Published Writing Responses

Response #1 - Antigone

In an age when loyalty to family proved a mighty trait in one’s characteristics, Antigone’s choice to bury her brother, Polyneices, did not seem to be a hard judgment. But Antigone extended her decision far beyond the means of rightfully burying her brother. In an act of defiance, Antigone beckoned for the reveal to Thebes that she will challenge the authority of Creon, whose power has stretched beyond its limit. Antigone strongly believes that Creon has asserted his power beyond the liking of the gods; for when he devises his edict, Antigone claims “It is not for him to keep me from my own” (Sophocles 1131). When Ismene attempts to persuade her sister to keep her act a secret, Antigone responds “I will hate you still worse for silence-should you not proclaim it, to everyone” (Sophocles 1132). Antigone wants her voice and opinions to be heard by the public, in hopes of bringing change to the kingdom and suppress Creon’s tyrannical rule. Antigone is willing to sacrifice her own life in order to bring justice to Thebes in honor of her brother. Her commitment to moral law overcomes her obedience to civil law. In a final act of valor, Antigone feels the best way to begin a change within her society is to boldly put her moral beliefs in view against Creon’s ordinance for the people of Thebes to choose between one or the other.

The courage Antigone portrays against an intimidating task highlights her rooted moral values. Eager to establish her beliefs, she mocks Creon’s injustice by stating “My husband is to be the Lord of Death” (Sophocles 1151). This statement is a defining factor in determining where Antigone’s loyalty lies. As she gladly welcomes death, we can clearly denote her actions as favoring the underworld over living society. As such, when facing a strict decision whether to please the dead or the living, Antigone’s beliefs leave her no room to contemplate the actions she must take. In her mind, the world of the dead is of the utmost importance. With this belief, she must sacrifice her life to defend it. The gods take precedence over Creon. Antigone attempts to open Creon’s mind to this idea by stating “It was not Zeus that made the proclamation… I did not believe your proclamation had such power to enable one who will someday die to override God’s ordinances” (Sophocles 1142).

With regards to the aforementioned quote from page 1142, we can see that Antigone is cleverly formulating her own beliefs as the guidelines of what law should be based on. Antigone addresses that she “shall be a criminal- but a religious one” (84-85). She mocks the standards of civil law sarcastically by implying that following the divine rules made by the gods is considered an act of a criminal based upon Creon’s law. It is a bold attempt to not only open the eyes of the civilians of Thebes, but Creon himself. Creon’s foolish ideologies are now put in question by Antigone. This gives credibility to her argument. Antigone’s words prove ineffective. Creon neither understands nor acknowledges these statements as he switches back to discussing her betrayal. It becomes increasingly clear that Creon is solely focused on enforcing his word and nothing else. “I swear I am no man and she the man if she can win this and not pay for it” (Sophocles 1143). Creon’s close minded, self-centered attributes proves to be a handicap in his authority. Besides considering her plea to rule with the gods in mind, Creon only focuses on the black and white subject of punishing someone who has defied his orders.

I would like to open up the discussion with a question. Throughout the play Creon seems to blatantly disregard the gods and their power within the beliefs of the people of Thebes. Does Creon take the gods into consideration within his rule? Or does Creon choose not to acknowledge them for a reason?

Response #2 - A Streetcar Named Desire

The human mind can be a cesspool of negativity. Mankind has long created ideal illusions to better cope with the harsh nature of the world around them. As we journey through life, we are challenged by many obstacles which will alter our perception of our own identity. Blanche and Stella, in Tennessee William’s A Streetcar Named Desire, are perfect examples of how one tends to struggle with their own self-awareness.

From a brilliant mind of a literature master, came about the creation of an idea which highly relates to this notion. Ophelia, a character from William Shakespeare’s Hamlet, states that “We know what we are but not what we may be.” This quote immensely highlights Blanche’s lack of content with her social status. Due to her mental condition, she is quick to venture into the fantasy world where she can create the impossible and make it real. Blanche states “I don’t want realism. I want magic…I try to give that to people. I misrepresent things to them. I don’t tell truth, I tell what ought to be the truth” (Williams 1223). In her heart, Blanche realizes that she came from a wealthy, privileged background, but has since fallen on hard times. However, she, along with everyone else in the world, doesn’t truly have a grasp on what the future might hold. Blanche fantasizes about returning to her wealthy roots by heavily relying on the dream of Shep Huntleigh. Utilizing deception to her advantage, Blanche consequentially damages her reputation with Stella and Stanley. They are forced to deny all her stories as the truth, thus ruining her credibility.

Perhaps the character with the most complex mentality is Stella. No one is more caught in the crossfire of deception then Stella. Both Stanley and Blanche battle throughout the play to have Stella on their side, supporting their claims against each other. Wishing to remain neutral, Stella commonly sides with whoever she is currently talking to, sometimes just to put up a face. Stella herself is not only a victim of deception, but a deceiver as well. This is a massive piece of characterization that reflects all characters in the play. Everyone in this play both creates and endures deception. It is in their nature as people. Stella’s loyalty is uncommitted to either side. When Stanley confronts Stella about the stories he has heard about Blanche she replies “I don’t believe all of those stories” (Williams 1215) even though they were true. Yet she has a change of heart. Stella defended her sister up until Blanche claimed to have been raped by Stanley. Stella, not wanting to accept her story as the truth, became convinced that her sister was unstable and agrees with Stanley to sign her sister into a mental institution. This is a classic scene of hypocrisy. Stella is convinced something is wrong with her sister for living in a deceptive world. Yet Stella is the one living the lie. The rape happened and Stella just didn’t want to accept an idea so heinous. As common with being a social outcast, one is heavily scrutinized for their open flaws, many of which we all possess ourselves. Who really is the one with the issues? Who is the character who is living a fake life? Stella and Stanley try to convince themselves they are happy. Stanley drinks himself to death and is a rapist. Stella enjoys being beaten by her husband. Which characters are the ones living in a deranged illusion of what life “ought to be?” This is a psyche unfortunately very common in the real world, and Tennessee Williams does an excellent job reflecting this real world lifestyle of illusions. In the end Stella pulls the most cliché move possible. When the going gets tough, give up and get out. Humanity is a victim of its own mentality.

Response #3 - Interpreter Of Maladies

In order to understand exactly how Jhumpa Lahiri’s “Interpreter of Maladies” exemplifies a work of Post Modernism, we must first understand what a Post Modern piece is. Post Modernism derives its power through interpretation. What we conceive to hold truth reflects within our own behavior. There is a keen separation of our individual understanding of truth versus society’s understanding of truth. Mr. Kapasi’s actions and emotions within the story create the Post Modern essence. His behavior is subject to individual and reader interpretation. As the story progresses, Mr. Kapasi is able to correlate his emotions with his personal experiences. Incorporating personal experiences stays true to the format of a Post Modern piece.

Lahiri does an amazing job formulating the characters’ emotions to reflect their experiences. From early on in the story the audience is able to characterize Mrs. Das as a woman who is unpleased with herself and her life. As she focuses on applying cosmetics to herself she completely disregards her daughter’s plea to join her. Mrs. Das replies “Leave me alone….your making me mess up” (Lahiri 53). It is also noticeable in this line that she turns her body, indicating that she is virtually turning her back on her family. It is a major gesture signifying her internal struggle with her past. Unable to face her family without guilt lurking in the depths of her conscious, Mrs. Das emotionally detaches herself from the situation.

Human interpretation is an intricate skill everyone develops differently. However, Lahiri chooses to prove that cultural differences do not affect our human nature. What Mr. Kapasi interprets as signs of affection is not based on his cultural beliefs. They are made up from his individual notions of what actions can be interpreted as signs of affection. I find it very interesting that the author chose to have this story incorporate two cultures struggling over a common issue seen throughout all cultures. I am lead to believe this is a strategic approach towards conveying her purpose for this piece.

“Her sudden interest in him, an interest she did not express in either her husband or her children, was mildly intoxicating” (Lahiri 59). Is this not what we see in our cultures? From such minor actions, we deduce massive meanings. Do we not judge people for who they are by their actions? It is part of human nature. I believe this is a circumstance in which Lahiri wants to address.

As seen with Updike, Lahiri chooses to evaluate the human condition. We see similarities in both stories. Much like Sammy becomes infatuated with the girls, Mr. Kapasi shows similar feelings for Mrs. Das. Ironically enough, like A&P, the story ends with Mr. Kapasi realizing Mrs. Das does not harbor feelings for him in return.

His perception of reality was misconstrued, leaving him in the same state as Sammy, disappointed.

It is also interesting how Lahiri chose the perspective of the piece. We follow Mr. Kapasi and his inner thoughts throughout the piece; once again, strikingly similar to Sammy in A&P. This allows us as the audience to be the interpreter of his maladies. We are given access to his thoughts and can evaluate his perceptions as he forms them.

This story encompasses all of the elements a Post Modern work would have. We see inner consciousness, human flaw, fantasy exposure, evaluation of the human condition, and a perspective built around an individual character’s thoughts. It is a piece supported by characters that reflect the elements vibrantly. Due to superb composition, the themes presented within “Interpreter of Maladies” will allow this story to stand the test of time.

Response #4 - Poetry- "To My Dear and Loving Husband" & "Love's Philosophy"

What does a philosophy of love and a declaration of love have in common? They both define what love truly is. From the captivating minds of Anne Bradstreet and Percy Bysshe Shelly, comes two groundbreaking works of poetry. Bradstreet’s “To My Dear and Loving Husband” and Shelly’s “Love’s Philosophy” intricately explore the mystic world of love. While drawing upon the concept of love only one song came to mind; Aerosmith’s “I Don’t Want to Miss a Thing.”

Each work has its own personal touch to it. As such with poetry, we tend to see a personal reflection of inner emotion in every piece. Everyone values love in a different way. Bradstreet’s interpretation of the importance of love shines within the diction of her piece. “I prize thy love more than whole mines of gold, Or all the riches that the East doth hold” (Bradstreet 5-6). This poem itself truly is embellished with word choice. The Old English style of writing allows for the piece to flow perfectly. Yet its simplicity allows the reader to stay engaged. One could almost compare this declaration of love to the nature of wedding vows. The author is direct and personal; a fitting tone for such a circumstance. This allows the reader to relate with the text as most of us have experienced marriage or relationships. With passion oozing at the ends of each line, we can put ourselves in the position of the author, seeing the declaration from her eyes, her voice.

Much like in Bradstreet’s work, Aerosmith’s “I Don’t Want to Miss a Thing” highlights a theme of declaring love. Once again we see a similar structure to this song as we did in Bradstreet’s poem. It is expressed from the perspective of the writer. Although the lyrics do not clarify the gender of the piece (originally sung by a male performer, we can assume it is based on a male to female interpretation) it still holds the same concept as Bradstreet’s. “I kiss your eyes and thank God we’re together and I just wanna stay with you in this moment forever, forever and ever” (Aerosmith 20-22). The author is grateful that he is blessed with such an amazing relationship and declares his love to be eternal. The repetition of “forever” strengthens the emotional reaction we have to his words. This is a strong toned piece with a lasting image of sincerity. “I could stay awake just to hear you breathing, Watch you smile while you are sleeping, while you’re far away and dreaming” (Aerosmith 1-3). Even while his lover is asleep, he does not keep from cherishing her love. This evokes a response from the audience who realize that this person is willing to declare his love to her even though she will never know he did so. It is a remarkable action which highlights the theme and instills a serene tone.

At last we begin our analysis of the final work “Love’s Philosophy” by Percy Bysshe Shelly. This piece has a different take on love. It is not a declaration themed work like the other two mentioned. This piece focuses on the philosophy behind love, much like the title implies. From the beginning, the author wastes no time in setting up the theme of the piece. “The fountains mingle with the river and the rivers with the ocean, the winds of heaven mix forever with a sweet emotion” (Shelly 1-4). The implication is not meant to be abstract though it may appear so to some. Nature has a balance within itself. The author makes a connection between nature and the concept of love. Both require equilibrium. The vision of a river is not singular without the balance of the ocean. All things are in relation to each other. The poem is set with a didactic tone to convey a notion of love. “Nothing in the world is single, all things by a law divine” (Shelly 5-6). Yet the goal of the author is to convince the potential lover to give him a chance. “In one another’s being mingle, why not I with thine?” (Shelly 7-8). It is a unavoidable part of love to pursue someone you’re attracted to. Much like with Bradstreet and Aerosmith’s pieces, this allows the audience to relate with the concept to the very lives they live.

Although each piece has their own individual words, authors and concepts, each work relates to each other. They each have a sense of personal importance with a hint of commonality. Though they are unique stories, they can be relative to everyone who reads them or listens to them. Each declaration is based on the individual’s philosophy of what they believe love is. Set up with informative, passionate and sincere tones, each work respectively conveys their own identification of love while staying true to the basis of love’s attributes.