Journal Revisions for Chapters 1-20 - The Handmaids Tale

I just wanted to do some revisions on a few of the highlights and key points about the quotes I have written about in my journals.

Chapters 1-4:
"I enjoy the power; power of a dog bone, passive, but there."
The handmaid says this after she walks past the "angels" and teases them when she describes how the guardians must long for them (women/the handmaids) since they don't have the power of being promoted yet.  This line, as well as the action in which she was teasing them shows that she is aware of her lack of power in important things of the real world.  In her situation, she is only serving one purpose in the world; to bare children.  She has no choice in what she has to to do since she is one of the only fertile women left.  She feels basically powerless, so she takes pride in the samll things she feels like she can have power over, or as so in this case. 

Chapters 5-8: 
"Ofglen says nothing.  There is a silence.  But sometimes it's a dangerous not to speak."  "Yes, we are very happy," I murmur.  I have to say, something.  What else can I say?"
This is from the scene where the Japenese tourists are being escorted by an eye.  Thinking that the handmaids must not be happy, they ask.  Since the handmaids knew that the tourists were being escorted by an eye, they didn't want to say the truth by answering the tourists that they were miserable, or else they would get into serious trouble.  They realized also, though, that keeping silent might also lead to them getting into trouble.  So, the handmaids decide to lie to them and tell them that they are very happy.
This is extremely sad because the handmaids basically have no choice in what they do/say in order to stay safe; it's as if words are put in their mouths for them.  the handmaids have no power.  Rebellion is practically not an option.   

Chapters 9-12:
"We thought we had such problems.  How were we to know we were happy?"
This quote is in the midst of Offred explaining how, in her past life with her husband, the things that they thought were bad at the time, really couldn't even be considered "bad" considering the life and situation they are currently in.  They couldn't really really realize how happy they actually were back then until being put in a miserable life style like they are now, well at least Offred, anyway, since we don't actually know her husbands life situation at the moment.  I'm just assuming that they are both very unhappy and miserable since they are having to live without each other basically for the rest of their lives (as far as I can assume). 
This is one of the main places in the novel so far that I really feel like Offred is explaining her egret for not living her past life to the fullest and not being more appreciative of how happy she was and what a good life she had. 

Chapters 13-16:
"Which of us is it worse for, her or me?"
Though this quote may seem unsignificant or just an after thought, I find it essential.  Obviously, the quote is suggesting that "the ceremony" is not pleasurable for neither Serena nor Joy.
Offred refers to his actions as "fucking" instead of "making love" or "having sex".  This makes it clear that she is miserable.  She goes on to say things like, "I wish he would hurry up," and "What's going on in this room, under Serena Joy's silvery canopy, is not exciting," to emphasixe how much she hates it (especially by repeating the word "fuck" and "fucking".
However, this is also seen as uncomfortable for Serena Joy as well.  "Serena Joy grips my hands as if it is she, not I, who's being fucked, as if she finds it either pleasurable or painful."  Imagine having to be there during the whole process!  It's like having to sit and watch your husband or wife have sex with someone else, even if it's not from romantic desires.  I couldn't imagine. 

Chapters 17-20:
"I want to be valued, in ways that I am not; I want to be more than valuable."
In this quote, Offred is specifically wanting to define/emphasize the difference between the words "valued" and "valuable".  Valuable is used in a way that is extrinsic; it represents the value that something has for someone else or to accomplish a task, which in this case, is Offred's ability to give birth.  Value, on the other hand, has a more intrensic meaning, representing the value of something for merely just being what it is. 
Offred is saying that she wants to be valued, not be valuable.  The word valuable, in Offred's case, basically means being a human resource.  This comparison demonstrates how Offred is longing for someone to value/ love her as a person and for who she is.  "I repeat my former name, remind myself of what I could do, how others saw me."  Even as Offred has said before, she is really only valued for "what is inside of her."  Not her as an actual being. 

Thneedville (from "The Lorax" 2012 movie): A Dystopia

                                                                                                                                      
 Thneedville is a walled city that, aside from the citizens, is completely artificial, where everything is made of plastic, metal, or synthetics.  This city is completely closed off to the rest of the world; citizens aren't allowed to leave.  Why?  Because the land around is a complete wasteland due to the complete deforestation and devouring of the land in order to create Thneedville.  If people left the city, they would realize the corruptness of the town's leaders (specifically the mayor).  This is an example of a dystopia. The people have been completely brainwashed into believing that they live in a healthy environment; they have no idea about the concept of nature, natural resources, or how bad their artificial environment and lifestyle is.  Of course, the plot changes as the story ends and Thneedville breaks free of it's plastic lifestyle, but as for the majority of the movie, Thneedville is the perfect example of a dystopia; the plot of the story depends on it.
This song represents how oblivious the people are to their world, as well as introducing the plot/beginning of the story.
This could possibly be a good clip to play for the class.

The Handmaids, the Eyes, and the Rebels

     I definitely have to say that the game that we played on Monday was a good eye opener (no pun intended) relating to The Handmaid's Tale.  While playing the game, the feelings and emotions that went through my head allowed me to directly connect to the story.  
     In the game, you can't really trust anyone since everybody is trying to hide their identity and/or convince everyone else that they are a handmaid.  Same is true in the story; handmaids don't really know who to trust.  Even Offred can't talk to Ofglen in a normal manner, all they really talk about is "how nice the weather" as if that is a real conversation.  One would think that these handmaids would console each other more about their harsh, cruel treatment - or at least talk about it.  But I guess in the long run, they don't know who is an "eye", and if they end up expressing their discontent to an "eye", extremely harsh consequences could follow.  
     I also found it difficult to figure out who really was a handmaid, rebel, or eye.  I feel like the "daytime" stage where we all conversed to try to figure out people's roles almost seemed like it did no help except to persecute every two to three days.  After being killed, though, I really enjoyed looking in on the game and seeing who were eyes and rebels and watching how the game unfolded.
     I was also able to relate to the confusion that was constantly going on, especially at the beginning of the game when none of us really knew what was going on at all.  It seems like we didn't really know what to do during the "daytime".  Questions like,

• "Do we make alliances?"

• "How do we convince other people that I am a handmaid?"

• "How do we figure out who's an eye or a rebel?"

and

• "How do I convince them not to persecute me?"

went through all of our heads.  This relates to the story because the handmaids are basically living in solid confusion.  many of them really don't know what is going on 'inside' and 'outside' the real world.

• "Why are we being treated like this?"

• "How is the war going?"

• "How much longer will we be living like this?"

• "Is there still hope for life after this?"

These are all questions going through each of these woman's minds every single day, as for us as well. 
     Finally, I was also able to connect to an anxious yet somewhat disturbing feeling throughout the game.  All of us were anxious to find out some kind of news such as who is an eye, rebel, or someone about to be persecuted.  We all felt uneasy as if we would be one of the ones killed, or hopefully one of the ones rescued.  Likewise, in the story, the handmaids are always feeling this same anxious/uneasy/disturbed feeling of the unknown.  The wonder whether or not they will become pregnant, who else is pregnant, what is going on in the outside world, etc.
     I thought this game was really helpful because it allowed us to relate to the handmaids on a whole new level.
 
 

The Handmaid's Tweet

                                         

   

John Ritter's poem of Richard Strauss' "Death and Transfiguration"

     This year, I am taking a class called, "DSO Learning Lab", in which I am in the process of doing an analysis on one of the pieces that the Dallas Symphony Orchestra will be performing this season.  I chose to do this project on a piece by Richard Strauss called Death and Transfiguration.  
     When Strauss finished composing this piece, a good friend of his named John Ritter wrote a poem that was inspired by the piece, and is often read at the close of the song at concerts today.  As a part of my analysis for the project, I talk about the meaning of the poem as it relates to the piece, so I thought it would be good for me to share what I have so far as a blog post.
     In the following analysis, I state the name of the movement in the piece and then state the poem.  Below that is the actual interpretation of the poem as it relates to each movement.


I. Largo.  “In a small bare room, dimly lit by a candle stump, a sick man lies on his bed.  Exhausted by a violent struggle with death, he lies asleep.  In the stillness of the room, like a portent of impending
death, only the quiet ticking of a clock is heard.  A melancholy smile
lights the invalid’s pale face: does he dream of golden childhood as he lingers on the border of life?”

    The mood is quiet and there is a steady, yet syncopated, pattern played by the violins and violas. The woodwinds enter with whole notes, adding ominous, static energy.  This is often thought to be the death motive, though it can also be associated with a ticking clock and a failing human heartbeat.  Arching woodwind solos over horn and harp accompaniment  signal a sad smile and thoughts of youth. The sighing motives that carry across all string sections suggests heavy exhaling and breathing. This section is centered around c minor in 4/4.  The lyrical line that is passed between solo woodwinds and solo violin suggests the feeling of loneliness and nostalgia after this section reaches its main development and begins to recap.  The ending of this section adds tension to what is about to come in the next movement.  

 II. Allegro molto agitato. “But death grants him little sleep or time for
dreams.  He shakes his prey brutally to begin the battle afresh. The
drive to live, the might of death! What a terrifying contest!  Neither
wins the victory and once more silence reigns.”

    This is some-what considered the development variation.  The tone center is undefined because of the excessive dominant and diminished chords.  Harsh blows of the brasses and a faster tempo signify the struggle with death. The much faster sighing theme in the strings is understood to be a sharp gasp or cry, then suddenly the ominous theme comes back. Motives that describe this struggle, including the fast paced version of the death motive (triplet motive) from the opening, are battered about the orchestra throughout the movement. The projected emotion that seems to be introduced is of a dark undercurrent that is insidiously creeping up. The slower, lyrical passages suggest the diminishing hope of the inevitableness of death.  As new themes and old themes are introduced and brought back, Strauss adds variations to original themes with different dynamics and textures; this allows him to maintain the idea of death but through different perspectives.  Just as death is about to triumph we hear a glimpse of the transfiguration theme (more filled out triplet theme) presented in the harp, trombones, cellos, and violas, the ideal that can only be achieved after death. But death has not yet come. The music settles again as calm returns to the room.     

III. Meno mosso, ma sempre alla breve. “Exhausted from the battle,
sleepless, as in a delirium, the sick man now sees his life pass before him, step by step, scene by scene.  First the rosy dawn of childhood, radiant, innocent; then the boy’s aggressive games, testing, building his strength—and so maturing for the battles of manhood, to strive with burning passion for the highest goals of life: to transfigure all that seems to him most noble, giving it still more exalted form—this alone has been the high aim of his whole existence.  Coldly, scornfully, the world set obstacle upon obstacle in his way. When he believed himself. near his goal, a thunderous voice cried: ‘Halt!’  But a voice within him still urged him on, crying: ‘Make each hindrance a new rung in your upward climb.’  Undaunted he followed the exalted quest.  Still in his death agony he seeks the unreached goal of his ceaseless striving, seeks it, but alas, still in vain.  Though it grows closer, clearer, grander, it never can be grasped entire or perfected in his soul.  The final iron hammerblow of death rings out, breaks his earthy frame, and covers his eyes with eternal night.”

   This section begins quietly with the triplet motive that outlines the key of G major, which is a completely new tonic and harmony, suggesting the idea of life instead of death. It almost serves as a passive resolution that isn’t completely resolved.  Solos traded throughout the orchestra possibly suggest particular people or events that the dying man misses or will miss.  While the movement is filled with both joyous and nostalgic remembrances of his past, Strauss also adds hints of the death theme throughout. (The orchestra swells, and at the high points of phrases we hear the trombones and timpani proclaim the death motive.)  That being said, this movement of the piece goes through many different key centers, some major and some minor.  In the midst of the chaos that forms the transfiguration motive is also heard, signaling that the end is near.  Another outburst occurs, the final struggle with death, the storm and fury of the orchestra dying away chromatically to a strange resolution (fully diminished F# chord) and capped off with the sound of the gong, the death knell, announcing the soul’s departure.

IV. Moderato. “But from the endless realms of heavenly space a mighty resonance returns to him bearing what he longed for here below and sought in vain: redemption, transfiguration.”
   
   Beginning quietly, the transfiguration theme is presented and is, itself, transformed. (The death theme (triplet motive) is no longer present.)  The sound grows as instruments are added and the sound climbs higher and higher with arpeggios, with all of the symbolic imagery implied, to the uppermost reaches of the brass, woodwinds and strings. Gradually, tighter rhythms form and the texture begin to thicken as the tension and sense of longing builds to the complete resolution and coda of the piece which centers around C major (suggesting acceptance of death).  The work ends peacefully and tranquilly in C major (the parallel major of C minor), with death having won the battle but with the soul’s deliverance and transformation surpassing all.

Four quadrants? Or just one?

From the activity we did today in class about the "killing lion", the "innocent lamb", the "lying serpent", and the "truthful angel", I was able to evaluate myself in a way that I had never previously pondered or thought.  I had never asked myself, "In extreme (or not so extreme) circumstances, how likely or to what point would you decide to kill or not kill someone else?" or, "What situations would cause you to lie or not lie?"  This process helped me place myself in one of the quadrants pretty easily based on my initial right-a-way answers.  

I seemed to fit in the quadrant of innocent lamb/truthful angel based on my immediate answers to the questions and my overall personality; I am generally a very merciful, optimistic, sympathetic person who tends to want to be pretty easy-going.  However, I found myself somewhat on the border of being close to the innocent lamb/serpent quadrant.  As I began to question which quadrant I really belonged in, I started to see myself being able to fit in each quadrant, if put in very certain and particular "What if?" circumstances that entered my thoughts.  I then began to think about everyone else besides just me.  All of these people defined to a particular quadrant, it just didn't seem human.  I mean, all of us have moments in which we would fall into each category, which leads me to believe that every one's placement on the graph is more or less a "default" or instant reflex response to a common situation.  
And being that we are all human, we all sin and do wrong, meaning we could never be completely on the "truthful angel" side or the "innocent lamb" side.  
This leads me to believe that truly, there is only one quadrant; lying serpent/killing lion, and that it all is just a matter of how close (or far) you are from the intersecting corner. 
I see this process more as an indicator of how much we are willing to kill and lie than a measure of anything else.  I think to myself as if it's asking, "How much are you willing to go from a state of being good/neutral to the point of lying or killing?"

I found this activity very interesting and eye-opening for not just analyzing myself, but also family/friends/acquaintances, historical figures, and current celebrities/cultural icons.  I also found this a good exercise to get the whole class involved and thinking.  It seemed to help get the point across to us each individually since we were able to apply ourselves directly to the situations.  

 This image represents a serpent/lion category charcter (the lion) against a much more angel/lamb character (the lamb).

THE TEMPEST WITH ALLIE: Two Major Themes

LOSS AND RESTORATION

Prospero’s attempt to recover his lost dukedom of Milan drives the plot of the Tempest. But Prospero isn’t the only character in the play to experience loss. Ariel lost his freedom to Sycorax and now serves Prospero. Caliban, who considers himself the rightful ruler of the island, was overthrown and enslaved by Prospero. By creating the tempest that shipwrecks Alonso and his courtiers on the island, Prospero strips them of their position and power, and also causes Alonso to believe that he has lost his son to the sea.

Through their reactions to these losses, the play’s characters reveal their true natures. Reduced to desperation and despair, Alonso recognizes his error in helping to overthrow Prospero and gives up his claim to Milan, returning Prospero to power and restoring order between Milan and Naples. Though he desperately wants to be free, Ariel loyally serves his master Prospero. Prospero, meanwhile, gives up his magic rather than seeking revenge and frees Ariel before returning to Milan. In contrast to Alonso, Antonio and Sebastian never show remorse for overthrowing Prospero and prove to be ambitious killers in their plot to murder and overthrow Alonso. Stephano and Trinculo, in their buffoonish way, likewise seek power through violence. And Caliban, as opposed to Ariel, hates Prospero, and gives himself as a slave to Stephano in an effort to betray and kill Prospero. As Gonzalo observes in the last scene of the play, the characters “found ... ourselves, when no man was his own”.

POWER

From the opening scene of The Tempest during the storm, when the ruling courtiers on the ship must take orders from their subjects, the sailors and the boatswain, The Tempest examines a variety of questions about power: Who has it and when? Who’s entitled to it? What does the responsible exercise of power look like? How should power be transferred? The play is full of examples of power taken by force, and in each case these actions lead to political instability and further attempts to gain power through violence. Antonio and Alonso’s overthrow of Prospero leads to Antonio and Sebastian’s plot to overthrow Alonso, just as Prospero’s overthrow and enslavement of Caliban leads Caliban to seek revenge.

Ultimately, it is only when Prospero breaks the cycle of violence by refusing to take revenge on Alonso, Antonio, Sebastian, or Caliban that the political tensions in the play are calmed and reconciled. After Prospero’s merciful refusal to seek revenge, Alonso and Prospero quickly come to an understanding and unite their once warring cities through the marriage of their children. The Tempest suggests that compromise and compassion are more effective political tools than violence, imprisonment, or even magic.

THE TEMPEST WITH ALLIE: Act 5, Scene 1 Summary/Analysis

        Prospero asks Ariel how Alonso and his men are doing. Ariel reports that he has confined them, spellbound, in a grove of trees. He describes how sorrowful and frightened they are, and adds that the man Prospero calls “the good old lord, Gonzalo,” has tears streaming down his face. Ariel says that if Prospero “beheld them, your affections / Would become tender”. Prospero, moved by the human-like compassion of the spirit, pledges to release his hold over them, saying, “The rarer action is in virtue, than in vengeance”. He sends Ariel to bring the men to appear before him.  In this dialogue with Ariel, Prospero for the first time seems to care what someone else thinks. Ariel’s compassion for the suitors seems to restore Prospero’s humanity. One can now look back and speculate as to whether his plan was to reconcile with his enemies all along, or whether he had planned on revenge until this conversation with Ariel changed his mind. 

           Alone on stage, Prospero invokes the various spirits who have aided him, describing the many incredible feats he has accomplished with his magic—“graves at my command have waked their sleepers, oped, and let ‘em forth” and says that after performing this last act he will give up his powers, breaking his staff and drowning his book of magic.

Here Prospero catalogs his feats of magic, in the same way that you might imagine Shakespeare, at the end of his career, would look back on his long career as a playwright and list his triumphs in the theater. 

           Ariel leads the courtiers onto the stage, still spellbound by Prospero’s charm. Prospero addresses them - praising Gonzalo for his goodness and loyalty and scolding Alonso, Sebastian, and Antonio for their cruelty, treachery, and greed - and then forgives them.  Noting that the spell is lifting, Prospero has Ariel bring him his old clothing so that the courtiers will see him as the Duke of Milan when they come out of their spell.  Then, he orders Ariel to go fetch the Boatswain and mariners.

By changing into the clothes he wore as duke, Prospero is not using magic but is still using illusions by carefully crafting his image.  He shows that although he lost power, he is still the real Duke of Milan.  The change of clothes also indicates that Prospero plans to assert political rather than magical power from now on.

            Prospero releases Alonso and his men from the spell.  Alonso, shocked and confused at seeing Prospero, immediately begs Prospero’s pardon and relinquishes his claim to Milan. Prospero then embraces Gonzalo, whom he calls “noble friend…whose honor cannot be measured or confined”.  The restoration of order, which was upset when Prospero was overthrown, begins when Alonso apologizes and returns Milan to Prospero.  Gonzalo is finally treated with the respect he deserves. 

          Prospero next addresses Antonio and Sebastian, condemning them for overthrowing and exiling him and for plotting against Alonso.  He goes on, however, to forgive them. Antonio and Sebastian do not respond, and are virtually silent for the rest of the play.

The silence of Antonio and Sebastian is telling.  Like Caliban, they are sullen and angry in their powerlessness.

          Alonso laments the death of Ferdinand.  Prospero responds that he, too, has “lost” a child.  Alonso assumes that Miranda has also died.  Prospero invites Alonso to look into his cell, however, and reveals Ferdinand and Miranda sitting at a table playing chess.  Ferdinand and Alonso rejoice to find each other alive.  The word “lost” (and variations of it) is used numerous times in the Alonso and Prospero’s dialogue. 

           Miranda marvels at the handsome men arrayed before her, saying, “How beauteous mankind is! O brave new world that has such people in’t!”.  Prospero replies, “Tis new to thee”. Ferdinand tells his father of his recent marriage to Miranda, and Alonso gives his blessing.

Miranda’s words reflect her naiveté—some of the men she admires are morally corrupt. Prospero’s comment “Tis new to thee,” implies that Miranda will learn that people aren’t really so “beauteous” at all.

           Gonzalo observes that this voyage has served to unite people with each other and with their true selves.  He says, “O rejoice beyond a common joy…in one voyage…Ferdinand…found a wife where he himself was lost; Prospero, his dukedom, in a poor isle, and all of us ourselves, when no man was his own”.  Gonzalo’s speech focuses again on the Christian idea that loss leads to redemption.  This might explain why the characters who accepted loss cheerfully or repentantly were rewarded—the loss was a spiritual test that they passed.

          Ariel enters with the mariners. The Boatswain reports that the sailors awakened to find the ship miraculously restored to perfect condition.  Next, Prospero asks Ariel to release Caliban, Stephano, and Trinculo from their spell and bring them forward in their stolen absurd clothes.  Prospero relates how the threesome has plotted against him, and he asks the courtiers if they recognize Stephano and Trinculo. Of Caliban, he says, “This thing of darkness, I acknowledge mine”.  The aspirations of the three conspirators seem ridiculous as they stand in front of the true king and duke, yet their ambitions mirrored those of Antonio and Sebastian.  It’s unclear whether Prospero’s comment about Caliban suggests that he sees him as his property, or that he takes some responsibility for what has happened to Caliban.

             The courtiers and Prospero mock Stephano and Trinculo for their drunken state and foiled ambitions.  Prospero orders Caliban to take the two men to his cell and prepare it for the guests, saying, “As you look to have my pardon, trim it handsomely”.  Subservient again, Caliban complies, saying “What a thrice-double ass was I to take this drunkard for a god and worship this dull fool!”.  Even Caliban is given the hope of freedom, or at least pardon, as long as he follows Prospero’s orders faithfully and well, as Ariel and Ferdinand did.  Yet it’s hard not to pity Caliban’s ignorant naiveté when he curses himself for worshipping Stephano.

            Prospero invites Alonso and his court to spend the night in his cell, where he promises to tell the story of his time on the island. In the morning, he says, they will all return to Naples, where Miranda and Ferdinand will be married.  From there, Prospero says, he will return to Milan “where every third thought shall be my grave”.  Prospero has restored political order by regaining his dukedom and by establishing his line through the marriage of Ferdinand and Miranda.  Now when he dies, the dukedom will pass to Ferdinand.

          Prospero gives Ariel the final task of ensuring the ship a safe, speedy voyage back to Italy, then grants Ariel his freedom.  Ariel has served Prospero well.  Now he gets freedom, his reward for loyalty and for his willingness to surrender his autonomy.