Thursday, 25 November 2010
..............Last Lesson
So, last lesson we looked at a poem which was written from the perspective of Dracula. The poem hinted that Dracula was planning to suck the blood of another victim; the sexual language suggesting it was a women. We looked at the themes of sex and threat.
Sunday, 14 November 2010
HOW CAN YOU NOT SEE HE'S A VAMPIRE!?!?!?
Evidently, Dracula oozes strange and disturbing qualities, seen from the moment Harker lays eyes on him. He is "without a single speck of colour about him anywhere", an indicator of his deathly nature. His clothing, entirely in black, symbolises death and mourning.
Dracula's striking strength for a man of his age is repeatedly referred to; his "strong" face, "astonishingly vitality", his "broad and strong" chin, "firm cheeks" and "protuberant teeth" all create this image of supernatural power in such an old man.
An animalistic element is also illustrated through Harker's description. His "peculiarly sharp white teeth" connote canine qualities, and nails "cut to a sharp point", unmistakably resemble claws. Animals with sharp teeth and claws usually represent power and threat, an attribute reinforcing the strength of his appearance previously.
So along with, safe to say, surprising strength and animalistic qualities, the supernatural is thrown into the mix of his appearance, which would make any normal person scream VAMPIRE and scram. His hand was "more like the hand of a dead than living man", obviously showing something is a bit suspicious. The teeth again, are the attributes which suggest vampire. Teeth which protrude over the lips foreshadow Dracula's tendency to use them to suck the blood of others with. This idea is revisited when Dracula's "rank" breath make Harker shudder and feel nauseous. The concept that something is making Dracula's breath rank suggests it is something inside of him that is foul. Not only could it be what he has been eating, or "drinking", but it could suggest the dark, horrible power within Dracula.
Dracula's striking strength for a man of his age is repeatedly referred to; his "strong" face, "astonishingly vitality", his "broad and strong" chin, "firm cheeks" and "protuberant teeth" all create this image of supernatural power in such an old man.
An animalistic element is also illustrated through Harker's description. His "peculiarly sharp white teeth" connote canine qualities, and nails "cut to a sharp point", unmistakably resemble claws. Animals with sharp teeth and claws usually represent power and threat, an attribute reinforcing the strength of his appearance previously.
So along with, safe to say, surprising strength and animalistic qualities, the supernatural is thrown into the mix of his appearance, which would make any normal person scream VAMPIRE and scram. His hand was "more like the hand of a dead than living man", obviously showing something is a bit suspicious. The teeth again, are the attributes which suggest vampire. Teeth which protrude over the lips foreshadow Dracula's tendency to use them to suck the blood of others with. This idea is revisited when Dracula's "rank" breath make Harker shudder and feel nauseous. The concept that something is making Dracula's breath rank suggests it is something inside of him that is foul. Not only could it be what he has been eating, or "drinking", but it could suggest the dark, horrible power within Dracula.
Wednesday, 10 November 2010
Chapter 3: Interpreted as a dream by someone who knows nothing about interpreting dreams
"Dreams, in Freud's view, were all forms of "wish-fulfillment" — attempts by the unconscious to resolve a conflict of some sort, whether something recent or something from the recesses of the past."
So, chapter three if interpreted as a dream must represent, almost like a metaphor, the conflicts in Harker's unconscious; thoughts and feelings of experiences which have collected in his unconsciousness and are shown through a dream. However as according to Freud these dreams are distorted and warped, we have to almost 'decode' the dream to see what it represents.
At the beginning of the chapter, Harker realises he is "a prisoner" trapped inside the castle. Dreaming of being trapped coincides apparently with being trapped within your mind, in Harker's case, being held captive by his own stubbornness; to stubborn to lose his Victorian scientific mindset and grasp hold of all the hints of the supernatural surrounding him, warning him to the sheer danger he is in and the true nature of Dracula.
Proceeding this is his talk with Dracula about the history of Transylvania, which if dreaming the conversation, could be Harker's unconsciousness finally grasping hold of all the hints and warning him that Dracula is a vampire. Despite his scepticism of the supernatural previously, subtle hints are woven into the conversation; Dracula talking about historical battles "as if he had been present at them all" hints at his immortality, and how "anything on which he laid his hands" he could "crush it by main strength" suggests the inhuman strength of a vampire. Harker seems distant to these notions, yet his unconsciousness is subtly revealing them in a dream.
The obsession with science in the Victorian era could be projected through Harker's 'dream'. His comfort in the crucifix is pragmatic; "conveying memories of sympathy and comfort" rather than religious, even when the supernatural is blatantly present, with mentions of "the devil" from Dracula. Reinforcing Harker's classic Victorian obsession with science is his use of shorthand to try and confuse Dracula, his unconscious showing how in face of the supernatural, Harker would always try and battle 'magic' with science.
If chapter three is a dream, then the incident with the three female vampires may be a dream within a dream; "I must have fallen asleep", and in that case Harker's unconsciousness will be in hyperdrive. One interpretation may see the erotic succumbing of Harker to the three women as purely a male fantasy of three beautiful women dominating one man, which any Victorian male would probably dream about. However there are other reasons why Harker's unconsciousness may provide this dream.
The dream depicts human sexuality as something to be feared, and even condemned, as the dream has the shocked tone of a guilty confession. By being lured by these three women (who immediately resemble the irresistibly of the mythological Greek sirens, who fatally lure men to them), Harker is almost masochistic, as he is full aware of the danger being "kissed" by one of them brings. Sexual desire is described as "wicked", and along with the "longing" brings a "deadly fear". This could be showing Harker's typically Victorian fear of sexuality, yet at some points he doesn't seem at all fearful of his sexuality. He waits in "languorous ecstasy" to be "kissed" by the vampire, showing he is not fearful, however this "delightful anticipation" is agony for him, therefore he knows it is wrong.
Not only this, but female sexuality could be seen through Harker's dream not be feared, but to be despised, as it is both "thrilling and repulsive". If Harker is unconsciously dreaming erotically of women, maybe he secretly desires for them, but knows society at the time deemed it "repulsive"? Whatever the reason, it is clear that Harker does feel guilty, as when he imagines women in the room "sad for their men folk away in the midst of remorseless wars" his unconscious brings forth the image of his fiancee, Mina, ignorant to the desire Harker feels for the vampires. Therfore even right at the start the dream foreshadows guilt with what is about to happen.
The fact that Harker is on the brink of consciousness in his dream at the time he encounters his sexuality suggests reduced responsibility, and that his unconscious is deeming sexual desire irresponsible and weak.
So, chapter three if interpreted as a dream must represent, almost like a metaphor, the conflicts in Harker's unconscious; thoughts and feelings of experiences which have collected in his unconsciousness and are shown through a dream. However as according to Freud these dreams are distorted and warped, we have to almost 'decode' the dream to see what it represents.
At the beginning of the chapter, Harker realises he is "a prisoner" trapped inside the castle. Dreaming of being trapped coincides apparently with being trapped within your mind, in Harker's case, being held captive by his own stubbornness; to stubborn to lose his Victorian scientific mindset and grasp hold of all the hints of the supernatural surrounding him, warning him to the sheer danger he is in and the true nature of Dracula.
Proceeding this is his talk with Dracula about the history of Transylvania, which if dreaming the conversation, could be Harker's unconsciousness finally grasping hold of all the hints and warning him that Dracula is a vampire. Despite his scepticism of the supernatural previously, subtle hints are woven into the conversation; Dracula talking about historical battles "as if he had been present at them all" hints at his immortality, and how "anything on which he laid his hands" he could "crush it by main strength" suggests the inhuman strength of a vampire. Harker seems distant to these notions, yet his unconsciousness is subtly revealing them in a dream.
The obsession with science in the Victorian era could be projected through Harker's 'dream'. His comfort in the crucifix is pragmatic; "conveying memories of sympathy and comfort" rather than religious, even when the supernatural is blatantly present, with mentions of "the devil" from Dracula. Reinforcing Harker's classic Victorian obsession with science is his use of shorthand to try and confuse Dracula, his unconscious showing how in face of the supernatural, Harker would always try and battle 'magic' with science.
If chapter three is a dream, then the incident with the three female vampires may be a dream within a dream; "I must have fallen asleep", and in that case Harker's unconsciousness will be in hyperdrive. One interpretation may see the erotic succumbing of Harker to the three women as purely a male fantasy of three beautiful women dominating one man, which any Victorian male would probably dream about. However there are other reasons why Harker's unconsciousness may provide this dream.
The dream depicts human sexuality as something to be feared, and even condemned, as the dream has the shocked tone of a guilty confession. By being lured by these three women (who immediately resemble the irresistibly of the mythological Greek sirens, who fatally lure men to them), Harker is almost masochistic, as he is full aware of the danger being "kissed" by one of them brings. Sexual desire is described as "wicked", and along with the "longing" brings a "deadly fear". This could be showing Harker's typically Victorian fear of sexuality, yet at some points he doesn't seem at all fearful of his sexuality. He waits in "languorous ecstasy" to be "kissed" by the vampire, showing he is not fearful, however this "delightful anticipation" is agony for him, therefore he knows it is wrong.
Not only this, but female sexuality could be seen through Harker's dream not be feared, but to be despised, as it is both "thrilling and repulsive". If Harker is unconsciously dreaming erotically of women, maybe he secretly desires for them, but knows society at the time deemed it "repulsive"? Whatever the reason, it is clear that Harker does feel guilty, as when he imagines women in the room "sad for their men folk away in the midst of remorseless wars" his unconscious brings forth the image of his fiancee, Mina, ignorant to the desire Harker feels for the vampires. Therfore even right at the start the dream foreshadows guilt with what is about to happen.
The fact that Harker is on the brink of consciousness in his dream at the time he encounters his sexuality suggests reduced responsibility, and that his unconscious is deeming sexual desire irresponsible and weak.
Monday, 8 November 2010
Reasons why chapter 1 is so very dull
Stockers use of versimilitude: suspending disbelief
The note at the beginning of the novel claims the text is 'simple fact'. The technical language claims the proceeding work is a collection of non-fiction texts that has been put into order; initially leading the reader to believe it is true and suspend belief.
Chapter 1 begins as any normal journal would, with normal, bland entries; complaining about train punctuality and meals, all of which could be real. The mention of familiar, real places such as 'London', 'The British Museum' and the 'Carpathian Mountains' sets the story firmly in reality; there is no course for disbelief. Even the mention of the only fictional place, 'Castle Dracula, is defended by claiming it isn't on any 'Ordinance Survey maps'- which it isn't- again smoothly turning fiction into having the appearance of reality.
Our narrators sceptism of anything partially supernatural is also addressed, by refering superstition to an 'imaginative whirlpool', disregarding the supernatural and creating a normal, believable (or not unbelievable) character.
The stress of reality is reinforced, as when Stoker subtly drips hints of the supernatural and fear; women crossing themselves and the supersitions surrounding St Georges Day, Harker considers it all 'ridiculous'. This undermines any sense of the supernatural, and so calling still for no disbelief.
Even when describing the very supernatural events in the coach driven by a wolf controlling vampire, Stolker still insists on claiming reality, as Harker stresses how he was not drunk and in a fit state of mind, warning the reader although it may sound odd, your disbelief is still suspended.
The note at the beginning of the novel claims the text is 'simple fact'. The technical language claims the proceeding work is a collection of non-fiction texts that has been put into order; initially leading the reader to believe it is true and suspend belief.
Chapter 1 begins as any normal journal would, with normal, bland entries; complaining about train punctuality and meals, all of which could be real. The mention of familiar, real places such as 'London', 'The British Museum' and the 'Carpathian Mountains' sets the story firmly in reality; there is no course for disbelief. Even the mention of the only fictional place, 'Castle Dracula, is defended by claiming it isn't on any 'Ordinance Survey maps'- which it isn't- again smoothly turning fiction into having the appearance of reality.
Our narrators sceptism of anything partially supernatural is also addressed, by refering superstition to an 'imaginative whirlpool', disregarding the supernatural and creating a normal, believable (or not unbelievable) character.
The stress of reality is reinforced, as when Stoker subtly drips hints of the supernatural and fear; women crossing themselves and the supersitions surrounding St Georges Day, Harker considers it all 'ridiculous'. This undermines any sense of the supernatural, and so calling still for no disbelief.
Even when describing the very supernatural events in the coach driven by a wolf controlling vampire, Stolker still insists on claiming reality, as Harker stresses how he was not drunk and in a fit state of mind, warning the reader although it may sound odd, your disbelief is still suspended.
Wednesday, 3 November 2010
Doctor Faustus as a Gothic Text
So, I thought the best way to do this was to look at all the elements of the Gothic we wrote down at the beginning of the year, and then go on the internet to look up some more aspects of the Gothic which could be relevant, and then see if Doctor Faustus fulfills these elements.
Probably the most prominent aspect of the Gothic is that all the action takes place at night, which is definatly true in Doctor Faustus. He conjures Mephastopheles in "the gloomy shadow of the earth", and then is taken to Hell at midnight.
The aim of the Gothic is to induce fear in the audience, which Faustus' last scene visibly does. Faustus' panic and the suspense of his final speech while he waits for his impending doom would inflict fear; added the combination of "thunder and lightening" and a variety of devils dragging a man to Hell, this scene could be said to arouse fear. Lucifer's physical appearance according to the text is scary also, as he "look'st so terrible", clearly scaring Faustus, and therefore us.
However, Faustus's mocks Mephastopheles and Hell (Hell being to the audience, the scariest thing of all) throughout the play, this could undermine the fear factor of the play. The threat of entering a place where people are "tortured and remain for ever" should induce fear to the audience, however Fautus immediatly banishes all fear by claiming "hells a fable". If Faustus isn't scared throughout the play, why should the audience be? Unless Marlowe is playing on the mindset of the audience using dramatic irony, as they know what Faustus fate will be, even if he doesn't, so they can watch the play with the suspense hanging over them which would induce fear.
There is a fascination with the past, as many Ancient Greek references are used throughout the play, the "waxen wings" of Icarus, a Greek Myth, and the appearance of Helen of Troy. Also, the repetative use of Latin shows a fascination with medieval past.
The supernatural is an important element of the Gothic, and this theme surrounds Doctor Faustus. Necromancy, Devils, magic (turning invisible), Heaven and Hell are all aspects of the supernatural, and all drive the plot, therefore Fautus complies with this element of the Gothic.
Sexuality can be seen as an element of the Gothic, and although it is not a major factor in Doctor Faustus, Marlowe still manages to squeeze in a desire for Helen of Troy, who is raised by dark forces, again proving how Doctor Faustus is a Gothic text.
The Gothic tends to also try and unveil the the horrific aspects of human nature. Nothing can be more horrific than selling your soul to the devil for power, allowing yourself to descend to Hell for a few years of power, another Gothic tendancy of Doctor Faustus.
Probably the most prominent aspect of the Gothic is that all the action takes place at night, which is definatly true in Doctor Faustus. He conjures Mephastopheles in "the gloomy shadow of the earth", and then is taken to Hell at midnight.
The aim of the Gothic is to induce fear in the audience, which Faustus' last scene visibly does. Faustus' panic and the suspense of his final speech while he waits for his impending doom would inflict fear; added the combination of "thunder and lightening" and a variety of devils dragging a man to Hell, this scene could be said to arouse fear. Lucifer's physical appearance according to the text is scary also, as he "look'st so terrible", clearly scaring Faustus, and therefore us.
However, Faustus's mocks Mephastopheles and Hell (Hell being to the audience, the scariest thing of all) throughout the play, this could undermine the fear factor of the play. The threat of entering a place where people are "tortured and remain for ever" should induce fear to the audience, however Fautus immediatly banishes all fear by claiming "hells a fable". If Faustus isn't scared throughout the play, why should the audience be? Unless Marlowe is playing on the mindset of the audience using dramatic irony, as they know what Faustus fate will be, even if he doesn't, so they can watch the play with the suspense hanging over them which would induce fear.
There is a fascination with the past, as many Ancient Greek references are used throughout the play, the "waxen wings" of Icarus, a Greek Myth, and the appearance of Helen of Troy. Also, the repetative use of Latin shows a fascination with medieval past.
The supernatural is an important element of the Gothic, and this theme surrounds Doctor Faustus. Necromancy, Devils, magic (turning invisible), Heaven and Hell are all aspects of the supernatural, and all drive the plot, therefore Fautus complies with this element of the Gothic.
Sexuality can be seen as an element of the Gothic, and although it is not a major factor in Doctor Faustus, Marlowe still manages to squeeze in a desire for Helen of Troy, who is raised by dark forces, again proving how Doctor Faustus is a Gothic text.
The Gothic tends to also try and unveil the the horrific aspects of human nature. Nothing can be more horrific than selling your soul to the devil for power, allowing yourself to descend to Hell for a few years of power, another Gothic tendancy of Doctor Faustus.
Sunday, 17 October 2010
The Devil Lies
My little passage at the end of a text was basically a summary of the B text; which I didn't know, so I just wrote a whole blog on how the passage was inccacurate and glamourising the story, but then someone kindly pointed out that the passage was all the B text so it was accuarate, just a slightly different story, so I don't have much time to write a new one so it's not amazing but you know.......
"The Devil, for his part, would agree:
-to serve Dr. Faustus for as long as he shall live
- to provide Dr. Faustus with whatever information he might request
-never to utter an untruth to Dr. Faustus."
However, the Devil lied. He claimed to serve Faustus, yet all he seems to provide Faustus with is a book. When Faustus asked for a wife, he recieved a "whore" instead, and Mephastophiles answers some of Fautus' questions vaguely.
So, is the Devil just living up to his expectations.
The bible says that the Devil is the "father of lying"
" there is no truth in him. When he speaketh a lie, he speaketh of his own: for he is a liar, and the father of it" (the bible)
So the Devil was already percieved a liar, so surely Faustus who "hath attained the end" of knowledge about religion would be aware of it?
"The Devil, for his part, would agree:
-to serve Dr. Faustus for as long as he shall live
- to provide Dr. Faustus with whatever information he might request
-never to utter an untruth to Dr. Faustus."
However, the Devil lied. He claimed to serve Faustus, yet all he seems to provide Faustus with is a book. When Faustus asked for a wife, he recieved a "whore" instead, and Mephastophiles answers some of Fautus' questions vaguely.
So, is the Devil just living up to his expectations.
The bible says that the Devil is the "father of lying"
" there is no truth in him. When he speaketh a lie, he speaketh of his own: for he is a liar, and the father of it" (the bible)
So the Devil was already percieved a liar, so surely Faustus who "hath attained the end" of knowledge about religion would be aware of it?
Wednesday, 13 October 2010
Faustus' last monologue
The length of the monologue creates the dramatic effect of building up tension. It may be painful to watch Faustus' anguish for the sustained period of time, and when the devils finally arive the audience may be relieved that they don't have to share Fautus' fear any longer.
There is no longer any doubt of belief with Fautus, as he is finally well aware of the consequences of his contract, and the reality of hell. He no longer believes that "hell's a fable", and realises his soul "must live still to be plagues in hell", forever.
Throughout the speech, his mind fluctuates as to whom to blame, and who to turn to to help him. First he calls to Christ; "Ah, my Christ!", and then immediatly changes to Lucife; "O, spare me Lucifer", which probably is the reason God is so angry and wants Faustus to feel his "heavy wrath".
Despite claims earlier in the play that hell was only a state of mind, hell, or the devils seem to have control over him, and prevent him from appealing to Christ. Comments from Faustus suggest devils are already over him before his time is up;
"O, he stays my tongue! I would lift up my hands, but see, they hold them" = devil stops him praying.
"O I'll leap up to my God! Who pulls me down?" = devil stops him getting to God.
"Ah my Christ! Ah, rend not my heart for naming of my Christ!" = devils try and pull out his heart.
There is no longer any doubt of belief with Fautus, as he is finally well aware of the consequences of his contract, and the reality of hell. He no longer believes that "hell's a fable", and realises his soul "must live still to be plagues in hell", forever.
Throughout the speech, his mind fluctuates as to whom to blame, and who to turn to to help him. First he calls to Christ; "Ah, my Christ!", and then immediatly changes to Lucife; "O, spare me Lucifer", which probably is the reason God is so angry and wants Faustus to feel his "heavy wrath".
Despite claims earlier in the play that hell was only a state of mind, hell, or the devils seem to have control over him, and prevent him from appealing to Christ. Comments from Faustus suggest devils are already over him before his time is up;
"O, he stays my tongue! I would lift up my hands, but see, they hold them" = devil stops him praying.
"O I'll leap up to my God! Who pulls me down?" = devil stops him getting to God.
"Ah my Christ! Ah, rend not my heart for naming of my Christ!" = devils try and pull out his heart.
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