“If you can't explain it to a six year old, you don't understand it yourself.”
― Albert Einstein
“One day I will find the right words, and they will be simple.”
― Jack Kerouac, The Dharma Bums
“Simplicity is the ultimate sophistication.”
― Leonardo da Vinci
“Life is really simple, but we insist on making it complicated.”
― Confucius
Reaction:
All of these quotes are congruent with their message, which points to "simplicity" as a good and admirable quality. At a point at which so many of my thoughts and tasks are directed towards somehow showcasing everything my life has consisted of so far it is important, yet nearly impossible, to remember just that, "simplicity." It seems that with invested time and energy comes a level of knowledge that answers our most fundamental questions (for those of us who formed questions to begin with). But whether it be your first question or your fifth set of questions, they will never be completely answered because from them another thought will always stem.
I read each short quote and get two general feelings. One, being a feeling of tranquility. Each quote takes humanly form as I read each word, and with each syllable comes a pat on my back. The pat on my back makes me feel like it's okay; that other people have juggled details and generalizations, and the uncertainty of which to give the most credit to.Secondly I feel frustrated with each writer for getting off so easily with telling me what I should do, making it sound so right, but not leaving for me a step my step manual of how to apply it to myself at this particular moment. It angers me that each of them found the answer, came up with a witty way of phrasing it, published it, and have nothing else to offer. Of course, that frustration isn't rightfully aimed; it should go straight towards myself, who has found simplicity, but has not yet come to peace with it.
When I can't fully apply the advice of these writers to myself because I can't be comfortable with stripping the existence of anything down to its simplicity. I know its true and beautiful, but it doesn't seem like it will ever be just. Whether that be referring to justice for whatever being displayed or whoever is viewing it. It might diminish the accomplishments and efforts of the display, or skew the impression attained by the viewer since he/she would be deprived of all the true elements of what it is judging.
Tuesday, December 18, 2012
"Best Suited for the Crown" (Act II Journal)
In the second act of The Tempest by William Shakespeare the question that entertains the readers mind could me "who is best suited for the crown?" We have Alonso on one side. Although he might be the nicest king who will do the right thing, purposely hinder no one, and love his people, that isn't enough. His personality lacks motivation since he is in some sort of slump or depression. His good intentions aren't enough to lead him to build up the initiative to actually take charge as a ruler. His state of being doesn't allow him to fulfill his role of power. Although he is king he has little authority because he doesn't demand true respect or control as a person. If it weren't for his title he'd be nothing but a nice man.
Sebastian can be perceived as the bad guy, but he has courage, strength, desire, and plenty of initiative to get done whatever he wants. So far, it seems as though he isn't necessarily a bad person, he is just introduced to us at a time when he is going to the farthest and darkest measures get what he's after. If his personality were to work in his favor and he were king he would keep the people under his rule safe, maintain a strong nation, and keep people motivated and devoted to serving and staying loyal to their king.
If neither Sebastian nor Alonso had the title, the person who possesses the most "king like" qualities is definitely Sebastian. He demands authority as a leader, and that's what a king needs to stay in power.
Sebastian can be perceived as the bad guy, but he has courage, strength, desire, and plenty of initiative to get done whatever he wants. So far, it seems as though he isn't necessarily a bad person, he is just introduced to us at a time when he is going to the farthest and darkest measures get what he's after. If his personality were to work in his favor and he were king he would keep the people under his rule safe, maintain a strong nation, and keep people motivated and devoted to serving and staying loyal to their king.
If neither Sebastian nor Alonso had the title, the person who possesses the most "king like" qualities is definitely Sebastian. He demands authority as a leader, and that's what a king needs to stay in power.
Thursday, October 4, 2012
Fifth Journal 9/28
In Frankenstein and in the Ancient Mariner there are two characteristics that represent the same person in a sense. It's almost like an alter ego. In Frankenstein the monster isn't only Victor's creation, but also his alter ego because he is blamed for all the bad Victor's madness brought into his life. Victor blames the monster and avoids admitting the with to keep his image of himself intact so that others don't consider him to be insane. The fact that there are two different entities to portray the same character emphasizes the good and bad qualities of Victor without Frankenstein we wouldn't see the irriponsiblity , discourage, maddness, and fear that VIcto truly holds. In the ANcient Mariner different perspectives are demonstrated by the guest and the Mariner. TOwards the end of the poem they actually fear each other although its suggested that they are the same person. The themes are that ones self can be your own worst enemy and hardest critic.
Fourth Journal 9/20
When Victor doesn't stand up and pronounce that Justine is innocent for William's death there is rationalization because his excuse is that if he speaks up with the truth the will be considered crazy and not be able to prove her innocence, only putting him in a worse place. This is also a place where anagnosis is being avoided because he doesnt realize that his excuse is more cowardly than noble. Now that two deaths have been caused bue to Victor and his monster there is a sort of perpetia because all the good, peace, and retreat that Victor had achieved while his "adventure/journey" with his friend is over instantly when William dies and then Justine dies and he is forced to face the disaster he has created by giving life to the monters.
Second Journal
In chapters one and two many events related to classism in respects to Victor's family. As a memeber of the higher class Victor rebels in some of his thoughts, but at the end of the day he has only known (as far aw we know) a life of high class, so his judgement is limited. He reflects to women in his family as a delicate gift, as if they weren't there for their own existance, but to belong, place, or bring joy to others, which would be men.
First Journal 8/30
The opening letters reveal that Robert Walton is very out going and ready to embrace life. He has high hopes and plans to achieve his goals. He thinks more and in a different way than most people at the time he has a good idea of where he invisions his own life going. He is very interested and intreaged by Victor when he meets him.
The letters reveal that Walton has found the friend he was looking for but never expect to find. The mysterious man is older. Walton reminds him of himself for being curious and driven. He shares with Walton his story to try and warn him of his possible destiny in hopes that Walton won't make the same mistakes he did. It is clear that Victor doesn't have much else to live for in the north because of his peculiar response when welcomed onto the boat. I didn't realize til later that Victor was who created the monster so there is foreshadowing.
The letters reveal that Walton has found the friend he was looking for but never expect to find. The mysterious man is older. Walton reminds him of himself for being curious and driven. He shares with Walton his story to try and warn him of his possible destiny in hopes that Walton won't make the same mistakes he did. It is clear that Victor doesn't have much else to live for in the north because of his peculiar response when welcomed onto the boat. I didn't realize til later that Victor was who created the monster so there is foreshadowing.
sorrows
by Lucille Clifton
who would believe them winged
who would believe they could be
beautiful who would believe
they could fall so in love with mortals
that they would attach themselves
as scars attach and ride the skin
sometimes we hear them in our dreams
rattling their skulls clicking
their bony fingers
they have heard me beseeching
as i whispered into my own
cupped hands enough not me again
but who can distinguish
one human voice
amid such choruses
of desire
I'm not sure who she is referring to in the poem. I began by thinking the obvious, that she was talking about sorrows and using personification. Now I think she might actually be referring to people. Somehow these characters are categorized differently than humans because they are not considered mortal. It would still make sense that she could be referring to sorrows and addressing them as people. There is a lot of imagery in how she describes these sorrows and their relationships with humans who have to survive their sorrows. She addresses others that are praying for these sorrows to go away in the last three stanzas. The author was an African American woman who lived from 1936 on. She was referring to the very different conditions and obstacles someone in her condition and with her back ground could not avoid.
https://www.poets.org/viewmedia.php/prmMID/20588
by Lucille Clifton
who would believe them winged
who would believe they could be
beautiful who would believe
they could fall so in love with mortals
that they would attach themselves
as scars attach and ride the skin
sometimes we hear them in our dreams
rattling their skulls clicking
their bony fingers
they have heard me beseeching
as i whispered into my own
cupped hands enough not me again
but who can distinguish
one human voice
amid such choruses
of desire
I'm not sure who she is referring to in the poem. I began by thinking the obvious, that she was talking about sorrows and using personification. Now I think she might actually be referring to people. Somehow these characters are categorized differently than humans because they are not considered mortal. It would still make sense that she could be referring to sorrows and addressing them as people. There is a lot of imagery in how she describes these sorrows and their relationships with humans who have to survive their sorrows. She addresses others that are praying for these sorrows to go away in the last three stanzas. The author was an African American woman who lived from 1936 on. She was referring to the very different conditions and obstacles someone in her condition and with her back ground could not avoid.
https://www.poets.org/viewmedia.php/prmMID/20588
How to See Deer
by Philip Booth
Forget roadside crossings.
Go nowhere with guns.
Go elsewhere your own way,
lonely and wanting. Or
stay and be early:
next to deep woods
inhabit old orchards.
All clearings promise.
Sunrise is good,
and fog before sun.
Expect nothing always;
find your luck slowly.
Wait out the windfall.
Take your good time
to learn to read ferns;
make like a turtle:
downhill toward slow water.
Instructed by heron,
drink the pure silence.
Be compassed by wind.
If you quiver like aspen
trust your quick nature:
let your ear teach you
which way to listen.
You've come to assume
protective color; now
colors reform to
new shapes in your eye.
You've learned by now
to wait without waiting;
as if it were dusk
look into light falling:
in deep relief
things even out. Be
careless of nothing. See
what you see.
The poem begins with stripping one of what one might want to prepare themselves with when searching for deer because it is assumed that one would be hunting, and if not hunting then would need a gun for protection. Guns and road crossings represent the civilization you are leaving behind in order to enjoy nature the way it should be enjoyed. "Expect nothing always," is said as if nature that will abundantly be surrounding you at this point when you are submerged in the woods is nothing, when really it's so much. It's ironic because you wouldn't expect the author to feel this way so maybe he is saying this trying to see things the way you (the audience) would. "Read the ferns" "drink the pure silence" "be compassed by wind" these are all words we wouldn't associate with the other but indicate a different way of taking in what surrounds us. When it talks about the colors and shapes changing and learning to wait without waiting it reveals that you have transformed to how one should see nature. "things even out" might mean that you are more accustomed to your surroundings now so that when there is the presence of an animal you can spot it more easily. It's interesting that the poem never talked about the actual deer or why you'd want to see it just that you will, and you don't really realize that until the end, as the poem closes with, "see what you see."
http://www.poets.org/viewmedia.php/prmMID/19783
by Philip Booth
Forget roadside crossings.
Go nowhere with guns.
Go elsewhere your own way,
lonely and wanting. Or
stay and be early:
next to deep woods
inhabit old orchards.
All clearings promise.
Sunrise is good,
and fog before sun.
Expect nothing always;
find your luck slowly.
Wait out the windfall.
Take your good time
to learn to read ferns;
make like a turtle:
downhill toward slow water.
Instructed by heron,
drink the pure silence.
Be compassed by wind.
If you quiver like aspen
trust your quick nature:
let your ear teach you
which way to listen.
You've come to assume
protective color; now
colors reform to
new shapes in your eye.
You've learned by now
to wait without waiting;
as if it were dusk
look into light falling:
in deep relief
things even out. Be
careless of nothing. See
what you see.
The poem begins with stripping one of what one might want to prepare themselves with when searching for deer because it is assumed that one would be hunting, and if not hunting then would need a gun for protection. Guns and road crossings represent the civilization you are leaving behind in order to enjoy nature the way it should be enjoyed. "Expect nothing always," is said as if nature that will abundantly be surrounding you at this point when you are submerged in the woods is nothing, when really it's so much. It's ironic because you wouldn't expect the author to feel this way so maybe he is saying this trying to see things the way you (the audience) would. "Read the ferns" "drink the pure silence" "be compassed by wind" these are all words we wouldn't associate with the other but indicate a different way of taking in what surrounds us. When it talks about the colors and shapes changing and learning to wait without waiting it reveals that you have transformed to how one should see nature. "things even out" might mean that you are more accustomed to your surroundings now so that when there is the presence of an animal you can spot it more easily. It's interesting that the poem never talked about the actual deer or why you'd want to see it just that you will, and you don't really realize that until the end, as the poem closes with, "see what you see."
http://www.poets.org/viewmedia.php/prmMID/19783
Subscribe to:
Posts (Atom)