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Monday, April 29, 2013

Macbeth Act 5, Scene 6: Dunsinane. Before the castle summary and analysis


Act V: Scene 6
 

Summary
Malcolm and his troops have reached Dunsinane under the "leafy screens" of the branches, thus fulfilling the prophecy of the apparitions: Birnam wood has come to Dunsinane.

Analysis
The strong sense of movement and of impending threat is generated throughout Act V by the swift alternation of scenes. This, the briefest of all the scenes, at a mere ten lines in length, enables the audience to follow the advancing forces of Malcolm and England virtually to the walls of Dunsinane castle.
Two lines are worth commenting on: First, Malcolm announces that Siward, his "worthy uncle" shall lead the first battle, while Macduff and he complete the encounter "According to our order." The phrasing of this, with the implication that Siward is to be revered for his age and experience, establishes very strongly the idea of propriety and orderliness in Malcolm's army, in contrast with the comparative lawlessness and lovelessness of Macbeth's regime.
The second point occurs in the stirring final couplet, in which the trumpets sounding the advance are referred to as "harbingers of blood and death"; a harbinger is a sign of what is to come, a precursor of Destiny or Fate.








Sunday, April 28, 2013

The Open Window by Saki Plot Analysis

The Open Window Plot Analysis





Andrew Kokanoutranon


  Open Window Analysis

The Open Window Plot Analysis 


Exposition: "My aunt will be down presently, Mr. Nuttel," said a very self-possessed young lady of fifteen; "in the meantime you must try and put up with me.

The story starts off by the narrator giving details and back round descriptions of the characters. 

Inciting Incident: "Her great tragedy happened just three years ago," said the child; "that would be since your sister's time." 

"Her tragedy?" asked Framton; somehow in this restful country spot tragedies seemed out of place. 

"You may wonder why we keep that window wide open on an October afternoon," said the niece, indicating a large French window that opened on to a lawn. 

"It is quite warm for the time of the year," said Framton; "but has that window got anything to do with the tragedy?

Framton, the main character, gets introduce to a plot and he takes it as truth. 

Rising Action: "I hope you don't mind the open window," said Mrs. Sappleton briskly; "my husband and brothers will be home directly from shooting, and they always come in this way. They've been out for snipe in the marshes today, so they'll make a fine mess over my poor carpets. So like you menfolk, isn't it?" 

She rattled on cheerfully about the shooting and the scarcity of birds, and the prospects for duck in the winter. To Framton it was all purely horrible. He made a desperate but only partially successful effort to turn the talk on to a less ghastly topic, he was conscious that his hostess was giving him only a fragment of her attention, and her eyes were constantly straying past him to the open window and the lawn beyond. It was certainly an unfortunate coincidence that he should have paid his visit on this tragic anniversary. 

Framton gets introduce to Mrs. Sappleton and he thinks she is insane, but in reality she is telling the truth; this is setting up for the climax. 

Climax: In the deepening twilight three figures were walking across the lawn towards the window, they all carried guns under their arms, and one of them was additionally burdened with a white coat hung over his shoulders. A tired brown spaniel kept close at their heels. Noiselessly they neared the house, and then a hoarse young voice chanted out of the dusk: "I said, Bertie, why do you bound?" 

The main character sees that the husband and the sons were walking towards the house, the character reaches the point of no return. 

Falling Action: Framton grabbed wildly at his stick and hat; the hall door, the gravel drive, and the front gate were dimly noted stages in his headlong retreat. A cyclist coming along the road had to run into the hedge to avoid imminent collision. 

"A most extraordinary man, a Mr. Nuttel," said Mrs. Sappleton; "could only talk about his illnesses, and dashed off without a word of goodby or apology when you arrived. One would think he had seen a ghost." 

"I expect it was the spaniel," said the niece calmly; "he told me he had a horror of dogs. He was once hunted into a cemetery somewhere on the banks of the Ganges by a pack of pariah dogs, and had to spend the night in a newly dug grave with the creatures snarling and grinning and foaming just above him. Enough to make anyone lose their nerve." 

The main character reacts to the climax by running out and away from the ‘ghosts’. 

Denouement (Resolution): Romance at short notice was her speciality. 
The resolution of the story consists of the family thinking that Framton is insane because he ran away. 


1. Look up the meaning of the name Vera. How might Saki's choice of this be considered verbal irony?

The name Vera means truth but she was lying to Framton about her family dying. 

2. In what ways is the story's last line ironic?

Vera was lying the whole time about her family’s death just to keep her amuse, and the author makes us think that Mrs. Sappleton was crazy. 

3. Find two other ironic statements in the story.

"The doctors agree in ordering me complete rest, an absence of mental excitement, and avoidance of anything in the nature of violent physical exercise."

"It is quite warm for the time of the year," said Framton; "but has that window got anything to do with the tragedy?" 

4. What is the point of view in the story? How does the point of view create irony?

The point of view in the story is in third person view and it is limited to knowledge. We only know what Framton is thinking and no one else. We wouldn’t have known that Vera was lying until the end of the story. 

5. Identify important character traits of Framton Nuttel, and Vera. What action and lines of dialogue are the most important in the development of their characters?

Framton is on the edge of insanity, he cant take anymore stress or else he’ll go insane. He is a fragile person, any little excitement or anxiety can make him insane. Vera is a lair and a fifteen year old girl. She lies to Framton only to keep herself amused by his terror. When Vera greeted Framton at the door, the story would have never happened if Mrs. Sappleton opened the door instead of Vera. 



A Literary Analysis of Somerset W. Maugham's The Luncheon



A Literary Analysis of Somerset
By

 W. Maugham's The Luncheon

The Analysis of the short story The Luncheon

The text I'm going to analyse represents a short-story, entitled "THE LUNCHEON", written by a prominent, English novelist, short-story writer, playwright and essayist Somerset Maugham. 
First of all I'd like to say some words about the title of the text "The Luncheon". The title of the text is rather ironical. If we consult a dictionary, we can find out that the word "luncheon" means a "light snack", but as we can see hereinafter a light snack turns to be an abundant and expensive meal. 
The text represents the first person narration. The use of pronouns "I", "my", "myself" is predominant. E.g. "Did I remember?", "My heart sank", "as for myself, I chose the cheapest dish". 
The plot of the text is the following: the narrator, a book writer, recognizes a woman with whom he had lunch years ago. He starts remembering the unforgettable evening. He was young, lived in Paris and could barely make ends meet. She had read of his books and wrote a letter to congratulate him on his work. He invited her for lunch and to his horror she chose an expensive restaurant. He had only eighty francs to last him the rest of the month. She ordered one expensive dish after another and when the bill came he paid and was left with no money at all. However, in the end, the narrator feels that he has finally had his revenge when he sees that the lady now put a lot of weight. 
Maugham offers the reader a description sustained by dialogues which has a source in a flash back. The author presents a flash back soon at the beginning of the text and this flash back becomes an important detail "Did I remember?" which allows us to know what had happened twenty years ago. The flash-back goes to the last paragraph when the narrator comes back to the present time and shows us that he had been revenged. 
The tone of the text is ironical. Irony is presented here in a stressed form, mainly in scene of restaurant. 
The given text can be divided into 3 logical parts: the 1 one is presented by 2 first paragraphs when the narrator sees the lady at the theatre in 20 years since their first meeting, which recurs to his memory in the second logical part. I'd like to say that it's the story in the story. So, this very part can be divided into3 structural parts. I think that it has the open structure: it possesses the exposition, the story and the climax. 
The exposition begins with the sentence "It was twenty years ago and I was living in Paris" and ends with the words " I answered that I would meet my friend by correspondence at Foyot's on Thursday at half past twelve." Here the reader learns about place of action – Paris and time – it was 20 years ago. We learn that the main the narrator was very poor and could hardly keep body and soul together. The reader gets information about the events which preceded the meeting of the main characters. The protagonist got the letter from a lady who was admired by his work, she wrote that she was interested to have chat with him and suggested meeting at Foyot's, one of the most expensive restaurants. He was flattered and couldn't say "no" to her. The author uses: epithets little luncheon and modest luncheon are in contradiction with the luxury restaurant Foyot's at which the French senators eat. I think it is used to achieve the ironical effect., the epithet – tiny room and the cliché to keep body and soul together underlines the fact that he lived in want. 
Then comes the main part. It begins with the narrator's description of his admirer and lasts till the last sentence. The action takes place in the restaurant. Here the reader learns more about the main characters. They are presented both directly and indirectly. So, the male character is the ingenuous one as we may note through the expressions from his way of thinking, acting anf speech "Foyot's was so far beyond my means that I had never even thought of going there", " I was flattered,and I was too young to have learned to say "no" to a woman". These and other 
examples show us the narrator's traditional concepts. He is also an educated man, polite, 
from a good family tradition. 
As for the female character, we can get a clear idea about her from what the narrator tells about her "She was not so young as I expected and in appearance imposing rather than attractive. She was, in fact, a woman of forty ( a charming age, but not one that excites a sudden and devastating passion at first sight), and she gave me the impression of having more teeth, white and large and even, than were necessary for any 
practical purpose. She was talkative, but since she seemed inclined to talk about me I was prepared to be an attentive listener. So, we can see that the narrator is the mouthpiece of the author. And also we learn about her through her actions, behaviour and speech: e.g she repeats "I never eat anything for luncheon", but she eats everything she can, as the narrator says: "I watched the abandoned woman thrust the asparagus down her throat in voluptuous mouthfuls and in my polite way discoursed on the condition of the drama in the Balkans." So we can make a conclusion that the woman is smart, experienced, selfish, cold, without any feeling except to fulfill her desires. I think that he perceives her as a beast of pray and the hyperbole "she gave me the impression having more teeth, white and large and even, than were necessary for any practical purpose, proves this idea. 
The dialogues between the host and the guest are effective and permit the reader to witness what is happening. We can easily perceive how the writer makes the tone vary in the words of the characters. The woman's tone never changes while she cheats the host and orders the most expensive dishes, and the repetition of same phrases proves it I never eat anything for luncheon", and "I never eat more than one thing". And that is the key sentence of the text. The woman's insistence in saying that she does not eat anything for lunch is in the stressed mark of irony, for she ate like a heroine. The contrast in this short – story gives origin to a complex game between the host and his guest and it is sustained through the situation of the host which becomes worse as time goes by. 

We can feel the suspense to be developed through the words of the narrator from the very beginning. At the beginning of the text we notice his willingness to please her, but as the time passes his utterances become shorter and shorter and his tone becomes more and more subdued. e/g. metaphor: my heart sank a little, I turned a little pale, my heart sank,panic seized me. He answered generously,I answered promptly, I asked faintlyHe becomes less generous, as he is more worried about how much he will have to pay. It was the only thing he could think about. 
The tension gets to its highest point when the bill comes. I believe this moment to be the climax of the text.



Summary of The Luncheon


The writer of 'The Luncheon' William Somerset Maugham, in this short story,relates about a lady who is an admirer of his stories. She wins the author's favour and expresses her wish to meet him at a high class restaurant.William exposes the false motives of modest eating habits, of the middle classes with a touch of humour.
Twenty years ago the author was living in Paris, when he had met a lady, who is an admirer of his stories. She had met him at a play and relates to him the incident during the interval which had occurred at that time. She had read a book written by him, and had written a letter to him about her views. Another letter was posted, stating about her visit to Paris and her desire to have a little luncheon at the Foyots, a restaurant where French senators eat. William was not a rich man and had never even thought of visiting that restaurant, nor did he possess the art of refusing her request.
Estimating the cost of a luncheon, which should not cost more than fifteen Francs,he decided to cut down coffee from his menu, so that he could have enough for himself for the next two weeks. His meeting was fixed on Thursday, at half past twelve, through correspondence.The lady was in her Forties, talkative, and not attractive. She had ordered for Salmon,and Caviare, while the Salmon was being prepared.William had ordered for the cheapest dish mutton- chops.
After the meal, she had ordered for white champagne. She kept enjoying the meal, and chatting about art, literature, and music, while William kept wondering about the bill.The bill of fare was soaring above that which he had anticipated.When the waiter had come with the bill she waived him aside with an air of gesture and ordered for Asparagus, the horribly expensive dish.William's heart sank, his mouth watered, and yet he had to quell his emotions.Adding to worsen the situation, she ordered for ice-cream and then coffee, all the same announcing that 'she never ate anything for luncheon - just a bite' Thoughts kept reeling through William's mind about how he was going to pay the exorbitant bill or how could he feign an act of his pocket having been picked.
To his utter dismay,the head waiter walked up to the table with a large basket full of huge Peaches.She picked up one protesting that her meal was just a snack, and that she could certainly enjoy the Peach.
The bill was finally paid, and William found himself with just a few Francs for the tips, and not a penny left in his pocket for the whole month. William believes, that he had had his revenge for then, when the Twenty years had passed by, he met her weighing One Hundred and Thirty -Six Kilograms.


The Theme

The primary theme of the short story 'Luncheon' by Somerset Maugham is appearance vs. reality.
The speaker, in 'Luncheon', wishes from the beginning that his date would be a beautiful woman. He imagines a portrayal of a graceful lady in his mind. But, when he goes to have a lunch with her, she appears as a surprising blast, a total opposite to his imagination. Not only her appearance but also her dialogues express that she is an extremely fat, food-loving and ravenous woman who does not even think a bit about the costs the speaker would have to pay for the lunch. She has a very good appetite, and gobbles a lot of money also. The most interesting part is the verbal irony hidden in the lines she utters to the speaker, like she does not eat too much etc.
The irony concealed in her speeches helps to develop the main theme. These ironies make 'Luncheon' a comic story in the true sense.

The Cask of Amontillado Plot Analysis with examples


The Cask of Amontillado Plot Analysis





Most good stories start with a fundamental list of ingredients: the initial situation, conflict, complication, climax, suspense, denouement, and conclusion. Great writers sometimes shake up the recipe and add some spice.
Initial Situation

An insult, and a vow of revenge
Fortunato and Montresor have a history, and a painful one at that. Fortunato has wounded Montresor a “thousand” times. Montresor never complains. But one day, Fortunato goes too far: he insults Montresor, and Montresor vows revenge.

Conflict

How to make things right – forever
For Montresor to revenge himself for Fortunato’s insult, he has to get away with it – if Fortunato can revenge him back, then Montresor has lost. The punishment must be permanent − Fortunato has to feel it, and he has to know it’s coming from Montresor.

Complication

It’s almost too easy…
There really isn’t much complication. After a few carefully dropped hints from Montresor (think “Amontillado” and “Luchesi”), Fortunato insists on following Montresor down into the underground graveyard of your worst nightmares. Montresor baits him and plays with him, but Fortunato never considers turning back until it’s way too late.

Climax

Trapped in a conveniently man-sized space!
Montresor brings up Luchesi, Fortunato calls Luchesi an “ignoramus,” and boom! He’s chained inside an upright casket in the foulest depths of the catacomb! That’s the story’s big, explosive moment.

Suspense

Brick by brick by brick…
Montresor is building a wall of suspense, especially if you are Fortunato. Fortunato’s watching himself being bricked in, waiting, breathlessly to see if this is some kind of really creepy carnival joke.

Denouement

The final brick
After Montresor puts in the final brick, the suspense is dissolved. He’s heard the pitiful jingle of Fortunato’s bells, and it means nothing to him. As soon as the air is used up in the tiny brick casket, Fortunato will be dead.

Conclusion

Looking back
It’s impossible to know how old Montresor is when he kills Fortunato, but in the second to the last line of the story, we learn that the murder happened fifty years ago. So Montresor is probably pushing eighty when he’s telling the story. And he could be far more ancient. More importantly, this conclusion lets us know that Montresor has gotten away with his crime so far. His vengeance has been a success, and he wants us to know it.




The Cask of Amontillado Theme of Freedom and Confinement


The Cask of Amontillado Theme of Freedom and Confinement



The contrast between freedom and confinement is extreme in “The Cask of Amontillado.” For one character to be free, another must die. Most of the story takes place in a vast and incredibly foul smelling catacomb, or underground graveyard. Dead bodies (or at least bones) abound. Freedom becomes less and less of a possibility as the characters move into smaller and smaller crypts, each one more disgusting than the last. Such confinement makes both the readers and the characters appreciate the deliciousness of fresh air. Hopefully, it makes us, the readers, think more deeply about what makes us feel trapped, and what makes us feel free.

Questions About Freedom and Confinement

  1. Is Montresor free at the end of the story? If so, why do you think so? If you think he’s trapped, why?
  2. Did Fortunato ever really have a chance to escape? If so, when? If there was a moment when it became too late for Fortunato to get away, when do you think it was?
  3. How does this story comment on psychological freedom and psychological confinement?
  4. Who is more psychologically trapped, Fortunato or Montresor? Why?

Chew on This



Try on an opinion or two, start a debate, or play the devil’s advocate.
Even though Fortunato dies and Montresor lives, Fortunato is still the freer character of the two

The Cask of Amontillado Theme of Betrayal

Betrayal drives the action in “The Cask of Amontillado." One character’s betrayal sets off a hideous chain of retribution, enacted below ground in a mass grave. Behind all this revenge and death, the story is about trust. Without trust there can be no betrayal. The story has much to do with the lengths human being will go to feel better when they feel betrayed – and the tragedy that comes when those lengths hit murderous extremes.

Questions About Betrayal

1.    Montresor doesn’t describe exactly how Fortunato betrayed him. Do you think this matters to the story? Is there anything Fortunato could have done to deserve that punishment?
2.    If Montresor was indeed betrayed by Fortunato, do you think this means he once trusted him? Do you have to trust someone before they can betray you?

Chew on This

Try on an opinion or two, start a debate, or play the devil’s advocate.
Fortunato betrays himself by not paying enough attention to his surroundings.

The Cask of Amontillado Theme of Drugs and Alcohol

The only literal drug we see in “The Cask of Amontillado” is wine. But there are many other drugs circulating between the lines. “Drugs,” in this story, can be anything the characters want badly enough to do awful or foolish things for. The story’s author, Edgar Allan Poe, struggled with drugs and alcohol. His struggle is carefully woven into this complicated narrative, which can be read as a gruesome allegory for addiction.

Questions About Drugs and Alcohol

1.    What is Montresor addicted to, if anything, in the story?
2.    What about Fortunato? Don’t restrict yourself to the obvious.
3.    What do you think of the first sentence of paragraphs 76 and 77? If Fortunato isn’t drunk any more, then unless Montresor snuck some wine and didn’t tell us, Montresor is sober, too. Why does Montresor take his torture of Fortunato to a new level when they are both sober?
4.    Is the story trying to tell us something about drugs and/or alcohol? If so, what are some of the possible messages?

Chew on This

Try on an opinion or two, start a debate, or play the devil’s advocate.
Pride is a drug in “The Cask of Amontillado.”

Fortunato is addicted to wine; but Montresor has his drinking under control.

The Cask of Amontillado Theme of Mortality

“The Cask of Amontillado” has a frightening fixation on death, corpses, and bones. Edgar Allan Poe’s last short story, written only a few years before his death, is a precise and compact expression of anxieties concerning mortality. But don’t worry – Poe injects plenty of humor into all the doom and gloom. And in the end, we all feel a little happier to be alive.

Questions About Mortality

1.    Does “The Cask of Amontillado” make you think about your own mortality? If so, what are some of the thoughts it provokes?
2.    Why do you think Montresor chooses that specific way to kill Fortunato? If he had stabbed Fortunato instead, or fed him some poisonous wine, how might the story be different?
3.    How do you feel about the descriptions of the Montresor family catacomb, and the crypts within it? Do you get clear images, or are things murky? Either way, how does this contribute to or detract from the story as a whole?

Chew on This

Try on an opinion or two, start a debate, or play the devil’s advocate.
It’s ironic that, for Montresor to enjoy his own life, he has to take Fortunato’s.

The Cask of Amontillado Theme of Foolishness and Folly

In “The Cask of Amontillado” foolishness and folly can cost you your life. The story amplifies human foolishness and folly to extremes so hideous and cruel they become vices. ”The Cask” only has two characters. By the end of the story, their combined silliness culminates in tragedy and pain for them both. The tragedy is what makes us think more profoundly about their foolish ways – in the hopes that we can avoid ending up, even in some metaphorical way, like them.

Questions About Foolishness and Folly

1.    Is Montresor a foolish character? If so, how? If not, why?
2.    Does Montresor make mistakes? If so, what are they?
3.    Montresor tells us that Fortunato’s one weakness is arrogance about his knowledge of wine. It’s this flaw that makes Fortunato vulnerable to Montresor’s Amontillado strategy. What other possible weaknesses in Fortunato’s character lead to his death? If you had to choose his biggest flaw, which would you choose, and why?
4.    Fortunato is dressed like a fool, or a court jester. Is he simply a fool, or are there some aspects of his personality that contrast with his fool’s image?

Chew on This

Try on an opinion or two, start a debate, or play the devil’s advocate.
Montresor is the real fool in the story

Cat In The Rain Analysis and symbolism By Ernest Hemingway



Cat In The Rain Analysis and symbolism 

By Ernest Hemingway





There were only two Americans stopping at the hotel. They did not know any of the people they passed on the stairs on their way to and from their room. Their room was on the second floor facing the sea. It also faced the public garden and war monument. There were big palms and green benches in the public garden. In the good weather there was always an artist with his easel. Artists liked the way the palms grew and the bright colors of the hotels facing the sea. Italians came from a long way off to look up at the war monument. It was made of bronze and glistened in the rain. It was raining. The rain dripped from the palm trees. Water stood in pools on the gravel paths. The sea broke in a long line in the rain. The motor cars were gone from the square by the war monument. Across the square in the doorway of the cafe a waiter stood looking out at the empty square.

The American wife stood at the window looking out. Outside right under their window a cat was crouched under one of the dripping green tables. The cat was trying to make herself so compact that she would not be dripped on.




“I’m going down and get that kitty,” the American wife said.

“I’ll do it,” her husband offered from the bed.

“No, I’ll get it. The poor kitty is out trying to keep dry under the table.”

The husband went on reading, lying propped up with the two pillows at the foot of the bed.

“Don’t get wet,” he said.

The wife went downstairs and the hotel owner stood up and bowed to her as she passed the office. His desk was at the far end of the office. He was an old man and very tall.

“Il piove,” the wife said. She liked the hotelkeeper.

“Si, si, Signora, brutto tempo. It is very bad weather.”

He stood behind his desk in the far end of the dim room. The wife liked him. She liked the way he wanted to serve her. She liked the way he felt about being a hotel-keeper. She liked his old, heavy face and big hands.

Liking him she opened the door and looked out. It was raining harder. A man in a rubber cape was crossing the empty square to the cafe. The cat would be around to the right. Perhaps she could go along to the eaves. As she stood in the doorway an umbrella opened behind her. It was the maid who looked after their room.

“You must not get wet,” she smiled, speaking Italian. Of course, the hotel-keeper had sent her.

With the maid holding the umbrella over her, she walked along the gravel path until she was under their window. The table was there, washed bright green in the rain, but the cat was gone. She was suddenly disappointed. The maid looked up at her.

“Ha perduto qualque cosa, Signora?” 

“There was a cat,” said the American girl.

“A cat?”

“Si, il gatto.”

“A cat?” the maid laughed. “A cat in the rain?”

“Yes,” she said, “under the table.” Then, “Oh, I wanted it so much. I wanted a kitty.”

When she talked English the maid’s face tightened.

“Come, Signora,” she said. “We must get back inside. You will be wet.”

“I suppose so,” said the American girl.

They went back along the gravel path and passed in the door. The maid stayed outside to close the umbrella. As the American girl passed the office, the padrone bowed from his desk. Something felt very small and tight inside the girl. The padrone made her feel very small and at the same time really important. She had a momentary feeling of being of supreme importance. She went on up the stairs. She opened the door of the room. George was on the bed reading.

“Did you get the cat?” he asked, putting the book down.

“It was gone.”

“Wonder where it went to,” he said, resting his eyes from reading. She sat down on the bed.

“I wanted it so much,” she said. “I don’t know why I wanted it so much. I wanted that poor kitty. It isn’t any fun to be a poor kitty out in the rain.”

George was reading again.

She went over and sat in front of the mirror of the dressing table looking at herself with the hand glass. She studied her profile, first one side and then the other. Then she studied the back of her head and her neck.

“Don’t you think it would be a good idea if I let my hair grow out?” she asked, looking at her profile again.

George looked up and saw the back of her neck, clipped close like a boy’s.

“I like it the way it is.”

“I get so tired of it,” she said. “I get so tired of looking like a boy.”

George shifted his position in the bed. He hadn’t looked away from her since she started to speak.

“You look pretty darn nice,” he said. 

She laid the mirror down on the dresser and went over to the window and looked out. It was getting dark.

“I want to pull my hair back tight and smooth and make a big knot at the back that I can feel,” she said. “I want to have a kitty to sit on my lap and purr when I stroke her.”

“Yeah?” George said from the bed.

“And I want to eat at a table with my own silver and I want candles. And I want it to be spring and I want to brush my hair out in front of a mirror and I want a kitty and I want some new clothes.”

“Oh, shut up and get something to read,” George said. He was reading again.

His wife was looking out of the window. It was quite dark now and still raining in the palm trees.

“Anyway, I want a cat,” she said, “I want a cat. I want a cat now. If I can’t have long hair or any fun, I can have a cat.”

George was not listening. He was reading his book. His wife looked out of the window where the light had come on in the square.

Someone knocked at the door.

“Avanti,” George said. He looked up from his book. In the doorway stood the maid. She held a big tortoise-shell cat pressed tight against her and swung down against her body.

“Excuse me,” she said, “the padrone asked me to bring this for the Signora










Analysis and symbolism

In "Cat In The Rain", the American girl's husband treats her with a lack of affection, apathy and indifference. When she starts telling him all the things she desires, he just tells her to shut up. She wasn't asking much, simple things, little things, and most of the times little things are what count most. He thinks she's acting like a spoiled child, he doesn't understand her, and he makes no efforts to make her feel loved, wanted, to make her feel like a real woman. 

She claims to feel like a boy, because she needs physical and emotional attention, which her husband doesn't provide her. 

The hotel keeper was the man who made her feel important, she admires his will to serve her, he gave her the attention she needed and that she's not getting from her husband. In other words, he made her feel like a lady. 
Just like the cat, the American girl feels lonely and she needs to be "pet". She hides from the rain, she tries to keep safe and dry. So, in my opinion, the girl is the cat, her husband is the rain that makes her feel unsafe and unfulfilled, and the hotel keeper is the table under which she hides. She needs someone to hold her, to love her and take care of her, and those are qualities that her husband doesn't have.

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The Cat in the Rain by Ernest Hemingway is a story of an American couple in Italy. Hemingway portrays this couple as having differences of priorities and also a difference in the amount of attention they give to one another. This story takes place over a short few hours, and even though we only know these characters for a brief period of time, we can predict the type of relationship they have. Most likely if we observed George and his wife a week or so from this day, their conversation would not be about a cat, but the underlying causes would be very similar.
George and his wife (also known as the American girl) are in their hotel room in Italy. George seems very ******* and comfortable sitting on the bed reading. His wife on the other hand gives us the idea that she is very bored, not only in the hotel room, but with their relationship, and herself, her physical appearance especially. Wanting to be anywhere besides stuck in a hotel room do to the rain, the American girl looks out the ******** Outside there is the sea, a public garden, and a war monument. Out in the garden we are also told that there are palm trees and benches for visitors to sit on. The Italians also liked to come and visit this garden because of 

. . . 
The hotel owner then goes on to have a brief conversation with her about the bad weather they are having. By this we again see the hotel owner giving George’s wife the attention she wishes to have from him. George and his wife have forgotten those things, which had brought them together in the first place. 


They walk back to the hotel doors and the maid takes down the umbrella as George’s wife heads back up to her room. As soon as his wife says it was gone and follows by complaining about the poor kitty, he picks the book back up again. Anyone that crossed her path every so slightly and recognized her was noticed and greatly appreciated. His wife complains about her shout boyish haircut, and for once George has been giving her his undivided attention. ” 


We can see from this conversation that George is used to his wife’s unusualiaty and quite bothersome adventures. George also offers his wife help that he knows she will not take, after all he has not intention of getting off the bed to leave his reading. She goes on talking of having her hair long enough to put up in a bun, while a kitty sits on her lap to stroke. The pardone made her feel very small and at the same time really important. “Excuse me, the padrone asked me to bring this for the Signora,” said the maid. These two need to have time with each. 


Saturday, April 27, 2013

Macbeth Act 4, Scene 1: A cavern. In the middle, a boiling cauldron summary and analysis


Act IV: Scene 1



Summary
Macbeth returns to the Weird Sisters and boldly demands to be shown a series of apparitions that tell his future. The first apparition is the disembodied head of a warrior who seems to warn Macbeth of a bloody revenge at the hands of Macduff. The second is a blood-covered child who comforts Macbeth with the news that he cannot be killed by any man "of woman born." The third is a child wearing a crown, who promises that Macbeth cannot lose in battle until Birnam wood physically moves toward his stronghold at Dunsinane.
Encouraged by the news of such impossibilities, Macbeth asks, "Shall Banquo's issue ever reign in this kingdom?" The Witches present an image of a ghostly procession of future kings, led by Banquo. All this serves only to enrage Macbeth, who, trusting in his own pride, reveals in an aside to the audience his determination to slaughter the family of Macduff.





Analysis
This scene can be roughly divided into three: the Witches' casting of a spell; the supernatural answers to Macbeth's demands; and Macbeth's return to the cold world of political and social reality. The scene's structure deliberately recalls the opening scenes of the play. Once more, Macbeth's destiny is in question. Once more, he receives three prophecies. Once more, he is left on his own to decide how best to interpret those prophecies. And once more he fails to understand that Fate is inevitable, however he chooses to act.
The Witches' charm is fantastic: Its ingredients, thrown into a bubbling cauldron, are all poisonous. Moreover, these ingredients are all the entrails or body parts of loathed animals or human beings, which, taken together, can be interpreted as making a complete monster: tongue, leg, liver, lips, scales, teeth, and so on. The strong implication is that Macbeth himself is no longer a complete human being; he himself has become a half-man, half-monster, a kind of chimera.
Macbeth arrives at the Witches' lair with extraordinary boldness, knocking at the entrance in a way that ironically recalls the entry of Macduff into Macbeth's castle in Act II, Scene 3. When he "conjures" the Witches to answer him, his language is uncompromising: He matches their power with a powerful curse of his own, demanding to have an answer even if it requires the unleashing of all the elements of air, water, and earth; even if all the universe — natural or manmade — "tumble" into ruin. His most defiant act, by far, is to desire to hear the prophecy of his future not from the Witches, who are themselves only "mediums" of the supernatural, but from their "masters," that is, the controlling Fates.
Macbeth's demand is answered by a sequence of apparitions. Unlike the dagger and Banquo's ghost, these supernatural visions cannot be simply the workings of Macbeth's "heat-oppress'd brain." They are definitely summoned by the Witches. Once again, the audience is required to assess the extent to which Macbeth is responsible for his own actions. What is certain is Macbeth's response to each prophetic apparition: He appears to be super-confident, even flippant, in his replies. There is little fear or respect, for example, in his reply to the First Apparition: "Whate'er thou art, for thy good caution, thanks." And his punning reply to the Second Apparition's "Macbeth, Macbeth, Macbeth" — "Had I three ears, I'd hear thee" — displays a comic arrogance.
Apart from the first, all the apparitions, including the fourth and final one of a procession of future kings, contain children. The juxtaposition of children (pictures of innocence) and images of death, warfare, and blood, is dramatic and terrifying, but especially so for Macbeth: For a man who has no offspring, the image of children can only fill him with hatred and loathing.
Having rejected as impossible the second two prophecies, Macbeth asks for one last favor. The result appalls him, drawing all strength from him and reducing his earlier courage. The children who appear in this procession are the children of Fleance. The reflected light of their golden crowns "does sear (cut into) mine eye-balls" and causes his eyes to jump from their sockets. The climax to Macbeth's reaction occurs in the line "What! will the line (of inheritance) stretch out to the crack of doom?" in which he finally realizes the possibility of an entirely Macbethless future.
In a scene rich with special effects — thunder, ghosts and (possibly flying) Witches — Shakespeare adds a final visual stroke: The eighth child-king carries a mirror that reflects the faces of many more such kings. The effect of infinite regression can be achieved by looking at a mirror while holding a smaller mirror in your hand in which the reflection is reflected.
The Witches confirm the inevitability of what Macbeth has seen: "Ay sir, all this is so." There can be no equivocation, no argument, with Fate.
Emerging into the cold light of day, Macbeth seems immediately to forget the final prophecy, as he returns to the practicalities of what is increasingly a battle for his own political survival. On being informed that Macduff has fled to England, he announces his intention to wreak a terrible revenge on Macduff's wife and children.
Glossary
brinded (1) streaked
fenny (12) living in the marshes
howlet (17) young owl
yesty (53) frothing
lodg'd (55) beaten down
germens (59) seeds
farrow (65) litter of pigs
harp'd (74) guessed
impress (95) force
mortal custom (100) usual lifespan
crack of doom (117) Day of Judgment
antic round (130) mad dance
this great King (131) possibly a reference to James I (the king in Shakespeare's audience)
flighty . . . with it (145) Unless acted upon immediately intentions may be overtaken by time.

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