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.