Why do you think the author chose to end the novel this way? (Please don't say " to make it more interesting and keep us guessing.")
Pages burning. A girl leaving. Hearts broken. Life moves on. Dai Sijie ended Balzac and the Little Chinese Seamstress with a bang. No other ending would have sufficed because of the theme of change and imagination, acceptance of reality, Lao's determination, and Balzac's brilliance.
The narrator and the Little Seamstress changed the most throughout the novel. The Little Seamstress going from an uneducated, impecunious country girl to a literate city woman thirsting for knowledge. The narrator's transformation became that of a magnificent storyteller who is unafraid to break the rules in order to obtain what he wants. Consequently, both the narrator and the Little Seamstress made their shift because of the books stolen from Four-Eyes. What the reader does not understand until the very end is exactly how much the Little Seamstress has embraced her change.
By far the most predominant theme in Balzac and the Little Chinese Seamstress is the use of imagination in Lao and the narrator's life. On several occasions, Lao and the narrator pretend to be someone else. They were the official Communist Party leader and his translator when they first met the old miller. They were thieves on their first mission during Four-Eyes's going away celebration. The narrator pretended to be Lao when he met Four-Eyes's mother, and he immersed himself in the illusion of a bodyguard/ soldier for the Little Seamstress while Lao was away. Both Lao and the narrator lived an imaginary life in order to stay away from the awful re-education the Chinese Revolution have brought upon them. By the end when Little Seamstress leaves, the boys have grown enough from the books to accept their position in life.
While Lao and the narrator enjoyed their time in a dream world, the two could not avoid reality forever. The stolen books and Little Seamstress taught them about life, love, and adventure. Count of Monte Cristo, swimming in the secret pond, and Pere Goriot set up a life of adventure and passion tinted with the cruel reality of dungeons, snakes, and danger. As the Chinese world caught up with them, the narrator and Lao realize that sooner or later they must give up Little Seamstress and move on with their lives. This acceptance is partly why they burn the books after she flees. The books and Little Seamstress are what helped them through their months of re-education. By the end, they have learned everything necessary for them to live, so when one leaves, the others become useless.
The other reason for Sijie to end the novel in this fashion is because of Lao's drive to educate Little Seamstress and the impact Balzac has on her. Lao once told the narrator, "She's not civilised, at least not enough for me (27!)" The whole point for Lao to read to her was so that Little Seamstress would become literate and civil in his eyes. Ironically, Lao's plan backfired. As Little Seamstress learned to love reading, she became more aware of the messages Balzac put in his books. The most important thing Lao's reading taught her was "...that a woman's beauty is a treasure beyond price (184)." At this revelation, Little Seamstress also realized that the boys treasured her beauty more than anything and did, in fact, place a price on it. They loved her for her beauty, which is the one thing that drove her away.
Sijie created the perfect ending. There is no other way he could have intertwined the major themes, Balzac's lesson, growth in the characters, and Lao's satisfaction of a perfectly executed transformation of Little Seamstress without having her abandon them and the books set on fire.
Thursday, December 13, 2007
Wednesday, December 5, 2007
Othello Essay
In Othello, Iago acts as the "lightning" that strikes the "tree" of Othello, who is the "inevitable conductor." As a result, the charge emanates through Othello and shocks the characters in his immediate vicinity. Among these are Desdemona, Cassio, Rodrigo, Emilia, and Othello himself. In the tragic vision of Shakespeare, several select characters are often deemed tragic because of their interactions, intentions, and end result. The tragic characters are the innocent pawns of the conductor that try to help out, but in the end, often times die because of their naive actions.
Othello, "conductor" and victim of the "divine lightning," becomes the tragic figure as he stabbed himself with the knife. His end realization of his actions proves too much for him. With Othello being "one that loved not wisely but too well," he loved Iago as a brother and trusted him in every way. This love made him susceptible to Iago's poison. As he becomes more accustomed to listening to the "honest" observations of Iago, Othello questions more and more the loyalty of others. Although he never meant to harm Desdemona and Cassio, Othello did inadvertently open them up to the pestilence of Iago. The suicide of Othello created the tragic figure because of his release of his life as a token of compensation for the awful damage he helped to cause. Othello's acknowledgement of his role in Iago’s plans, the downfall of his noble character, and the unintentional conducting of Iago's poison to other characters created the tragic figure.
Along with the tragic figure come the victims. Cassio, Rodrigo, and Emilia all fall victim to the wrongdoings of the devil-impersonator. Cassio, although a pimp, remains loyal to Othello and a brother-like figure to Desdemona throughout the entire play. His main purpose lay in winning back his favor with Othello, which he lost due to Iago. Since he never swayed in his honest intentions but fell into Iago's trap, he becomes a victim of the tragic vision. Rodrigo, the naive friend of Iago who's blinding love for Desdemona creates a translucent character easily thrust into the net of chaos. Even though he willingly taunted the drunk Cassio into a fight, provided Iago with the financial means of fulfilling his evil plan, and helped set up the downfall of Othello, Rodrigo's intentions lie with the soul purpose of winning Desdemona's affections. The tragic part of Rodrigo's death is that he died for blind love and Iago's pleasure. While his character requires Rodrigo to be gullible and loyal to just about anyone, his only true mistake was listening and obeying. Emilia resembled Rodrigo in her love and devotion to Iago. After Emilia steals Desdemona's handkerchief, she carelessly says, "[w]hat he will do with it, / [h]eaven knows, not I. / I nothing, but to please his fantasy." Her objectives are to please her husband and remain in his favor regardless of the consequences. Unknowingly, she provided a key element to Iago's masterful plan. In the end, the love she had been searching for turns out to be the monster of destruction. She died for a listless love and in attempt to make right what she had done wrong to Othello and Desdemona. While each of these characters plays the tragic role of one of the victims, none could be more tragic than Desdemona.
In Desdemona's first soliloquy, the audience is left with the impression of a loyal, honest, and respectful woman who is unafraid to speak her mind to the men in her life. Her love and loyalty for Othello crudely mixed with his jealous state of mind to create a strong, but tense relationship between the two. Then Desdemona and Cassio's brotherly friendship pushes her to help the falling out of Othello and Cassio. Much to Iago's pleasure and contentment, these two factors setup the perfect stage in which his plan will unfold. His cruel use of the most innocent, friendly, good-natured, honest woman in Othello makes Desdemona the most tragic victim of the entire play.
Each of the pawns in Shakespeare's Othello has their own level of tragedy. However, they all share a few characteristics in common: the unintentional act of propelling Iago's plan further into action, the innocent intention to do good, and the end result of a world torn apart. Whether Iago initiated the actions of the victim or Othello inadvertently caused a violent chain reaction, each of the characters mentioned play a key role in the tragic vision of Shakespeare.
Othello, "conductor" and victim of the "divine lightning," becomes the tragic figure as he stabbed himself with the knife. His end realization of his actions proves too much for him. With Othello being "one that loved not wisely but too well," he loved Iago as a brother and trusted him in every way. This love made him susceptible to Iago's poison. As he becomes more accustomed to listening to the "honest" observations of Iago, Othello questions more and more the loyalty of others. Although he never meant to harm Desdemona and Cassio, Othello did inadvertently open them up to the pestilence of Iago. The suicide of Othello created the tragic figure because of his release of his life as a token of compensation for the awful damage he helped to cause. Othello's acknowledgement of his role in Iago’s plans, the downfall of his noble character, and the unintentional conducting of Iago's poison to other characters created the tragic figure.
Along with the tragic figure come the victims. Cassio, Rodrigo, and Emilia all fall victim to the wrongdoings of the devil-impersonator. Cassio, although a pimp, remains loyal to Othello and a brother-like figure to Desdemona throughout the entire play. His main purpose lay in winning back his favor with Othello, which he lost due to Iago. Since he never swayed in his honest intentions but fell into Iago's trap, he becomes a victim of the tragic vision. Rodrigo, the naive friend of Iago who's blinding love for Desdemona creates a translucent character easily thrust into the net of chaos. Even though he willingly taunted the drunk Cassio into a fight, provided Iago with the financial means of fulfilling his evil plan, and helped set up the downfall of Othello, Rodrigo's intentions lie with the soul purpose of winning Desdemona's affections. The tragic part of Rodrigo's death is that he died for blind love and Iago's pleasure. While his character requires Rodrigo to be gullible and loyal to just about anyone, his only true mistake was listening and obeying. Emilia resembled Rodrigo in her love and devotion to Iago. After Emilia steals Desdemona's handkerchief, she carelessly says, "[w]hat he will do with it, / [h]eaven knows, not I. / I nothing, but to please his fantasy." Her objectives are to please her husband and remain in his favor regardless of the consequences. Unknowingly, she provided a key element to Iago's masterful plan. In the end, the love she had been searching for turns out to be the monster of destruction. She died for a listless love and in attempt to make right what she had done wrong to Othello and Desdemona. While each of these characters plays the tragic role of one of the victims, none could be more tragic than Desdemona.
In Desdemona's first soliloquy, the audience is left with the impression of a loyal, honest, and respectful woman who is unafraid to speak her mind to the men in her life. Her love and loyalty for Othello crudely mixed with his jealous state of mind to create a strong, but tense relationship between the two. Then Desdemona and Cassio's brotherly friendship pushes her to help the falling out of Othello and Cassio. Much to Iago's pleasure and contentment, these two factors setup the perfect stage in which his plan will unfold. His cruel use of the most innocent, friendly, good-natured, honest woman in Othello makes Desdemona the most tragic victim of the entire play.
Each of the pawns in Shakespeare's Othello has their own level of tragedy. However, they all share a few characteristics in common: the unintentional act of propelling Iago's plan further into action, the innocent intention to do good, and the end result of a world torn apart. Whether Iago initiated the actions of the victim or Othello inadvertently caused a violent chain reaction, each of the characters mentioned play a key role in the tragic vision of Shakespeare.
Monday, November 26, 2007
Has the Bad Guy Always Been Bad?
Do you believe that people can be born innately evil or is evilness something that is learned? By evil, I mean any act that is mean-natured, cruel, and/or intentionally harmful either physically or mentally.
People definitely learn evilness through interactions with others. It's an endless cycle of life. We learn it from older people who learned it from even older people to be mean and nasty. And someday, if that day has not already come, we will unknowingly teach some little kid to be cruel and heartless as well. Children learn through imitation. If you watch little kids walking with their parents, you will often find them walking the same way. If the dad has his hands in his pocket, so will the little boy. If the mom walks with her arms crossed, more than likely, so will the daughter.
This copying is especially apparent in siblings. I remember when I was in about second grade, my older sister invited a friend over to spend the night. They went into the basement to play dress-up, and, naturally, I wanted to tag along seeings as I was friendless and sisterless for the night. So I come down stairs to play with them only to be shot down by a horrifying "NO, YOU CANNOT PLAY WITH US!!!" In response to me not leaving the room immediately, my sister's friend took a plastic, yellow pot from our play area and threw it at my head. Of course, I got hit and went crying to mom. Besides receiving a bruised head that night, I walked away having learned two new things: 1. I really did not like that particular friend of my sister's, and 2. always result to hitting when someone is bugging you. Needless to say, my mom corrected my disillusionment after I attempted the same thing on some other unsuspecting kid... My point, however, is that children only learn from seeing and doing. Seeing being the most dominant of the two.
I have, however, heard of some people literally being born without the ability to have emotion. It's a medical condition and could possibly result in an innately evil person. I'm not sure, but it could happen.
People definitely learn evilness through interactions with others. It's an endless cycle of life. We learn it from older people who learned it from even older people to be mean and nasty. And someday, if that day has not already come, we will unknowingly teach some little kid to be cruel and heartless as well. Children learn through imitation. If you watch little kids walking with their parents, you will often find them walking the same way. If the dad has his hands in his pocket, so will the little boy. If the mom walks with her arms crossed, more than likely, so will the daughter.
This copying is especially apparent in siblings. I remember when I was in about second grade, my older sister invited a friend over to spend the night. They went into the basement to play dress-up, and, naturally, I wanted to tag along seeings as I was friendless and sisterless for the night. So I come down stairs to play with them only to be shot down by a horrifying "NO, YOU CANNOT PLAY WITH US!!!" In response to me not leaving the room immediately, my sister's friend took a plastic, yellow pot from our play area and threw it at my head. Of course, I got hit and went crying to mom. Besides receiving a bruised head that night, I walked away having learned two new things: 1. I really did not like that particular friend of my sister's, and 2. always result to hitting when someone is bugging you. Needless to say, my mom corrected my disillusionment after I attempted the same thing on some other unsuspecting kid... My point, however, is that children only learn from seeing and doing. Seeing being the most dominant of the two.
I have, however, heard of some people literally being born without the ability to have emotion. It's a medical condition and could possibly result in an innately evil person. I'm not sure, but it could happen.
Friday, November 9, 2007
What's Love Got To Do With It?
The complexities of love are born out of human nature. People are always doing things to make life even more confusing. In middle school, you hit the person you like instead of giving them a hug. Your parents tell you they made your life miserable for a while because they love you. Sisters and brothers often can't stand each other and fight all the time, but they still love one another. These paradoxes are what make love and life so dang difficult. Love is the power to want to kill a person but never doing so because you need them in you life.
Friday, October 26, 2007
All Grown Up
Growing up creates multiple conflicts that teenagers must face everyday. Here are some that really get to me....
1) When you're young, parents are seen as perfect, without flaws. Unfortunately, as you get older, you more easily recognize everything they do wrong and often search for their faults. This causes unnecessary arguments and hatred.
2) Every child starts out loving school. By the time they hit middle school, the passion for learning is lost. You go to school out of habit. It's what you know, so it's what you do. Instead of loving school for you favorite subject and teachers, teens often go for the socializing, being away from family, and 30 minutes of lunch. While we go to school and somewhat enjoy our classes and discussion on the First Derivative Test, we still can't wait to get out.
3) Growing up usually means trying to convince parents that you're responsible enough to do things without them. But, at the same time, you don't wont too much responsibility (especially the financial kind.)
4) The most difficult lesson we must learn is how to balance school, homework, family, friends, work, and fun time all at the same time. We're expected to participate in every form of activity almost everyday. The stress is immense, but the life is incredible.
Despite all the struggles and lessons to be learned, I wouldn't change one thing.
1) When you're young, parents are seen as perfect, without flaws. Unfortunately, as you get older, you more easily recognize everything they do wrong and often search for their faults. This causes unnecessary arguments and hatred.
2) Every child starts out loving school. By the time they hit middle school, the passion for learning is lost. You go to school out of habit. It's what you know, so it's what you do. Instead of loving school for you favorite subject and teachers, teens often go for the socializing, being away from family, and 30 minutes of lunch. While we go to school and somewhat enjoy our classes and discussion on the First Derivative Test, we still can't wait to get out.
3) Growing up usually means trying to convince parents that you're responsible enough to do things without them. But, at the same time, you don't wont too much responsibility (especially the financial kind.)
4) The most difficult lesson we must learn is how to balance school, homework, family, friends, work, and fun time all at the same time. We're expected to participate in every form of activity almost everyday. The stress is immense, but the life is incredible.
Despite all the struggles and lessons to be learned, I wouldn't change one thing.
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