Friday, December 21, 2012

Heart of Darkness – The Second and Third Level Inquiry


This post acts also as my final review, while you can find the first level inquiry I had done for my WEM self-project here. All in all I did not enjoy this novella; after first reading I did not completely understand what’s in it. I had an idea about how the whites maltreated the blacks, and how Kurtz had become savage, but the rest was still in the mist. I had had to browse some analysis, then everything started to make sense. It’s about colonialism and civilization. So I tried to have a second read with the help from Sparknotes No-Fear, and this time I got a better idea. However, despite of the moral value, I still can’t say that this novella is enjoyable. Conrad’s narrative was rather boring, and his effort to not mentioning specific attributes (Belgium, Congo) made it more difficult to comprehend. I gave three stars for Heart of Darkness. And these are my analysis for the second and third level inquiries…


Logic Stage Inquiry

What does Marlow want? What is standing in his way? What strategy does he pursue in order to overcome this block?

I think at first Marlow only wanted to pursue his childhood dream, to get an adventure by sailing to the “untouched” world of Congo, however when he really got a job in a river steamboat for a Belgium trading company, Marlow became interested in a character named Mr. Kurtz. Thus I can say that Marlow wants to meet and learn from the remarkable and genius chief of Inner Station who had become the symbol of successful colonialism and civilization of the African natives.

However, instead of being civilized, Marlow witnessed that the natives were slaved and inhumanly treated. They were forced to do heavy-load works but were not supported with good food and health. Kurtz’s station was the worst; Marlow found evidences of savage rites which involved massacre of the natives (Kurtz become the chief of the tribe). The icon of civilization had given up to his dark animal instinct.

In order to not being contaminated with the savagery or the effect of wilderness, Marlow did not fall into idolatry to Kurtz like others. He respected Kurtz' intelligence, but not the dark passion.

What idea is the author trying to convince you of? What evidence does he give you for believing the argument?

The Belgium civilization of Congo was only a mask of white people greediness to take from the land whatever they could for their own sake and wealth. Congo natives in the end were far from being civilized, they were robbed by the white.

And the biggest irony was that the whites (such as Kurtz) became one of the savages after spending years living in the center of wilderness.

The wilderness had patted him on the head, and, behold, it was like a ball—an ivory ball; it had caressed him, and—lo!—he had withered; it had taken him, loved him, embraced him, got into his veins, consumed his flesh, and sealed his soul to its own by the inconceivable ceremonies of some devilish initiation. He was its spoiled and pampered favourite.”

“…But this must have been before his—let us say—nerves, went wrong, and caused him to preside at certain midnight dances ending with unspeakable rites, which—as far as I reluctantly gathered from what I heard at various times—were offered up to him—do you understand?—to Mr. Kurtz himself.”




Rhetoric Stage Inquiry

What does the setting of the book tell you about the way human being are shaped?

The weaker will always be exploited by the stronger, that’s what I’ve been thinking after I read this novella. In the case of this story, the whites exploited the blacks by forcing them to work overload for the whites’ advantages. This context is—I believe—very relevant to our modern world, where small or developing countries are often forced to follow super power countries’ designs; so in a way, colonialism still, and will always, exists in our world.

What exactly is the writer telling you?

Conrad wanted to emphasize the hypocrisy of European colonialist; they always brag about ‘civilizing’ the natives, but in truth they were sometimes less civilized than the blacks. I am interested in Marlow’s reflection about why the cannibals did not eat the whites on their sailing. I think it’s because—like in animals—God’s creature should know when to stop taking advantage from others, we all had the responsibility to maintain the nature’s balance. But greedy men, greedy colonialists kept exploiting others even when they had had enough. In the end, who were the less civilized?



Is there an argument in Mr. Kurtz’s downfall?

I believe Mr. Kurtz downfall to the wilderness had been caused by his greediness. When he thought he had the absolute power of not only the natives, but also the station, the devil owned his soul. I found this from Marlow’s reflection:

You should have heard him say, ‘My ivory.’ Oh, yes, I heard him. ‘My Intended, my ivory, my station, my river, my—’ everything belonged to him. It made me hold my breath in expectation of hearing the wilderness burst into a prodigious peal of laughter that would shake the fixed stars in their places. Everything belonged to him—but that was a trifle. The thing was to know what he belonged to, how many powers of darkness claimed him for their own.

In what sense is the book true?

First, it made sense that a civilized person—when living alone in the wilderness encircled with savages for years—could end up being a savage himself. I always believe that we are strongly influenced by the place where we live. I can’t imagine how the natives could worship Kurtz, was that after he himself being savage? Or he became savage because of the worshipping? The later makes more sense, because when one had an absolute power, one can fallen into the darkness of his soul.

Second, one of human’s biggest sins was always greediness. Colonialism—while spreading culture, knowledge or religion—often meant as an exploitation of the natives. What Marlow have seen in Congo could have been happening anywhere, anytime where there was colonialism. I’m an Indonesian, and I have learned these things too in school.

~~~~~

*I read ebook from feedbooks dot com*

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Thursday, December 20, 2012

Miss Havisham in Great Expectations


If I must choose, which character in Great Expectations who had experienced the most extreme transformation, I’d choose Miss Havisham—instead of the main protagonist Pip (I’d feature him for next week). Miss Havisham was born in a rich family; she must have grown up very comfortably, used to get anything she wanted, that when her fiancée left her on the wedding day, she could not accept that reality. So big her resistance was, she stopped living at the same minute as she received the rejection letter. All the clocks were set on the time she received the letter, she dressed like when the letter came (in wedding gown and only one shoes on), and the reception party was left as it was for years (I wonder whether Dickens had the idea from the famous tale Sleeping Beauty?...).

The fact that she wanted to stop dead everything in the house, indifferent of anything else outside her own life, only reflected Miss Havisham’s severe egotism. Egotism usually leads to narrow-mindedness. Miss Havisham did not want to think about anything else other than her own revenge. She could not or refused to see that being left by a man was not the end of the world for a girl, and she was not the first nor the only nor the last girl in the world who suffered for it. She just closed her mind and soul, and only had a sole object in her mind: to revenge!

Gillian Anderson in 2011 BBC miniseries

As she could not take revenge to the man concerned, Miss Havisham adopted and raised a little girl for that sole purpose: revenge. But what happened when the girl had grown up to be the lady-like young woman with iron heart as Miss Havisham had wanted? Estella left her just like that. Although she had raised Estella for revenge only, I think Miss Havisham unconsciously—deep in her heart—loved her. The fact that Estella left her and didn’t care about her, really hurt Miss Havisham. Perhaps there was still a little affection left in Miss Havisham’s heart despite of her selfish anger. And I believe Pip had something to do with that. Despite of Miss Havisham’s taking advantage of Pip’s soul, Pip never hated her, he even forgave her. He kept visiting Miss Havisham even after he knew his real benefactor. I think there was kind of sympathy grew between Pip and Miss Havisham, that Miss Havisham regretted what she had done to Pip, which caused him terribly suffering the anguish of love, just as Miss Havisham’s.

Helena Bonham Carter in 2012's movie

In the end—instead of having her revenge—Miss Havisham experienced what her victims had felt. Her iron heart melt away, and she asked for forgiveness from Pip and granted what Pip asked from her—as if she wanted to repentant her sin of taken a life from an innocent boy by giving a life to other man. Wasn’t it nice to see a cold-hearted lady finally realized that love was about give and take, not only take?

Anne Bancroft in 1998 modernized movie

A little about who's playing the best Miss Havisham on screen. I have only watched two version: the 1998 movie (with modern setting) where Miss Havisham played by Anne Bancroft. She could make out Miss Havisham's eccentric quality very well, but I think she was too old for the role (assuming that when Pip met her, Miss Havisham was about 37-40 years old).

The second one I watched very recently was the 2011 BBC's miniseries, where Gillian Anderson took Miss Havisham's role. She fit more to the age, but maybe she was rather too soft for the cold hearted woman such as Miss Havisham.

I haven't watched the newest version of Great Expectations, where Helena Bonham Carter played Miss Havisham, so I can't give her any judgement, but from the trailer and from what I know about Helena, I think Miss Havisham here would be more grotesque than the predecessors.

I can only give my fair judgement after I watch the 2012 movie, but for you who have seen all, which one is your favorite?


Wednesday, December 19, 2012

Heart of Darkness – The First Level Inquiry


Chapter I

On the way to Congo, Marlow’s steamboat stopped, sunk down, un-repairable, that he’s stuck on a Government station. He found maltreated black slaves, and learned about greediness of the white men, and a remarkable and genius chief of Inner Station called Kurtz.


Chapter II

On the sailing to Mr. Kurtz’s Inner Station, Marlow and the gang found a broken port with a warning sign, and were attacked by natives. Marlow became more interested in Mr. Kurtz, and the nature of the blacks.


Chapter III

At the Inner Station Marlow found how people worshiped Mr. Kurtz; the natives attacked them to prevent them to take Kurtz away. Marlow found that the station became a place of massacre. Kurtz had died before they arrived on mainland, after leaving a bundle of letters to Marlow. In England, Marlow sent the letters to Marlow’s fiancée who lived in the dream of her beloved Kurtz.



by Steven Belledin [source]



Which character is the most affected? How is that character affected by the book’s main event?

Marlow was the main character, a sailor who got a job to captain a steamboat of a trading company to Congo, Africa. The sail had become Marlow’s pilgrimage to meet the gleaming token of European civilization in savage forest of Congo, but only to find along the way, that moral corruption of the colonialist had made him more savage than the natives.

 ~~~~~

*I read ebook from feedbooks dot com* 


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Tuesday, December 18, 2012

Plays Monthly Meme December Prompt: Costume [The Merchant of Venice]


I think one of the most interesting aspects of Shakespeare’s plays was costumes. And thanks to Listra’s Plays Monthly Meme dedicated for Let’s Read Plays, we have the chance to post about it. I always admire original costumes for movies or stages, and therefore have browsed some costumes for The Merchant of Venice (the comedy I read for this month) both from original stage performances and illustration, just for comparison (it’s fun, anyway!)

PORTIA

Portia, played by Kate Dolan. 
Painting by Sir John Everett Millais, 1886


From the stage of:
The Merchant of Venice, 2010. 
(Copyright 2010 Utah Shakespeare Festival. Photo by Karl Hugh)
Shakespearean Festival, Cedar City, Utah, on July 2nd, 2010
Directed by Sharon Ott, Costumes by David Kay Mickelsen

From what I gathered about Italian women's attire at 17th century, the stage costume photo is more fit for Portia than the painting (although Portia in the painting looks more classy and elegant).


SHYLOCK

played by Sir Herbert Beerbohm Tree
Painting by Charles Buchel, 1914


From the stage of:
The Merchant of Venice, 2010. 
(Copyright 2010 Utah Shakespeare Festival. Photo by Karl Hugh)
Shakespearean Festival, Cedar City, Utah, on July 2nd, 2010

Directed by Sharon Ott, Costumes by David Kay Mickelsen

Although both costumes are similar, I think Shylock looked like some kind of witch in the painting, I think the stage photo is more probable.


JESSICA

Painting by Samuel Luke Fildes, 
from Shakespeare Illustrated, 1888


From the stage of:
The Merchant of Venice, 2010. (Copyright 2010 Utah Shakespeare Festival. Photo by Karl Hugh)
Shakespearean Festival, Cedar City, Utah, on July 2nd, 2010
Directed by Sharon Ott, Costumes by David Kay Mickelsen


I don't know which one suits most for a Jewish girl, but I definitely like the painting better... :)



....And while we are talking about costumes, these are more exotic costumes of Portia's exotic suitors...


PRINCE OF MOROCCO

Percy Macquoid (1852-1925)
Costume design for The Merchant of Venice, 1908


PRINCE OF ARAGON



From the stage of:
The Merchant of Venice, 2010. (Copyright 2010 Utah Shakespeare Festival. Photo by Karl Hugh)
Shakespearean Festival, Cedar City, Utah, on July 2nd, 2010
Directed by Sharon Ott, Costumes by David Kay Mickelsen


What have you found for the costumes of play you've read this month? Share with us!






Monday, December 17, 2012

The Merchant Of Venice



The Merchant of Venice was the second comedy I have read from Shakespeare’s plays. After successively read two tragedies, it’s quite relieving to flow with a lighter story, with beautiful words. The main plot of this play was concerning Antonio—an honorable Venetian merchant—who wanted to help his dear friend Bassanio to pursue his love for a wealthy girl named Portia. Antonio agreed to be Bassanio’s guarantor as the later took a credit from a cunning Jewish moneylender named Shylock.

Being a Christian hater—especially to Antonio who always lent money gratis—Shylock was full of joy when he found out that Antonio’s ships had wrecked at the sea, that he won’t be able to pay back the money. Wanted to take revenge to Antonio, Shylock sued Antonio in court to be cut his flesh for exchange of the money.

Meanwhile, with the money from Shylock, Bassanio had departed to Belmont to enter a contest set by the late of Portia’s father to get a husband for his daughter. A suitor who could choose the right casket from three choices would become Portia’s husband. It was a great test indeed, for Portia was very rich, that his father was afraid she would get a greedy man as a husband.

And between those two situations, Shakespeare crafted witty and interesting scenes and acts to become this beautiful play.

This is the third play I read for Let’s Read Plays and I found at least one similarity from those three, that the servants—despite of being secondary characters—were wiser than their masters or mistresses, and the main characters often learned from them. Here is when Nerissa taught her lady, Portia, about how the balance of trouble and happiness would make live longer.

It is no mean happiness, therefore, to be seated in the mean.
Superfluity comes sooner by white hairs, but competency lives longer.”

It’s interesting too how Shakespeare picked a Jewish as the stereotype antagonist; I wonder whether it did not stir many controversies from Jewish readers? Another thing, being a comedy, this play still made me a bit uncomfortable when Antonio asked Shylock to be a Christian (Act IV Scene I). When Antonio was asked by Portia: “What mercy can you render him, Antonio?” he replied: “..Two things provided more: that for this favor he presently become a Christian…” I could not understand how forcing somebody to have one’s religion can be regarded as a mercy. And that request changed my respect to Antonio.

Besides that annoyance, I found this play quite entertaining, especially whenever Launcelot was in the scenes, such as this one (talking to Gobbo—his father):

Gobbo: “..what a beard hast thou got! Thou hast got more hair on thy chin than Dobbin my fill-horse has on his tail.
Launcelot: “It should seem then that Dobbin’s tail grows backward. I am sure he had more hair of his tail than I have of my face when I last saw him.”

Over all, Merchant of Venice was an exotic and intriguing play; it criticized men’s greediness. I found it funny in Portia’s father casket contest, and a bit tragic in Shylock’s judgment. Four stars for Mrchant of Venice!

*I read ebook from FeedBooks dot com*





Friday, December 14, 2012

[Classics Movie] Great Expectations



First of all I must thank Melisa for copying this miniseries of Great Expectations for me (come with it also Dorian Gray and Importance of Being Earnest which I haven’t yet watched). This three-part miniseries was produced by BBC in 2011, an adaptation work of Sarah Phelps.

As I like to compare the movie with the original book, I watched this miniseries only several days after I have finished reading the book (when the story and the emotion were still quite fresh in my memory). So, here’s my review:

Castings

Overall it’s okay, I had only two objections. First, the cast for Joe which I think was too old and less innocent. Joe in this miniseries didn’t look like a hopeless husband under his wife’s domination. In fact once or twice Joe bravely grasped Pip from his wife’s beating; while in book Joe did not even dare to confront his wife, afraid that he too would be beaten by his wife. Joe was also supposed to be a shy guy, that when he must meet Miss Havisham, he kept directing his words to Pip instead of talking directly to Miss Havisham. The Joe in the miniseries seemed to have more confidence. And I’m just wondering, why Joe did not look older at all at the later part, while all others did. :) My same complaint goes for Wemmick’s cast. He’s much too old, almost as if he’s in the same age as Mr. Jaggers! About Mr. Jaggers, I think he had played in Agatha Christie’s movies as Hercule Poirot!

Is Gillian Anderson too pretty to be Miss Havisham?

But the worst, I think, is Estella’s cast. I’m so disappointed that she was far from “very pretty” that made many men attracted to her. When Miss Havisham presented the grown up Estella to Pip; when Estella stood next to her mother, well….Miss Havisham was even prettier than her, despite of Miss Havisham’s pale face (Gillian Anderson played as Miss Havisham). Estella in this miniseries looked too boyish with her skinny and bony body (especially when she wore strapless gown that seemed to hang loosely and rather un-proportionately on her body, ugh!). Young Estella reflected much better Estella's original character from book.

Grown-up Estella

Young Estella


Story and Plot

Overall the plot followed the original one, only simplified here and there as we could expect in movie adaptations. However, there are few things I did not agree with. First of all, Biddy never showed up. This perhaps will make the plot more complex, but I think Biddy has also some influences in Pip’s development. The second one was how Pip resisted to Magwitch for—for me—too long; it only made Pip looked like an ungrateful person—which I don’t think so. In the book Pip involved in the runaway preparation, and Pip was tortured badly in the waiting of the event.

The last one was the relationship of Pip and Estella; I know that movies tend to make everything smooth. As if without at least one kissing scene—and it happened always on romantic places which involving water (sea shores, by the lakeside…)—you won’t be able to attract audiences. Perhaps it’s right, but watching how Estella seemed to suddenly and quite easily loosen her resistance against Pip right after leaving Satis House was ridiculous to me.


Setting and Costumes

Now, while the castings and plot might be slightly disappointing, the settings and the costumes were really an entertainment! The misty marshes was fabulous, the forge and Pip’s home were everything I always imagine them to be. Satis House with the dusty and gloomy atmosphere, and the room with cobwebbed party left-over was also cool. So pity we can’t see Wemmick’s country house, that would be very interesting! :)

Wedding hall at Satis House

I like the gentleman’s costumes here, especially Pip’s. Gillian Anderson looked elegant in Miss Havisham’s old wedding gown, but I hate the choice for Estella’s costumes, they were too plain—considering that Miss Havisham did everything she could to make Estella shinning with beautiful jewelries. The jewelries had never appeared in the miniseries, and compared to other ladies in the ball—for example—Estella seemed too pale and ordinary, that if I had been one of the gentlemen there, I would have not regarded her at all.

One thing that was also interesting is the opening credits. I like the idea of the transformation of a cocoon to a beautiful butterfly; it represents Pip’s transformation so beautifully. He must get through hard times before finally become a true gentleman (not only in outer appearance, but also in heart).

All in all, it is quite enjoyable, especially if you have never read the book, or you have read it long time ago that you have forgotten most of the details. 7 to 10 is the best I can give for this miniseries.

...and this is the trailer:









Thursday, December 13, 2012

Cleopatra in Antony and Cleopatra


To be a queen at her time, Cleopatra must be a very strong and smart woman; were those enough? No, because she was a woman, and women at that time were in the lower class than men. Cleopatra must have one other qualification to reach the top; it’s her sensuality. Historian concluded that Cleopatra was not beautiful, she was believed to have long nose and rather masculine face structure, but I guess she knew how to attract men; and that had become one of her weapons.

Cleopatra was ambitious, and unlike common women at her time, she was smart and a good politician. I think as a princess, she used to get what she wanted; she must have been a spoilt and stubborn princess. It became more obvious when she was a queen. I never believe that Cleopatra had really fallen passionately in love with Mark Antony; I think Cleopatra was much stronger than that. Love and lust must not have been her weakness, no, she needed to make an alliance with Antony after losing Julius Caesar. If she was portrayed as an obsessive lover to Antony, it was because she wanted to make sure Antony was still in her side, as was reflected from this scene:

Cleopatra: “If it be love indeed, tell me how much.”
Antony: “There’s beggary in the love that can be reckon’d.”
Cleopatra: I’ll set a bourn how far to be belov’d.”



Cleopatra had won Antony, and she demanded that his intention and interests would always be for her. When she tried to hold him in Egypt, it looked like a silly jealousy of a young girl, but I believe it’s more than that.

Although it was not clear whether Cleopatra had betrayed Antony to gain Caesar’s favor for her and her children’s safety—I have searched about this in the internet without any success—I still believe it was indeed the case. Of a woman of self possessed and brave such as Cleopatra, I could not imagine that she had never defended herself from Antony’s accusation. It’s rather strange too how the Egyptian suddenly left their master to join Octavius (in the second war near Alexandria) when it seemed that they would have won the war. Moreover, didn’t Octavius say that he could not fight before Antony attacked first? (Scene XI Act IV). I believe Cleopatra had done something in this, Mark Antony was not a stupid general, he must have known better than anybody else.

After Antony had died, I think Cleopatra did felt a bit depressed. As a woman I think, she must have felt alone without Antony. I wonder whether she’d ever thought that she would have been happier if she’d never pursued her ambition? Ah…but for an unordinary woman like Cleopatra, living an ordinary life would be much torturing than having to commit suicide to die in honor as she have chosen. Maybe….