Liz's Life

The Importance of Being Earnest Commentary

2009-05-18T20:33:00.000-07:00

Liz Roepke

Peifer 4

English 10 IB

19 May 2009

The Importance of Being Earnest Commentary

Gwen.: I am afraid it is quite clear, Cecily,

that neither of us is engaged to be married to anyone.

Cecily: It is not a very pleasant position for a young

girl suddenly to find herself in. Is it?

G: Let us go into the house. They will

hardly venture to come after us there.

C: No, men are so cowardly, aren’t they? (They retire into the house

with scornful looks.)

Jack: This ghastly state of things is what you call

Bunburying, I suppose?

Alger.: Yes, and a perfectly wonderful Bunbury

it is. The most wonderful Bunbury I have ever had in

my life.

In The Importance of Being Earnest, Oscar Wilde uses symbolism, eloquence, and absurdity to show the egotistical, uptight nature of Victorian women. Wilde also makes a contrast between the serious character Jack and Algernon’s trivial personality. To achieve this, Wilde shows the women scorning the men, who then get into a fight over how serious their situation is. The entire scene is comical, and makes obvious Wilde’s views of Victorian society.

The main symbol in this section is the idea of “Bunburying.” This is Algernon’s creation, which he thinks is ingenious. Bunburying symbolizes excusing oneself from society in order to have fun and stay youthful. The main point of a Bunbury is to have fun and get out of any engagements one may be supposed to attend. However, Jack believes that Bunburying only creates more problems. He asks Algernon: “This ghastly state of thing is what you call Bunburying, I suppose?” (Wilde 169). Algernon replies: “Yes, and a perfectly wonderful Bunbury it is” (Wilde 169). Obviously, their views on Bunburying are very different. Jack does not think situations should be handled with excuses. Jack’s serious tone is reflected in the manner of his speaking, which is more articulate than Algernon’s.

Algernon is the only character that, in this excerpt, does not construct well-expressed sentences to convey his ideas. For instance, Jack mentions the “ghastly state of things” (Wilde 169), Gwendolen mentions to Cecily that the men will “hardly venture to come after us there” (Wilde 169), and Cecily calls men cowardly, an insult one doesn’t not hear very much any more. This use of language reflects the personalities of these characters. Jack, Cecily, and Gwendolen all take life more seriously than Algernon, and therefore they speak with more eloquence. This is mainly a social comment on Victorian society and the people who are involved in it. Although the characters use eloquent language, their situation is rather absurd.

Wilde uses absurd situations to amuse his readers and comment on Victorian society. An example of this appears when Gwendolen and Cecily discover that they really are not engaged to anyone, although they thought differently just a little bit earlier. Gwendolen says “I am afraid it is quite clear, Cecily, that neither of us is engaged to be married to anyone” (Wilde 169). Cecily replies “it is not a very pleasant position for a young girl suddenly to find herself in. Is it?” (Wilde 169). This situation is absurd because of the fact that usually, people do not just realize that they are not engaged. In a typical situation, one would be alerted of this fact before the cessation of the engagement. This sort of twist on commonplace occurrences happens often in Wilde’s writing. It grabs the attention of the reader and amuses them while conveying a certain view of Wilde’s.

Wilde uses symbolism, articulate language, and absurdity to amuse and educate his audience. By using these literary devices, Wilde can impart his views of Victorian society on his readers quite easily. His viewpoints of Victorian women as being egotistical and uptight, and men being either uptight or silly, are very evident in this excerpt.

Atsumori Commentary

2009-05-04T13:43:00.000-07:00

Elizabeth Roepke
Peifer 4
10 IB English
5 May 2009

Atsumori Commentary

231 So Atsumori fell and was slain, but now the Wheel of Fate
Has turned and brought him back.
"There is my enemy," he cries, and would strike,
But the other is grown gentle
235 And calling on Buddha's name
Has obtained salvation for his foe;
So that they may be reborn together
On one lotus seat.
"No, Rensei is not my enemy.
240 Pray for me again, oh pray for me again."

In Seami Motokiyo's play Atsumori, repetition, personification, and symbolism are used to convey Motokiyo's purpose of showing how a situation can be turned around by remorse and forgiveness. The theme of this section is similar to the overall theme of the play, which is the salvation of a restless soul through apology and acceptance.
Repetition is used in the very last line of this section to emphasize the meaning of the words "pray for me again" (Motokiyo 240). In this line, Atsumori finishes off the play with a plea for prayers, which suggests that he is still a bit restless. This follows with the generic model of a Noh play, which involves someone helping a restless spirit accept his or her fate and calm down. Although Atsumori has now found acceptance in death, he still wants to feel better.
Motokiyo uses personification to better illustrate the twist of fate that happens when Rensei asked for forgiveness for killing Atsumori. "So Atsumori fell and was slain, but the Wheel of Fate/ Has turned and brought him back" (231-232). Even though Rensei killed Atsumori, repenting and wishing Atsumori well created a twist of fate that allowed Atsumori to come back, and be at peace. The Wheel of Fate is neither a concrete object nor anything that could have a will of its own, but it is the deciding factor in Atsumori's survival.
Symbolism is another literary device used to express Motokiyo's theme of forgiveness and acceptance. "They shall be reborn together/ On one lotus seat" (238-239). This phrase contains the symbol of the lotus, which is a very important flower to Buddhists. Atsumori and Rensei are not being physically born again, but they are beginning a new part of their lives in harmony with each other. This "rebirth" symbolizes the shift in the course of their lives, and lets the reader know that it is a change for the better. This could also refer to enlightenment.
The play Atsumori by Seami Motokiyo has a central theme of forgiveness and acceptance. Motokiyo uses repetition, personification, and symbolism to convey his message.

Chinese Literature Assignment

2009-04-19T21:00:00.000-07:00

Liz Roepke
Peifer 4
English 10 IB
April 20, 2009

"Written in Behalf of My Wife" by Li Po

In Li Po's "Written in Behalf of My Wife," his purpose is to entertain and inform the reader how much he loves his wife. He achieves this by using dramatic imagery and metaphors about nature. Li Po's Taoist philosophy is shown in the images if and comparisons about nature. By comparing natural occurrences to his love, Li Po implies that his affection is natural, almost like destiny.
The images created by Li Po's writing are vivid and evocative. They are mainly used to compare nature to Li Po's love: " My thoughts that follow you in your wanderings/ Are as interminable as the stream" (Li Po 3-4). Other images like the moon, plants, and animals, create a mood of tranquility and harmony with nature. Harmony with nature is a central Taoist value. This poem emanates this value by comparing love to nature. It hints that Li Po's love is not returned. " I cry for the absence of my beloved" (Li Po ).
Li Po uses natural metaphors to describe himself and his wife. "I am like a peach tree at the bottom of a well…/ You are like the moon high in the sky" (Li Po 24,26). This quote shows how the author compared himself to a tree in a well to show that he is out of place without her love, and that his wife seems as distant as the moon. It also follows with the concept that it is natural that they should love each other, but it would be absurd for them to be separated.

As You Like It LRJ #5

2009-03-16T21:16:00.000-07:00

Liz Roepke
Peifer 4
English 10 IB
17 March 2009

As You Like It LRJ #5

In Act Five, Ganymede is revealed as Rosalind, and Aliena as Celia. Rosalind becomes Orlando's wife, and can stop pretending to be Ganymede. She also speaks with her father and declares herself as his daughter.
Rosalind remains in the Forest of Arden, but disappears for a time while she changes from being Ganymede to Rosalind. She does not sneak around and hide in this Act, which is comparable to how she reveals herself as who she truly is, and does not hide behind the mask of Ganymede anymore.
In the final Act, Rosalind gets what she desires. She is married to Orlando, she is reunited with her father, and her and Celia remain best friends. Her main goal in this Act is to make it known that she is Rosalind. This goes against her goals in the other four Acts, in which she wanted to conceal her identity. To marry Orlando, she tells him that they will be married if he wants to. "I'll have no husband, if you be not he" (5.4.127). To bring to light who she really is, Rosalind as Ganymede leaves with Aliena as Celia, then re-enters as herself.
Rosalind and Celia, as ever, are best friends and cousins, and now sisters-in-law as well. Orlando and Rosalind are finally married. Rosalind makes it known that she is Duke Senior's daughter as well. "I'll have no father, if you be not he" (5.4.126).

As You Like It LRJ #4

2009-03-16T20:27:00.000-07:00

Liz Roepke
Peifer 4
English 10 IB
17 March 2009

As You Like It LRJ #4

In Act Four, Rosalind continues to be Orlando's mentor. Ganymede is loved by Phoebe, and continues helping Silvius with her. Rosalind and Celia are still best friends.
Rosalind is in the Forest of Arden, testing Orlando's abilities to love her. She hears from Oliver that Orlando did not come to her because he saved Oliver from a lioness attack. Earlier, Rosalind is with Silvius reading a letter from Phoebe and twisting it so that Phoebe sounded cruel. This could have been to try and convince Silvius that it was not good to love someone who could be so mean. "Mark how the tyrant writes" (4.3.42).
Rosalind's goals in Act Four are to be sure that Orlando loves her, help Silvius get over Phoebe, and keep everyone thinking that she really is a boy. To accomplish the first, she makes Orlando pretend that Ganymede is Rosalind. For the second, Rosalind reads Phoebe's letter to Silvius and acts as if it is mean and harsh, even though it is a love letter. To try keep her alias as Ganymede believable, Rosalind tries to convince that she faked fainting to be more manly, even though she was just distressed by the bloody napkin. "I pray you commend my counterfeiting to him" (4.3.192). Rosalind wants Orlando to know how manly Ganymede is because how well he can fake swooning.
Rosalind's relationships are ever more complex in Act Four. Her and Celia and best friends as always, and as Ganymede and Aliena they are siblings. Ganymede and Oliver are friends now, and Ganymede is still mentoring Orlando and Silvius. Phoebe still loves Ganymede, which causes problems between them and Silvius.

As You Like It LRJ #3

2009-03-16T19:29:00.000-07:00

Liz Roepke
Peifer 4
English 10 IB
17 March 2009

As You Like It LRJ #3

In Act Three, Rosalind keeps up her character of Ganymede, and becomes a love counselor to Orlando and Silvius. Her and Celia are still best friends, and brother and sister as Ganymede and Aliena.
Again, in this Act, Rosalind is in the Forest. She reads the poems written for her by Orlando, wondering who the author is. She waits for Orlando to come to her for their counseling session, and is distraught when he is late. When Rosalind, Celia, and Touchstone see Silvius wooing Phoebe, they hide in the background so as not to disturb them in their talk. Eventually however, Rosalind comes into view and tries to help Silvius by telling Phoebe that she should accept his love.
Rosalind wants to make sure Orlando really loves her, so she makes him pretend that her as Ganymede is really Rosalind to see how he acts around who he thinks is his love. Rosalind also wants to help Silvius, so she tries to convince Phoebe that Silvius is truly in love with her. "Cry the man mercy, love him, take his offer" (3.5.66).
Rosalind and Celia are still vest friends, and they are still known as Ganymede and Aliena. Ganymede is still siblings with Aliena. Ganymede begins to teach Orlando about the ways of love, and Silvius about how he should keep pursuing Phoebe. In the process of trying to convince Phoebe to love Silvius, Ganymede becomes who Phoebe loves instead. Rosalind's relationships with the other characters become more and more complex as the play progresses.

As You Like It LRJ #2

2009-03-16T19:02:00.000-07:00

Liz Roepke
Peifer 4
English 10 IB
17 March 2009

As You Like It LRJ #2

In Act Two, Rosalind becomes known as Ganymede, the young man who is traveling with his sister Aliena (Celia). “He” protects her and escorts her through the Forest of Arden. They both need to be concealed for who they really are because they do not want Duke Frederick’s henchmen to find Celia.
Arriving in the Forest of Arden with Celia and Touchstone, she immediately sees Silvius and Corin. The three travelers step into the background so they will not disturb the others. In the Forest, there are many more places to hide, making it ideal for listening to other people’s conversations “Rosalind, Celia, and Touchstone step aside to eavesdrop” (2.4.SD).
Rosalind (as Ganymede) and Celia (as Aliena) talk to Corin about buying the cottage and its pastures. “I pray thee, if it stand with honesty, buy thou thy cottage, pasture, and the flock, and thou shalt have to pay for it of us.” (2.4.95-96). This shows that they will be staying there for a while instead of just passing through. It also helps set up the pretense that they are shepherds. This action reinforces the aliases of Ganymede and Aliena, making them more believable characters. Their goal of running away and settling down in a new place is beginning to be achieved. To realize these goals, Rosalind buys the cottage from Corin and pretends she is a shepherd.
The relationships Rosalind has with the other characters have not been changed very much, only added to. Her and Celia are still best friends, but are now brother and sister as well. Rosalind is pretending to be Touchstone’s master as well as just a traveling companion.

As You Like It LRJ #1

2009-03-16T18:27:00.000-07:00

Liz Roepke
Peifer 4
English 10 IB
17 March 2009

As You Like It LRJ #1

In Shakespeare's As You Like It, Rosalind is the main character and heroine of the play. She is the daughter of Duke Senior, and the niece of his usurper, Duke Frederick. Rosalind’s cousin is named Celia, and they are also best friends. Because of the enmity between the Dukes, Rosalind was banished by Duke Frederick. From the first time she met him, Rosalind was falling in love with Orlando.
Rosalind’s location in Act One was in Duke Frederick’s court, although she seems to not quite belong there. “Unless you could teach me to forget a banished father, you must not learn me how to remember any extraordinary pleasure” (1.2.4-6). This could be a reason for her banishment, because it shows loyalty to her father.
In this Act, Rosalind wants to stay with Celia, be with Orlando, and stay loyal to her father. “Let me love him for that, and you do love him because I do” (1.3.36-37). Rosalind know that Celia will follow her, and that Orlando is worthy of her love because their fathers were good friends. Overall, Rosalind wants to stay with Celia because they are best friends. She also is developing the goal of being with Orlando, which happens in later Acts as well. To obtain these things, Rosalind and Celia escape together so they do not have to part. Rosalind gives Orlando a necklace chain to show him that she is interested in him. By accepting banishment gracefully and planning to look for him in the forest, Rosalind stays loyal to her father.
Rosalind’s relationships with the other characters are not very complex yet. Her and Celia are best friends and cousins. Rosalind barely knows Orlando, yet she is already falling in love with him. She is Duke Frederick’s niece, but does not feel at home in his court.

Macbeth LRJ #6

2009-03-04T19:56:00.000-08:00

Liz Roepke
Peifer 4
English 10 IB
4 March 2009

Macbeth LRJ #6

In Macbeth, Shakespeare poses many profound questions for the reader: How does knowledge of the future affect ones choices? What justifies murder? What defines a person as good or evil? What drives a person to commit such atrocities as Macbeth? Can such horrors be forgiven?

Shakespeare leaves much up to the reader's interpretations, but does offer up some hints about him own thoughts on these questions. Throughout the play, we see Macbeth becoming increasingly obsessed with the prophecies of the witches. Toward the end of his life, he trusts in them completely, never pausing to think that they could be telling him that he was in danger: "Though Birnham wood be come to Dunsinane,/ And thou opposed, being of no woman born,/ Yet I will try the last" (5.8.35-37). As the play goes on, Macbeth murders more and more people to ensure his power is safe. Why are these murders inexcusable, while the killing of Macbeth is celebrated? When the play ends, it is apparent that Macbeth has crossed to the "evil" side, which makes it admirable for Macduff to kill him. Shakespeare suggests that Macbeth was driven by ambition, knowledge, and encouragement from his wife.

Macbeth LRJ #5

2009-03-04T18:15:00.000-08:00

Liz Roepke
Peifer 4
English 10 IB
4 March 2009

Macbeth LRJ #5

An important theme of Act Five is the fall from power and the restoration of justice. Lady Macbeth's "fall" occurs when she commits suicide, giving in to the guilt and shame she feels. Her husband's "fall" is when he dies as well, but not of his own accord: "Lay on, Macduff,/ And damn'd be him that first cries, 'Hold, enough!'" (5.8.38-39). Macbeth knows he will die, yet he does not give in. He has retained one of his redeeming qualities: that he would rather die honorably in a fight than give in to Macduff. Macduff greets the other nobles after defeating Macbeth: "behold, where stands/ The usurper's cursed head: the time is free" (5.8.63-64). After both of the Macbeths have perished, Malcolm is crowned as king and he restores Scotland to its better days: "...to see us crown'd at Scone" (5.8.85).

An important image pattern in Act Five is the candle. Lady Macbeth insists that she has a lighted candle near her at all times, as a symbol of some light and goodness in her dark, guilt-filled life: "she has light by her/ continually; 'tis her command" (5.1.20-21). Eventually, this small comfort is not enough to keep her from serious depression, and she commits suicide. Macbeth also speaks of a candle as related to life, after he hears that his wife is dead: "Out, out, brief candle!" (5.5.26). Macbeth realized that he was alone in his quest for power, and that he was failing.

Macbeth LRJ #4

2009-03-04T14:40:00.000-08:00

Liz Roepke
Peifer 4
English 10 IB
4 March 2009

Macbeth LRJ #4

The scene involving Lady Macduff and her son develops them into real characters, and reveals more of who they are. Knowing more of their personalities, it makes the reader feel the intensity of Macbeth's cruelty when he kills them. If these characters had simply been names on a hit list, they would have been less important and we as readers would not feel the magnitude of Macbeth's obsessive eradication of his potential threats. This scene shows us that Lady Macduff was bitter about her husband fleeing: "Wisdom! to leave his wife, to leave his babes,/ His mansion and his titles in a place/ From whence himself does fly? He loves us not" (4.2.8-10). Yet she still cares that he is safe: "I hope, in no place so unsanctified/ Where such as thou mast find him" (4.2.87-88). The exchanges of words between Lady Macduff and Ross, and between Lady Macduff and the murderer, show us two different sides of her. This makes here a more developed character, so the readers care more when Macbeth’s men kill her.

In Act Four, we learn more about Macduff as well. While he is conversing with Malcolm, he states that "Not in the legions/ Of horrid hell can come a devil more damn'd/ In evils to top Macbeth." (4.3.58-60). This clearly shows that he does not respect Macbeth or think he is fit to lead. Macduff seems to sincerely care for his country, not just himself: " O nation miserable,/ With an untitled tyrant bloody-scepter'd,/ When shalt thou see thy wholesome days again" (4.3.120-123). Macduff reveals that he is a very sincere, just man who wants to save his country and its people from a cruel tyrant.

Macbeth in Act Four is quite different from the Macbeth in Act One. In the beginning of the play, he was more cautious, and showed remorse. By Act Four Macbeth has turned into a callous man who would kill someone even if there were no threat to his power. Macbeth says to himself "The castle of Macduff I will surprise;/ Seize upon Fife; give to the edge o' the sword/ His wife, his babes" (4.1.171-173). Macbeth does not realize how unnecessary these deaths are, he is paranoid about the loss of power and the exposure of his crimes.

Macbeth LRJ #3

2009-03-04T13:27:00.002-08:00

Liz Roepke
Peifer 4
English 10 IB
4 March 2009

Macbeth LRJ #3

In the Third Act of Shakespeare's Macbeth, the title character is becoming more aggressive and manipulative. He begins to kill people just to clear his path. Macbeth believes that Banquo is a threat, so he lies to convince desperate men to do his dirty work: "Are you so gospell'd/ To pray for this good man and for his issue,/ Whose heavy hand hath bow’d you to the grave/ And beggar'd yours for ever?" (3.1.94-97). As Macbeth is becoming more dedicated to the murders, Lady Macbeth feels increasing remorse, though she does not show it to anyone else. She sees that it would be better to be dead than keep killing people: "'Tis safer to be that which we destroy/ Than by destruction dwell in doubtful joy" (3.2.8-9).

A theme of Act Three is playing a part. By this point in the story, both Macbeth and his wife must work hard to keep up their pretense of innocence. Macbeth fails horribly at this when he sees Banquo's ghost and cannot stop himself saying suspicious words about death and killing. "Thou canst not say I did it: never shake/ Thy gory locks at me." (3.4.60-61). Macbeth is speaking to a ghost that no one else can see, and he is defending himself from murder, both of which are quite unsettling coming from a king. Lady Macbeth also plays a part, pretending that her husband acts like this frequently. "Worthy friends: my lord is often thus,/ And hath been from his youth" (3.4.63-64). She does not know why he is acting like this, but tries to convince the Lords at dinner that he is completely fine.

The underlying theme in Act Three is paranoia and fear. Macbeth is so fearful for someone to take away his power that he would kill his own friend if he felt threatened. Macbeth has Banquo murdered because Fleance was prophesied to be king, which was worrisome for Macbeth. Macbeth tells the murderers that Banquo was "in such bloody distance,/ That every minute of his being thrusts/ Against my near'st of life" (3.1.132-134). He meant that every minute Banquo lived, Macbeth came closer and closer to death because of Banquo's existence. This shows us that Macbeth was very paranoid about Banquo exposing him for the criminal he was.

Macbeth LRJ #2

2009-03-02T18:52:00.000-08:00

Liz Roepke
Peifer 4
10 IB English
1 March 2009

Macbeth LRJ #2

Both Macbeth and Lady Macbeth have positive and negative qualities in Macbeth, because neither is completely good or completely evil. Macbeth's good traits are that he is determined and strong, and that part of him knows right from wrong. After killing Duncan, he knows he is very guilty: "I'll go no more. / I am afraid to think what I have done" (2.12.65). The biggest negative quality of Macbeth's is that even though he knew it was not a good thing to do, he killed Duncan. Lady Macbeth is also strong willed, but she does not appear as remorseful and he husband does. She tells us that the only reason she could not kill Duncan herself was that he looked too much like her own father. "Had he not resembled/ My father as he slept, I had done 't" (2.2.16).

A major image pattern in act two is blood. Blood first appears in this act when Macbeth sees the imaginary dagger covered in "gouts of blood" (2.1.58). Macbeth also speaks of blood when he uses it as a metaphor for being guilty: "Will all great Neptune's ocean wash this blood/ Clean from my hand?" (2.2.78). While discussing Duncan's death, Macbeth mentions his "silver skin laced with his golden blood" (2.3.131). These images show us different sides of Macbeth's personality: his fascination with murder, guilt from his treason, and flattery to try to cover up his crime. Donalbain says "The near in blood, the nearer bloody" (2.4.165). He was talking about his relationship with his brother, and how they should separate in order to stay safe.

Macbeth LRJ #1

2009-03-01T12:23:00.000-08:00

Liz Roepke
Peifer 4
10 IB English
1 March 2009

Macbeth LRJ #1

My initial impression of Macbeth is that he was an honorable, brave man, who was very kind. His wife even thought that he was too kind: "Thy nature,/ It is too full o' th' milk of human kindness" (1.5.16-17). Macbeth is also described by a dying soldier as a hero who fought valiantly against the evil rebels. Lady Macbeth also appears brave, but for different reasons. She is determined to make her husband man up and follow his destiny of becoming king. Lady Macbeth chose to become stronger by asking the spirits to "unsex me here,/ and fill me from the crown to the toe top-full/ Of direst cruelty" (1.5.48-50). In contrast to the Macbeths, Banquo seems cautious and noble. He tries to warn Macbeth about the witches, stating that "The instruments of darkness tell us truths,/ Win us with honest trifles, to betray 's" (1.3.135-136).

The quest for power is the main theme in Act One. Macbeth gets very excited when the witches tell him he will gain power and prominence: "Stay, you imperfect speakers. Tell me more" (1.3.73). Banquo did not seem to be as impressed by the witches as Macbeth, he appeared to dismiss the prophecies they told: "have we eaten on the insane root/ That takes the reason prisoner?" (1.3.87-88). He thinks that both Macbeth and himself are imagining the witches. Banquo distrusts them because he does not want to think they can know the future so precisely.

Sonnet 116 Commentary

2009-02-22T20:45:00.000-08:00

Liz Roepke
Peifer 4
10 IB English
23 February 2009

Sonnet 116 Commentary

Shakespeare's Sonnet 116 has a central theme of love and how it never changes. He speaks of the trials that love faces and that if true love exists it wins over all. To convey these messages he uses imagery, symbolism, rhyme scheme, and rhythm. Shakespeare's final message in this sonnet is that he is wrong in his ideas about love, then love has never existed.
The main theme of this sonnet is the enduring, constant power of love. Referring to Time, Shakespeare states that "Love alters not with his brief hours and weeks" on line eleven. This means that no matter how long Time tries to ruin love, it will always prevail. Love's strength is such that it "looks on tempests and is never shaken" (Shakespeare line 7). Shakespeare uses this theme to inform his readers of the wonders of love, and possibly to try to improve their lives.
To illustrate this message, Shakespeare used imagery, symbolism, rhythm, and rhyme scheme. Images he used include "rosy lips and cheeks" on line nine, a sickle on line ten, and a star in line seven. Shakespeare uses "rosy lips and cheeks" to show youth, and a sickle to show death. The comparison between love and a star could be a reference to the North Star, which has lead adventurers of many generations in the right direction. Shakespeare also uses rhyme scheme and rhythm in this sonnet, as with all of his other sonnets. As usual, his rhyme scheme is ababcdcdefefgg and he uses iambic pentameter. This uniformity helps to keep the flow and feeling of the sonnet as smooth and natural as possible, emphasizing the focus of love's consistency in the piece.
The subject of love in Sonnet 116 is very clear and powerful. It is expressed through imagery, rhyme scheme, and rhythm. Shakespeare informs his audience about the strength of love and its perpetual intensity. Shakespeare created yet another timeless work that speaks to every human about an emotion to which every person can relate.

Everyman Theme

2009-01-28T18:51:00.000-08:00

Liz Roepke
Ms. Peifer
10 IB class 4
28 Jan 2009

Everyman Theme

In the play Everyman, the underlying theme is not difficult to grasp. Each character is named after the attribute or physical object they represent (Knowledge, Goods, etc.). The main concept of Everyman is that everyone must die, but only his or her good deeds are of any use to him or her after death. On page 14, Good-Deeds says: "All fleeth save Good-Deeds." This explains that all virtues except Everyman's charitable acts were left behind on Earth when Everyman was taken by Death. In addition, this quote suggests that people should do more good in the world before they die, in order to avoid a predicament similar to Everyman’s.
Another theme of Everyman is that every thing dies at some point. The opening statement on page one explains this: "The high Father oh heaven sendeth Death to summon every creature...." Explaining how every living thing must die eventually, this kind of start to the play sets the tone for the whole show. Because it is a quite serious sentence, it ensnares the audience's attention at the very beginning. This opening explanation could have been meant to further explain the purpose of the play.

Beowulf LRJ#1

2008-12-05T09:18:00.000-08:00

It is very easy to determine which characteristics in Beowulf are considered positive by the writer. Beowulf values bravery: "'When it comes to fighting. I count myself/ as dangerous any day as Grendel'" (677). Beowulf knew that the monster Grendel has been terrorizing the Shielding's for twelve years, but this did not sway him. He was so sure of himself and his bravery that Beowulf challenged Grendel to a one-on-one duel. Grendel was sure of his strength as well, but quickly changes his mind after a short time in battle against Beowulf. "He was desperate to flee to his den and hide" (754). This shows how frantic Grendel was to get away from Beowulf and hide himself. These quotes make it very apparent which characteristics were valued by the Shieldings and Geats. As seen above, the good character (Beowulf) has positive, selfless values. On the other hand, Grendel is shown as weak and selfish. This enhances Beowulf's portrayal as a hero by obviously depicting him as mighty and brave.

Line 703 narrates Grendel's travels, calling him the stealthy and swift shadow-stalker. This alliteration of the letter "s" is reminiscent of a hiss, which is commonly recognized as something sinister. When Grendel attacks on line 741, he bites into a man's bone-lappings, and bolts down his blood. This example of alliteration enhances Grendel's dramatic, powerful, and evil personality.

Some characters in Beowulf are called by a description rather than their name in some instances. An example of this is Beowulf, who is referred to as "the prince of goodness" (676). Hrothgar is titled "the King of Glory" (665). These kennings parallel the relationship between Beowulf and Hrothgar. Hrothgar is given a very honorable name, while Beowulf's name is honorable, but puts his status just slightly below Hrothgar's. Grendel, however, is not given a very respected name. The writer, in calling him "captain of evil" (749), increases the difference in character between Beowulf and Grendel. These kennings are important because they help shape the personalities of the characters they describe, and make the difference between good and evil charcters unmistakable.

Antigone Paper

2008-11-25T21:28:00.000-08:00

Liz Roepke
Ms. Peifer
10 IB Hour 4
26 November 2008

Adamant Antigone

The concepts of guilt and innocence are merely the opinion of the most powerful person in command, built on as much or as little evidence as they choose to acknowledge. In Antigone, this person is Creon, the king. If the king's subordinates do not do as he wishes, it is completely within his right to punish them as he sees fit. Antigone disobeys the king. Because of this, she is justly punished. She has a sense of entitlement, she is close-minded, and violates the laws of Creon.

Antigone seems to think that she "owns" her brother, when she stated that Creon could not make her stay away from him. "But he’s no right to keep me from what’s mine" (Johnston 62). Creon has specifically stated that no one is allowed to bury Polyneices, who is seen as a traitor. Antigone disregards this ruling, protesting that Creon does not have the power to overrule the laws of tradition. Those laws state that someone must be buried with the proper rites in order for them to have a successful afterlife. Antigone is not justified in breaking one law because of other laws.

In Ismene's opinion, the highest laws are from humans. "Since those who rule are much more powerful, we must obey in this and in events" (Johnston 79). Antigone disagrees with her sister, and does not even consider changing her mind. Many people view Creon as the stubborn, close-minded character of Antigone, but Antigone is just as opinionated as the king.

These two adamant personalities in the play clash very severely when law and justice come into consideration. Antigone is unyielding in her opinion that she made the right choice to bury Polyneices, but Creon's opinion is also firm. "I admit I did it. I won’t deny that" (Johnston 500). Antigone is not ashamed of the fact that she broke a law because she views the law as unjust. One must admire such a strong will to do what one thinks is right, even if many others do not agree with them.

Antigone's sense of entitlement, stubbornness, and lawlessness all contribute to the assertion that she has committed a crime. She admits to this crime, and has no shame for what she has done wrong. King Creon had every right to sentence her to death, since she knew what the consequence would be before burying her brother.

Works Cited:

Sophocles. "Antigone." Sophocles Antigone. Trans. Ian Johnston. 9 Aug. 2008. Vancouver Island University Malaspira. 23 November 2008 .

Antigone LRJ#2

2008-11-23T16:36:00.000-08:00

Liz Roepke
Ms. Peifer
10 IB Hour 4
24 November 2008

LRJ #2

The classic play Antigone is full of powerful imagery. The main images are of death, cleanliness, and the interpretation of sight and blindness. The deaths of both Polyneices and Antigone are narrated in the play. Cleanliness has different meanings to different characters of Antigone.

A striking image found in Antigone is how Creon describes the fate of Polyneices' body: "He’ll be left unburied, / his body there for birds and dogs to eat" (Johnston 234). Leaving a body unburied in ancient Greece was a huge insult to that person. By decreeing that no one should wash or perform burial rites on Polyneices, Creon was also establishing the magnitude of his power over tradition and the loyalty of Polyneices' family. Later, Creon condemns Antigone to death, but does not want to be held responsible for it. Creon's punishments for Polyneices and Antigone are moral opposites. Usually, a dead person would be entombed while the living person is kept outside in the sunlight. Creon's reversal of these fates is another example of his will to gain power over the laws of tradition.

For Polyneices, the literal form of cleanliness is the most important. This contrasts the metaphorical cleanliness of Antigone and Ismene. Creon wishes Polyneices to be dirty, rotten, and left in the field for the wild animals to nibble at, as described above. On the other hand, Antigone is viewed as impure or unclean by Creon because she broke his law. Ismene wishes to be considered as faulty as Antigone in order to show her loyalty to Polyneices, but Creon does not buy it. When asked by the Chorus if he plans to kill both sisters, he replies: "No—not the one whose hands are clean" (Johnston 882)

Creon has multiple flaws, but the most fatal are his stubbornness and pride. When Haemon tries to change his father's will, Creon refuses to change his opinion. "End your anger. Permit yourself to change" (Johnston 814). Haemon tries to convince his father to listen to reason, but the king is too arrogant to listen to advice from someone below him. "According to our laws, / does not the ruler own the city?" (Johnston 840). Both his son and the chorus try to change Creon's mind, but he does not want their opinion, since he is the king and the only one in power.

The anagnorisis of Antigone occurs when Creon realizes that he is wrong. "I’ve changed my mind. / Since I’m the one who tied her up, I’ll go / and set her free myself. " (Johnston 1242). Teiresias warns Creon of his misfortune to come, and Creon grasps that his actions have been a grave mistake. The chorus advises him to release Antigone before it is too late, and he reluctantly agrees.

Peripeteia takes place when Teiresias dooms Creon to pay for the bad decisions he has made. "You will not see / the sun race through its cycle many times / before you lose a child of your own loins, / a corpse in payment for these corpses" (Johnston 1192). Before this moment, there was a chance that Creon could take back his actions and all would end well. However, Teiresias has never been wrong about his prophesies, which seals Creon's fate.

The catharsis of Antigone, in my opinion, comes when Creon states that there is nothing left for him to live for, since he has hurt so many others. "The guilt for all of this is mine" (Johnston 1463). Admitting that he is guilty signifies the point where Creon realizes that the remainder of his life will be grim. At this stage in the story, the audience can dismally comprehend that Creon will not earn a positive end in Antigone.

The women in Antigone are strong and competent. Antigone shows these traits most prominently, since it is she who defends Polyneices even in the face of the king. "He’s no right to keep me from what’s mine" (Johnston 61). Ismene points out that Creon has specifically outlawed burying their brother, but Antigone ignores that fact. Antigone argues that the laws of the gods and of tradition are much stronger than those of humans.
Ismene is also strong willed. In the beginning of the play, she appears weak and fragile. As the play goes on, however, her true feelings are displayed. "I bear the guilt as well" (Johnston 615).
Antigone stays true to her word when she does not allow Ismene to share her death sentence.

Works Cited:

Sophocles. "Antigone." Sophocles Antigone. Trans. Ian Johnston. 9 Aug. 2008. Vancouver Island University Malaspira. 23 November 2008 .

A Change of Heart (Antigone Assignment #1)

2008-11-18T18:21:00.000-08:00

Brave Antigone,
Our argument in the woods has left me deeply upset. O Antigone, how conflicted I am! My head tells me to follow Creon's orders, because he is king and has supreme power. Nevertheless, my heart urges me to join you and honor our brother as he deserves. After you left me in the woods, I pondered the situation carefully. As I reflected on your words, I realized that I could never live with myself if I did not help you. I must admit that my desire for justice is stronger than my will to follow orders, although your plan is in need of revision.
How will we honor Polyneices while the guards are watching him? What will Creon do if we are caught? I do not think that he will spare our lives, he is a merciless man. Antigone, what do you foresee from Haimon? Do you think he will help us or turn against us? He has great reverence for both his father and the law, which Creon thinks are one and the same. He also has a sense of moral order, justice and love as well. Thankfully I have a feeling that his love for you outweighs his deference to his father.
Antigone, though my obedience is unalterable my empathy for my kin is even greater. Polyneices is our brother, and is due the proper burial rites no matter what he died for.

some thoughts

2008-11-13T18:42:00.000-08:00

I like the widget "Flikr's most interesting photos." Each picture has it's own unique mood and focus, although most involve nature. They all have a great use of color in them, and I would just like to congratulate Flikr for picking what I think are very good pictures.

I should go do math homework now.

ACTUAL first blog...

2008-11-13T16:09:00.001-08:00

Because I have just found out what the assignment was for our initial blog, I will now attempt to re-do my "first blog" and pretend that the other (technically) first one doesn't exist. Don't pay any attention to that one.

Technology in my life is very prevalent in my social life and my school life. As I write this blog, I am communicating with friends via texting and facebook chat, which is probably not the best idea, but I pride myself in my multitasking skills. I believe that since technology is rapidly enveloping our world, the school system should try and implement it in every-day work. I like this idea of writing our LRJ's online, because it is easier for me to express my thoughts more coherently than writing on paper does. Online I can cut and paste; the old fashioned way forces me to do a lot of erasing, and I usually lose my train of thought.
I feel much more comfortable blogging than writing in class, although writing to everyone and no one at the same takes some getting used to. I think that one of the reasons that I am more comfortable with blogging is that I can relax in my house and focus on the work rather than sit in class and focus on focusing on the work, with which I usually come to no avail.