Poem 10
José García Villa
First, a poem must be magical,
Then musical as a sea gull.
It must be a brightness moving
And hold secret a bird’s flowering.
It must be slender as a bell,
And it must hold fire as well.
It must have the wisdom of bows,
And it must kneel as a rose.
It must be able to hear
The luminance of dove and deer.
It must be able to hide
What it seeks like a bride.
And over all, I would like to hover
God, smiling from the poem’s cover.
The Dangers of This Craft
Fatima V. Lim Wilson
How we sing, even as we are boiled alive.
Those who torment us strain to sustain
Our last notes. In a landscape
Of sameness, our crooked towers scrape
Sensibilities, the well-trained eye.
Why when starved, do we thrive?
Remembrance of childhood’s bread
Rising. The taste of dulcified
Droppings of air. Our well-
Meaning friends beg us, please,
Speak in the measured tones
Of the mediocre. Show off
Our mastery of muteness,
The ambidextrous virtuosity
Of work-stained hands. Let
Those knitting needles, heavy
Handled axes fly. Why must
We hear voices? See the moving
Parts of still objects? And so,
We insist we no longer see
Through whitewashed walls.
We confess our dreams of flying
Have ceased. We scheme,
The miracle of money keeping us
Awake. Our pleasure lies
In memorizing the exactness
Of recipes. We are found to be
Most eloquent when quiet, even
As we argue happily with the teeming
Inhabitants opening doors in our heads.
We stare seemingly unmoved at the fire
Of our burning books, all the while
Enthralled, reading secrets in the flames.
They think they’ve killed us off
Even as somewhere, everywhere, a child
Recalls the beat of the ocean womb.
They dance upon our tombs, unaware
Of how they have fallen
Victim to the rhythm
Of our singing bones.
Monday, August 18, 2008
Friday, August 1, 2008
Puedo escribir los versos mas tristes esta noche...
XX
Puedo escribir los versos más tristes esta noche.
Escribir, por ejemplo: "La noche está estrellada,
y tiritan, azules, los astros, a lo lejos."
El viento de la noche gira en el cielo y canta.
Puedo escribir los versos más tristes esta noche.
Yo la quise, y a veces ella también me quiso.
En las noches como esta la tuve entre mis brazos.
La besé tantas veces bajo el cielo infinito.
Ella me quiso, a veces yo también la quería.
Cómo no haber amado sus grandes ojos fijos.
Puedo escribir los versos más tristes esta noche.
Pensar que no la tengo. Sentir que la he perdido.
Oir la noche inmensa, más inmensa sin ella.
Y el verso cae al alma como al pasto el rocío.
Qué importa que mi amor no pudiera guardarla.
La noche esta estrellada y ella no está conmigo.
Eso es todo. A lo lejos alguien canta. A lo lejos.
Mi alma no se contenta con haberla perdido.
Como para acercarla mi mirada la busca.
Mi corazón la busca, y ella no está conmigo.
La misma noche que hace blanquear los mismos árboles.
Nosotros, los de entonces, ya no somos los mismos.
Ya no la quiero, es cierto, pero cuánto la quise.
Mi voz buscaba el viento para tocar su oído.
De otro. Será de otro. Como antes de mis besos.
Su voz, su cuerpo claro. Sus ojos infinitos.
Ya no la quiero, es cierto, pero tal vez la quiero.
Es tan corto el amor, y es tan largo el olvido.
Porque en noches como esta la tuve entre mis brazos,
mi alma no se contenta con haberla perdido.
Aunque este sea el ultimo dolor que ella me causa,
y estos sean los ultimos versos que yo le escribo.
- Pablo Neruda
Puedo escribir los versos más tristes esta noche.
Escribir, por ejemplo: "La noche está estrellada,
y tiritan, azules, los astros, a lo lejos."
El viento de la noche gira en el cielo y canta.
Puedo escribir los versos más tristes esta noche.
Yo la quise, y a veces ella también me quiso.
En las noches como esta la tuve entre mis brazos.
La besé tantas veces bajo el cielo infinito.
Ella me quiso, a veces yo también la quería.
Cómo no haber amado sus grandes ojos fijos.
Puedo escribir los versos más tristes esta noche.
Pensar que no la tengo. Sentir que la he perdido.
Oir la noche inmensa, más inmensa sin ella.
Y el verso cae al alma como al pasto el rocío.
Qué importa que mi amor no pudiera guardarla.
La noche esta estrellada y ella no está conmigo.
Eso es todo. A lo lejos alguien canta. A lo lejos.
Mi alma no se contenta con haberla perdido.
Como para acercarla mi mirada la busca.
Mi corazón la busca, y ella no está conmigo.
La misma noche que hace blanquear los mismos árboles.
Nosotros, los de entonces, ya no somos los mismos.
Ya no la quiero, es cierto, pero cuánto la quise.
Mi voz buscaba el viento para tocar su oído.
De otro. Será de otro. Como antes de mis besos.
Su voz, su cuerpo claro. Sus ojos infinitos.
Ya no la quiero, es cierto, pero tal vez la quiero.
Es tan corto el amor, y es tan largo el olvido.
Porque en noches como esta la tuve entre mis brazos,
mi alma no se contenta con haberla perdido.
Aunque este sea el ultimo dolor que ella me causa,
y estos sean los ultimos versos que yo le escribo.
- Pablo Neruda
Tuesday, July 29, 2008
Tonight I can write the saddest lines
XX
Tonight I can write the saddest lines.
Write for example, "The night is shattered
and the blue stars shiver in the distance."
The night wind revolves in the sky and sings.
Tonight I can write the saddest lines.
I loved her, and sometimes she loved me too.
Through nights like this one I held her in my arms.
I kissed her again and again under the endless sky.
She loved me, sometimes I loved her too.
How could one not have loved her great still eyes.
Tonight I can write the saddest lines.
To think that I do not have her. To feel that I have lost her.
To hear the immense night, still more immense without her.
And the verse falls to the soul like dew to the pasture.
What does it matter that my love could not keep her.
The night is shattered and she is not with me.
This is all. In the distance someone is singing. In the distance.
My soul is not satisfied that it has lost her.
My sight searches for her as though to go to her.
My heart looks for her, and she is not with me.
The same night whitening the same trees.
We, of that time, are no longer the same.
I no longer love her, that's certain, but how I loved her.
My voice tried to find the wind to touch her hearing.
Another's. She will be another's. Like my kisses before.
Her voice. Her bright body. Her infinite eyes.
I no longer love her, that's certain, but maybe I love her.
Love is so short, forgetting is so long.
Because through nights like this one I held her in my arms
my soul is not satisfied that it has lost her.
Though this be the last pain that she makes me suffer
and these the last verses that I write for her.
- translated by W.S. Merwin from the Spanish original
written by Pablo Neruda, 1971 Nobel Prize Winner
Tonight I can write the saddest lines.
Write for example, "The night is shattered
and the blue stars shiver in the distance."
The night wind revolves in the sky and sings.
Tonight I can write the saddest lines.
I loved her, and sometimes she loved me too.
Through nights like this one I held her in my arms.
I kissed her again and again under the endless sky.
She loved me, sometimes I loved her too.
How could one not have loved her great still eyes.
Tonight I can write the saddest lines.
To think that I do not have her. To feel that I have lost her.
To hear the immense night, still more immense without her.
And the verse falls to the soul like dew to the pasture.
What does it matter that my love could not keep her.
The night is shattered and she is not with me.
This is all. In the distance someone is singing. In the distance.
My soul is not satisfied that it has lost her.
My sight searches for her as though to go to her.
My heart looks for her, and she is not with me.
The same night whitening the same trees.
We, of that time, are no longer the same.
I no longer love her, that's certain, but how I loved her.
My voice tried to find the wind to touch her hearing.
Another's. She will be another's. Like my kisses before.
Her voice. Her bright body. Her infinite eyes.
I no longer love her, that's certain, but maybe I love her.
Love is so short, forgetting is so long.
Because through nights like this one I held her in my arms
my soul is not satisfied that it has lost her.
Though this be the last pain that she makes me suffer
and these the last verses that I write for her.
- translated by W.S. Merwin from the Spanish original
written by Pablo Neruda, 1971 Nobel Prize Winner
Wednesday, July 16, 2008
For 3CA3 (Literature 103)
GUIDE QUESTIONS
Answer in essay form the following questions (50 points total):
(Remember that ARTICULATION is what matters most.)
1. (a) In "Poem on Returning to Dwell in the Country", what is the meaning of Tao's observation that "the life of man is like a shadow-play"? (b) What details in the poem support this observation?
2. (a) In "I Built My House Near Where Others Dwell", why is it paradoxical, or apparently self-contradictory, that though the persona lives near other people he does not hear the "clamor of carriages and horses"? (b) How does he explain this paradox?
3. (a) What does the persona of "To the Assistant Prefect Chang" mean when he says that he plans to "unlearn"? (b) What is the significance of his loosening his robe?
4. (a) How would you describe the mood of "The Hill"? (b) What emotions does the poem evoke?
5. How do the final two lines of "On an Autumn Evening in the Mountains" tie the rest of the poem together?
Note: Submit your computer-printed or typewritten essays on July 25, 2008, during the first hour of our class period: 3:00-4:00 PM. I will not accept late papers, nor handwritten answers.
Answer in essay form the following questions (50 points total):
(Remember that ARTICULATION is what matters most.)
1. (a) In "Poem on Returning to Dwell in the Country", what is the meaning of Tao's observation that "the life of man is like a shadow-play"? (b) What details in the poem support this observation?
2. (a) In "I Built My House Near Where Others Dwell", why is it paradoxical, or apparently self-contradictory, that though the persona lives near other people he does not hear the "clamor of carriages and horses"? (b) How does he explain this paradox?
3. (a) What does the persona of "To the Assistant Prefect Chang" mean when he says that he plans to "unlearn"? (b) What is the significance of his loosening his robe?
4. (a) How would you describe the mood of "The Hill"? (b) What emotions does the poem evoke?
5. How do the final two lines of "On an Autumn Evening in the Mountains" tie the rest of the poem together?
Note: Submit your computer-printed or typewritten essays on July 25, 2008, during the first hour of our class period: 3:00-4:00 PM. I will not accept late papers, nor handwritten answers.
For 3CA2, 3JRN1, 3ECO1 (Literature 103)
GUIDE QUESTIONS:
Answer in essay form the following questions (50 points total):
(Remember that ARTICULATION is what matters most.)
1. (a) In Song 24 ("I Beg of You, Chung Tzu") what is the persona's relationship with Chung Tzu? Support your answer. (b) What internal struggle is the speaker experiencing?
2. (a) In which season is Song 34 ("Thick Grow the Rush Leaves") set? (b) How do the seasons and the natural images relate to the persona's emotions?
3. (a) In "Poem on Returning to Dwell in the Country", what is the meaning of Tao's observation that "the life of man is like a shadow-play"? (b) What details in the poem support this observation?
4. (a) In "I Built My House Near Where Others Dwell", why is it paradoxical, or apparently self-contradictory, that though the persona lives near other people he does not hear the "clamor of carriages and horses"? (b) How does he explain this paradox?
5. (a) What does the persona of "To the Assistant Prefect Chang" mean when he says that he plans to "unlearn"? (b) What is the significance of his loosening his robe?
Note: Submit your computer-printed or typewritten essays on July 23, 2008, during the first hour of our class period: 11:00-12:00 AM (3CA2); 3:00-4:00 (3JRN2); 6:00-7:00 (3ECO1). I will not accept late papers, nor handwritten answers.
Answer in essay form the following questions (50 points total):
(Remember that ARTICULATION is what matters most.)
1. (a) In Song 24 ("I Beg of You, Chung Tzu") what is the persona's relationship with Chung Tzu? Support your answer. (b) What internal struggle is the speaker experiencing?
2. (a) In which season is Song 34 ("Thick Grow the Rush Leaves") set? (b) How do the seasons and the natural images relate to the persona's emotions?
3. (a) In "Poem on Returning to Dwell in the Country", what is the meaning of Tao's observation that "the life of man is like a shadow-play"? (b) What details in the poem support this observation?
4. (a) In "I Built My House Near Where Others Dwell", why is it paradoxical, or apparently self-contradictory, that though the persona lives near other people he does not hear the "clamor of carriages and horses"? (b) How does he explain this paradox?
5. (a) What does the persona of "To the Assistant Prefect Chang" mean when he says that he plans to "unlearn"? (b) What is the significance of his loosening his robe?
Note: Submit your computer-printed or typewritten essays on July 23, 2008, during the first hour of our class period: 11:00-12:00 AM (3CA2); 3:00-4:00 (3JRN2); 6:00-7:00 (3ECO1). I will not accept late papers, nor handwritten answers.
Tuesday, July 15, 2008
For 1BES1, 1ECO2, 1JRN2 (Literature 101)
Summary of the Novel Like Water for Chocolate (Como agua para chocolate)
from SparkNotes
In a style that is epic in scope yet intensely personal in focus, Laura Esquivel's Like Water for Chocolate tells the story of Tita dela Garza, the youngest daughter in a family living in Mexico at the turn of the twentieth century. Through twelve chapters, each marked as a "monthly installment" and thus labeled with the months of the year, we learn of Tita's struggle to pursue true love and claim her independence. Each installment features a recipe to begin each chapter. The structure of Like Water for Chocolate is wholly dependent on these recipes, as the main episodes of each chapter generally involve the preparation or consumption of the dishes that these recipes yield. The details of additional secondary recipes are woven throughout the narrative.
Like Water for Chocolate tells the story of Tita dela Garza, the youngest daughter in a family living in Mexico at the turn of the twentieth century. Tita's love, Pedro Muzquiz, comes to the family's ranch to ask for Tita's hand in marriage. Because Tita is the youngest daughter she is forbidden by a family tradition upheld by her tyrannical mother, Mama Elena, to marry. Pedro marries Tita's oldest sister, Rosaura, instead, but declares to his father that he has only married Rosaura to remain close to Tita. Rosaura and Pedro live on the family ranch, offering Pedro contact with Tita. When Tita cooks a special meal with the petals of a rose given to her by Pedro, the still-fiery force of their love (transmitted through the food) has an intense effect on Mama Elena's second daughter, Gertrudis, who is whipped into a lustful state and flees the ranch in the arms of a revolutionary soldier. Meanwhile, Rosaura gives birth to a son, who is delivered by Tita. Tita treats her nephew, Roberto, as if he were her own child, to the point that she is able to produce breast milk to feed him while her sister is dry.
Sensing that Roberto is drawing Pedro and Tita closer together, Mama Elena arranges for Rosaura's family to move to San Antonio. This separation devastates Tita. A short time later, news arrives that Roberto has died, most likely due to his removal from Tita's care. The death of her nephew causes Tita to have a breakdown, and Mama Elena sends her to an asylum. Dr. John Brown, a local American doctor, takes pity on Tita and brings her to live in his house. He patiently nurses Tita back to health, caring for her physical ailments and trying to revive her broken spirit. After some time, Tita is nearly well, and she decides never to return to the ranch. No sooner has she made this choice than Mama Elena is injured in a raid by rebel soldiers, forcing Tita to return. Tita hopes to care for her mother, but Mama Elena bitterly rejects Tita's good will. She refuses Tita's cooking, claiming that it is poisoned. Not long after, Mama Elena is found dead from an overdose of a strong emetic she consumed for fear of poisoning.
The death of Mama Elena frees Tita from the curse of her birthright and she accepts an engagement proposal from John Brown, with whom she has fallen in love. In the meantime, Rosaura and Pedro have returned to the ranch and have produced a second child, Esperanza. Immediately, Pedro's presence throws into question Tita's love for John. The night that John officially asks Pedro to bless the marriage, Pedro corners Tita in a hidden room and makes love to her, taking her virginity. Soon after, Tita is certain that she is pregnant and knows that she will have to end her engagement to John. The affair between Pedro and Tita prompts the return of Mama Elena, who comes in spirit form to curse Tita and her unborn child. Tita is distraught and has no one in whom she can confide.
In the midst of Tita's despair, the long-lost Gertrudis returns to the ranch as a general in the revolutionary army, at the helm of a regiment of fifty men. Tita is overjoyed at the return of Gertrudis, who is just the companion she seeks. Gertrudis forces Tita to tell Pedro about the pregnancy. He is gladdened at the news, and he drunkenly serenades Tita from below her window. Outraged, Mama Elena's ghost returns, violently threatening Tita and declaring that she must leave the ranch. For the first time, Tita stands up to Mama Elena and, in forceful words, declares her autonomy, banishing her mother's spirit, which shrinks from an imposing presence into a tiny fiery light. As she expels the ghost, Tita is simultaneously relieved of all her symptoms of pregnancy. The light from Mama Elena's ghost bursts through Tita's window and onto the patio below where Pedro still sits, setting fire to his entire body. After rescuing Pedro, Tita is consumed with caring for him and helping him recover. John Brown returns from a trip to the United States and Tita confesses to him her relations with Pedro. John replies that he still wishes to marry her but that she must decide for herself with whom she wishes to spend her life.
Years pass, and the ranch focuses its attention on another wedding, this time between Esperanza and Alex, the son of John Brown. Rosaura has died, freeing her only daughter, Esperanza, from the stricture that had previously forbidden her, as it had Tita, from marrying. With Rosaura dead and Esperanza married, Tita and Pedro are finally free to express their love in the open. On their first night together, Tita and Pedro experience love so intense that both are led to a tunnel that will carry them to the afterlife. Tita turns back, wanting to continue in life and in love with Pedro. Once she does, she realizes that Pedro has already crossed over. Wanting desperately to be with him, Tita attempts to ignite her inner fire by eating the candles that had lit the room until they extinguished themselves at the moment of Pedro's death. When she succeeds in recreating the climate of true passion, she reenters the luminous tunnel and meets Pedro in the spirit world. The final union of their bodies and spirits sets fire to the entire ranch, and the only remnant left of their love is the recipe book in which Tita recorded her wisdom.
GUIDE QUESTIONS:
Answer in essay form the following questions (40 points total):
(Remember that ARTICULATION is what matters most.)
1. Discuss the role of tradition in the novel and the impact it has on the characters' lives. What does the novel tell us about the domestic life of Mexican women? Elaborate. (10 points)
2. The three dela Garza sisters possess different personalities. By tracing their trajectories through the course of the novel, discuss the way each sister embodies a female stereotype. What statement might the author be making through these types about options in the lives of Mexican women? Expound on your answer. (20 points)
3. In your opinion, is Tita a strong female figure? A feminist character? Explain why or why not. (10 points)
Note:Submit your computer-printed or typewritten essays on July 22, 2008, during our class period: 8:30-10:00 AM (1BES1); 10-11:30 (1ECO2); 1:30-3:00 (1JRN2). I will not accept late papers, nor handwritten answers.
Use the extra time you have on Thursday after the film viewing to form discussion groups, so that your answers to the questions will be deep rather than shallow.
from SparkNotes
In a style that is epic in scope yet intensely personal in focus, Laura Esquivel's Like Water for Chocolate tells the story of Tita dela Garza, the youngest daughter in a family living in Mexico at the turn of the twentieth century. Through twelve chapters, each marked as a "monthly installment" and thus labeled with the months of the year, we learn of Tita's struggle to pursue true love and claim her independence. Each installment features a recipe to begin each chapter. The structure of Like Water for Chocolate is wholly dependent on these recipes, as the main episodes of each chapter generally involve the preparation or consumption of the dishes that these recipes yield. The details of additional secondary recipes are woven throughout the narrative.
Like Water for Chocolate tells the story of Tita dela Garza, the youngest daughter in a family living in Mexico at the turn of the twentieth century. Tita's love, Pedro Muzquiz, comes to the family's ranch to ask for Tita's hand in marriage. Because Tita is the youngest daughter she is forbidden by a family tradition upheld by her tyrannical mother, Mama Elena, to marry. Pedro marries Tita's oldest sister, Rosaura, instead, but declares to his father that he has only married Rosaura to remain close to Tita. Rosaura and Pedro live on the family ranch, offering Pedro contact with Tita. When Tita cooks a special meal with the petals of a rose given to her by Pedro, the still-fiery force of their love (transmitted through the food) has an intense effect on Mama Elena's second daughter, Gertrudis, who is whipped into a lustful state and flees the ranch in the arms of a revolutionary soldier. Meanwhile, Rosaura gives birth to a son, who is delivered by Tita. Tita treats her nephew, Roberto, as if he were her own child, to the point that she is able to produce breast milk to feed him while her sister is dry.
Sensing that Roberto is drawing Pedro and Tita closer together, Mama Elena arranges for Rosaura's family to move to San Antonio. This separation devastates Tita. A short time later, news arrives that Roberto has died, most likely due to his removal from Tita's care. The death of her nephew causes Tita to have a breakdown, and Mama Elena sends her to an asylum. Dr. John Brown, a local American doctor, takes pity on Tita and brings her to live in his house. He patiently nurses Tita back to health, caring for her physical ailments and trying to revive her broken spirit. After some time, Tita is nearly well, and she decides never to return to the ranch. No sooner has she made this choice than Mama Elena is injured in a raid by rebel soldiers, forcing Tita to return. Tita hopes to care for her mother, but Mama Elena bitterly rejects Tita's good will. She refuses Tita's cooking, claiming that it is poisoned. Not long after, Mama Elena is found dead from an overdose of a strong emetic she consumed for fear of poisoning.
The death of Mama Elena frees Tita from the curse of her birthright and she accepts an engagement proposal from John Brown, with whom she has fallen in love. In the meantime, Rosaura and Pedro have returned to the ranch and have produced a second child, Esperanza. Immediately, Pedro's presence throws into question Tita's love for John. The night that John officially asks Pedro to bless the marriage, Pedro corners Tita in a hidden room and makes love to her, taking her virginity. Soon after, Tita is certain that she is pregnant and knows that she will have to end her engagement to John. The affair between Pedro and Tita prompts the return of Mama Elena, who comes in spirit form to curse Tita and her unborn child. Tita is distraught and has no one in whom she can confide.
In the midst of Tita's despair, the long-lost Gertrudis returns to the ranch as a general in the revolutionary army, at the helm of a regiment of fifty men. Tita is overjoyed at the return of Gertrudis, who is just the companion she seeks. Gertrudis forces Tita to tell Pedro about the pregnancy. He is gladdened at the news, and he drunkenly serenades Tita from below her window. Outraged, Mama Elena's ghost returns, violently threatening Tita and declaring that she must leave the ranch. For the first time, Tita stands up to Mama Elena and, in forceful words, declares her autonomy, banishing her mother's spirit, which shrinks from an imposing presence into a tiny fiery light. As she expels the ghost, Tita is simultaneously relieved of all her symptoms of pregnancy. The light from Mama Elena's ghost bursts through Tita's window and onto the patio below where Pedro still sits, setting fire to his entire body. After rescuing Pedro, Tita is consumed with caring for him and helping him recover. John Brown returns from a trip to the United States and Tita confesses to him her relations with Pedro. John replies that he still wishes to marry her but that she must decide for herself with whom she wishes to spend her life.
Years pass, and the ranch focuses its attention on another wedding, this time between Esperanza and Alex, the son of John Brown. Rosaura has died, freeing her only daughter, Esperanza, from the stricture that had previously forbidden her, as it had Tita, from marrying. With Rosaura dead and Esperanza married, Tita and Pedro are finally free to express their love in the open. On their first night together, Tita and Pedro experience love so intense that both are led to a tunnel that will carry them to the afterlife. Tita turns back, wanting to continue in life and in love with Pedro. Once she does, she realizes that Pedro has already crossed over. Wanting desperately to be with him, Tita attempts to ignite her inner fire by eating the candles that had lit the room until they extinguished themselves at the moment of Pedro's death. When she succeeds in recreating the climate of true passion, she reenters the luminous tunnel and meets Pedro in the spirit world. The final union of their bodies and spirits sets fire to the entire ranch, and the only remnant left of their love is the recipe book in which Tita recorded her wisdom.
GUIDE QUESTIONS:
Answer in essay form the following questions (40 points total):
(Remember that ARTICULATION is what matters most.)
1. Discuss the role of tradition in the novel and the impact it has on the characters' lives. What does the novel tell us about the domestic life of Mexican women? Elaborate. (10 points)
2. The three dela Garza sisters possess different personalities. By tracing their trajectories through the course of the novel, discuss the way each sister embodies a female stereotype. What statement might the author be making through these types about options in the lives of Mexican women? Expound on your answer. (20 points)
3. In your opinion, is Tita a strong female figure? A feminist character? Explain why or why not. (10 points)
Note:Submit your computer-printed or typewritten essays on July 22, 2008, during our class period: 8:30-10:00 AM (1BES1); 10-11:30 (1ECO2); 1:30-3:00 (1JRN2). I will not accept late papers, nor handwritten answers.
Use the extra time you have on Thursday after the film viewing to form discussion groups, so that your answers to the questions will be deep rather than shallow.
Monday, July 14, 2008
For 1LM2 (Literature 101)
Summary of the Movie Dead Poets Society
by Jessica See
Dead Poets Society explores the conflict between realism and romanticism as these contrasting ideals are presented to the students at an all boys preparatory school. Welton Academy is founded on tradition and excellence and is bent on providing strict structured lessons prescribed by the realist, anti-youth administration. With the dawning of each new semester, hundreds of parents abandon their sons, leaving them in the tried hands of Welton staff in hopes that they will raise doctors and lawyers. When a replacement English teacher arrives, who happens to be a Welton alumnus, he brings with him a passion for teaching romanticism, thus opening a never-before-seen world to his students.
The story is predominantly viewed through the eyes of Todd Anderson (Ethan Hawke), a newcomer to Welton, and his roommate Neil Perry (Robert Sean Leonard). Todd is painfully shy and terrified that what he might say is insignificant and meaningless. This is particularly disturbing to him since he is repeatedly told that he has "big shoes to fill" being the younger brother of a former valedictorian. Neil, on the other hand, is bright and full of ambition, which is unfortunately squelched by his overbearing, controlling father. Mr. Perry dictates every detail of his son's life including extra curricular activities, future plans, and specifically what others think of him.
The new English teacher John Keating (Robin Williams) begins his teachings with a fervent lecture on their imminent deaths, explaining to the students that their lives are fleeting so they should seize the day to make their lives count, to leave a legacy of "carpe diem." He continues his teaching by instructing the class to rip out the pages of their books which describe a scientific way to determine the greatness of poetry. He teaches them the works of the romantic poets such as Thoreau and Lord Byron and employs outdoor exercises to warn them of the dangers of conformity and the power of sports as a way which human beings push each other to excel.
Amidst these eccentric activities, the students, intrigued with their new teacher, learn that he was a member of the Dead Poets Society. When asked, Keating describes glorious moments of creating gods, but warns them to forget about the idea. Nevertheless, they repeatedly sneak off campus to convene their own version of the Dead Poets Society. Todd is allowed to attend as an exception: since he does not want to read aloud, he keeps minutes of the meetings. Throughout these meetings, each character is able to develop his own romantic or realist nature.
The shocking clash between realism and romanticism begins to unfold when Charlie Dalton (Gale Hansen) prints an obnoxious article in the school news in the name of the Dead Poets. The administration is appalled and begins an investigation. Meanwhile, Knox Overstreet (Josh Charles) fall madly in love with a girl who is practically engaged to the son of his parent's friends. He pursues her relentlessly, driven by romantic ideals, in the face of the threats on his life by her boyfriend. Neil realizes that his real passion in life is acting and proceeds to land the role of Puck in a Midsummer Night's Dream at the local theater. He begins to weave a tangled web of deception by failing to inform his father, then lying to Mr. Keating when his father finds out and demands he quit the play. Feeling trapped, after his final performance and a standing ovation, he takes his own life.
This horrible outrage echoes through the hallowed halls of Welton, applying even greater pressure to the Dead Poets Society. When Mr. and Mrs. Perry demand a thorough investigation, Welton administration links the Dead Poets Society, which they determined as the cause for the upheaval, to Mr. Keating. Each member is called before the administration and their parents to sign a confession statement indicating that Mr. Keating filled their minds with these lofty ideals ultimately leading to Neil's suicide. Richard Cameron (Dylan Kussman), ultimately a realist concerned most with doing what is already determined to be right, signs the statement and encourages the rest of them to do the same. Knowing full well that Keating was not responsible, Cameron lets him take the rap to free himself.
Angered by this betrayal, Dalton punches Cameron in an impulsive fit displaying his final romantic act, only to be expelled. The last to sign, though unwillingly, is Todd, thus removing John Keating from his treasured position. In one final scene, displaying the beauty of a balance between the two ideals, Todd is able to cry out to Mr. Keating, who stopped by the class to collect his belongings, "O Captain, my Captain!" Todd, who previously had no identity, contributed his verse to mankind, climbing to the top of his desk to salute his fallen teacher, who changed his life.
GUIDE QUESTIONS:
Answer in essay form the following questions (20 points each):
(Remember that ARTICULATION is what matters most.)
1. In John Keating's romantic philosphy, why it important to seize the day, "to live deep and suck out all the marrow of life"?
2. Explain why women should also practice carpe diem in relation to the poem "To the Virgins, to make much of Time", the most famous piece written by the Cavalier poet Robert Herrick.
TO THE VIRGINS, TO MAKE MUCH OF TIME
by Robert Herrick
Gather ye rosebuds while ye may,
Old time is still a-flying,
And this same flower that smiles today,
To-morrow will be dying.
The glorious lamp of heaven, the sun,
The higher he's a-getting,
The sooner will his race be run,
And nearer he's to setting.
That age is best which is the first,
When youth and blood are warmer;
But being spent, the worse and worst
Times still succeed the former.
Then be not coy, but use your time,
and while ye may, go marry;
For having lost just once your prime,
You may for ever tarry.
Note: Submit your computer-printed or typewritten essays on July 21, 2008, during our class period (9:00-10:00 AM). I will not accept late papers, nor handwritten answers.
by Jessica See
Dead Poets Society explores the conflict between realism and romanticism as these contrasting ideals are presented to the students at an all boys preparatory school. Welton Academy is founded on tradition and excellence and is bent on providing strict structured lessons prescribed by the realist, anti-youth administration. With the dawning of each new semester, hundreds of parents abandon their sons, leaving them in the tried hands of Welton staff in hopes that they will raise doctors and lawyers. When a replacement English teacher arrives, who happens to be a Welton alumnus, he brings with him a passion for teaching romanticism, thus opening a never-before-seen world to his students.
The story is predominantly viewed through the eyes of Todd Anderson (Ethan Hawke), a newcomer to Welton, and his roommate Neil Perry (Robert Sean Leonard). Todd is painfully shy and terrified that what he might say is insignificant and meaningless. This is particularly disturbing to him since he is repeatedly told that he has "big shoes to fill" being the younger brother of a former valedictorian. Neil, on the other hand, is bright and full of ambition, which is unfortunately squelched by his overbearing, controlling father. Mr. Perry dictates every detail of his son's life including extra curricular activities, future plans, and specifically what others think of him.
The new English teacher John Keating (Robin Williams) begins his teachings with a fervent lecture on their imminent deaths, explaining to the students that their lives are fleeting so they should seize the day to make their lives count, to leave a legacy of "carpe diem." He continues his teaching by instructing the class to rip out the pages of their books which describe a scientific way to determine the greatness of poetry. He teaches them the works of the romantic poets such as Thoreau and Lord Byron and employs outdoor exercises to warn them of the dangers of conformity and the power of sports as a way which human beings push each other to excel.
Amidst these eccentric activities, the students, intrigued with their new teacher, learn that he was a member of the Dead Poets Society. When asked, Keating describes glorious moments of creating gods, but warns them to forget about the idea. Nevertheless, they repeatedly sneak off campus to convene their own version of the Dead Poets Society. Todd is allowed to attend as an exception: since he does not want to read aloud, he keeps minutes of the meetings. Throughout these meetings, each character is able to develop his own romantic or realist nature.
The shocking clash between realism and romanticism begins to unfold when Charlie Dalton (Gale Hansen) prints an obnoxious article in the school news in the name of the Dead Poets. The administration is appalled and begins an investigation. Meanwhile, Knox Overstreet (Josh Charles) fall madly in love with a girl who is practically engaged to the son of his parent's friends. He pursues her relentlessly, driven by romantic ideals, in the face of the threats on his life by her boyfriend. Neil realizes that his real passion in life is acting and proceeds to land the role of Puck in a Midsummer Night's Dream at the local theater. He begins to weave a tangled web of deception by failing to inform his father, then lying to Mr. Keating when his father finds out and demands he quit the play. Feeling trapped, after his final performance and a standing ovation, he takes his own life.
This horrible outrage echoes through the hallowed halls of Welton, applying even greater pressure to the Dead Poets Society. When Mr. and Mrs. Perry demand a thorough investigation, Welton administration links the Dead Poets Society, which they determined as the cause for the upheaval, to Mr. Keating. Each member is called before the administration and their parents to sign a confession statement indicating that Mr. Keating filled their minds with these lofty ideals ultimately leading to Neil's suicide. Richard Cameron (Dylan Kussman), ultimately a realist concerned most with doing what is already determined to be right, signs the statement and encourages the rest of them to do the same. Knowing full well that Keating was not responsible, Cameron lets him take the rap to free himself.
Angered by this betrayal, Dalton punches Cameron in an impulsive fit displaying his final romantic act, only to be expelled. The last to sign, though unwillingly, is Todd, thus removing John Keating from his treasured position. In one final scene, displaying the beauty of a balance between the two ideals, Todd is able to cry out to Mr. Keating, who stopped by the class to collect his belongings, "O Captain, my Captain!" Todd, who previously had no identity, contributed his verse to mankind, climbing to the top of his desk to salute his fallen teacher, who changed his life.
GUIDE QUESTIONS:
Answer in essay form the following questions (20 points each):
(Remember that ARTICULATION is what matters most.)
1. In John Keating's romantic philosphy, why it important to seize the day, "to live deep and suck out all the marrow of life"?
2. Explain why women should also practice carpe diem in relation to the poem "To the Virgins, to make much of Time", the most famous piece written by the Cavalier poet Robert Herrick.
TO THE VIRGINS, TO MAKE MUCH OF TIME
by Robert Herrick
Gather ye rosebuds while ye may,
Old time is still a-flying,
And this same flower that smiles today,
To-morrow will be dying.
The glorious lamp of heaven, the sun,
The higher he's a-getting,
The sooner will his race be run,
And nearer he's to setting.
That age is best which is the first,
When youth and blood are warmer;
But being spent, the worse and worst
Times still succeed the former.
Then be not coy, but use your time,
and while ye may, go marry;
For having lost just once your prime,
You may for ever tarry.
Note: Submit your computer-printed or typewritten essays on July 21, 2008, during our class period (9:00-10:00 AM). I will not accept late papers, nor handwritten answers.
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