Tuesday, January 20, 2009

19th Century British Anthology

*All evaluation poems were chosen because they were good examples of that poets style and therefore easier for the class to figure out based on the information and the examples we gave of the other poets.

Lesson plan: 


Objectives

-To give students a good understanding of certain British poets from the 19th Century. (Lord Byron, Jane Taylor, Christina Rossetti, and John Clare)

 

-To give students the proper tools to recognize the poetic styles in poems, according to the main events in the above poets lives.

 

-To give students an understanding of poetic meter. (Specifically Iamb, Dactyl, Trochee and Anapest)

 

 

Resources

- Projector

- Laptop
- Handouts of different poems for groups to analyze
- Microsoft PowerPoint

- Handouts of certain poems

- Speakers

 

Methodology

1. Split the class into 4 groups.

 

2. Teach class about poetic meter

 

3. Brief introduction into 19th Century Britain (setting, major events that may have influenced the poets in that era)

 

4. Poets

Poet #1

Lord Byron

i)  Brief Bio.

ii) Analysis of "The Battle of Sennacherib".

iii) Anthology.

 

Poet #2

Jane Taylor

i) Brief Bio

ii) Analysis of "The Spider"

iii)Anthology 

 

Poet #3

John Clare

i)  Brief Bio

ii) Analysis of "Autumn”

iii)Anthology

 

Poet #4

Dante Rossetti 

i)  Brief Bio

ii) Analysis of ""

iii)Anthology

 

Evaluation

1) Each group will be given a handout of a select poem from one of the four poets so that each group will have one poem (this poem being from one of the for poets discussed earlier)

 

2) After about 10 minutes, the groups will be asked to make an estimated guess of who wrote the poem that they were given based on what they know about each poet, and how they write.

 These poems will be:

 

“Come and play in the garden” (Jane Taylor)

 “She walks in beauty” (Lord Byron)

“I Am” (John Clare)

 “Nuptial Sleep” (Dante Rossetti)

 

3) Students will be evaluated based on the following criteria:

i)  If they come up with the right poet

ii) If they come up with valid reasons/how many for why they chose who they chose. 

 


Lord Byron

Lord Byron is widely considered to be one of the most bad ass poets (aside from Mr. Murray) to ever walk the earth. He was known around Britain as that guy you didn’t want your wife (or in some cases, husband) around. That’s right, he was bisexual. Byron’s indiscriminate promiscuity as well as deep debt is what ultimately led to him fleeing from England in 1816, never to return. He lived in Venice and Genoa before joining Greece’s struggle for independence of the Ottoman Empire. Byron was however robbed of this final act of bad-assery, falling violently ill and dieing before he could fight. Some people believe that if Byron had survived, he would have been made the king of Greece.

"The Destruction Of Sennacherib"
I The Assyrian came down like the wolf on the fold, And his cohorts were gleaming in purple and gold; And the sheen of their spears was like stars on the sea, When the blue wave rolls nightly on deep Galilee.

Like the leaves of the forest when Summer is green, That host with their banners at sunset were seen: Like the leaves of the forest when Autumn hath blown, That host on the morrow lay withered and strown.

II For the Angel of Death spread his wings on the blast, And breathed in the face of the foe as he pass'd, And the eyes of the sleepers wax'd deadly and chill, And their hearts but once heaved, and for ever grew still!

And there lay the steed with his nostril all wide, But through it there roll'd not the breath of his pride; And the foam of his gasping lay white on the turf, And cold as the spray of the rock-beating surf.

III And there lay the rider distorted and pale, With the dew on his brow, and the rust on his mail: And the tents were all silent, the banners alone, The lances unlifted, the trumpets unblown.

And the widows of Ashur are loud in their wail, And the idols are broke in the temple of Baal; And the might of the Gentile, unsmote by the sword, Hath melted like snow in the glance of the Lord
This poem was chosen because of its catchy poetic meter as well as the interesting metaphors and similes.
Lord Byron makes great use of rhyme and meter in his poem “The Destruction of Sennacherib”. He uses an AABB (Couplets) rhyming scheme and an anapestic tetrameter format. This combination makes for a poem that sounds very powerful and epic when spoken out loud. Another strategy that Byron uses in this poem is dramatic contrast. In the first 7 lines of the poem he paints a picture of valiant, proud soldiers only to have them basically destroyed for the rest of the poem. Unlike most of the poems analyzed throughout this unit, “The Destruction of Sennacherib” does not seem to have a deeper meaning at its core. Instead, this work seems to simply tell the biblical story of the Assyrian’s (King Sennacherib) attempted invasion of Israelite’s territory, only to be “Destroyed”. Ashur was the first capital of ancient Assyria as well as the name of their “Top God”.

Evaluation poem: "She walks in beauty"*

SHE walks in beauty, like the night Of cloudless climes and starry skies; And all that 's best of dark and bright Meet in her aspect and her eyes: Thus mellow'd to that tender light Which heaven to gaudy day denies. One shade the more, one ray the less, Had half impair'd the nameless grace Which waves in every raven tress, Or softly lightens o'er her face; Where thoughts serenely sweet express How pure, how dear their dwelling-place.

And on that cheek, and o'er that brow, So soft, so calm, yet eloquent, The smiles that win, the tints that glow, But tell of days in goodness spent, A mind at peace with all below, A heart whose love is innocent!

John Clare
-Lived July 1793 – May 1864
-Grew up poor and was very malnourished which is a big reason for him being only 5ft tall
-Went to school until he was twelve
-First poem was published in 1820
-He married Patty Turner in 1820
-As mentioned before he was very malnourished from being poor and because of this he had many cycles of constant depression and became dependant on alcohol
-As his alcohol depression became greater he started to become more and more disgusted with himself
-His behaviour became more and more erratic, so his wife had him admitted to Dr Allen's High Beach Private Asylum (1837 – 1841)
-During his stay he would write poetry but not as John Clare.
- At times he thought he was Byron and Shakespeare and would even re-write there works as if it was his own
-He was released shortly for a period of five months, but was admitted back into another asylum by his wife Patty as his behaviour did not change and would stay there for the rest of his life

Autumn

The thistledown's flying, though the winds are all still, On the green grass now lying, now mounting the hill, The spring from the fountain now boils like a pot; Through stones past the counting it bubbles red-hot.

The ground parched and cracked is like overbaked bread, The greensward all wracked is, bents dried up and dead. The fallow fields glitter like water indeed, And gossamers twitter, flung from weed unto weed.

Hill-tops like hot iron glitter bright in the sun, And the rivers we're eying burn to gold as they run; Burning hot is the ground, liquid gold is the air; Whoever looks round sees Eternity there.

-He uses a ryming scheme aabb
-He describes nature in great detail
- Again, like Jon’s poem Autumn doesn’t appear to have any deep meaning waiting for the reader but instead is just describing an Autumn day.

This poem was chosen because it is a prime example of Clare's writting style.

Evaluation Poem: "I am"

I am: yet what I am none cares or knows,
My friends forsake me like a memory lost;
I am the self-consumer of my woes,
They rise and vanish in oblivious host,
Like shades in love and death's oblivion lost;
And yet I am! and live with shadows tost

Into the nothingness of scorn and noise,
Into the living sea of waking dreams,
Where there is neither sense of life nor joys,
But the vast shipwreck of my life's esteems;
And e'en the dearest--that I loved the best--
Are strange--nay, rather stranger than the rest.

I long for scenes where man has never trod;
A place where woman never smil'd or wept;
There to abide with my creator, God,
And sleep as I in childhood sweetly slept:
Untroubling and untroubled where I lie;
The grass below--above the vaulted sky.

While John Clare was admitted to the Northampton General Lunatic Asylum he wrote a series of poems. "I Am" was one of the poems that was written by John Clare during his stay. This poem is written in iambic pentameter and its doesn't follow the same rhyme scheme through out the poem. The first stanza is in "ababbb", the second stanza has and "ababcc" and the third follows the same.The first thing that came to mind as I read it was the irony in the title "I Am" as many times during his stay at the asylum he didn't really know who he was as at times he thought he was Byron and even called himself Shakespeare. The first and second stanza's tell me that being locked up in the Asylum he feels alienated from his friends and family"And e'en the dearest that I loved the bestAre strange nay, rather stranger than the rest." by saying this he says that his family and friends might as well be strangers to him as he no longer feels connected to them. The third stanza you see something that you don't see a lot of in his poems and thats God. He mentions him in his poems as if he is accepting God or even accepting death/fate that is coming to him "There to abide with my creator, God," as he knows he will be stuck in the Asylum for a long time.

Dante Rosseti
1. Full name : Dante Gabriel Rossetti 2. Born : May 12th, 1828 in London, England 3. Died : April 9th, 1882 in Kent, England 4. Brother of famous poet Christina Rossetti (One of the most important female poets of 19th century British poetry) 5. Not only a poet, but a famous painter as well: 6. Attended Kings College School 7. One of the founding fathers of the Pre-Raphaelite Brotherhood (A group of English painters, poets and critics who’s intent was to reform art) 8. Enjoyed medieval things 9. Had an obsession with exotic animals, particularly wombats. He had a pet Wombat named “Top” 10. Wife Elizabeth Siddal died after giving birth to a stillborn child. Dante buried the majority of his unpublished poems in his wife’s grave, which he later removed and published 11. Was a big fan of a drug known as chloral 12. Famous quote: "The worst moment for the atheist is when he is really thankful and has nobody to thank.”

"Sudden Light"

I have been here before, But when or how I cannot tell: I know the grass beyond the door, The sweet keen smell, The sighing sound, the lights around the shore.

You have been mine before,-- How long ago I may not know: But just when at that swallow's soar Your neck turn'd so, Some veil did fall,--I knew it all of yore.

Has this been thus before? And shall not thus time's eddying flight Still with our lives our love restore In death's despite, And day and night yield one delight once more?


This poem was chosen because Dante’s choice of words really paints a picture for the reader.


First notion: The poem Sudden Light by Dante Rossetti is one that tells quite an interesting story. The poem starts off by saying: “I have been here before, But when or how I cannot tell: I know the grass beyond the door”, but this cannot truly be interpreted until the whole poem is read. I believe that this poem is telling the story of a man who has been in a particular situation before, in this case; marriage. The notion of marriage is alluded to in lines 9 and 10 by saying that: “Your neck turn’d so, Some veil did fall, - I knew it all of yore”. A veil being a clothing article that is generally worn by women, in some instances during marriage. Referring back to the opening lines of the poem, this can now be interpreted to mean that the man has been in the wedding situation before. The man has perhaps ran away the first time around, this being identified in the poem as “I know the grass beyond the door, the sweet keen smell, The sighing sound, the lights around the shore” meaning that he knows what’s beyond the doors of the building they’re in (perhaps a church) as he has fled his first marriage. The rest of the poem in this case being the man’s second shot at marriage with the same women. He goes on to state: “You have been mine before,--How long ago I may not know” this meaning that the man has been with this women before in this particular situation but he cannot recall when their last (first) wedding actually occurred. Further notions of the man running away from his first marriage are seen in the last stanza, where he states that “Has this been thus before? And shall not thus time's eddying flight” meaning that he has given a shot at marriage before and it has not been successful but this time he will not run away. The poem concludes with “Still with our lives our love restore In death's despite, And day and night yield one delight once more?” this to me indicating that once again their love is restored, they will give marriage another shot and live day and night with each other until death do them part.


Second notion: The second interpretation I have conjured up is similar to the first. Similar in the sense that they both embody the overall theme of marriage. In this case, I believe that the poem is telling the story of a couple renewing their wedding vows, and the reader is seeing it through the perspective of the man. The man recalling that he has “been here before, but when or how he cannot tell” meaning that it’s been so long since he has truly been with his wife, the spark was gone but it is now re-lit. I believe the title of the poem “Sudden Light” is quite relevant to this certain interpretation. The “light” in this case being the spark that is being re-ignited in the relationship between the husband and wife and the man is seeing this as he is looking at his wife and he is ready to spend the rest of his life with her. The poem concludes with “Has this been thus before? And shall not thus time's eddying flight Still with our lives our love restoreIn death's despite, And day and night yield one delight once more?” Meaning that yes, they have been in this marriage situation before but now they’re there to restore the love they have for themselves and they are going to live the rest of their lives happily.


Evaluation Poem: "Nuptial sleep"*

At length their long kiss severed, with sweet smart:
And as the last slow sudden drops are shed
From sparkling eaves when all the storm has fled,
So singly flagged the pulses of each heart.
Their bosoms sundered, with the opening start
Of married flowers to either side outspread
From the knit stem; yet still their mouths, burnt red,
Fawned on each other where they lay apart.

Sleep sank them lower than the tide of dreams,
And their dreams watched them sink, and slid away.
Slowly their souls swam up again, through gleams
Of watered light and dull drowned waifs of day;
Till from some wonder of new woods and streams
He woke, and wondered more: for there she lay.


Jane Taylor

-Jane Taylor was born on September 23rd, 1783 and died of breast cancer on April 13th 1824 at the age of 40.
-Both her and her sister were poets which resulted in confusion in a lot of their authorship among people
-Jane’s most famous work was “Twinkle, Twinkle, little Star,” written when she was 23.
-She also wrote poems like “Come and play in the Garden” and “The Orphan”
-Not only was she a poet but she was also a hymn writer and a children’s author.
-Fun fact: It was rumoured that a character on start trek was supposed to represent Jane Taylor.

The Spider

Oh, look at that great ugly spider!" said Ann; And screaming, she brush'd it away with her fan; "'Tis a frightful black creature as ever can be, I wish that it would not come crawling on me. "
"Indeed," said her mother, "I'll venture to say,
The poor thing will try to keep out of your way; For after the fright, and the fall, and the pain, It has much more occasion than you to complain.
"But why should you dread the poor insect, my dear? If it hurt you, there'd be some excuse for your fear; But its little black legs, as it hurried away, Did but tickle your arm, as they went, I dare say.

This poem was chosen because it gave the image when read quitely but when read out loud it represented more of a story than anything else. It had a certain specific ryhthm to it which was pleasant to the ear when read aloud and drew a picture of a life lesson of patience.


-Has a specific rhyming scheme of aa, bb, cc, dd… etc.
- Jane may have written this about her and her sisters childhood possibly
- Memory of her mother and sister
- The main theme is a life lesson (possibly one she learned when she was young).
- She wrote the poem in a way that it seems like a story to the reader
- It becomes obvious that this is her writing it because it exaggerates her style of writing and it almost seems like a nursery story

Evaluation poem: "Come play in the Garden"*

LITTLE sister,
come away,
And let us in the garden play,
For it is a pleasant day.

On the grass-plat let us sit,
Or, if you please,
we'll play a bit,
And run about all over it.
But the fruit we will not pick,
For that would be a naughty trick,
And very likely make us sick.
Nor will we pluck the pretty flowers
That grow about the beds and bowers,
Because you know they are not ours.

We'll take the daisies, white and red,
Because mamma has often said
That we may gather then instead.
And much I hope we always may
Our very dear mamma obey,
And mind whatever she may say. 

Monday, January 19, 2009

Formal Argument- Negative, Did Gertrude betray her husbadn and son



Gertrude did not betray either her husband or her son. If Gertrude had betrayed Hamlet Sr., he would have told his son to seek revenge from Gertrude, but he didn't. And Hamlet Sr. Would know if Gertrude was responsible for his death because he (just like anyone who had the ability would do) probably went back and investigated his own death. Infact Gertrude was clrearly "on Hamlet's side" because she pretty much sacrificed her own life to try and save her son's.:


GERTRUDE
 He's fat, and scant of breath.—
 Here, Hamlet, take my napkin, rub thy brows.
 The queen carouses to thy fortune, Hamlet.
 (picks up the cup with the pearl)

HAMLET
285Good madam.

 CLAUDIUS
                 Gertrude, do not drink.

 GERTRUDE
 I will, my lord. I pray you, pardon me. (drinks)

Italian Poetry

Italian poetry

Eugenio Montale

Nobel Prize 1975

He was against fascism

“Doubt”

 

Salvatore Quasimodo

Nobel prize for lyrical poetry

“Street in the Agrigentum”

 

Primo Levi

Placed in Auschwitz in 1944 for 11 months.

His poems reflect his experience in the camps

“Shema”.

“Reveille”

 

Gabriele D’Annunzio

Figure head in fascist movement

He was a pilot fighter for france

Given the title of principle di montenevoso, and made president of the Italian royal academy

“Canto Novo”

 

Friday, December 12, 2008

ISU#2(ITSASTINKER)

In a time where clichés like timeless, spectacular and masterpiece seem to be over used, “Dune” stands out as one of the only true masterpieces in science fiction. This pioneering work, written by Frank Herbert in 1965 captivated every pair of eyes that found their way to its pages with its incredibly intricate world of interplanetary politics and action packed combat.  Herbert has been hailed as a genius for thinking up one of the most fully thought out worlds in literature, as he should be. However, there are many examples of Herbert borrowing socio-economic themes and events, as well as theories from the past 2000 years.

 

The first piece of evidence signifying that Frank Herbert’s concept for Dune borrowed from reality is his use of Islamic motifs and Arabic phrases from the Islamic world. In Islam, the jihad is directly translated as “the struggle”. This struggle could strive to accomplish any number of things, including self betterment, fighting temptation, spreading and defending Islam, as well as fighting against oppression. In the book, Paul makes reference to Jihad as an internal struggle.

 

 

Here was the unborn jihad, he knew. Here was the race consciousness that he had known once as his own terrible purpose. […] And Paul saw how futile were the efforts of his to change any smallest bit of this. He had thought to oppose the jihad within himself, but the jihad would be. His legions would rage out from Arrakis even without him. They needed only the legend he already had become.

                             

                                   (Herbert, 482)

 

The unborn jihad refers to an internal struggle in Paul’s mind. When he talks about his legions raging out from Arrakis, he is talking about an actual armed struggle against the Harkonnen house and the Padishah emperor’s oppression of the Fremen.

 

Herbert makes another nod to Islamic culture in the Fremen titles he gives to Paul Atriedes. An example of one of these titles is Mahdi. In Fremen messianic legend, the word Mahdi is translated roughly to “the one who will lead us to paradise”. In Islam the title translates into “the divinely guided one”. According to Shia Muslim beliefs, one of the signs of the coming Mahdi is the assassination of “a pure soul”. In the book, the pure soul is the Duke Leto Atriedes, and the Mahdi is young Paul emerging to eventually lead the Fremen to “paradise”

 

Another title that Paul adopts as a member of the Fremen is Muad’Dib. In Arabic, the word mu’addib translates to ‘educator’. Herbert essentially just moved the apostrophe over two spaces to the right. In the glossary of the novel, Herbert provides the following definition for Muad’Dib:

 

MUAD’DIB: the adapted kangaroo mouse of Arrakis, a creature associated in the Fremen earth spirit mythology with a design visible on the planet’s second moon. This creature is admired by the Fremen for its ability to survive in the open desert

                                       (Frank, 524)

 

Later on, Stilgar describes why it was a wise decision for Paul to choose this name:

 

Muad’Dib is wise in the ways of the desert. Muad’Dib creates his own water. Muad’Dib hides from the sun and travels in the cool night. Muad’Dib is fruitful and multiplies over the land. Muad’Dib we call ‘instructor-of-boys’. That is a powerful base on which to build your life, Paul-Muad’Dib, who is Usul among us. 

                                       (Frank, 307)

 

In the above quote, Stilgar refers to Paul-Muad’Dib (which was, of course, shortened later on to simply Muad’Dib) as “Usul among us”. In the book the Fremen translation of Usul was ‘the base pillar’. In Arabic, the word usul is translated loosely into “Principles”. One’s principles, of course, act as if they are ‘base pillars’ in terms of that person’s actions.

 

Herbert also makes referance to ancient Roman civilization. Much like the Padishah Empire in the book, The Roman Empire was a sprawling network that controlled most, if not all, of the wealth and power at the time. It was one of the largest empires in history at around 5 million square miles. The Empire fell at about 476 A.D (Eastern Empire) because of many reasons, one of the chief reasons being the rise of non-pagan, monotheistic organized religions (such as Christianity and Islam). In “Dune” it is easy to see the parallels between the Padishah Empire and the Roman Empire. In the book, the Padishah Empire is not necessarily overthrown, but there is a major change in leadership and a radical change in the way that the empire is governed (in terms of philosophy etc.). This changing of the guard leads to the effective abolishment of the Empire 3,500 years later with the assassination of Paul’s son, the god emperor Leto II.

 

In addition to Roman referances, Herbert also aludes to Biblical events and characters. For example, Liet-Kynes can easily be equated to John the Baptist. In the Bible John the Baptist is a major religious figure who was at the forefront of a baptismal movement at the Jordan River. John led this movement in the belief that a divine apocalypse would soon give Israel back to the Jews from the Romans. While St. John did a good job of starting the movement, he was killed after the emergence of Jesus Christ as a spiritual leader. Jesus followed through with John’s goals and eventually fulfilled them, albeit posthumously through his followers. In “Dune” Liet-Kynes (John the Baptist) was the leader of the Fremen (Jews) and was leading the movement to terraform the harsh desert planet of Arrakis (Israel) into a lush, temperate paradise. In order to accomplish this goal however, the Fremen had to have been freed from the oppressive rule of the Harkonnen house (the Roman Empire). Although Liet-Kynes did a good job of orchestrating this movement, he was killed shortly before the emergence of Paul (Jesus Christ) as a spiritual leader. Paul gives Arrakis back to the Fremen and eventually fulfils Liet-Kynes goal of making the planet more hospitable.

 

Another similarity between the world of Dune and the real world is that on Arrakis there is a substance that is extremely rare (so rare, in fact, that it can only be found on Arrakis), dangerous to attain and is essential for the traveling of long distances (in terms of the universe). Today there is a substance that is getting rarer, can be very dangerous to attain and is essential for the traveling of long distances (in terms of the earth). The substance in the book is the spice (mélange), and the substance in today is crude oil.  

 

Arrakis ... Dune ... wasteland of the Empire, and the most valuable planet in the universe. Because it is here — and only here — where spice is found. The spice. Without it there is no commerce in the Empire, there is no civilization. Arrakis ... Dune ... home of the spice, greatest of treasure in the universe. And he, who controls it, controls our destiny.

                     (Frank Herbert’s Dune)

 

 

 

 

 

“He, who controls it, controls our destiny”. This quote easily could be interpreted as Herbert speaking directly to reader about the situation that we are in, present day. In the book the Combine Honnete Ober Advancer Mercantiles (C.H.O.A.M), combined with the spacing guild control the very economy of the entire universe. C.H.O.A.M is the corporation that controls the trading of all substances in the known universe, including the spice. In order for C.H.O.A.M orchestrate the trades that it does, it must employ the services of the Spacing Guild. The Spacing Guild is the entity that provides the means of transportation of the traded materials from planet to planet, system to system. As we can see, this is a vicious circle because the pilots from the Spacing Guild need to have lots of spice in order to see the future and to know which way to steer their cargo. Considering the above pieces of information, one can see that the universal economy is organized as such: the universal economy is controlled by the C.H.O.A.M and the spacing guild and the C.H.O.A.M and the spacing guild are controlled by the supply of mélange, therefore the global economy is controlled by the supply of mélange (in other words, controlled by the person who controls the supply of mélange).

 

Today, those who control the supply of crude oil to the rest of the world have a great amount of control over the entire society. A great example of this is that the oil companies can raise the price of gasoline to obscene prices and still sell just as much of it, because it is essential for most people getting to work, for emergencies, for generally traveling distances that are impractical on foot.  

 

Another possible parallel that one could draw between the Dune world and the real world is the similarities between the present day struggle between the Israelis/Palestinians and the situation on Dune, with the struggle between the Fremen/House Harkonnen. In real life, the people of Palestine are being oppressed by the Israeli government (which surrounds their country), physically, psychologically and fiscally.  

 

The loss of lives is significant: 700 Palestinian civilians have died since September 2000. Yet we hear little of the loss of livelihoods. Almost all Palestinians live a life of pervasive indigence compounded further by the latest violence. Palestinian incomes have plummeted to a twentieth of the average Israeli income. Four-fifths of those living in Gaza have fallen below the poverty line, and more than half subsist on UN handouts. One Israeli economist quoted anonymously in The Economist proclaims, “Frankly, we are strangling them.”

 

(http://www.dartmouth.edu/~thepress/index.php?vol=2&iss=4)




In the book, the Fremen are being oppressed by the House Harkonnen and the entire Padisha Empire, just as the Palestinians are being oppresed by the Israeli government. For historical reasons, the Israeli government felt that they could take Palestinian land and were given the blessing to do so by the United Nations. In the book "Dune" :

 

[…] Two things from Arrakis, then, Rabban: income and a merciless fist. You must show no mercy here. Think of these clods as what they are—slaves envious of their masters and waiting only the opportunity to rebel. Not the slightest vestige of pity or mercy must you show them […] don’t waste the population; merely drive them into utter submission. You must be a carnivore, my boy. [Ellipses mine]

                                  

                                  (Frank, 239-240)

 

 

 


In the book  "Dune"ther are many examples of Frank Herbert borrowing socio-economic themes, events and theories from through out history. Herbert uses Arabic and Islamic themes and mottifs and draws parallels between the Padisha and Roman Empires. He also makes referance to Biblical characters and events in the comparison between Liet-Kynes and John the Baptist. His sci-fi masterpiece also has a parallel to current events. Just as the world in "Dune" had a dependance and an obsession with melange, our world has a dependance and obsession with crude oil the books  between melange. It is these parallels that makes "Dune" such an intresting read. 

 

 

 

 

 

 

   

 

 

 Selected referances

Herbert, Frank. Dune. New York: Burkley publishing, 1965.

"Arrakis ." Wikipedia 7/11/2008 15 Dec 2008

"The Banality of Oppression in Palestine." The Dartmouth free press7/11/2001 15 Dec 2008 .

"5526 Palestinians Killed by IOF in past 8 Years." Palestine News Agency 6/10/2008 15 Dec 2008 .



 

 

 

 

 

Was Hamlet really crazy

judges:Jenn ross, yannick lee, Nick Leblond

On Friday, December 12, 2008 two debate teams entered room 204 in RDHS. These teams were about to debate whether or not Hamlet was mentaly unstable (and therefore not responsible for his actions). The affirmative side was comprised of Ms. Ilayda Williamson, Ms. Mary Collins and Ms. Michaela Blaser while Ms. Kelsey Campbell, Ms. Melissa Watson-Shotton and Ms. Jessica Barton made up the negative side. The debate was presided over by the Honourable Yannick Lee, the Honourable Jennifer Ross, and the Honourable Nicholas LeblondAs the judges issued there opening statement, they outlined there rules of engagement. 

After the formalities, the affirmitive side issued their opening statement with Ilayda presenting the definition of insanity in shakespearean times. She argued that Hamlet went against the great chain of being, bedded an unmarried woman, had vengeful thoughts, killed friends, and babbled on about morbid topics, all characteristics of a crazy person.

The negative side argued that Hamlet's abnormal behaviour could be atributed to to the death of his father, as well as the events that followed. Ms. Campbell stated that anyone who was put into the situation that Hamlet was in would react in a similiar way, which means that he wasn't crazy, he was just adapting and coping.

The affirmitive side rebutted the negative's opening statement by arguing that, because of the amazing amount of truama that Hamlet suffers through out the book he developted a mental illness possibly post traumatic stress dissorder. No matter the definition of insanity someone who has post traumatic stress dissorder is mentally unstable. 

The remainder of the debate consisted mainly of the two teams arguing about mental dissorders and whether or not Hamlet was prettending to be crazy in order to get to the King. After the dust had settled from a hotly contested debate, only th negative side was left standing.

Thursday, December 11, 2008

It's flippin hot in here

On Thursday, December 11, 2008 two debate entered room 204 in RDHS. These teams were about to debate whether or not Millar's definition of a modern tragedy is appropriate to the modern age (or so we thought).The affirmative side was comprised of Mr.Ben Cousines, Mr.Justin Sweeny, and Mr.Dawson Lybert while Ms.Stephanie Boucher, Ms.Rebecca Ritchy and Ms.Stephanie McDonald made up the negative side. The debate was presided over by the Honourable Seth Epps, the Honourable Colton Bissonette, and the Honourable Logon Lubuk. As the judges issued there opening statement, they outlined there rules of engagement. 

After the formalities, the affirmitive side issued their opening statement with Mr. Sweeny arguing that Miller's definition is appropriate to the modern age because the average person today relates most easily with those similar to themselves, instead of trying to relate to nobility (like you are forced to do when reading Shakespearean tragedies) . Justin went on to close this very strong opening statement by stating "Its flippin' hot in here" accompinied of course with a vaguely Irish sounding accent. This opening argument was unfourtanetly the high point of the debate as the rest of the debate turned into arguing which is better: Shakespearean tragedies or Modern tragedies. This tragic turn of events was no doubt caused by the blistering heat in the classroom. None the less Stephane presented the negatives opening "argument" by presenting Arstotle's interpretation of tragedy, which was met with an exclamation of "Appeal to Boredom" by Mr.Cousines. Undettered, Stephanie went on to compare Hamlet and Cat on a hot tin roof until her time was up.

After pointing out that she talked too fast, the affirmitive side rebutted Stephanies argument by stating that modern tragedies are better because they are more civilized and less gory. The negative rebutted by pointing out that not all modern tragedies are civilized, but that they are all simplified. Stephanie argued that due to this simplification, the very meaning of tragedy could be lost whereas a more complex tragedy (shakespearean)  would stay true to the formula.

The remaining arguments and rebutals offered absolutley no new information and the negative side won with a tally of 24 points compared to the affirmitive side's meager 4. 

 

Wednesday, December 10, 2008

Silverstein - Forever and a day

There is a place where the sidewalk ends, 
and before the street begins, 
and there grass grows soft and white,
and there the sun burns oh so bright,
and there the moon and bird rest from this flight,
to cool and help prevent winds. 
Let us leave this place where the smoke grows black and dark street winding paths,
past the pits where the ashfault flowers grow,
she'll walk with a walk that is measured in slow 
and watch where the chalk white arrows go, 
there's a place where the sidewalk ends.
Yes, we'll walk with a walk that is measured in slow,
and we'll go where the chalk white arrows go,
to show them they mark,
to show them they know,
the place where the sidewalk ends.