TyroCity: Major English XII Notes

The Penalty of Death

Major English XII Notes — Sat, 12 Jul 2014 05:41:42 +0000

The Penalty of Death
by H.L. Mencken

Analysis

At last, a writer who fully understands that all society wants from the justice system is “a healthy letting off of steam” (Mencken). In his satirical essay The Penalty of Death, H.L. Mencken, through use of humor, exaggeration, and mocking euphemisms and anecdotes, satires America’s use of capital punishment. His essay attacks in particular the purpose of the death penalty and the public’s light treatment of “hanging a man (or frying or gassing him)” (Mencken). Mencken’s informal essay is persuasive in the sense that it is satire and uses irony to support his thesis.

Should The Penalty of Death be taken literally, the thesis would explicitly be: “What I contend is that one of the prime objects of all judicial punishments is to afford the same grateful relief (a) to the immediate victims of the criminal punished, and (b) to the general body of moral and timorous men” (Mencken). As a satire however, Mencken ridicules this statement as he supports it, and therefore his thesis is implicit, expressing his criticism of the American treatment of the death penalty. Mencken speaks satirically in the essay as an upstanding citizen patriotically supporting his country’s justice system while, also patriotically, offering helpful suggestions to improve it. The syntax is kept simple and many colloquialisms and clichés are used to give the speaker a personal, conversational voice. Mencken writes mainly for the pro-death penalty audience, as this “patriotic” perspective is exaggerated to the point where it mocks these advocates. This tone is achieved through exaggeration, such as the first “argument against capital punishment” that is discussed, saying “that hanging a man…is degrading to those who have to do it and revolting to those who have to witness it” (Mencken). Mencken does not mention the obvious arguments against the death penalty, such as a person’s right to life, instead exaggerating the American priority on a person’s own comfort. Also contributing to the sarcastic, mocking tone is euphemism, such as the repeated use of “katharsis” as a blatant replacement for “revenge”.

The essay is structured at first in a problem-solution form. Mencken wastes no time refuting the two “arguments against capital punishment” that open the essay, and offers his satirical thesis about “grateful relief” as a solution to the problem of the death penalty’s apparent uselessness. The “grateful relief” solution is, of course, ironic; it implies that that absurd goal is the only real reason that American uses the death penalty. Through example, he supports his argument of katharsis until arriving at the issue of a prisoner’s lengthy stay on death row. Here, Mencken’s true intentions start to emerge as he begins sympathize with the condemned criminals. He describes how it is unjust that “a murderer, under the traditional American system, is tortured for what, to him, must seem a whole series of eternities” (Mencken). Now that the criminal is being viewed as human again, the Mencken’s moral argument of whether the death penalty is right becomes apparent. This ends the essay with the message that all people should be treated ethically, which is effective after the completion of four or five paragraphs that claim the death penalty is not ethical. The essay’s abrupt end, without any sort of conclusion, may be jarring to the reader but also ensures that the reader is actively thinking about Mencken’s final message when the essay is put down.

In these final paragraphs, Mencken uses strong imagery such as being “tortured…a whole series of eternities” as an appeal to pathos and ethos, stimulating the reader’s emotions and sense of ethics. While this appeal to pathos closes the essay on a serious note, the rest of the satire appeals mostly to ethos and logos. Logos is present everywhere, particularly in Mencken’s refute of an executioner’s misery and his introduction of katharsis as a reason for the penalty, which he, in sarcasm and irony, supports heavily. As the essay is a satire, ethos is called on in nearly every point Mencken makes, as he suggests “you’re not anything like the people I’m mocking, are you?”

The Penalty of Death is very effective in its delivery of Mencken’s opinions. Mencken’s sense of humor makes it clear from the beginning what he intends to discuss and how he will do it, and his detailed support of his satirical thesis “katharsis” makes his message enjoyable as well as informative. His satirical voice is believable as pro-death penalty American, but his meaning is clearly driven home when the essay, like the life of a doomed prisoner, is ended before its natural close. As Mencken suggests, maybe the judicial system needs a new “healthy letting off of steam”.

A Day in the Life of "Salaryman"

Major English XII Notes — Sat, 12 Jul 2014 05:41:42 +0000

A Day in the Life of “Salaryman”
– John Burgess

Background (With the compassion of 2 different stories)

A slave is a person who works extremely hard under a horrible condition. He also needs to work for a long time but with very limited benefit. In George Orwells Down and Out in Paris and London, Orwell says that the dishwasher is a slave. However, is not salary-man in A Day in the Life of Salary-man by John Burgess also a slave? Actually, the answer is no. In my opinion, dishwasher is a slave, but salary-man is not.
First of all, their working hours are distinctly different. According to Orwell, George works from seven in the morning until a quarter past nine at night for six days a week. Sometimes he has to go to work on his off day too. Differently, salary-man only works from ten past nine in the morning till seven in the evening for only five days, and he does not need to work on his off days. The lunch break of Salary-man and dishwasher are different too. As George says, This was our slack time-only relatively slack, however, for we had only ten minutes for lunch, and we never got through it uninterrupted (Orwell 64). In contrast, salary-man has much more time than dishwasher during the lunch break. The salary-man does more things during this break than the dishwasher does. Over lunch, they talk of their passion, golf At lunch, salary-man sometimes manages to stop into a driving range on the roof of a building near his company (Burgess 255). Moreover, salary-man and dishwashers lives after work are totally different. For dishwasher, he has nothing to do after work because he has only few hours left and not even enough for sleeping. Nevertheless, the salary-man has a good life after work. He may have been included in a dinner at a nearby restaurant and enjoy his moment.

And the writer thus, compares and tabulates a single day life in the story by giving the following distinct background in the lines that follows.

Zeroing in on Science Friction

Major English XII Notes — Sat, 12 Jul 2014 05:41:42 +0000

Background: From Physics to Fiction

As a physics major in the 1960s, Goshgarian and a few friends were drawn to their English professor, the late James Hensel, whom he calls “the teacher of all teachers.” Goshgarian named a character in Elixir for Hensel, and another is named for former WPI president Harry P. Storke.

“We were literature geeks in an otherwise science geeky kind of place,” Goshgarian says. “In the afternoon, after classes were out, we would meet up in Jim Hensel’s office to talk about everything from Charles Dickens to Tolstoy to Albert Einstein.” The young Goshgarian put his writing talents to use as an editor of Tech News and the Peddler, and started an offbeat humor magazine called Absolute Zero.

“I was reading science fiction by the pound,” he says. By his sophomore year, Goshgarian knew that he would work with words rather than atoms. “I liked words. I could see them and manipulate them. I could not see atoms, didn’t quite believe in them.” After earning a master’s degree and doctorate in English, he joined the English faculty at Northeastern University.

In the early 1970s Goshgarian’s department head challenged him to create a new elective to boost enrollment. He saw his chance to teach quality science fiction as a reputable literary form. Some 30 years later, his courses are popular and well-respected, although parents occasionally balk, “My child is taking what?” In addition to science fiction, Goshgarian teaches a detective fiction class and has developed courses in horror fiction and modern bestsellers. He also offers a graduate-level creative writing seminar.

Required reading for Goshgarian’s classes ranges from Edgar Allen Poe to Ray Bradbury, Arthur C. Clark and Dean Koontz. A centerpiece of the science fiction curriculum is Mary Shelley’s Frankenstein. Discussions are supplemented with movies and guest speakers, which have included best-selling authors Stephen King, Tess Gerritsen, Robert B. Parker and Michael Palmer.

Goshgarian wants his writing students to learn “the ability to look at another person’s writing the way a carpenter looks at a house–to study the architecture of it, the freshness of the language, the narrative thrust that keeps the story going. And to see that the bones have flesh on them, that you have characters who are interesting and aren’t cardboard cut-outs.

“My goal is to make them better readers, too. That’s the secret of good writing. We do a lot of close reading. That’s what Jim Hensel taught me, way back at Worcester Tech.”

Dover Beach

Major English XII Notes — Sun, 08 Apr 2012 05:41:42 +0000

by Matthew Arnold

Summary & Analysis

This is a poem about a sea and a beach that is truly beautiful, but holds much deeper meaning than what meets the eye. The poem is written in free verse with no particular meter or rhyme scheme, although some of the words do rhyme. Arnold is the speaker speaking to someone he loves. As the poem progress, the reader sees why Arnold poses the question stated above, and why life seems to be the way it is. During the first part of the poem Arnold states, “The Sea is calm tonight” and in line 7, “Only, from the long line of spray”. In this way, Arnold is setting the mood or scene so the reader can understand the point he is trying to portray. In lines 1-6 he is talking about a very peaceful night on the ever so calm sea, with the moonlight shining so intensely on the land. Then he states how the moonlight “gleams and is gone” because the “cliffs of England” are standing at their highest peaks, which are blocking the light of the moon. Next, the waves come roaring into the picture, as they “draw back and fling the pebbles” onto the shore and back out to sea again. Arnold also mentions that the shore brings “the eternal note of sadness in”, maybe representing the cycles of life and repetition. Arnold then starts describing the history of Sophocle’s idea of the “Aegean’s turbid ebb and flow”.

The sea is starting to become rougher and all agitated. Also the mention of “human misery” implies that life begins and ends, but it can still be full of happiness, and unfortunately, at the same time, sadness. “The Sea of Faith was once, too, at the full, and round earth’s shore.” The key word in that stanza is once, because it implies that he (Arnold) used to look at the sea in a different way than he does now. Throughout the whole poem, Arnold uses a metaphor to describe his views and opinions. Now he only hears its “melancholy, long, withdrawing roar.” It seems as though Arnold is questioning his own faith. The whole poem is based on a metaphor – Sea to Faith. When the sea retreats, so does faith, and leaves us with nothing. In the last nine lines, Arnold wants his love and himself to be true to one another. The land, which he thought was so beautiful and new, is actually nothing – “neither joy, nor love, nor light”. In reality, Arnold is expressing that nothing is certain, because where there is light there is dark and where there is happiness there is sadness. “We are here though as on a darling plain, swept with confused alarms of struggle and flight, where ignorant armies clash at night”. Arnold uses much alliteration in the poem. For example, in line 31, “To lie before us like a land of dreams”, repeating the letter L at the beginning of three words. Also, in line 4, “Gleams and is gone…”, repeating the letter G. The usage of assonance and consonance is not widespread in “Dover Beach”. In line 3 – “…on the French coast the light” – the repetition of the letter T is shown, as an example of consonance. Other literary techniques, such as onomatopoeia and hyperbole, are not used in the poem, besides the metaphor for “Faith” being the Sea.

The diction Arnold uses creates a sense of peacefulness and calmness. It is fairly easily understood vocabulary, with the exception of a few words, such as cadence and darkling. From reading Matthew Arnold’s “Dover Beach”, one realizes that there is no certainty in life. When everything is going perfectly, something unfortunate may happen at any given time, with no forewarning.

Shall I Compare thee a Summer’s Day

Major English XII Notes — Sun, 08 Apr 2012 05:41:42 +0000

SONNET

PARAPHRASE

Shall I compare thee to a summer's day?	Shall I compare you to a summer's day?
Thou art more lovely and more temperate:	You are more lovely and more constant:
Rough winds do shake the darling buds of May,	Rough winds shake the beloved buds of May
And summer's lease hath all too short a date:	And summer is far too short:
Sometime too hot the eye of heaven shines,	At times the sun is too hot,
And often is his gold complexion dimm'd;	Or often goes behind the clouds;
And every fair from fair sometime declines,	And everything beautiful sometime will lose its beauty,
By chance or nature's changing course untrimm'd;	By misfortune or by nature's planned out course.
But thy eternal summer shall not fade	But your youth shall not fade,
Nor lose possession of that fair thou owest;	Nor will you lose the beauty that you possess;
Nor shall Death brag thou wander'st in his shade,	Nor will death claim you for his own,
When in eternal lines to time thou growest:	Because in my eternal verse you will live forever.
So long as men can breathe or eyes can see,	So long as there are people on this earth,
So long lives this and this gives life to thee.	So long will this poem live on, making you immortal.

The Romancers

Major English XII Notes — Sun, 08 Apr 2012 05:41:42 +0000

by Edmond Rostand

Pasquinot and Bergamin are neighbors, but the relations are not good. Their parks are divided by a big wall. The former’s daughter Sylvette and the latter’s son Percinet are madly in love. But their fathers do not like it all.

When the play starts, Percient is reading Romeo and Juliet to Sylvette who is listening from the other side of the wall. They identify themselves with Romeo and Juliet and sympathize their conditions. They wish that their love could unite their families. They think of means to bring the same about.

The father’s know that their children are not going to regard their enmity as a force between their love. So they silently decide to arrange a make-believe drama to hand over Sylvette to Percinet. For this they invite a paid killer Stafforel.

One afternoon, when the romancers are exchanging their love, Scafforel and his team act of kidnapping Sylvette. Percinet, mad in love comes and attacks the kidnappers and delivers Sylvette. This is explained as a great case of bravery for love, and hence every one approves their marriage. This way, the enmity between the families falls and their love prevails.

Plot Summary

Nick Carraway grew up in the Midwestern United States and went to school at Yale University. After this, he was stationed in France during World War I. Returning home after travelling a great deal, he is discontent and decides to move to the East at the beginning of the Summer of 1922, renting a ramshackle house in Long Island’s West Egg section. He begins working in nearby New York City as a bondsman and it is here that his story begins.

Jay Gatsby is a wealthy neighbor living next door in a lavish mansion where he holds many extravagant weekend parties. His name is mentioned while Nick is visiting a relative, Daisy, living in the East Egg section on the other side of Long Island with her millionaire husband, Tom Buchanan. As it turns out, Jay Gatsby had met Daisy five years before while in the military and was rejected by her due to his lack of wealth and because he had been sent so far away in Europe for the war. Daisy was attracted by Tom’s riches and his distinguished family background and married him. Meanwhile Gatsby spent all of his effort after the war to buy his mansion through shady business dealings in order to be nearer to Daisy in the hope that she would leave Tom for him. Nick is chosen to be the “matchmaker” and arranges a reunion for the two at his home. Daisy is impressed by Gatsby’s wealth and the two begin spending much time together, raising the suspicions of Tom who had also upset Daisy by carrying on an affair with a gas station owner’s wife, Myrtle Wilson. Jay no longer holds his weekend parties since Daisy hadn’t liked them and he allows her desires to control his actions. Nick distances himself from this mess by becoming close to Jordan Baker, a long time friend of Daisy.

While in a New York City hotel room one evening late in the summer with Jordan, Nick, Daisy, Tom, and Gatsby, there is a massive confrontation during which Tom exposes Gatsby’s corrupt business dealings. Jay and Daisy leave to drive back to Long Island together with her driving Gatsby’s car “to calm her down” until she accidentally hits and kills Tom’s mistress running out in front of the gas station after her own jealous husband had locked her inside. The car doesn’t stop after the accident and speeds on towards Long Island. Gatsby’s charm has faded with his exposed corruption while Tom refocuses on Daisy since his mistress has been killed, assuming Gatsby to have been the car’s driver. Nick is disgusted by this entire mess of love affairs and even ignores Jordan, worried about Gatsby since he continues to yearn for Daisy even though it is clear that he has failed. While Nick goes off to work in New York City the next day, the dead woman’s vengeful husband, assuming Gatsby to have been driving his car that night and told that it had been Gatsby’s car by a vengeful Tom Buchanan, shoots Gatsby to death in his own swimming pool and then kills himself.

Gatsby’s funeral has few in attendance aside from Carraway and Jay’s father who has come all the way from the Midwest where Jay grew up. Disgusted that so few had come, including Tom and Daisy who had abruptly moved away, and the hundreds who had attended Gatsby’s parties, Nick distances himself fromJordan for good. Finally, tired of this gross scene of wealth and pettiness , he moves back home to theMidwest. His fond memories of the East remain only of Gatsby, and it is for him that this story is told.

contributed by Mahesh Paudyal

The Jar

Major English XII Notes — Sun, 08 Apr 2012 05:41:42 +0000

by Luigi Pirandello

An examination of the source of joy in a person’s life, The Jar is a thoughtful drama with a strong positive message. Where does joy come from? At a young age, Anna is presented with a mysterious jar and thinks its contents are hers to keep. As she gets older, she finds that her life is not all she expected and questions the gift that the rest of her family seems to enjoy. Meanwhile, she has neglected the opportunity to connect with others around her, including an elderly neighbor in need. Only when she reaches out for help is the secret meaning of the jar revealed.

Chapter 7: The Great Gatsby

Major English XII Notes — Sun, 08 Apr 2012 05:41:42 +0000

Summary

Preoccupied by his love for Daisy, Gatsby calls off his parties, which were primarily a means to lure Daisy. He also fires his servants to prevent gossip and replaces them with shady individuals connected to Meyer Wolfshiem.

On the hottest day of the summer, Nick takes the train to East Egg for lunch at the house of Tom and Daisy. He finds Gatsby and Jordan Baker there as well. When the nurse brings in Daisy’s baby girl, Gatsby is stunned and can hardly believe that the child is real. For her part, Daisy seems almost uninterested in her child. During the awkward afternoon, Gatsby and Daisy cannot hide their love for one another. Complaining of her boredom, Daisy asks Gatsby if he wants to go into the city. Gatsby stares at her passionately, and Tom becomes certain of their feelings for each other.

Itching for a confrontation, Tom seizes upon Daisy’s suggestion that they should all go to New York together. Nick rides with Jordan and Tom in Gatsby’s car, and Gatsby and Daisy ride together in Tom’s car. Stopping for gas at Wilson’s garage, Nick, Tom, and Jordan learn that Wilson has discovered his wife’s infidelity—though not the identity of her lover—and plans to move her to the West. Under the brooding eyes of Doctor T. J. Eckleburg, Nick perceives that Tom and Wilson are in the same position.

In the oppressive New York City heat, the group decides to take a suite at the Plaza Hotel. Tom initiates his planned confrontation with Gatsby by mocking his habit of calling people “old sport.” He accuses Gatsby of lying about having attended Oxford. Gatsby responds that he did attend Oxford—for five months, in an army program following the war. Tom asks Gatsby about his intentions for Daisy, and Gatsby replies that Daisy loves him, not Tom. Tom claims that he and Daisy have a history that Gatsby could not possibly understand. He then accuses Gatsby of running a bootlegging operation. Daisy, in love with Gatsby earlier in the afternoon, feels herself moving closer and closer to Tom as she observes the quarrel. Realizing he has bested Gatsby, Tom sends Daisy back to Long Island with Gatsby to prove Gatsby’s inability to hurt him. As the row quiets down, Nick realizes that it is his thirtieth birthday.

Driving back to Long Island, Nick, Tom, and Jordan discover a frightening scene on the border of the valley of ashes. Someone has been fatally hit by an automobile. Michaelis, a Greek man who runs the restaurant next to Wilson’s garage, tells them that Myrtle was the victim—a car coming from New York City struck her, paused, then sped away. Nick realizes that Myrtle must have been hit by Gatsby and Daisy, driving back from the city in Gatsby’s big yellow automobile. Tom thinks that Wilson will remember the yellow car from that afternoon. He also assumes that Gatsby was the driver.

Back at Tom’s house, Nick waits outside and finds Gatsby hiding in the bushes. Gatsby says that he has been waiting there in order to make sure that Tom did not hurt Daisy. He tells Nick that Daisy was driving when the car struck Myrtle, but that he himself will take the blame. Still worried about Daisy, Gatsby sends Nick to check on her. Nick finds Tom and Daisy eating cold fried chicken and talking. They have reconciled their differences, and Nick leaves Gatsby standing alone in the moonlight.

Riders To The Sea

Major English XII Notes — Sun, 08 Apr 2012 05:41:42 +0000

by John Millington Synge

Plot synopsis

Maurya has lost her husband, father-in-law, and five sons to the sea. As the play begins Nora and Cathleen receive word that a body that may be their brother Michael has washed up on shore in Donegal, far to the north. Bartley is planning to sail to Connemara to sell a horse, and ignores Maurya’s pleas to stay. As he leaves, he leaves gracefully. Maurya predicts that by nightfall she will have no living sons, and her daughters chide her for sending Bartley off with an ill word. Maurya goes after Bartley to bless his voyage, and Nora and Cathleen receive clothing from the drowned corpse that confirms it as their brother. Maurya returns home claiming to have seen the ghost of Michael riding behind Bartley and begins lamenting the loss of the men in her family to the sea, after which some villagers bring in the corpse of Bartley, who has fallen off his horse into the sea and drowned.
Maurya’s speech in the final scene is famous in Irish drama:

(raising her head and speaking as if she did not see the people around her) They’re all gone now, and there isn’t anything more the sea can do to me…. I’ll have no call now to be up crying and praying when the wind breaks from the south, and you can hear the surf is in the east, and the surf is in the west, making a great stir with the two noises, and they hitting one on the other. I’ll have no call now to be going down and getting Holy Water in the dark nights after Samhain, and I won’t care what way the sea is when the other women will be keening. ‘(To Nora)’ Give me the Holy Water, Nora; there’s a small sup still on the dresser.

General understanding

The play begins with Maurya, who has fallen into a fitful sleep. She is certain that her son, Michael, has drowned, even though she has no proof, and has been constantly grieving for nine days. Cathleen, her daughter, is doing household chores when Nora, another daughter arrives. She quietly slips into the kitchen with a bundle that had been given to her by a young priest. In the bundle are clothes taken from the body of a man who drowned in the far north. They were sent to Maurya’s home, hoping that she would be able to identify the body.

Maurya begins to look as if she is going to wake up soon, so the daughters hide the bundle until a time when they are alone. Maurya awakes, and her fear for losing her only remaining son Bartley intensifies her grieving for Michael. Keep in mind, she has already lost five sons and a husband to the sea. The priest claims that that “insatiable tyrant” will not take her sixth. However, Bartley proclaims that he is going to venture over to the mainland that same day, in order to sell a horse at the fair, despite knowing of the high winds and seas.

Maurya begs Bartley not to go, yet he insists despite her pleas. In a flustered state of irritation, Maurya bids him gone without her blessing. Upon seeing these events unfold, the sisters tell Maurya, that she should go out and search for Bartley in order to give him the lunch that they he had forgotten to bring, and while at it, give him her blessing.

Maurya agrees to go, and once she is gone, the girls open the bundle. They find that they were indeed Michael’s clothes, but at least they have the comfort of knowing he got a respectable Christian burial where he washed up in the north. At this point, Maurya returns even more flustered and terrified before. She has seen a vision of Michael riding on the lead horse behind Bartley. Because of this, she is sure Bartley is doomed to die at sea. The girls then show her Michael’s clothes, and she exclaims that the nice white boards she had bought for Michael’s coffin may now be used for Bartley’s instead.

As she says this, the neighbors (women) enter, their voices raised in what the play calls a “keen”, or wailing lament for the dead. Men follow the women, who bring in the body of Bartley, who, sure enough, is dead. He has been knocked off a cliff into the surf below by the horse he was leading. The play ends with Maurya’s fatal submission as she says, “They’re all gone now and there isn’t anything more the sea can do to me.”

This play resulted in the public having an interesting outlook to the sea. Whereas beforehand the sea was always mysterious and adventurous, it now became melodramatic and depressing. This had a somewhat similar effect to “Jaws” in the mid 70s, changing peoples’ views of water and the ocean, but on a lesser scale.

What is Poverty ?

Major English XII Notes — Sun, 08 Apr 2012 05:41:42 +0000

by Jo Goodwin Parker

In Jo Goodwin Parker’s essay “What is Poverty?” she asks you first to listen. To listen to her story of what poverty is like. She then talks about the different aspects of what poverty is, what parts it includes that make it a dangerous reality. Jo talks about the lack of health conditions she and her three children suffer from. After explaining that the government only gives a small amount of money per month, you see why she can’t afford more nutritional foods and soaps to clean her kids. The outside world, in her eyes, won’t help and even criticizes her for not doing something. She explains then, that after awhile, doing something to get help is gets harder and harder. Jo Goodwin Parker then asks you to open your eyes, and even challenges you after seeing poverty, if you too can be silent.

After reading Jo Goodwin Parker’s essay, I was actually deeply touched. I didn’t feel pity though. What I felt instead was respect. This woman had an unfortunate situation in her life that forced her into a life not easy to live or deal with. But, with three children to care for, plus herself, she continued to press on. No matter what obstacles kept jumping in her path. I think it takes a remarkably strong person to be able to continue providing and surviving, no matter how little they have.

– Submitted by DS

The Big Fish

Major English XII Notes — Sun, 08 Apr 2012 05:41:42 +0000

by Daniel Wallace

Summary

Edward Bloom (Albert Finney), a charismatic teller of tall-tales, is a source of frustration to his grown son, William (Billy Crudup). At Wills wedding, Edward embarrasses him by telling the guests an impossible-sounding story about the day of Will’s birth, involving a giant catfish that ate his wedding ring. Will believes that his father tells lies to get attention and confronts him angrily. They don’t speak to each other for three years.

Will receives news that Edward is very ill, and that he might not have long to live. Will and his pregnant wife Josephine (Marion Cotillard) travel to Ashton, Alabama, Wills hometown. Edward is weak and bedridden, but he and Will finally speak again. Will asks to know the truth about his father’s life. Edward retells his version of his childhood.

In a flashback, a young Edward and his friends meet a local witch (Helena Bonham Carter), who has a glass eye which reveals the eventual death of anyone who looks into it. Edward sees how he will die (though the audience does not), and decides that he can now take unreasonable risks because he knows they cannot kill him. Soon afterward, Edward begins to grow at an alarming rate and is hooked up to a machine in bed, as his muscles and bones cannot keep up with his “body’s ambition.” In an encyclopedia, young Edward reads that a goldfish will remain small if kept in a small bowl, but will grow bigger if kept in a larger area. He decides that, because he is growing so fast, he is meant for bigger things.

As a teenager, Edward Bloom (now Ewan McGregor) is a star athlete, entrepreneur, and local hero. When a mysterious “monster” comes to town and eats livestock during the night, he volunteers to talk to it and get it to leave. Edward tracks down the culprit, a gloomy but goodhearted giant named Carl (Matthew McGory), and convinces him to move to a bigger city. Edward explains that Ashton is too small a town for men of Carl’s size and of Edward’s ambition. The two leave town, and Edward is given the key to Ashton by the mayor.

They approach a forest, which Edward wants to take a shortcut through. He promises to meet Carl on the other side, and ventures through the woods (which are full of thorns, spiders, and bees). He stumbles across the town of Spectre, a seemingly perfect place where no one wears shoes. After spending the day there, he shocks the townspeople by politely excusing himself to get on with his journey. His shoes are flung up onto a high rope along with many other pairs that were taken from each townsperson upon their arrival to Spectre in an effort to keep them there, but Edward continues his trek barefoot. He promises a smitten little girl named Jenny that he will return someday.

Edward and Carl stumble upon a circus, where Carl is immediately hired as an attraction by the owner and ringmaster, Amos Calloway (Danny DeVito) and his clown/attorney Mr. Soggybottom (Deep Roy). Edward glimpses a beautiful girl in the big top audience, but she is whisked out the door with the crowd before he can speak to her. She turns out to be a family friend of Calloway. Certain that she is the woman he will marry, Edward begs Calloway for a job, asking for only one piece of information about the girl for every month of work. Edward toils at the circus, and learns that the girl loves daffodils and music, that she is going to college, and that her name is Sandra Templeton. Edward bids farewell to Mr. Calloway (who also happens to be a werewolf), and sets off to find Sandra.

Meanwhile, the elderly Edward befriends his daughter-in-law, Josephine, but is still at odds with his son, who believes him to be a liar. Will begs his father to be himself, but Edward firmly retorts Ive been nothing but myself since the day I was born, and if you cant see that, its your failing, not mine!

Upon reaching the university where Sandra Templeton (Alison Lohman) is a student, teenaged Edward finally meets her and explains that he loves her. She is kind to him and had heard of his accomplishments in Ashton, but is already engaged (to Edwards hapless rival, Ashton native Don Price). Still determined, Edward finds not-so-subtle ways to woo Sandra. One morning, Sandra awakens to find her lawn covered in daffodils provided by Edward. However, Don Price appears and begins to brutally beat Edward, who had promised Sandra he would not fight back. But as Sandra sees Dons cruelty, she breaks the engagement, and eventually does marry Edward.

While recovering in the hospital from his fight injuries, Edward receives a draft notice, forcing him to enlist for the Korean War. While sad to leave his new wife, Edward knows from the glass eye that nothing in the war will kill him. Thus, he volunteers for the most dangerous missions in hopes of being sent home sooner. While parachuting into a Korean army camp during a performance for the troops, Edward meets struggling Siamese twin singers Ping and Jing. He offers to help them break into American show business if they can help him get home. However, the Army lists him as missing and presumably dead, sending a telegram to a heartbroken Sandra (in the present day, Sandra finds the telegram and shows it to Will, proving that there is some truth to Edwards stories). Edward eventually rejoins his wife, and takes a job as a travelling salesman to buy them a better house.

In line at a bank one day, the younger Edward encounters Norther Winslow (Steve Buscemi), a native of Spectre he had met years before. Norther has since become a criminal, and Edward is roped into assisting him in robbing the bank. However, the bank has literally no cash for them to steal. Norther resolves to go to Wall Street where the money is. He later sends Edward $10,000, which he uses to buy a house for Sandra and a young Will.

Years later, Edward is nearing middle age. He reconciles with Jenny (also played by Bonham Carter), the little girl he met in Spectre, who now lives in a dilapidated old house and gives piano lessons. Seeing the condition of her home, Edward begins to fix it up himself, with the help of Carl the giant. After he restores the house, Jenny reveals that she still has feelings for him after many years. Edward gently tells her that he loves only Sandra, and departs.

Back in Ashton, elderly Edward weakens more and more. However, he repeatedly tells his family that this is not the death he saw in the eye. Will spends some time alone, still believing that he will never have a chance to know his fathers true character. Shortly after, Edward has a stroke and is hospitalized. Will encounters the family doctor, who had delivered him and is now treating Edward. Will asks to know the real story of his birth, having heard only his fathers catfish story in the past. The doctor explains that it was simply a normal birth, and though Edward exaggerated it, hearing his story was entertaining and comforting. Will decides to reconcile with his dying father.

At Edwards bedside, Will steps into his fathers shoes and begins an impromptu story: Edward regains strength, and he and Will escape the hospital. Jumping into Edwards old car, they speed to a nearby river, where all their family and friends are waiting. Instead of a funeral, they are holding a goodbye party, and Edward happily bids them farewell as he transforms into a catfish and swims away.

Will is the only one present for Edwards death, and is deeply happy that they connected at last. At Edwards funeral, Will is astonished to see characters from Edwards stories show up to attend: Mr. Calloway, Carl (not a giant, but still very tall), Ping and Jing (not conjoined twins, but identical), and many others. Edward had combined his love of storytelling with his own reality, which finally makes sense to Will. When his
own son is born, Will passes the stories on to him.

Contributed by bored_with_chicken

The Little Girl Saw Her First Troop Parade

Major English XII Notes — Sun, 08 Apr 2012 05:41:42 +0000

by Carl Sandburg

Summary and Critical Analysis

When the little girl saw the troop marching, she asked the speaker what they were. H e replied that they were soldiers. Then she asked what soldiers are for. He replied that they are for war and that they fight and try to kill as many of the other side as they can. Then the girl remained silent and thought seriously. After a while she said that she knew something. She thought that one day when the soldiers fought nobody would come back. ‘The Little Girl Saw Her First Troop Parade’ is a short prose poem shows the bitter reality of war through the innocent perspective of a young girl.
A little girl sees a group of soldiers in a parade, for the first time in her life. She asks the speaker who they are. She gets the reply that they are soldiers. Her next question is who soldiers are. The speaker again replies that the soldiers are meant for war. They fight and try to kill as many soldiers as possible of the other side. When the little girl gets this reply she is silent and thinks for a while. Then she says that she has come to know something.When she is asked what it is, then she replies that “Sometime they will give a war and nobody will come.”

The history of the world is full of war in which millions of people have lost their lives. War is always evil and destructive. It affects not only those who are fighting but also numerous innocent people who have nothing to gain from the war. In spite of all these bitter realities, people are still fighting and killing each other. The present poem begins as a casual conversation between a little girl and a grown up man, but in the last line the girl presents such an insight (wisdom) that even the grownups rarely thinks about. The little girl says that there will (might) be a day when people will give a war but no one will come to fight. This line may be signaling towards that terrible war which will lead to the ultimate annihilation of the human race form the earth. Therefore, when there will be a war nobody will comes because those who have gone to war will never return, and there will be no one left anymore.

The poem may be taken as a bitter satire for the nations that are competing to accumulate (collect) as many nuclear weapons as possible. This context in the preparation of war, when a large mass of people are living in hunger seems to be futile even for an innocent girl but this is something that the so called intellectual and leaders have failed to understand. When Sandburg presents this insight (wisdom) for the perspective of a little the message becomes even more poignant.

‘The Little Girl Saw Her First Troop Parade’ is a prose poem which unfolds (open) dramatically in the form of a dialogue. But there are certain special characteristics that distinguish it from ordinary poem. The poetic elements like alliteration and assonance can be found in abundance and each line of the poem has a rhythmic quality. The success of the poem also lies in its capacity of giving each a starting (shocking) message with the use of very few words in the form of a causal talk. Like William Wordsworth Sandburg in this poem has used the language of everyday speech.