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Journal #2
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2 discussion questions
And some sample journals that answer the question about how long they need to be. These are each great examples of what a journal entry can be. Each of the following are over 349 words. Use the number 330 as a guide for your journals.
Readers are attracted to moments of intensity in a writer's work. By what means and with what effect have writers in your study offered heightened emotional moments designed to arrest the reader's attention?
An emotional scene in Oedipus occurs near the end of the play, when Oedipus has gouged out his eyes and his daughters are being led away:
CREON. Come along, let go of the children.
OEDIPUS. No-- don't take them away from me, not now! No no no!
(1673-1674)
Sophocles creates this moment of heightened emotions in several ways. First of all, the structure of the sentences helps create the special moment. These sentences are written in prose, as opposed to the poem format that other parts of the play were written in. This makes it possible to more more realistic words and conversations in the passage, and as a result, more emotional messages. Next, the repetition of the word "no" three times in the phrase "no no no!" highlights the strong emotions being felt by Oedipus at this point. The effect of this moment of high emotional intensity is that it truly shows how tragic the story is and how much the great Oedipus has fallen.
In Wild Duck, a scene of great emotional intensity is when Hjalmar discovers that Hedvig is dead of a gunshot wound. He cries: "And I drover her from me like an animal! And she crept terrified into the loft and died out of love for me. (Sobbing.) Never to make it right again! Never to let her know--! (Clenching his fists and crying to heaven.) Oh you up there--if you do exist. Why have you done this to me?" (5.215) Ibsen creates the high emotional intensity by using the stage directions in order to show Hjalmar's anguish. He clenches his fists and cries to heaven, where he demands of God why he has done this to him, "why have you done this to me?" Ibsen's use of Hjalmar's questioning of God shows how distraught he has becoming. With the use of God, and the question of why he has done this, a reference is made to the idea that a higher power designs the course of our lives. This coincides with the idea that destiny or fate plays a large role.
An emotional scene in Oedipus occurs near the end of the play, when Oedipus has gouged out his eyes and his daughters are being led away:
CREON. Come along, let go of the children.
OEDIPUS. No-- don't take them away from me, not now! No no no!
(1673-1674)
Sophocles creates this moment of heightened emotions in several ways. First of all, the structure of the sentences helps create the special moment. These sentences are written in prose, as opposed to the poem format that other parts of the play were written in. This makes it possible to more more realistic words and conversations in the passage, and as a result, more emotional messages. Next, the repetition of the word "no" three times in the phrase "no no no!" highlights the strong emotions being felt by Oedipus at this point. The effect of this moment of high emotional intensity is that it truly shows how tragic the story is and how much the great Oedipus has fallen.
In Wild Duck, a scene of great emotional intensity is when Hjalmar discovers that Hedvig is dead of a gunshot wound. He cries: "And I drover her from me like an animal! And she crept terrified into the loft and died out of love for me. (Sobbing.) Never to make it right again! Never to let her know--! (Clenching his fists and crying to heaven.) Oh you up there--if you do exist. Why have you done this to me?" (5.215) Ibsen creates the high emotional intensity by using the stage directions in order to show Hjalmar's anguish. He clenches his fists and cries to heaven, where he demands of God why he has done this to him, "why have you done this to me?" Ibsen's use of Hjalmar's questioning of God shows how distraught he has becoming. With the use of God, and the question of why he has done this, a reference is made to the idea that a higher power designs the course of our lives. This coincides with the idea that destiny or fate plays a large role.
Stylistic techniques (imagery, figurative language, sensory detail)
Blood Wedding contains an abundance of sensory detail and imagery.
There is a lot of imagery regarding a vineyard, grapes, and a knife. These are also symbolic, but since this is about imagery, figurative language, and sensory detail, the symbols won't be mentioned. The knifes are talked of by the Mother as these evil things. Images of the knives are painted by the mother when she states that knives "cut into a man's body. Something as small as a pistol or a knife can destroy a man who is like a bull" (7) This quote illustrates the power of the knife through imagery. The Mother has an obvious distaste for knifes which she articulates multiple times.
The mother also speaks most of the figurative language in the tragedy, especially when she says things such as "Your grandfather left a son on every corner. That i like - men that are men, wheat that is wheat" (8). She also says things such as "O have to choke back and hide under my shawl" (60). She does not need to really do these things, but the figurative language add to the text in a way that the really emphasize what the Mother is feeling. She also refers to her husband's cousins and says they are "as hard as rocks when they dance" (64). Her use of figurative language always articulates how she is really feeling. Even though the Father is trying to engage her in a conversation, she cares not what he has to say and articulates this through her blunt figurative language. Even to the end of the book, she uses figurative language to refer to her son as an "armful of withered flowers. My Son is now a dim voice behind the mountains" (99). His voice won't really come from behind mountains, but Lorca writes this because it articulates best how the Mother is feeling.
In conclusion, Lorca uses imagery and figurative language to articulate how characters are feeling. The Mother especially uses it because she has seen a lot of hardship in her life and has a lot of sorrow to express. Instead of just bluntly expressing her sorrow flat out, Lorca writes hers in figurative language. This adds to the imagery of the tragedy and the symbols.
Blood Wedding contains an abundance of sensory detail and imagery.
There is a lot of imagery regarding a vineyard, grapes, and a knife. These are also symbolic, but since this is about imagery, figurative language, and sensory detail, the symbols won't be mentioned. The knifes are talked of by the Mother as these evil things. Images of the knives are painted by the mother when she states that knives "cut into a man's body. Something as small as a pistol or a knife can destroy a man who is like a bull" (7) This quote illustrates the power of the knife through imagery. The Mother has an obvious distaste for knifes which she articulates multiple times.
The mother also speaks most of the figurative language in the tragedy, especially when she says things such as "Your grandfather left a son on every corner. That i like - men that are men, wheat that is wheat" (8). She also says things such as "O have to choke back and hide under my shawl" (60). She does not need to really do these things, but the figurative language add to the text in a way that the really emphasize what the Mother is feeling. She also refers to her husband's cousins and says they are "as hard as rocks when they dance" (64). Her use of figurative language always articulates how she is really feeling. Even though the Father is trying to engage her in a conversation, she cares not what he has to say and articulates this through her blunt figurative language. Even to the end of the book, she uses figurative language to refer to her son as an "armful of withered flowers. My Son is now a dim voice behind the mountains" (99). His voice won't really come from behind mountains, but Lorca writes this because it articulates best how the Mother is feeling.
In conclusion, Lorca uses imagery and figurative language to articulate how characters are feeling. The Mother especially uses it because she has seen a lot of hardship in her life and has a lot of sorrow to express. Instead of just bluntly expressing her sorrow flat out, Lorca writes hers in figurative language. This adds to the imagery of the tragedy and the symbols.
Dear Diary,
Today was quite a troubling day for me, my friend. I feel as though writing it all down is the only way to really sort it all out.
I had all of my priest friends over for a little chat. They informed me that Thebes is literally dying right now. (Thanks for the heads up, guys.). My city, the city I solved the sphinx's riddle for, the city I am now king of, is going downhill. And fast! These guys were literally freaking out. They begged me to save them and the city. When I say begged, I mean REALLY begged. There was praying involved. While I could get used to that, it got me pretty riled up. So I promised them a solution. I am their mighty kind after all. Plus if everyone is dead, who will I rule?
Thankfully, I sent my faithful brother-in-law Creon to Delphi (Apollo the Prophet's Oracle), in hopes that he would bring us back something we could do to rid the beautiful city of Thebes of this hardship it is bearing. He brought back the news that we had to find and punish the murderer of Thebes' previous king, Laius. This came as quite a shock. But of course I am willing to do whatever it takes to save my city. The only issue is that we had no idea how to find this murderer. I asked the chorus of citizens that came out to sing about the problems in the story thus far to come forward with any information they had about the murder. They had none. Ignorant common folk. Then we thought we'd bring good old Tiresias about to tell us who the murderer was. It is said, although he is blind, that he sees with the sight of Apollo. Logically, if he did not know, no one else would.
Tiresias got there and we told him what we wanted. He was not too happy. He made it very clear that he knew the information that we wanted but that he was not going to reveal it. Sweet guy, really. Quite the charmer. This angered me greatly; so of course, I threatened him. I also thought that him and Creon were working together in a plot to overthrow me. That really peeved me. In response, he completely flew off the handle! He started hurling accusations all over the place. At first I did not understand him. Then it became clear that he was calling ME the murderer! What did he think he was playing at?
His speech became even more and more confusing. He was sort of insulting me. I did not like that much. Then I lost track of where he was going with the conversation. He started talking about my father. I have no idea who that is, so how did he? That guy. I tell you. He started talking about a man who was married to his mother and killed his father. What kind of person would do that? I think he must be losing his mind. Either that or just trying to confusing me. Either way, I kicked him out. I mean, I am a king. Was I supposed to just sit around and take the disrespect he was dishing out? I don't think so.
It did get me wondering though...who was this horrible man he was talking about? First he was talking about me...then he went to this guy. Could he have been saying these things about me? He couldn't have. I don't even know my parents. I love my wife Jocasta, there is no way she could be my mother. I don't know what to make of this. If Tiresias was making this all up just to confuse me, I shall have to punish him. If he was talking about someone else, why did he bring it up? There is no way everything he said was true though. That would be crazy.
By the beard of Zeus! Look at the time! I really must be going! Until next time, my beloved confidant.
Oedipus
Today was quite a troubling day for me, my friend. I feel as though writing it all down is the only way to really sort it all out.
I had all of my priest friends over for a little chat. They informed me that Thebes is literally dying right now. (Thanks for the heads up, guys.). My city, the city I solved the sphinx's riddle for, the city I am now king of, is going downhill. And fast! These guys were literally freaking out. They begged me to save them and the city. When I say begged, I mean REALLY begged. There was praying involved. While I could get used to that, it got me pretty riled up. So I promised them a solution. I am their mighty kind after all. Plus if everyone is dead, who will I rule?
Thankfully, I sent my faithful brother-in-law Creon to Delphi (Apollo the Prophet's Oracle), in hopes that he would bring us back something we could do to rid the beautiful city of Thebes of this hardship it is bearing. He brought back the news that we had to find and punish the murderer of Thebes' previous king, Laius. This came as quite a shock. But of course I am willing to do whatever it takes to save my city. The only issue is that we had no idea how to find this murderer. I asked the chorus of citizens that came out to sing about the problems in the story thus far to come forward with any information they had about the murder. They had none. Ignorant common folk. Then we thought we'd bring good old Tiresias about to tell us who the murderer was. It is said, although he is blind, that he sees with the sight of Apollo. Logically, if he did not know, no one else would.
Tiresias got there and we told him what we wanted. He was not too happy. He made it very clear that he knew the information that we wanted but that he was not going to reveal it. Sweet guy, really. Quite the charmer. This angered me greatly; so of course, I threatened him. I also thought that him and Creon were working together in a plot to overthrow me. That really peeved me. In response, he completely flew off the handle! He started hurling accusations all over the place. At first I did not understand him. Then it became clear that he was calling ME the murderer! What did he think he was playing at?
His speech became even more and more confusing. He was sort of insulting me. I did not like that much. Then I lost track of where he was going with the conversation. He started talking about my father. I have no idea who that is, so how did he? That guy. I tell you. He started talking about a man who was married to his mother and killed his father. What kind of person would do that? I think he must be losing his mind. Either that or just trying to confusing me. Either way, I kicked him out. I mean, I am a king. Was I supposed to just sit around and take the disrespect he was dishing out? I don't think so.
It did get me wondering though...who was this horrible man he was talking about? First he was talking about me...then he went to this guy. Could he have been saying these things about me? He couldn't have. I don't even know my parents. I love my wife Jocasta, there is no way she could be my mother. I don't know what to make of this. If Tiresias was making this all up just to confuse me, I shall have to punish him. If he was talking about someone else, why did he bring it up? There is no way everything he said was true though. That would be crazy.
By the beard of Zeus! Look at the time! I really must be going! Until next time, my beloved confidant.
Oedipus
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