Monday, 26 November 2012

The Great Gatsby: Chapter Two


Chapter two is the introduction of more characters, and further insight into those that already exist...

Narrative perspectives/voices:
The chapter starts as a description of the drive between ‘West Egg and New York’, from the perspective of Nick. Part of Nick’s narration is through accounts and random ‘facts’ that he has picked up on- ‘the fact that he had one was insisted upon everywhere he was known. His acquaintances resented the fact that he turned up in popular cafes with her and leaving her at a table, sauntered about, chatting with whomsoever he knew.’- This gives the reader more insight to the characters of Tom, Myrtle (referred to as ‘her’, being Tom’s mistress), and Nick. Tom is evidently exceedingly powerful, as he overrules and disregards any negative comments against him and his ways. Myrtle is shown as more of a background character, disregarded and not introduced to ‘whomsoever he knew’, and ‘left’. With the repetition of ‘fact’, Nick is shown to be more of a weaker character, as he has to prove that his statements are true repeatedly; yet still does not have evidence to prove these points. Fitzgerald shows him to be like this, so that the reader automatically sways towards his view, but somewhat looses trust for him whilst doing this; as he does not make his ‘facts’ clear.

Time Period:
Timing in this chapter is not as frequently noted, the first mention of it is simply stating, ‘it was a few days before the fourth of July’- highlighting that Nick is likely to be concentrating on other things, like how Tom is perceived with a mistress, what Daisy’s reaction is to Tom..also reflecting on the questions in the readers’ minds.
At the party, timing passes by rapidly and inconsistently- going from ‘eight o’clock’ to ‘nine o’clock- almost immediately afterward I looked at my watch and found it was ten.’ This reflects the drunken antics that passed, and the chapter ends very suddenly and with a random finish, ‘then I was lying half asleep in the cold lower level of the Pennsylvania Station, staring at the morning Tribune, and waiting for the four o’clock train.’ As the chapter begins and ends with travelling, it makes the whole chapter seem quite distant in its relevance to the narrative; but also gives the story some vague context with its perplexing storyline, adding to the confusion of the story, but also giving it some substance and reality, and consequently making the reader’s views on each character stronger, or totally different.

Setting:
The setting is travelling to New York, the garage – described as a ‘solemn dumping ground’ ‘valley of ashes’ and ‘dismal scene’; introduced to ‘Doctor Eckleburg’s persistent stare’. After buying a dog through the ‘taxi-window’, they go to ‘the apartment’: ‘the’ shows that it must have great significance in events, or has been frequently used before- as there is no question as to which ‘apartment’ it may be. ‘The apartment’ turns out to be down ‘158th Street’. Tom gets some whisky from a ‘locked bureau door’; also showing that he must be used to the apartment, as he knows where/ how to get into bureaus... After a random series of events, Nick is found in an elevator, then he is ‘standing by his bed’, before ending up at ‘Pennsylvania Station’. This confusion of places and events gives the impression that Nick is a bit of a lightweight, confirmed with the statement ‘I have been drunk just twice in my life’.

Narrative Techniques, Elements and Themes:
Poetic prose; Use of poetic writing style- ‘when he saw us a damp gleam of hope sprang into his light blue eyes.’ The use of poetry prose makes the reader feel increasingly sympathetic for Wilson and what is happening to him unknowingly.
Descriptive detail; ‘The eyes of Doctor T.J. Eckleburg are blue and gigantic- their retinas one yard high...’
Sensual description; ‘thickish figure’ to describe Mrs Wilson’s body as Nick first sees her.
Surreal description; shown by the drunken state that Nick was in.
References; lots of references to newspapers throughout the chapter- ‘Town Tattle’ is mentioned repeatedly, and ‘Tribune’ at the end. Texts mentioned: ‘Simon Called Peter’: this could be a Biblical parallel, as ‘Simon’ means ‘reed’, whereas ‘Peter’ means ‘rock’- possibly signifying the relation between Tom, his wife and his mistress, as Simon’s transition of a changed name...Daisy became outdated, moved onto Myrtle, Myrtle repeats ‘Daisy, Daisy, Daisy...’ –significance of names....Peter also betrayed Jesus, said he didn’t even know Him 3 times.
Colloquial language; ‘he was sitting up between the sheets, clad in his underwear..’
Time references; ‘few days before the fourth of July’ ‘eight o’clock’ ‘nine o’clock- and almost immediately afterward I looked at my watch and found it was ten.’ Highlights drunkenness.
Use of names; References to ‘Simon Called Peter’ text: Biblical Parallel with names—possibly relation to Daisy, Tom and Myrtle? Peter betrayed Jesus, 3 times denial.
Language of altercation; Tom and Myrtle argue- ‘‘I’ll say it whenever I want to! Daisy! Dai-’ with a short deft movement, Tom Buchanan broke her nose with his open hand.’
Use of specific punctuation: ellipses; this highlights the fact that Nick is drunk, and does not recall a lot of the events that took place. This links to the random time references used. - ‘Beauty and the Beast...Loneliness...Old Grocery Horse...Brook’n Bridge...’
Colours; ‘ash grey men’ ‘grey cars’ ‘invisible track’ ‘grey land’ ‘bleak dust’ ‘blue and gigantic’ ‘yellow spectacles’ ‘yellow brick’ ‘light blue eyes’ ‘spotted dress of dark blue crepe-de-chine’ ‘flush in the eye’ ‘dark suit’ ‘brown washrag of a back’ ‘white sheep’ ‘red hair’ ‘cream-coloured chiffon’ ‘yellow windows’
Themes; use of colour, texts and newspapers, use of names, judgement and betrayal.  

The Great Gatsby: Chapter One


Chapter one is an introduction to most of the main characters in the narrative...
Narrative perspectives/voices:
The first character that we are introduced to is Nick; he is the narrator; and tells the story through his perspective, whilst ‘reserving all judgements’, letting the reader come to their own conclusions, supposedly. In the first chapter, the character of Nick highlights humans’ inability to not ‘criticise’ or ‘reserve all judgement’; as we clearly get a biased response on most of the characters throughout Fitzgerald’s narration through Nick- whether it be, the use of description in dialogue, ’he remarked decisively’: portraying Tom to be a firm character, quite proud and certain in his own knowledge, so potentially impudent and a threat to another character, or the lack of- ‘I’m p-paralysed with happiness’: creating the impression that Daisy is very innocent, and has no ulterior motives.

Time Period:
We are given some background to Nick; being told that he ‘graduated’ in 1915, and ‘came East’ in 1922, interestingly after the ‘Great War’. At this point, we are introduced to Nick’s house.

Setting:
Nick is staying in a ‘weather-beaten cardboard bungalow’ next to ‘Gatsby’s mansion’.
‘It was a matter of chance that I should have rented a home in one of the strangest communities in North America. It was on that slender riotous island which extends itself due east of New York – and where there are, among other natural curiosities, two unusual formations of land.’

·         Words highlighted are very peculiar to use in a description of the setting; could have another meaning: possible each summing up the outline/ progression of the story/ relationships between characters within it?
The next setting is at ‘the Tom Buchanans’; use of ‘the’ and ‘Tom’ rather than ‘family’, shows superior/ inferior roles within the marriage- could be linked to era, or reflection of the poor relationship status.

·         Tom: described as ‘powerful’ ‘accomplished’ ‘national figure’ ‘acute limited excellence’ ‘enormously wealthy’; giving the impression that he is the superior character in the Buchanan’s relationship. Immediately after, Nick makes a judgemental statement- ‘I felt that Tom would drift on forever seeking, a little wistfully, for the dramatic turbulence of some irrecoverable football game.’ Implying that there could be a foreseeable problem involving Tom and something or multiple things that he is ‘forever seeking’, but is actually ‘irrecoverable’.

·         Daisy’s character is not described at first, highlighting the dominance of Tom; and how Fitzgerald (through Nick), wants the reader to pick up on him. Nick says ‘I had no sight into Daisy’s heart’- portraying Daisy as a more mysterious character; and making Tom seem a lot more easy to read, giving the impression that this could potentially lead to his downfall.

·         Collectively, they were ‘two old friends whom I scarcely knew at all’- highlighting their flamboyant lifestyle, and possibly their lack of willingness to change- hinting that this could cause tension soon.

·         Jordan: Originally only narrated as ‘Miss Baker’, comes across quite boring- ‘completely motionless’ ‘nodded at me almost imperceptibly’- and does not have much of a role at this point.

Narrative Techniques, Elements and Themes:

Descriptive detail and writing; of Nick’s house, Gatsby himself
Sensual description; ’enormous power of that body’ ‘aggressively forward’ ‘a cruel body’ (Tom) Surreal description; of Nick’s house...’unquiet darkness’
References to; ‘a rose’ (Daisy to Nick)
Use of colours; ‘crimson room’ ‘our white girlhood was passed together there. Our beautiful white-’   ‘red petrol pumps’ ‘silver pepper of the stars’ ‘grey sun-strained eyes’ ‘red-and-white Georgian Colonial mansion’
Colloquial language; ‘we’ve got to beat them down’ (Daisy)
Time references; description of Nick’s past -1915, 1922
Use of names; Interesting: ‘the Tom Buchanans’ Miss Baker’ ‘Only Gatsby’

Monday, 15 October 2012

Pied Piper:50 lines evaluation


The Pied Piper of Hamelin is cleverly narrated using different characters’ stories, adding to the continual theme of the poem being portrayed as ‘village gossip’ and a mixed view of different people’s tales to create a remembered fictional story. Throughout the first 50 lines, it changes narrators quite frequently to keep the story flowing and set the scene. It starts off with an ‘ABABCAACCA’ pattern, alternating throughout the next stanzas; adding to the feeling of re-telling and piecing the parts of the story together, reflected by the nature of the town and its constituents- ‘the townsfolk’.

The reader receives a strong sense of community from ‘Hamelin Town’s in Brunswick’ from the first few stanzas, because the people join to a ‘body’ and solve the problem at hand. The rats are described in the second stanza; from the perspective of the annoyed people who want the problem solved. This is obvious due to the random sentences and the punctuation used at the end of lines, as if they were each quotes from different people.

The third stanza goes on to describe the mess that has been formed due to the rats, and how best go about clearing it up. ‘What’s best to rid us of our vermin!’- portrays the mutual feeling of discontent over the rats, and they decide to blame the person in power- ‘our mayor’s a noddy’. This is because they doubt his instincts and believe that the current situation is a result of poor leadership, linking to our modern society.

The fourth stanza up to line 55; is told from the point of view of the mayor. After a long ‘silence’ he decides the best thing to say at the time is that he wished he were ‘a mile hence’- highlighting his lack of authority and knowledge- giving the people more of the right to blame the mayor when the situation becomes even more out of hand further into the poem. The stanza ends with a critical few lines ‘sounding like a rat’- with ‘pit-a-pat’, ‘tap’ and the repetition of the word ‘trap’. This is soon followed by the entrance of the Pied Piper- showing his importance after this build-up, and ‘trap’ emphasizes the theory that the Pied Piper could have been an act all along- and knew that he would seek revenge in this way before he even entered with a ‘scraping’ of shoes on the mat.

Sunday, 23 September 2012

Response to narrative: Porphyria's Lover


Response to narrative: Porphyria’s Lover.

Robert Browning, author and narrator of the story, is known for his dramatic monologues in the form of poetry, and ‘Porphyria’s Lover’ is one of his well known ones. The pattern of the poem has an ‘A,B,A,B,B’ rhythm; and has four stresses to a line- known as ‘iambic tetrameter’. From the title, we gain the knowledge that Porphyria has a ‘lover’, whether that may be someone that she is having an affair with, or is a way of saying ‘wife’ in a loose context; it is not clear, so it could be either, or simply just a fling with the man describing her. The poem comes across as being very descriptive and begs a lot of questions throughout. Why does he not respond when she ‘call’d’ him? Why does she submit whilst he ‘debated’ what to do; and eventually concludes strangling her is the answer? Why is ‘God not saying a word’ relevant to how he feels? The large description associated with Porphyria about her actions, how she made him feel just by entering, how she ‘murmured’ I love you, how he uses the word ‘to-night’ gives the impression that they have a lot of confused history together. I think he is unsure of his own actions, but they both knew it would end in death eventually. He has a ‘sudden’ thought, but still ‘debates’ what to do, and they do not ‘stir’ all night; showing his content with what he has done. I think the line that sums up the whole poem is line 26; ‘but passion sometimes would prevail’...showing their relationship, why and in what way he killed her, how he can be sure that ‘she felt no pain’.

Wednesday, 12 September 2012

when I woke up, the knife was still there...

'When I woke up, the knife was still there'

As a narrative: I think that the length of this narrative does not detract at all from the overall piece, and the tension that builds up in it. The narrative does not give the reader any clues to the background/ future, leaving a lot to the reader's imafination about what has/ will happen(ed) to 'the knife.'
Analytical Break down:
As a reader: The narrative does not include; a spesific setting, character, plot, explanation or resolution; which makes it a lot harder for the reader to comprehend, as they are often used to narratives coming to a clean conclusion - rather than leaving the reader to try and imagine the stereotypical 'beginning, middle and end' that a lot of narratives posses. I think that it is good to have a change of scenery; with a narrative that is not written, but imagined - however it does help for people who like the full story (often like me) to have that.