Hermione Alive

In Act 5.3 lines 6-102, Paulina offers to bring the statue of Hermione to life. Leontes insists that she does, and Paulina casts a spell on the statue. In this passage, Paulina claims that people may protest that she is “assisted by wicked powers,” (90) and insists that “those that think it is unlawful business..let them depart” (96). However, readers know that Paulina is more virtuous than evil. She has a lot of positive characteristics and readers praise her for being strong willed and fearless. Therefore, as a director, I would have Paulina glowing while she is bringing the statue to life. It would help give positive light to Paulina and reveal that her magic is only used for goodness. In a sense, she would resemble more holy characteristics, and her spell would be perceived more like a prayer. I would like to give a righteous effect, similar to how Jesus prays and allows the blind to see.

After Paulina says her prayer, Hermione would come to life. This reminds me of Michael Jackson’s video, “Do You Remember the Time,” where performers are trying to entertain the Pharaoh and his wife. A hooded man sprinkles dust on the floor and then gets sucked to the ground. Then the dust continuously swirls around until it formulates into Michael Jackson. In this sense, instead of the statue just subtlety transforming into a human, I would like if the statue changed into dust, swirled to the ground, and formulated into Hermione. In the play, this event is understated, but I believe this should emphasized because something magical just happened; Hermione is brought back to life. Thus, I believe the dust effect would build suspense and add admiration for the characters observing this event.

This passage may be difficult to interpret because all the characters are assumed to be regular humans. Then all of a sudden, Paulina nonchalantly suggests bringing the statue to life. Reader s never hear about Paulina’s powers beforehand, making the whole event seam surreal. The whole ordeal is rather bizarre, and it makes one think if Hermione really came back to life, if it was a dream, or if it was Leontes’ creative imagination.

If I were into watching movies and keeping up with celebrities’ names, I would be able to pick out a decent actor for Hermione and Paulina. But since don’t I keep up with movies and television, I’d suggest someone who has a strong personality for Paulina and someone whole is very charismatic for Hermione.

Leontes' remorse

In Act 3.2, lines 138-160, Leontes quickly accuses the Oracle for being wrong. His jealousness and persistence allows him to precede with the session, claiming that the Oracle “is mere falsehood” (139). However, after Mamillius dies, Leontes quickly admits that his accusations about Hermione, Camillo, and Polixenes are wrong.

In lines 138-139, Leontes’ speech is quick and short. In a sense, he speaks without thinking, and is defensive even towards the oracle who speaks against him. He sticks to his word and refuses to hear anyone who does not believe him. However, in lines 148-160, Leontes’ discourse is quite long, thus allowing him to think honestly and clearly.

Leontes’ rapid change from jealousy to remorse may reveal his guilty conscious. It’s almost as if he knew he was wrong about his accusations, but couldn’t go back on his word because he buried himself in too deep. Although the oracle speaks ultimate truth, it is his son’s death that changes Leontes’ mentality. It a sense, it also seems that Leontes is relieved, he quickly confesses, “Apollo, pardon / My great profaneness ‘gaint thine oracle! New woo my queen, recall the good Camillo” (152-155).

His automatic reaction to Mamillius' death also suggests that Leontes believes it is his son; otherwise he wouldn’t have been dramatically affected by his death. Believing this therefore suggests that Hermione is also innocent. His long speech in lines 148-160 reveal that he sees the truth of the matter, and finally becomes sympathetic to Hermione, claiming, “Tenderly apply her some remedies for life” (150-151) His guilt finally makes him aware of the consequences of his mistakes.

Lucy Analysis

To what extent does freedom and conformity have on people’s attitudes and behaviors?

From the onset of the novel, Lucy is portrayed as an innocent and naïve teenager. She can rarely think for herself and is always bossed around by older people, specifically Charlotte. As Lucy experiences Italy, she experiences joy and freedom, as well as the realities and the social norms she is confined to. Her inability to overcome social influence makes her unable to cope with her problems, thus alternating the behaviors and attitudes she truly wants to express.

In one instance, Lucy physically and literally crosses social class boundaries when she kisses George. Despite her feelings for him, she listens to Charlotte’s advice and suppresses them, swearing to secrecy. Now back in England, Lucy is again forced to act in lady-like, conventional ways. This time, however, Lucy has grown and matured from when she was previously in England.

Although she doesn’t want to comply with her old life style, she continues to conform to society by agreeing to marry Cecil. She shows no physical or emotional attachment towards Cecil, but agrees to marry him because is very genteel and conventional. Unable to resort back to confinement, Lucy expresses little forms of rebellion. In some instances, it’s by refusing to play Beethoven, talking back, and simply speaking her mind. Her obedience to society forces her to ignore her love for George, causing her to lie to those close to her, especially to herself.

Her ability to fully overcome social influence is apparent when she finally realizes that she truly loves George. She accepts George for who he is: an unconventional, loving, caring, and sensitive person. Although she always conforms to be accepted by society and her family, her love for George allows her to conquer her fears of rejection and criticism. Thus, love can prove to be a powerful tool, surpassing the social influence that others dominantly have on each other.

Theme

After Miss Bartlett catches Lucy kissing George, her main concern isn’t how Lucy feels about it, her distress comes from trying to figure out how “Lucky will silence George” P68. This scene struck me the most because it exemplifies the snobbery of the upper middle class and their view of the lower middle class. This passage helps to develop the theme of Lucy’s limited ability to express herself because of class status. Since Miss Bartlett is so caught up between the separations of classes, she is ashamed and disappointed because of Lucy’s actions. Although Lucy enjoyed the kiss, she feels obligated to tell her cousin that “I am a little to blame,” thus denying her feelings for George. Because Miss Bartlett is against socializing with the lower class, she makes Lucy feel guilty for kissing George, demanding,” if I had not arrived, what would have happened? P69. However, Lucy didn’t even think it was a big deal because “It didn’t occur to her that she would have to do anything” P68.

Readers get the impression that Miss Bartlett is always controlling Lucy and wants her to confine to the rules she was brought up with. However, this prevents Lucy from many experiences, especially of accepting the sparks between her and George. This notion reveals the potential for Lucy to rebel against Miss Bartlett and the tensions that will come along with class differences. However, this passage also reveals that Miss Barrlett will be a barrier between Lucy’s and George’s relationship. From this, readers get the notion that Lucy will be forced to suppress her emotions for George until she can be able to overcome the critic of associating herself with the lower class.

How to Talk to Girls

Neil Gaiman’s “How to Talk to Girls at Parties” utilizes the first person narrative to navigate the story. The story is told through the point of view of one of the main characters, Enn. In a sense, the narrator is both omniscient and unreliable. Although Enn claims that this event happened “thirty years ago,” he uses vivid and specific details to describe his feelings and his experiences at the party. For example, when Enn sees Wain Wain, he describes, “Her hair was so fair it was white, and long, and straight, and she sat at the glass toppled table, her hands clasped together, staring at the garden outside, and the gathering dust.” (259) Although Enn claims, “I have forgotten much and I will forget more,” his precise descriptions prove otherwise. (268) In this sense, Enn is all knowing when it comes to being aware of his surroundings. He is even able cite exact conversations he had with Wain Wain, where she stated, “I grow weary of the journeying…It was a good thing they could not any of them see Hold Colt.” (260-261)

In this sense, Enn seems like a reliable narrator. Readers are confident in what he is saying and get a zoomed in view of what is going on at the party. However, as Enn shifts from reliable to unreliable, readers also encounter a first-hand distorted experience.

Enn becomes an unreliable narrator when he fails to observe the abnormalities and alien-like characteristics that the girls have. Although one of the girls had “two smaller fingertips,” and another had a gap between her teeth, he fails to express any feelings or observations. From the reader’s point of view, we can tell these girls are literally foreign, they are not from this planet, and they talk like robots: “The last tour, we went to sun, and we swam in fire pools with the whales.” (262) Although Enn is narrating the story, he fails to acknowledge these distinct characteristics. This type of narration portrays how although Enn is very competent, his narration becomes distorted because of his determination to focus on talking to girls. All he focuses on is what to do next with them: “I edged closer to her so I could feel my leg pressing against hers.” (266) His lack of focus on other aspects of his surroundings make him unreliable, especially when he claims “all the girls at the party were lovely,” (264) which is obviously not true.

In this sense, readers can’t rely on Enn when it comes to what actually happened at the party. This notion is especially clear when Vic claims, “She wasn’t a -” (268) Because Enn fails to notice the alienisms in the girls, readers can’t quite infer what exactly was wrong with Stella. However, based on the other girls at the party, she probably wasn’t normal either. This type of narration influences the story because it leaves readers zoomed out. In this way, readers lose confidence in the narrator and his reports, making them anxious and wondering about the realities of what actually took place at the foreign party.