Practice AP

This passage characterizes a relationship between the young man and his father in which the father's affection for him absolute, but the son is conflicted because he wants to distance himself from his father.
The boy is extremely conflicted about separating from his father to pursue his own personal interest. The author begins by telling the reader about the long and personal tradition the son and his father have. It is simply stated that the young man and his father used to prefer each other's company. The idea that the son would rather spend time with someone also is, to the son, "a very serious thing" and "the end of something". These descriptions of his inner thought make it clear that following his desire is bring him some degree of unhappiness. Furthermore, his discomfort with the idea of leaving his father is shown in his request to go fishing with Bill Harper. There is absolutely no punctuation in the sentence that tells the reader what he said. This type of formatting brings to mind the the rushed speaking of someone who is nervous.

Sound and Sense #5

In the poem "Mind" by Richard Wilbur, the human mind is compared to a bat in a cave through the use of an extended simile which is supported by a series of secondary comparisons. After the initial metaphor of that bat in a cave is introduced, it reads "Contriving by a kind of senseless wit/
Not to conclude against a wall of stone" (Wilbur 3-4). This comparison evokes the image of a bat attempting to navigate in the dark, but the use of the word wit, also allows the subject to be interpreted as human thought. The essence of the metaphor is that they are both able to guide themselves safely without direction. In the second stanza needs of the bat and the mind are compared: "It has no need to falter or explore;/ Darkly it knows what obstacles are there,/ And so may weave and flitter, dip and soar/ In perfect courses" (Wilbur 5-8). Both having an innate nature of their surroundings. The bat can find obstacles while the mind can identify problems or lack of understanding.  In the third stanza, this comparison is shown to be flawed: "Save/ That in the very happiest of intellection/ A graceful error may correct the cave" (Wilbur 10-12). The mind can think and change it's self, while the bat's cave reamins static. Ultimately this poem is interesting because it shows a possible failing of metaphors in simplifying an idea.

Hamlet #3

In this section of the play, the themes of deception and lying are brought to the forefront of the plot and become an essential part of understanding the characters. When Hamlet speaks to the ghost of his father, he is told by the apparition "the whole ear of Denmark/ Is by a forged process of my death/ Rankly abused" (I.v. ). The lies surrounding the circumstances of his death are presented as an attack on the state its self.  This description closely parallels the facts of the king's murder. He was killed by Claudius who he says, "in the porches of my ears did pour/ The leperous distilment" (I.v. ). Just as poison in his ear killed the king, lies in the ears of the state threaten Denmark. Hamlet himself imitates this method of destruction through deception by behaving with a strange and bizarre front concealing his vengeful intentions. This theme of deception continues into the next scene Polonius instructs Reynaldo in the arts of manipulation and deception.

Hamlet #2

Here, Hamlet aligns himself with the response to death which he find to be the more acceptable. As previously established, he has little respect for the response that Claudius and his mother have had to his father's death. At start of scene for there is an ongoing celebration in the interior which Hamlet has chosen to distance himself from, saying "indeed it takes/ From our achievements, though perform'd at height," (I.iv). He feels that such behavior deteriorates the reputation of the state and its people. At this time, the ghost appears to him and Hamlet must decide if he trusts it enough to follow it, but eventually he reaches the conclusion that is does not matter, and falls back to Christian beliefs "And for my soul, what can it do to that,/ Being a thing immortal as itself?" (I.iv). The decision to go against his fears and to follow the ghost, a lingering representation of death, alongside his admission that he does not care what happens to him because his souls is immortal most likely serves as foreshadowing for the tragedy that will affect him,

Hamlet #1

In this section of the reading it becomes apparent that there is something unusual about the way the character are reacting to death. As the Hamlet, the king, and the queen are introduced, they are not in a situation of mourning. Only Hamlet seems to be preoccupied with sorrow over his father's death. His mother dismisses his concerns by simply stating, "Thou know'st 'tis common; all that lives must die" (I.ii) and Claudius says "to persever/ In obstinate condolement is a course/ Of impious stubbornness" (I.ii). They disregard the death of a loved one with a disturbingly nonchalant attitude. However, outside the castle the very opposite is true, a ghost, perhaps the very embodiment of lingering death has troubled the minds of the living. Thus in this section two unnatural and disturbing, yet completely opposite, ideas of death present themselves. 

Othello Outline

Prompt: Othello is described as many things: “an honorable murderer” (V.ii.345); a “rash and unfortunate man” (V.ii.333); a “dolt, as ignorant as dirt” (V.ii.199-200); and “one that loved not wisely but too well” (V.ii.404). Decide on one of these descriptions and argue against the others.

Othello is best described as a “rash and unfortunate man” (V.ii.333) man, because more than any other cause, his tragic downfall can be attributed his personal insecurities and strong emotions.

1. The description of Othello as an “an honorable murderer” (V.ii.345) is inaccurate because while he thought that he was carrying out justice by killing Desdemona, his actions up to that point show that he was distressed to the point that all morality was discarded.
1. "Ah balmy breath, that dost almost persuade Justice to break her sword!"
2. "Yet she must die, else she'll betray more men"
2. Othello cannot simply be dismissed as a “dolt, as ignorant as dirt” (V.ii.199-200) because he was so thoroughly fooled by Iago. His feelings were dramatically altered by his own fear and uncertainty, which Iago preyed upon to great effect. 
1. "Rude am I in my speech, And little bless'd with the soft phrase of peace"
2. "And say besides, that in Aleppo once,Where a malignant and a turban'd TurkBeat a Venetian and traduced the state"
3. The tragedy of Othello and Desdemona's marriage does not occur simply because Othello was "one that loved not wisely but too well" (V.ii.404). No flaw is apparent in their relarionship that was not induced by Iago.
1.  "So much I challenge that I may profess Due to the Moor my lord"
2. "I fear, My soul hath her content so absolute That not another comfort like to this Succeeds in unknown fate."
4. All other options having been eliminated, Othello is best described as a "rash and unfortunate man" (V.ii.333). His emotions are quick to change when he is given justification to a feeling, but unfortunately he is manipulated by his trusted companion Iago.
1.  "As if thou then hadst shut up in thy brain Some horrible conceit: if thou dost love me, Show me thy thought"
2. "Arise, black vengeance, from thy hollow cell! Yield up, O love, thy crown and hearted throne To tyrannous hate!"

Sound and Sense #4

In The Forge, by Seamus Heaney, the speaker uses imagery and metaphor to describe the mamdane art of a blacksmith with a sense of reverence and wonder. The first eight lines of the poem describe objects and create a sense of place. Poetic descriptions of the sensory sensations associated with being in a forge such as "short-pitched rings" and "unpredictable fantail of sparks" place the reader in area. Then the anvil is described as the center of the room and "Horned as a unicorn, at one end square, Set there immovable: an altar". The metaphorical comparison to a mythical creature may serve to highlight the wonder of the work done with the tool, and the comparison to an altar shows an importance similar to that of religious ceremony. The last six lines of the poem describe the the smith himself, comparing this actions to those of an artist. He "expends himself in shape and music" like an artist or a musician creates a piece.

Othello 3

In this section of the play, Iago's plan to get revenge on Othello begins to come to fruition as he manipulates the people around him into opposition. Most signifigantly he convinces Othello to take revenge on Desdemona and Cassio with out any evidence. What is notable about this is that he was able to convince Othello using only insinuation. He tell Othello things such as "She did decive her father,  marrying you" and "O, beware, my lord, of jealously" to plant the idea of Desdemona's unfaithfulness in Othello's mind without saying something outrageous enough to offend him. This is a situation somewhaat parallel to Iago's, in which he believes that Othello has slept with his own wife. By making an ally of Othello and giving them both a common enemy, Iago puts himself in a situation where he and Othello, his hated enemy, are in fact the closest together. This is highlighted by the perverse vows they take at the end ot the scene. To which Iago says "I am your own forever".

Sound and Sense #3

In the poem The World Is Too Much With Us by William Wordsworth presents a newly strained relationship between modern people and nature. In the first eight lines to the poem the speaker presents the situation of modern people. The line "getting and spending, we lay waste our powers" (Wordsworth) demonstrates the greed of modern man and his ability to lay waste to, or destroy nature. The following line "Little we see in Nature that is ours" (Wordsworth) shows how modern man now has little reason to value nature. With the general situation defined, the speaker uses the last six lines to present the favorable alternative. They with for the regression of society into "pagan" times when superstition allowed man to view nature with wonder and awe. Seeing such thing as "Proteus rising from the sea" (Wordsworth) that give purpose to nature.

Othello 2

This section of the play Iago distinguishes himself by making it clear that he is completely detached from a regular person's perception when it comes to matters of morality and social relationships. For instance, when he is consoling Cassio about his recently damaged reputation, he says "Reputation is an idle and most false impositon: oft got without merit, and lost without deserving" (II.iii.286-289). This statement, though originally intended to comfort, can also be see as a statement about Iago himself. He is clearly a person will an undeserving reputation, because he is well liked by both Cassio and Othello despite the fact that he is plotting against both of them. His belief that many reputations are underserved could serve as explaination for when he so readily despises people. Iago also displays a warped sense of morality when he attempts to justify his manipulation of Cassio, saying "How am I then a villain to counsel Cassio to this parallel course, directly to his good?" (II.iii.368-379). To any normal person Iago's attempt to decive Othello by using Cassio is clearly wrong, but Iago interprets this as a positive act beacuse it happens to benefit Cassio. However Iago call his conviction into question immediatly afterwards by comparing himself to the devil. A comparison that most people would struggle to see themselves positively in.

Othello 1

Poem

Shooting, small green, and supple
From the nurturing ground.
While the others are sown
Onto pebbles and rock.

Growing taller and strong
It surpasses its peers.
While the other withers
And falls to the ground.

Spreading its leafy boughs
Casting a wide shadow.
While the other laid down
Crumbles and rots away.

1984: #5-6

    In 1984, Winston's dreams are significant in the fact that they reveal facts that are otherwise impossible to discern. One of the first things he dreams about are his are the death of his mother, which he remembers to be a tragedy of kind that was no longer possible. Then he dreams about the dark haired girl and fantasizes having sex with her in the countryside, which actually does come to pass. In this chapter, we discover that Winston has been having another dream, a nightmare, that he directly associates with rats. In his dream "He was standing in front of a wall of darkness, and on the other side of it there was something unendurable, something to dreadful to be faced" (Orwell). The wall of darkness could represent some aspect of the party which Winston does not full understand simply because he is too terrified by the truth. Behind the darkness could be "the place without darkness" that O'Brian told him about in a dream, possibly foreshadowing some terrible meeting with O'Brian.
    Winston's fear of rats may be linked to his indoctrination by the party. Going out in secret and disobeying some of the party's most sacred rules makes him feel as if he is moving through the underside of society and has become an unclean vermin like a rat. The terror of his dream may be derived from the fact that he believes that he is leaving the darkness and will face the same fate as a rat that comes out into the light.

Heart Of Darkness Outline

It looks like I never published this.

Prompt: Marlow selects what he considers the lesser of two evils in supporting Kurtz instead of the Company. Why does he consider Kurtz the lesser of two evils? 

Marlow sides with Kurtz over the company because, while both of them are morally reprehensible, Kurtz’ intentions and desires are clear, and the company hides behind a flimsy façade of civility and benevolence.

1. Marlow makes his perception of the two sides clear when he distinguishes them using a description of two different kinds of devils.
1. "I've seen the devil of violence, and the devil of greed, and the devil of hot desire;... but, by all the stars! these were strong, lusty, red-eyed devils, that swayed and drove men--men, I tell you...."
2. "I foresaw that in the blinding sunshine of that land I would become acquainted with a flabby, pretending, weak-eyed devil of a rapacious and pitiless folly."
2. Marlow's opinion of the company is formed by his distaste for the lies and justifications that go hand in hand with its operation. 
1. “as long as there was a piece of paper written over in accordance with some farcical law or other made down the river, it didn't enter anybody's head to trouble how they would live”
2. "She talked about `weaning those ignorant millions from their horrid ways,' till, upon my word, she made me quite uncomfortable."
3. “Brought from all the recesses of the coast in all the legality of time contracts”
4. There were either no villages, or the people were hostile, or the director, who like the rest of us fed out of tins, with an occasional old he-goat thrown in, didn't want to stop the steamer for some more or less recondite reason. So, unless they swallowed the wire itself, or made loops of it to snare the fishes with, I don't see what good their extravagant salary could be to them.
3. Kurtz' actions are best defined by the overtly cruel treatment that he demonstrates towards the natives.
1. "'To speak plainly, he raided the country,' I said.... He had been absent for several months--getting himself adored, I suppose-- and had come down unexpectedly, with the intention to all appearance of making a raid either across the river or down stream." 
2. “`Exterminate all the brutes!'"
3. “They only showed that Mr. Kurtz lacked restraint in the gratification of his various lusts”
4. Ultimately, Marlow decides to side with Kurtz because, despite his evil acts, he has more integrity than the company
1. “`weaning those ignorant millions from their horrid ways,'” (Conrad 77).
2. “It seemed to me I had never breathed an atmosphere so vile, and I turned mentally to Kurtz for relief” (Conrad 144).

Sound and Sense #1

"Constantly risking absurdity" by Lawrence Ferlinghetti is essentially a metaphor for writing poetry itself. Specifically the speaker compares a poet to an acrobat at a circus, making leap and maneuvers. The complex and precise actions that an acrobat must preform to succeed and avoid death are directly compared to the methods of poetry that are used to avoid absurdity. The poem uses unique line structure and spacing to convey its meaning. Most of the lines are split in two parts, which flow together as sentences, but allow each part to be considered individually. For example the opening lines, "Constantly risking absurdity/ and death" ("Constantly risking absurdity" 1-2), make sense together, but when "and death" is placed on its own represents a totally unrelated idea. This structure forces each line to be viewed in context and alone. This allows for the expression of a broad idea and a nuanced description at the same time.

Heart of Darkness #4

Marlow is able to side with Kurtz, because Kurtz has demonstrated the ability to separate himself from the absurd and convoluted pretense of imperialism. In his conversation with the manager, Marlow brands himself as one of 'unsound methods' by criticizing the manager's practices, saying, "that fellow - what's his name? - the brickmaker, will make a readable report for you," (Conrad 144). By recalling the absurdity of the brickmaker who never made any bricks, Marlow highlights the lengths to which imperialist will go to fabricate separation from the primal cruelty it engenders. They would much rather read a report on their problem than address it. When Marlow finds Kurtz in the jungle, he realizes that "He had kicked himself loose of the earth," (Conrad 149). Kurtz has freed himself from all of the boundaries that once held him. He has entirely separated himself from European culture. He is cruel and violent beyond what would have been acceptable in Europe. Furthermore, he does not bind himself with the justifications of imperialism, his greed and power are all the justification he needs to act. He has avoided the 'flabby devil' which Marlow described, instead he is controlled by the strong passions of the other two.

Heart of Darkness #3

The station of Mr. Kurtz represents the antithesis of the imperialist ideal that was previously demonstrated by the company. Ideally, the imperialists are stewards of culture and civilization, however this is rarely the case. The native people are usually exploited and abused for the sake of greed. The pretense of benelovolence is maintained by meaningless gestures such as signing contracts with the natives or paying insignificant wages. At Kurtz's station all pretense is abandoned and the crimes can be seen by all. His opinion of Africans is made clear by his report on civilizing the native people which is punctuated by the line "Exterminate all the brutes!" (Conrad ). The use of the word exterminate evokes a comparison to vermin which must be removed. The method by which he gets his ivory is also simply stated: "To speak plainly, he raided the country," (Conrad ). The is no secrecy or subtlety to the way Kurtz achieves his goals. His purpose and motivation are not very different from those of the company, but Kurtz does not use euphemisms or flimsy justification for his actions.
He portrays the honest truth of imperialism.

Heart of Darkness #2 p.86-103

This section of the book highlights the illogical and unreasonable nature of colonialism. Many of the characters and situations that Marlow demonstrate the profound foolishness of their colonial endeavors. Shortly after setting out, Marlow describes an encounter with a white man who claims to be responsible or the upkeep of the road, but the only evidence of his efforts that Marlow comes across is "the body of a middle-aged negro, with a bullet hole in his forehead," (Conrad 87). The contrast between the ideas of a well maintained road, and one with a corpse laying on it is quite distinct to the rational mind. A person's reasonable thinking seems to degrade in the dark of Africa. Marlow's white companion, who is barely healthy enough to survive the journey, says that he is coming to make money, but can not reasonably expected to do well in Africa. Marlow indicates that he feels that his own mind may not be rational anymore by referencing the theory of the doctor from Brussels, and saying that he was "becoming scientifically interesting," (Conrad 88). The nonsensical nature of imperialism is most overtly presented by the Mr. Kurtz's painting. The painting depicts "a woman, draped and blindfolded, carrying a lighted torch," (Conrad 94). The idea of a light or flame was previously used to represent the culture and knowledge that colonialism was supposed to bring. However, the blindfold indicated that the person bringing the flame has never seen it them selves. They trying to bring something that they do not really understand.

Heart of Darkness #1 p.65-86

     One of the central themes in this section of the novel is the hypocrisy of the colonial attitude towards the treatment of the people of Africa. When Marlow begins his story, he references the Roman conquest of Britannia to prove the benefits of foreign occupation, saying, "Light came out of this river since," (Conrad 68). He is also well aware that the Roman occupation of the land was not peaceful. He differentiates it from colonialism by calling by saying that they were merely conquerors, "their administration was merely a squeeze" and their strength was "just an accident arising from the weakness of others" (Conrad 69). All of these things are directly opposed to the ideas of colonialism, but the are still very close to the reality.
     The captain before Marlow, Fresleven, died while attempting to take advantage of his power over the natives he did business with. His story demonstrates the abuse the position of power of the natives inherently gives to the colonizers. Marlow is able to describe first hand how the people are being abused by the system. At his company's station, he sees the men in chains being forced to labor, while the weak and ill are left alone to die. The exploited the workers are "Brought from all the recesses of the coast in all the legality of time contracts," (Conrad 83). Their suffering is well within the justification of the colonial system. Despite its many stated intentions, the colonial powers are no different from conquerors.

The Ones Who Walk Away From Omelas

I think that, given the choice, I would walk away from Omelas. The incredible happiness of the citizens is described using vague terms and often comes across as insincere. In contrast, the terrible price the child has to pay for their society is excruciatingly detailed. When discussing the luxuries that the people enjoy, the speaker creates and impressive list that encompasses all sorts of great and wonderful things, but then she says, "Or they could have none of that; it doesn't matter. As you like it," (Le Guin). By refusing to commit to an idea or definition about what things these people enjoy in life, she prevents the objective evaluation of merits. When she does speak of concrete elements of the city, she mentions things with almost universal appeal, such as drugs and sex, to prove that there is reason for people to be happy there. However by saying, "I really don't think many of them need to take drooz," (Le Guin), she calls into question whether or not the happiness people feel is sincere.  After pages of explanation and justification for the speaker's thoughts on the grand ideas of Omelas, the writing becomes extremely detailed. When she describes the child who is suffering for the sake of the citizen's happy lives a very clear picture is painted. Every detail of the room, the dimensions, the objects, the dirt, and the feelings of the child inside, is stated as fact. She does not say "I think", or some other term of uncertainty. The suffering of the child is indisputable. I would rather walk away from the certain cruelty Omelas than stay for the nebulous ideas of happiness.

Poem Analysis: Strange Meeting

In Wilfred Owens' poem, "Strange Meeting", he uses a very interesting poetic structure to organize and share his ideas. The sounds at the end of each line fit together in a pattern called pararhyme. In the poem pararhymes occur in groups of two or three lines and indicate a relationship between those lines or that a deeper meaning that is present throughout those lines.  For example in the lines "And by his smile, I knew that sullen hall;/ By his dead smile, I knew we stood in Hell," the words hall and Hell both describe the place in which the poem takes occurs. Elsewhere in the poem it states, "the pity of war, the pity of war distilled./ Now men will go content with what we spoiled." Here the pararhyme links the "pity of war distilled" to "what we spoiled", emphasizing the relationship between the two lines as the subject changes from what is lost during war, to what the people in war do.

Poem Analysis: Ingrateful Beauty Threatened

Thomas Carew's poem, "Ingrateful Beauty Threatened" is interesting because it does not contain praise for the woman who is the object of speaker's affection. Instead he threatens her. He does not threaten with violence and harm though, he uses his position as a poet do undo the praise given to her. He claims that without his poetry she would "in the forgotten crowd/ Of common beauties, liv'd unknown" 3-4). Furthermore, he feels that the traits and virtues he described in his poetry are his alone to appreciate, saying "Thou  art my star, shIn'st in my skies;/ then dart not from thy borrow'd sphere" ("Ingrateful Beauty Threatened" 10-11). He, out of anger or jealousy, threatens to undo all this praise.

Poem Analysis: William Shakespeare - Sonnet 30

The last two lines in Shakespeare's Sonnet 30 are interesting because they provide unique exception to the tone of the preceding lines and succinctly state Shakespeare's message. Throughout the poem there is a very clearly established theme of sorrow and loss. The first twelve lines of the poem establish two main things about the speaker. His grief is caused by the loss of things and people he once treasured. He also uses numerous expressions of sadness such wailing, weeping, moaning, grieving and many others which show the reader that there of are great number of memories that affect him. The last two lines, which say, "But if the while I think on thee, dear friend,/All those losses are restored and sorrows end," (Sonnet 30 13-14) describe a memory which differs in both scope and effect. This memory is of one particular person that the speaker cared about, their lover. Rather than create unhappiness this memory restores joy. The happiness of past love is shown to be greater than and loss.

Poem Analysis: "Denial" by George Herbert

In the poem "Denial" by George Herbert, music and song is used as a metaphor for the speaker's relationship with God. As his communication, his song, to God goes unanswered, the song falters. Feeling that God does not hear him, he says "Then was my heart broken, as was my verse"("Denial" 3), and "My bent thoughts, like a brittle bow,/ Did fly asunder:" ("Denial" 6-7). The tools essential to his song falter as his faith in God does the same. After numerous failed prayers and appeals to God, he calls himself "Untuned, unstrung" ("Denial" 22). Having been let down time and time again, he is no longer prepared to play his song, no longer prepared to believe. In the final line of the poem, he calls upon God to answer him and restore the music that is representative of his faith with the plea "mend my rhyme"("Denial" 30). The comparison of well tuned harmony in music to harmony with God highlights the frustration of blind faith.

Antonio is Heterosexual

The loyal companionship of Antonio and Bassanio is one of the most important relationships in The Merchant of Venice. However, their relationship is not a romantic one; it is an entirely platonic relationship based on their mutual friendship and partnership. When Salarino suggests that love may be responsible Antonio's strange sadness, he immediately dismisses the idea with anger and disgust. However, when Bassanio arrives, Antonio finally shows interest in something and asks "tell me now what lady is the same To whom you swore a secret pilgrimage, That you to-day promised to tell me of?"(I.i.126-128). This is likely the thing that had him so upset. His best friend will be leaving him and his home to chase after some woman that he does not know. Contrary to how a lover might react to this news, Antonio proves that he wholeheartedly supports Bassanio's efforts by promising to him three thousand ducets that he cannot afford. Bassanio, who we know with certainty to be heterosexual expresses similar devotion when called upon to help. When he has returned to Venice to witness Antonio's trial he proclaims, "I would lose all, ay, sacrifice them all Here to this devil, to deliver you,"(IV.i.298-299). Assuming sincerity, Bassanio is just as willing to lay down his life for Antonio as Antonio was for him. They have both proven that their devotion to each other, despite being nonsexual, is just as great as any of the romances within the play.

Religious Conflict

In The Merchant of Venice, much of the conflict between Shylock and the rest of the characters can be described as a conflict of religion. Shylock says that Antonio "rails, Even there where merchants most do congregate, On me, my bargains and my well-won thrift, Which he calls interest,"(I.iii.48-51). The abuse that Shylock suffers from Antonio is based largely on the immorality of colleting interest in Christian religion. the fact that his religion allows for such behavior makes his character more unlikable and villainous from a Christian perspective. Shylock also condemns himself by refusing to adhere to follow the Christian ideal of mercy. When Portia is at Antonio's trial she says to Shylock, "earthly power doth then show likest God's, When mercy seasons justice," (IV.i.201-203). Having defeated his enemy, they expect him to follow their more modern and forgiving and spare Antonio's life, as the duke will later spare his. Shylock uses his religions as a way to justify his actions or his good fortune against others. Such as when he refers to the story of Jacob and the lambs to justify taking interest or exclaims, "I thank God, I thank God. Is't true, is't true?" (III.i.102), upon finding out that Antonio will not be able to pay his debt.

The Complexity of Shylock as a Character

Though his intentions are deplorable, and his role as the villain is clear, Shylock is also in some ways a sympathetic character and a victim of his circumstance. As an antagonist, Shylock's most apparent characteristic is his cruelty towards his enemies. He is obsessed with securing the pound of flesh owed to him by Antonio and he later wishes death upon his own daughter for robbing and abandoning him, exclaiming "I would my daughter were dead at my foot, and the jewels in her ear!"(III.i.87-88). Shylock, however, is not simply villainous. He presents motivations and justifications for the his behavior, which are strongly tied to his religion. As a Jew, Shylock is a victim of many injustices delivered by the Christians of Venice. In particular Antonio harassed and ridiculed him for the his money lending habits, and Lorenzo ran off with his money and his daughter. His situation appears sympathetic as he asks why, as a Jew, that is not seen as equal to a Christian: "Hath not a Jew eyes? hath not a Jew hands, organs, dimensions, senses, affections, passions?"(III.i.57-59). Shylock considers the cruelty of his actions as equal to those inflicted upon him, saying, "The villainy you teach me I will execute,"(III.i.70-71). He feels perfectly justified in treating a Christian with as much contempt as a Christian would treat a Jew.