To Believe In Aristocracy or Meritocracy

Blog 7

          To have value suggests a level of merit, wealth or importance. In the 18^th century, this value system made strong distinctions in where one would identify their standing in such a classification. In Jane Austen’s Persuasion and Laurence Sterne’s A Sentimental Journey, we delve into the complex issues of society where aristocracy, meritocracy and the ability to feel each contribute differently to the value of a human being. Although the form they use differs, they both enable the reader to interact and create judgments about the characters. Whether one will argue if it elevates or diminishes our perception of their worth is determined by the system in that particular society. Because our protagonists are units within this community, these issues are amplified and evident in their conflicted personality and desires.

 

A Sentimental Persuasion

Blog 6

Both protagonists in Jane Austen’s, Persuasion, and Laurence Sterne’s, Sentimental Journey, suffer from identity complexes. Although the narration differs, the characters are highlighted by the theme of Appearance Versus Reality. One can argue that their action and reasoning do not always align with their emotional experiences. Beneath the outer surface are conflicting desires and views that cause them difficulty in understanding their own true nature and their interaction with others.

In Persuasion, Anne finds herself stretched between the wishes of society and that of her own heart. In Chapter VII, she claims that her desire to go to the outer door is simply to view the weather and “to see if it rained.” (Austen 165) Although this is her reason, can she possibly “suspect herself of another motive?” As the reader, we are aware of her innermost desires due to free indirect discourse in the novel and know Captain Wentworth is the real reason. She fabricates other motives to conceal the truth of her action. Essentially, she must control all the emotions and feelings that erupt inside of her with this calm lady-like veneer in order to conform to the expectations from society and those around her. Although she can try doing this, “one half of her should not be always so much wiser than the other half.”  She too can act impulsively by the heart when “she was sent back” at the sight of Wentworth’s entrance.  She is overpowered by feelings that are “bewildering” yet mixed with “agitation, pain, pleasure.” Such extreme emotions are the result of a woman whose thoughts and emotions have been repressed for all these years. They almost make no sense. Just the mere sight of him causes opposing feelings of “delight and misery”. This idea of contradiction highlights the conflict she has with herself.

Such paradoxical emotions are also present in Sentimental Journey through Yorick. When left alone, he tends to overthink such as the scene with the Madame de L where his innermost feelings erupt (Sterne 19). When left alone with her in the chaise, we see his multifaceted personality where his morals and desires clash. His way of justifying the motive is viewing her as a “distressed lady” where in a subtle way, he is actually helping her by sharing his affection.  He openly admits “every dirty passion and bad propensity” that are his weaknesses. These conversations with himself show how vulnerable his sexual impulses tend to make him. The fact that he is plagued by avarice, caution, cowardice, hypocrisy and pride reveals how conflicted his desires are although he tries to portray this image of being morally good.  It deals with class, public image to the church and this French world. Even after all this self-questioning, he usually acts “from his first impulse.” These thoughts “serve no purpose” and it does not change his actions.

            As a result of both situations, we see how their character traits tend to overlap. They are both concerned about their public image where they have developed this mechanism of creating other motives to mask their subconscious feelings. While Anne upholds her image more rigidly, Yorick admits that he is a man with faults and far from this virtuous, sentimental man he tries to be. Such openness is the benefit of first person narration. On the other hand, where free indirect discourse does allow a sneak peek into the actual voice of the character, we are limited to how much is revealed. They struggle with the desires of their heart and what their mind tries to read about the situation in relation to the views of society. They must deal with conflicted thoughts and emotions that sometimes overwhelm them. On the surface they may appear calm, but underneath is a stream of overwhelming thoughts of love. Yorick yearns to be love and be loved by women. Likewise, Anne desires to rekindle her passionate love with Captain Wentworth. While Anne may be successful in the end, Yorick remains a mystery.

The Fate Of Love: Divided & United

Blog 5

              Majority of Jane Austen’s, Persuasion, the burning love Anne shares for Wentworth seems to be a lost opportunity or perhaps, just the wrong timing. Critics before me such as Cheryl Weissman may pursue this argument of ambivalent desires even at the novel’s ending. However, the passage we examine (160) reveals not just a continuation of past issues but instead, the ultimate anticipation where fate has finally fused this couple once again.

            Although we are unsure of the narrator’s identity, we can infer it is someone who after all these years of observing, finally gets to see Anne’s heart restored. Particular detail is put into describing the current state of emotions involved. After those eight years of “diving and estrangement,” their relationship can now flourish. The anaphora of “there” emphasizes the two visible together everywhere. They no longer repress their attachment to the other like they did before, but are now open with their feelings and have come together in this society. “Those” emotions of the past are now stronger due to the separation.

            Perhaps, the narrator repeats “more” to truly focus the benefit of the challenges they have endured so they may better understand the other’s “character, truth, and attachment”. Returning to the past is merely connecting the memories and love from their previous engagement to who they are now. Because they are so united with each other, it as though the action of all the people around them is meaningless. The busy chaos contrasts with the peace of heart and mind the two can now enjoy, where they share their “retrospections and “acknowledgements.”

What I believe the narrator tries to highlight is that the length of time that had elapsed did not hinder their love, but further enhanced it. Now is “perhaps” the right timing where they are “more justified in action.”

Buddhism Meets "Persuasion"

For Fun.... watch
http://www.youtube.com/watch?v=iBqgr5xZLz0&feature=mfu_in_order&list=UL

The Elephent & 6 Blind Men Story 
This is a buddhist story talking about blind men being taken to an elephant. The Raja, which is the teacher, presents a part of the elephant to each blind man. Each one is presented with either the head, ears, tusks, a trunk, foot, back or the tail. The Raja asks each of them what sort of thing is an elephant. One by one, they took their turns to reply, each describing each part differently. They all share interpretations and argue over which one is oc. The teachers comes out and says the viewpoints of the blind men are all aspects of the truth. If you put them all together, you have a complete picture.


To me, this is the essence of indirect free discourse. Different perspectives each share some truth and reveal much more of the story than if it was to be told by only one.

To Persuade The Words Or Not

Blog 4

Passages used....

Chapter IV

“Anne Elliot, with all her claims of birth, beauty, and mind, to throw herself away at nineteen; involve herself at nineteen in an engagement with a young man, who had nothing but himself to recommend him, and no hopes of attaining affluence, but in the chances of a most uncertain profession, and no connexions to secure even his farther rise in that profession; would be, indeed, a throwing away, which she grieved to think of! Anne Elliot, so young; known to so few, to be snatched off by a stranger without alliance or fortune; or rather sunk by him into a state of most wearing, anxious, youth-killing dependence! It must not be, if by any fair interference of friendship, any representations from one who had almost a mother’s love, and mother’s rights, it would be prevented.”

Chapter VIII

“They had no conversation together, no intercourse but what the commonest civility required. Once so much to each other! Now nothing! There had been a time, when of all the large party now filling the drawing-room at Uppercross, they would have found it most difficult to cease to speak to one another. With the exception, perhaps, of Admiral and Mrs. Croft, who seemed particularly attached and happy, (Anne could allow no other exception even among the married couples) there could have been no two hearts so open, no tastes so similar, no feelings so in unison, no countenances so beloved. Now they were as strangers; nay, worse than strangers, for they could never become acquainted. It was a perpetual estrangement.”

            A writer who is renowned for the masterful use of free indirect discourse is Jane Austen. While some may argue that blurring the third person narration with the voices of the characters is quite confusing, I believe that it is necessary for the nature of this novel, Persuasion. To tell this 18^th century story with its complex issues of social power, wealth and love, a variety of perspectives must tell this story for one to fully understand.

            In Chapter IV, the voice of the omniscient third-person narrator transitions to that of Lady Russell. Emotionally strong words like “throw herself away,” “snatched off” and the use of interjections indicate the shift of voices. Because the reader is already aware of the close-knit relationship between her and Anne from Chapter I, this style more intimately reveals her opinion about Captain Wentworth and why she persuaded Anne away from the engagement. Despite the strength of his character told in the previous and following paragraphs, the reader can sense Lady Russell’s disapproval of the fact that he was not born into status. Emphasis is not placed on temperaments but rather money and rank in the society. This marks the distinctions between aristocracy versus meritocracy. She repeats Anne’s age of "nineteen" to stress that she is too young to possibly be ready for marriage. This may also be her rationalizing Anne's lack of understanding the importance of marriage to a man with “connexion” and “fortune,” rather than one without. Also, she reveals her views about the almost-maternal bond she shares with Anne, where it justifies what she has done. This is due to a “mother’s love” and a “mother’s rights" to ensure the best for her daughter. The question of whether genuine love and connection exists with Wentworth, which saturates Anne's thoughts, is totally non-existent here with Lady Russell.It is her belief, that such a marriage, will reduce Anne’s social standing. As a result, we later see the consequences of this influence through Anne's eyes. Hence, indirect free discourse serves most effectively in forming connections between the thought processes of these characters. It attaches this interconnected web of distinct, inner thoughts with their actions and outward emotions.     

 

            Where we analyzed the reasoning mind of Lady Russell, now we can see the conflicting effect on the heart of Anne eight years later here in Chapter VIII. After breaking off the engagement due to Sir Walter and more importantly, Lady Russell’s disapproval, Anne still suffers from the repercussions of her actions. Now that Captain Wentworth has returned and seeing him is inevitable, this style of narration focalizes on cause and effect, where the emotions of her past haunt her today.  The exaggerations and stresses signify her very voice. The fact that they are “strangers” who display only the “commonest civility” bothers her deeply. This helps us understand that despite the circumstances, she must conform to the norms of society and repress the passionate feelings she holds inside. This is a powerful representation of Appearance Versus Reality. To the others, she is the sensible one and at these dinners, in the background away from all the excitement. One would never guess that under this veneer is a myriad of emotional thoughts of love. They both were “once so much to each other!” Because she emphasizes this loss with such words as “no” five times and “nothing”, she reveals that she longs for and misses those moments with Wentworth, even after so many years. This is the ultimate manifestation of her guilt and seeming regret, of what could have been had it not been for the persuasion of others. Not once is social power a preoccupation of her mind. A change in perspective allows clear contrast between the moral values and societal viewpoints of the characters to be seen, especially her relationship with Lady Russell. With the exception of Admiral Croft and his wife, she pours out how intertwined Wentworth and her hearts were with each other where they were “so open,” “so similar” and “so in unison.” Indirect free discourse allows us to hear the very voice of a broken-hearted soul. Because she concludes with the fact they should “never become acquainted” again signifies that she does understand the fate of her actions. It is a state of “perpetual estrangement”. As difficult as it is, there is this dramatic loss of hope of what could have been.

 

Blog 3: God's Grandeur

My Thesis

      Whether or not one may believe in religious salvation, the motif of Hopkins’ poem, “God’s Grandeur” is the Power of God versus The Destruction of Man, where Light essentially overcomes Darkness.

In my first paragraph, I explain how Hopkins makes the connections between God, Power and Light. I discuss his word choice of ‘grandeur, greatness’ highlight supremacy. Also, his visual images of a powerful man with a ‘rod’ in his hand’. He uses similes such as ‘shining from shook foil’ and ‘ooze of oil’ to describe this unstoppable, almost electrical force. Then, I explain how Man is associated with Destruction and Darkness. I expand on rhythm such as the spondee ‘flame out’ (Line 2) and Hopkins’ question full of stresses (Line 4). The visual imagery is negative with words like ‘seared, bleared, smeared’. My evidence includes alliteration of ‘s’, repetition of the phrase ‘have trod’ which also creates an onomatopoeia of the trials they face. This highlights how in the midst of having such a mighty God, man has chosen to ignore him and live this life of gloom. The poem begins powerfully with God’s mighty nature, to then juxtapose directly with the ignorance of Man.

In my 2^nd paragraph, I present the solution. This is where Hopkins adds hope of God’s redeeming powers. This further emphasizes light over the darkness of the previous stanza. I discuss the positive nature of the words with its coming of ‘morning’ and season of ‘spring’. One can imagine the restoration of life. Also, I refer to Catholic illusions, of the dove bird, to emphasize the conclusion which I think is most powerful. The colour contrast of white with the brown mud stains of man. It is the perfect symbol of God, Power and Light which ends the poem on a reassuring note.

Although I am not too sure how I would create an argument for this poem, that oppose my belief on it, in an actual essay that is more than two paragraphs, I would bring about other viewpoints with how different layers of the poem may be interpreted. With more paragraphs, I can further explain detailed form and sound imagery that would enhance my idea development.

Blog 2: The World is Charged

       This man uses the perfect retrospective manner to read the poem beautifully. His age adds to the power of the poem too, how I imagine Hopkins to portray it :)

        Throughout “God’s Grandeur”, Hopkins’ uses different forms of language to explore the motif of Power Over Destruction. Likewise, the motif of Light Over Darkness or God versus Man. Written in Petrarchan Sonnet, the octave associates God with power and light while man with destruction and darkness. God is depicted holding a‘rod’ which represents his superiority over Man where his ‘grandeur’ and greatness’ cannot be destroyed. The simile compares it to the ‘ooze of oil’. With more visual imagery, God is related to an electric charge on The Earth, with bright flashes of light ‘shining from shook foil’, like that of lightening. The storm where it strikes, is the destruction man has caused. The spondee 'flame out' suggests that darkness seems to prevail. By using the verbs ‘ seared, bleared, smeared’ along with the alliteration of ‘s’, ‘man’s smudge’ is further emphasized, which denote negative change with ruin. The repetition and onomatopoeia of ‘have trod’ in line 5, help us visualize this slow movement through mud and polluted Earth. Also, the question in Line 4 is filled with stressed words, along with the naturally slow, solemn rhythm of the poem, accentuate Hopkins’ concern with man’s destructive nature and ignorance of God.

      Whereas the first stanza was powerfully intense, the sestet restores a slightly soothing balance, with the reassurance of God’s light returning after darkness. More positive words like 'dearest freshness, springs' are used. With all this darkness and the seeming end of ‘last lights’, the beginning of a new day comes. Hopkins’ expresses the light of ‘morning’, or perhaps it is a pun with the word 'mourning'. There is new life to come to this broken ‘bent’ world. Alluding to Christian beliefs, the ‘Holy Ghost’, is symbolized by a dove. This animal imagery, with its ‘bright wings’ and pure white contrasts beautifully with the stanza before of man’s tainted world. After seeming doom, comes redemption and this idea of salvation.