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E N G L I S H   2100H
honors literature & humanities

notes archive 4


Every few weeks the notes on
this page are moved to the archives:

archive 4 (Oct. 3 - Oct. 8)
archive 3 (Sep. 24 - Oct. 1)
archive 2 (Sep. 5 - Sep. 19)
archive 1 (Aug. 20 - Sep. 3)

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Previews and postscripts are posted below in reverse chronological order. The previews on this page are intended to help guide your reading and prepare you for class discussions.   The postscripts are meant to emphasize and follow up on some of the points raised in class discussions.   (You'll be contributing to these postscripts as the class moves on.)  Though not a substitute for your own note-taking, the notes on this page should be especially helpful when it comes time to work on class projects and study for the final exam.  


POSTSCRIPT: 8 October 2002 (Tuesday)
-- Here are Megan's class notes. 

MEGAN'S NOTES for Tuesday, October 8

-Project # 2 is due November 1, but make sure you get an early start.  Remember that are NO limits on the number of drafts submitted.
-Make sure to read all of the handouts for Tuesday, October 15.  This includes: "Midsummer Night," "Toomas Nipernaadi," "An Account of the Tragic Death of the Willey Family," "The Summer People," "The Child Who Was Tired," and "The  Lottery," which is posted on the website.

-Today we continued our discussion of The Duchess of Malfi. We learned that Italy is often used as a setting for dark, revenge plays.  We shared our favorite lines from the play.  Here are some of the comments that we discussed in class.  (I want to apologize in advance if I do not interpret some of the comments correctly)
1.  Juan-p.23 lines 311-316 He liked the metaphor that Ferdinand used to describe
how the Duchess would be going backwards like the crab if she remarried.  These lines also show that Ferdinand is aware of her intentions to marry.
2.  Sara-p.17 lines 175-188 These lines show how Antonio contrasts with the Cardinal.  It is ironic that the devil speaks from the Cardinal's lips because he is supposed to be representing the Church.  Dr. N. said, "We often find out about a character through other characters."
3. Bretlan-p. 24 lines 123-128 These lines allow us to see Ferdinand's sexist views, and they are interesting because Ferdinand refers to his father, which is rare.
4.  Amanda-p. 29 lines 412-416 This passage shows that obsessiveness used in a positive way is referred to as ambition, but when obsessiveness is used in a negative way it seems like madness.  This was an interesting point that I have not considered before.
5.  Stephan-p. 29 lines 416-419 and 433-445  He likes these lines because they are very clear in their meanings (which we often do not find in this play). Dr. N. wants us to use the line "We are forced to woo because none dare woo us" sometime during our lives :)
6.  Emily-p. 36 lines 79-82 These lines portray Bosola's ambiguity and his lies that he uses (even to himself).  Emily thought it was ironic that he says that wisdom is not desirable, but he is gaining wisdom by finding out information as a spy.  Dr. N. called Bosola a "crushed idealist."
7.  Katlin-p. 58 lines 67-69 and p.84 lines 138-139 Ferdinand realizes that the Duchess and Antonio are in love; yet, he still acts against love during these lines.  The second quote is interesting because it states that men are only valued after they are dead or broken down.
8. James-p. 49 lines 20-26 These lines display the Cardinal's evilness, and James recognized a lot of sexual connotations in these lines.  Dr. N. said that the Church was corrupt during the time the play was set, so the Cardinal's actions are not unrealistic.  (For a more qualified view of this subject, see Frans van Liere's "Was the Medieval Church Corrupt?")
9.  Sara Beth-p.90 lines 130-133 She likes these lines because she thinks Bosola is a good guy for a moment (She is optimistic).  Sara Beth learns that Bosola really is a "man with many masks."  Dr. N. noted that Bosola often was trying to bring the Duchess to mortification.
10.  Sophia-p.101 lines 220-227 She thought it was interesting that the Duchess was ready to die and accepted death. The line that heaven was "coming down" to the Duchess was also intriguing because often we think of a person "rising up" to heaven.
***Note:  1.) Delio speaks in prose (that is the reason why the lines go straight across the page and are not indented) because he is not royalty.  He, therefore, does not speak in poetry. The Fool in King Lear also speaks in prose because he is not noble.  2.) Webster structured the play to have constant tension to keep the audience's interest similar to the way television does today.  

PREVIEW: 8 October 2002 (Tuesday)
-- We'll continue our discussion of The Duchess of Malfi.  
Please come to class prepared to identify (and to comment on the significance of) any two or three speeches in The Duchess of Malfi.  Each speech (which may be as short as a line or two or as long as the longest speech in the play) should strike you as particularly memorable and/or significant--for the way it reveals certain aspects of a character, for its metaphorical power, and/or for the beauty or strangeness of the language itself.   (Though I won't be collecting anything, feel free to jot down your thoughts ahead of time so that you'll be prepared when I call on you.) 
-- If you haven't done so already, spend a bit of time checking out some of the Duchess sites (particularly those with questions for discussion) identified on our RESOURCES page

POSTSCRIPT: 3 October 2002 (Thursday)

-- Here are Sara's (excellent) class notes. 


Class Notes for October 3, 2002 

Continuation of discussion on Steinbeck's “Chrysanthemums”:

-          Eliza is left standing in the driveway under the illusion that there is brightness to the sky.  The “sunshine” is used metaphorically to show how before she felt blocked in by the lack of light, but now in the sunshine she feels a bit of freedom.
-          As the tinker rode off with her flowers, Eliza felt that a little part of her had ridden off, too. 
-          After a violent shower by Eliza, she has an odd exchange with Henry.  He simply tries to tell her she looks nice, but she jumps on his use of “different.”  The true difference in that she is strong and happy. 
-          Eliza through this experience finds her identity and self-worth by re-evaluating her personality. 
-          It is only when she begins to question who she is that she realizes that maybe she could be something more.
-          Henry is not an evil character, but a simple farmer who is helpless (and ignorant) to the social needs of his wife.  However, he is alert to the fact that things are going on with Eliza.
-          In the second column, first full paragraph down on page 970, there is a dialogue between Henry and Eliza.  Many issues and thoughts are presented in this excerpt:

o       
“Is pain such a common thing?”  (Steve)  Perhaps she is relating the fight to the possible everyday occurrences that come with freedom. 
o        “She identifies with the person being beat up.”  (Sophia)
o        At least briefly, she may be experiencing rage at the way she has been exploited, emotionally violated by the tinker, and (at least briefly) she may imagine achieving a kind of vicarious revenge by watching a male get beaten to a pulp in the boxing ring.  Eliza seems to be experiencing the stages of grief--though in record time and not in the conventional order. 
o        By the end of the scene, she realizes she will have to go back to the way things were and she will have to be content by shrinking back inside herself.  Eliza discovered a new life force, yet within the same day it is squashed.  This crushing defeat creates a sad vision of her for the last line of the story

The S    Sioux Tale: “What’s This?   My Balls for Your Dinner?”: 
-          In many cultures of oppressed people, native tales have a reoccurring trickster character. 
-          In this tale, particularly, the woman got back at the men who held them down.  These men were oafish characters who bossed their women around.   By the woman using her intelligence, she was able to get what she wanted.  She used adversity to her advantage.

Discussion on Webster's The Duchess of Malfi: 
-          The group of three siblings is a reflection of Lear. 
-          Characters:
o        Ferdinand:  disturbing, creepy, incestuous, jealous, hot
o        Cardinal:  slow, cold, persistent anger, Machiavellian (ambitious, the ends justify the means), manipulative
o        Duchess:  evolving, dynamic character
o        Bosola:  shady, trickster character (has good speeches), contradicts himself, “The crushed idealist is the most cynical.”  [See The Cynic's Sanctuary.]
o        Delio:  Antonio’s friend and informant
o        Antonio:  Duchess’ second husband and servant, rabble
o        Julia:  Cardinal’s mistress, foil to Duchess
o        Cariola:  Duchess’ attendant, devoted

-          The wooing scene is comical.  It makes fun and plays on the idea of switched roles of wooing.  This action is played off in a light mood, thus adding a humorous aspect to the situation. 
-          There is a lot of hiding and looking on in this play.  Also, absurdities are apparent: example- “The Ultimate Woo.”  Parallelism is seen between scenes and words within the play.  Some words that are recurrent:  diamonds, pearls, (rotten) fruit, animals (in reference to Bosola and Ferdinand), echo, stars, “Wheel of Fortune,” light.
-          This [revenge] play is a totally different type of tragedy compared to Shakespeare’s later tragedies.  Also, The Duchess of Malfi was considered one of the best non-Shakespearean plays of its time. 
-          The idea of mortification:  (based on the root word “mortality”) has religious connotations and was one’s being brought to a state (of mind, soul) to achieve grace. 
-          At the end of the play only Delio and Antonio’s son remain alive.  All of the other main characters are dead. 

PREVIEW: 3 October 2002 (Thursday)
-- Following the quick quiz on The Duchess, we'll back up for a few minutes to consider the conclusion of Steinbeck's "The Chrysanthemums"--and the role of the trickster in the Sioux tale "What's This?" 
-- On reading (and re-reading) John Webster's The Duchess of Malfi:
-- The plot of Webster's play is neatly summarized toward the end of the Introduction (xliii-xlv) of our New Mermaids edition, and you'll find a fairly accurate scene-by-scene synopsis online: make sure that you understand how the plot is dramatized in the play itself.  Before Thursday's class, you can test your familiarity with the plot by responding to Professor Boyer's "reading questions."  
-- Webster's play is often cited as an example of Jacobean revenge tragedy: would you agree that revenge is the primary motive of the antagonists?  If not, what is their motivation?
-- Though the motives of some of the characters in Webster's play may be complex, the characters themselves represent types that would be fairly familiar to the Jacobean audience.  (See notes on The Four Humours:  medieval humour theory insists that each person has four humours controlling his or her temperament; an overabundance of any one humour leads to an expression of the corresponding temper.)  Try identifying (and distinguishing among) the different types of characters in The Duchess of Malfi.)
-- Webster's tragedies (like Shakespeare's) were rewritten by Nahum Tate (and others) in the 18th century to make them more palatable to theatre-goers; it was not until the twentieth-century that Webster achieved a reputation second only to Shakespeare's.  Consider what particular aspects of The Duchess of Malfi have appealed to modern audiences.  (See Prof. DiPasquale's study questions.)
-- As you read (and re-read) the play, mark those speeches that contain what you think are particularly inventive and revealing metaphors.  When you have finished reading (and re-reading), compare the passages you have marked with those collected on the page Webster's Quotations: The Duchess of Malfi .  And be sure that you can identify who the speaker is--and which character is being spoken to or about.  (Some of the questions on the quiz will ask you to identify speakers of quoted passages.) 
--
Trivia: If you've seen the film Shakespeare in Love, John Webster appears (about 35 minutes into the movie) as the boy who revels in killing rodents and who informs Will that his best play was the early revenge tragedyTitus Andronicus ("plenty of blood").

Notes from Ale:

Observations on Thousand Acres

Pete /Ginny
-          Pete is an outsider.   
-          Both are restless (don’t struggle).
-          Both are dissatisfied with Rose.
-          Ginny would squash her Lear.
-          Pete got the easy way.

Ty /Albany
-          Albany doesn’t know who he is or what to do.
-          Ty knows what he wants.
-          Both are looking out for themselves.
-          Ty is a static character.
-          Theme: Who are you?

Larry / Cal Cook
-          Both loved their children.
-          Both had different views on farming.
o        Larry was concerned in producing in a farm; getting a profit.
o        Cal was laid back and concerned with the animals.

Jess
-          The only character that had been outside the country.
-          Most trusted yet he deceived everyone.

Jess /Mark
-          Do not suffer from consequences.
-          Both are trustworthy and similar.

Ginny/Rose
-          Ginny is closed minded.
-          Both want to keep up appearances on everything.
-          Both want to be perfect in the eyes of society yet both cheated on their husbands.
-          Lies: what appears to be doesn’t.
-          Theme: Appearances
-          Drowning in their experiences.
-          The sexual abuse tied them down more.

Ginny/Mother
-          Both had lived the same life.
-          Both submitted to Larry even though they disagreed with many things he said and did. Ex. Mother disagreed with how the children were raised.
-          Both were sociable.
-          Both were Larry’s caretakers.

Carolyn, Pam and Linda
-          Got out of the farm; Go out of the farming.
-          Are not farm girls.
-          No longer connected to the family; outsiders.

Jess/Rose
      -  They want to get even.

 John Steinback "The Chrysanthemums"

Elisa:      -Manlike, not attractive.
- doesn’t seem sociable since she is fenced in her garden.
- The cleanliness of her house shows her frustration.
-  No natural dialog between her and Henry, her husband.

         Henry:
            -  A very simple and naïve man.
            -  Not very comfortable with women.


NOTES ARCHIVES
archive 4 (Oct. 3 - Oct. 8)
archive 3 (Sep. 24 - Oct. 1)
archive 2 (Sep. 5 - 19)

archive 1 (Aug. 20 - Sep. 3)

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English 2100H is taught by Dr. Richard Nordquist.
Armstrong Atlantic State University
University Hall 297D

11935 Abercorn Street
Savannah, Georgia 31419
912-921-5991
e-mail:
nordquist@mail.com
          

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14 October 2002


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