"The Love Song of J. Alfred Prufrock" Vs. "To His Coy Mistress"

“To His Coy Mistress” by Andrew Marvell and “The Love Song of J. Alfred Prufrock” by T.S. Eliot both address the ideologies of “time”. “Time” is defined as “the indefinite continued progress of existence and events in the past, present, and future regarded as a whole” by the New Oxford American Dictionary. Ironically, neither Andrew Marvell nor T.S. Eliot symbolize “time” as that proclamation. In “To His Coy Mistress”, the speaker begins by describing the “desirable” world that men and women would dream of but later contradicts himself by stating that time doesn’t last forever. The speaker connotes that seizing the moment is necessary as a way of expressing his and his mistress’ love towards each other. In opposition to “To His Coy Mistress” but more along the lines of the New Oxford American Dictionary, “The Love Song of J. Alfred Prufrock” suggests that time is endless and that anything and everything can be experienced within one lifetime. Thus, the ethic that seizing the moment is essential as specified by Andrew Marvell is challenged by T.S. Eliot’s idea that an everlasting “time” presents itself to be available. 

Comparison Of Two Poems : Ulysses Vs. Fast Break

Alfred Lord Tennyson's Ulysses and Edward Hirsch's Fast Break are two completely different poems. Ulysses has a very slow tempo to it while Fast Break resembles it's title. Just by discussing the stories told in the poems, the two prove even more unalike. Ulysses is about a King who is growing closer and closer to death. His kingship is slowly falling and time is creeping by. Obviously, this poem is not going to be enthusiastic and bright. In contrast, Fast Break conveys, in my opinion, a very alive and vivacious tone which absorbed me and kept me interested in the poem. Furthermore, Alfred Lord Tennyson's Ulysses and Edward Hirsch's Fast Break differ because of the stories told within the poems. They are written in correspondence to the vibes embedded in the poems and are both composed brilliantly.

Ozymandias Vs. Ponder These Busted Statues

Ozymandias and Ponder These Busted Statues both refer to time but are viewed completely differently. In Ozymandias, time is perceived as more of a sad and dark ideology. Actions take place but in a slow and depressed manner. In Ponder These Busted Statues, time is seen as a "game". A "game" where seizing the moment is the most important aspect because time does not last forever. Living life at a fast and exciting rate because there is no "time" to waste. Ponder These Busted Statues refers to sex on multiple occasions because the author feels that sex and love are the most important actions in life. There is no "time" to waste so live life to the fullest.

Explaining The Performance Choices

Aram, Nick, and I chose the conversation between Horatio, Marcellus, and Bernardo when the ghost first enters. We chose this conversation because it shows a huge tonal shift as well as the comparison of Appearance Vs. Reality. Horatio "appears" to be arrogant and tough and does not buy into the claim that a ghost resembling dead Hamlet just entered. In reality, when he sees the ghost, he does not believe his eyes. This scene is important because it corresponds to two key themes and motifs in Hamlet.

PG 833: #3

Appearance and reality are both extremely significant themes in Hamlet. Appearance is how something "seems" or "looks" while reality is the state of existence of something. In Hamlet, Claudius "appears" to be the rightful and true King of Denmark but in reality, is the murderer of his brother, Hamlet. Claudius killed his brother, the former King, solely for political gain. In Hamlet, reality is hidden by appearance. King Claudius' manipulating and pompous persona distracts the other actors and actresses in the play. Hamlet, King Hamlet's son, is the proper King because he naturally has an authoritative personality. Compared to Claudius, Hamlet is much more fit to rule Denmark BUT Claudius managed to cast a great deal of support by the "blind" people on himself. Ultimately, reality can easily be covered by appearance just as Hamlet is in this play.

PG 833: #7

One major conflict in Hamlet is honesty and deception. King Claudius exemplifies this conflict because of his dishonesty for political gain. Claudius is a double-faced man who keeps many secrets from society in order to further his political goals. The biggest secret that Claudius keeps from the people of Denmark is that he murdered his brother, the former King of Denmark, because his brother’s death is the only way that Claudius could achieve his political aspiration to become King. The people of Denmark are unable to see Claudius’ duplicitous nature through the dialect of his speeches and view him as a great king and ruler, unaware of his hidden agenda. Claudius seems to act and care about his people when in truth he is only concerned with securing his image as a benevolent King. Claudius seems to represent the community and appear kingly when he delivers his long-winded speeches to the people of Denmark. All of this proves how deceiving King Claudius truly is and how important the conflict of honesty and deception really is.

PG 832: #9

I chose the soliloquy from I.ii.129-59 because Hamlet's true emotional personality is openly expressed and easy to see. Hamlet states: "But two months dead: nay, not so much, not two: / So excellent a king; that was, to this, / Hyperion to a satyr; so loving to my mother..."(I.ii.138-140) which shows how much he looked up to his father. Hamlet refers to his father as an excellent King as well as very loving to his wife, Hamlet's mother, further showing how well-rounded he was as an individual. However, Hamlet also connotes, in the same soliloquy, how he sexually thinks about his mother often. He says that he is ashamed of his thoughts: "Let me not think on't--Frailty, thy name is woman--"(I.ii.146) but still talks about the grotesque images. This soliloquy shows much about Hamlet through the sadness brought by his father's death and the disgusting thoughts that go through his head.