract devices found in poetry, poetic sounds are determined by the author and therefore very concrete and purposeful. The best poetry, in my opinion, has been the succinct ones that encourage the mind to wander through the challenges of ambiguous text. In poetry, the rhyme scheme offers a roadmap that sometimes "connects the dots" between unseen parallel images or themes. In "Out, Out" the speaker is somber, yet Robert Frost uses words that create an ironic tone eventually exploring the crass reality of child labor: "The buzz saw snarled and rattled."

Theme-Blog #4

In Pride and Prejudice's tightly defined world, finances and convenience, rather than romance, provided the foundation for relationships and marriage.The reality of having to raise five daughters stresses the imminent threat to poverty on the Bennet family. Therefore, in this context, Mrs. Bennett acts rationally because marriage was not about love, rather about safety, security, and reputation. Mirroring the characters' constant anxiety over doting and impressing the opposite sex in early English society, Austen incorporates marriage throughout the novel, which sadly proves it to be a necessity rather than a luxury.


Examples of Marriage:
1. Austen's first sentence introduces the theme of marriage in an ironic manner.
2. Mr and Mrs Bennet have been married for 23 years, though it was initially based on physical attraction. Mrs. Bennet's has committed her life to marrying off her five daughters to prosperous men.
3. Charlotte accepts Collins marriage proposal solely for the purpose of fulfilling society's expectations.
4. Bingley and Jane's marriage was based on rationality, love, and respect. 
5.  Even though Elizabeth and Darcy end up in a happy marriage, Elizabeth initially defies the cultural expectations, by refusing to marry in accordance to society's necessity for marriage.
6. Lydia and Wickham's unhappy marraige was their reaction to irresponsible behavior.

Setting- Blog #3 (To Be Graded)

Setting not only includes the physical scenery, but also incorporates the connotations from the scenery in relation to the moral, social and intellectual customs of the time period. Therefore the customs create the stage for the audience to understand the context in which the setting occurs. In this way, the setting can divulge the crucial themes on which the author intends to expand upon. Knowing that Pride and Prejudice takes place in Longbourn, it would be ludicrous to ignore the city’s emphasis on social class and reputation. Could 18^th century British society provide a context for Mrs. Bennet’s obsessive preoccupation with social climbing? Lurking below the superficiality of her manner, the reader finds Mrs. Bennett conforming to the demands of her society and interpreting them without regard for values, ethics or love.

Evidently, finances and convenience, rather than romance, provide the foundation for relationships and marriage in Mrs. Bennett’s tightly defined world. The reality of having to raise five daughters stresses the imminent threat to poverty. Therefore, in this setting, Mrs. Bennett acts rationally because marriage was not about love, rather about safety, security, and reputation. Even though Jane Austen weaves a tapestry of an unattractive individual who appears to be made from simple, whole cloth, Mrs. Bennett’s superficiality and obvious social climbing skills reveal her as complicated and outrageously ostentatious. Austen’s portrayal of Mrs. Bennett teaches the reader that unattractive does not necessarily mean uncomplicated because her sole purpose derives from her desperation to achieve social status for her daughters. Thus, Jane Austen portrays Mrs. Bennett as a petty social climber, a pestering wife, and an inattentive mother, branding the reader with the impression that she is shallow and defined by the pressures of her society. Reality proves that she is a devious and multidimensional character quite capable at achieving her vapid goals.

Clearly, Austen uses Mrs. Bennett’s character as a canvas on which to portray the established social order of the time. While pretense has always been an important part of organized society, it especially plays an influential role in highly stratified societies such as 18^th century England. In Hamlet, Shakespeare demonstrates the beginning of social stratification in England, which would soon birth a rigid, yet tainted hierarchy of inheritance. A new ruling class was emerging and it was imminent that the first-born sons of wealthy landowners would inherit their fathers’ assets. King Claudius and Queen Gertrude’s deceptive conduct proved to be the foundation for the dysfunction that was rampant in the Danish court. Their royal relationship, how it began and how it existed, defines the setting for the play, sets the tone, and presents the context for a vengeful plot.

Therefore, the “royal mischief” and 17^th century hierarchal society, referenced by Claudius and Gertrude, provide fertile ground for escalating domestic dysfunction. It would be foolish to think that Shakespeare was oblivious to his historical facts and that Denmark was a random location. The king at the time was King Charles, son of James, son of the infamous Mary Queen of Scots. Also, King Charles’ mother was a princess of the Danish Court. Dysfunction in royal families was fairly well known among the common people and suspicious during the 17^th century. Shakespeare chose to portray these situations knowing that his audience could relate to the theme of “ Royal mischief”.

Character- Blog #2

In both fiction and drama, the plot revolves between the tension between the protagonist and antagonist. For Shakespeare the power struggle occurs between Hamlet and Claudius and for Austen between Elizabeth and Darcy. Though Hamlet and Elizabeth seem to both be riding the psychological rollercoaster, they possess an intellectual curiosity. Through self-reflection, indecision, and love, Hamlet and Elizabeth demonstrate their ability to think clearly. Though Hamlet contemplates suicide and Elizabeth is rivaled by Darcy’s excessive affection, both characters represent the struggle between their personal values and what is best for their family’s situation.

Plot Blog #1

A plot is the main idea of the story based on conflict. By tradition, plot is defined by the exposition, foreshadowing, conflict, rising actions, climax, falling action, and denouement.. Therefore, a plot is like a map for the storyteller because it emerges from the setup of characters and their revolving conflicts. A story without plot is just endless descriptions of lists, but plot provides fertile ground for a story that has a beginning, middle, and end. Arguably, the plot is the overarching umbrella under which character and setting thrive. In Pride and Prejudice, the story revolves around Elizabeth and her mother’s need to marry her off well. The climax therefore occurs when Elizabeth accepts Darcy’s proposal, but the excitement seems to plummet after this scene. In Hamlet, Shakespeare provides multiple climaxes for his readers to keep them intrigued about his story. However one of the most poignant climaxes occurs during the “play within the play”. After Hamlet notices Claudius’ guilty mannerisms, he becomes bent on revenge. Unlike Pride and Prejudice, the thrill, horror, and anxiety continue till the very last sentence. 

Turnitin.com Notes

My essay offered a strong argument and presented the logic in a clear, superb, and calculated manner, a consistent anxiety of mine! This time I was very pleased because I spent a few hours deciding just how to structure this essay, now having two characters each with different characteristics I wanted to highlight! Nonetheless, this structure aided me to enhance my main points.My analysis was quite developed for Claudius, but I could have suggested more about Gertrude's feminine language. Using my two past essays as evidence, I believe that my strong areas that I will carry on for future essays are...
originality of topic
catchy and clever title
providing an"unarguable" argument
strong analysis
structure appropriate for the topic

I can still benefit from toning down my language and even further using the evidence to back up my main point. Next time, I will tear apart the diction that the speaker uses and talk about its correlation to my paragraph's subtopic.

I should have cleared the historical evidence prior, yet I didn't know that it was necessary. I thought that it was almost ludicrous to NOT mention it, leaving out the context for the deceit, intimidation, and imitation. However, I understand your point and I will come to you prior to discuss.

Ozymandias and Ponder Intro

The frailty of life and the futility of love are the central threads though Shelley’s Ozymandias and Cummings’ Ponder. By providing such a realistic, contemporary and personified image of Time’s dominance, both authors seek to refute idealism in attempt to study the permanence of art, a seemingly ironic concept. The poems describe a simple situation: A man and a woman regard the ancient statues as the man urges them to seize the day before they are ruined like the statues before them. Besides the subject, the links between Shelley and Cummings are numerous. Shelley’s archaic language and unfinished sentence structure reflect the irony of time and situation. Similarly, Cumming’s typography and playful tone reveal his parody of love through jarring juxtapositions. Their message is simple: Time in inescapable; yet time can either dilute greatness or provide an excuse for copulation.

Ozymandias and One Evening

Both Ozymandias and As I Walked Out One Evening can be reduced to the metaphor that “Time is the ultimate conqueror”. Ozymandias develops this theme through 14 lines of irony, while Auden uses much simpler syntax and 15 quatrains to do this. Ozymandias exploits verbose and stilted diction to develop the themes of evaporating arrogance, permanence of art, and desolate setting. Alternatively, “One Evening” refers to the futility of love to portray Time’s devastating capabilities. It is interesting that Ozymandias begins my describing a traveler from a vast desert wasteland, whereas Auden places the reader in a busy city where people are packing the streets, just like wheat that blooms when ready for harvest. Both poems conclude with Natural Time being eternal, warning the reader the nothing grand in life endures except for nature.

Ozymandias and Ponder

Ozymandias and Ponder use time as a means of devastation: “ My name is Ozymandias, king of kings: Look on my work, ye Mighty, and despair! Nothing beside remains.” The once powerful and influential kingdom no longer thrives, withered by time. His imperative sentence connotes that the king was proud of his hegemony, but now, however, the kingdom is reduced to nothing, no immortality or legend as expected. In fact, the name Ozymandias accurately implies the short-lived grandeur. His name seems long, important, and strong willed, however, Greek etymology reveals that it actually means “Ruler of the Air”. By metonymy, I wasn’t sure how to decide it’s actual meaning, but I understand that the Ruler of Air could refer to the Ruler of Nothing or the Natural Ruler. After all, nature proves to be immortal with the stature fading, but the sands “that stretch far away”. Ozymandias leaves the reader feeling dejected, anxious about age, and dubious of “power”, whereas Ponder mocks the concept of time and immortality alluding to other poems in a silly manner.

Weekend Blogs

P 833 #7

When Claudius became the de facto king, he birthed Hamlet’s jealousy and dubious attitude. Even after witnessing the ghost with Horatio, Hamlet is wary of the Ghost’s advice. Though he desires Claudius dead, he investigates the truth in order to follow the command of the ghost to avenge his father’s death, but only to murder him for his nefarious deed, rather than myopia. Therefore, Hamlet used his madness as a defense, a necessity in order to “fight two fronts”. Unfortunately, the entire plot thrives on Hamlet’s conflict with his conscience and his outwardly expressed hatred with Claudius. Furthermore, he struggles with his feelings because he desperately wants to appear manly, but reality reveals his inability to restrict the outpour of emotion, even when the king and queen tell him to stop crying.

P 833 #3

The theme of Appearance vs. reality is most readily displayed through the characters of Claudius, Polonius, Rosencrantz, and Guildenstern.

Claudius represents the epitome of appearance versus reality throughout the play. Initially, he lies about his illegitimate usurpation of the throne, pretending to sympathize with King Hamlet Sr. However, it is incongruous to say that he expresses so much woe, yet he murders his brother in his selfish pursuit. Later, Hamlet expresses sadness when he doesn’t want Hamlet to attend school in Denmark and even says that it is a “most retrograde desire”. Later, we know that he sends Rosencrantz and Guildenstern to spy.

Polonius appears as a trusted advisor to the king and a caring father, yet once Laertes has left, Polonius sends Reynaldo to spy on him. He also intends to break Hamlet and Ophelia apart, claiming that he worries about the prince’s intentions, but reality proves that this separation only yields to a better alliance to King Claudius. Though he seems to be concerned with his daughter’s romance and son’s seclusion, Claudius is a manipulative and hardly noble buffoon.

Rosencrantz and Guildenstern are Hamlet’s childhood friends that have been sent to obtain information about Hamlet for the King and Queen. Clearly, they are not concerned about his wellbeing in Denmark, rather they are the liaison of information for Claudius.

I played Hamlet in Act II Scene II.

Line 173-Hamlet is humored by Polonius’ nonsense and thus attacks him with sarcasm. By calling Polonius a “fishmonger” he insults Polonius by saying all he does is sell fish. Alternatively, a fishmonger is also slang for a “pimp”. His comic and playful tone is essential to create the role emphasis, where Hamlet subordinates Polonius, even thoguh he is supposed to be a “king’s advisor”, but then again, Hamlet thinks Claudius usurpation is ridiculous. Therefore, I think Hamlet’s frustration can only be conveyed though his humorous, confidant, and quick response, rejecting a declarative or even “ditsy” tone.

Pg. 832 #9

At the end of Act II in his soliloquy “O, what a rogue and peasant slave am I”, Hamlet expresses his shame for stalling to act impulsively against his father’s death. In order to express such intense self-hatred and disgust, Hamlet compares his inaction to a fictional character’s dramatic grief for his dead father. “What would he do, / Had he the motive and cue for passion/ That I have” (2.2. 484-486). The actors amaze Hamlet by making their death scene, which seems so realistic. Stupefied by their skills to emotionally connect with a “fake scenario”, Hamlet condemns himself for taking a passive stance on patricide. Hamlet then calls himself a coward for his inability to say anything in defense of his father: “Am I a coward” (2.2.497). Though he has the intentions of soothing his grief and becoming more aggressive, Hamlet continues to comment on the actors, a rather passive action. His inaction, therefore, reveals his lack of self-esteem: “Yet I, a dull and muddy-mettled rascal” (2.2. 493). Full of indecision and criticism, Hamlet eventually plans to invite actors to perform a play that will mimic his father’s murder, thereby yielding insight into Claudius’ guilt-ridden conscience or lack thereof.

From Hamlet’s emotional diction (“Bloody, bawdy villain!” (2.2.507)) and his doubtful questions about his identity, the reader is able to infer his unstable emotions through his rampant tonal shifts. His instability may also be a result of his ignorance about how to proceed after his father’s death, thoughts that are both rational and semi-psychotic. Despite his intent to avenge Hamlet’s death, Hamlet is insecure about himself and unsure about his future, thus legitimizing his procrastination.

Hamlet's Madness

7. Why do you think Hamlet tells his companions he is likely to put on an "antic disposition" (1.v.172)? Is his behavior a deliberate strategy or a natural reaction to his anger and grief? Explain

By writing few stage directions, Shakespeare encourages his audience to interpret the motives for Hamlet’s madness, feigned or true. Though evidence seems less than sufficient, I inferred that Hamlet's "Antic disposition" is merely a mask for his hatred. Wanting to avenge his father’s death in a rather inconspicuous manner, Hamlet recognizes the necessity to set up a scenario that would startle people.  Furthermore, it seems logical that this public outcry would be an excuse that should legitimize future irrational behavioral sequences. After analyzing Hamlet’s words about his "Antic disposition", I think that Hamlet uses his madness to create a nonissue in order to detract the attention from his revenge plan and instead focus on his sanity or lack thereof.

14. In Act 2 Scene 2, lines 236-37, Hamlet says "Why, then, 'tis none to you; for there is nothing either good or bad, but thinking makes it so." What assumptions underline Hamlet's response? What does he mean? Do you agree with what he says? he then says to his old friends, "I am but mad north-north west: when the wind is southerly I know a hawk from a handsaw" (II.ii.330-31). What does this remark suggest about Hamlet's madness, about his antic disposition? is he mad, or is he acting? Explain

Evidently, Hamlet has been studying philosophy. Hamlet explains that actions are not inherently good or bad. Humans are the judges to assign descriptions to ideas, events, and people. Hamlet then goes on to talk about how is problem is his bad dreams because he knows that a clear mind leaves to emotional and mental freedom. Therefore, if we are unable to think nothing can be good or bad. Why is it that Al Qaeda is viewed as a group of  “bad people”. It has nothing to do with their biological makeup, but rather their speech patterns, actions, and previous experiences that have instilled terror and fear into other global citizens. Therefore, Hamlet’s opinion is very wise and defendable.  

Interestingly, when Hamlet comments on his “semi-insanity”, he simultaneously announces that he is “acting”. By admitting that he is only sometimes crazy, Hamlet reveals that he recognizes his times of sanity vs. insanity. It seems that these are his “Words, words, words” that he uses to persuade people into thinking that he is mad. The proof is that he remains completely sane in his soliloquies, a perfect opportunity to look deeper into his private character. If Hamlet were truly mad, his thoughts and plans would not be calculated.

Laertes and Polonius

Hamlet, Laertes, and Polonius all express valid concern and affection for Ophelia. For her protection, Laertes justifies his warnings to Ophelia about Hamlet’s true intentions after arriving in Denmark for the tainted royal ceremony. In Act 1 Scene 3, Laertes cautions her that Hamlet’s decisions about dating are based on the sole benefits for his country, if not arranged. His royal duty is foremost and for this reason, Laertes tells his sister to guard her virtue, knowing that Hamlet can be rash and persuasive. Reminding Ophelia of her non-royal ancestry, Laertes predicts that Hamlet’s proposal to Ophelia would be halted by public judgment, as their union would be unacceptable given that the prospective queen is not of “Royal blood”. He therefore predicts a sudden end to there relationship, which he tells his sister isn’t worthy. After all, who wants to just flirt if their romance is doomed to terminate?

Polonius offers similar advice that he hopes Ophelia will understand. As a father, he is worried that Ophelia will be “used”. Apprehensive that Hamlet’s youth has magnetized him to Ophelia for her physical attractiveness, rather than her character, Polonius advises Ophelia to stray from Hamlet’s flirtation and instead search to redefine herself. Polonius therefore urges his daughter to refrain from seeing Hamlet by presenting Hamlet’s vacillating lust and vacuity as unworthy to her.

Polonius’ concern that his daughter will be “used” by a lewd young man is still a topic prominent in today’s society. Therefore, his argument seems fair in that from a “birds eye view” he worries about his daughter. Laertes’ evidence is simply not as strong as Polonius’ evidence. Though he presents a valid point that Ophelia would be more likely to agree on, his evidence of the consequences is absent. He doesn’t seem to address the alternative if they DO marry, whereas Polonius suggests that should they continue to date, she will feel manipulated. In Act 1 Scene 3, Polonius and Laertes instruct Ophelia to “ignore Hamlet’s vows” and think twice about his projected affection. In this way, they have manipulated her and thus reduced her to their subject, as evidenced by her response, “I shall obey, my Lord” (I.III. 136).  Their treatment of Ophelia suggests that they are misogynistic, even though they are seemingly concerned with her wellbeing. However, Ophelia feeds into their misogyny, having been indoctrinated with the image of her being subordinate as “less than royal”. Therefore, she legitimizes her inferiority by looking to Hamlet as the epitome of perfection and realizes that she clearly does not descend from nor belong to royalty.

Assumed Deceit; Accepted Dysfunction

In Hamlet, Shakespeare emphasizes the beginning of social stratification in England, which would soon give way to a rigid, yet tainted hierarchy of inheritance. Because a new ruling class was emerging, it was imminent that the sons of the wealthy citizens would inherit their fathers’ assets. Money was the single ingredient, poured onto the family unit that created higher rates of dysfunction. King Claudius and Queen Gertrude’s dishonest conduct was the foundation for the current dysfunction. Their relationship defines the setting for the play, sets the tone, and presents the context of the vengeful plot.  King Claudius’s aggressive speech through imperative diction, contrasted with Gertrude’s sympathy and support, through the use of metaphors and aphorisms, aids the actors in expressing their parts, enables the audience to suspend it’s disbelief, and bolsters the themes of self- identity and family by demarcating boundaries. Therefore, the “royal mischief” and 17^th century hierarchal society, referenced to by Claudius and Gertrude, give way to escalating dysfunction. 

“Shall I part my hair behind? Do I dare to eat a peach?"

T.S. Eliot's The Love Song of J. Alfred Prufrock reveals the shortcomings of a self- conscious man, who fearfully succumbs to the power of love at the expense of his self-identity. Prufrock initially is hopeful, determined, and strong willed, but this hope splatters in the vortex of silence.  Evidently, self-awareness even in seemingly insignificant situations has become paramount for the emotionally disillusioned man: “Shall I part my hair behind? Do I dare to eat a peach?” (line 122). The man’s mind has become obsessed with impressing others .The questions expose his insecurities and mania about his appearance even though parting his hair and eating a peach are two ridiculously insignificant tasks. Still, he worries about the way others perceive him. This “emic” perspective emphasizes other opinions as superior the objective truth. Confused about the way he wants to depict himself, the man is confused. With his channels being blocked by the anxiety of judgment, he is paralyzed. The interrogative sentences reveal his self-consciousness, unable to confirm what he should do with his life. Therefore, his blurry identity is compared to the London fog because he is romantically confused and disillusioned. This frustration is even reflected in the cacophony of the diction chosen. 

“Through the Iron Gates of Life"

Line 44 capitalizes on sexual invective. Simply the speaker wants to burst the iron gates of his mistress’ coyness (enticing modesty). This references his attempt to rob her of her virginity. The iron connotes captivity, much like that of a prison. Note that they are the iron gates of life rather than the iron gates to life. The diction that Marvell employs confirms that life confines individuality and expression. The metaphor for confinement extends throughout the line and even the poem. The female is the prisoner locked up for a crime (being a virgin) and sex is the bail. Therefore this emphasizes patriarchal dominance as he further fears that his lust will become dust should they not have sex. The nameless speaker expresses slight hubris through his affirmation that he can demolish the iron, a metal known for its durability, strength, and resistance. He inflates his ego to pursue his power, fearing his ultimate demise- death as a virgin. Thus, the man needs a verbal affirmation that he will not die a virgin. Their sex and physical reaction to his need will bolster his necessary confidence. However, it is not only his need, but hers as well or else decomposition is imminent. In lines 27 and 28, the speaker says that if they do not have sex her body will become infested with worms inside her coffin, gnawing at the raw flesh of a dead virgin. The realization of the double impact without penetration is even referenced in the rhyme scheme. Though some readers conclude the rhyme scheme to follow the pattern AA BB, I refute this claim. I see the rhyme scheme as AB AB, and the coupled lines represent the man and woman functioning as a couple, even heard in the relationship of the rhyme’s sound. The fluctuation between the inflexions prompts the reader to hear the consistent change of movement during intercourse.

Cross Reference- Harding and Austen

Jane Austen's novel is certainly a didactic text. Whether it was her intent to create a bible, a book of etiquette, or a mirror for self reflection, I am not sure. Regardless, Austen definitely questions the morals of the era by evaluating and even jeering at  the importnace of money in a relationship. Knowing that Austen was a revered satirist, why did she make Mrs. Bennett obsessed with finding a financially secure husband for her daughters rather than happiness? "Happiness in marriage is entirely a matter of chance" (Austen 14). Through prejudices, the reader is brainwashed to believe that a good marriage is based on inheritance, property ownership, and societal influence. Therefore, class consciousness and elitism permeate the novel. After all, Darcy even says to Elizabeth that he is mad at himself for doing so, but he was willing to lower himself in order to ask for Elizabeth's hand in marriage. The reader must question his intent since she doesn't have anything to bring to the relationship, and knowing this, Darcy is still uncontrollably magnetized to her. Class consciousness also surfaces when Elizabeth distinguishes between Darcy, who represents the "rooted" wealth, and Bingley, who represents and acts in the way of "Nouveau riche" at the ball. Subconsciously,  Elizabeth correlates looks and grandeur with the amount of money in her romantic's pocket.  Therefore, DW Harding certainly misunderstood Austen's intent to question the morals in the 18th century English society especially the repeated offense that finances confirm romances.

Self Evaluation

I was so thrilled that you recognized my initiative to explore Mrs. Bennett in not only new, but powerful  ways. My goal of this essay was to make sure that each sentence added one more piece of the puzzle.  These dense, but hopefully not "clunky",  phrases would allow the reader to understand and hopefully sympathize with Mrs. Bennett, rather than condemning and scoffing at her. However, my quotes proved to be my ultimate demise. While my arguments were honest, influential, and bold, my textual evidence failed to adequately support my claims. I spent a lot of time coming up with succinct phrases that I thought captured Mrs. Bennett in a few words. These phrases legitimized my argument and provided a foundation that was hard for a reader to doubt. Still, I could have developed my quote analysis more and most definitely further delved into my idea about Mrs. Bennett's instict vs. shallowness.

CONFIDENCE

Confidence is the most important factor in an essay. Through confidence, the reader is able to persuade her audience and thus engage their imaginations. Understandably, confidence, like writing, is a skill that takes practice to produce satisfying results. This is often encouraged in an "edgy" thesis that is meant to be arguable. Still, confidence reassures the reader that the writer’s idea is the right decision for the reader to follow, thus magnetizing the reader’s attraction and positive approach to the essay. In Essay A2, Anastasia never digresses from her main point. Her goal is to prove why Mr. Darcy is often misjudged and consequently hated. Though a debatable topic, Anastasia definitely convinces me that Mr. Darcy is human, naïve, and vulnerable. She explains that these common characteristics should transcend his snobby shallowness. Confidence allows Anastasia to “perform” at her best, by delivering her resolute belief. While some readers mask their insecurities with arrogance, Anastasia’s confidence is attractive and genuine (you could almost imagine this as conversation). Anastasia gently coerces the reader to invest in her belief that Darcy is simply misunderstood. Evidently, Anastasia believed that her certainty in Mr. Darcy would be explained to her audience, as promised. Her firm delivery and subsequent attitude overtake any of the reader’s previous misconceptions. Furthermore, if a writer is able to convey her purpose, grammar, syntax, and structure can be revised later on.

After all, if the writer doesn’t have confidence in her ideas, why should reader have confidence in them?

Bennet:Greek Chorus, Thoroughly Lovable Bully

Thesis: Because the intro is so short, it is hard to decide what the thesis is, but I believe it is the 2nd to last sentence. Franny's thesis is original, inspiring,narrow focused, and arguable. It presents her claim in a very clear and visual manner, and thus serves as a colorful map for the rest of the essay.

Structure: The structure is often underdeveloped. The opening sentence needed to be stronger and the author needed to be bolder in her claim. The second sentence (run-on) includes an incorrect citation, as well as, a premature quote. These errors, however, are erased when Franny brilliantly states that Mr. Bennet might not be the most capable father, yet his saltiness attracts his readers.

Evidence: Most often, the quotes are vacuous and do not validate Franny's claim, but in fact add bulkiness. Here, reveals the truth that quality is better than quantity. Franny uses 11 quotes (!) in her essay, all from various segments of the novel. Yet, the quotes rarely reveal Mr. Bennett's bully characteristic nor his likability and thus render useless.

Analysis:It is evident that the quotes do not build up Franny's ideas because their analysis is absent or weak. A quote should never explain itself and Franny seems to hope they would. However, I love Franny's analysis in her last paragraph that Bennett is more of a "commentator that exists in the realm of the reader". Unfortunately, this is an extremely enticing idea that is only mentioned and not dissected. :(

After having read the essay, I am still left questioning about WHY Mr. Bennet is loved and WHY he is a bully. This clear polarity of word order seems to be an intriguing claim, but the essay leaves the reader with unsatisfied, curious, and disappointed.

Are humans capable of change(ing their title after writing a paper that is incongruous with eleven words above it)?

Thesis: Amazing ideas for the topic sentences, but followed by dialogue and evidence that aren't pertinent to the main point ogf the paragraph nor the thesis.
Structure: The structure wasn't progressive.
Evidence: Quotes were way to long and lacked a proper introduction.
Analysis: Analaysis was at times thoughtful and enlightening, but it was not consistent with thesis and title. In 3rd paragraph, the writer fails to describe why Darcy is Elizabeth's male counterpart...an unexpected cliffhanger. Overall, the ideas were all original and still, in my own essay, I was able to comment on such topics as the female Bennett characters being so well written that they are petinent to today's society.
Style:The opening sentence grabbed my attention, but the unfortunate rambling second sentence seemed not to fit and thus left the reader confused and disappointed. Big (non logical) leaps between paragraphs. Seems very choppy. Doesn't talk about change until last sentence in intro and conclusion! Some language seems convoluted and bulky.

Mrs. Bennett: Austen's Punching Bag

This essay should be highly rewarded for its intricate and fresh ideas. The title was extremely clever and catchy especially because Austen's satire "punches" the reader. Though there were some thin areas that lacked proper quote analysis, the essay often pulls the reader in many directions with so many firm points. Unfortunately, this detracts the reader from the main point. Though I loved the second opening sentence about Mrs. Bennett's happiness, which is evidently dependent upon the financial security of her daughters, the first opening sentence is too convoluted and lengthy, thus boring the reader. Without an quick  snatch, the writing suffers and can only offer ambitious knowledge sporatically.  Immediately following their respective topic sentences, the first and second quotes are awkward because they lack proper quote context (set up). Additionally, the third quote should be shortened. Still, there were minimal grammar errors. Passive language, incorrect quote citations, and colloquial language, however, did reveal  that the writer needed to touch up on some grammar.Regardless, the ideas were substantial and I must  agree that Mrs. Bennett's multi dimensions are imperative to eliminate prejudice against her. These other facets allow the reader  to consider, and hopefully reevaluate, the reasons that Mrs. Bennett responds in such a seeemingly superficial way. In fact, in my own essay I used some similar ideas about Mrs. Bennett's myopic pursuit, thus accounting for her superficiality.

Mrs. Bennett: Tolerable or Irrational?

While most readers believe that Mrs. Bennet is a desperate and obsessive mother, she justly represents the women of 19^th century English society.

It quickly becomes evident that social reality and marriage decisions for her children consume Mrs. Bennett’s mind: “The business of her life was to get her daughter married; its solace was visiting and news” (Austen 3).