Pub 1: Written Law V. Moral Law
The classical Greek drama “Antigone” by Sophocles centers around the unlawful burial of Polynices by his sister. Antigone, the plays protagonist, goes against Creon’s edict and follows through with the burial of her brother. The exact motive behind Antigone’s decision is up for interpretation. Many see Antigone’s decision simply as an act of loyalty towards her brother, whom she feels has been dishonored by Creon. In a discussion with Ismene, Antigone states “It is not for him to keep me from my own”, meaning she feels it is not within Creon’s authority to put forward such an edict (Sophocles 1131). Upon deeper inspection another motive could spell out Antigone’s unconscious decision. In Ancient Greece one of the few jobs held by women was preparing bodies for burial. By Creon creating such a law Antigone may have felt one of her few rights as a woman had be violated. Her decision to bury her brother could be seen as a way of standing up for the rights of women in Ancient Greek society.
This could provide an explanation to why Antigone tells Ismene to “shout it out”, letting people know that it was in fact Antigone who had buried the body in spite of Creon’s edict (Antigone 99). Antigone wants the people to know it was a women who had defied Creon’s rule and not a man. This provides an insight into Antigone’s views and values during a time in which Greek society was predominately male driven. Antigone is a classical representation of a feminist in ancient Greece being characterized as a strong minded, prideful, and determined young women. This could also be seen through the conversation between Antigone and her sister. Ismene, who represents the common woman in Thebes, angers Antigone when she says “You ought to realize we are only women, not meant in nature to fight against men (Ismene 70-71).” Antigone does not agree with her sister, following through with her plan. Also by telling Ismene to “shout it out”, Antigone may want people to see her loyalty towards her family.
During the aforementioned conversation with Ismene, Antigone states “I shall be a criminal- but a religious one (Antigone 84-5).” Through this statement Antigone is expressing her feeling that it is in her religious duty to bury her brother. Antigone understands within Creon’s edict she is performing a criminal action but within the contents of religion she is performing a just action. This quote directly goes along with the theme of written law versus moral law displayed throughout the play. In the contents of the play it is obvious Antigone values moral law above civil law. Later in the play Antigone confronts Creon saying " I did not believe your proclamation had such power to enable one who will someday die to override God's ordinances, unwritten and secure". Antigone felt that Creon has gone beyond his limits of power in this situation and dealing with death was something that was determined by the gods.
Through this writing assignment I attempted to take somewhat of a different perspective. I chose to portray Antigone as a feminist and used her feminist ideologies as her motive for burying her brother. Do you believe that this could have contributed to Antigone's decision to bury Polynices or do you believe is was purely out of love and loyalty to her family?
This could provide an explanation to why Antigone tells Ismene to “shout it out”, letting people know that it was in fact Antigone who had buried the body in spite of Creon’s edict (Antigone 99). Antigone wants the people to know it was a women who had defied Creon’s rule and not a man. This provides an insight into Antigone’s views and values during a time in which Greek society was predominately male driven. Antigone is a classical representation of a feminist in ancient Greece being characterized as a strong minded, prideful, and determined young women. This could also be seen through the conversation between Antigone and her sister. Ismene, who represents the common woman in Thebes, angers Antigone when she says “You ought to realize we are only women, not meant in nature to fight against men (Ismene 70-71).” Antigone does not agree with her sister, following through with her plan. Also by telling Ismene to “shout it out”, Antigone may want people to see her loyalty towards her family.
During the aforementioned conversation with Ismene, Antigone states “I shall be a criminal- but a religious one (Antigone 84-5).” Through this statement Antigone is expressing her feeling that it is in her religious duty to bury her brother. Antigone understands within Creon’s edict she is performing a criminal action but within the contents of religion she is performing a just action. This quote directly goes along with the theme of written law versus moral law displayed throughout the play. In the contents of the play it is obvious Antigone values moral law above civil law. Later in the play Antigone confronts Creon saying " I did not believe your proclamation had such power to enable one who will someday die to override God's ordinances, unwritten and secure". Antigone felt that Creon has gone beyond his limits of power in this situation and dealing with death was something that was determined by the gods.
Through this writing assignment I attempted to take somewhat of a different perspective. I chose to portray Antigone as a feminist and used her feminist ideologies as her motive for burying her brother. Do you believe that this could have contributed to Antigone's decision to bury Polynices or do you believe is was purely out of love and loyalty to her family?
Pub 2: "It's All Just an Illusion"
In everyday society people not only force illusions upon themselves and others, but allow themselves to succumb to deception. An illusion is defined as being the state or fact of being intellectually deceived or misled ("Merriam Webster"). People create illusions or succumb to the illusions of others to create a false sense of security or happiness. They are creating a facade and are unable to accept to truth in front of them. Many Characters in A Streetcar Named Desire by Tennessee Williams surrender themselves into believing something in their favor that they did not necessarily know was true or they did not want to believe was true, most notably Stella. In the present day United States, the American citizens allow themselves to fall into the illusions of the government as well. The quote “I couldn’t go on believing her story and live with Stanley” said by Stella validates the idea that people are willing to succumb to the deception of others in order to continue living a normal life (Stella, 1232).
A Streetcar Named Desire centers around the illusions of Blanche, who has proved herself to be mentally unstable throughout the play. Throughout the course of the play Blanche lies to herself as well as those around her in order to make her life appear superior and secure when in actuality it is the opposite. Since her arrival in New Orleans to live with Stanley and Stella there was obvious tension between Stanley and Blanche, which would foreshadow later problems resulting in the climax of tension, Stanley’s rape of Blanche. From the very beginning Stanley was able to see through Blanche’s facade constantly calling her out on lies. “I've been on to you from the start! Not once did you pull any wool over this boy's eyes! You come in here and sprinkle the place with powder and spray perfume and cover the light bulb with a paper lantern, and lo and behold the place has turned into Egypt and you are the Queen of the Nile! Sitting on your throne and swilling down my liquor! (Stanley, 1229).” Stella, on the other hand, allowed herself to be blinded by her sister’s illusions, essentially allowing herself to fall victim to deception. Stella’s quote, “I couldn’t go on believing her story and live with Stanley”, shows that Stella was no longer able to accept Blanche’s lies, more specifically about the rape scene, in order to continue a normal life with Stanley (Stella, 1232). The interesting thing was that Stella never said she thought Blanche was lying, but she made a conscious decision to think Blanche was lying in order to continue a normal uninterrupted life with Stanley. From the very beginning Stella defends and believes her sister due to loyalty, kindness, and possibly a sense of guilt for leaving her sister at Belle Reve alone. When Stanley asks Stella about the papers for Belle Reve, Stella replies “there weren’t any papers, she didn’t show any papers, I don’t care about papers (Stella, 1178).” The irony with the quote about the rape is that Stella was not willing to believe Blanche in one of the few situations she was telling the truth but was able to believe all her lies throughout the rest of the play.
In the United States the American citizens have been deceived by the U.S. Government for centuries. Many people believe that the government is incapable of doing anything wrong because they feel a sense of patriotism. One such example of government deception was the Gulf of Tonkin incident in 1964. This was an alleged attack on American troops in August of 1964. Lyndon Johnson used this attack as an excuse to increase U.S. troops in North Vietnam and escalate the war (Hickman). It was not until around 2005 did people find out this attack never actually occurred and there was no attack on a U.S. naval ship by North Vietnam Troops. Like Stella with Blanche, the American people feel a sense of loyalty to their country therefore believing much of what they hear, which as we see may not always be the truth.
A Streetcar Named Desire centers around the illusions of Blanche, who has proved herself to be mentally unstable throughout the play. Throughout the course of the play Blanche lies to herself as well as those around her in order to make her life appear superior and secure when in actuality it is the opposite. Since her arrival in New Orleans to live with Stanley and Stella there was obvious tension between Stanley and Blanche, which would foreshadow later problems resulting in the climax of tension, Stanley’s rape of Blanche. From the very beginning Stanley was able to see through Blanche’s facade constantly calling her out on lies. “I've been on to you from the start! Not once did you pull any wool over this boy's eyes! You come in here and sprinkle the place with powder and spray perfume and cover the light bulb with a paper lantern, and lo and behold the place has turned into Egypt and you are the Queen of the Nile! Sitting on your throne and swilling down my liquor! (Stanley, 1229).” Stella, on the other hand, allowed herself to be blinded by her sister’s illusions, essentially allowing herself to fall victim to deception. Stella’s quote, “I couldn’t go on believing her story and live with Stanley”, shows that Stella was no longer able to accept Blanche’s lies, more specifically about the rape scene, in order to continue a normal life with Stanley (Stella, 1232). The interesting thing was that Stella never said she thought Blanche was lying, but she made a conscious decision to think Blanche was lying in order to continue a normal uninterrupted life with Stanley. From the very beginning Stella defends and believes her sister due to loyalty, kindness, and possibly a sense of guilt for leaving her sister at Belle Reve alone. When Stanley asks Stella about the papers for Belle Reve, Stella replies “there weren’t any papers, she didn’t show any papers, I don’t care about papers (Stella, 1178).” The irony with the quote about the rape is that Stella was not willing to believe Blanche in one of the few situations she was telling the truth but was able to believe all her lies throughout the rest of the play.
In the United States the American citizens have been deceived by the U.S. Government for centuries. Many people believe that the government is incapable of doing anything wrong because they feel a sense of patriotism. One such example of government deception was the Gulf of Tonkin incident in 1964. This was an alleged attack on American troops in August of 1964. Lyndon Johnson used this attack as an excuse to increase U.S. troops in North Vietnam and escalate the war (Hickman). It was not until around 2005 did people find out this attack never actually occurred and there was no attack on a U.S. naval ship by North Vietnam Troops. Like Stella with Blanche, the American people feel a sense of loyalty to their country therefore believing much of what they hear, which as we see may not always be the truth.
Pub 3: Postmodernism in Jhumpa Lahiri's " Interpreter of Maladies"
Jhumpa Lahiri’s “Interpreter of Maladies” is an exceptional representation of a post-modern piece of literature. Postmodernism is all based upon individuality and self-interpretation of what reality really is rather than society’s interpretation. This way of thinking allows people to illustrate life events in their own way. Through each character in “Interpreter of Maladies” Jhumpa Lahiri embodies a sense a post-modernism. Mr. Kapasi and Mrs. Das are two prime examples within the short story. Both characters allow each other, in essence strangers, into their personal lives exposing their secrets without care of how it is perceived. Mr. Kapasi and Mrs. Das are both overwhelmed with the difficulties concerning their respective families.
From the very moment Kapasi meets Mr. and Mrs. Das he formulates a judgement of their character. “They were all like siblings, Mr. Kapasi thought as they passed a row of date trees. Mr. and Mrs. Das behave like an older brother and sister, not parents” (Jhumpa, 49). Kapasi being older than both Mr. and Mrs. Das is incapable of understanding why they act such a way quite possibly because of the age difference. Nevertheless he views them as immature parents, but in their eyes this parenting strategy is completely acceptable. Mrs. Das is quick to open up to Kapasi whom she feels somewhat of a connection with. She opens up about her infidelity and explains that her son is not Mr. Das biological son. Kapasi is quick to interpret Mrs. Das and poses the question " Is it really pain you feel, Mrs. Das or is it guilt" (Mr. Kapasi 66). Simply saying her problems are a consequence of her guilt.
Kapasi is overcome with internal emotion when Mrs. Das shows this interest and appreciation for Kapasi’s job as an “Interpreter of Maladies.” Kapasi who struggled to please his wife who did not appreciate his job as an interpreter begins to grow feelings for Mrs.Das. Kapasi see’s Mrs. Das interest in his job as interest in him. “Her sudden interest in him, an interest she did not express in either her husband or her children, was mildly intoxicating” (Lahiri 59) Both characters have a much different interpretation of the relationship Mrs. Das see’s Kapasi solely as someone who could interpret her problems and Kapasi see’s Mrs. Das as some he could build a relationship with. This is a prime example of post-modernism because Lahiri presents the interpretations of both characters and their difference in reality.
Lahiri’s characterization of both Mrs. Das and Kapasi sets the tone for the short-story as a post-modern piece of literature. He displays Mrs. Das as both isolated and unpleased with her current situation. She is more infatuated with applying makeup than showing her children attention. She’s this way primarily because she is drowned by the guilt she feels over her relationship with Mrs. Das. Lahiri describes Kapasi as “Mr. Kapasi was forty-six years old, with receding hair that had gone completely silver, but his butterscotch complexion and in his unlined brow....” (p.50, Lahiri). Lahiri focuses primarily on the flaws of both characters placing emphasis on their imperfections which truly constitute “Interpreter of Maladies” as a post-modern piece.
From the very moment Kapasi meets Mr. and Mrs. Das he formulates a judgement of their character. “They were all like siblings, Mr. Kapasi thought as they passed a row of date trees. Mr. and Mrs. Das behave like an older brother and sister, not parents” (Jhumpa, 49). Kapasi being older than both Mr. and Mrs. Das is incapable of understanding why they act such a way quite possibly because of the age difference. Nevertheless he views them as immature parents, but in their eyes this parenting strategy is completely acceptable. Mrs. Das is quick to open up to Kapasi whom she feels somewhat of a connection with. She opens up about her infidelity and explains that her son is not Mr. Das biological son. Kapasi is quick to interpret Mrs. Das and poses the question " Is it really pain you feel, Mrs. Das or is it guilt" (Mr. Kapasi 66). Simply saying her problems are a consequence of her guilt.
Kapasi is overcome with internal emotion when Mrs. Das shows this interest and appreciation for Kapasi’s job as an “Interpreter of Maladies.” Kapasi who struggled to please his wife who did not appreciate his job as an interpreter begins to grow feelings for Mrs.Das. Kapasi see’s Mrs. Das interest in his job as interest in him. “Her sudden interest in him, an interest she did not express in either her husband or her children, was mildly intoxicating” (Lahiri 59) Both characters have a much different interpretation of the relationship Mrs. Das see’s Kapasi solely as someone who could interpret her problems and Kapasi see’s Mrs. Das as some he could build a relationship with. This is a prime example of post-modernism because Lahiri presents the interpretations of both characters and their difference in reality.
Lahiri’s characterization of both Mrs. Das and Kapasi sets the tone for the short-story as a post-modern piece of literature. He displays Mrs. Das as both isolated and unpleased with her current situation. She is more infatuated with applying makeup than showing her children attention. She’s this way primarily because she is drowned by the guilt she feels over her relationship with Mrs. Das. Lahiri describes Kapasi as “Mr. Kapasi was forty-six years old, with receding hair that had gone completely silver, but his butterscotch complexion and in his unlined brow....” (p.50, Lahiri). Lahiri focuses primarily on the flaws of both characters placing emphasis on their imperfections which truly constitute “Interpreter of Maladies” as a post-modern piece.
Your published writing pieces were extremely profound this semester!!! Bravo!
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