Rachel

=//>>>>>>Rachel's Literature Page<<<<<<  // =  


That was so awesome when I walked in. Makes the fish and chips not worth it when I could've been helping with thist 1241129144 

Close Analysis 1- FRANKENSTEIN
//__Chapter 3 __//  //(2.09) //

The ultimate significance of Shelley’s passages are depicted through Frankenstein’s character development throughout the novel. At the beginning of the 3rd chapter, Frankenstein’s countenance was one of grief at the loss of his mother and melancholy at the upcoming separation from his friends and family. He came to college simply with the ‘ardent desire of the acquisition of knowledge’, and was discouraged by M.Krempe’s admonishments upon his arrival. These initial factors did not drive Frankenstein to the creation of the monster, rather appear to deter the protagonist from any remarkable findings requiring motivation and intent, both of which he lacked.

Shelley portrays Frankenstein as almost ‘naive’ of glory-driven labour, and was not yet aware of the endless possibilities of science. He observed that he desired the ‘acquisition of knowledge’ as if it were a tangible commodity, a finite virtue. However, as he is exposed to the infinite possibilities of science, it is then that his eye’s are opened to the unlimited powers to be attained. //“I will pioneer a new way, explore the unknown powers, and unfold to the world the deepest mysteries of creation.” // As a consequence, his values change from God-glorifying to Self-glorifying, and his motivation changes from merely understanding the known to exploring the unknown. Shelley uses this portrayal to draw parallels between her character and the enlightenment period in her society.

Shelley has amplified these changes in Frankenstein’s attitudes by the use of deep, spiritual language in describing the value of Waldman’s lecture. //<span style="font-family: Verdana,Geneva,sans-serif;">“…I felt as if my soul were grappling with a palpable enemy; one by one the various keys were touched which formed the mechanism of my being: chord after chord was sounded, and soon my mind was filled with one thought, one conception, one purpose.” //<span style="font-family: Verdana,Geneva,sans-serif;"> Shelley uses this technique to show the depth of his ‘enlightenment’, and the profound effect on Frankenstein. He moved from the utter despair of his losses, to the elation of new found inspiration. These literary features are also common to the style of Romantic Gothic, which was the ‘liberal literature’ period of time in which Shelley wrote this book. Her intention was to explore the spiritual battle that occurs within every soul, and how the results can define one’s fate- for the better, or for the worse.

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<span style="font-family: 'Courier New',Courier,monospace; font-size: 160%;">Close Analysis 2- FRANKENSTEIN
<span style="font-family: Impact,Charcoal,sans-serif; font-size: 160%;">//__<span style="font-family: Impact,Charcoal,sans-serif;">pg 86 __// //<span style="font-family: Impact,Charcoal,sans-serif;">(2.09) //

<span style="font-family: Verdana,Geneva,sans-serif;">The passage in which Frankenstein comes face to face with the being he has created is pregnant with meaning and symbolism. The dreary night of November is deeply symbolic of the tremendous storm of turmoil that was occurring within Frankenstein. His extreme levels of anxiety and suspense over his hard labour are important for the reader to understand and connect with, in order to understand the similar emotions that Frankenstein experiences after the creature awakes. The symbolic reference to his candle that was almost distinguished also alludes to his exhausted physical condition that, like the candle, has been neglected. The storm also acts as an omen for the dark times that loom ahead of him and his family.

The voice of Frankenstein refers to his tools as instruments of life, as if his very perception of existence has been distorted by the science that has consumed him. His perception alludes to the dramatic character developments which occurred within the 2 years that is not told in the novel by Frankenstein. However, despite the length of time that Frankenstein has been involved with this creature, his emotional distance and detachment is obvious through Shelley’s use of language when Frankenstein refers to his work as the ‘lifeless thing’, conveying to the reader that although he holds the fatherly position over the creature, he is completely naive to the role that he will be expected to assume as the creature comes to life. It was because of this ignorance, or lack of reason, that caused Frankenstein to flee the creature, and in turn cause the life of death and destruction that he retells to Walton.

The first convulsive movements of the creature as it comes to life convince Frankenstein of an uncontrollable nature, which may have been prevented had he stayed to further investigate. It was the inability to control that caused so much fear in Frankenstein, since is only intention in the monster’s creation was to GAIN control: control of nature, control of science, control of man and glory. To Frankenstein, it was not conceivable that events did not go according to plan, and as a result, suffered the many consequences that we see in the rest of the novel.

This passage is significant as a turning point in the success of Frankenstein, but also acts as a metaphor for the whole novel. We see in the passage how actions and decisions of good intentions led to serious, negative consequences, and yet, as we look at the novel as a whole, it is clear how this is a common theme throughout the plot, portrayed in the creatures appearance to the De Lacey family, the creature’s rescue of the young girl, Frankenstein’s breaking of the promise to the creature to build a mate, and so on. It is these events in the novel that draw the reader back the underlying questions that Shelley attempts to raise to the reader: what are the possible consequences of intervention with life, and is it worth the result?

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<span style="font-family: 'Courier New',Courier,monospace; font-size: 160%;">Creative Writing- FRANKENSTEIN
<span style="font-family: Impact,Charcoal,sans-serif; font-size: 160%;">//__<span style="font-family: Impact,Charcoal,sans-serif;">The Birth of the Monster- Retold __// //<span style="font-family: Impact,Charcoal,sans-serif;">(2.09) //

//[<span style="font-family: Verdana,Geneva,sans-serif;">NOTE TO READER: The Bold writing represents the CONSCIENCE thoughts of wretchy, and everything else is the SUBCONSCIENCE expressions, emotins and conculsions that are going on inside his head, although he isn't aware of it. A bit like an animal instinct, really. Anyway, also, sounds a LOT better if (don't laugh) you read the not-bold suff at a whisper. No kidding. it really does.] :P //<span style="font-family: Verdana,Geneva,sans-serif;"> 1235275237


 * <span style="font-family: Verdana,Geneva,sans-serif;">PAAAAIIIIIN! **<span style="font-family: Verdana,Geneva,sans-serif;"> Electrocution like lightning. Through my head. Through my body. **<span style="font-family: Verdana,Geneva,sans-serif;">Air. Air. Air. **<span style="font-family: Verdana,Geneva,sans-serif;"> I breathe. **<span style="font-family: Verdana,Geneva,sans-serif;">No pain. **<span style="font-family: Verdana,Geneva,sans-serif;"> I am conscience. I am calm.


 * <span style="font-family: Verdana,Geneva,sans-serif;">NOISE! **<span style="font-family: Verdana,Geneva,sans-serif;"> The storm. There is rain. There is thunder. It is loud. **<span style="font-family: Verdana,Geneva,sans-serif;">Fear!!!..... **<span style="font-family: Verdana,Geneva,sans-serif;">Must I fight? Must I protect myself?..... **<span style="font-family: Verdana,Geneva,sans-serif;">Air. Air. Air. **<span style="font-family: Verdana,Geneva,sans-serif;"> I breathe. No. I am safe from the storm. I am calm again.


 * <span style="font-family: Verdana,Geneva,sans-serif;">Daaaaarrrk……… Not dark? **<span style="font-family: Verdana,Geneva,sans-serif;"> My eyes are open. I see only lightning in the storm. **<span style="font-family: Verdana,Geneva,sans-serif;">Light. **<span style="font-family: Verdana,Geneva,sans-serif;"> More light. The candle burns beside me. It burns.


 * <span style="font-family: Verdana,Geneva,sans-serif;">Shape… Dark. Big. **<span style="font-family: Verdana,Geneva,sans-serif;"> My creator. I see his face. He is afraid. Of what? **<span style="font-family: Verdana,Geneva,sans-serif;">Gone? **<span style="font-family: Verdana,Geneva,sans-serif;"> He leaves me alone. Why? **<span style="font-family: Verdana,Geneva,sans-serif;">Find…… **<span style="font-family: Verdana,Geneva,sans-serif;"> My creator.


 * <span style="font-family: Verdana,Geneva,sans-serif;">Move…. **<span style="font-family: Verdana,Geneva,sans-serif;"> My hands, my feet, my arms, my legs. **<span style="font-family: Verdana,Geneva,sans-serif;">WARM. Move… slow. **<span style="font-family: Verdana,Geneva,sans-serif;"> I learn to step. To balance. To surmount. To avoid. **<span style="font-family: Verdana,Geneva,sans-serif;">Air. Air. Air. **<span style="font-family: Verdana,Geneva,sans-serif;"> I breathe. **<span style="font-family: Verdana,Geneva,sans-serif;">Find….. **<span style="font-family: Verdana,Geneva,sans-serif;"> my creator. He will help me.


 * <span style="font-family: Verdana,Geneva,sans-serif;">More shapes. **<span style="font-family: Verdana,Geneva,sans-serif;"> They lie on benches, as I did. They are Incomplete. **<span style="font-family: Verdana,Geneva,sans-serif;">Like me? No noise. **<span style="font-family: Verdana,Geneva,sans-serif;"> They do not speak. **<span style="font-family: Verdana,Geneva,sans-serif;">No warm. **<span style="font-family: Verdana,Geneva,sans-serif;"> As cold as the floor beneath my feet. **<span style="font-family: Verdana,Geneva,sans-serif;">No move. **<span style="font-family: Verdana,Geneva,sans-serif;"> Not their hands, not their feet. **<span style="font-family: Verdana,Geneva,sans-serif;">Not like me. **<span style="font-family: Verdana,Geneva,sans-serif;"> I must be like my creator. **<span style="font-family: Verdana,Geneva,sans-serif;">Find…….. **<span style="font-family: Verdana,Geneva,sans-serif;"> I must find my creator. He is like me- I am warm. I make noise. I can move. He will help me.


 * <span style="font-family: Verdana,Geneva,sans-serif;">Cold. **<span style="font-family: Verdana,Geneva,sans-serif;"> I have no protection. **<span style="font-family: Verdana,Geneva,sans-serif;">Cover?……Shape had cover…. **<span style="font-family: Verdana,Geneva,sans-serif;"> My creator had clothes. **<span style="font-family: Verdana,Geneva,sans-serif;">Find….. **<span style="font-family: Verdana,Geneva,sans-serif;"> my creator will have clothes for me. He is like me. He will help me.


 * <span style="font-family: Verdana,Geneva,sans-serif;">COVERS! **<span style="font-family: Verdana,Geneva,sans-serif;"> A room with many clothes, but not my creator. **<span style="font-family: Verdana,Geneva,sans-serif;">Cover….. warm again. **<span style="font-family: Verdana,Geneva,sans-serif;"> I feel protected. Secure. **<span style="font-family: Verdana,Geneva,sans-serif;">Air. Air. Air. **<span style="font-family: Verdana,Geneva,sans-serif;"> I breathe.


 * <span style="font-family: Verdana,Geneva,sans-serif;">Find……… **<span style="font-family: Verdana,Geneva,sans-serif;">I seek my creator…….. **<span style="font-family: Verdana,Geneva,sans-serif;">Find…..… **<span style="font-family: Verdana,Geneva,sans-serif;">He is like me…… **<span style="font-family: Verdana,Geneva,sans-serif;">Find…… **<span style="font-family: Verdana,Geneva,sans-serif;">He will help me………. **<span style="font-family: Verdana,Geneva,sans-serif;">Find??? **<span style="font-family: Verdana,Geneva,sans-serif;"> Won’t he?


 * <span style="font-family: Verdana,Geneva,sans-serif;">Noise…… **<span style="font-family: Verdana,Geneva,sans-serif;">I hear a noise. It sounds like me. **<span style="font-family: Verdana,Geneva,sans-serif;">Shape like me? **<span style="font-family: Verdana,Geneva,sans-serif;"> Is it my creator? **<span style="font-family: Verdana,Geneva,sans-serif;">Find…… **<span style="font-family: Verdana,Geneva,sans-serif;"> I will find my creator. **<span style="font-family: Verdana,Geneva,sans-serif;">Air. Air. Air. **<span style="font-family: Verdana,Geneva,sans-serif;"> I breathe. **<span style="font-family: Verdana,Geneva,sans-serif;">Noise…… **<span style="font-family: Verdana,Geneva,sans-serif;"> It must be my creator. **<span style="font-family: Verdana,Geneva,sans-serif;">Follow. **<span style="font-family: Verdana,Geneva,sans-serif;"> The noise. The sound of his voice.


 * <span style="font-family: Verdana,Geneva,sans-serif;">More noise! **<span style="font-family: Verdana,Geneva,sans-serif;"> He speaks. He moves. I hear him. **<span style="font-family: Verdana,Geneva,sans-serif;">Follow. **<span style="font-family: Verdana,Geneva,sans-serif;"> I move towards him. **<span style="font-family: Verdana,Geneva,sans-serif;">Find. **<span style="font-family: Verdana,Geneva,sans-serif;"> My creator. **<span style="font-family: Verdana,Geneva,sans-serif;">SHAPE!! **<span style="font-family: Verdana,Geneva,sans-serif;"> I see my creator. **<span style="font-family: Verdana,Geneva,sans-serif;">Like me. **<span style="font-family: Verdana,Geneva,sans-serif;"> Yes. **<span style="font-family: Verdana,Geneva,sans-serif;">Like me. **<span style="font-family: Verdana,Geneva,sans-serif;"> My creator is like me. He will help me. **<span style="font-family: Verdana,Geneva,sans-serif;">Air. Air. Air. **<span style="font-family: Verdana,Geneva,sans-serif;"> I breathe.


 * <span style="font-family: Verdana,Geneva,sans-serif;">Stretch… **<span style="font-family: Verdana,Geneva,sans-serif;">I move my hand towards him….. **<span style="font-family: Verdana,Geneva,sans-serif;">touch Shape?… **<span style="font-family: Verdana,Geneva,sans-serif;">he must be warm too…? **<span style="font-family: Verdana,Geneva,sans-serif;">BIG NOISE! **<span style="font-family: Verdana,Geneva,sans-serif;"> My creator screams. He is afraid. **<span style="font-family: Verdana,Geneva,sans-serif;">BIG FEAR! **<span style="font-family: Verdana,Geneva,sans-serif;"> Should I be afraid too? I panic. **<span style="font-family: Verdana,Geneva,sans-serif;">No touch! **<span style="font-family: Verdana,Geneva,sans-serif;"> I cannot touch him. **<span style="font-family: Verdana,Geneva,sans-serif;">Shape gone. **<span style="font-family: Verdana,Geneva,sans-serif;"> My creator runs. He leaves me alone. Again. Why?


 * <span style="font-family: Verdana,Geneva,sans-serif;">Shape NOT like me? **<span style="font-family: Verdana,Geneva,sans-serif;"> He does not act like me. **<span style="font-family: Verdana,Geneva,sans-serif;">Follow…………..? **<span style="font-family: Verdana,Geneva,sans-serif;"> Will he help me? **<span style="font-family: Verdana,Geneva,sans-serif;">Air. Air. Air. **<span style="font-family: Verdana,Geneva,sans-serif;"> I breathe. **<span style="font-family: Verdana,Geneva,sans-serif;">Follow bad?…. **<span style="font-family: Verdana,Geneva,sans-serif;"> He doesn’t want me to follow? **<span style="font-family: Verdana,Geneva,sans-serif;">Big Noise BAD. **<span style="font-family: Verdana,Geneva,sans-serif;"> I do not want to hear him scream. Again.


 * <span style="font-family: Verdana,Geneva,sans-serif;">Yes, Follow bad. No follow. **<span style="font-family: Verdana,Geneva,sans-serif;"> He did not act like me. He did not help me. **<span style="font-family: Verdana,Geneva,sans-serif;">Air. Air. Air. **<span style="font-family: Verdana,Geneva,sans-serif;"> I breathe.


 * <span style="font-family: Verdana,Geneva,sans-serif;">No follow. **<span style="font-family: Verdana,Geneva,sans-serif;"> He is not like me. He will not help me. I will not follow. **<span style="font-family: Verdana,Geneva,sans-serif;">Run. **<span style="font-family: Verdana,Geneva,sans-serif;"> I will discover.


 * <span style="font-family: Verdana,Geneva,sans-serif;">Run. **<span style="font-family: Verdana,Geneva,sans-serif;"> I will find someone. Someone like me. **<span style="font-family: Verdana,Geneva,sans-serif;">Air. Air. Air. **<span style="font-family: Verdana,Geneva,sans-serif;"> I breathe.


 * <span style="font-family: Verdana,Geneva,sans-serif;">Run. **

Page looks great Rach and the story is excellent. Don't laugh but I did read it that way and it works. Hope you weren't just trricking me! 1235297270

You really have prettied everything up quite a lot. Enough to make you the person with the most recent edits. I was trying for that spot a while ago, but could never quite make it. Something to do with Ms. Peel editing with Hw etc.... 1235335446

Oh, and it really does add another level of atmosphere when you read it like that 1235337530

Another level of atmosphere? Like the troposphere? 1235364990

Hehehe- hint to earning the "most recent edits" title: save your page every 30 seconds or for every letter change you make to the page... whatever comes first! :P garenteed success. 1235376866

Stratosphere Eslin, stratosphere. yeah, I saw that basically all of your 36 edits are of your page and within about 15mins 1235423177 > Yeah, You cheated.. --1235510849

You can't cheat if you've got no idea what you're doing (which was true in my case) 1235512137

Oooo, the link to your page is pretty awesome now. 1235510685

Damn, you've out done me again. Your page link is easily the most awesome so far. 1235510822 > My link is obv. the best. --1235510930

i found that pic by chance- i was surfing the web for cool desktop backgrounds.... sweet, huh? catch up, guys :P 1235512137

I don't understand. I thought my Barcode would be un-toppable. Then you best it with a simple google search... i think i'm starting to understand your annoyance when I beat you at maths without trying... 1235537397

You just HAD to bring maths into this, didn't you? :P it's true, but. (yeah, Eslin, i know that's know grammatically correct, but i don't care) :P 1235541684

Maths is already in everything. I just revealed it ;) 1233CSTRONG jQuery1251610215953=% class=quotelist> * Open your mind to the Ma+hs. --[[user:Sabre070|1235594904 >> Haha, I like it 1235597407

hehehehe.......Keep ur maths jokes off my page please...... people might think im some kinda .... nerd or something! :P And that wouldn't be right, would it? (im killing myself laughing right now) 1235622068

You say it like it's a bad thing :P If it will make you happy, I will endeavour to keep your page maths free from now on 1235623294

I won't 1236471566

Es, i think you just hit an all-time low as far as hilarity goes. and THAT is the funny bit. :P 1236477508

That was so un-funny Es, that the non-hilariousness level is almost funny 1236632301

<span style="font-family: 'Courier New',Courier,monospace; font-size: 160%;">Passage Selection and Justification- FRANKENSTEIN
__<span style="font-family: Impact,Charcoal,sans-serif; font-size: 190%;">//Pg 123, chapter 13.// __<span style="font-family: Impact,Charcoal,sans-serif; font-size: 190%;">//<span style="font-family: Impact,Charcoal,sans-serif;">(2.09) //

//<span style="font-family: Verdana,Geneva,sans-serif;">"Of what a strange nature is knowledge! It clings to the mind when it has once seized on it like a lichen on the rock. I wished sometimes to shake off all thought and feeling, but I learned that there was but one means to overcome the sensation of pain, and that was death—a state which I feared yet did not understand. I admired virtue and good feelings and loved the gentle manners and amiable qualities of my cottagers, but I was shut out from intercourse with them, except through means which I obtained by stealth, when I was unseen and unknown, and which rather increased than satisfied the desire I had of becoming one among my fellows. The gentle words of Agatha and the animated smiles of the charming Arabian were not for me. The mild exhortations of the old man and the lively conversation of the loved Felix were not for me. Miserable, unhappy wretch!" //<span style="font-family: Verdana,Geneva,sans-serif;">

I have selected this passage because I believe there are many parallels in the depi…… %and Victor’s. They both sought knowledge, and after a time become convinced that they had achieved too much, of which has had detrimental effects to their well being, decisions, actions and ultimately their fate. Also there is many ideas of Shelley conveyed to the reader (apart from knowledge) regarding isolation, death and the social nature of humans.

<span style="font-family: 'Courier New',Courier,monospace; font-size: 140%;"> <span style="font-family: 'Courier New',Courier,monospace; font-size: 210%;">**CLOSE ANALYSIS 1- BYPASS: The Story of a Road** <span style="font-family: 'Courier New',Courier,monospace; font-size: 140%;"> <span style="font-family: Impact,Charcoal,sans-serif; font-size: 196%;">__//Pg 28-29//__ //[21.3.09]// <span style="font-family: 'Courier New',Courier,monospace; font-size: 140%;"> Michael McGirr uses much symbolism within the text to delve deeper into the layers of the journey of life and the mystery of human nature. His use of analogies connecting a river to time suggests to the reader the temporary nature of the present, and moreover challenges our priority in fulfilling every moment. “Heraclitus is suppose to say… you cannot go into the same river twice”. He cites his inspiration from other authors and philosophers (like Heraclitus) to convey to the reader that theses ideas are not original, but timeless issues that humans continue to fail to address with adequacy.. By documenting his journey by bicycle from Sydney to Melbourne, he demonstrates his commitment to exploring these priorities in his own life, thus showing the importance the author places on these values, and setting an example for the readers to draw on for inspiration. (Wow! this is a great intro, well done!)

McGirr continues his evaluation by contrasting the fleetingness of the river with the consistency found in a road, which is a metaphor for the constant journey of life .(good identification of language) “Bitumen, in contrast, may melt in the heat but it doesn’t really go anywhere.” However, he does not use this comparison to emphasize the differences between a river and road, rather connect to the reader the constant changes in character we undergo, whether they are visible through time changing around us (like the river), or in our reflection of our journey thus far (like the road).

It is interesting to note the author's particular depiction of the Hume Highway as in constant motion, as if it were a character, not simply a prop in the theater of life. (I'm reading this out loud right now to my husband who teaches English to brag about how well you write) The Highway becomes symbolic in the text not only as a documenter of Australian history, but also of the details in McGirr’s life that he wants, rather needs to explore to gain true fulfillment. The reader is shown through his reflections that in order to discover these elements you “have to go slowly” and “ignore the signs that keep you going at 110 kilometers an hour”, we see that McGirr is not in fact addressing physical travel, but discovering oneself, that he had previously overlooked in his past, as a Jesuit Priest. He observes his own ignorance and naivety when considering his knowledge of the road (life) and his place in it “A bicycle with…. a rider who thinks he has seen it a thousand times is best of all [for effective exploration]”.

This is not a passage about a Highway. McGirr cleverly uses an Australian symbol of travel, change and history to connect to the reader on a metaphoric, yet spiritual level, portraying the importance of knowing who you are and where you are going. He uses his own story to further introduce and portray these ideas and messages to the audience, which allows the reader to fully understand the purpose of McGirr’s commentary of the Hume. The views and values of the author evidently convey reflection, unrest, ignorance and discovery through the simple means of retracing steps, in his case- down the road of the Great Australian Hume Highway.

Love the conclusion too. Rach, this is exactly the type of response I was looking for. You've delved beyond what the passage presents on the surface to reach into the mind and heart of the author. Your use of quotes from the passage supports your analysis and highlights the depth of emotion the author is seeking to convey. Excellent!!! Would it embarass you if I used this to show the rest of the class what I was looking for in terms of Close Analysis?

Woah.... What really annoys me is I was struggling to see what more I could get out of that passage, then I look at yours and it's all so obvious... Awesome, though 1237756649

hey thanks, i read ur's 2- also impressive :P I really like being able to read other people's stuff- it makes great study notes, and gives u a different perspective on things 1237887829

<span style="font-family: Impact,Charcoal,sans-serif; font-size: 171%;">**<span style="font-family: 'Courier New',Courier,monospace; font-size: 140%;">//POETRY////- BYPASS: The Story of a Road// ** <span style="font-family: Impact,Charcoal,sans-serif; font-size: 190%;"> __//ENTRY//__ //[3.09]// [NOTE TO READER: My first attempt at poetry- no laughing please :P Very corny too, I admit, but here it is anyway] 1237887829

__//**(a poem about Bypass....**//__)
 * Wake-up and Smell the Drive-through Coffee**

We choose to take the Highway, It's the fastest route we know. Our purpose is to get back home, No time for going slow.

Ignoring all the detours, We charge full-speed along, Not taking time to see the sights Or hear the Highway's Song;

That sings about the present, And the past that molds today, Which surely gives great insight Into what comes tomorrows way

So we choose to take the Highway, But it's not the wisest notion, 'Cause unless we take it slow to learn, We're losing constant motion.

Hm, I don't think I'll even bother entering now, no way I'l beat that... 1237928178

Good on you getting us up and running Rach, great start to the comp 1237974971 <span style="font-family: Impact,Charcoal,sans-serif; font-size: 195%;">

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<span style="font-family: Impact,Charcoal,sans-serif; font-size: 210%;"> <span style="font-family: 'Courier New',Courier,monospace; font-size: 140%;"> <span style="font-family: 'Courier New',Courier,monospace; font-size: 176.8%;">**<span style="font-family: 'Courier New',Courier,monospace; font-size: 140%;">HOLIDAY HOMEWORK- BYPASS: The Story of a Road ** <span style="font-family: Impact,Charcoal,sans-serif; font-size: 221%;"> //__TASKS 1__// [4.09] <span style="font-family: Impact,Charcoal,sans-serif; font-size: 170%;"> //"In Bypass, Micheal McGirr uses the metaphor of the road to suggest that life is a journey worth taking slowly". Discuss.//

‘Bypass: the story of a road’ portrays many views and values of it’s author, Michael McGirr. It challenges the reader’s perception of true fulfillment, and forces us to reconsider what we believe holds the most importance in our own lives. Although McGirr raises many questions and touches on countless aspects of life on his exploration along the Hume Highway, the underlying theme is the journey of life. This is made clear with McGirr’s constant commentary of the Hume revolving around his own life experiences, and his use of the analogy of life within the Hume, a road that shares much of Australia’s great history. This theme and metaphor carries the author’s main message, that in order to fully discover oneself and the opportunities that lie in store, we must take the journey of life slowly. McGirr reveals this truth through his heroes, the history of the Hume itself and his own reflections, using the metaphor of the road throughout. Each have their own unique means of sharing this proverb, yet all are effective in conveying McGirr’s message to the reader. Most mentioned in his commentary is the hero of his travels.

Cliff Young’s story is told with sarcasm and wit throughout the text, marking each section with a chapter of Cliff’s road to victory. McGirr places so much importance on Cliff’s race because to McGirr, it is a story of a slow pace in a long journey that eventually leads to ultimate success. McGirr tells that Cliff’s race was like ‘the story of the tortoise and the hare’, which highlights the overall message of the text. Cliff was 61 years old- no athlete, and without any kind of advantage or resource. Yet because he chose to take the journey slow, his consistent and disciplined effort, as well as his determined mindset granted him the reward of winning the Sydney to Melbourne Marathon. McGirr draws inspiration from Cliff in order for him to achieve his own goals, which is to rediscover who he was, by implementing the same principals into his journey. McGirr’s message through telling Cliff’s story is that success on a road is achieved not by rushing, but going at one’s own pace with vigor and purpose. It wasn’t that Cliff was fast; rather that he had motivation and a goal, and these values are upheld and affirmed by McGirr though commentary and practice on his physical and spiritual road throughout the text.

As much as McGirr draws attention to the role models of his exploration, the author also portrays his messages to the reader by illustrating failures in such travels on a physical and metaphoric road, such as Hume and Hovels expedition ‘south of New South Wales colony’. The first obvious signs of their dysfunction were the fact that they never quite reached their purposed goal and destination. “Lara, not far from Geelong, [was] where they had mistakenly ended up… they were supposed to be at Western Point” (pg 274). The dissension within the traveling party was so hindering, that they never achieved what they set out to do. In the text McGirr cites references from the explorer’s journals, highlighting Hume and Hovel’s differences that were vulnerable to conflict, including Hume and Hovel’s age difference, nationality, and worth ethic. However, the root cause of their ultimate failure is observed in their attitude towards the journey. “Hume and Hovel are the patron saints of all who… just wants to get there and get home” (pg 20). This attitude is exactly the opposition of McGirr’s own values, and proves the truth in his observation that a journey is worth taking slowly in order to be effective. Haste got Hume and Hovel to the wrong spot. They were a bad example of effective exploration because they did not appreciate the journey, only the destination. When this occurs, as we see in Hume and Hovel’s example, details are missed, correct direction is compromised, and the outcomes are far from original goals. McGirr directs his readers back to his message through Hume and Hovel’s mistakes, in order for us to learn from them.

Someone who has never experienced these lessons easily preaches them. As McGirr points out, “It’s a lot easier to [preach]… when you are dealing with [an] idea in the abstract” (pg 181). This is not the case with McGirr, who left the Jesuit priesthood after 21 years of service. He gave up his position, his purpose and vows because he “became dependent on the support of the institution” (pg 173). To him, this meant he no longer knew who he was, his journey was being replaced a platonic illusion seen by his superiors and congregation. Like Hume and Hovel, his exploration of life became lost in the desire to simply ‘get there, and get home’. Upon this realization, he does some soul seeking along a road he has traveled many times, yet knows little of- the Hume, symbolic of the spiritual and physical journey that he is experiencing simultaneously. These experiences are slowly revealed to the reader throughout the text, as he chose to ‘ignore the signs that keep you going at 110 km an hour’, and began to experience life for what it was- a journey worth taking slowly to fully understand and appreciate. His discoveries are documented in Bypass in a metaphor with a road, in order to fully convey and give testimony to the ideas that McGirr holds so valuable.

This is the essence of the McGirr’s message. Life is a highway, which in order to fully discover, understand and appreciate, you must take the pace slow, focusing on the journey, not the destination. Like Cliff, McGirr shows that purpose and pace wins the race, and unlike Hume and Hovel McGirr shows that simply getting there and getting home does not achieve goals. Most importantly, McGirr portrays to his readers that in all his exploration and discovery, that life is a journey WORTH taking slowly.

<span style="font-family: Impact,Charcoal,sans-serif; font-size: 221%;">//__TASK 2__// [4.09] <span style="font-family: Impact,Charcoal,sans-serif; font-size: 170%;"> //Write a paragraph explaining the position of McGirr seems to take on each of these issues and explain with evidence from the text how you reached your conclusion.//

McGirr places great importance and value on new beginnings- it’s what he left priesthood for, in the belief that this was of the most importance to find. We see this trend in the overall series of events in the text, for example the new life structure, new journey on the Hume, new relationship with Jenny, new baby, etc. McGirr stresses that these aspects of life are important and also beautiful because of the mystery of a road un-traveled. For example, in reference to his baby son Benedict he writes, “We dreamed of a wonderful future... we held [Benedict] and wondered where his road would take him...”.
 * New Beginnings:**

“When you leave a religious order such as the Jesuits, it’s a bit like getting divorced, sacked, and evicted all on the same day, except it’s a decision that you make for yourself, though that doesn’t make the experience any more simple.” McGirr believes that a change in one’s belief is a) acceptable (since he himself found success in doing so) and b) a freeing experience. McGirr didn’t leave the Jesuits because it got too hard, rather he began to forfeit his own responsibility for his own life in exchange for the approval of others, and found freedom in choosing his own path. “It wasn’t that I found obedience too difficult. I found it too easy. I became compliant... I became dependent on the support of the institution... I was abusing the vow of obedience...”. In another passage he also observes “ I was beginning to think that I was important because of what I did.”
 * Changing Beliefs/Faith**:

Although loss is a part of life, McGirr still feels that it should be acknowledged and treated with respect. This is evident in his commentary of his experiences as a priest conducting funerals, “I always tried to do the full ritual and not to rush. It mattered in my mind that somebody should stop to observe that one of our fellows had left our company.” Also McGirr’s constant commentary on the war and accident monuments along the Hume suggest that McGirr was quite touched by the spirituality of the memorials, and endorsed the attentiveness of travelers to the deceased.
 * Loss**:

McGirr constantly uses this metaphor in many aspect of the text, e.g. “I felt safer on a road where I had to take responsibility for my own life”. He refers to an outlook on life in terms of the road, “There are two ways at looking at the world... the concave is pessimistic. It thinks that every time things are going well and you’re in a part of your life which feels like gliding downhill, then an uphill part lies ahead as punishment... [and the convex way] thinks that every uphill push is a prelude to an easy glide which will soon be your due.” This is a common thread throughout the text.
 * Life is a Journey:**

“The inability to express oneself is the cornerstone of social alienation... I thought with relief that my mid must be an easy place to live compared to Milat’s.” This summarizes McGirr’s view on social isolation. He acknowledges that isolation is unhealthy for the spirit and dangerous to anyone’s wellbeing. This is also noted when referring to Mary Gilmore, though in a more subtle way. He tells her story of loneliness, separated from her husband and son for many years. The effect on Gilmore wasn't dramatic or loud, rather took an emotional hold of her, making Gilmore "high-strung and prone to depression". It was interesting that McGirr mentions Gilmore in the following chapter of Milat's own social isolation.
 * Social Isolation:**

Relationships are a completely new experience for McGirr. He admits that as a priest “It’s a lot easier to speak about relationships when you are dealing with the idea in the abstract.” As he learns more about Jenny, and becomes closer to her, we can see that his view on relationships changes from a unsure theory to an opinion based on experience. “Life with a partner... is a straight road with hills and valleys. You have an idea where you are going together, but getting there is sometimes hard work, other times sheer exhilaration.... your perineum might get sore occasionally, but your heart feels great.”
 * Relationships:**

McGirr believes that all events on the Hume shape the road into what it has become as a character today. From his commentary on the Razorback Blockade, or his referral to historic events such as Hume and Hovel’s expedition, He shows the connection between the past and future, how today is shaped by the past, just as the road is shaped by the happenings on it’s shoulders.
 * Life/Events on the road:**

“I dreamed I was pushing a bike up a long, steep hill. In the morning my dream came true.” Although McGirr constantly makes remarks about the roads physicality in a negative way, it is clear to see by the way he speaks about the Hume at the end of the text that he becomes quite attached, despite the hard physical labor he exerted riding it. In the last chapter McGirr paints an affectionate picture of the Hume, “More than anything, we listened to the road, a mile or more in the distance. The Hume Highway is alive at night... On a clear winters night, we could hear every noise [the trucks] made. They moaned in the background, like the sea in rough weather.”
 * Environment- The roads physicality, terrain, etc:**

<span style="font-family: Impact,Charcoal,sans-serif; font-size: 221%;">//__TASKS 3__// [4.09] <span style="font-family: Impact,Charcoal,sans-serif; font-size: 170%;"> //Explain what you think inbound tourism means.//

__Inbound, adjective. Directed or moving inward or toward a center; "the inbound train"; "inward flood of capital"__. When applying this definition to tourism, this phrase is likely to mean tourism from people of their own country, for example tourists found in W.A who are from Victoria, etc. This term is significant because Bypass is the commentary of an inbound tourist- McGirr, who explores his own country for things he had so often missed along such a familiar road. This is the essence of the text’s message.

//<span style="font-family: 'Courier New',Courier,monospace;">What about tourism within one's own thoughts? A journey to self discovery, touring around his own mind sifting through his own views and values in order to better understand them. // 1240141579

<span style="font-family: Impact,Charcoal,sans-serif; font-size: 210%;"> <span style="font-family: 'Courier New',Courier,monospace; font-size: 140%;"> <span style="font-family: 'Courier New',Courier,monospace; font-size: 176.8%;">**<span style="font-family: 'Courier New',Courier,monospace; font-size: 140%;">CLOSE ANALYSIS- BYPASS: The Story of a Road ** <span style="font-family: Impact,Charcoal,sans-serif; font-size: 221%;"> __//3 Passages//__ [4.09] <span style="font-family: Impact,Charcoal,sans-serif; font-size: 170%;"> Michael McGirr constantly refers to his own life with the analogy of a road, and the journey it holds. It is through these analogies that the true messages of the text are revealed, and reflect the values held by the author. The importance of understanding one’s place in the world, as well as knowing who you are and where you are going are two such morals which are addressed and endorsed by McGirr in the text, and constantly connects the physical and metaphoric parallels between the road and life, complete with hills and valleys, twists and turns. His traveling by bike from Sydney to Melbourne is particularly significant, as it acts as a symbol of the spiritual, as well as physical journey he undertakes. The experiences and lessons that McGirr shares challenge the reader’s own values and priorities that are reflected in our lives. By sharing his journey, successes and failures the reader sees the inner struggle undertaken by McGirr, as he delves deeper into his own heart, searching for meaning and purpose in his life. He travels through the stages of ignorance, unrest, discovery and reflection before coming to terms with his own views and values.

The reason for his exploration derides from his realization that as a Jesuit Priest his priorities were dependant on his success in the institution of the church. “…There’s a difference between thinking your work is important and thinking you are important because you do the work. I am afraid I was beginning to think that I was important because of what I did.” From this recognition of his own ignorance we can see the importance that McGirr places on truth, not perception, and thus challenges the readers interpretation of reality. With the knowledge that replaced his ignorance, it became no longer sufficient for McGirr’s role in the church to reflect his role in life. His awareness caused restless and discontent, and therefore gave McGirr purpose in his journey- to discover truth. It is also significant that he chose to set everything aside in order to address this truth, as this conveys the importance he places on acting on knowledge.

As McGirr seeks this truth he makes discoveries about the underlying issues that caused his restlessness. “I [began] to realize that I was grieving for [my title]… only people can give you your name.” This passage reflects his need for other people to create his self worth, acknowledging that relationships are more important that he believed as a Priest. His belief that it was HIS actions that gave him value was merely a deception that hid the necessity for reliance on others- “It’s impossible to squeeze the pimple in the middle of your back without help”. the fact that without people, one’s role is worthless, and there would be no need for a journey without others to give the journey purpose. His ultimate perceptions of self worth were altered from the belief that we make ourselves important, and limitations were weaknesses, to the recognition that people are what give us our worth, and “The secret to being human is learning to enjoy our limitations”.

McGirr’s reflection on people is incorporated into his closing analogy of life as a road. It was the discovery of the role of other people in his life that changed his perception of what a journey was made of. “If we could do everything, we wouldn’t need other people and we wouldn’t need a road.” His reflections portray the content he finds in accepting his imperfections, which was contrary to his life as a priest, which was about constant striving for perfection. By using inclusive language he highlights to the reader the similarities in everyone’s journey, making the point that we all desire and need other people, whether we acknowledge it or not. Similarities draws connections between himself and the reader, and impacts on the reader’s interpretation of the overall meaning of the text.

It is on this journey that McGirr makes the discoveries that define his morals and shape his character. These passages reflect the change that has occurred in McGirr. As a Jesuit Priest his perception of life was created within the walls of the institution. Yet as he leaves the church behind, McGirr makes clear to the reader that by looking from another perspective, alterations in character occur. His message to the reader through the text is one that endorses ignorance and unrest, because it leads to discovery, reflection, and ultimately truth.

<span style="font-family: 'Courier New',Courier,monospace; font-size: 176.8%;">**<span style="font-family: 'Courier New',Courier,monospace; font-size: 140%;">POETRY- Shakespearean Sonnet ** <span style="font-family: Impact,Charcoal,sans-serif; font-size: 221%;"> __//Have a go at writing your own Sonnet//__ [5.09] It must be 14 lines long (as sonnets are) and include as many of the following as possible: Alliteration, rhyming couplets, an extended metaphor, an allusion, hyperbole, a pun, a turn.

[**POETS NOTE:** I tried writing about running (for like, a whole hour, lol) and came up with nothing. so, effectively, i pulled an Eslin and tried to write a sonnet about how much i hate writing sonnets! It actually worked better than i thought, so i stuck with it. It's still pathetic, IMO, so please don't laugh too loud at my incompetency :P] 1242556172

THE NATURE OF SONNETS ... A poem about poems... A successful Sonnet is difficult to write Complete with metaphor, pun and turn. The result of many attempts in spite Will never help the poet learn.

Alliterations and assonance exhaust the mind Like running up a long, steep hill; The format not the least bit kind To the poor poet it intends to kill.

One could write about all day The many failure of the student; Who tries her best but cannot say, “ I succeeded because I am prudent”

Despite my whinging, I prove myself wrong; For indeed, I have just composed a song! ☺


 * //included features: RHYMING COUPLETS (whoe way through), METAPHORE (lines 5 & 6), ALLITERATION (line 5), TURN (lines 13 & 14), HYPERBOLE (line 6)//**

<span style="font-family: 'Courier New',Courier,monospace; font-size: 176.8%;">**<span style="font-family: 'Courier New',Courier,monospace; font-size: 140%;">CLOSE ANALYSIS- Jennifer Strauss Poem ** <span style="font-family: Impact,Charcoal,sans-serif; font-size: 221%;"> __//For Nicholas, One Year Old//__ [5.09] [AUTHORS NOTE: This is has been posted in the event i stuffed up the table thing- which is more than likely..... :P]

Through her famous piece, “For Nicholas, One Year Old”, Jennifer Strauss explores the way in which parents desire to shelter their children from the harsh realities of the world, yet cannot succeed in achieving.

Within the opening lines of the poem, Strauss draws attention to the attempts that are made by parents to create a ‘perfect’ environment. They depict an ordinary, yet pleasant Australian home, through her emphasis on everyday objects like ‘Wholemeal crusts’ and ‘Vegemite’. The particularly familiar and common objects within these lines suggest also the unified desire of parents to create this safe environment for their children. Her use of the term ‘balanced breakfast’ also contributes to a mood of stability and security, which highlights the Poets own value on protection for her young. Strauss’s collective illustration of a secure, content and peaceful atmosphere connects the readers by association of words and impressions to an innocent childhood and a naturally simplistic environment, unpolluted by the reality of the world’s ugliness. This mood has been created to remind the reader of life as a child, in order to create a harsh contrast with the scene of human corruption which she paints in Lines 5- 11.

Simple adverbs like ‘Spills’ directly impacts on the readers interpretation of the morning paper, and it’s role in the poem. Not only does her use of ‘spill’ leave an impression of the headlines encroaching on space which it does not own, but also suggests it’s negative content, and it’s unintended yet achieved influence on the subject. By using alliteration to describe the headlines, “daily dues of blood and bastardry”, Strauss emphasizes the sound of the words as well as their depressing meaning, which highlights their contrast to the scene of a platonic home, which has been broken. The Headlines of the paper are the evidence that proves Strauss’s contention that the world destroys the innocence that parents attempt to create, and is written in italics to contrast and separate their imagery from the rest of poem, as they describes the world, not the home.

The transition from portraying the world to portraying the child takes place through the cleverly written response of the mother to the newspaper. By using similar and sharp language to the headlines, the poet continues the flow and feel of the poem, while also rejecting the previous dark depiction of the world. “I bundle up the rubbish savagely Thrust all from sight into the pedal-bin And flee to towards your comfort.” This reflects the angered effect that the sombre headlines have on the mother, which further convinces the reader of the imposing nature of the world’s struggles with morality, poverty and greed. Again contrast is created by juxtaposing the harsh reaction of the mother to the light and uplifting scene to which she escapes to. This direct change in mood and impression is important in pulling the reader back into the initially illustrated environment, which highlights the light and dark tones of the poem. The objects described in the nursery like ‘golden horses’ are symbolic of this innocent and joyous nature of the child of the subject.

As Strauss describes the relationship between mother and child, the language transforms from bright and colourful to soft and calm, which draws the readers attention to the love that motivates the desire of a parent to protect her baby, which is the essence of the poems underlying meaning. “How shall I ever brace my heart to bear This eggshell burden of delight?” This metaphor reflects the mothers recognition of the fragile nature of the child’s innocence, and the responsibility given to her to protect it. It contributes, like most of the poem, to the impression that the mother is over-protective of the child, but the last two lines change this perception. The poem becomes a mother’s lament, as she hears the combat boots from the morning paper within the heartbeat of her baby. This is the most significant line in the poem, as it depicts the sad realisation and acceptance that no amount of protection will prevent the baby from eventually discovering the world, and being ultimately corrupted by it. The newspaper now becomes an insight into the future of the child, which the poet uses to convey her message to her audience- about the love of a mother, but also the corruption of human nature, that is lost as a child grows older.

<span style="font-family: 'Courier New',Courier,monospace; font-size: 176.8%;">**<span style="font-family: 'Courier New',Courier,monospace; font-size: 140%;">SLAUGHTERHOUSE 5- Homework task ** <span style="font-family: Impact,Charcoal,sans-serif; font-size: 221%;">__//Create your own Race//__ [6.09] [AUTHORS NOTE: A fairly dry and boring essay, but is mainly describing a race of identical beings, completely unified in DNA, thoughts, behaviour, beliefs and actions. Name- Gonarmasa (orang sama rearranged- Indonesian for similar people) Planet- Iadun (Dunia rearranged- Indonesian for World). 1245936258 AGE: _

__COMPULSORY CLASS:___

__GIVEN TASK: Write a comparative extended response regarding our native Planet, Iadun with EARTH AND HUMAN EXISTANCE. Include our conjectures regarding both Iadun and Earth.”

Iandun and Earth are what is universally accepted by Gonarmasas as polar opposites in every aspect of life, which makes understanding this alien planet difficult. In order to make a simple comparison, 3 major differences must be examined. These consist of Diversity in Appearance, Individual Mentality and Subjective Opinion to Law & Faith.

Appearance on Earth is a particular factor that contributes to the confusion of Gonarmasans when analysing Earth and Human inhabitants. While every baby born on our planet is identical in DNA, appearance and behaviour, all humans on Earth are so unique, they even have DNA that is completely matchless in their world. Our identical size (3.156 gdf^3), triangular shape, singular colouring of Steel-Grey (see figure 1.1) highlights the unified national identity that our planet shares, in contrast to that of Earth.

As a result of this diversity, no two people ever look the same, which has huge potential for humans to isolate themselves and others because of their physical differences, leading to an ‘individual mindset’. While we Gonarmasans, believe that conformity is a virtue, Humans value “individuality” and “critical thinking of generally accepted ideas” as an accepted practice, which has been proven to be problematic throughout their short history of countless revolutions and persecutions. By contrast, our own long history tells the tale of not only successful conformity, but successful partnership and teamwork, which has ultimately contributed to the further unity and advancement in all Science, Humanities and Art than any other Species know to the Universe.

Humans live in a mindset of individual gratification, and their self-absorption is by far the greatest failure in their attempt at ‘world peace’. This mindset can also be attributed to their acceptance of subjective opinions to law and faith. Gonarmasan’s view Law and Faith is clear, unbiased and universally recognised & respected by our people. Humans, however do not have a unified law or faith, with hundreds of religions and contradicting laws.

These 3 simple aspects clearly demonstrate the superiority of our people and beliefs. These aspects contrast our success with the failure of humans in their simple individual mindsets, which lead to disunity, isolation, persecution and ultimately opposition to their own system of law and faith- an unsuccessful planet.

Figure 1.1 (imaginge diagram of human, and wierd triangular being, very dull shade of grey with arms and legs, lol)

3.156 gdf^3 ? 1245993211__

__Here's my Creative Response, enjoy! See the creative sac page for my explanation... it might be a little bit... ur, abstract otherwise, lol. 1247811400 **//Literature Sac//**
 * //Unit 4, AOS 1//**

//God grant me serenity to accept the things I cannot change, courage to change the things I can, and always wisdom to tell the difference.//

* “Why do I have to be here?” Robert challenged for the 29th time, and rolled his eyes at his mother, who shot him a pleading look. His mother was concerned for him, and was particularly nervous about the outcome of that night’s interviews. She wrung her hands together in her lap. “You have to be here- it’s compulsory,” His father explained in his ever-logic fashion. Again. Robert pondered this, and decided that was something he could change. “//Nothing and nobody// controls me. I’m leaving.” He pulled open the groaning door, and ran down the corridor without a backward glance, his untied shoes making squeaks that reverberated off the brightly decorated walls. Robert sat on the 15th concrete step of the school until he got tired of sitting, and felt like walking. He walked until he got tired of walking, and felt like stopping. * *  * __
 * //1950://** On the 2nd of February, at 4:02:55am, Robert Pilgrim was born to Billy and Valencia Pilgrim. Robert was born in 10 hours, 34 minutes and 3.8 seconds, after a hard and strenuous labour on his mother’s part. As his mother held him for the first time, a silent tear of joy slid down her cheek, as she imagined the life her son could lead, the infinite journeys a successful son could take. She laid back on the piled cushions propping her up 50.45cm from the bed, and gently, yet reluctantly held out her son to his father. His father tenderly took Robert in his arms, and tugged back the soft fleece blanket that partially hid his face. His father slowly rocked Robert back and forth, as he made his way across the tiny room to the window of the hospital. The green, patterned curtains were drawn aside to reveal the city in the early hours of the morning, as the sun was peeking up from the horizon, and set the region in a beautiful tone of gold. His father directed Robert’s wandering eyes to the view, to show his the beauty of the moment he was born into. Robert didn’t want to see, so he closed his eyes. //Nothing and nobody// controlled him.
 * //1959://** Robert’s parents attended Parent/teacher conferences at the school where Robert attended 47.3% of the compulsory classes. They cautiously climbed the 19 concrete steps to the school, and entered the wide, wooden door that groaned from years of mistreatment. They seated themselves in the narrow classroom seats that Robert would occasionally sit in, and nervously smiled at the teacher from whom Robert would occasionally be taught. Robert drudged in 24.9 seconds behind them, contemplating slamming the door for effect. He did. Robert did not sit with his parents, instead he slouched against the door, planning his escape from the interrogation he wished to avoid.
 * //1965://** “ //Nothing and nobody// controls me.” Robert reflected. Swinging at a 24 degree angle on his fathers chair with his muddy feet up on the dining table, Robert lazily planned his “schedule” for the day, which he had just made available through good ol’ ditching school. His mother was out groceries shopping, his father was out working at the office. Barbara was at school, making perfect grades and proud parents. He ran his hands through his matted auburn hair and sighed contentedly- he had the day to himself. Robert had plenty of choices: Graffiti the neighbour’s fence, or destroy the school shoes his mother paid $70 for the previous week? Robert smirked. He chose shoe-burning. Robert made his way to the freshly scrubbed kitchen, which shone like polished silver and smelled of citrus fragrance. Taking a swig of milk from the carton in the fridge, he searched the neatly-arranged pantry and found a box of 32 matches and an aerosol can. Leaving 21.6ml of leaking milk on the shining bench, Robert carefully selected a venue for his mischief, then went in search of those ugly brown lace-ups.
 * //1968://** Robert arose at 2:09:42pm on Tuesday afternoon. He lazily threw the few remaining thread-bare blankets off his bed, and kicked away the screwed up clothes which tangled around his feet when he stood. Holding his aching head, he half-waded, half-stumbled through the filth strewn across his room and slammed the bathroom door as it swung behind him. The tile floor was cold against his feet, and the light from the frosted window was harsh against his squinting eyes. Robert tried to remember what had happened the night before… he vaguely recalled the church graveyard, and an overwhelming sense of freedom that Robert wasn’t even aware existed within him. The police could do nothing, his parents could do nothing. The huge amounts of alcohol were easily remembered; his splitting headache and nauseous stomach was more than enough to jog his hazy memory. Standing in the middle of the bathroom, Robert smiled at the blurred reflection staring back at him from the mirror. “ //Nothing and nobody// controls me,” he whispered hoarsely.
 * //1975://** Robert Pilgrim cautiously stepped out of the freshly washed and waxed Mercedes that he’d driven from the army base. He took 15.1 seconds to breathe deeply, and relax his trembling muscles. This visit was going to be hard, even though no-one was home. The sun reflected off the polished windscreen, and created a glittering mirage on the swept pavements. He straightened out the creases in his military uniform, and lifted his polished shoes as he marched up the steps to his home, where he’d scuffed his feet so many times before. Upon entering the familiar house, Robert stepped over the thick rug by the door, that still held the burns from when he melted and destroyed those ugly brown lace-ups. That was his mother’s favourite rug, which her own mother had made as a wedding present. She had cried when she saw the damage. “ //Nothing and nobody// controlled me.” Robert sighed sadly. He looked at the pictures on the rich mahogany mantelpiece that held memories Robert was pained to recall. He remembered the night he overturned the 17 rows of gravestones at the old cemetery of the Catholic Church, and his eyes welled deep with tears of regret and desperation to take those moments back. As Robert Pilgrim spent the next 42 minutes and 8.4 seconds staring at those yellowing and faded photos, Robert came to a conclusion. Robert had lived with freedom, and now lived with control by choice. He was controlled by //nothing and nobody// . But this is what made Robert the saddest.

Ms Peel i swear i had this done yesterday, i forgot to upload it this arvo, sorry, sorry sorry, sorry!!!! 1249907855

HAMLET:

Many questions, concepts and comments on society are raised by Shakespeare in Hamlet. The concept of revenge is explored throughout scene 5, questioning ethical motives since Hamlet is presented with the moral dilemma of avenging his father by murdering his own uncle. “So art thou revenge when thou shalt hear” (Act 1, Scene V, line 7) and “Do not let the bed of Denmark be a couch for luxury and damned incest” (Act I, scene V, line 83) shows the decisive nature of the King’s demand, strong language that is used by Shakespeare to challenge the readers perception of righteous anger, and justified vengeance. This pressure from his father contributes to Hamlet’s indecisive response throughout the play, since he faces the question of where his loyalty and morals lie. //Good that you address the language and the reaction this evokes. Good link to indecisiveness displayed by Hamlet//

Hamlet is presented to the audience in this scene as obedient son, who accepts the responsibility for avenging the King, shown even prior to understanding reason for revenge “Haste me to know’t, that I with wings as swift as meditation or the thoughts of love may sweep to my revenge” (Act I, scene V, line 31-33). Hamlet’s initially ‘decisive’ response to his fathers will in Scene V is typical of Hamlet’s character, who throughout the play is depicted as superficially enthusiastic, yet internally troubled and morally convicted. This is shown throughout the play, as he initiates then withdraws from murder opportunities, and also in his relationship with Ophelia. // Excellent and well expressed //

According to Hamlet’s nature, he fails to act in the same passionate and devoted manner as he initially presented to the King, after becoming burdened by conscience into questioning his own loyalty to his kin, and ultimately his devotion to God and virtues. This theme of revenge, is continuous throughout the play, a symptom of Shakespeare’s approach to plays of tragedy, and the source for exploration of perception and reality. Hamlet claims to “put on an antic disposition” (Act I, scene V, line 180), and yet his perception of reality is questionable in further scenes, from his constant state of paranoia, fixation on the apparition that his mother fails to see, and his internal conflict, that is demonstrated in his interaction with his friends and enemies alike.

// Your interpretations are well expressed and you use good textual references and liks to other parts of the text. A little more could have been made of Hamlets relationship to his mother and the role he saw her play in the series of events. Good work Rach //

Yay! thanks for marking that so quick Ms Peel! Here's my next one, i think i talked a bit more about the hamlet-mum relationship... is this what you meant??? 1250075357

Act 1, Scene 2: The metaphoric ‘unweeded garden’ of corruption is thematic within the passage, mirroring the messages of the entire play (Awesome opening! ). The corruption of morals is explored by Hamlet’s lament, denouncing his mothers betrayal and incest with Claudius. Hamlet’s fixation on this alludes to his preoccupation with and growing hatred of female sexuality, and the perceived ‘frailty’ of women, also later revealed in his bizarre relationship with Ophelia. His belief of his mothers ‘unrighteous tears’ conveys an accusation of deception, which becomes a prominent concept following the scene, for example the revealed murder of the King in Act V, and Hamlet’s ‘antic disposition’ to hide his intentions of revenge. Deception explores the concept of perception and reality, all of which are challenged in the play, emphasising the undefined nature of truth. // Hamlet himself epitomises this through his indecisive nature and assumed madness. It prompts the reader to wonder about his course of action and his real demeanor //

The unmoral (immoral) nature of his mother is highlighted by contrasting King Hamlet’s good nature with the Queen’s infidelity. Shakespeare cleverly uses analogies to portray her partners characters, from King Hamlet as a ‘Hyperion’ to Claudius as a ‘satyr’, which impacts the viewers perception of both characters, and influences the viewers sympathy to Hamlet’s expression of grief. This leads the viewer (reader) to perceive Hamlet as a victim of circumstance, which becomes important in following scenes when demanded by his father’s ghost to avenge.

Hamlet’s reluctance to speak out against his mother reflects his incapability to take action, which is demonstrated throughout the play with his ambiguous relationship with Ophelia and indecision to murder the King. This reveals to the audience Hamlet’s nature of strong emotion, yet weak response, and moreover his own frailty with which he is obsessed. This is later demonstrated in his self accusations of being a ‘promiscuous woman’ when he is unable to avenge his fathers death. Very well expressed with important links drawn to the rest of the play

The constant reference to morality throughout the passage sets the undertone for the play, where death is a significant symbol for the corruption of the seemingly ‘fallen world’. His father’s death; though in Scene II of the first Act is yet to prove corruption of power; causes Hamlet to question existence, and challenges the viewers perception of truth and reality. His declaration that life is meaningless followed by the analogy of corrupted like an ‘unweeded garden’ shows the close connection Hamlet sees between spiritual purpose, (i.e. meaning of life) and moral purity (i.e. his mothers immoral remarriage). Excellent! What does his tone and language tell us. Is he more empassioned than during other soliloquies?

Within the passage, Shakespeare draws attention to the aspects of Hamlets nature that become important in later scenes, when his true character is tested with the moral dilemma he faces to avenge his father. From Hamlets disgust at his mothers choices, and obsession with sexuality and morality, the viewers are able to see the internal conflict that occurs within Hamlet that drives him to decisions, or lack thereof in the Play.

Great work Rach.

I thought this one flowed a lot easier that the last couple of analysis' i've done... could it be possible that im finally understanding Hamlet better??? better not jinx it, huh? lol 1250670265 Act I, Scene III: This passage is an insight into the very character of Hamlet and explains the internal moral conflict causing his lack of action in avenging the death of his Father. Hamlet’s confusion and frustration with decisions is evident with the strong language and metaphors portraying life as a ‘sea of troubles’ (line 59) and time as ‘whips and scorns’ (line 70). This leads the reader to understand the increasing resentment Hamlet shows towards responsibility and consequence, because he views Time as an impending concept that forces him to be decisive. ‘To be or not to be’ (line 56) shows this indecisive nature, which is consistent from Hamlet throughout the play, in his ambiguous relationship with Ophelia, failure to avenge in opportune moments, and deep over-analysis of events. This intro is fantastic. It flows beautifully and addresses all the key themes and concepts.

Hamlet’s obsessive fixation is emphasised through his repetition on the concepts that truly burden him the most, ‘to die, to sleep-’ (lines 60 and 64), and mirror the exploration of this concept in the play as a whole, as death is a constant reappearing theme from the murder of King Hamlet to the suicide of Ophelia. In future scenes, the death of Ophelia to escape her pain by choice further serves to highlight and draw attention to the flaws of Hamlet that prevent him from following through with his notions of suicide. Astute observation and comparison Rach

Within the passage Hamlet contemplates his choices but ultimately concludes that it is fear of the unknown that prevents human nature from escaping mortal pain- ‘Thus conscience does make cowards of us all’ (line 83). His actions throughout the play reflect this revelation, revealing much about the manner in which Hamlet addresses problems or choice. It shows that Hamlet is not driven by what is ‘nobler in the mind’ (line 57), rather what is seen, known and within the comfort zone of his experiences. Understanding Hamlets need for definitive knowledge is mirrored by his constant questioning of reality, and paranoia of betrayal in the play. His inability to cope with the ambiguity is also explored in Hamlets ‘antic disposition’, because he craves truth, and sees this as a virtue to be guarded and protected at any cost. Well explained through articulate phrasing and well selected vocabulary

By concluding that humans endure sufferings to avoid the ‘undiscovered country from whose bourn no travellers return’ (line 80), Hamlet justifies his own actions, or lack thereof. It provides insight into the nature of conflict occurring within Hamlets moral conscience, and explores the reoccurring themes throughout the whole play which address truth and reality, betrayal and vengeance, and the ambiguity and mystery of death itself. You're right about the further improvement in your writing. Well done Rach, this is really well written, your points explained with clarity and substanciated with relevant textual references. 1250677982

Act 3, Scene 1 + Act 5 Scene 1 Hey ms Peel- here's my latest C.A... i actually loath it, couldn't get my thoughts together :( meh, just gotta keep doing them, i guess. 1251374555 The hypocrisy of Hamlet in his relationships, morals and character are revealed by the contrast of passages 1 and 2. The first passage explores Hamlets growing obsession and fixation with the female sex and the perceived damnation that women bring. Stemming from Hamlets disgust at his mothers ‘unfaithfulness’ to his father by marrying his Uncle, Hamlet’s sexist opinion is spilt over to include all women, including Ophelia. ‘Frailty thy name is woman’ in previous passages displays this. In the dialogue between himself and Ophelia in Act 3 scene 1, Hamlet’s portrayed ‘conviction’ already shows this growing fixation, highlighted by Shakespeare’s repetition of the line ‘Get thee to a nunnery’ (lines 121, 129-30, 137, 140, 149). This is directly contrasted by the second passages overall tone and dialogue from Hamlet, that shows a complete contradiction of emotion and loyalty. This is shown in line 255-6, ‘I lov’d Ophelia. Forty thousand brothers could not with all their quantity of love make up my sum.’ The points and links that you make here are good but they lack the fluidity you usually display in your analyses. Explain in more depth the contrasts and differences. Be specific and explicit

This serves to highlight the indecisive nature of Hamlet, and his inability to act from his own conviction good!. As much as Hamlet appears decisive in his rebuke of Ophelia in Act 3, the reader is aware that his actions are already contradicted by the letters and flowers Ophelia refers to in line 93, ‘My lord, I have remembrances of yours that I have longed long to redeliver’ This is a great example of your interpretation with clear and explicit support through the use of textual evidence .. The second passage only strengthens this trait of Hamlet, as he declares his undying love for Ophelia. Perceived as mad in both passages, Hamlet’s ‘antic disposition’ can be used by the reader as an insight into the internal conflict occurring within him throughout the play. Although this madness is unclear whether it is only perception or in fact reality, the madness displayed by Hamlet is the result of his inability to change or rise above the corruption that he recognises within the relationships around him, including that of his mother and Claudius. This paragraph is more clearly explained and you move seamlessly between the extracts. This is good. Throughout both passages the common theme of corruption and deception is evident in Hamlets search for truth and righteousness. Within the first passage this is shown in his declaration of the perceived ‘monster’ that is created in man by women, reflective of Gertrude’s corruption of King Hamlet does this touch on the theme of religion, the serpent in the garden, women misleading men, Eve. Hamlet recognises this, but as shown by Ophelia driven to madness by the second passage, is unable to rise above this corruption. This is clear in Ophelia’s death shown as the direct result of Hamlet’s corruption of Ophelia through crushing hopes of love and the murder of her father. Failure to rise above the corruption of those around him is also evident by the contrast between the words Hamlet speaks, particularly in the second passage, and the actions Hamlet takes accordingly. It shows that the ‘good intentions’ of Hamlet merely exist in his mind yet do not extend to responses, whether through fear of consequences, or a lack of self confidence. Strong finishing sentence! Your ideas are all around the themes and you touch on a lot of concepts that lurk beneath the obvious. More extensive planning after annotation and grouping the themes and ideas may help you to take a further step in the detail of your analysis and in grouping the ideas together with even more clarity. 1251379723

//THE SIGNIFICANCE OF ACT 3 SCENE 1// //Sorry it's a bit short, Ms Peel- it's the best i could do tonight. 1251540139// //This passage is significant to the text, as it portrays the true nature of Shakespeare’s underlying messages within the play. Shakespeare has used Hamlet to explore the very nature of humans, by addressing the questions that have remained ambiguous and conflicted since the beginning of time. The essence of Shakespeare’s core statement about humanity can be clearly seen in this passage, in Hamlets lament of the troubles of life, his confusion by conflict of morals and loyalty, and curiosity of the mysterious life after death.// //By lamenting the troubles of life, Shakespeare delves into the issues that define us as a troubled race. Oppression, immorality and unreturned love are all categorised by Hamlet as contributors to a weary life, themes which are reflective of the entire play. His confusion by conflict of morals is also a theme that is developed throughout the play, and recreates the decisions everyone must make in deciding by what laws they will live. Death and the afterlife are a motif through the Ghost of the King, suicide of Ophelia and murder of Polonius. Shakespeare draws attention to the curious disposition of humans by Hamlets flirtation with the idea of opposing the woes of life and ending it. These ideas are all concentrated on within Act 3 Scene 1, making it an extremely significant scene.// //Without this scene, the themes, motifs and allusions that Shakespeare makes to comment of the society of his time and the timeless nature of humanity are not explored to their full potential. This would make it much harder and more abstract for the reader or viewer to understand the true meaning and intentions of Shakespeare’s masterpiece. This passage brings together major subject matter of the play and expresses why each motif is not only significant to Hamlet within the play, but significant to humanity by unchanging challenges and issues.// Rach, this is a good choice which as you say encapulates many of the play's themes and motifs. Well done!!

**//Close Analysis of 3 Chosen Passages__://**
 * //Act I, Scene I: lines 1-41 & Act V, Scene I: lines 23-116 & Act V, Scene II: lines 355-395//** 1252392644

Shakespeare conveys the complex themes, reoccurring issues and consequence of human nature throughout every passage within the play, even in the seemingly insignificant dialogue and character interaction. The first passage is short and direct in surface meaning and relevance to the overall plot, yet holds important symbolism to the themes addressed by Shakespeare throughout the entire play. The opening lines are particularly striking, introducing the reader to suppressed paranoia and fear of enemies, shown by the guards on duty. It is interesting to note that the relieving sentry is the first to challenge identification, as it shows the acute atmosphere of paranoia of enemy presence, even with the expectation of meeting a fellow guard. The scene is set at midnight in the cold, and Shakespeare manipulates the language of vulnerability and this setting to set the scene for the dark ideas of revenge, political and moral corruption and betrayal. The characters all reveal themselves as friends by their allegiance to the King, as a way to prove their loyalty. The importance placed on this moral value and faithful service serves to highlight the dilemma Hamlet faces in future scenes; whether to avenge his father in loyalty to the murdered king, or stand in moral allegiance to the new king. The question of ‘perception or reality’ is also addressed in Horatio’s denouncement of the alleged appearance of the Ghost, ‘Horatio says ‘tis but our fantasy, And will not let belief take hold of him, Touching this dreaded sight twice seen of us.’ (Act I, Scene I, lines 26-28). Reference to the timeless questions of what is ultimate truth and reality challenges the readers moral convictions early in the play, to assist the reader in creating an interpretation of the way in which Hamlet deals with and responds to these themes throughout the play. This idea of skewed perception and ambiguous truth is developed further in Passage 2, alluding also to loyalty to King and Country. As the grave digger is belittled by Hamlet, Shakespeare manipulates the language of banter between the two characters to reveal the inaccurate presumptions made by Hamlet. His judgemental attitude regarding the old man’s intelligence was challenged by the intellectual defeat, showing that things aren’t always what they seem. This also serves to highlight the warped perception Hamlet has in the entirety of the play, and reconfirm to the readers the true nature of Hamlet. The grave diggers opposition to the double standards for the rich and poor in line 23 brings to the foreground the issues of loyalty as a subject to the crown, which Shakespeare uses to consolidate the allusions to Hamlets compromised allegiance to his Father through failure to act. The conflict and tension between the two classes in this passage are significant to enhance the themes of loyalty, moral conviction and perception (introduced in the first passage), and provide insight into the countenance of Hamlet in seemingly insignificant dialogue which defines his overall character. The futility of political ambition is addressed in both Passage 2 and 3. As Hamlet laments over the fleeting nature of life in line 71-80, Shakespeare challenges the readers understanding of motivations to achieve power, with the knowledge that death is inevitable and makes life and ambition seem futile. This is also shown in Passage 3, when Fortinbras assumes the throne after all the murderous attempts by Claudius and Hamlet in order to gain the crown. Shakespeare uses this irony to compliment the challenges and confusion Hamlet raised throughout the text which questioned the benefit of taking action.

hwk- 8/10/09 PASSAGE 1 Volume I, Letter II, (pg 21) From “I cannot describe to you the sensations on the near prospect of my undertaking…” to “… even to the wild sea and unvisited regions I am about to explore.”


 * 1) The Narrator, Robert Walton is established in a significant setting in the plot- the snow and ice. Introduces the themes of exploration, joy in thirst for knowledge, discovery of the unknown, mistakes and consequence, supernatural power and lonely quests.
 * 2) The context is obvious, the passage is an extract from a letter from Walton to his sister, Margaret Saville in England. Comes after leaving for his journey, before meets Frankenstein, before hears story of regret, after declaration of ‘in need of a friend’ (who Frankenstein will fill), before crisis at sea.
 * 3) Language used is enthusiastic, detailed and descriptive, has an allusion (Rime of the Ancient Mariner) and metaphors, similar language used to describe Frankenstein.
 * 4) Significant climax of Walton’s emotions before setting sail and encountering obstacles, mirrors the climax Frankenstein reached as he studies for uni- or lighting strike scene??
 * 5) Images used describe the unexplored regions, the bad luck of the albatross, the passion of Walton.

PASSAGE 2 Volume II, Chapter V (pg 123) From “Of what a strange nature is knowledge!” to “Miserable, unhappy wretch!”


 * 1) Many developments take place between the first and second passage. Walton has learn part of the consequences of Frankenstein’s lust for knowledge, power and control, and hears the consequences from the perspective of the creature, who, like his creator, experiences deep depression and the heavy burden that comes with the acquisition of knowledge.
 * 2) This is also a climax of emotion like the first passage, however this climax is of an inversed nature. The first passage depicts the wonder of the unknown, and the second portrays the pain of the known. They show opposite moods of hope and depression, follow character status of the scientist (of nature) and the experiment.
 * 3) Put together, these passages tell a powerful story of the reality of life, and the unexpected truths of knowledge and power. They convey the motivations of exploration and the consequences of discovery. These passages are a reflection of the entire novel because they pinpoint the themes, messages and comments on society that Mary Shelley weaves throughout the plot. It also is an analysis on human nature, human error, and human powers.

PASSAGE 3 Volume III, Chapter VII, (pg 215) From “‘When younger,’ said he…” to “…a higher destiny seemed to bear me on, until I fell, never, never again to rise”.


 * 1) Again, many developments take place between the second and third passages. Frankenstein has explained the depth of his own despair, and the grief that his own creature created for him, thus the consequences of his attempt to receive glory and power. Walton has been made aware of the dangers that face an ambition to achieve greatness, and sees the cost of success.
 * 2) The difference in this passage to the first highlights the hardships faced by both the creator and creation, as one describes the devastation of isolation, and the other retells the agony of losing those closest to you. The creature describes the process of learning, the creator describes the process of forgetting. The creature relates to Adam, and creator to the Fallen angel. Both reflect on destiny and fate.
 * 3) Taken together, these three passages capture the essence of Mary Shelley’s work, and her attempt to convey the wisdom of acceptance, submission and heed through the initial and potential dangers facing Walton’s ambition, failures and regret of Frankenstein, and consequential lament of the creature.

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> You realise you don't have to sign massive chunks of text like this? Signing is only for discussions, not sharing large amounts of information. (I mean, who would put their work on someone else's page?)

> Also, you need to break this up a bit.. Put some in an archive.--1255040904

I don't think it really matters. This is hardly used as a real wiki, just a place for us to put our work/talk about our work. 1255506041