The Catcher in the Rye
by J.D. Salinger
pgs 53-105
Holden decides to go to a club, called the Lavender room, in the hotel he's staying at. He wants to dance and decides to go over to a table of three women. In describing and referencing them, Holden uses metonymy and other kinds of insulting names and descriptions. When he first mentions them, he says, "I started giving the three witches at the next table the eye again. That is, the blonde one. The other two were strictly from hunger" (Salinger, 70). Then he says, "Finally the blonde one got up to dance with me...the other two grools nearly had hysterics when we did" (70). Later he said, "The other ugly one, Laverne, thought she was a very witty type" (Salinger, 75).
Holden rarely ever calls the women by their names. He calls them "blonde one" and "ugly one." This distances the women from Holden and the reader. It demonstrates how judgment and simple-minded Holden is. He judges many people solely by their outward appearance. He calls people moron, stupid, ugly, etc. This ties back to his insecurities.
Holden is characterized by his demeaning actions and words because the reader can see that Holden is judgmental, crude, and insecure.
Wednesday, April 10, 2013
Catcher in the Rye- Hyperbole
The Catcher in the Rye
by J.D. Salinger
pgs 53-105
When Holden got off the train in New York, he was looking for someone to call. He though of calling Jane, but his reasoning was a humorous and memorably characteristic quote:
He said he wouldn't call Jane because "Her mother knew my mothers and I could picture her breaking a goddam leg to get to the phone and tell my mother I was in New York" (Salinger, 59).
This exaggeration is a great example of how Holden feels about teenage problems. He feels confined. What is commonly called "teenage angst" is very apparent.
Holden is kicked out of another private school because he defied authority by not doing his work. Once he has a little bit of freedom, he abuses it. Holden gets his own hotel room, goes to a club, and orders a prostitute.
Holden's restrictive school environment, and possibly restrictive home environment makes him act out. Holden's hyperbole helps show that his perception of adults and authority is a confining image, and causes him to act out.
by J.D. Salinger
pgs 53-105
When Holden got off the train in New York, he was looking for someone to call. He though of calling Jane, but his reasoning was a humorous and memorably characteristic quote:
He said he wouldn't call Jane because "Her mother knew my mothers and I could picture her breaking a goddam leg to get to the phone and tell my mother I was in New York" (Salinger, 59).
This exaggeration is a great example of how Holden feels about teenage problems. He feels confined. What is commonly called "teenage angst" is very apparent.
Holden is kicked out of another private school because he defied authority by not doing his work. Once he has a little bit of freedom, he abuses it. Holden gets his own hotel room, goes to a club, and orders a prostitute.
Holden's restrictive school environment, and possibly restrictive home environment makes him act out. Holden's hyperbole helps show that his perception of adults and authority is a confining image, and causes him to act out.
Catcher in the Rye- Characterization
The Catcher in the Rye
by J.D. Salinger
pgs 53-105
Throughout the novel so far, I got the sense that Holden is very insecure. He likes to act big , tough, and confident, but his subtle word cues and actions tell a different story. For example, he constantly repeats himself, seemingly reassuring himself or trying to get a strong point across:
"They can drive you crazy. They really can" (Salinger, 73).
"I knew her like a book. I really did" (76).
There are countless other examples and it seems to me that Holden is unsure of himself. He is trying to convince the reader (and himself) about the previous statement. Its almost like he thinks the reader didn't believe him the first time he said it.
Another example of his insecurity is how he insults other people. He puts them down to build himself up. When talking about a talented pianist, Holden says, "He was putting all these dumb, show-offy ripples in the high notes, and a lot of other very tricky stuff that gives me a pain in the ass" (Salinger, 84).
I'm not sure exactly why Holden is insecure, but as the novel progresses, his complex character continues to develop.
by J.D. Salinger
pgs 53-105
Throughout the novel so far, I got the sense that Holden is very insecure. He likes to act big , tough, and confident, but his subtle word cues and actions tell a different story. For example, he constantly repeats himself, seemingly reassuring himself or trying to get a strong point across:
"They can drive you crazy. They really can" (Salinger, 73).
"I knew her like a book. I really did" (76).
There are countless other examples and it seems to me that Holden is unsure of himself. He is trying to convince the reader (and himself) about the previous statement. Its almost like he thinks the reader didn't believe him the first time he said it.
Another example of his insecurity is how he insults other people. He puts them down to build himself up. When talking about a talented pianist, Holden says, "He was putting all these dumb, show-offy ripples in the high notes, and a lot of other very tricky stuff that gives me a pain in the ass" (Salinger, 84).
I'm not sure exactly why Holden is insecure, but as the novel progresses, his complex character continues to develop.
Thursday, March 28, 2013
"Sorting Laundry"- tone
"Sorting Laundry"
by Elisavietta Ritche
This poem is full of figurative language, like the extended metaphor, which helps reveal meaning and the changing tone. The tone in the first three quarters of the poem is relaxed and happy. The speaker talks about folding clothes of herself and her significant other. The laundry descriptions show how the woman is happy and comfortable in her relationship. The relationship is long, balanced, and the man and woman accept each other.
The relaxed and happy tone changes at the end though. There is a discovery of a "strangely tailored shirt left by a former lover" (Ritchie, 842). This prompts the speaker to think about past failed relationships, then she begins to worry about her current relationship ending. "A mountain of unsorted wash could not fill up the empty side of the bed" (Ritchie, 842). This hyperbole shows how lost and lonely the speaker would be without her significant other. The tone at the end is more worried and frantic. After a second look, the reader may even notice that throughout the poem, the speaker talks about smaller and smaller clothes, symbolizing smaller and smaller details of the relationship. She slowly picks apart the relationship until she becomes frantic and thinks of worse-case scenarios.
The diminishing size of the clothing helps with the change in tone that comes along with finding the strange shirt. The tone shows how the speaker truly feels about the relationship- usually comfortable and satisfied, but scared if she thinks too much.
by Elisavietta Ritche
This poem is full of figurative language, like the extended metaphor, which helps reveal meaning and the changing tone. The tone in the first three quarters of the poem is relaxed and happy. The speaker talks about folding clothes of herself and her significant other. The laundry descriptions show how the woman is happy and comfortable in her relationship. The relationship is long, balanced, and the man and woman accept each other.
The relaxed and happy tone changes at the end though. There is a discovery of a "strangely tailored shirt left by a former lover" (Ritchie, 842). This prompts the speaker to think about past failed relationships, then she begins to worry about her current relationship ending. "A mountain of unsorted wash could not fill up the empty side of the bed" (Ritchie, 842). This hyperbole shows how lost and lonely the speaker would be without her significant other. The tone at the end is more worried and frantic. After a second look, the reader may even notice that throughout the poem, the speaker talks about smaller and smaller clothes, symbolizing smaller and smaller details of the relationship. She slowly picks apart the relationship until she becomes frantic and thinks of worse-case scenarios.
The diminishing size of the clothing helps with the change in tone that comes along with finding the strange shirt. The tone shows how the speaker truly feels about the relationship- usually comfortable and satisfied, but scared if she thinks too much.
"Batter my heart, three-personed God"- paradox
"Batter my heart, three-personed God"
by John Donne
This poem is full of paradoxes.
The speaker is a constant sinner, and wants God to make him new, free, and pure. The irony/paradox is that to make him new, the speaker wants God to "break, blow, burn [him]" (Donne, 840). The speaker says that he is "betrothed to you enemy" (Donne, 840). The basically means that the speaker is married to Satan. Yet, the speaker loves God.
The speaker wants to stop sinning, but cannot unless God imprisons and cleanses him. "Except you enthrall me, never shall I be free" (Donne, 840). This paradox is assisted by the double meaning of the word "enthrall." On one hand, enthrall means to enslave. The speaker is saying, 'Unless you enslave me, I will not be free.' On the other hand, enthrall can also mean to capture someone's attention. The speaker wants God to capture his attention. God must make an effort to keep the speaker away from sin, as opposed to the traditional method of the sinner making an effort to come back to God. The truth revealed in the paradox is that God must imprison the speaker and take his attention in order for the speaker to be free from sin.
These drastic paradoxes show the intensity of the emotion felt by the speaker. The author clearly gets the point across that drastic measure must be taken for the speaker to be pure.
by John Donne
This poem is full of paradoxes.
The speaker is a constant sinner, and wants God to make him new, free, and pure. The irony/paradox is that to make him new, the speaker wants God to "break, blow, burn [him]" (Donne, 840). The speaker says that he is "betrothed to you enemy" (Donne, 840). The basically means that the speaker is married to Satan. Yet, the speaker loves God.
The speaker wants to stop sinning, but cannot unless God imprisons and cleanses him. "Except you enthrall me, never shall I be free" (Donne, 840). This paradox is assisted by the double meaning of the word "enthrall." On one hand, enthrall means to enslave. The speaker is saying, 'Unless you enslave me, I will not be free.' On the other hand, enthrall can also mean to capture someone's attention. The speaker wants God to capture his attention. God must make an effort to keep the speaker away from sin, as opposed to the traditional method of the sinner making an effort to come back to God. The truth revealed in the paradox is that God must imprison the speaker and take his attention in order for the speaker to be free from sin.
These drastic paradoxes show the intensity of the emotion felt by the speaker. The author clearly gets the point across that drastic measure must be taken for the speaker to be pure.
"I taste a liquor never brewed"- metaphor
"I taste a liquor never brewed"
by Emily Dickinson
When I first read this poem, it reminded me of a line from a country song by Luke Bryan. The lyrics say, "I'm a little drunk on you, and high on summertime." Just like in the song, drunkenness is not being taken literally in this poem. The poem is an extended metaphor. Being drunk on liquor symbolizes the pure joy the speaker receives from nature. The title, which is also the first line of the poem, specifically tells the reader that the speaker is note actually drunk on real liquor. The liquor is "never brewed, " "Not all the Vats upon the Rhine yield such an Alcohol" (Dickinson, 797). The liquor has never been made the way all liquors have, the alcohol has never been produced from a vat. This clarifies that the liquor is not actually an intoxicating liquid. The metaphor is continued when the speaker says she is "Inebriate of Air" (Dickinson, 797).
With this extended metaphor, the author vividly displays the pure and vast joy the speaker receives from nature. Nature makes the speaker feel light and elated, like being tipsy or drunk from alcohol.
by Emily Dickinson
When I first read this poem, it reminded me of a line from a country song by Luke Bryan. The lyrics say, "I'm a little drunk on you, and high on summertime." Just like in the song, drunkenness is not being taken literally in this poem. The poem is an extended metaphor. Being drunk on liquor symbolizes the pure joy the speaker receives from nature. The title, which is also the first line of the poem, specifically tells the reader that the speaker is note actually drunk on real liquor. The liquor is "never brewed, " "Not all the Vats upon the Rhine yield such an Alcohol" (Dickinson, 797). The liquor has never been made the way all liquors have, the alcohol has never been produced from a vat. This clarifies that the liquor is not actually an intoxicating liquid. The metaphor is continued when the speaker says she is "Inebriate of Air" (Dickinson, 797).
With this extended metaphor, the author vividly displays the pure and vast joy the speaker receives from nature. Nature makes the speaker feel light and elated, like being tipsy or drunk from alcohol.
'The Convergence of the Twain"- Structure
"The Convergence of the Twain"
by Thomas Hardy
When I read that this poem is about the Titanic, a famous ship, the very first thing I noticed was that the individual stanzas look like little boats on the ocean. The first two lines are short, like a little ship, and the last line of the three-line stanza is long, like the vast waves of the ocean.
Another benefit of the two short lines and one long line deals with the subject matter discussed in the lines. Overall, the first two lines describe the beauty, vanity, and opulence of the Titanic. "...mirrors meant to glass the opulent..." "Jewels in joy designed to ravish the sensuous mind" (Hardy, 778). This rich description helps the reader picture the grandeur of the ship in its prime: A huge ship built to cater to the desires of the wealthy, exhibiting the extremes of human vanity. However, the reader will notice that the first two line are short. This is symbolic of the brief nature of human vanity, and more specifically, the short-lived journey of the Titanic. The Titanic, standing as a representation, even a quintessential example, of human vanity, sank fast. The ship and vanity did not last long. The third line, on the other hand, is long. This third line of the stanza tends to describe the ocean, or underwater life, especially in the first half of the poem. This underwater life does not have the beauty of the life above water. In fact, the scene is described in scary and repulsive terms: "The sea-worm crawls- grotesque, slimed, dumb, indifferent" (Hardy, 778). These lines are longer to symbolize the eternal state of the Titanic. The Titanic sank to the bottom of a dark ocean, where its beauty can no longer be appreciated, and for eternity, there it will stay.
The author uses structure to make a visual point, and also to show the journey of the Titanic: short-lived vanity to eternal darkness.
by Thomas Hardy
When I read that this poem is about the Titanic, a famous ship, the very first thing I noticed was that the individual stanzas look like little boats on the ocean. The first two lines are short, like a little ship, and the last line of the three-line stanza is long, like the vast waves of the ocean.Another benefit of the two short lines and one long line deals with the subject matter discussed in the lines. Overall, the first two lines describe the beauty, vanity, and opulence of the Titanic. "...mirrors meant to glass the opulent..." "Jewels in joy designed to ravish the sensuous mind" (Hardy, 778). This rich description helps the reader picture the grandeur of the ship in its prime: A huge ship built to cater to the desires of the wealthy, exhibiting the extremes of human vanity. However, the reader will notice that the first two line are short. This is symbolic of the brief nature of human vanity, and more specifically, the short-lived journey of the Titanic. The Titanic, standing as a representation, even a quintessential example, of human vanity, sank fast. The ship and vanity did not last long. The third line, on the other hand, is long. This third line of the stanza tends to describe the ocean, or underwater life, especially in the first half of the poem. This underwater life does not have the beauty of the life above water. In fact, the scene is described in scary and repulsive terms: "The sea-worm crawls- grotesque, slimed, dumb, indifferent" (Hardy, 778). These lines are longer to symbolize the eternal state of the Titanic. The Titanic sank to the bottom of a dark ocean, where its beauty can no longer be appreciated, and for eternity, there it will stay.
The author uses structure to make a visual point, and also to show the journey of the Titanic: short-lived vanity to eternal darkness.
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