Wednesday, May 26, 2010
Thank You God,
for allowing me to meet Laurence and Shaun today. We are planning to start a blues band together all thanks to you. Today has been a great day, thanks for helping me write my paper. And for those grades in music theory. I learned that I can accomplish goals with your help. Thanks again - Allen
The Cannibal We Love
Mmmm “Liver with some Fava Beans”
Robert Louis Stevenson once said, "The Devil, can sometimes do a very gentlemanly thing." In the movie Silence of the Lambs directed by Jonathan Demme, ex-psychiatrist Hannibal, the Cannibal, Lector acts as a poise gentleman to FBI agent Clarisse Starling. Armed with his psychiatric and manipulative background, Hannibal helps Clarisse with both her childhood past and tracking down the elusive serial killer, Buffalo Bill. Despite being a horrific killer, audiences are drawn to Hannibal Lector’s contrasting appeal, etiquette, dark humor, intelligence, his comparison to Buffalo Bill, and his relationship with Clarice Starling.
The audience is introduced to the contrast character of Doctor Hannibal Lector at the end of the basement of a mental asylum. The descending scenery of gates and doors is bathed in red, depicting the image of hell. Ironically at the end of the isle, expectations for a beastly devil are shattered when a calm and poised man with gray hair is grinning behind the glass. Well-rounded characters, such as Hannibal Lector, intrigue audience’s curiosity because of their uncommon persona.
The image of coldblooded killers are mostly ghastly and satanic; yet, Hannibal the Cannibal’s delicate etiquettes charm the audiences. In the first meeting with Clarice, Lector greets her with good manners, “Good morning…May I see your credentials?...Sit, please.” Unlike his rambunctious neighboring inmates, such as Miggs, Hannibal has an eerie charm attracting audiences as well Clarice.
The Cannibal’s dark humor is his most enjoyable personality. Hannibal eases the tension of audiences with his sharp remakes to the female characters of the movie. He nails Clarice on the head with his question about her relationship with Jack Crawford, “Do you think Jack Crawford wants you, sexually? True, he is much older, but do you think he visualizes scenarios, exchanges, fucking you?” This remark shows the dim funny side of the Cannibal. His twisted humor makes another appearance with his muzzled meeting with the Senator,
“Tell me, Senator. Did you nurse Catherine yourself?
- What?
-Did you breast-feed her?
-Yes, I did.
- Toughened your nipples, didn't it? Amputate a man's leg and he can still feel it tickling. Tell me, Mom, when your little girl is on the slab, where will it tickle you?”
The Senator was appalled by his words, yet the audiences were delighted at the disgust that Hannibal cooked up. His demented wittiness is demonstrated once more in the final scene, as he chats with Clarice while spying on Charlton, “I do wish we could chat longer but...I'm having an old friend for dinner.” This is the final pun of the film, for the reason that audiences know the Cannibal’s true motive.
Hannibal Lector’s brilliant and creative mind is an additional appalling characteristic. Hannibal shows his creativity as he escapes from his cell in the first climax scene of the film. With just the use of a pen clip, Lector frees himself desecrates two armed police officers in the process. Emotions collide as audiences cheer for his escape while berating the brutality he demonstrated. With the use of human skin, Hannibal disguise himself as a pulverized survivor of the massacre. This cunning resourcefulness wins the hearts of many audiences who are in awe of Lectors brilliance.
The comparison between Buffalo Bill and Hannibal Lector, leads to the approval of the Cannibal. One comparison between the two killers is music. Lector’s personal choice is the classical genre; meanwhile, Bill is the gritty Rock n Roll type. The taste of music leads audiences to lean towards the sophisticated Hannibal Lector while looking down upon the wild Buffalo Bill. The other comparison is the hygiene displayed by both of them. Hannibal was very tidy and neat, with his shirt tucked in, even being locked up. On the other hand, Buffalo was very messy and sloppy. Cleanliness leads to relaxation, for more people, while disorder disturbs.
The relationship between Hannibal Lector and Clarice Starling builds positive attraction that audiences have with Lector. Hannibal sees Clarice as an apprentice as he gives her encouragement to continue with the case of Buffalo Bill,
“I'll give you a chance for what you love most.
- And what is that?
- Advancement. Listen carefully. Look deep within yourself, Clarice Starling.”
The story unfolds with each encounter with Hannibal Lector, as if he holds the key to finding Buffalo Bill. Their relationship is larger than teacher and pupil as Lector begins to help Clarice with her with her childhood trauma, the screaming of the lambs.
“And you think, if you save poor Catherine, you could make them stop, don't you? You think if Catherine lives, you won't wake up in the dark ever again to that awful screaming of the lambs.”
He is interested in understanding Clarice because he is fascinated with her. This can be clearly seen with the gentle caressing touch Lector gives Clarice as they exchange the case file. In the final scene, Hannibal Lector shows acknowledgement of Clarice’s success by calling her and asking, “ Have the lambs stopped screaming?” He is proud of Clarice as though he had been testing her all along in this manhunt. Hannibal is the anti-hero audiences love to hate.
Robert Louis Stevenson once said, "The Devil, can sometimes do a very gentlemanly thing." In the movie Silence of the Lambs directed by Jonathan Demme, ex-psychiatrist Hannibal, the Cannibal, Lector acts as a poise gentleman to FBI agent Clarisse Starling. Armed with his psychiatric and manipulative background, Hannibal helps Clarisse with both her childhood past and tracking down the elusive serial killer, Buffalo Bill. Despite being a horrific killer, audiences are drawn to Hannibal Lector’s contrasting appeal, etiquette, dark humor, intelligence, his comparison to Buffalo Bill, and his relationship with Clarice Starling.
The audience is introduced to the contrast character of Doctor Hannibal Lector at the end of the basement of a mental asylum. The descending scenery of gates and doors is bathed in red, depicting the image of hell. Ironically at the end of the isle, expectations for a beastly devil are shattered when a calm and poised man with gray hair is grinning behind the glass. Well-rounded characters, such as Hannibal Lector, intrigue audience’s curiosity because of their uncommon persona.
The image of coldblooded killers are mostly ghastly and satanic; yet, Hannibal the Cannibal’s delicate etiquettes charm the audiences. In the first meeting with Clarice, Lector greets her with good manners, “Good morning…May I see your credentials?...Sit, please.” Unlike his rambunctious neighboring inmates, such as Miggs, Hannibal has an eerie charm attracting audiences as well Clarice.
The Cannibal’s dark humor is his most enjoyable personality. Hannibal eases the tension of audiences with his sharp remakes to the female characters of the movie. He nails Clarice on the head with his question about her relationship with Jack Crawford, “Do you think Jack Crawford wants you, sexually? True, he is much older, but do you think he visualizes scenarios, exchanges, fucking you?” This remark shows the dim funny side of the Cannibal. His twisted humor makes another appearance with his muzzled meeting with the Senator,
“Tell me, Senator. Did you nurse Catherine yourself?
- What?
-Did you breast-feed her?
-Yes, I did.
- Toughened your nipples, didn't it? Amputate a man's leg and he can still feel it tickling. Tell me, Mom, when your little girl is on the slab, where will it tickle you?”
The Senator was appalled by his words, yet the audiences were delighted at the disgust that Hannibal cooked up. His demented wittiness is demonstrated once more in the final scene, as he chats with Clarice while spying on Charlton, “I do wish we could chat longer but...I'm having an old friend for dinner.” This is the final pun of the film, for the reason that audiences know the Cannibal’s true motive.
Hannibal Lector’s brilliant and creative mind is an additional appalling characteristic. Hannibal shows his creativity as he escapes from his cell in the first climax scene of the film. With just the use of a pen clip, Lector frees himself desecrates two armed police officers in the process. Emotions collide as audiences cheer for his escape while berating the brutality he demonstrated. With the use of human skin, Hannibal disguise himself as a pulverized survivor of the massacre. This cunning resourcefulness wins the hearts of many audiences who are in awe of Lectors brilliance.
The comparison between Buffalo Bill and Hannibal Lector, leads to the approval of the Cannibal. One comparison between the two killers is music. Lector’s personal choice is the classical genre; meanwhile, Bill is the gritty Rock n Roll type. The taste of music leads audiences to lean towards the sophisticated Hannibal Lector while looking down upon the wild Buffalo Bill. The other comparison is the hygiene displayed by both of them. Hannibal was very tidy and neat, with his shirt tucked in, even being locked up. On the other hand, Buffalo was very messy and sloppy. Cleanliness leads to relaxation, for more people, while disorder disturbs.
The relationship between Hannibal Lector and Clarice Starling builds positive attraction that audiences have with Lector. Hannibal sees Clarice as an apprentice as he gives her encouragement to continue with the case of Buffalo Bill,
“I'll give you a chance for what you love most.
- And what is that?
- Advancement. Listen carefully. Look deep within yourself, Clarice Starling.”
The story unfolds with each encounter with Hannibal Lector, as if he holds the key to finding Buffalo Bill. Their relationship is larger than teacher and pupil as Lector begins to help Clarice with her with her childhood trauma, the screaming of the lambs.
“And you think, if you save poor Catherine, you could make them stop, don't you? You think if Catherine lives, you won't wake up in the dark ever again to that awful screaming of the lambs.”
He is interested in understanding Clarice because he is fascinated with her. This can be clearly seen with the gentle caressing touch Lector gives Clarice as they exchange the case file. In the final scene, Hannibal Lector shows acknowledgement of Clarice’s success by calling her and asking, “ Have the lambs stopped screaming?” He is proud of Clarice as though he had been testing her all along in this manhunt. Hannibal is the anti-hero audiences love to hate.
Mmmm “Liver with some Fava Beans”
Robert Louis Stevenson once said, "The Devil, can sometimes do a very gentlemanly thing." In the movie Silence of the Lambs directed by Jonathan Demme, ex-psychiatrist Hannibal, the Cannibal, Lector acts as a poise gentleman to FBI agent Clarisse Starling. Armed with his psychiatric and manipulative background, Hannibal helps Clarisse with both her childhood past and tracking down the elusive serial killer, Buffalo Bill. Despite being a horrific killer, audiences are drawn to Hannibal Lector’s contrasting appeal, etiquette, body language, brilliance, artistic ability, and brutality.
The audience is introduced to the contrast character of Doctor Hannibal Lector at the end of the basement of a mental asylum. The descending scenery of gates and doors is bathed in red, depicting the image of hell. Ironically at the end of the isle, expectations for a beastly devil are shattered when a calm and poised man with gray hair is grinning behind the glass.
The image of coldblooded killers are mostly ghastly and satanic; yet, Hannibal the Cannibal’s delicate etiquettes charm the audiences. In the first meeting with Clarice, Lector greets her with good manners, “Good morning…May I see your credentials?...Sit, please.” Unlike his rambunctious neighboring inmates, such as Miggs, Hannibal has an eerie charm attracting audiences as well Clarice.
The Cannibal’s dark humor is his most enjoyable personality. Hannibal eases the tension of audiences with his sharp remakes to the female characters of the movie. He nails Clarice on the head with his question about her relationship with Jack Crawford, “Do you think Jack Crawford wants you, sexually? True, he is much older, but do you think he visualizes scenarios, exchanges, fucking you?” This remark shows the dim funny side of the Cannibal. His twisted humor makes another appearance with his muzzled meeting with the Senator,
“Tell me, Senator. Did you nurse Catherine yourself?
- What?
- Did you breast-feed her?
-Yes, I did.
- Toughened your nipples, didn't it? - You son of
Amputate a man's leg and he can still feel it tickling. Tell me, Mom, when your little girl is on the slab, where will it tickle you?”
The Senator was appalled by his words, yet the audiences were delighted at the disgust that Hannibal cooked up.
Robert Louis Stevenson once said, "The Devil, can sometimes do a very gentlemanly thing." In the movie Silence of the Lambs directed by Jonathan Demme, ex-psychiatrist Hannibal, the Cannibal, Lector acts as a poise gentleman to FBI agent Clarisse Starling. Armed with his psychiatric and manipulative background, Hannibal helps Clarisse with both her childhood past and tracking down the elusive serial killer, Buffalo Bill. Despite being a horrific killer, audiences are drawn to Hannibal Lector’s contrasting appeal, etiquette, body language, brilliance, artistic ability, and brutality.
The audience is introduced to the contrast character of Doctor Hannibal Lector at the end of the basement of a mental asylum. The descending scenery of gates and doors is bathed in red, depicting the image of hell. Ironically at the end of the isle, expectations for a beastly devil are shattered when a calm and poised man with gray hair is grinning behind the glass.
The image of coldblooded killers are mostly ghastly and satanic; yet, Hannibal the Cannibal’s delicate etiquettes charm the audiences. In the first meeting with Clarice, Lector greets her with good manners, “Good morning…May I see your credentials?...Sit, please.” Unlike his rambunctious neighboring inmates, such as Miggs, Hannibal has an eerie charm attracting audiences as well Clarice.
The Cannibal’s dark humor is his most enjoyable personality. Hannibal eases the tension of audiences with his sharp remakes to the female characters of the movie. He nails Clarice on the head with his question about her relationship with Jack Crawford, “Do you think Jack Crawford wants you, sexually? True, he is much older, but do you think he visualizes scenarios, exchanges, fucking you?” This remark shows the dim funny side of the Cannibal. His twisted humor makes another appearance with his muzzled meeting with the Senator,
“Tell me, Senator. Did you nurse Catherine yourself?
- What?
- Did you breast-feed her?
-Yes, I did.
- Toughened your nipples, didn't it? - You son of
Amputate a man's leg and he can still feel it tickling. Tell me, Mom, when your little girl is on the slab, where will it tickle you?”
The Senator was appalled by his words, yet the audiences were delighted at the disgust that Hannibal cooked up.
Tuesday, May 25, 2010
All in 1
Aspen Jubilee was the third song of this concert. Right away the song starts at a Vivace tempo with a 4-4 beat division. The sound is very bright and lively, with the distinct sound of the Xylophone and other percussion instruments. Most recognizable is the Wind Chimes. It is joyful and enthusiastic and is accompanied with exciting horn chords that yell out joy. In the 2nd movement the melody rises and plants vivid feelings of youth into our ears. In the 3rd movement the dynamics of the song is softened, giving off a mellow, peaceful, groove along with a Soprano Vocalist adding a spice to this soothing cheerful song. The Wind Chimes make an appearance once again leaving the sound of magic and imagination in the air sending us down memory lane to the happiest place on Earth, Disneyland. At this point of the song I began to reminisce my old childhood past of energy and joy. This feeling stretches all the way to the 4th movement, where an amplified feeling of excitement is entwined with a bit of tension from dissonance to dramatize the ending cadence.
The most enjoyable song of the night for me was the fourth song Ecstatic Waters. The song starts off with a man playing the Glass Harp. The sound the wine glass gave was painted a shallow puddle. And when the harpsichord began the setting changing to a sunny day a light drizzle. The horns simulated the movement of the water that surrounded us, engulfing us deep into another reality. When the music had fully mesmerized us, it began to grow louder and louder as we reach our first cadence. The puddle grew into a mighty lake, with trees and birds surround us. It did not just stop there, as the movement reached a Crescendo. It was as though we are traveling as passengers of the water from pond to a lake. The art began to grow and grow and from lake it reaches a mighty river, flowing powerfully. At the end of the first movement we reach the cadence of the flowing river, leaving us hearing the vast blue ocean.
In the second movement we begin hearing Glass harp once again, but along with a eerie minor sound of the tuba and Euphonium. The processions of cymbals bring an element of tension as we swim in the vast and mysterious ocean. The sound dissonance stirs the feeling that we are not alone. Horns launch the tension higher as the clarinets begin to stir up commotion in the waters. We are now prey and at the end of the first cadence. The clarinet begins to draw our ears to curiosity with subtle licks of the major scale. All of which are crushed when a machine-like noise disturbs our attention and the sound of drilling rings our ears. We feel sorrow and anger building deep inside. Then BOOM! The Gong is pounded in our ears breaking the barrier between the water and us. Ending the second movement with the sound of gushing water entering the stern of a ship.
In the third movement, we return to the subtle pleasing sound of the clarinet in Major. Relaxing us from the intensity of the previous movement. The ocean begins to speak to us in a calm and peaceful voice. Winning our trust as we begin try and alliterate the sound. The machine like noise starts its Crescendo once again, in a usual beat is gears and metal; leaving us questioning how does it fit in? HORNS blast on the upbeats giving powerful sounds of crashing waves during an angry storm. The sound of water eventually overcomes the machine and at the point I realized that the machines symbolized us, constantly disrupting Mother Nature with our fishing, oil ridges, and technological tribulations. The vast ocean begins to dissolve back into a river and gently into the lake and soothingly back into the puddle, we all used to splash in as little kids.
Blue Shades was the last song of the night. This was the only piece I felt bittersweet about. Being a Blues and Jazz fan I did not feel satisfied because there wasn't a strong swing or bluesy tune that whistled in my ears. It was just a song using the Blues scale (the flattened 3rd, 5th and 7th). I closed my eyes to visualize the sound. And right then the music moved me. The clarinet had an uncanny melody of telling the story. In the second movement, the story began to unfold. To me this was the analogy of the Big Apple, New York City. The commotion of the brass and percussion represented the busy streets of Times Square with its endless sea of bodies constantly moving. The Cowbell gave an interesting appearance pushing us forward into the streets of the city. I
n the third movement things quite down as the flutes paint the exciting feeling of exploration while there was a distinctive melody of an instrument I do not know. It had a warmer tone than a xylophone. The cowbell returns once again, pulling along a cannon of both the French Horns and Trumpets. Resulting in an incredible jazzy cadence. Things die down in the fourth movement slowly as if the sun was setting in the big city. The whole brass section began big bold blues cadence ending the day. As we begin to relax the nightlife begins the clarinet gives an outstanding solo with the use of the Blue scale. As if it was crying out to the moon. The way it was played reminded me of the blues harp. Along came the hard stomping sound of brass of the city during the ending cadence. Which reminded me of the action songs of James Bond. Overall I enjoyed this song after I gave it a second chance.
The most enjoyable song of the night for me was the fourth song Ecstatic Waters. The song starts off with a man playing the Glass Harp. The sound the wine glass gave was painted a shallow puddle. And when the harpsichord began the setting changing to a sunny day a light drizzle. The horns simulated the movement of the water that surrounded us, engulfing us deep into another reality. When the music had fully mesmerized us, it began to grow louder and louder as we reach our first cadence. The puddle grew into a mighty lake, with trees and birds surround us. It did not just stop there, as the movement reached a Crescendo. It was as though we are traveling as passengers of the water from pond to a lake. The art began to grow and grow and from lake it reaches a mighty river, flowing powerfully. At the end of the first movement we reach the cadence of the flowing river, leaving us hearing the vast blue ocean.
In the second movement we begin hearing Glass harp once again, but along with a eerie minor sound of the tuba and Euphonium. The processions of cymbals bring an element of tension as we swim in the vast and mysterious ocean. The sound dissonance stirs the feeling that we are not alone. Horns launch the tension higher as the clarinets begin to stir up commotion in the waters. We are now prey and at the end of the first cadence. The clarinet begins to draw our ears to curiosity with subtle licks of the major scale. All of which are crushed when a machine-like noise disturbs our attention and the sound of drilling rings our ears. We feel sorrow and anger building deep inside. Then BOOM! The Gong is pounded in our ears breaking the barrier between the water and us. Ending the second movement with the sound of gushing water entering the stern of a ship.
In the third movement, we return to the subtle pleasing sound of the clarinet in Major. Relaxing us from the intensity of the previous movement. The ocean begins to speak to us in a calm and peaceful voice. Winning our trust as we begin try and alliterate the sound. The machine like noise starts its Crescendo once again, in a usual beat is gears and metal; leaving us questioning how does it fit in? HORNS blast on the upbeats giving powerful sounds of crashing waves during an angry storm. The sound of water eventually overcomes the machine and at the point I realized that the machines symbolized us, constantly disrupting Mother Nature with our fishing, oil ridges, and technological tribulations. The vast ocean begins to dissolve back into a river and gently into the lake and soothingly back into the puddle, we all used to splash in as little kids.
Blue Shades was the last song of the night. This was the only piece I felt bittersweet about. Being a Blues and Jazz fan I did not feel satisfied because there wasn't a strong swing or bluesy tune that whistled in my ears. It was just a song using the Blues scale (the flattened 3rd, 5th and 7th). I closed my eyes to visualize the sound. And right then the music moved me. The clarinet had an uncanny melody of telling the story. In the second movement, the story began to unfold. To me this was the analogy of the Big Apple, New York City. The commotion of the brass and percussion represented the busy streets of Times Square with its endless sea of bodies constantly moving. The Cowbell gave an interesting appearance pushing us forward into the streets of the city. I
n the third movement things quite down as the flutes paint the exciting feeling of exploration while there was a distinctive melody of an instrument I do not know. It had a warmer tone than a xylophone. The cowbell returns once again, pulling along a cannon of both the French Horns and Trumpets. Resulting in an incredible jazzy cadence. Things die down in the fourth movement slowly as if the sun was setting in the big city. The whole brass section began big bold blues cadence ending the day. As we begin to relax the nightlife begins the clarinet gives an outstanding solo with the use of the Blue scale. As if it was crying out to the moon. The way it was played reminded me of the blues harp. Along came the hard stomping sound of brass of the city during the ending cadence. Which reminded me of the action songs of James Bond. Overall I enjoyed this song after I gave it a second chance.
Monday, May 24, 2010
Analysis of Hannibal the Cannibal.
Robert Louis Stevenson once said, "The Devil, can sometimes do a very gentlemanly thing." In the movie Silence of the Lambs directed by Jonathan Demme, ex-psychiatrist Hannibal, the Cannibal, Lector acts as a poise gentleman to FBI agent Clarisse Starling. Armed with his psychiatric and manipulative background, Hannibal helps Clarisse with both her childhood past and tracking down the elusive serial killer, Buffalo Bill. Despite being a horrific killer, audiences are drawn to Hannibal Lector’s strange appeal of brilliance, artistic ability, and brutality.
The audience is introduced to the brilliant Doctor Hannibal Lector at the end of the basement of a mental asylum. The descending scenery of gates and doors is painted red depicting the image of hell. Ironically at the end of the line, the audience expects to see a beasty devil yet a calm and poised man is revealed behind the glass. Unlike his rambunctious neighboring inmates Hannibal speaks with intelligence as he questions agent Starlings about her visit, knowing right away that he would be able to play cat and mice games with this fresh meat. “May I see your credentials? That expires in one week. You're not real FBl, are you? Jack Crawford sent a trainee to me?”
Hannibal uses his keen scene of smell to scare Clarisse by telling her the beauty products she uses. He next starts to dissect Clarisse’s past with her West Virginia accent, breaking down Starling’s self-esteem in the process. Lector’s passion to is to get into people’s heads, anyway way necessary, by force or the use of mind manipulation.
“I'll give you a chance for what you love most.
- And what is that?
- Advancement. Listen carefully. Look deep within yourself, Clarice Starling.”
sophisticated for the standard tests.
A pretty, young woman to turn him on.
I don't believe Lecter's seen a woman in eight years.
And are you ever his taste! So to speak.
Most serial killers keep some sort of trophies from their victims.
- I didn't. - No. No, you ate yours.
The audience is introduced to the brilliant Doctor Hannibal Lector at the end of the basement of a mental asylum. The descending scenery of gates and doors is painted red depicting the image of hell. Ironically at the end of the line, the audience expects to see a beasty devil yet a calm and poised man is revealed behind the glass. Unlike his rambunctious neighboring inmates Hannibal speaks with intelligence as he questions agent Starlings about her visit, knowing right away that he would be able to play cat and mice games with this fresh meat. “May I see your credentials? That expires in one week. You're not real FBl, are you? Jack Crawford sent a trainee to me?”
Hannibal uses his keen scene of smell to scare Clarisse by telling her the beauty products she uses. He next starts to dissect Clarisse’s past with her West Virginia accent, breaking down Starling’s self-esteem in the process. Lector’s passion to is to get into people’s heads, anyway way necessary, by force or the use of mind manipulation.
“I'll give you a chance for what you love most.
- And what is that?
- Advancement. Listen carefully. Look deep within yourself, Clarice Starling.”
sophisticated for the standard tests.
A pretty, young woman to turn him on.
I don't believe Lecter's seen a woman in eight years.
And are you ever his taste! So to speak.
Most serial killers keep some sort of trophies from their victims.
- I didn't. - No. No, you ate yours.
Sunday, May 23, 2010
Intro.
Robert Louis Stevenson once said, "The Devil, can sometimes do a very gentlemanly thing." In the movie Silence of the Lambs directed by Jonathan Demme, ex-psychiatrist Hannibal, the Cannibal, Lector acts as a poise gentleman to FBI agent Clarisse Starling. With his psychiatric background, Hannibal helps Clarisse both with her childhood past and tracking down the psycho serial killer, Buffalo Bill. Clarisse and Hannibal share a relationship of mutual respect; Clarisse admires Hannibal's intelligence, while Hannibal admires her courage. However Hannibal's does not help Clarisse more than he needs to in solving the man hunt.
Friday, May 21, 2010
First song.
The wind symphony began with Mengzies Flourish. As i looked up i could see a array of wind instruments surrounding me: French horns, Tubas, Trumpets, and Trombones. This was a very short piece, but the placement of musicians made all the difference. I could already tell that it was going to be a great show.
The second song was a piano song that was very violent and aggressive
Aspen Jubilee.
Ronald J, Nelson has made significant contributions to the music world through his numerous compositions for band, orchestra, and chorus. He was born in Joliet, Illinois on December 14, 1929, and began composing at the age of six. He studied at the Eastman School of music with Howard Hanson and Bernard Rogers, and in Pairs under a Fulbright grant. He has received numerous awards from a variety of universities and national cultural organizations. His list of compositions includes seven works from orchestra, over forty choral works, and works for band.
Composers for any type of ensemble search for new sounds, instrumental or vocal combinations, or effects. Aspen Jubilee features a unique addition to the ensemble- a solo soprano vocal part intended to add an entirely new timbre to the instrumental ensemble. In addition to this, Nelson has stretched the limits of percussive writing as well as composed a number of difficult syncopated rhythmic figures throughout the ensemble, some of which are similar to jazz rhythmic ideas. Nelson has consistently displayed the capability to write for a variety of media while continuing to develop new and fresh ideas in the areas of ensemble texture, melodic and harmonic structures, and the use of percussion. In all of his many works there is a dedication to preserving the atmosphere of artistic ideas that he intends to convey.
Aspen Jubilee is third song of this concert.
Right away the song starts at a Vivace tempo with a 4-4 beat division.
The sound is very bright and lively, with the distinct sound of the Xylophone and other percussion instruments.
Most recognizable is the Wind Chimes
It is joyful and enthusiastic.
With exciting horn chords that yell out joy.
In the 2nd movement the melody rises
and plants vivid feelings of youth into our ears.
In the 3nd movement
the tempo is softened,
giving off a mellow, peaceful, groove.
As if you are looking up to the star filled sky.
The Wind Chimes again make an appearance as if magic is in the air.
energetic and joyful
It slows down in the second movement.
The music soft
4th movement
has an amplified feeling of excitement with a bit of tension from dissonance to dramatize the ending cadence.
sends us down memory lane
to Disney
with this soothing cheerful song.
Soprano Vocalist
The second song was a piano song that was very violent and aggressive
Aspen Jubilee.
Ronald J, Nelson has made significant contributions to the music world through his numerous compositions for band, orchestra, and chorus. He was born in Joliet, Illinois on December 14, 1929, and began composing at the age of six. He studied at the Eastman School of music with Howard Hanson and Bernard Rogers, and in Pairs under a Fulbright grant. He has received numerous awards from a variety of universities and national cultural organizations. His list of compositions includes seven works from orchestra, over forty choral works, and works for band.
Composers for any type of ensemble search for new sounds, instrumental or vocal combinations, or effects. Aspen Jubilee features a unique addition to the ensemble- a solo soprano vocal part intended to add an entirely new timbre to the instrumental ensemble. In addition to this, Nelson has stretched the limits of percussive writing as well as composed a number of difficult syncopated rhythmic figures throughout the ensemble, some of which are similar to jazz rhythmic ideas. Nelson has consistently displayed the capability to write for a variety of media while continuing to develop new and fresh ideas in the areas of ensemble texture, melodic and harmonic structures, and the use of percussion. In all of his many works there is a dedication to preserving the atmosphere of artistic ideas that he intends to convey.
Aspen Jubilee is third song of this concert.
Right away the song starts at a Vivace tempo with a 4-4 beat division.
The sound is very bright and lively, with the distinct sound of the Xylophone and other percussion instruments.
Most recognizable is the Wind Chimes
It is joyful and enthusiastic.
With exciting horn chords that yell out joy.
In the 2nd movement the melody rises
and plants vivid feelings of youth into our ears.
In the 3nd movement
the tempo is softened,
giving off a mellow, peaceful, groove.
As if you are looking up to the star filled sky.
The Wind Chimes again make an appearance as if magic is in the air.
energetic and joyful
It slows down in the second movement.
The music soft
4th movement
has an amplified feeling of excitement with a bit of tension from dissonance to dramatize the ending cadence.
sends us down memory lane
to Disney
with this soothing cheerful song.
Soprano Vocalist
Blue Shades.
"As its title suggest, BLue Shades alludes to the Blues. A jazz feeling is prevalent however it is in not literally a Blues piece. There is not a single 12-bar blues progression to be found, and except for a few isolation sections, the eighth-not is not swung. The work however, is heavily influenced by the Blues. "Blue notes" (flattened 3rds, 5ths and 7ths) are used constantly. Blues harmonies, rhythms, and melodic idioms pervade the work; and many "shades of blue" are depicted, from bright blue , to dark, t dirty, to hot blue. At times, Blue Shades burlesques some of the cliches from the Big Band era, not as a mockery of those conventions, but as a tribute. A slow and quiet middle section recalls the atmosphere of a dark, smoky, blues haunt. An extended clarinet solo played near the end recalls, Benny Goodman's hot playing style, and ushers in a series of of "wailings" brass chords recalling the train whistle effects.
This was the only piece I felt bitter sweet about. Being a blues fan i did not feel satisfied with the beginning movements of the song. There was commotion, chaos, and unorganized improvisation. There was not a strong swing that makes you want to get up dance. There wasn't a bluesy melody that whistled to the soul. It was just a song using the Blues scale (the flattened 3rd, 5th and 7th) It was missing a key ingredient of the era. I closed my eyes to visualize the sound.
And right then the music moved into the second movement
and the story unfolded
This was the analogy of a cat.
exploring streets of the city.
He dodges cars, horns
and an array of obstacles from those around him.
All the feet stepping and distractions drowned out of jazz of this cat
yet at the end of the night.
Into the 3rd movement.
which takes place in an ally.
where the cat is scrounging around
looking for food, and enjoying the peace and quiet.
the time where he can hear himself think
while whistling his favorite clarinet solo into the night.
Aspen Jubilee is third song of this concert. Right away the song starts at a Vivace tempo with a 4-4 beat division. The sound is very bright and lively, with the distinct sound of the Xylophone and other percussion instruments. Most recognizable is the Wind Chimes. It is joyful and enthusiastic and is accompanied with exciting horn chords that yell out joy. In the 2nd movement the melody rises and plants vivid feelings of youth into our ears. In the 3rd movement the dynamics of the song is softened, giving off a mellow, peaceful, groove along with a Soprano Vocalist adding a spice to this soothing cheerful song. The Wind Chimes make an appearance once again leaving the sound of magic and imagination in the air sending us down memory lane to the happiest place on Earth, Disneyland. At this point of the song I began to reminisce my old childhood past of energy and joy. This feeling stretches all the way to the 4th movement, where an amplified feeling of excitement is entwined with a bit of tension from dissonance to dramatize the ending cadence.
This was the only piece I felt bitter sweet about. Being a blues fan i did not feel satisfied with the beginning movements of the song. There was commotion, chaos, and unorganized improvisation. There was not a strong swing that makes you want to get up dance. There wasn't a bluesy melody that whistled to the soul. It was just a song using the Blues scale (the flattened 3rd, 5th and 7th) It was missing a key ingredient of the era. I closed my eyes to visualize the sound.
And right then the music moved into the second movement
and the story unfolded
This was the analogy of a cat.
exploring streets of the city.
He dodges cars, horns
and an array of obstacles from those around him.
All the feet stepping and distractions drowned out of jazz of this cat
yet at the end of the night.
Into the 3rd movement.
which takes place in an ally.
where the cat is scrounging around
looking for food, and enjoying the peace and quiet.
the time where he can hear himself think
while whistling his favorite clarinet solo into the night.
Aspen Jubilee is third song of this concert. Right away the song starts at a Vivace tempo with a 4-4 beat division. The sound is very bright and lively, with the distinct sound of the Xylophone and other percussion instruments. Most recognizable is the Wind Chimes. It is joyful and enthusiastic and is accompanied with exciting horn chords that yell out joy. In the 2nd movement the melody rises and plants vivid feelings of youth into our ears. In the 3rd movement the dynamics of the song is softened, giving off a mellow, peaceful, groove along with a Soprano Vocalist adding a spice to this soothing cheerful song. The Wind Chimes make an appearance once again leaving the sound of magic and imagination in the air sending us down memory lane to the happiest place on Earth, Disneyland. At this point of the song I began to reminisce my old childhood past of energy and joy. This feeling stretches all the way to the 4th movement, where an amplified feeling of excitement is entwined with a bit of tension from dissonance to dramatize the ending cadence.
Ecstatic Waters.
"Ecstatic Waters is a music of dialectical tension-- a juxtaposition of contradictory or opposing musical and extra musical elements and an attempt to resolve them, The five connected movements hint at a narrative that touches upon naivete, divination, fanaticism, anarchy, order, and post-human possibilities, Or, W.B. Yests meets Ray Kurzweil in The Matrix.
The overall title, as well as "Ceremony of Innocence" and "Spiritus Mundi" are taken from poetry of Yeats, whose idiosyncratic personal mythology and symbolism of spiraling chaos and looming apocalypse figured prominently in the genesis of the work, Yet in a nod to the piece's structural reality-- as a hybrid of electronics and living players-- Esthetic Waters also references the confrontation of unruly humanity with the order of the machine, as well as the potential of a post-human synthesis, inspired by futurist thinkers such as Kurzweil."
Starts with notes from the Glass Harp.
harpsichord begins
-sound of water dripping into a cup
xylophone starts
-begins to rain, gently
mood- happy, childlike
-water begins to pick up speed
flowing powerfully
like a river
with fluid currents of harmony
we travel faster and stronger with the water
until finally we reach the end of the line
the river we were riding reaches the water fall
water splashes from all around us
engulfing us.
as we are pushed over the edge.
we begin free fall into dissonance.
the tension grows and grows
and just when you are at the edge of the seat
the ancient gong hits us hard
like a belly flop.
into the body of water below
the next movement.
we land in the ocean
the vast sea of sound
where we hear the horns of the sea creatures
calling to each other
The warm sound of the Euphonium
captures the mating call of the whales.
We can visualize the setting sun alone the horizon of the sea
The most enjoyable song of the night for me was the fourth song Ecstatic Waters. The song starts off with a man playing the Glass Harp. The sound the wine glass gave was painted a shallow puddle. And when the harpsichord began the setting changing to a sunny day a light drizzle. The horns simulated the movement of the water that surrounded us, engulfing us deep into another reality. When the music had fully mesmerized us, it began to grow louder and louder as we reach our first cadence. The puddle grew into a mighty lake, with trees and birds surround us. It did not just stop there, as the movement reached a Crescendo. It was as though we are traveling as passengers of the water from pond to a lake. The art began to grow and grow and from lake it reaches a mighty river, flowing powerfully. At the end of the first movement we reach the cadence of the flowing river, leaving us hearing the vast blue ocean.
In the second movement we begin hearing Glass harp once again, but along with a eerie minor sound of the tuba and Euphonium. The processions of cymbals bring an element of tension as we swim in the vast and mysterious ocean. The sound dissonance stirs the feeling that we are not alone. Horns launch the tension higher as the clarinets begin to stir up commotion in the waters. We are now prey and at the end of the first cadence. The clarinet begins to draw our ears to curiosity with subtle licks of the major scale. All of which are crushed when a machine-like noise disturbs our attention and the sound of drilling rings our ears. We feel sorrow and anger building deep inside. Then BOOM! The Gong is pounded in our ears breaking the barrier between the water and us. Ending the second movement with the sound of gushing water entering the stern of a ship.
In the third movement, we return to the subtle pleasing sound of the clarinet in Major. Relaxing us from the intensity of the previous movement. The ocean begins to speak to us in a calm and peaceful voice. Winning our trust as we begin try and alliterate the sound. The machine like noise starts its Crescendo once again, in a usual beat is gears and metal; leaving us questioning how does it fit in? HORNS blast on the upbeats giving powerful sounds of crashing waves during an angry storm. The sound of water eventually overcomes the machine and at the point I realized that the machines symbolized us, constantly disrupting Mother Nature with our fishing, oil ridges, and technological tribulations. The vast ocean begins to dissolve back into a river and gently into the lake and soothingly back into the puddle, we all used to splash in as little kids.
The overall title, as well as "Ceremony of Innocence" and "Spiritus Mundi" are taken from poetry of Yeats, whose idiosyncratic personal mythology and symbolism of spiraling chaos and looming apocalypse figured prominently in the genesis of the work, Yet in a nod to the piece's structural reality-- as a hybrid of electronics and living players-- Esthetic Waters also references the confrontation of unruly humanity with the order of the machine, as well as the potential of a post-human synthesis, inspired by futurist thinkers such as Kurzweil."
Starts with notes from the Glass Harp.
harpsichord begins
-sound of water dripping into a cup
xylophone starts
-begins to rain, gently
mood- happy, childlike
-water begins to pick up speed
flowing powerfully
like a river
with fluid currents of harmony
we travel faster and stronger with the water
until finally we reach the end of the line
the river we were riding reaches the water fall
water splashes from all around us
engulfing us.
as we are pushed over the edge.
we begin free fall into dissonance.
the tension grows and grows
and just when you are at the edge of the seat
the ancient gong hits us hard
like a belly flop.
into the body of water below
the next movement.
we land in the ocean
the vast sea of sound
where we hear the horns of the sea creatures
calling to each other
The warm sound of the Euphonium
captures the mating call of the whales.
We can visualize the setting sun alone the horizon of the sea
The most enjoyable song of the night for me was the fourth song Ecstatic Waters. The song starts off with a man playing the Glass Harp. The sound the wine glass gave was painted a shallow puddle. And when the harpsichord began the setting changing to a sunny day a light drizzle. The horns simulated the movement of the water that surrounded us, engulfing us deep into another reality. When the music had fully mesmerized us, it began to grow louder and louder as we reach our first cadence. The puddle grew into a mighty lake, with trees and birds surround us. It did not just stop there, as the movement reached a Crescendo. It was as though we are traveling as passengers of the water from pond to a lake. The art began to grow and grow and from lake it reaches a mighty river, flowing powerfully. At the end of the first movement we reach the cadence of the flowing river, leaving us hearing the vast blue ocean.
In the second movement we begin hearing Glass harp once again, but along with a eerie minor sound of the tuba and Euphonium. The processions of cymbals bring an element of tension as we swim in the vast and mysterious ocean. The sound dissonance stirs the feeling that we are not alone. Horns launch the tension higher as the clarinets begin to stir up commotion in the waters. We are now prey and at the end of the first cadence. The clarinet begins to draw our ears to curiosity with subtle licks of the major scale. All of which are crushed when a machine-like noise disturbs our attention and the sound of drilling rings our ears. We feel sorrow and anger building deep inside. Then BOOM! The Gong is pounded in our ears breaking the barrier between the water and us. Ending the second movement with the sound of gushing water entering the stern of a ship.
In the third movement, we return to the subtle pleasing sound of the clarinet in Major. Relaxing us from the intensity of the previous movement. The ocean begins to speak to us in a calm and peaceful voice. Winning our trust as we begin try and alliterate the sound. The machine like noise starts its Crescendo once again, in a usual beat is gears and metal; leaving us questioning how does it fit in? HORNS blast on the upbeats giving powerful sounds of crashing waves during an angry storm. The sound of water eventually overcomes the machine and at the point I realized that the machines symbolized us, constantly disrupting Mother Nature with our fishing, oil ridges, and technological tribulations. The vast ocean begins to dissolve back into a river and gently into the lake and soothingly back into the puddle, we all used to splash in as little kids.
Wednesday, May 12, 2010
Revived again.
Allen Ng
Brackenhoff
English 68
May 10, 2010
C & C
Michael de Montaigne once said, "Marriage is like a cage, one sees the birds outside desperate to get in, and those inside equally desperate to get out." Someone should have explained this to Louise and Calixta before they decided to put on that steel band. In Kate Chopin's two stories, "The Storm" and "The Story of an Hour,” married life is reflected through the eyes of two stay-at-home wives. Louise and Calixta, who both have loving husbands; yet, imagery and irony reveal the theme that marriage leads to unhappiness.
Imagery is vividly used to development the theme of both stories. In “The Story of an Hour”, Louise, a bed-ridden wife is told the tragic news of her husband’s death. After the tears subsided, she peers out the “open square before her house and sees the tops of trees that were all aquiver with the new spring life” (1 Chopin). Naturally, after a loved one’s death, people’s minds would be mournful and fixated on the dark side of life. Louise, on the other hand, sees a fresh new start. The sensual imagery that Kate uses to describe Louise’s feelings loud and clear, “The delicious breath of rain was in the air,”(1 Chopin). Louise was in an unhappy marriage and even on this gloomy day, her spirit is high and “monstrous” (2 Chopin) because of her husband’s passing
Imagery is once again used as an illuminate an unhappy marriage in “The Storm”. The story begins with a “sinister” (1 Chopin) storm rolling into the town of New Orleans, as neighbor, Alee Laballiere, visits Calixta while her husband and son are away. At the peak of the storm, lighting hits a nearby tree and startles Calixta into Alcee’s arms, rekindling the old flame between them, “The contact of her warm palpitating body… arouses all the old-time inflation and desire for her flesh,” (3 Chopin). Temptation triumphs within the eye of the storm as Calixta experiences passion for her first time, “Her firm, elastic flesh that was knowing for the first time its birthright,” (3 Chopin). Because of the dissatisfaction Calixta faced with her marriage, she feels no hesitation or remorse during the sex with Alcee. In fact Alcee made her happier than Bobinot ever did, “They seemed to soon together at the very borderland of life’s mystery,” (3 Chopin).
Irony is the main bridge that connects these two pieces of writings by Kate Chopin. In “The Story of an Hour”, irony strikes at the very end of the story, “When the doctors came they said she had died of heart disease—of joy that kills,” (2 Chopin). Louise is caught by the throat and thrown back into the cage of marriage as her husband enters the house unscratched and unharmed. Being overly joyful about her husband’s death, the sight of him alive ironically kills Louise.
Kate Chopin once again uses the tool of irony throughout the “The Storm” with the positioning of her text. At the beginning of every scene, the story picks up with an ironic lead-in. After Calixta and Alcee’s dirty sex scandal, the scene changes to Bobinot and Bibi worrying about being presentable to mom, which is a small smug on an already soiled situation. “My! Bibi, ... How you got that mud on yo’ collar, Bibi? I never saw such a boy! W’at will yo’ mama say!” (4 Chopin). Kate uses adultery ironically. While, most stories that involve adultery end with unhappy endings; conversely in “The Storm” everyone was happy at the end. Both story used an array of imagery and irony very similarly to progress theme.
Brackenhoff
English 68
May 10, 2010
C & C
Michael de Montaigne once said, "Marriage is like a cage, one sees the birds outside desperate to get in, and those inside equally desperate to get out." Someone should have explained this to Louise and Calixta before they decided to put on that steel band. In Kate Chopin's two stories, "The Storm" and "The Story of an Hour,” married life is reflected through the eyes of two stay-at-home wives. Louise and Calixta, who both have loving husbands; yet, imagery and irony reveal the theme that marriage leads to unhappiness.
Imagery is vividly used to development the theme of both stories. In “The Story of an Hour”, Louise, a bed-ridden wife is told the tragic news of her husband’s death. After the tears subsided, she peers out the “open square before her house and sees the tops of trees that were all aquiver with the new spring life” (1 Chopin). Naturally, after a loved one’s death, people’s minds would be mournful and fixated on the dark side of life. Louise, on the other hand, sees a fresh new start. The sensual imagery that Kate uses to describe Louise’s feelings loud and clear, “The delicious breath of rain was in the air,”(1 Chopin). Louise was in an unhappy marriage and even on this gloomy day, her spirit is high and “monstrous” (2 Chopin) because of her husband’s passing
Imagery is once again used as an illuminate an unhappy marriage in “The Storm”. The story begins with a “sinister” (1 Chopin) storm rolling into the town of New Orleans, as neighbor, Alee Laballiere, visits Calixta while her husband and son are away. At the peak of the storm, lighting hits a nearby tree and startles Calixta into Alcee’s arms, rekindling the old flame between them, “The contact of her warm palpitating body… arouses all the old-time inflation and desire for her flesh,” (3 Chopin). Temptation triumphs within the eye of the storm as Calixta experiences passion for her first time, “Her firm, elastic flesh that was knowing for the first time its birthright,” (3 Chopin). Because of the dissatisfaction Calixta faced with her marriage, she feels no hesitation or remorse during the sex with Alcee. In fact Alcee made her happier than Bobinot ever did, “They seemed to soon together at the very borderland of life’s mystery,” (3 Chopin).
Irony is the main bridge that connects these two pieces of writings by Kate Chopin. In “The Story of an Hour”, irony strikes at the very end of the story, “When the doctors came they said she had died of heart disease—of joy that kills,” (2 Chopin). Louise is caught by the throat and thrown back into the cage of marriage as her husband enters the house unscratched and unharmed. Being overly joyful about her husband’s death, the sight of him alive ironically kills Louise.
Kate Chopin once again uses the tool of irony throughout the “The Storm” with the positioning of her text. At the beginning of every scene, the story picks up with an ironic lead-in. After Calixta and Alcee’s dirty sex scandal, the scene changes to Bobinot and Bibi worrying about being presentable to mom, which is a small smug on an already soiled situation. “My! Bibi, ... How you got that mud on yo’ collar, Bibi? I never saw such a boy! W’at will yo’ mama say!” (4 Chopin). Kate uses adultery ironically. While, most stories that involve adultery end with unhappy endings; conversely in “The Storm” everyone was happy at the end. Both story used an array of imagery and irony very similarly to progress theme.
Monday, May 10, 2010
C&C revised
Allen Ng
Brackenhoff
English 68
May 10, 2010
C & C
Michael de Montaigne once said, "Marriage is like a cage, one sees the birds outside desperate to get in, and those inside equally desperate to get out." Someone should have explained this to Louise and Calixta before they decided to put on that steel band. In Kate Chopin's two stories, "The Storm" and "The Story of an Hour" the married life is reflected through the eyes of two stay-at-home wives. Louise and Calixta, who both have loving husbands; yet, imagery and irony reveal the theme of their unhappy marriages.
Imagery is vividly used to development the theme of both stories. In “The Story of an Hour”, Louise, a bed-ridden wife is told the tragic news of her husband’s death. After the tears subsided, she peers out the “open square before her house and sees the tops of trees that were all aquiver with the new spring life” (1). Naturally, after a loved one’s death, our minds would be mournful and fixated on the dark side of life; yet, Louise sees a fresh new start. “The delicious breath of rain was in the air.” Most people show their true feelings during the rain, which is true in Louise’s case. Even on this gloomy day, her spirit is high and “monstrous” (2) during her release from the unhappy marriage.
In “The Storm”, Kate uses imagery similarly, as a catalyst for her theme. The moment before a “sinister” (1) storm with rolls into the town of New Orleans, Alee Laballiere heads over to visit Calixta, while her husband and son are away. At the peak of the storm, lighting hits a nearby tree and startles Calixta into Alcee’s arms. “The contact of her warm palpitating body… arouses all the old-time inflation and desire for her flesh,” (3) Temptation is aroused between the two, as wind and rain swirls frantically around them. Alcee slowly gives into his lust for Calixta, as he probes her with his sinful eyes, “Her white neck and a glimpse of her full, firm bosom disturbed him powerfully” (3). Nonetheless, Calixta, herself also accepts the sexual immortality, “Her firm, elastic flesh that was knowing for the first time its birthright,” (3). Calixta never feels sexually satisfied in her marriage with Bobinot. Unhappy and displeased, she looks to Alcee for satisfaction. “The generous abundance of her passion, without guile or trickery, was like a white flame.” White is primarily the symbol of purity and cleanliness; however, it is used to describe the imagery of the dirty deed.
Irony is the main bridge that connects these two pieces of writings by Kate Chopin. In “The Story of an Hour”, irony strikes at the very end of the story. Louise is caught by the throat and thrown back into the cage of marriage as her husband enters the house unscratched and unharmed. Being overly joyful about her husband’s death, the sight of him alive ironically kills Louise. “When the doctors came they said she had died of heart disease—of joy that kills,” (2).
Kate Chopin once again uses the tool of irony throughout the “The Storm”. At the start of every setting, the story begins with an ironic lead-in. Bobinot and Bibi is considered about Calixta as the clouds move in; yet, “Calixta… felt no uneasiness for their safety,” (1). After Calixta and Alcee’s dirty sex scandal, Bobinot and Bibi worry about being presentable to mom, which is a small smug on an already soiled situation. “My! Bibi, w’at will yo’ mama say! You ought to be ashame’… How you got that mud on yo’ collar, Bibi? I never saw such a boy!” (4). Most stories that involve adultery have unhappy endings; conversely in “The Storm” brought happiness to everybody. “So, the storm passed and everyone was happy” (5). Both story used an array of imagery and irony very similarly to progress theme.
Brackenhoff
English 68
May 10, 2010
C & C
Michael de Montaigne once said, "Marriage is like a cage, one sees the birds outside desperate to get in, and those inside equally desperate to get out." Someone should have explained this to Louise and Calixta before they decided to put on that steel band. In Kate Chopin's two stories, "The Storm" and "The Story of an Hour" the married life is reflected through the eyes of two stay-at-home wives. Louise and Calixta, who both have loving husbands; yet, imagery and irony reveal the theme of their unhappy marriages.
Imagery is vividly used to development the theme of both stories. In “The Story of an Hour”, Louise, a bed-ridden wife is told the tragic news of her husband’s death. After the tears subsided, she peers out the “open square before her house and sees the tops of trees that were all aquiver with the new spring life” (1). Naturally, after a loved one’s death, our minds would be mournful and fixated on the dark side of life; yet, Louise sees a fresh new start. “The delicious breath of rain was in the air.” Most people show their true feelings during the rain, which is true in Louise’s case. Even on this gloomy day, her spirit is high and “monstrous” (2) during her release from the unhappy marriage.
In “The Storm”, Kate uses imagery similarly, as a catalyst for her theme. The moment before a “sinister” (1) storm with rolls into the town of New Orleans, Alee Laballiere heads over to visit Calixta, while her husband and son are away. At the peak of the storm, lighting hits a nearby tree and startles Calixta into Alcee’s arms. “The contact of her warm palpitating body… arouses all the old-time inflation and desire for her flesh,” (3) Temptation is aroused between the two, as wind and rain swirls frantically around them. Alcee slowly gives into his lust for Calixta, as he probes her with his sinful eyes, “Her white neck and a glimpse of her full, firm bosom disturbed him powerfully” (3). Nonetheless, Calixta, herself also accepts the sexual immortality, “Her firm, elastic flesh that was knowing for the first time its birthright,” (3). Calixta never feels sexually satisfied in her marriage with Bobinot. Unhappy and displeased, she looks to Alcee for satisfaction. “The generous abundance of her passion, without guile or trickery, was like a white flame.” White is primarily the symbol of purity and cleanliness; however, it is used to describe the imagery of the dirty deed.
Irony is the main bridge that connects these two pieces of writings by Kate Chopin. In “The Story of an Hour”, irony strikes at the very end of the story. Louise is caught by the throat and thrown back into the cage of marriage as her husband enters the house unscratched and unharmed. Being overly joyful about her husband’s death, the sight of him alive ironically kills Louise. “When the doctors came they said she had died of heart disease—of joy that kills,” (2).
Kate Chopin once again uses the tool of irony throughout the “The Storm”. At the start of every setting, the story begins with an ironic lead-in. Bobinot and Bibi is considered about Calixta as the clouds move in; yet, “Calixta… felt no uneasiness for their safety,” (1). After Calixta and Alcee’s dirty sex scandal, Bobinot and Bibi worry about being presentable to mom, which is a small smug on an already soiled situation. “My! Bibi, w’at will yo’ mama say! You ought to be ashame’… How you got that mud on yo’ collar, Bibi? I never saw such a boy!” (4). Most stories that involve adultery have unhappy endings; conversely in “The Storm” brought happiness to everybody. “So, the storm passed and everyone was happy” (5). Both story used an array of imagery and irony very similarly to progress theme.
Sunday, May 9, 2010
C&C
Michael de Montaigne once said, "Marriae is like a cage, one sees the birds outside desperate to get in, and those inside equally desperate to get out." Someone should of explained this to Calixta and Louise before they decided to put on the steel band around their fingers. In Kate Chopin's two stories, "The Storm" and "The Story of an Hour" the married life is reflected through the eyes of two stay-at-home wives, Calixta and Louise, who both have loving husbands who adore them yet imagery and irony reveal the theme of their unhappy marriages.
Saturday, May 8, 2010
My Kind of Joke =)
A doctor, a lawyer and a mathematician were discussing the relative
merits of having a wife or a mistress.
The lawyer says: "For sure a mistress is better. If you have a wife
and want a divorce, it causes all sorts of legal problems.
The doctor says: "It's better to have a wife because the sense of
security lowers your stress and is good for your health.
The mathematician says: " You're both wrong. It's best to have both so
that when the wife thinks you're with the mistress and the mistress
thinks you're with your wife --- you can do some mathematics.
merits of having a wife or a mistress.
The lawyer says: "For sure a mistress is better. If you have a wife
and want a divorce, it causes all sorts of legal problems.
The doctor says: "It's better to have a wife because the sense of
security lowers your stress and is good for your health.
The mathematician says: " You're both wrong. It's best to have both so
that when the wife thinks you're with the mistress and the mistress
thinks you're with your wife --- you can do some mathematics.
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