Raven Symoné

Raven Symoné

Thursday, February 19, 2015

Rochester is ____? Joon Ooyoor


In Charlotte Brontë’s Jane Eyre, many times Jane’s love interest Rochester is seen as a hero. But which type of hero is Rochester? Many literary critics argue between Rochester being a tragic hero, others a Byronic hero. When analyzing the text, Rochester seems to embody much more of a Byronic character, someone dark and moody, yet brilliant who “sometimes hints of forbidden love,” and can be seen as a “wanderer” (UHCL). Through these characteristics and many more that come with being a Byronic character, it’s very clear that Brontë was influenced by this extremely popular Romantic-era personality.
Initially, Rochester’s “wanderer” characteristics are very evident and are announced in Chapter 11 by Mrs. Fairfax: "He is rather peculiar, perhaps: he has travelled a great deal, and seen a great deal of the world, I should think. I dare say he is clever" (Brontë 136). Other times Rochester is seen as a wanderer is when his trips throughout Europe before meeting Bertha are written about, where his promiscuous affair with Celine Varens is revealed. Rochester never can really “sit still,” he is always moving around from country to country, not even being able to stay at his own home at Thornfield Hall for more than a few weeks before departing again mysteriously. The wanderer that Rochester is just begins to classify him as the type of hero Byron developed.
Furthermore, Byronic heroes many times have sinful thoughts and like previously stated, crave forbidden love. Essentially, Rochester and Jane’s love was forbidden, considering his on-going marriage with the insane Bertha. Rochester simply neglects to think of the moral and legal importance of not cheating on his wife by marrying another woman, as he gets as far as the wedding ceremony before his secret is revealed. Overall, his lack of care for Bertha and their marriage, seeing her as “his burden,” as well as his sin of attempting to marry another woman while already married further shows Rochester as a Byronic character. Although sinful and, sometimes, hard to love, Rochester still somehow makes his way into many of the readers hearts as we constantly root for Jane and his relationship to become a reality. Brontë shows us that even the most careless and sometimes evil characters can somehow become likeable for readers in both Brontë’s time and today.
Works Cited
"American Renaissance & American Romanticism: The Byronic Hero." University of   Houston -   Clear Lake. N.p., n.d. Web. 19 Feb. 2015.
Brontë, Charlotte, Fritz Eichenberg, and Bruce Rogers. Jane Eyre. New York: Random    House, 1943. Web.


           

Wednesday, January 28, 2015

Lost in Paradise


Milton depicts Lucifer in a very unique way in his work Paradise Lost. In lines 242 to 270, Lucifer exclaims his defiance against God and, furthermore, his lack of interest in changing. Lucifer truly believes he has the power to become greater than God. This shows how much of a high-risk creature Lucifer is. The quote, “Better to reign in Hell than serve in Heaven” shows Lucifer’s unwillingness to better himself, and furthermore shows how strong he is in his opinions, even though they are completely backwards (Milton 263).
Milton shows Lucifer as a quite envious character, wanting to be essentially just like God, ruling his part of the world, Hell, as opposed to God’s heaven. Lucifer goes on explaining how in Hell, “at least we shall be free…” and then explains the positives of God being “out of the picture” in Hell (Milton 258-259). Lucifer is seen as quite obsessive in the given passage, so focused on comparing himself with God and heaven, and doing whatever he can to make sure his Hell is seen as more superior. Although Lucifer is clearly evil, he is also seen as an anti-hero that readers can somehow relate to. Lucifer craves sympathy, and readers, like myself, cannot help but feel for him. In my opinion, God and Lucifer represent a very common archetype of the “older brother,” or in this case father. God is always more successful, and is always seen in a better light, while Lucifer is stuck in his shadow. Readers can relate to this feeling of being “second best,” and therefore classify him as a hero, even if he has evil tendencies.
Milton’s Lucifer has made a huge mark on literature through his creation of a very unpredictable anti-hero. Milton’s Lucifer explored a new, unexplored area in literature that was somewhat revolutionary, as it completely changed the way readers rigidly classified a hero and villain. Milton furthered the idea of the anti-hero, and helped literature evolve into the multilayered creative outlet it is today.
                                                         Works Cited
Milton, John. Paradise Lost. Ed. Scott Elledge. 2nd ed. New York: Norton, 1975.  

Wednesday, January 14, 2015

The Toompoost, nina

Jake Nusynowitz
AP Literature
Ms. Howard
13 January 2015
            Shakespeare’s The Tempest can be interpreted as both a tragedy and romance. When truly interpreting Shakespeare’s final work, though, there are many elements of romance that lead us to lean towards the affectionate genre. Initially, Schwartz writes about “extraordinary occurrences” in his list of characteristics of Shakespearean romance (Schwartz). The Tempest employs quite a few extraordinary occurrences, most specifically the beginning when a shipwreck takes place: “We were all sea-swallow’d, though some cast again” (Shakespeare 2.1). Furthermore, Schwartz speaks about supernatural events, which are extremely relevant in The Tempest. For example, one supernatural being, Prospero, uses his magic to regain his Dukedom and punish his enemies. At the end of the play, Prospero longs to return to society and speaks about his now disinterest with using magic: “…I’ll break my staff, bury it certain fathoms in the earth, and deeper than did ever plummet sound I’ll drown my book” (Shakespeare 5.1). Another example of a supernatural character is Ariel, a magical being who casts spells throughout the play: “Then I beat my tabour; At which, like unback'd colts, they prick'd their ears, Advanced their eyelids…As they smelt music: so I charm'd their ears…” (Shakespeare 4.1.15). Schwartz comments on the supernatural aspects by explaining, “Romance is unrealistic.  Supernatural elements abound, and characters often seem "larger than life" (Schwartz).
            Lastly, The Tempest employs a romantic feel through its sudden “happy ending.” Schwartz explains that “The "happy ending" may seem unmotivated or contrived, not unlike the deus ex machina” (Schwartz). The Tempest’s happy ending comes with setting prisoners free, Prospero giving up his island, as well as his powers that allowed him to control Caliban. The conflict is essentially resolved at the end of the play and all of the characters seemingly live “happily ever after.” Shakespeare commonly employed these characteristics in his works, and The Tempest in no way lacks in being one of his most well-known romances to date.

Works Cited
Schwartz, Debora B. "Shakespeare's Four Final Plays: The Romances. 2005. Web. 14 January 2015.

                   "The Tempest: Entire Play." The Tempest: Entire Play. N.p., n.d. Web. 9 Jan. 2015.

Sunday, December 7, 2014

Magical Realism

Jake Nusynowitz
AP Literature
Ms. Howard
6 December 2014
We are told we evolved from an ancestor common to humans. A wizard, Mermis of Atlantis, activated our DNA. Something not many people know was that Atlantis was in touch with the supernatural world. Atlantis was not forever, though. Mermis foretold the end of Atlantis, but few heeded his warnings. My ancestors chose to have their genes activated and imbued with special powers.  When Atlantis sank, we were the only ones to survive. Mermis became our leader. We rebuilt Atlantis deep beneath the ocean as our new home.
I
I always have this dream that I’m flying. It always starts the same, my lone body hovering above cerulean waters. All of a sudden, I am in total control, exploring the world, watching humans. You know, it’s in that fantasy where I feel completely safe. I’ve finally escaped the waters that trapped me for seventeen years. And then I wake up.
That dream was, in a way, always a fantasy, until the eleventh full moon of the year. It was a normal day; I woke up, had breakfast with my parents, collected four baskets of sea kelp, and raced Meranda around Mermis Rock. It wasn’t until I returned to my parents that things became far from normal.
II
“You’re going to land today, Meredith. We’ve found a beautiful city for you to stay in and go to school. There are many prospective humans there,” my parents explained. I felt my head getting light. I never thought this day would come. They were sending me out of the ocean and to land. I felt the sea kelp I ate earlier come up. But I knew it was time, and I was ready. When a mermaid turns seventeen, she joins the human world to search for a human man who can help her reproduce and continue her family. I just didn’t know they would send me off so soon. That night, I said my goodbyes to Meranda and my parents. Soon, the Transfer Committee took me to land. As soon as the sun came up, they brought me out of the water. I always imagined what my legs would look like, but I never actually thought I would have them. They were so long and beautiful, just like a human! We all walked to a black box, what we were told were called “cars,” I thanked them, and they were gone. I was on the road to my new home.
III
We pulled up to a beautiful house in “Miami, Florida.” As I stumbled to the front door (I was still learning how to use my legs), a man, a woman, and a boy were standing there, smiles beaming from cheek to cheek. “Welcome to Miami, Meredith!” They all shouted. They all shook my hand and brought me inside. This was my new home. This was my new family. They showed me the kitchen, the family room, and my bedroom equipped with a pool of water for me to sleep in. When the moon came out, my tail came back and without water, I would not be able to survive. They showed me my clothes and where I would be going to school. It all seemed to happen so fast, but I loved it. After getting to know them, I settled in, then headed downstairs for dinner. The mother and father prepared something called sushi. I did not know what sushi was but it reminded me of the ocean. I liked it.
IV
That night, the boy came into my room. His name was John. He had brown hair and beautiful piercing blue eyes. He asked me how I liked it here. We started off with small talk, talking about school and friends and Miami. We couldn’t stop talking. We talked about religion and politics and the mermaid world and the human world and love and hatred and everything in between. We talked for six hours. I loved him. I knew he was the one. As the sun came up, he went back to his room while as we both grasped the few hours of sleep we could get. He woke me up and told me to get dressed. He told me he was taking me somewhere. I didn’t argue. I slipped on my new shorts and a shirt and walked downstairs. He stood at the bottom of the stairs with a picnic basket and told me we were going to have lunch. We headed to a park with a grassy spot that looked like it was meant for picnicking. We ate and talked for hours. As we got ready to leave, he leaned in and kissed me. I knew it was real. I could feel it. As the sun started going down, he told me we needed to get back before my tail came back out. We got into his car and drove home. I knew I needed to ask him to be mine.
V
We arrived back to the house to the surprise of our parents standing there at the front door with three tall men in suits. “What’s going on?” John asked. “Back away from Meredith,” his mom yelled. All of a sudden, the three men started walking towards me. They grabbed me and shoved me in the back of a car. I yelled for help, but nobody was there. It was over.
VI
I woke up in a white room. I was tied up and had things stuck to my entire body. I screamed and cried for hours until finally a man came into the room. “What am I doing here, please let me out!” I yelled. “Hello Meredith! Welcome to the MCA! Here, we control disgusting creatures like you. We are a branch of the US government that works with mermaids, mainly. Your new parents were communicating with us the entire time and helping us pinpoint the exact time to bring you here and exterminate you! I appreciate you cooperating so well.” I felt queasy. This was it. I was going to die. My life was over. “Are you going to kill me?” I asked, my voice shaking. “Oh, Meredith, of course we are. And then, once we’ve killed you, we’re going to throw you back into the ocean so your disgusting relatives can see their dead daughter, their dead sister, cousin, and friend and know to stay in the water. Land is not a place for you things. I’ll be back shortly.” I couldn’t stop crying as he left the room. My family, Meranda, John, I would never see them again. I sat there, tied up, with my eyes closed and prayed. As I prayed, I heard screaming. All of a sudden, the door swung open. It was John. “Meredith! I found you!” He quickly untied me. “We have to go.” I kissed him and then we went. We ran. Gunshots seemed to be coming from everywhere. We made it out of the building and jumped into his car. We drove for miles until we were safe and could talk. He apologized to me about his family and told me he never wanted to go back. He asked me to be his forever. I cried and nodded, “yes, of course.” He asked me, “Where do you want to go?” I smiled, and said “Anywhere, as long as I’m with you.”
Five Years Later
We moved to Orlando, Florida, where we both got jobs at Sea World. I could use their facilities every night and we got to be together every day. We moved into a modest house outside of the city and eventually had a baby girl. We named her Mercy. We visited my family in the ocean every so often, and made trips down to Miami to show Mercy where her father grew up. We truly had it all. And I didn’t want it any other way.


Thursday, November 20, 2014

Fairy Tale

Two exquisitely curious juveniles were once dropped in the center of an immense thicket. Before being left by their abominable progenitors, one of the children left a pathway in hopes that it would lead them back to their household. Being dragged out into the boscage once again, the children instead assembled a different kind of path to lead them back. But, to their dismay, an unsolicited visitor consumed their avenue; one who knew nothing about their dire situation. Wandering aimlessly, the two juveniles stumbled upon a beautiful cream-colored bird and followed it to a clearing in the boscage. Soon, they discovered a magnificent home, rather a cottage, built of tasteful gingerbread and cakes, with windowpanes of sparkling sugar. They could resist anything but temptation. Famished, the children began to eat the rooftops of the candy-coated home. They couldn’t help but feel slightly selfish, but, then again, selfishness is not living as one wishes to live, it is asking others to live as one wishes to live. A decrepit woman soon emerged from the woods, luring them inside and promising them soft, pillow-covered beds and exquisite meals. They comply, the wise fools, completely unaware that the hostess is really not only decrepit, but wicked and plans to cook and devour the children.
            The following morning, the conjurer sealed one of the adolescent’s in a rigid iron cage in the garden and forced the other into slavery. Feeding the trapped child constantly, in hopes to augment their weight, the witch prepares to indulge in the growing child. As the witch prepares the blazing oven for the plump juvenile, she decides she is ravenous enough to devour both children. The witch coaxes one of the children to open the oven and prods her to lean over in front of the blazing inferno. Knowing what the corrupt woman plans to execute, the child acts befuddled in hopes to get the witch to demonstrate her intentions. As the woman leans over the flame, the child thrusts her into the oven, slams, and bolts the door shut. The children emerge free, finding vases full of exquisite treasures and precious stones. With riches beyond compare, the children set off for their home.

            In this world there are only two tragedies. One is not getting what one wants, and the other is getting it. Coming to the realization that their father’s wife had passed from unknown causes, and joyously finding out that he had spent all his days lamenting the loss of his children, they return to their home and the lives they once knew. With the witch’s wealth, they all live jubilantly for the rest of their days.

Tuesday, November 11, 2014

Bernard Marx

I
            I wish I were more confident. Approaching Lenina was hard enough, and you wouldn’t believe the amount of happiness that rushed through my body – like a huge dose of soma – when she agreed. Although, you couldn’t imagine the embarrassment I had when she publicly discussed her sexual life. I wish she kept herself more private, but I didn’t let myself think about it too deeply. The rumors going around about me are absolutely repulsive: “…somebody made a mistake when he was still in the bottle–thought he was a Gamma and put alcohol into his blood-surrogate. That's why he's so stunted…” they say (Huxley 46). These ridiculous stories are probably why I apparently am lacking so much on my confidence. Hopefully visiting the reservation soon should be interesting. I hope the Director lets us. And I really hope Lenina likes it. She says she interested. She also thinks I’m sweet. I appreciate that. She fixes my lonely feelings; she makes me feel wanted. She wants me to go to some sort of wrestling match. I agreed, but really have not much interest in what she wants to do. I feel hugely disconnected. It feels as if there is a rainstorm above my head, dark and gloomy.
II
She wanted me to take it. Over and over again, “Take the soma! Take the soma!” No. No. As we returned, I hovered the helicopter over the Channel. The silence makes me feel individual, I told her. She begged me to take her away from the water and the emptiness that comes with it. She eventually got me to take soma, way, way too much soma. We had sex. I didn’t want to. I want to act mature. I wanted to act like an adult.
            The Director said yes! I was almost positive he would disapprove. He told me how he lost a woman he went up there with in a storm. It scared me; I could only imagine how much shock he suffered from that. Then, something weird happened. He threatened to exile me to Iceland due to my “antisocial behavior.” Why? Regardless, I was pretty proud. I felt rebellious. I felt confident. More importantly, I felt ready to be with Lenina.
III
Today was an especially important day. It was the day we travelled to the reservation. It all seems like a blur, to be quite honest. One thing that keeps playing back in my mind is Helmholtz’s news. This whole “exiled to Iceland” thing seems to be becoming more and more real. It seems unreal. I can’t be exiled! I belong here. All that I felt, my proudness, my confidence, was gone. I was scared. I was scared until I took soma, of course. We met John, a blond boy from the reservation. He could be one of my greatest discoveries. He told us some shocking news: that The Director was his father. Linda, John’s mother, a particularly frightening woman, furthered the story and told us she had problems with her contraceptives. Why would someone lie about this? It had to be true. I think John will help me. He said he would come to London with me. John could change my life in the World State. And, perhaps, help me embarrass the Director. I have plans to expose him as John’s father, but I don’t plan on telling John about those. I was happy I could make John happy to finally see the World State. I’m not sure why he is excited, though. The World State is full of such hatred and disgust. I feel like a misfit there. I hope he doesn’t have some type of false hope that London will be some type of Shangri La. I fear he does…
IV
I went to visit Mond today. He agreed that John was important in the World States’ scientific interest. When I returned to the Director, he had the nerve to call me a heretic. I was in shock. What gave him the right to speak to me, let alone anyone like this! I’m not an infant. And I will not be sent to Iceland or Greenland or any land besides my land, the World State. I was so angry that I presented John and Linda to the entire room. The look on the Director’s face was truly priceless. The laughter that ensued as he ran out of the room was the cherry on top of an unforgettable moment!
V
The unforgettable moments continued. I was a hit. I was popular, all thanks to John. Being his guardian gave me what felt like some type of immunity. As if his popularity rubbed off onto me. Nobody could stop me. Nobody could hurt my confidence or me. The amount of sex I was having was amazing. Off the charts, I swear. I wish this wouldn’t end. I owed everything to John. And I didn’t care about what Helmholtz thought about me, he was simply jealous. These had to be some of the best moments I’ve had in years. I refused to let them end. 

Works Cited

Huxley, Aldous. Brave New World. New York: Harper & Bros., 1946. Print.

Monday, November 3, 2014

Froonkoonstoon :D

Mary Shelley’s Frankenstein represents interplay of Enlightenment rationalism and Romantic irrationality. Essentially, Victor Frankenstein represents the Enlightenment’s ideas of rationalism, while his creation, the monster, represents the irrationality of romanticism. The Enlightenment and its rationality were focused on science, and all things that are physical. Victor represented these ideals through his constant work in his laboratory, and creation of the monster through research in chemistry and other sciences. Essentially, his fall into a life with no social skills and obsession with the monster represents a condemnation of rationalism. Shelley showed the problems with thinking completely rationally and like an Enlightenment thinker, but also showed the issues with thinking like a Romantic: irrationally. Romantics argued that “the complexity of human experience could not be explained by an inhuman rationalism,” and that is exactly what Victor attempted to do (Smith 2). By creating life and attempting to bend the rules of nature and religion, he tried to explain the complexity of human experience, such as creation, rationally. This essentially caused his downfall, as he could care less about Romantic ventures and was solely focused on rational thought.

            On the other hand, the monster represented the Romantic Movement. By relying on his feelings, for example begging Victor to make him a female companion so he can be happy. Essentially, he lets emotions take over his life: “I will revenge my injuries; if I cannot inspire love, I will cause fear, and chiefly towards you my archenemy, because my creator, do I swear inextinguishable hatred” (Shelley 182). The monster even takes it so far to say he will ruin Victor’s life if he does not create someone for him to love. Through this, it’s clear that the monster had a very Romantic way of thought which also caused his downfall, due to his lack of rationality. Overall, Frankenstein still has resonance for our culture as it poses questions that are still relevant today. It questions, initially, the question of technology and science versus morality. Just because we can do something, does that mean we should? It brings up questions of the moral consequences of things such as cloning, which is, in a way, done in Frankenstein. As science becomes more and more powerful in culture and society, the idea of Frankenstein and the monster becomes more and more powerful. We continue to question more and more, is this possible? Could something like this truly happen? These questions make Mary Shelley’s timeless piece live on today and continue to live on for years to come.

Works Cited
Shelley, Mary. Frankenstein. New York: Dover Publications, 1994. Print
Smith, Andrew. Gothic Literature. 2nd ed. Edinburgh: Edinburgh UP, 2013. Questia School. Web. 31 Oct. 2014.