The Alchemist: Blog 4

"Love is the falcon's flight over your sands" (Coelho 144).

Santiago explains the meaning of love to the desert because the desert claims it has not experienced such emotion.  The desert notices that "the falcon nourishes man ... man will nourish [the] sands, where the game will once again flourish (145).  The game is similar to survival.  The falcon roams across the desert in order to search for necessities, similar to men crossing the desert in search for treasures.  Some fail their journeys, which over time causes their bodies to disintegrate into the desert.  They become one with the desert, allowing the desert to possess them.  Looking at the specific possessive diction with the word "your", love corresponds with possession.  Coelho incorporates love and the possessive word "your" together to show that the desert has love. In correspondence, the action of flying across the desert demonstrates Santiago's journey from Spain to the pyramids.  His trek causes him to discover new aspects of life that he has never experienced, such as love.  Therefore, the desert has always had love.  Since Santiago spent most of his journey in the desert, he was going to end up experiencing love sooner or later.

The Alchemist: Blog 3

"If you have to wait until the war is over, then wait.  But if you have to go before then, go on in pursuit of your dream.  The dunes are changed by the wind, but the desert never changes.  That's the way it will be with our love for each other" (Coelho 97).

Fatima lays out two possible options for Santiago, similar to the two different roads depicted in the poem The Road Not Taken.  Santiago has to make the decision whether to embark on his Personal Legend or to be with Fatima.  Fatima explains that whichever option Santiago chooses, she will not be disappointed.  The analogy between the dunes and the desert parallels Santiago's exploration.  The dunes represent their relationship because if he chooses to embark on his Personal Legend, the wind will end up changing their relationship.  The desert never changes, signifying love will exist between them no matter what because Santiago believes the "language that everyone [is] capable of understanding ... [is] love" (92).  Even though they have just met, Santiago instantaneously conjures affection for Fatima, and she demonstrates the same affection towards him.  Their hasty affections for one another show Santiago's progression in finding his Personal Legend.  Finding Fatima could symbolize Santiago's true journey, not to find the riches of the pyramids, but rather to rise up from the difficult times in his life.

The Alchemist: Blog 2

"The language of enthusiasm, of things accomplished with love and purpose, and as part of a search for something believed in and desired" (Coelho 62).

Looking at the syntax of this sentence, Coelho utilizes a simplistic tone in order to convey Santiago's complex journey.  Santiago's desire is to travel.  He encounters many simple obstacles along the way, each adding up to intensify the journey's complexity.  At this moment, Santiago realizes that enthusiasm is a language that everyone can understand.  In a literal sense, he does not have to worry about the different types of dialects he will encounter on his journey to Egypt.  In a figurative sense, it could be looking for a passion in life and truly being passionate about that subject.  In Santiago's case, it is his personal legend to travel.  In general, the language of enthusiasm parallels to religion.  People have different beliefs on religion, but they can all understand a core concept in their of similar beliefs.

The Alchemist: Blog 1

"The secret of happiness is to see all the marvels of the world,and never to forget the drops of oil on the spoon" (Coelho 32).

The wise man enlightens the boy about his surroundings. People end up focusing on a single aspect of life, neglecting the other aspects around them. Some people spend their lives not looking at others' perspectives, resulting in one view of life. In the movie, Click, Adam Sandler focuses on his job and receiving a promotion. His lack in perception symbolizes the drops of oil that he truly focuses on, in order to achieve success. By focusing too much on his drops of oil, he misses the marvels of the world. In the movie, he fast-forwards through life, receiving his promotion, but in return missing out on life. He realizes that he should have focused on his family instead of his promotion. Now, he realizes both aspects of his life, holding onto both, without forgetting their significance.

Iago and Desdemona's Juxtaposition

Richard Pho

Mr. George

Honors World Literature

2 December 2010

The Battle of Good vs. Evil

            Shakespeare has created a clash between right and wrong.  The play, The Tragedy of Othello, The Moor of Venice by William Shakespeare, depicts the tragic downfall of a noble moor known as Othello.  Othello faces several obstacles that seem to increase his rage, changing his personality from sane to insane.  His faithful wife, Desdemona, and his “honest” nobleman, Iago, physically represent conflicting pieces of evidence over the course of the play.  Desdemona and Iago’s conflicting beliefs demonstrate their juxtaposing personalities.  Since these two characters resemble foils of one another, they enhance the tragedy through the overarching theme of good versus evil.

            Desdemona and Iago introduce their conflicting personalities towards Othello.  Iago represents the embodiment of evil, while Desdemona represents the embodiment of good.  Iago motivationally desires to do wrong to many characters in the play by lying, scheming, and creating chaos.  On the other hand, Desdemona is described to be “one that excels the quirks of blazoning pens” (Shakespeare 2.1.69).  She appears faultless, pure, and meek.  These two characters symbolize the battle between good and evil.  The play not only demonstrates this conflict as physical, but also mental and emotional.  Physically, Othello demonstrates superb skills in fighting off his enemies.  Mentally, Othello struggles with both Desdemona and Iago’s claims.  Emotionally, Othello questions the validity of his marriage.  The reoccurring theme of good versus evil prolongs as these two characters influence their lord.  As Othello goes through his journey of discovering the truth, he enters fog as his search to ascertain the truth is clouded.

            In regards to Othello, Desdemona and Iago coincide with their varying degrees of truth.  Clouded by anger because of the perception that his wife is cheating on him, Othello believes Iago’s deceitful statement: “But this denoted a foregone conclusion. / ‘Tis a shrewd doubt, though it be but a dream” (3.3.486-487).  Iago claims he heard Cassio talking about his affection for Desdemona.  Even though Othello recognizes the purity in his wife, he cannot fathom Iago to be accurate.  Through manipulation, Iago takes every opportunity where Othello is vulnerable enough to implant the seed of Iago’s plan.  Othello is blinded by the truth, only looking at what is presented in front of him at the moment.  Those few moments unleashed Othello’s inner beast.  Othello’s change in sanity causes him to slowly release his grasp from his lovely wife.  Although Iago manipulates Othello, Othello still struggles to understand the truth as he sees Desdemona’s point of view.  She has never acted in a way to upset Othello.  She defies Brabantio and every other suitor of Venice.  She solely chooses a former black slave to be her husband.  Desdemona’s loyalty to Othello flusters him to determine the truth.  Othello “think[s] [his] wife be honest and think[s] she is not” (3.3.439).  Othello trusts his wife, but after his talk with Iago, Othello has some doubt.  Even with that instance, Othello is persuaded into the tragedy of the play.

            In addition to Othello’s confusion, Desdemona and Iago respond to Othello’s questions in unique manners.  Whenever Othello inquires information from Desdemona, she appears perplexed as if she does not know what to say.  In the end, Othello accuses his wife of committing sins.  Desdemona pleas to “say one [more] prayer!” (5.2.104). Throughout the play, Desdemona’s naivety shows how she does not think about these scenarios.  She cannot fathom what Othello is saying because she does not understand that Iago is manipulating her husband.  In contrast, whenever Othello questions Iago, Iago appears stealthy enough to answer Othello.  Iago is always one step ahead of Othello.  When Othello interrogates Iago about Desdemona’s disloyalty, Iago instantly states that he heard Cassio say “sweet Desdemona, / let us be wary” (3.3.475-476).  Iago takes every opportunity to incorporate another aspect of manipulation.  Iago always knows what to say to Othello.  Desdemona and Iago’s converse approaches highlight their differences.

            Even though Desdemona demonstrates affection towards her husband, the honor and loyalty Desdemona and Iago exhibit are different from one another.  Throughout the whole play, Desdemona has been nothing but faithful and honest towards her husband.  When Othello is enraged at his wife’s supposed affair, she simply responds by “ not stay[ing] to offend [him]” (4.1.277).  Desdemona has no idea for the reason of her husband’s rage, but it does not matter in her eyes.  She remains true to him from their elopement to her last words before dying: “Nobody. I myself, Farewell” (5.2.152).  She does not blame anybody for her death, as if it was her fate to die.  Even as she is dying, she remains loyal to her love with Othello.  Knowing that Othello is blinded from the truth, he believes Iago demonstrates more honor and loyalty than Desdemona.  Desdemona and Iago differ on who truly wields honor and loyalty.  Desdemona has those characteristics, but she does not display them. In contrast, Iago does not have those characteristics, but he purports to have them.  At Othello’s marriage celebration, Othello congratulates Iago for his honor and loyalty: “Thy honesty and love doth mince this matter” (2.3.263).  Through Iago’s manipulation, Othello believes Iago is more honest and loyal than Desdemona.

             Shakespeare implements Desdemona and Iago as contrasting personas of innocence and guilt.  Iago causes Othello to believe that Desdemona is having an affair with Michael Cassio.  He does this by revealing ocular and verbal proof, as Bianca introduces Othello’s missing handkerchief: “What did / you mean by the same handkerchief you gave me” (4.1.167-168).  That handkerchief is a symbol of Othello’s marriage with Desdemona.  The moment he had that ocular proof, he determined that his wife was guilty and that Iago must be telling the truth.  This is spurious because the guiltiest person is Iago, due to his lying and scheming.  Iago embodies this guileful character, as no character suspects him to be cynical until the end of the play.  His depravity causes many innocent people to encounter their demise.  In Desdemona’s case, she has been the most innocent character in the play. She simply tries to keep her husband sane, only to be trumped by Iago’s manipulation.  She is described to be virtuous.  When she talks to Emilia about adultery, Desdemona is shocked that “there be women [who] abuse their husbands / In such gross kind?” (4.3.68-69). Desdemona does not suspect society to contain people with those characteristics.  Her innocence demonstrates her belief that women should only be loyal to their husbands.  Desdemona does not exhibit any faults or sins because she is the epitome of purity.

            Finally, these two characters differ in the morals they present.  Desdemona expresses the ideal of Christian virtue.  She exhibits excellent values of faith, hope, charity, and love.  Throughout the play, she remains true to her love with Othello, no matter the circumstances.  Since she is the epitome of Christian virtue, she believes everything happens for a reason.  She is the type of character that lives life the way nature intended it to be.  On the other hand, Iago desires revenge and holds a grudge towards people in the play.  From the beginning, he disdains Othello for not promoting him and choosing Cassio because Cassio is a better strategist.  This is ironic because the whole play demonstrates Iago strategizing ways to get his revenge.  Iago “will wear [his] heart upon [his] sleeve / for daws to pick at” (1.1.70-71).  There will come a day where Iago makes himself vulnerable; he will do everything in his power to get what he wants, no matter what the cost is.

            Although Desdemona and Iago both shape Othello’s decisions in the play, these two characters embody contrasting concepts of good and evil.  Desdemona represents the good in nature, while Iago exhibits the forces of evil.  Through the actions of honor, loyalty, morals, friendship, and truth, Desdemona and Iago clash while trying to persuade Othello.  One character makes the other pronounced by fighting for the trust of Othello.  Without their juxtaposition, Othello would not have to choose which truth is valid.

Character Analysis: Emilia

Richard Pho

Mr. George

Honors World Literature

1 December 2010

Character Analysis

Emilia, a cynical but faithful wife to Iago, deteriorates from her sphere of domesticity, showing her true loyalty to her mistress than her husband.

As the play progresses, Emilia succumbs to the faults made by her husband, causing her to break free from the traditional role of women.  Emilia acts as the guileful wife, paralleling to the actions of Iago.  When Othello desires answers about Desdemona, Emilia explains that she never "heard, nor ever did suspect" relations between Desdemona and Cassio (4.2.2).  Even though Emilia recognizes the truth, she fulfills her duties by fostering Iago's ideas.  Desdemona's death sparks Emilia to emerge as her true self.  Finally, Emilia expresses her own beliefs: "I will not charm my tongue.  I am bound to speak. / My mistress here lies murdered in her bed" (5.2.220-221). Talking back to her husband breaks the standards related to a marital couple.  She proclaims true loyalty to Desdemona, rather than Iago.  Her act of rebellion sets her free to express her own personality.

Emilia resembles the Farival Twins from The Awakening by Kate Chopin.  The Farival Twins embody society's expectations of how women should act.  The fact that they are twins demonstrates that every woman is a duplicate of one another.  In the beginning of the play, Emilia expresses the characteristics of the ideal woman, remaining loyal to her husband no matter what the circumstances are.  In the end, Emilia defies the Farival Twins as she breaks free from society's standards by speaking up for herself.

In The Wizard of Oz, the wizard feels the need to fulfill his expectations of being dark and powerful, when he really is overpowered by society's pressures just like Emilia.