82 Matching Annotations
  1. Dec 2015
    1. madhouse with the shaven heads and harlequin speech of suicide, demanding instantaneous lobotomy, and who were given instead the concrete void of insulin Metrazol electricity hydrotherapy psychotherapy occupational therapy pingpong & amnesia,

      It seems they want to be desensitized to everything, as if they feel too much. Instead of the lobotomy and becoming desensitized to everything around them, they were given these treatments that maybe hurt more than helped.

    2. who bit detectives in the neck and shrieked with delight in policecars for committing no crime but their own wild cooking pederasty and intoxication,

      I wonder if this is a reference to a boiling pederasty inside somebody? If so, it seems to go along with Allen Ginsbergs defense of NAMBLA, and him saying that the attacks on NAMBLA are like witch hunts for profit. It seems he doesn't think it is a real crime, and perhaps is putting it on par with the other revolutions stirring within this poem. For instance investigating the FBI, and protesting against capitalism right before this.

  2. Oct 2015
    1. Den de devil gave Slim De big Ha-Ha; An’ turned into a cracker, Wid a sheriff’s star.

      This reminded me a lot of the movie Oh Brother, Where Art Thou. That movie is a comparative mythology of The Odyssey that takes places in the south, with a sheriff as the antagonist. So the fact that this biblical poem was written with the devil turning into a sheriff was really interesting for me.

      This kind of weird quest reminded me of greek mythology too, especially the big bloodhound that appeared when Slim first got to 'hell'. Reminiscent of Cerberus and the underworld.

    2. I talked to a fellow, an’ the fellow say, “She jes’ catch hold of us, somekindaway. She sang Backwater Blues one day:

      Hughes' poem, The Weary Blues, seemed like a self expression of the blues singer; someone who was singing their souls. Unlike in that poem, it seems to Brown that Ma Rainey sings and other people feel their souls being expressed through her voice.

    3. I

      I found this whole section read pretty in sync with Prove it on me. The beat of the song, and the pauses in her singing matched really well with the line breaks that Brown uses in this whole first section.

    1.  I sat upon the shore Fishing, with the arid plain behind me Shall I at least set my lands in order?  425   London Bridge is falling down falling down falling down   Poi s’ascose nel foco che gli affina Quando fiam ceu chelidon—O swallow swallow Le Prince d’Aquitaine à la tour abolie These fragments I have shored against my ruins  430 Why then Ile fit you. Hieronymo’s mad againe. Datta. Dayadhvam. Damyata.         Shantih    shantih    shantih

      Within the last few stanza’s of his poem, Elliot shows us an image of his speaker sitting and fishing by the river once more, as he did in lines 189-197, and behind the fisherman we see the waste land. Throughout the poem Elliot repeatedly portrays the river as a sign of life and activity in London. Consequently, the destruction of the river becomes the destruction of the city (“London Bridge is falling down falling down falling down falling down”). What was once “the sounds of horns and motors” (line 197) behind him, has now become “the arid plain”. These stanza’s are extremely reminiscent of the speakers, and the rivers finality. Earlier Elliot asked the river to “run softly till I end my song,/Sweet Thames, run softly, for I speak not loud or long” (lines 183-184). He has finally come to the end of his song and is preparing for the end (“Shall I at least set my lands in order?”). Though it is ambiguous if it is just the rivers end, or his own as well. Image Description

      “Poi s’ascose nel foco che gli affina/Quando film uti chelidon” can be translated as “Then he hid himself in the refining fire/when will I become like a swallow”. Then he hid himself in the refining fire is from Dante’s inferno, and could mean that Eliot feels as if he is burning in hell, and longs to be free. Birds are often symbols of freedom, and some European swallows are known for their ability to migrate long distances. Eliot could feel tied down to London, and long for the ability to escape it, and this dry, fiery land.

      I got the impression from the poem that Eliot blamed all of the people of London for what he perceived as the destruction of the Thames. This was extremely evident to me with the inclusion of “Datta. Dayadhvam. Damyata.” These three mean giving, compassion, and self control. In line 401, Elliot writes “Datta: what have we given?” I think the lack of these three elements within the citizens of London lead to it becoming the waste land, and repeated here at the end becomes a lesson and a warning for the reader. Finally, ending the piece with “Shantih, shantih, shantih” or “the peace which passeth understanding” is a sign of Eliot’s own peace now that he is done. Image Description

  3. teaching.lfhanley.net teaching.lfhanley.net
    1. water but only rock Rock and no water and the sandy road The road winding above among the mountains Which are mountains of rock without water If there were water we should stop and drink Amongst the rock one cannot stop or think
    2. bank
    3. Those are pearls that were his eyes.
    4. Filled all the desert
    5. dry sterile thunder without rain
    6. Fishing, with the arid plain behind me
    7. sea was calm
    8. Bringing rain
    9. Waited for rain
    10. Dry bones
    11. Falling towers Jerusalem Athens Alexandria Vienna London Unreal
    12. Drip drop drip drop drop drop drop    But there is no water
    13. sound of water
    14. dry grass
    15. dry grass
    16. dry grass
    17. dry grass
    18. cicada
    19. If there were water    And no rock    If there were rock    And also water    And water    A spring    A pool among the rock    If there were the sound of water only
    20. If there were water    And no rock    If there were rock    And also water    And water    A spring    A pool among the rock    If there were the sound of water only
    21. sea
    22. Oh keep the Dog far hence, that’s friend to men, “Or with his nails he’ll dig it up again!

      Why is Dog capitalized? Also, is he saying that the dog is going to dig up the dead mans body?

    23. You! hypocrite lecteur!—mon semblable,—mon frère!”

      Is T.S. Eliot acknowledging the reader here?

    24. Is your card, the drowned Phoenician Sailor, (Those are pearls that were his eyes. Look!) Here is Belladonna, the Lady of the Rocks, The lady of situations. Here is the man with three staves, and here the Wheel,

      Is there any real significance to these cards in tarot readings?

      Did this stanza happen before the previous one? "The lady of the rocks" and "shadow under this red rock" and "the drowned Phoenician Sailor" and then later on "fear death by water" and earlier "your hair wet...I was neither Living nor dead."

    25. What are the roots that clutch, what branches grow Out of this stony rubbish? Son of man, You cannot say, or guess, for you know only A heap of broken images, where the sun beats,

      Is this stony rubbish supposed to be Earth? Is he maybe saying that we cannot understand deeper meanings because we only see whats on the surface 'where the sun beats'? Are dead people buried underground more knowledgeable because they know the roots that clutch?

    26. Bin gar keine Russin, stamm’ aus Litauen, echt deutsch

      This means: I'm not Russian at all, I come from Lithuania, a true German.

      Is there some historical meaning behind this? Lithuania borders Russia, so it doesn't seem to make sense. Why add this in at all?

    1. Happy happy happy. All the, chose. Is a necessity.

      These lines, and the following 13 lines after remind me of a mantra someone would tell themselves. It seems like something someone would repeat if they wanted to be happy, but they're on the brink of craziness or something.

    2. Next to barber.

      I think the shape of the poem really sticks out in these 13 lines. This is where I first realized how much the shape of the poem kind of reminds me of breathing. Except for the few really long lines. The poem as a whole tends to have smaller lines that lead to bigger lines, then back to small.

    3. A very reasonable berry.

      This line stuck out to me because what is a reasonable berry? She uses a lot of repetition, and plays around with a lot of words in different sections, and this line seemed even more random to me. She does not reuse any of these words or play around with them, just sticks this line in here randomly.

  4. Sep 2015
    1. as if the earth under our feet were an excrement of some sky and we degraded prisoners destined to hunger until we eat filth

      It seems to me that he at first is saying he is one of the "rich young men with fine eyes", which makes sense considering Williams' background in medicine, but then it seems as if he is saying he is an Elsie, a degraded prisoner "destined to hunger until we eat filth"

    2. Unless it be that marriage perhaps with a dash of Indian blood will throw up a girl so desolate so hemmed round with disease or murder that she’ll be rescued by an agent—

      This reminds me of tainting "pure" white blood.

      At this time American Indians were forced into boarding schools to "civilize" them. I wonder if this could be a reference to these schools where a part Indian child might be "reared by the state", and "rescued by an agent" working for the Bureau of Indian Affairs.

    3. without emotion save numbed terror under some hedge of choke-cherry or viburnum- which they cannot express—

      Williams starts to show some sympathy for these "slatterns" here, when he describes them as having no emotion except for a numbed terror that they cannot express. These women are so used to their terror that they are numb to it, and cannot express it. Is the terror a fear of poverty and hunger? Is their only hope a marriage?

    4. no peasant traditions to give them character but flutter and flaunt

      Is Williams saying that city women had no culture, or traditions because they are not from these traditional American hometowns?

    5. The pure products of America go crazy— mountain folk from Kentucky or the ribbed north end of Jersey

      Are the examples: "mountain folk from Kentucky, or the ribbed north end of Jersey" synecdoches for a "real American boy"?

    1. Yet many a man is making friends with death Even as I speak, for lack of love alone.

      Image Description

    2. might be driven to sell your love for peace, Or trade the memory of this night for food.

      Image Description

    1. The woods are lovely, dark and deep. But I have promises to keep, And miles to go before I sleep

      Why is the narrator so intent on being in the dark? Why is he traveling in the evening, wanting to stay in the dark/deep woods, and looking forward to sleep (darkness)?

    2. The darkest evening of the year. He gives his harness bells a shake To ask if there is some mistake.

      Are the supernatural elements included in the poem related to the promise he has to keep?

    3. To watch his woods fill up with snow.

      How long is he watching for when he has miles more to go and it is already evening?

    4. And both that morning equally lay In leaves no step had trodden black.

      Is he saying that no one who has taken either path has had a bad experience? Or no one who has taken either road is bad themselves? Does a decision with no bad in it exist?

    5. Had worn them really about the same

      Is he saying that the grassy path he took didn't actually 'want wear', and had actually been worn the same amount as the other path?

    6. To where it bent in the undergrowth;

      Did he take the easy path? The path that had grass instead of dense undergrowth he couldn't see past?

    1. I am out of your way now, Spoon River,

      It's an odd choice of words because it seems like his influence was for more forward thinking, and that the village would prefer to be at more of a cultural and educational stand still. So him being out of the way makes me think they won't have any change, and won't move in any direction.

    2. And managed for the good of inquiring minds,

      This implies that he knows what is "good" because he has read "Ruins", "Analogy", etc.

    3. Choose your own good and call it good.

      I like that he says this and then explains it in the next few lines. It implies that they are not actually good people, and are choosing their own good.

    4. The snows and the roses of yesterday are vanished; And what is love but a rose that fades? Life all around me here in the village: Tragedy, comedy, valor and truth, Courage, constancy, heroism, failure–

      This part seemed a little out of place for me. Is he saying that he cannot write about love? The roses are vanished, and love is a rose. Then in his list he does not mention anything of romance around him.

    5. While Homer and Whitman roared in the pines?

      I read this as Masters referring to Homer and Whitman as masters of poetry. While his poems "waken" in a full breeze, they have a "roaring" of a storm to create their poems.

    6. Faint iambics that the full breeze wakens–

      I think he is saying that the seeds are syllables or words, and that the breeze "ticks" them together and creates the poem, or the symphony.

    1. At night in any kind of light, in twilight, candle light, lamplight, and worst of all by moonlight, it becomes bars! The outside pattern I mean, and the woman behind it is as plain as can be.

      This is probably exactly what she looks like from outside of the house, a woman who wants to escape from her barred windows.

    2. It is a very bad habit I am convinced, for you see I don’t sleep.

      You can tell she doesn't sleep by her knowing exactly how the paper looks at all times of the day.

    3. to say nothing of ale and wine and rare meat.

      Does this mean she doesn't get any of these things?

    4. This wall-paper has a kind of sub-pattern in a different shade

      While writing she takes her mind off of the wallpaper, but then it keeps coming back. It is interwoven in her life.

    5. John says we will ask Cousin Henry and Julia down for a long visit; but he says he would as soon put fireworks in my pillow-case as to let me have those stimulating people about now.

      It seems he doesn't want her around anybody. She was allowed to speak to her brother in the beginning, a person who shares all of John's views about her. Also, John's sister. She is only allowed to be around people that she thinks are making her worse.

    6. would not be so silly as to make him uncomfortable just for a whim

      Basically what he is doing to her.

    7. At first he meant to repaper the room, but afterwards he said that I was letting it get the better of me, and that nothing was worse for a nervous patient than to give way to such fancies.

      He didn't do what he had planned, and then told her to ignore it. If it is a stressor for someone who has a mental illness, you would think it would be best to relieve them of it.

    8. John never was nervous in his life

      Interesting, since earlier she stated that he has a nervous condition.

    9. It is fortunate Mary is so good with the baby. Such a dear baby!

      It's interesting that she is staying in a nursery, and cannot be around her baby.

    10. I think it is due to this nervous condition

      I love this. It seems like her own sassy way of saying she is not the only one with mental conditions.

    11. for there are hedges and walls and gates that lock, and lots of separate little houses for the gardeners and people.

      I agree with IzzyLyons, the house does seem to be very secluded like herself. The walls and gates and locks that keep it away from others, as well as houses to separate her.

    12. and am absolutely forbidden to “work” until I am well again.

      The quotation marks around work are very interesting. She could be commenting on the fact that what she is allowed to do, is in her mind not real work, but more like busywork.

  5. Aug 2015
    1. A people thus handicapped ought not to be asked to race with the world, but rather allowed to give all its time and thought to its own social problems.

      This is an argument I still hear in todays society. After centuries of social injustices and racial discrimination, minorities living in poor or "bad" neighborhoods are blamed for the violence and crime rates, and are berated for not taking advantage of what they can and following the "American dream". While others argue that racism has oppressed these people and has purposely forced them into these neighborhoods, and 'handicapped' them.

    2. The innate love of harmony and beauty that set the ruder souls of his people a-dancing and a-singing raised but confusion and doubt in the soul of the black artist; for the beauty revealed to him was the soul-beauty of a race which his larger audience despised, and he could not articulate the message of another people.

      Du Bois is describing the difficulty in trying to be an educated man in America. He must appeal to white people, and accept their ideas of art and beauty, but he cannot accept his own people's art and beauty if he is to "succeed". The necessity to accept black culture and white culture for black people is a double standard.

    3. The shadow of a mighty Negro past flits through the tale of Ethiopia the Shadowy and of Egypt the Sphinx. Through history, the powers of single black men flash here and there like falling stars, and die sometimes before the world has rightly gauged their brightness.

      In my own education, I cannot recall ever learning about African history after the rise of Egypt, and some biblical references and before colonization. I'm not sure if any one else has had this experience.

    4. —a world which yields him no true self-consciousness

      W.E.B. Du Bois is noting how it is not self-consciousness when you are not judging yourself, but being attentive of others judging you.

    1. Virgin except as idolatry

      Referring to Catholicism? His interest in the Virgin seems odd since the Virgin Mary is very prominent in Catholicism, yet in Christianity she plays less of a role.

    2. respect of power–while it would not wake the baby lying close against its frame. Before the end, one began to pray to it; inherited instinct taught the natural expression of man before silent and infinite force. Among the thousand symbols of ultimate energy the dynamo was not so human as some

      Also reminiscent of God's power coupled with His gentleness, and the praying.

      This section also reminds me of Jesus. First of all the baby against the frame, reminds me of a baby Jesus being held against the Virgin Mary maybe? Then further the dynamo being a symbol of ultimate energy but was "not so human as some." In Christianity, Jesus is the symbol of God's ultimate energy in human form.

    3. He cared nothing for the sex of the dynamo until he could measure its energy.

      At this point, I'm still not quite sure the relation between the Virgin and the Dynamo.

    4. “Quae quondam rerum naturam sola gubernas.”

      Searched for a translation and got:

      "You who alone once ruled the nature of things."

    5. while he lost his arithmetic in trying to figure out the equation between the discoveries and the economies of force

      I'm not sure I understand what he means. How can you make an equation between a discovery and economy of force??

    6. Langley seemed to be worried by the same trouble, for he constantly repeated that the new forces were anarchical

      Interesting, seeing that earlier Langley "threw out of the field every exhibit that did not reveal a new application of force." Now, the power is too much for him?

    7. but to Adams the dynamo became a symbol of infinity. As he grew accustomed to the great gallery of machines, he began to feel the forty-foot dynamos as a moral force, much as the early Christians felt the Cross.

      This paragraph is Adams' introduction to his religious views on the dynamo. I believe he associates the dynamo with the Cross because of the 'infinite' feeling of the dynamo. The power that it exudes, to him is a symbol of power, and of force that equals the power of the Christian God. God has infinite power in Christianity, and the cross is a symbol of God/Jesus, while the dynamo, in his mind, also holds infinite power.

    1. From my five arms and all my hands, From all my white sins forgiven, they feed, From my car passing under the stars, They Lion, from my children inherit, From the oak turned to a wall, they Lion, From they sack and they belly opened And all that was hidden burning on the oil-stained earth They feed they Lion and he comes.

      Is the lion the working, or middle/lower class people who became strong out of all of this? I'm not sure I understand the five arms and all my hands reference.

    2. The grained arm that pulls the hands, They Lion grow.

      The lion is growing not only from the business and factories, but also from the workers

    3. Earth is eating trees, fence posts, Gutted cars, earth is calling in her little ones, “Come home, Come home!” From pig balls, From the ferocity of pig driven to holiness, From the furred ear and the full jowl come The repose of the hung belly, from the purpose They Lion grow.

      I was actually confused by a lot of this stanza.

    4. Out of the gray hills Of industrial barns, out of rain, out of bus ride, West Virginia to Kiss My Ass, out of buried aunties, Mothers hardening like pounded stumps, out of stumps, Out of the bones’ need to sharpen and the muscles’ to stretch, They Lion grow.

      The gray hills and stumps he mentions remind me of the environment being torn down or tainted for industrial purposes. It's interesting how he points out what is happening to females at this time and not the males. Bones' need to sharpen is interesting.

    5. Out of burlap sacks, out of bearing butter, Out of black bean and wet slate bread, Out of the acids of rage, the candor of tar, Out of creosote, gasoline, drive shafts, wooden dollies, They Lion grow.

      The first stanza seems to place the reader in an industrial setting, and it also express Levine's feelings about the time period. The 'acids of rage' show his anger. I do wonder about the 'candor of tar' though. I'm not quite sure what he means.