Genesis

Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
If all time is eternally present
All time is unredeemable.

Hamlet is art, art can't be interpreted. (Supposedly).  But it can be criticized, and this process can be perpetuated only by our individual capability to conceptualize art, or interpretation or critique. It consequently becomes task with no purpose, giving up on subjectivity.  That would definitely be vague, and therefore, somewhat lazy. Personally I despise that type of individual, position is eternal, even if its rampant and obnoxious. I am afraid of pushing my philosophical blogging towards a morale manifesto, but I guess that is fine as well. Freud and Elliot both did not stand on subjectivity, and that became a factor which followed their success, and that is fine as well. Burnt Norton stood, Introduction to Psychoanalysis stood,  Hamlet, stood. Cut me some slack, I am trying to find a higher truth here, just like Mr. Elliot did on time in the fragment presented above. 

The thing is, truth is an "stratification", a infinite "superposed" concept. We go back to time, to light. Darkness is the absence of light, false is the absence of truth. This means, there is light in darkness due the fact that dark becomes a derivative, a part of light as a whole. The same happens with truth, with time. Here is when God comes in, the presence and non-presence of everything, truth is everything, and its nothing. Hamlet, Hamlet is Goethe, Hamlet is Oedipus, Hamlet is Shakespeare and Shakespeare is Hamlet. Hamlet is eternity, beyond an interpretation, a critique, Hamlet is an expression of contraction in humanity.


Alpha, Omega, Hamlet is in the club. Hamlet separated from subjectivity, the lousy relativity.

Oedipus Rex

Neurosis: A relatively mild mental illness that is not caused by organic disease, involving symptoms of stress (depression, anxiety, obsessive behaviour, hypochondria) but not a radical loss of touch with reality.
http://www.oxforddictionaries.com/definition/neurosis

Neurasthenia: An ill-defined medical condition characterized by lassitude, fatigue, headache, and irritability, associated chiefly with emotional disturbance.
http://www.oxforddictionaries.com/view/entry/m_en_us1271108#m_en_us1271108\

Exhibitionism:

Extravagant behavior that is intended to attract attention to oneself  Psychiatrya mental condition characterized by the compulsion to display one's genitals in public.  http://oxforddictionaries.com/view/entry/m_en_us1245518#m_en_us1245518 Loathing:  feeling of intense dislike or disgust; hatred http://oxforddictionaries.com/view/entry/m_en_us1422180#m_en_us1422180 Feigned: Simulated or pretended; insincere: http://oxforddictionaries.com/view/entry/m_en_us1418230#m_en_us1418230

Dream:

a series of thoughts, images, and sensations occurring in a person's mind during sleep:I had a recurrent dream about falling from great heights [in singular] a state of mind in which someone is or seems to be unaware of their immediate surroundings:he had been walking around in a dream all day a cherished aspiration, ambition, or ideal:I fulfilled a childhood dream when I became champion the girl of my dreams [as modifier] :they'd found their dream home an unrealistic or self-deluding fantasy:maybe he could get a job and earn some money — but he knew this was just a dream a person or thing perceived as wonderful or perfect:her new man's an absolute dream it was a dream of a backhand she‘s a couturier’s dream http://oxforddictionaries.com/view/entry/m_en_us1242023#m_en_us1242023

Tempo Crescendo

Emptiness is so fulfilling...

Act 3 Scene 1

In the most hedonistic of the ways, off course. (Ive been on it, believe me.)

"To be or not to be": word-based analysis is only plausible by grammatical basis, according to Jem Bloomfield; "The form of words guarantees that Hamlet’s question will be interpreted on a general level: the line uses one of the most basic verbs in the language, one without which English itself would surely be impossible to speak. The verb is then phrased in the infinitive, “to be”, rather than attaching it to any specific noun or pronoun (not even Hamlet’s own “I”). Balancing it on the other side of “or” is the simplest possible opposition, the same verb with a one syllable prefix: “not”."  Thank you Jem,  I suppose it cant be braked down better. Shakespeare reduces English to its simplest form, opening therefore a tremendous, abstract (tedious) gap in any kind of interpretation, oblique in its essence.

Feeding my nonconformity, I would like to respectfully address Shakespeare's soliloquy with a philological counterargument, aided by my good friend Frederich Nietzsche on its text "On Truth and Lies in a Nonmoral Sense"; "Every word immediately becomes a concept, inasmuch as it is not intended to serve as a reminder of the unique and wholly individualized original experience to which it owes its birth, but must at the same time fit innumerable, more or less similar cases—which means, strictly speaking, never equal—in other words, a lot of unequal cases. Every concept originates through our equating what is unequal." To be as "not to be" are concepts, solemn perceptions subject to ones critique, they end up being just that, a partial truth. Consequently forming a pseudo-oxymoron when placed parallel to each other, producing a "metaphysical" response reaction to a dialectical foundation, a corroborated truth which is a sum of two lies.

In conclusion, the actual question does not provide an objective underlined meaning by itself, meaning its usage relies entirely on context, which is fairly poetic, even more in Hamlet where romanticism is subject to this kind of adornments. Alienation issues and emotional crises of the main character, that is.  

 Take that "To be or not to be".

 High five Nietzsche. 

 
To Be Or Not To Be: An Analysis of Hamlet's Famous Soliloquy http://www.suite101.com/content/to-be-or-not-to-be-a32234#ixzz12rvGhBhE

Exercise: Passive Voice

- The statue is being visited by hundreds of tourists every year.

Hundreds of tourists visit the statue every year.

- My books were stolen by someone yesterday.

Someone stole my books yesterday.

- These books had been left in the classroom by a careless student.

A careless student left these books in the classroom.

- Coffee is raised in many parts of Hawaii by plantation workers.

Plantation workers raise coffee in Hawaii.

- The house had been broken into by someone while the owners were on vacation.

Someone broke into the house while the owners were on vacation.

- A woman was being carried downstairs by a very strong firefighter.

A very strong firefighter carried the woman downstairs.

- The streets around the fire had been blocked off by the police.

The police blocked off the streets around the fire.

- Have you seen the new movie that was directed by Ron Howard?

Have you seen the new movie directed by Ron Howard?

- My car is in the garage being fixed by a dubious mechanic.

A dubious mechanic is fixing my car in the garage.

10. A great deal of our oil will have been exported to other countries by our government.

Our government will have exported a great deal of our oil to other countries.

B for Bendetta on Star Trek

After finding myself somewhat clueless when attempting to execute a decent comparison between two of Hamlets soliloquies, I decided I was going to turn to the pros, and by turning to the pros it was necessary to go back to the Basics. 

I'm talking about Patrick Stewart.   

I can predict what your thinking, YOU think, that I'm turning to good ol' Patrick just because he was Jean-Luc Picard, or just because he was good ol' Xavier. And I cant deny, this guy has something going on for wisdom, I mean, he is always the smart ass elder who shuts everybody up or its the dude that everybody turns to for advices, while still able to hold his modesty by having a day just for him. (Note min. 1:55). As some Star Trek geek once said about Captain Picard: "Picard is deemed the ultimate delegator of authority, knowing how to gather and use data better than any other Star Trek captain. His leadership style is best suited to a large, process-centric, either geographically identical or diverse team." Wow, Paul Kimberly and David R. Webb, wow. you really have something going on for ol' Picard, I mean, you wrote and ENTIRE serious PAPER about it! (Please note their pictures at the bottom of the page.)

Well, yes I must admit I've been influenced to a certain extent by this factor, but the real reason for which I am turning to Mr. Stewart  in this occasion is simply because he is a prodigious actor and an active participant of The Royal Shakespeare Company. This man has played various astounding roles in many adaptations of Shakespeare's plays, being in over 60 productions of just Shakespeare. Casually, he also played Claudius in the 2008 Hamlet adaptation were David Tennant is the main role. The Hamlet in the soliloquy of Act. 2 Scene. 2. I personally would agree that Mr. Stewart would be very pleased with Tennants performance, since despite being obnoxiously modern, it conveys a fruitful piece of alternative focus. Tennants Hamlet is exquisite and obscene, a definite breakthrough in drama. Mr. Stewart must know, since the man itself was the leading role of a "photo negative" adaptation of Othello in 1997, in which an all-black cast contrasted with white Othello, being an extremely vivacious racial-bending approach to Shakespeare. In parallelism, Kenneth Brangh's Hamlet is much more conservative, despite being extraordinarily expressive, focusing more in performance than props. Mr. Stewart would not appreciate it as much, (he would), I just want to pretend that he wouldn't. Either way, both performances are astounding and impressive, each having secular and juxtaposing notabilities.

As a proof and as my inspiration, I would like to present to you one of many prolific Mr. Estewart's performances, in this occasion performing a soliloquy. Mr. Stewart also turned to the very basics, but recalling his snobbish spiritual self, I think this simplistic piece of art holds unimagined sights of lucidity. Or meth addiction. 

(I would like to clarify that by no means I would like to be considered a Star Trek geek or freak or wathever.)
   
   

"A Memorable Equinox"

 

Striking details turn Krapp's Last Tape into a worthy piece of psychological internalization. The symbols at the beginning of the play are intended to drive the viewers attention towards the man and his particular state of mind. The banana, which is commonly referred as a sweet, tropic fruit can be often be interpreted as happiness, yellow as a jolly color, its condition is universally accepted as being enjoyable. However, Krapp completely diminishes its meaning in less than two minutes, diverting its image into a disgusting element of desperation, restlessness. A more pictorial communication is achieved in the filmed play, since this single detail introduces the viewer into Krapp, a consolidated image of madness can be perceived by Krapp trashing completely this symbol. A more comprehensive understanding of the tape is achieved when being exposed to preluding scenes as these ones. 

The second "big" symbol is the boxes, the film focuses on the objects brought by Krapp after the banana scene, the first one being a set of vintage boxes and the second being the actual tape. A three minute segment shows Krapp handling the boxes, apparently looking for something. In Krapp's emotional scale its the first time a certain feeling of satisfaction is perceived by the viewer, by no special factor, just a set of boxes. Perhaps the importance of such insignificant symbol is that is the last considerable drive of attention from Krapp before focusing on the tape, and also, a breakthrough in Krapps interior, what can be judged from a elder who finds satisfaction in counting boxes? The interesting part is that at the end of this sequence of events, Krapp ends shoving the boxes from the table, a prolific ending point indeed.

From looking at these two minor symbols, one can conclude that the image striking in film is much stronger than in writing, or at least, more direct. Personally these two images introduced me to the general play, and were big motivators to "Krapp understanding". Despite being considerably less important to the overall meaning of the play, they constitute a strong presence in the viewers notion. 

Getting away from plain interpretation, I found myself really intrigued by some of the quotes in the tape, since it hugely juxtaposed the overall setting of the play, it was really sarcastic in a way, since in theory the objectives in a film are to portray images, but in the play, the true image provenience came from the tape, a voice, sound. I reiterate, I want to get away from plain interpretation, I mean, everybody knows Hamlets plot, but not everybody knows how to understand it, you know what I mean? I mean, everybody knows Krapp's last tale, but not everybody knows Krapp. I'm confused with myself by now.

-"Memorable Equinox"

-"Farewell to love" 

From a broad interpretation, the viewer (I) can assume a dismal perspective of the past, a fluctuated presented that is nurtured by better times. These are from the first quotes in the play, which come up strong. 

I want to quote the next paragraph entirely since I think it constitutes as the most important passage of the play, for being the most shocking, the most vivid and cruel portrayal of Krapps past, not Krapp as a character. It embraces entirely the conceptual truth of Krapps thought since it comes from the tape, and also directs to the tragedy of the self as a whole: 

 To drink less, in particular. (Brief laugh of Krapp alone.) Statistics. Seventeen hundred hours, out of the preceding eight thousand odd, consumed on licensed premises alone. More than 20%, say 40% of his waking life. (Pause.) Plans for a less . . . (hesitates) . . . engrossing sexual life. Last illness of his father. Flagging pursuit of happiness. Unattainable laxation. Sneers at what he calls his youth and thanks to God that it's over. (Pause.) False ring there. (Pause.) Shadows of the opus . . . magnum. Closing with a --(brief laugh)--yelp to Providence. (Prolonged laugh in which Krapp joins.) What remains of all that misery? A girl in a shabby green coat, on a railway-station platform? No?

I couldn't help on feeling a little unmotivated about life, since, in a way, this could be your life, a mediocre configuration of statistics and shattered hopes, a couple of memoirs of some chick called Byanca and another one which you cant really recall her name. I cant help feeling each one of us are a little Krapp, a freaky old fella with an exemplary remembrance of the past. Definitely, the play is a sick and unmotivated psychological internalization, pure scorn.

What remains of all that misery?

A memorable Equinox 

 

Article

-There are different types of affliction from reader to reader, but truly, the mother of all afflictions is laziness. And the only way to cure it is throughout discipline.

-There is no such thing as discipline.
-What?
-There is love, love for reading, there is no hate for reading and then analyzing from an unconscious state, there is no meaning. And no result. For example, you have love for burgers or for abs, more love for one of the two, no discipline really, no discipline in the picture.
-Oh...  


One insight made by Mrs. Chung really took my attention, and that was the reiteration of the craft and style of the novel, where Fitzgerald is able to make such fine a piece of a Hitchcock murder sequence with a relative simple structure, as said before in a The Road analysis, Gatsbys narration captures the magic of "setting descriptions to evoke complex emotions". Just as McCarthy, but with greater wit.

Overall, the article was beneficial on boarding a simple readers perspective, making it entertaining and informative. 

Images

He squatted and scooped up a handful of stones and smelled them and let them fall clattering. Polished round and smooth as marbles or lozenges of stone veined and striped. Black disclets and bits of polished quartz all bright from the mist off the river. The boy walked out and squatted and laved up the dark water.

One relevant aspect from The Road which may often be overlooked is imagery. McCarthy utilizes a concise and objective narrative which helps images to be more vivid and flagrant. According to this perspective, metaphysical reflections convey from these images, since the short direct descriptions tend to reflect more an idea than a simple sequence of events. In the passage below, when the events are taking place the following excerpt stands out from the context, serving as an interpretation for a deeper meaning of the actual road deviation: "They came upon the road unexpectedly and he stopped the boy with one hand and they crouched in the roadside ditch like lepers and listened. No wind. Dead silence." The mans state of vulnerability can be seen past the passage. Being evident the position in which he is encountered with no wind and no sounds, a pseudo emptiness I would say.

They moved on east through the standing dead trees. They passed an old frame house and crossed a dirt road. A cleared plot of ground perhaps once a truckgarden. Stopping from time to time to listen. The unseen sun cast no shadow. They came upon the road unexpectedly and he stopped the boy with one hand and they crouched in the roadside ditch like lepers and listened. No wind. Dead silence. After a while he rose and walked out into the road. He looked back at the boy. Come on, he said. The boy came out and the man pointed out the tracks in the ash where the truck had gone. The boy stood wrapped in the blanket looking down at the road.

What does a scanner see? Into the head? Into the heart? Does it see into me? Clearly? Or darkly?

Ive always had a fascination with apocalypse, some way or another individuals tend to push themselves towards to these wicked interests...(sex, death, violence, psychedelia..) Currently, I'm not that really into it as before, but I recall having serious psychological issues at the ages of 10 to 12 thanks to this fetish. Reading McCarthys novel and all the post-apocalyptic embroidered setting I couldn't help the feeling again, the bizarre excitement that it produced.  Although The Road is not a dystopia, some characteristics in its narration make a comprehensible resemblance to the whole futuristic degradation of reality, along with some philosophical underlying meaning: 

"What is this place, Papa?
It’s the house where I grew up.
The boy stood looking at it. The peeling wooden clapboards were largely gone from the lower walls for firewood leaving the studs and the insulation exposed. The rotted screening from the back porch lay on the concrete terrace…. This is where we used to have Christmas when I was a boy."

 

There's a movie I really like and its called A Scanner Darkly http://www.rottentomatoes.com/m/scanner_darkly/. Its affiliation to the novel can be made throughout their main characters, Fred and the man, respectively. I thought of the same type of mental alienation and functionality for both characters, since both motives are alike in the sense that both rise from the decadent reality they live in. Fred from the imminence ofsubstance D and the man from the harsh condition he lives and the responsibility to save his son. There is always an over understood feeling that "happily ever after" for these characters is not a possibility, meaning that an unhealthy curiosity for armageddon to happen lies within the reader, or in this case myself.

"Uruguayan Air Force Flight 571"

Cannibals

"They came shuffling through the ash casting their hooded heads from side to side. Some of them wearing canister masks. One in a biohazard suit. Stained and filthy. Slouching along with clubs in hands, lengths of pipe…. Then he heard on the road behind them what sounded like a diesel truck…. The truck had rumbled into view. Men standing in the bed looking out…. The truck passed on and the black diesel smoke coiled through the woods. Lumbering and creaking like a ship."

An important element played by McCarthy in The Road is cannibalism. Used mainly as form of ornament in order to embellish the whole setting, consequently producing an enhanced feeling of paranoia throughout the novel.

A famous contemporary episode of cannibalism was in the Uruguayan flight disaster in 1972, where a plane carrying forty-five people crashed in the middle of the Andes, in the border between Chile and Argentina. After the death of almost one quarter of the passengers due the crash and several avalanches, the survivors ran out of supplies and had to take the gruesome decision of eating the meat of their comrade corpses. Most of them where their team mates since a rugby team was traveling on the airplane, reflecting the radical physical transgression the survivors where going through. All morality is gone, and reflecting on a Darwinism regression enters a superfluous state. However, surviving is not wrong. 

Cannibalism is not considered a mental disorder by the American Psychological Association (APA).

Why does society condemn this conduct so fiercely?

NA Way

There was once a worthy urban knight,
he was feeling alright, with some spliff in his thighs,
ready to win some dough, trying to keep it low
he didnt know, hittin' the club would be a very big no,
mainly due desintiny, a big form of felony,
this is of yet of no matter, no matter,
he proceeded to take his Escallade and his jacket,
being in no time all set and ready,
he drove the night, unconscious and racy 

The pack was waiting,
for some party, wild and crazy,
he gave the bouncer a sudden innuendo,
but the reality was he was playing nintendo,
meaning he entered easily,
"tonight it will be nice and easy"
he was dancing, bottle poppin'
it was all pretty, no secret pockets
everybody was buying what he wanted,
big money just for himself, the real omen

"I found me some quality stuff"
"I bet you did, it looks like some rush"
Take a sample, no need to pay me this time,
just maybe, you could hit me up with some beer and lime,
greed, oh greed,
it takes all it needs,
some pills, in his lime flavored beer,
where placed by this Bill
which this worthy urban knight trusted
I mean, he gave him stuff with and did not taunter

Anyway, the night flew,
and the knight would never knew,
Bill, his beloved brother
finally took his pride one way or the other.

Leonore

Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; - vainly I had sought to borrow
From my books surcease of sorrow - sorrow for the lost Lenore -
For the rare and radiant maiden whom the angels name Lenore -
Nameless here for evermore. 

A horrifying Terpsichore consumes the entire poem narration, revolving in some way or another always around the symbol of Leonore. It is important to realize that the alleged motivator of the poem was her in the first place, meaning that her presence encapsulates the "sorrow", the overall "bleak" feeling of the text.

And the only word there spoken was the whispered word, "Lenore?"
This I whispered, and an echo murmured back the word, "Lenore!" -
Merely this, and nothing more. 

Continuously throughout some form of repetition Poe reiterates the presence of Leonore, and in peculiar kind of rising action, he portrays a feeling of remorse and desperation.  

Then methought the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose footfalls tinkled on the tufted floor.
"Wretch," I cried, "thy God hath lent thee - by these angels he hath sent thee
Respite - respite and nepenthe, from thy memories of Lenore:
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!"
Quoth the Raven, "Nevermore." 

The authors state is deplorable, and the need for nepenthe symbolizes the crucial emotional weight held by the author due the loss of Leonore. Her memories, his despair.

Radix malorum est Cupiditas.

333 My theme is alwey oon, and evere was --
My theme is always the same, and ever was --

334 Radix malorum est Cupiditas.
'Greed is the root of all evil.'

 
















The guy's an ace, he really is.
Perhaps the “corny ale”, the cold. Hes eyes were break dancing, I swear.
Hes here for gluttony, or somethin. I think he is kind of a queer too, clever as hell, I was about to let him go.
 
Sex: Male
Age: 44
Race: Caucasian
Height: 4ft 9
Build: Lean
Complexion: Skinny
Accent/ language used: British
Hair Colour Hair Length: Blonde Short
Odour – smells or Colognes: Cheap
Glasses: None
Facial Hair: Never, really
Tattoos/scars: None
Prominent or unusual features: Allegedly Castrated/High voice tone
Jewellery/Watch Bag Disguise Clothing: "Fashionable"
Actions/Interactions with other offenders eg nicknames used: The Pardoner

This pardoner had hair as yellow as wax,
But lank it hung as does a strike of flax;
In wisps hung down such locks as he’d on head,
And with them he his shoulders overspread;
But thin they dropped, and stringy, one by one.(10)
But as to hood, for sport of it, he’d none,
Though it was packed in wallet all the while.
It seemed to him he went in latest style,
Dishevelled, save for cap, his head all bare.
His wallet lay before him in his lap,(15)
Stuffed full of pardons brought from Rome all hot.
A voice he had that bleated like a goat.
No beard had he, nor ever should he have,
For smooth his face as he’d just had a shave;
I think he was a gelding or a mare.(20)

Julius Caesar, Morbid Circumspectus

The destruction of male chauvinism occurred in the the year 47 B.C.E.



The procession in the Nile epitomized the pitiful state in which Julius Caesar was in, as he walked besides Cleopatra in a beautiful act of submission. Perhaps he had some logic, fluid of thought. But the truth is, logos can never reach the fluidity of ubiquity. Cleopatra embodied ubiquity, she successfully managed to control it at her will. Unfortunately for Julius Caesar, and for us as the male gender, women were and will always be able to give us the exclusionary perception of being fulfilled, complete. Caught in the illusion of carnal divinity. Throughout the ages, in a grotesque, dull decadence, since Julius Caesar gave away Alexandria to Cleopatra, we, condemned men cope with our crippled self to counteract this reality.



721 Tho redde he me how Sampson loste his heres:
Then he read me how Sampson lost his hair:
722 Slepynge, his lemman kitte it with hir sheres;
Sleeping, his lover cut it with her shears;
723 Thurgh which treson loste he bothe his yen.
Through which treason he lost both his eyes.
724 Tho redde he me, if that I shal nat lyen,
Then he read to me, if I shall not lie,
725 Of Hercules and of his Dianyre,
Of Hercules and of his Dianyre,
726 That caused hym to sette hymself afyre.
Who caused him to set himself on fire.


The Wife Of Bath utilizes with great mastery the arts of beguilement and deceit, and despite her pejorative figure throughout the tale, when talking about Jankyn, a more tender, humane character arises. Assuming a mediator role between the reader and the overall theme of the tale. As the passage shown above, she recalls some fortuitous examples of "morbid circumspectus" from women to men, being it the elemental theme portrayed by Chaucer in the tale.



1242 I prey to God that I moote sterven wood,
I pray to God that I may die insane
1243 But I to yow be also good and trewe
Unless I to you be as good and true
1244 As evere was wyf, syn that the world was newe.
As ever was wife, since the world was new.
1245 And but I be to-morn as fair to seene
And unless I am tomorrow morning as fair to be seen
1246 As any lady, emperice, or queene,
As any lady, empress, or queen,
1247 That is bitwixe the est and eke the west,
That is between the east and also the west,
1248 Dooth with my lyf and deth right as yow lest.
Do with my life and death right as you please.
1249 Cast up the curtyn, looke how that it is."
Cast up the curtain, look how it is."



A fixed closure demeans the initial rampage of the text, however, a suitable union of the juxtaposing themes within marital relations was reached towards the ending by Alisoun. Revealing the real harmony behind Cleopatras obliquity, the parallel state woman convey when wanting to really serve its concubine, even if it justifies all means possible.



231 A wys wyf, if that she kan hir good,
A wise wife, if she knows what is good for her,
232 Shal beren hym on honde the cow is wood,
Shall deceive him by swearing the bird is crazy,

Alisoun, Depictions

3234 As any wezele hir body gent and smal.

3235 A ceynt she werede, barred al of silk,

3236 A barmclooth as whit as morne milk

3237 Upon hir lendes, ful of many a goore.

3238 Whit was hir smok, and broyden al bifoore

3239 And eek bihynde, on hir coler aboute,

3240 Of col-blak silk, withinne and eek withoute.

3241 The tapes of hir white voluper

3242 Were of the same suyte of hir coler;

3243 Hir filet brood of silk, and set ful hye.

3244 And sikerly she hadde a likerous ye;

3245 Ful smale ypulled were hire browes two,

3246 And tho were bent and blake as any sloo.

3247 She was ful moore blisful on to see

3248 Than is the newe pere-jonette tree,

3249 And softer than the wolle is of a wether.

3250 And by hir girdel heeng a purs of lether,

3251 Tasseled with silk and perled with latoun.

3252 In al this world, to seken up and doun,

3253 There nys no man so wys that koude thenche

3254 So gay a popelote or swich a wenche.

3255 Ful brighter was the shynyng of hir hewe

3256 Than in the Tour the noble yforged newe.

3257 But of hir song, it was as loude and yerne

3258 As any swalwe sittynge on a berne.

Imagery is probably the most important aspect on the Miller's Tale, the range of aspects portrayed in his narration permit the reader visualize characters and scenes fluently. With Alisoun, the Miller utilizes an extraordinary prose in order to convey her in the story, and symbolize her significance in the general plot. A compilation of the senses facilitate her meaning. At first, the metaphor of the weasel let the reader infer her general physical attributes,  and later on, with and extended ode of her many silk brooded clothes it's evident the "lady" representation.

Tragedy, Pure Aesthetic Delight (Knight's Tale Parts 1-4)

As though he stongen were unto the herte
And with that cry Arcite anon up sterte

And seyde, "Cosyn myn, what eyleth thee,
That art so pale and deedly on to see?
Why cridestow? Who hath thee doon offence?
For Goddes love, taak al in pacience
Oure prisoun, for it may noon oother be.

Fortune hath yeven us this adversitee.
Som wikke aspect or disposicioun
Of Saturne, by som constellacioun,
Hath yeven us this, although we hadde it sworn;

So stood the hevene whan that we were born.
We moste endure it; this is the short and playn." (1077-1091)

I'm not a faithful person, in any kind manner, but lately I've been relatively convinced in theorems proclaiming the individual being subject to its fate, of the unimportance of probability, and the rise of transcending life-missions. "Casually", yesterday I watched a movie that haven't seen for years, called 21 grams, (which I suppose most of you have already watched). Directed by Alejandro González Iñárritu, and presenting Sean Penn and Benicio del Toro. The performances outgrew the story with no doubts, but nevertheless, its a pretty neat movie. Ironically, if you think about it, the motif allegories perfectly with the Knight's Tale: A binary, tragic linearity of events which interlude constantly, overlapping, revolving around each other, ultimately forming beauty...And I'm not referring to bliss within the story, but bliss as a final product benefit.

The previous passage presenting Arcite consistently reflects this theme, taking place after the encounter with Emelye, which constitutes the delusional happiness when the events pass through this "interlude" phase:"As though he stongen were unto the herte.." following the absence of hope, midly recovered throughout a static and heroic Arcite:" Fortune hath yeven us this adversitee..." The reader can observe Palamons evident tragedy, but in parallelism, can perceive the intricate beauty residing in a romantic adversity.

When saying that one was being in touch with a individual-destiny theory in any manner I was stating positivism, transcending life missions are definitely discouraging, your will lacks any kind of sense, therefore, it doesn't really matter what you do since your life is already determined, individuality, emotions, perceptions, all loose meaning, all become one big piece of nothing. Sadly for us, in 21 Grams and the Knight's Tale this motifs precisely seems to be the underlined message of the whole narration: destiny mocking us constantly, such as Arcite and Palamon when encountering a series of unfortunate events followed by glimpses of "delusional happiness", one being near death followed by Theseus decision of imparting them wih life imprisonment. Seeing Emelye followed by their self awareness. Arcite being liberated followed by his despair due false assumptions of having a worse fate than his cousin, love and torment, etc. Or in 21 Grams, when Paul Rivers temporarily recovers from his illness but later on his transplanted heart ends relinquishing him. Or Christina Peck which faces the loss of her family in an accident. Perhaps the most outstanding character, Jack Jordan, personifies the aesthetic delight of tragedy, being a christian ex-convict, he is the causer of the the accident and throughout the movie the weight of causality continually torments him.

Bloom, (as tragedy), reach its highest point in the moment of Arcites death, since the accumulation of tension brakes in a sudden flop of events, alluding immediately to the "force of fate" as a omniscient presence, being the true continuous momentum behind the plot, releasing affliction into confirmation.This could be compared to Paul Rivers death, since the "21 grams of the soul"metaphor comes into place lightly. Forcing a sudden accommodation of plots, almost in an inexplicable way. Not quite being a "Deus Ex Machina" tough, since it becomes a gentle aftermath for a vertiginous confrontation of powers and events, (tragedy).

Allurement invades the whole work, almost being engaging, magnetic. Dancing  with the preceding tragedies. The fluctuation of our so-called lives.

(The embedded code for this video is illegal so its a necessary requirement to go to the link below, which can personify a little bit better this theme, with some kick-ass acting from Del Toro.)

This Is Hell-Benicio Del Toro

"Migration" Interpretations

Undeniably, Dorian Medina's "Migration" presents a well structured depiction of the - colonial slavery/cultural emptiness - correlation, throughout the evident usage of imagery in its narrative. In the text as a whole, externalization of the leitmotif is achieved by the continued usage of this literary device, mainly in the form of latino-based visuals, (walnuts chicueyes,tocayo,Indio y Coyota = Chamiso), and vivid metaphors:"Birds the color of ash the color of sunrise..." 

However, a continuous "action interruptus" occurs between the graphics of the video and the poem recitation. The conflict arises when the figures aligned with the voice diminish the images from the narration, mainly due their abstracting nature. The pattern, despite from being in tempo and presenting linearity with the motion of the poem, still contradicts basic visual perception.Therefore, the usage of these methods produce much more relevant counterpoints than pragmatism. In addition, (and probably emerging from the vertiginous graphics), the obligated accent journey which the speaker has to undertake when pronouncing these Spanish words sounds simply abhorrent, diminishing even further the underlying messages pretended by the author when WRITING in this determined form (Spanish usage).

It is sustainable to argument that Reel Poetry produces an inverse neurolinguistic operation in which the indivual inevitably leads himself to an oblique interpretation of the poem. 
 

However, art is just art, I guess. 


(The attached video presents an alternative form of narrative poetry, explicit imagery can be perceived around the minute 2:10, the purpose is to contextualize other forms of Reel Poetry.) Dont pay attention to the title of the video.