Bennetts vs Hamlets: most dysfunctional?

 My focus today is on Elizabeth Bennet’s dysfunctional family.  I think that’s one of the great strengths of Pride and Prejudice. Elizabeth is an appealing character because she has to deal with her family:  an emotionally distant, ineffectual father, a shrill, self-absorbed, silly mother, an older sister who is too nice, two slightly annoying sisters who might improve with guidance, and one willful (and not too bright) youngest sister.  Part of the emotional payoff of the ending is that Elizabeth, who has been sincere but mistaken in her perceptions of the people around her, acknowledges reality and is rewarded with a happy marriage.

Most families have some periods of time where functioning is impaired by stressful circumstances. Negative patterns of parental behavior tend to be dominant in their children's lives. Other parents over-function, never allowing their children to grow up and be on their own. Others are inconsistent or violate basic boundaries of appropriate behavior. Controlling parents fail to allow their children to assume responsibilities appropriate for their age. These parents continue dominating and making decisions for their children well beyond the age at which this is necessary. Controlling parents are often driven by a fear of becoming unnecessary to their children. 

The king can't be embarrassed like that and still be a powerful king. 

You are the Director! (Act III)

First line: upbeat, emphasize the word more to compliment Ophelia and he is upset with his mother. Then Hamlet should lie down beside Ophelia's feet. To add some comic relief, Hamlet should look up at Ophelia and just stare at her. Polonius needs to be surprised in his next line because he is protective of his daughter. Since there is a comma after Lady, there should be an awkward pause to make the scene more uncomfortable. Also Hamlet should empathize the word lap. Ophelia is dismissive in her rejection, however she remains respectful. Hamlet alters his seductive tone to be more direct. He knows what he wants and has given up on being witty and charming. Hamlet will emphasize the word country since he is making a sexual reference. He attempts to make up for his poor decision but Ophelia does not want anything to do with the conversation anymore. Hamlet responds in a creepy voice and Ophelia is confused by what he means. Hamlet chooses not to explain himself and she becomes sarcastic and uninterested. In line 77, Hamlet should emphasize the words: "cheerfully" and "died" to assert that he upset with his mother and devious uncle. He chooses not to be subtle with his words anymore and is clearly very angry with his mother and how merciless she is towards his father's death. Ophelia alters her attitude once again and is now concerned with how Hamlet is speaking to her. She recognizes his aggravation, sadness, and insanity. She corrects him to refrain herself from getting involved with the issue at hand. Hamlet is still sarcastic because he believes people should always remember his father for who he was. Gertrude affirms that he needs to let go and move on, so Hamlet is "shocked" that people still remember his father even though he didn't "build a church."

Same Words, Different Interpretations

Polonius is known as the character to flatter the King with his obsequious and servile language. I would emphasize the part: "And, as you said (and wisely was it said)". Polonius is a brown noser and I would direct with to move his hands a lot as a jester to his loyalty. Also, I would perhaps have him bend down to show his inferiority to the King. Moreover, he spies on his children, so I would establish that he is a frazzled character who doesn't really care for his kids.

Dear Dr. Forman...

Dear Dr. Forman,

At first, I was nervous about the assignment! I don't know why, but after I chose which two films to write about, the process flowed from there! I enjoyed carefully watching the films. It was interesting for me to acknowledge my work ethic. I needed to jot some notes while watching the clips. Having a pen in my hand and the act of writing made me more engaged with my analysis and examples. It took me a long time to choose my title. It was very difficult for me to decide which character I wanted to quote. However, I am very fond of my title and I believe it effectively conveys my message composed in my essay. I am so pleased you taught me this trick of quoting a particular character with a colon, followed by a short analysis to draw the reader in. I cannot wait to use this clever idea next year in college! Thank you so much!!

I hope you enjoy my essay! :)

Alexa

Hamlet Second Body

As opposed to Hamlet's cherished relationship with his mother in Gibson's version, Tennant's BBC 2010 interpretation establishes Gertrude and Claudius sharing a more intimate connection. Furthermore, the scene begins with Claudius and Gertrude on the opposite side of the room from Hamlet, thus connoting the detachment and impurity of their mother-son relationship. Claudius introduces the topic of Hamlet's distress with a smirk and sarcastic tone meanwhile Hamlet refrains from making eye contact with neither his uncle nor mother. Hamlet's animosity and aggravation only surmounts Claudius' flawed attempt at sincerity. Once Gertrude approaches Hamlet to discuss his intended departure for Wittenberg, she suddenly adjusts her stern, rigid disposition into a seductive attitude solely to accomplish her goal. While cajoling him with her flirtatious regard, Gertrude grabs Hamlet by the collar of his dress jacket and scratches his chin for a complete sensual effect. After Hamlet complies with his mother's request, she instantaneously moves away from him to revert her full attention back to Claudius. While intertwining their hands, Gertrude approaches her husband's face and gently brushes her nose against his cheek. Doran's direction emphasizes the lack of a relationship between Hamlet and Gertrude; moreover, her pleading is disingenuous and her affection evidently resides with Claudius.

Hamlet First Body

Blocking, body language, and the lack of an ensemble provides Act I, scene 2 of Gibson's 1990 version of Hamlet an obvious, pure mother-son relationship, not overwhelmingly influenced by a devious uncle. Although the scene begins with Claudius drinking and strolling in his castle, Gertrude remains completely fixated on Hamlet. Before Claudius parts to hunt, he attempts to persuade Hamlet that there is no need to dwell on his father's death. Although Claudius' sudden touch on Hamlet's chest connotes compassion, it is still interpreted as a casual gesture. However, Gertrude distances herself from Claudius before he leaves for his quest, thus adorning Hamlet with her full attention and tender regard. Once Claudius exits, Gertrude approaches Hamlet and gently pleads for him not to leave for Wittenberg. Although Hamlet does move away from his mother throughout the scene, she immediately follows and embraces him. In addition to her calm yearning, she rests her head beside Hamlet's shoulder to magnify her affinity for him. Her son simply turns his face to truly acknowledge his mother's words. He reciprocates her love and devotion by submitting himself; he collapses onto his knees and cradles her legs. Moreover, the violin, as the background music, strengthens the sensitive and tranquil setting. This finally concludes the scene with Gertrude twirling with joy and exuberance about Hamlet's decision to stay. Gibson's direction reveals Gertrude's innocence and the genuine connection she shares with her son.

Hamlet Intro Paragraph/Thesis

What is your best idea in comparing two films? The mother/son relationship in regards to Gertrude's interactions with her husband, Claudius, in the versions: Mel Gibson (1990) and David Tennant BBC (2010).


          Mel Gibson and David Tennant both direct utterly distinct interpretations of Act I, scene 2 in their film versions of the play, Hamlet. Gibson chooses privacy over a responsive ensemble and a casual, family orientated setting. Although Tennant does establish a fairly small ensemble in the second scene, he designates the primary focus on Hamlet, Gertrude, and Claudius, in a modern, rigid environment. Although Gertrude remains flirtatious, she does not sustain sincerity and tenderness in both features. Gertrude's relationship with her son in Gibson's Hamlet illustrates affection and earnestness; however, Tennant's approach to their relationship exposes anger, isolation, and beguilement, which reveals the compelling reason why she naturally resides with Claudius for most of the scene. 

Act 4

Ophelia enters adorned with flowers and singing odd songs which foreshadows her death at the end of Act 4.  Her grief has been truly driven by her father's death and her insanity affects the way she communicates with the other characters. Shakespeare demonstrates the motif of insanity to exemplify Ophelia's dependence on the men in her life. Polonius' death and Hamlet's leave is another cause to her insanity. Throughout the the play, Ophelia's insanity strongly contrasts with Hamlet's. They differ primarily in its validity. She does not fabricate madness to achieve an ultimate goal, but is truly driven mad by external burdens. 

Act 3

Claudius expresses a sign of weakness in Act 3. After Hamlet's quick thinking to exhibit a short play to grab his uncle's attention, Hamlet finally accomplishes his goal and uncovers Claudius' crime. Once Cladius is left alone to collect himself, he claims that he guilt is now stronger than he ever intended it to be. He asks: "Were thicker than itself with the brother's blood? Is there not rain enough in the sweet heavens To wash it white as snow? Whereto serves mercy But to confront the visage of offence?" It is an interesting decision that Claudius makes to pray. This illustrates his sign of defeat because he believes that his death is very near. He results to praying to save him; however, he is still anxious about the sins he has committed  since he does not know if it is too late for G-d to rescue and forgive him. At the end of the scene, he admits that his words can only do so much since his thoughts are still present on Earth. The heavens do not acknowledge his words as genuine or pure; thus, he claims: "words without thoughts will never make it to heaven."

6 Film Versions of Hamlet

I was intrigued by the different tones and facial expressions exchanged by Claudius, Gertrude! And Hamlet. Although the script and environment were mostly the same in every film version of the scene, the directors approached the details in the conversation very differently. For example, in the 1948 version, the King enters off stage and Gertrude and Hamlet remain close together throughout the duration of the scene. However, in th 1980 version, Claudius and Gertrude open the scene sitting together in their thrones. Moreover, Hamlet stands further away and asserts a more hostile tone to s mother. Also, his back is turned for most of the scene, and he doesn't acknowledge his mother's words.

Hamlet in Act 2

Throughout Act 2, the reader discovers Hamlet's intellectual and impressive diction. His depression leads him to create a clever plan to reveal that his uncle murdered his father. Although Polonius believes Hamlet's mental illness is solely because of Ophelia's rejection, Hamlet plays along to get what he wants in return. Hamlet realizes that he needs to collect himself and fast in order for his plan to be successful. In the beginning of the act, the reader also discovers Hamlet's ability to uncover idiocy and deception. His friends attempted to make it seem that they were just visiting Hamlet, when in fact they were following Claudius's orders. Hamlet is too keen to believe this foolishness and reveals that he knows the truth before his friends even have the time to make up for their awkward, suspicious pauses.

Ophelia in Act I scene ii

Although Ophelia is curious to know why her brother and father do not approve of Hamlet, she remains submissive. However, Ophelia does defend her love with Hamlet. She asserts that their love and affection for one another is real. She finds Laertes' words shocking, but she promises her brother to remember his words and abide to his guidance. Moreover, Ophelia is an obedient daughter. She accepts her father's interference with her love life because she knows he is just looking for her best interest. Although Ophelia does acknowledge and accept her father's "guide to life", I believe she is a strong young woman who will follow her heart to stay with Hamlet. Although I think she is a bit naive, I believe she stays true to herself and remains loyal to love.

Hamlet Act 1

Act 1 Scene 3 

"And these few precepts in thy memory

Look thou character. Give thy thoughts no tongue,

Nor any unproportioned thought his act.

Be thou familiar but by no means vulgar.

Those friends thou hast, and their adoption tried,

Grapple them unto thy soul with hoops of steel,

But do not dull thy palm with entertainment

Of each new-hatched, unfledged comrade. Beware

Of entrance to a quarrel, but being in,

Bear ’t that th' opposèd may beware of thee.

Give every man thy ear but few thy voice.

Take each man’s censure but reserve thy judgment.

Costly thy habit as thy purse can buy,

But not expressed in fancy—rich, not gaudy,

For the apparel oft proclaims the man,

And they in France of the best rank and station

Are of a most select and generous chief in that.

Neither a borrower nor a lender be,

For loan oft loses both itself and friend,

And borrowing dulls the edge of husbandry.

This above all: to thine own self be true,

And it must follow, as the night the day,

Thou canst not then be false to any man."

Throughout Act I, there are several passages that define life's meaning and how one should live life to its fullest. For example, Polonius declares this passage to his son Laertes before he leaves for France. Polonius' words truly resemble my outlook on life and I think this could potentially be a theme throughout the play. 

Socratic Discussion

I really enjoyed the discussion today! I appreciate that everyone participated and it was interesting to hear all the different opinions about mate selection. Being the only female in the room, I had the opportunity to voice my opinion a lot. The boys were intrigued to hear my counterargument and I enjoyed listening to how they think girls think nowadays. 

Once religion was introduced, the discussion became heated. However, we all remained very mature. I was impressed to see all the boys willing to hear each other's opinions and not get upset if someone's opinion differed from their own. It was interesting for me to see which topics the entire class agreed on. For example, the male should be taller than the female, the male should be older or the same age as the female, and both partners should be intellectual. As a class, we agree that although appearance is what attracts one mate to start conversation, this should not be the primary focus in mate selection, being with someone with "some brains" is just as important, if not more.

I found it very enjoyable to freely speak with my peers in the classroom. There was definitely a period of time where I forgot Dr. Forman was in the room! Student-led discussions in high school are extremely beneficial because they prepare us for college and for the "real world". Once there is a teacher involved in a discussion, I believe the conversation is not as open as it would be if it were just among classmates... for obvious reasons! I was pleased that there were not any awkward moments, and that we all supportive of each other's opinions. We worked cooperatively together and civilly asked intellectual questions. 

Works Cited page

Works Cited

Austen, Jane. Pride and Prejudice. New York: Tom Doherty, 1994. Ebook.

Body paragraph #3 & conclusion

The society of early 19^th century England exemplifies that a woman’s reputation is of utmost importance. Elizabeth evidently defies herself as a rather distinctive figure in her society. Although her intentions are positive and good-spirited, she steps outside the social medium making herself vulnerable to exclusion and banishment. She sees through the pretensions of overbearing and insolent people through her self-assurance and audacious language. Moreover, the only individual who dares to stand up to the egotistical Lady Catherine is Elizabeth: “Lady Catherine seemed quite astonished at not receiving a direct answer; and Elizabeth suspected herself to be the first creature who had ever dared to trifle with so much dignified impertinence” (114). Elizabeth is unaffected by Lady Catherine’s rank or disposition and instead demonstrates her ability to defend herself and her family to the woman. Her admirable courage conveys her loyalty and pride to her family and their name. Lady Catherine’s stupidity and narrow-mindedness amuses Elizabeth and reassures her that when she protects her family and their middle-class conditions, she can overcome the autocratic society: “The last born has as good a right to be the pleasures of youth, as the first. And to be kept back on such a motive! I think it would not be very likely to promote sisterly affection or delicacy of mind” (114). Elizabeth’s ability to clearly articulate her beliefs bestows her the capability to withstand others’ wills.  She demonstrates the enduring tenacity of her ordain and self-respect. Moreover, towards the end of the novel, Elizabeth experiences a self-revelation: her love for Darcy. Her maturation and the risk of accepting Darcy’s proposal in marriage jeopardizes her future, Darcy’s future, and the well being of her family. However, her rich and bold character leads her to remain true to her romanticized vision for love. Once again, Elizabeth protects her family from Lady Catherine and then asserts her independence from the antagonizing domination of the upper-class: “I am resolved to act in that manner, which will, in my own opinion, constitute my happiness, without reference to you, or to any person so wholly unconnected with me” (239). Elizabeth constantly explores the discrepancy between herself and the average woman of early 19^th century England. Unlike most women of the time period, she prioritizes her happiness first even if it will threaten her hopes of living a prosperous life. She acknowledges social wealth and hierarchy but does endure the strict and ludicrous regulations society expects her to live by.

Protagonist Elizabeth Bennet’s commendable qualities reflect how she perceives herself as a young woman grappling with the traditional values and regulations society has enforced upon her. Although she begins the novel displaying a prejudiced and restrictive view of others, she comes to discover the extent of her own folly and blossoms into an individual who has learned from her previous judgments and misconceptions. Moreover, Elizabeth's acknowledgement of social wealth and hierarchy overcomes the rigid standards and protocol of 19th century English society.

Body paragraph #1 (and #2?)

This is still a work in progress... Originally, I was going to split this into two body paragraphs since I address two characters here - Collins & Charlotte - but they both fall under the category of marriage & courtship, so I thought it would make sense to combine the two. Hopefully this isn't too long... 

Austin defines early 19^th century courtship in England as one of the many ways to abuse love as a means for social promotion to eventually reach the ultimate goal: marriage.  However, Elizabeth understands the authentic meaning of marriage and separates the force of love from the distorting effects of hierarchical society. Throughout Mr. Collins’ proposal, he refuses to accept Elizabeth’s rejection and accuses her of playing the usual game young ladies play: “rejecting the addresses of the man whom they secretly mean to accept,” (76). However, Elizabeth advanced mindset distinguishes the difference between marrying for a social upgrade and marrying for love. She intellectually recognizes her avant-garde perspective of courtship and affirms the type of woman she is with conviction: “I do assure you that I am not one of those young ladies who are so daring as to risk their happiness on the chance of being asked a second time… Nay, were your friend Lady Catherine to know me, I am persuaded she would find me in every respect ill qualified for the situation” (77). Her lively wit and sarcastic tone reflects how she never discredits her morals and integrity. She acknowledges the absurdity in woman who will risk their own happiness for a marriage that only promises wealth and social prosperity. Elizabeth preferably abides to a marriage fulfilled by romantic prosperity. Despite Elizabeth possessing a sharp tongue that tends to make judgmental remarks, her honest and clever response to Mr. Collins’ proposal also provides courtesy. Although society regards Elizabeth’s virtue as idealistic and corrupt, she whole-heartedly discovers herself to be a candid, rational young woman, rising above the folly and misdemeanor of society: “I thank you again and again for the honour you have done me in your proposals, but to accept them is absolutely impossible. My feelings in every respect forbid it. Do not consider me now as an elegant female intending to plague you, but as a rational creature speaking the truth from the heart” (78). Elizabeth is independent and mature and desires to be looked upon as so. Mr. Collins’ misconception of Elizabeth being a naïve, desperate woman brain-washed by the expectations of society, motivates him even more to regard his proposal as only a business transaction. His self-pride and boastful indiscretion conflict with Elizabeth’s desire to marry for love, unlike her friend Charlotte who chooses to solely marry for convenience. Elizabeth cannot comprehend the concept of Charlotte being happy in a marriage based on security. Elizabeth views herself more prudent than Charlotte, whereas Charlotte accepts that she must take advantage of any opportunity that presents itself in order to refrain from the societal disdain that accompanies old maiden status. Elizabeth’s shock and disappointment in Charlotte reveals how stubborn Elizabeth is to fathom that there may be an opinion different from her own: “She had always felt that Charlotte’s opinion of matrimony was not exactly like her own, but she could not have supposed it possible that when called into action, she would have sacrificed every better feeling to worldly advantage” (90). 

Intro paragraph

Throughout Jane Austen's novel Pride and Prejudice, Elizabeth Bennett's confidence and sharp, critical mind is expressed through her quick banter. Her admirable poise and wit leads her to distinguish the difference between the wise and the foolish. The dialogue she exchanges with Mr. Collins, Charlotte, and Lady Catherine de Bourgh evidently connotes how she perceives herself as a young woman ahead of her time. Elizabeth's intuition to defend herself, her family, and her morals enables her to surmount the ridicule and misbehavior that permeates throughout her demanding society revolved around social status and wealth.

How does Elizabeth view herself in society?

Her honesty, virtue, and lively wit enable her to rise above the nonsense and bad behavior that pervade her class-bound and often spiteful society.

Marriage is the ultimate goal, courtship constitutes the real working-out of love. Courtship becomes a sort of forge of a person’s personality, and each courtship becomes a microcosm for different sorts of love (or different ways to abuse love as a means to social advancement).

Ch 19, pg 77 Mr. Collin's proposal: Elizabeth explains what time of girl she is NOT
Ch 19, pg 78 Mr. Collins' proposal: elegant female trying to plague him vs. rational creature speaking the truth from her heart
Ch 2, pg 85

Whereas Elizabeth is an idealist who will not marry solely for money, to either a fool (Collins) or a man she dislikes (Darcy, at first), Charlotte, six years older than her friend and lacking a fortune, is a pragmatist: she must capitalize on any opportunity that presents itself in order to avoid the societal scorn that accompanies old maid status. As Austen says of Charlotte: she “accepted [Mr. Collins] solely from the pure and disinterested desire of an establishment.”
Though social strictures on marriage might be illogical and unromantic, were she to break them she would be negatively affecting her family.

The only individual who dares to stand up to the haughty Lady Catherine is Elizabeth (unsurprisingly, as elsewhere she sees through the pretensions of pompous and arrogant people like Mr. Collins and Miss Bingley). When Lady Catherine criticizes the Bennet sisters’ upbringing, Elizabeth defends her family, “suspect[ing] herself to be the first creature who had ever dared to trifle with so much dignified impertinence.”

The clunky language with which the narrator summarizes Elizabeth’s acceptance serves a specific purpose, as it captures the one moment of joyful incoherence for this supremely well-spoken character. She accepts Darcy’s proposal “immediately,” the narrator relates, but “not very fluently.” As Elizabeth allows herself to admit that her love has supplanted her long-standing prejudice, her control of language breaks down. The reader is left to imagine, with some delight, the ever-clever Elizabeth fumbling for words to express her irrepressible happiness.

Essay Question

4) How does Elizabeth define herself in society being an independent, mature, and wise young woman? Since she is before her time, does she intellectually regard herself as someone above the rest of her society? (O)

D.W. Harding (cont.)

Jot down one point from D.W. Harding that you either agree with or at least find interesting:

"The simplest comic effects are gained by bringing the caricatures into direct contact with the real people, as in Mr. Collins' visit to the Bennett's and his proposal to Elizabeth." (298)

During the scene of Mr. Collins' proposal, the contrast between both of their characters implements a comic effect. Between Mr. Collins' overly confident nature and Elizabeth's uncomfortable facial expressions, the caricatures create chaos and humor. Mr. Collins is the caricature who comes into direct contact with the "real human being", Elizabeth.

D.W. Harding

for Monday blog about DW Harding's article "Regulated Hatred": An Aspect in the Work of Jane Austen

                                                                        Name ________________________

Agree or disagree with each of the following statements.

(No middle ground, sorry, until we discuss it. You may jot down examples for evidence.)

From D. W. Harding’s “Regulated Hatred” (1943)

1. Jane Austen’s scope is extremely restricted, but within her limits she succeeded admirably in expressing the gentler virtues of a civilized social order. (Harding and Linklater)

X AGREE                                  DISAGREE

2. Austen as satirist is misleading; she has none of the underlying didactic intention ordinarily attributed to the satirist. Her object is not missionary; it is the more desperate one of merely finding some mode of existence for her critical attitudes.

AGREE                                 X DISAGREE

3. Austen’s method is to offer her readers every excuse for regarding as rather exaggerated figures of fun people whom she herself detests and fears.

AGREE                                 X DISAGREE

4. Readers enjoy the funny side of Mrs. Bennet but miss that Austen actually detests her.

AGREE                                  X DISAGREE

5. Austen’s light satire masks a rather bitter diatribe against 1800 social customs, but masked in exaggerated caricatures that disguise the bitterness.

X AGREE                                  DISAGREE

1) Is Lady Catherine inferior to a man of equal or lesser status than she? (O)
2) How does someone of Mr. Bennett's class obtain the connections of the aristocrats like he does in the novel? (O) X
4) How does Elizabeth define herself in society being an independent, mature, and wise young woman? Since she is before her time, does she intellectually regard herself as someone above the rest of her society? (O)
5) Why does Mr. Bennett allow his wife to stand as the dominant figure in the household, when it is usually the man, the father-figure, who is given complete power? (O) X
6) Does Mr. Darcy feel excluded from society because of his lack of interest in a spouse? (C) X

iPads

There are definitely some key points Tom Daccord presents in his article 5 Critical Mistakes Schools Make with iPads that I agree with. I believe that if Buckley would have better prepared the faculty to use this new device, classrooms would be moving at a much faster pace. We are aleady a full month into school and still trying to adjust to the new technology on campus. Tom declares, "Teacheres need instruction on how to incorporate the devices into the learning process, which is quite different than trying out a few apps." Although we as students are more technologically advanced than most teachers on campus, accessing our textbooks, annotating, typing, and navigating our on the device can still be quite confusing. However,  there are absolutely several positives to the new requirement of iPads in specific classes. For example, yesterday in my Astronomy class, Mr. Edelen assigned us to create short film during class. Our task for the period was to interview students or faculty members  with Astronomy misconceptions through the video camera on our iPads. Once we finished the interview, we were required to edit the individual interviews to make them all fit into on movie. This is a perfect example of one of the many benefits to the iPad because this encourages hands-on learning. Moreover, in English class today, we were assigned to film the Mr. Collins' proposal scene in the novel Pride and Prejudice and present our short scenes at the end of the class. As Tom said in the article: "Active consumption, curation, and creativity suit the device."

Mr. Collin's proposal

I imagine Mr. Collins and Elizabeth to either be in the drawing room or in another private, reserved setting for his proposal. I picture Mr. Collins leisurely pacing back and forth while delivering his "sermon" and Elizabeth quietly and uncomfortably sitting in her chair. While Elizabeth attempts to reject Mr. Collins' proposal politely and respectfully, her facial expressions should convey to the audience and uninterested she is with his offer. On the other hand, Mr. Collins' posture and tone should demonstrate his excessive pride and admiration he has for himself. His level of confidence and his incapability of accepting Elizabeth's decline is quite amusing.

Hurston Outline

Janie's expectations for Logan Killicks: 

"She saw a dust- bearing bee sink into the sanctum of a bloom; the thousand sister-calyxes arch to meet the love embrace and the ecstatic shiver of the tree from root to tiniest branch creaming in every blossom and frothing with delight. So this was marriage!" (11)

• This is the beginning of Janie's spiritual and sexual awakening which is full of beauty and fulfillment.
• The bees and flowers symbolize her idealized vision of love.
• Her revelation of her sexuality is naive.

"Husbands and wives always loved each other, and that was what marriage meant. It was just so. Janie felt glad of the thought, for then it wouldn't seem so destructive and moulds. She wouldn't be lonely anymore" (21).

• Through the stories Nannie shares with Janie about the oppressive and violent experiences she faced regarding men, Nannie asserts why it is so crucial for Janie to marry a "good" husband that will support her. 
• Janie expects Logan to respect and value her as a wife.

"Ah could throw ten acres of it over de fence every day and never look back to see where it fell. Ah feel de same way 'bout Mr. Killicks too. Some folks never was meant to be loved and he's one of 'em" (24).

• Janie doesn't love Mr. Killicks and believes he doesn't deserve to be loved because of his lack of attractive physical appearance and hygiene. 
• She desires her idealized, sweet pear tree to satisfy her expectations in a relationship and in marriage.

Janie's expectations for Jody Starks:

"He had always wanted to be a big voice, but de white folks had all de sayso where he come from and everywhere else..." (28)

• Janie meets this young, stylish man from Georgia with grand ambitions. He has come down to Florida to move to a new town being built and run by African Americans.

"Janie pulled back a long time because he did not represent sun-up and pollen and blooming trees, but he spoke for far horizon. He spoke for change and chance" (29).

• Janie's hope for love come alive again; she is willing to give up her aspirations of the pear tree for success and stability. 

"It must have been the way Joe spoke out without giving her a chance to say anything one way or another that took the bloom off of things" (43)

• Taylor asks Janie to make a congratulatory speech for Jody, but Jody assumes that she is not capable of making a speech and that she is only useful for working at home.

Hello everyone!

We just finished our second day of senior year... woohoo! I hope everyone had a great and exciting short week. Let's make the most out of this incredible year ahead of us! I look forward to reading our first text of the year Pride and Prejudice. I have seen the movie and I saw Buckley students perform the drama last spring; I really enjoyed it! Does anyone else share the same views about the play?