Rayuela

This is incomplete (somehow I never got to finishing it), but I think what is there, is useful…

ACT I

p. 15: “What a devilish beautiful little witch.” Spoken by Ill as he remember the young Claire, this phrase contains two key words: “devilish” and “witch”, both of which hint at Claire’s dark side and cruelty. Additionally,  ”devilish” relates to the devil/satan, who buys the souls of humans – which is what Claire does.

p. 15: “Claire loved justice”. This phrase is uttered (ironically) by Ill, when the townspeople are trying to come up with details about  Claire Zachnassian for the Mayor’s speech.

p. 20:

CLAIRE ZACHANASSIAN. I used to call you my black panther.
ILL.  I still am.

The possessiveness expressed in this exchange is important. As Claire has a black panther as a pet (see also below) and used to call Ill by that name “my black panther” hints at something she owns, and something she controls (Ill unwittingly confirming this with his response). The “black panther” hence always has a double meaning in the play and, as we later see, everything that happens to the animal, also happens to Ill. Note also the “used to” (past) versus the “still am”, suggesting contrasting views between Claire and Ill. Claire is very much aware things have changed, Ill, on the hand, is doing his best to rekindle an old flame. However, the finality of Claire’s words suggests that she knows where all this will end – their relationship and endearment are long over.

From this moment on Claire also systematically converses with several important people of Guellen (policeman, priest, doctor, gymnast) and has carefully planned questions for each one of these. First, her conversation with the policeman:

CLAIRE ZACHANASSIAN (inspects him). Thank you. I shan’t want to arrest anybody. But Guellen may need you soon. Can you wink a blind eye to things from time to time?
POLICEMAN. Sure I can, Madam. Where would I be in Guellen if I couldn’t?
CLAIRE. Start learning to wink them both.

The “wink a blind eye” of course signifies ‘closing eyes to something’ – the truth, perhaps, but specifically in the policeman’s case it will be ignoring the changes that start occurring in the town. Claire’s “Start learning to wink them both” hints at how bad things will get – very bad (one eye is not enough, absolute blindness and thus complete denial of the truth are needed).

CLAIRE ZACHANASSIAN. Ah, the Priest. Do you comfort the dying?
PRIEST (startled). I do what I can.
CLAIRE ZACHANASSIAN. People who’ve been condemned to death as well?
PRIEST (perplexed): The death sentence has been abolished in this country, Madam.
CLAIRE ZACHANASSIAN. It may be reintroduced.

This passage foreshadows death, and it is not a natural death. The priest’s reaction is noteworthy and shows that the people of Guellen do start off innocent. Claire herself demonstrates absolute determination in this exchange, her comment that death penalty “may be introduced” suggests certainty, despite the word “may”.

Another person Claire speaks to is the doctor:

CLAIRE ZACHANASSIAN. Interesting. Do you make out Death Certifications?
DOCTOR (taken off guard). Death Certificates?
CLAIRE ZACHANASSIAN. If someone should die?
DOCTOR. Of course, Madam. It’s my duty. As decreed by the authorities.
CLAIRE ZACHANASSIAN. Next time, diagnose heart attack.

This is of course the actual diagnosis that the doctor offers at the end of the play (97).

This conversation is followed by one with the gymnast, to whom Claire says “Marvellous muscles. Ever used your strength for strangling?” (32) Although we do not know who actually kills Ill, we do know that when Ill walks down the “lane of silent men” (97) he “comes up against the Gymnast planted facing him” (ibid) at the end of this line, the reference on p. 32 strongly suggesting this.

Claire also brings items with her that all evoke death. There is the coffin (p. 24), Claire explaining to the perplexed Guelleners that she “may need it”. She also, as already noted, has a cage with “a panther in it” (p. 26, my emphasis) with her. It is significant that the panther is encaged – that is, trapped, with no way to escape. Later on, in Act II,  Claire also receives “wreaths” (p. 40, my emphasis), ornaments that are typically used on graves.

p. 25: The pair, interrogated by the policeman, chant “You’ll soon see, you’ll soon see!”, hinting that something will happen in the near future.

p. 26: The schoolmaster’s reaction to Claire’s arrival also foreshadows that dark events are to come, I explained in more detail in my post on allusions. Several of other allusions are also examples of foreshadowing, e.g. “The Merry Widow” (p. 50), whom Matilda Ill will become, and “Romeo and Juliet”, which foretells the fatal conclusion to The Visit.

p. 30: When conversing with Claire, Ill complains that his children have no “sense of ideals”, to which the old lady responds “They’ll develop one soon”. They do indeed, as Ill’s daughter, Ottilie, starts taking Advanced French and German classes, as well as literature classes and playing tennis, whereas Karl purchases a car.
In the same conversation Ill also says that “Everything is going to be different now”, with Claire ominously answering “Sure”.

ACT II:

The opening scene of Act II contains clear indicators of change, which all point to that the Guelleners will eventually kill Ill – despite the fact that they deny this.

Big Man Tries Beckett…. I saw this, and immediately thought “he must be playing Pozzo” (and he is).

The article also has a link to a review of the original performance (in the US) of Waiting for Godot: Mystery Wrapped in Enigma in Golden. Note the language in the review – it’s definitely from another moment in time. I couldn’t even find “tatterdemalión” in the dictionary (though I think one could trace it online – I have heard the word before).

A definition: term of art

You can find the complete lyrics (and the tune) to the folksong “Oleanna” that gives the play its name here. Oleanna is a wonderful place – a paradise, a child’s dreamland. The “chains of slavery” – those “artifical strictures” of society (the norms and rules within it that force us into specific roles) – do not exist there as everyone is free. However, you can also see from the lyrics that “Oleanna” is an impossible place – one that does not exist and cannot really exist. It is a sort of utopia that is never reached, hence, in the context of Mamet’s play, leaving us with the message that we are forever bound into the society we live in. You may develop your thoughts from there…

Heidi: “Peter suggested Panama Hattie in honor of his favorite musical and her place of birth. I also considered Lilla, Mary, or Grandma, so she’ll grow up to be a painter. And Crystal or Ronette, so she’ll grow up to start a girl group. But that’s a little…” (246)

Heidi: “So I settled on Judy. After ‘A Date with Judy.’ [...] they’ll be doing simple nips and toe tucks at Elizabeth Arden.” (ibid)

Scoop: “The Wicked Cooks. It’s a Günter Grass novel. [...]” (247)
Heidi: “Why don’t they do The Music Man or Johnny Appleseed?” (247)

Scoop: “They all look like Winston Churchill.” (248)

Significance of silver spoon: to “be born with a silver spoon in one’s mouth” is a proverb that means that one is born into a wealthy family, usually with high social standing. The suggestion is that such a person has everything, without having to do anything for it in return.

Women artists:

Prologue, Act I:
Sofonisba Anguissola
Clara Peeters
Lily Martin Spencer

Prologue, Act II:
Lilla Cabot Perry
Mary Cassatt
Berthe Morisot
Artemisia Gentileschi

In final scene of Act II:
Georgia O’Keefee

Male artist:

Prologue, Act I:
Titian
Monet

Rules for being proper – Emily Post’s writing was the ‘bible’ for many years. Take a look, so you may learn how to hold your teacup and divide your conversation into “pre, main and post-meal banter” (as noted in Mona Lisa Smile:

Emily Post: Etiquette

The Heidi Chronicles is closely associated with the feminist movement, something we will be discussing in class. However, to start you off, I am posting some resources on the movement, with a particular focus on what is usually termed “the second wave of feminism”:

The Women’s Rights Movement: 1848-1998
Youtube video on the Women’s Movement (created by students for their AP United States History Class)
Slideshow on 1920′s and 1960′s Women’s Movements: Click on final link on the bottom of the page. The slideshow was created by two students.

The Women’s movement is still continuing, a recent example being a changed Fair Pay Act:
Ledbetter vs. Goodyear: Ruling on Racial and Feminist Pay Discrimination Overturned

As the new president, one of Barack Hussein Obama’s first acts was to overturn a Supreme Court ruling that “curtail[ed] racial minorities’ and women’s ability to challenge pay discrimination”. Signing the so-called “Lilly Ledbetter Fair Pay Act” into law on January 29th, 2009 is considered another important step in achieving equality in the workplace.

We will also watch one of the extra features included on the DVD of Mona Lisa Smile, a film set in the 1950s. In order to get an idea what life was like prior to the second wave of feminism (and why this wave evolved), you might want to watch this particular movie. The characters and story of Mona Lisa Smile are fictional, but based closely on the every-day reality of males and females of that time.

Reference to songs and groups play an important role in The Heidi Chronicles and take us into a musical past that is rather intriguing. Check out these oldies but goldies… some of these are just hilarious. (-:

The following songs are referenced:

“The Shoop Shoop Song” (Cher)
“Satisfaction” (The Rolling Stones)
“Play with Fire” (The Rolling Stones)
“Take a Piece of My Heart” (Janis Joplin)
“White Rabbit” (Jefferson Airplane)
“Respect” (Aretha Franklin)
“You send Me” (Sam Cooke)
“Imagine” (John Lennon)
“Rocky Raccoon” (The Beatles)
“It’s Been a Hard Day’s Night” (The Beatles)
“Here Comes the Sun” (The Beatles)

In the second act, several bands and singers are mentioned when Heidi donates a box of old records to Peter. These include:

The Mamas and the Papas, e.g. “California Dreamin’
Gerry and the Pacemakers, e.g. “You Will Never Walk Alone”
Sam the Sham and the Pharaohs, e.g. “Wooly Bully”… and Sikh turbans (?!)
Theodore Bikel Sings Favorite Worksongs from the Fourth International, e.g. “Kisses Sweeter than Wine” (with Judy Collins)
Mitch Ryder and the Detroit Wheels, “Sock It to Me”
Gary Puckett and the Union Gap, e.g. “Woman, Woman”
(Ricky) Nelson, e.g. It’s Late 1959
The Rocky Fellers, e.g. Killer Joe

Let me know if I have missed any songs and/or bands!

The video links from today’s class:

Lucky’s Speech
Monster Theatre: Waiting for Elmo Note the sanitised version of the hanging episode…

If anyone could figure out if there is a Simpsons’ take on Waiting for Godot it would be brilliant.

In Act II, Vladimir sings an old, apparently German, children’s song. You can listen to the song on Youtube:

Youtube video of song (sung by a child in German)… a little gruesome, yes, but think of the Brother Grimms’ fairytales or old folktales (e.g. the one of Bluebeard’s castle mentioned in Jane Eyre). Children’s tales of those times were always grisly and were supposed to teach a lesson (“the moral of the story”). This only changed when Disney came along…

The song’s significance is briefly explained here:

Channel 4′s information on “A dog came into the kitchen”

Dürrenmatt makes all kinds of allusions in The Visit with a particular preference for Greek mythology.

Clotho (or also Klotho) (Greek: ‘Κλωθώ’) The name literally translates as the “spinner”. Clotho was one of the three Fates in Greek mythology who exerted control over the lives of human beings. The Fates (Clotho, Lachesis and Atropos) are goddesses that presided over the destiny of humans by spinning, measuring and cutting threads – each thread representing a person’s life. Clotho, as the spinner, would bring beings into existence.

Reference: Clotho is mentioned in Act I (p. 26) when the schoolmaster has a first glimpse of Claire Zachanassian and remarks

I only learned what horror is an hour ago. That old lady in black robes getting off the train was a gruesome vision. Like one of the Fates; she made me think of an avenging Greek goddess. Her name shouldn’t be Claire; it should be Clotho. I could suspect her of spinning destiny’s webs herself.

Significance: The schoolmaster’s intuitive comments foreshadow what will eventually come true and hints at Claire’s intrinsic evil before anyone knows that the old lady has returned to Guellen to avenge the injustice she suffered.

Laïs: This allusion is ambiguous, as it could refer to either Laïs of Corinth or Laïs of Hyccara. Both were courtesans in ancient Greece. The two courtesans are inextricably linked, as authors often do not specify which one they are referring to.

Laïs of Corinth was said to be one of the most beautiful women of her time and was known for having many lovers. Laïs of Hyccara equally had multiple suitors, one of which – Demosthenes – offered to pay 1,000 Greek drachmas for a night with her. She demanded 10,000 drachmas from him, but slept with another suitor – Diogenes – for nothing. She was eventually stoned to death by other women who were jealous of her.

Reference: The schoolmaster notes “That conspicuous consumption of husbands; she’s a second Laïs.” (Act I, p. 27)

Significance: It is not clear which Laïs Dürrenmatt is referring to, but both courtesans were attached to strings of men and were controversial (simultaneously adored and despised) – as is, in a sense, true for Claire.

Romeo and Juliet: This of course refers to what is sometimes known as the most tragic love story of all times, that of Romeo and Juliet (William Shakespeare).

Reference: Again, it is the schoolmaster who mentions the two lovers. In response to the policeman, who says that Claire and Ill are “calling in on the places where their passion used to burn” (Act I, p. 27), he answers, “Flame, flame. Remember Shakespeare: Romeo and Juliet” (ibid).

Significance: Romeo and Juliet’s love ends tragically, as both lovers die. We can relate this to the story of Claire and Ill, whose love story ends in the demise of one of the lovers (Ill) and in the inability to love anyone else by the other (Claire). The allusion is noteworthy because the policeman’s comment is one that could be interpreted as positive – and, indeed, everyone in the town is expecting the past love to be rekindled (in a sense) in hope of a windfall repayment. The schoolmaster chooses to respond with an example of a love that ended tragically, with no “happy ever after”, foreshadowing that there will be no fortunate ending to events.

The Merry Widow: This operetta by the Austro-Hungarian composer Franz Lehár relates the tale of a rich widow that tries to find a husband. You can find more information here: Wikipedia entry for The Merry Widow.

Reference: In Act II (p. 50) the policeman and Ill are engaged in a conversation. The can hear music from a neighbour (a man called Hagholzer), coming from a newly purchased radio that is playing The Merry Widow.

A transcript of the exact scene:

Radio music.
ILL: Listen.
POLICEMAN: What?
ILL: Music.
POLICEMAN: The Merry Widow.
ILL: A radio. 

Significance: The brief conversation foreshadows that Mrs. Ill will soon be own her own – and not so unhappy about it. Her delight about newly obtained possessions soon shows, possessions that are of course bought with ‘blood money’. The brevity of the utterances is also telling. Although feelings are not explicitly revealed, the single-word or single-phrase response allow for plenty of interpretation. Ill is clearly struck by the sound of music (which seems to be unusual in Guellen) and immediately realises that the radio is yet another item bought in exchange for his life. The policeman is in denial and pays no attention to the music until Ill mentions it, and then gives an evasive response (“The Merry Widow“), which is of course ironic. Even when Ill probes into the matter, the policeman states that it is not their business to know how all these purchases are being made.

Medea was a sorceress in Greek mythology. Medea assisted Jason in obtaining the Golden Fleece and later on married him. Jason however left Medea for another woman, Creusa, and the sorceress took ferocious revenge, killing King Creon (the father of Creusa), Creusa as well as her own children.

Reference: Again, it is the schoolmaster that mentions Medea when he tells Claire, who has just revealed that she already owns everything in Guellen, the following: “Madam Zachanassian! You’re a woman whose love has been wounded. You make me think of a heroine from antiquity: of Medea.” (Act III, 66)

Significance: The enchantress Medea is merciless to the point that she does not only kill her rival, but is willing to sacrifice her own children to eliminate any connection with Jason and cause him the worst of pains – even if it magnifies her own suffering. Claire is no different: she is a Medea, replaced by another woman (Mrs. Ill). Claire has a child with Alfred, and although she does not kill it herself, it does not survive. She has no forgiveness despite the love that she feels for Ill (which is why it is ‘poisoned love’) and the only way to achieve justice is through the death of Ill.

Early in the play (Act I, p. 12) Zimt, Goethe, Brahms and Berthold Schwarz are mentioned. Zimt seems to be an invention on the author’s part but resembles the name of “Klimt”, an actual painter. The other three names refer to historic individuals – a writer, a composer and the inventor of gunpowder. By mentioning them, the town members try to cling to past glory (claiming that all these three people florished in Guellen) but simultaneously Dürrenmatt appeals to these individuals as part of the foundation of Europe – not morals necessarily, but certain cherished values and principles. This is important, since the town members keep referring to “Western Principles”, claiming they hold to them. The preferred usage of Greek references also reinforces this, as Ancient Greece is considered as the place where Western democracy (thus those Western principles of “humanity” and “justice”) began.

If you noted any other allusions that you think should be included here, please let me know!

Paper 2 Study Questions

Paper 2 Quiz - due Feb 9

Two Articles:

• Turning the Page, E-books Start to Take Hold
• Letter from Readers Responding to “Turning the Page” Article

The BBC reports that Seamus Heaney was honoured by Queen’s University, Belfast with a lifetime achievement award.

As I was browsing the BBC Radio 4 website today, I came across a small entry about Philip Pullman, the bestseller author of the His Dark Materials trilogy (the first part, The Golden Compass, with Nicole Kidman and Dakota Blue Richards, came out as a film last year). The entry indicated that Waterstones, a big chain bookstore in the UK, asked Pullman to list the “25 books that shaped his writing” as part of their monthly authors’ initiative. You can find Pullman’s list of 25 books at the Waterstones’ webpage. I also thought it would be fun to do this same activity for ourselves. So, here’s the question: What 10 books (or 25 if you like) have influenced you the most? Post below, and, if you like, add a few words on why.

(I’ll post my own list too…. I just want to think about it a little.)

I saw a few of you at the Princeton Session today and thought I would write a post related to what the speaker said. He mentioned some of Princeton’s more illustrious staff members in the creative writing department, including Toni Morrison and Carol Joyce Oates. Interestingly both of these writers have produced works within the Gothic genre. Morrison’s Beloved is one such work – it is the only one of her novels that I have read, and I highly recommend it. Oates is well known for dabbling with Gothic material, and has edited anthologies on Gothic short stories. I have only read one of her works – and cannot recall the name right now – but check the wikipedia entry for more details.

Some days ago we talked about the glee we experience when we recognise a reference to something we recently learned, but that others might not be aware of – yes, those rewarding moments of “I know exactly what they are talking about”. I had one such moment last night when Barack Obama gave the election acceptance speech in Grant Park, Chicago. As a political speech, it would of course be interesting to analyse it just for that, but what I would like to comment on is a line that particularly caught my attention: “The road ahead will be long.” These words, it seems to me, are an allusion to the poem “Ithaca” (first published in 1911) by the Greek poet Cavafy, when he writes “the road is a long one”. Although a few people have noted that Obama’s speech contained political allusions, I have not seen any one pick up on this particular line. Of course, that might be because it is not the most important line of the speech, or because these writers did not recognise the reference. However, I do think it is likely that Obama is alluding to Cavafy (“Ithaca” is, actually, a rather well-known poem and one of my personal favourites for the message it contains). In fact, if I am correct, then this allusion clearly adds a subtle meaning to the speech. By itself the utterance “[t]he road ahead will be long” suggests onerousness – all the challenging obstacles that the United States currently faces, economically, socially, internationally and otherwise – but the link to Cavafy connotes the reward of the journey taken on to the desired destination (whether ever reached or not).

Click the link to read the poem and feel free to share any thoughts!

Transcript of Obama’s speech (The line appears at the start of the section “Remaking the Nation”.)

I had some second thoughts about the “up” and “down” in Heaney’s poem “Digging” that I discussed in an earlier post. If you take a closer look at the schema I came up with – there is a pattern!

We start with three ↓ – these are part of the first section of the poem, which represents the present and Heany sitting by the window. He is, in essence, starting to dig deep into his past (he is going down).

We proceed to this past, a memory Heaney has of his father. Here, each ↓ is followed by a ↑ – it’s a regular pattern, down up down up down, imitating the father’s movement of the spade.

The next part, a yet deeper memory of Heaney’s grandfather, continues with this pattern. In fact, ther e isn’t even an interruption: from the last ↓ of Heaney’s father we move to the first ↑ of Heaney’s grandfather. The digging clearly continues, again imitating the movement of a spade, this time used to cut turf by the grandfather.

Finally, in the last part of the poem, we have one ↑ upwards movement. We are back with Heaney in the present. He has come back, out of digging into the past, with a new realisation: He cannot hold a spade like his ancestors, but has his own tool (the pen). He cherishes their expertise, but has now equally understood that his own skill, though vastly different, has tremendous value too.

Anyone with me still? Anyone find Heaney equally fascinating? (-:
(And someone please double check – I really hope I didn’t skip any up/down quote!)

There are plenty of resources on Gothic literature (or the Gothic genre as in literature, art and music more generally), some more valuable than others. I have separated (at least some) wheat from the chaff. Here are two to start off with:

Resource Links on the Gothic
Norton Anthology Section on Gothic Literature (This resource provides a good overview of other literary movements in English literature also).

I have a few more resources, but will post them in a week or two, because I don’t want to spoil your reading of Jane Eyre!

There is all kinds of interesting Gothic literature and art out there. Here are some suggestions (but do note that not all fit into the genre in exactly the same, neat way):

The Haunting of Hill House (Shirley Jackson)
many short stories by Carol Joyce Oates
“The Bloody Chamber” (Angela Carter): a postmodern, feminist version of the Bluebeard folk tale.
Wide Sargasso Sea (Jean Rhys): a postcolonial take on Jane Eyre
Frankenstein (Mary Shelley)
Dracula (Bram Stoker)
Heart of Darkness (Joseph Conrad)
Beloved (Toni Morrison): postmodern, feminist gothic.
“The Sandman” (E.T.A. Hoffman) (some information: Der Sandmann on Wikipedia): An important folk tale, which connects us to the idea of the uncanny and introduces us to ideas such as the double, the automaton, the gaze, some of which apply (to some extent) in Jane Eyre. You can read the textonline as well.

Other gothic texts that can be found on the internet:

The Yellow Wallpaper (Charlotte Perkins Gilman): early 20th century text, a precursor of the first American feminist movement.
“The Fall of the House of Usher” (Edgar Allen Poe): Actually, much of Poe is perfect if you want to read the probably most brilliant exemplar of American Gothic writers. He is also on a par with Virginia Woolf in terms of vocabulary!
Turn of the Screw(Henry James)

If you would rather be entertained by a film (hey, I’m all for opening the IB Film class, or, otherwise, make film scripts part of the English A1 syllabus!), you can try:

Alejandro Amenábar, The Others (2001, US, 104 min)
Stanley Kubrick, The Shining (1980, GB/UK, 115 min)
James Whale, Bride of Frankenstein. (1935 US, 80 min.)
FW Murnau, Nosferatu, (1922, Germ. 90 min.)
Alfred Hitchcock, Psycho (1960, US. 109 min.)
Ridley Scott, Blade Runner, (1982, US, 117 min.)
Ridley Scott, Alien (1979, GB/US, 117 min.)

Images:
“The Sleep of Reason” (Francisco Goya)
“The Monk by the Sea” (Caspar David Friedrich)
“The Sea of Ice” (Caspar David Friedrich)

N.B. I added some descriptions about the images, but I can’t figure out how to make it show! However, if you click on the pictures to open them in another window, you can see larger versions of them.

We had some advanced level thoughts in the E-period English class today, that I thought should be shared with the other group also. If we trace the ‘up’ and ‘down’ in the poem, we can come up with a range of examples (all quotes with my emphasis in bold, given in the order they appear in within the poem):