Man’s guide to life aka the CHIVALRIC CODE
1) Don’t lie! (Most of you are horrible at it anyway). Equivocating and omitting is accepted. Telling your spouse everything can be quite selfish because you are alleviating yourself of the pain brought on by guilt & thrusting that pain onto the shoulders of someone else.
2) Be considerate. Work on being honest but also taking one’s feelings into consideration as well.
3) Get in touch with your feelings. REAL MEN CRY! It is OKAY to cry, just let it out. It will bring you much closer to the person you care about.
4) Get a job. Nobody wants to be with a man who cannot provide for them, let alone take care of themselves. A sense of motivation, independence, and confidence is a turn on.
5) Have a purpose – set a goal. Couch potatoes are the worst! Believe in something and take action.
6) Take pride in family. It is one of the most important aspects of one’s life and is a great indicator as to how a man values the meaning of unconditional love.
7) Don’t say it unless you mean it. Ensure that you can actually carry out all your promises and simply stand by your word.
8) Eliminate sex. Not to say practice abstinence but If you can until marriage, that’s great. However, next time you enter a relationship, try to think with your head and not with your…
9) Be Strong. Not just physically, but mentally as well.
10) Be yourself. Don’t try to be someone you’re not to please someone else. Never forget who you are! LOVE yourself.
Tuesday, October 19, 2010
Thursday, October 7, 2010
Essential #4
Create an intertextual analysis of "Beowulf" and William Henley's "Invictus".
In his writing, Henley has established himself as a strong man determined to overcome all adversities. These characteristics are predominately present in the epic poem Beowulf. While many characters in Beowulf face overwhelming obstacles, Beowulf has definitely emerged from “out of the night that covers [him]” (‘Invictus’ Henley). He has proven countless times that he does not give up, no matter how difficult the challenge (i.e – his battle with the sea serpents during a race with Breca). Henley exerts a sense of confidence in his achievements in terms of overcoming all barriers, similar to the confidence seen in Beowulf: “[Beowulf] rejoiced in his night’s work, his glorious achievement … [he] made good his boast to the East-Danes” (816-818). Despite their complete belief in their own capabilities, Henley and Beowulf also realize that they cannot achieve greatness on their own. In the midst of his ‘boasting’, if you will, Henley acknowledges the source of all his strength: “I thank whatever Gods may be/For my unconquerable soul” (‘Invictus’ Henley). His thanks and praise to the man above is identical to Beowulf’s thanks and praise upon his battle with Grendel. He recognized that if it weren’t for the Lord, he would not have defeated Grendel. However, what separates Beowulf and Henley is Beowulf’s shift from a Christ-like figure to a conquerable soul that gave into temptation. In the end, despite Beowulf’s mistakes, he is a definite representation of Henley’s belief: “I am the master of my fate/I am the captain of my soul” (‘Invictus’ Henley). Not only has Beowulf fulfilled his fate as a warrior but he has also taken control of his fate.
In his writing, Henley has established himself as a strong man determined to overcome all adversities. These characteristics are predominately present in the epic poem Beowulf. While many characters in Beowulf face overwhelming obstacles, Beowulf has definitely emerged from “out of the night that covers [him]” (‘Invictus’ Henley). He has proven countless times that he does not give up, no matter how difficult the challenge (i.e – his battle with the sea serpents during a race with Breca). Henley exerts a sense of confidence in his achievements in terms of overcoming all barriers, similar to the confidence seen in Beowulf: “[Beowulf] rejoiced in his night’s work, his glorious achievement … [he] made good his boast to the East-Danes” (816-818). Despite their complete belief in their own capabilities, Henley and Beowulf also realize that they cannot achieve greatness on their own. In the midst of his ‘boasting’, if you will, Henley acknowledges the source of all his strength: “I thank whatever Gods may be/For my unconquerable soul” (‘Invictus’ Henley). His thanks and praise to the man above is identical to Beowulf’s thanks and praise upon his battle with Grendel. He recognized that if it weren’t for the Lord, he would not have defeated Grendel. However, what separates Beowulf and Henley is Beowulf’s shift from a Christ-like figure to a conquerable soul that gave into temptation. In the end, despite Beowulf’s mistakes, he is a definite representation of Henley’s belief: “I am the master of my fate/I am the captain of my soul” (‘Invictus’ Henley). Not only has Beowulf fulfilled his fate as a warrior but he has also taken control of his fate.
Monday, September 20, 2010
Essential Question #2
What are a hero's social obligations?
Heroes are socially obligated to set an example for their society. While heroes are entitled to make mistakes at times, they must also work to creating a positive reputation or image for themselves. Without these particular credentials, a figure can often be overlooked and ultimately not even be considered a hero. The famous philosopher Socrates stated that “The only way to gain a good reputation is to endeavor to be what you desire to appear”. Therefore, it is important that people who are considered heroes do not solely rely on their heroic actions for recognition. In addition, heroes are also obligated to be martyrs. This does not necessarily mean that all heroes must die in order for them to be considered heroic. It simply means that heroes must be courageous enough to accept the fact that they may lose their life during a mission. All feelings of fear, apprehension, and selfishness must go out the window when one takes on the role of a hero. Feelings such as fear and/or apprehension are ultimately a hindrance to a hero’s mission. They are emotions that often cloud one’s judgment; therefore, a hero must rid themselves of anything that may cause this. These are the characteristics that separate the average Joe from a hero, and if one can fulfill these obligations, then they can be a hero.
Heroes are socially obligated to set an example for their society. While heroes are entitled to make mistakes at times, they must also work to creating a positive reputation or image for themselves. Without these particular credentials, a figure can often be overlooked and ultimately not even be considered a hero. The famous philosopher Socrates stated that “The only way to gain a good reputation is to endeavor to be what you desire to appear”. Therefore, it is important that people who are considered heroes do not solely rely on their heroic actions for recognition. In addition, heroes are also obligated to be martyrs. This does not necessarily mean that all heroes must die in order for them to be considered heroic. It simply means that heroes must be courageous enough to accept the fact that they may lose their life during a mission. All feelings of fear, apprehension, and selfishness must go out the window when one takes on the role of a hero. Feelings such as fear and/or apprehension are ultimately a hindrance to a hero’s mission. They are emotions that often cloud one’s judgment; therefore, a hero must rid themselves of anything that may cause this. These are the characteristics that separate the average Joe from a hero, and if one can fulfill these obligations, then they can be a hero.
Thursday, September 9, 2010
Essential #1
The divisions we have created in our society cross social, economical, and racial boundaries. We have been unknowingly conditioned to alienate those who don't comply with the standards set by the environment around us. Divisions are present in issues such as homosexuality where homosexuals are viewed as stains on our nation. Because of this erroneous notion set forth, we have excluded homosexuals from the human right to join in matrimony, ultimately dividing our society through social inequality. Discrimination is extremely common and ultimately, a main cause of the divisions present today. While racial discrimination is not as intense as is was decades ago, it is still an issue that thickens that wall of division. For example, people of color tend to have a lot more difficulty obtaining a position of merit compared to their Caucasian counterparts. As a whole, we have inadvertently adopted the motto 'Survival of the Fittest' in our lives. In turn, we have created a capitalist society where division sprouts from as well. We refuse to promote equality among all citizens and would rather continue to work solely and selfishly towards benefiting ourselves. While the middle and low class workers work hard and get nowhere, the higher class continues to obtain more wealth than is necessary. Not only does this create division, but it also brings about hostility between the two classes. In the end, it is our complacency and our decision to conform to standards set forth by society that creates division around us, and perpetuates it as well.
Monday, April 5, 2010
DG Essay
Ashley Ducrepin
AP English 11 – Mr. George
04.06.2010
God Does Not Call Us to Bring Our Sins to Heaven and Earth
There is a God who calls upon his children to confess their sins for they will receive absolute salvation. One may seek forgiveness solely from the almighty, omnipotent being who is capable of forgiving our sins: “though your sins be as scarlet, they shall be as white as snow” (Isaiah 1:18). The object of confession is to achieve redemption, and since nobody but God can grant this, one’s confession to the public is pointless. Therefore, Dorian Gray is wrong in his belief that there is a God who calls “upon men to tell their sins to earth as well as to Heaven” (Wilde 228). Dorian’s erroneous belief sprouts from his false understanding of Christianity. Along with the characters of The Crucible and The Scarlet Letter, Dorian Gray lives in a society based on sin, ultimately hindering their ability to seek redemption from the public. Thus, it is these characters’ duty to rise above the sin that surrounds them and confess their sins solely to a most just God.
The town portrayed in The Crucible is best known as a sham theocracy. The court system attempted to prove their infallibility despite the many lies and deception they based their lives on. They even tried to prove that they were just as perfect as God at the expense of other people’s lives: “Postponement now speaks a floundering on [Judge Danforth’s] part … [Danforth] should hang ten thousand that dared to rise against the law” (Miller 129). Ultimately, the people who make up the court system are not free from sin, therefore they have no jurisdiction in the condemning of souls. Seeking redemption from a court system full of sinful people is just as senseless as a relapsed drug addict seeking help from an alcoholic. They claim to be a religious based society, yet they defy one of God’s most important law: “Do not judge, and you will not be judged. Do not condemn, and you will not be condemned” (Lk 6: 37). This is one of the few sins the court system is guilty of, the court’s fallacies were also demonstrated through their inability to see who was actually deserving of punishment.
God is the only being that is incapable of making errors, a quality that can never be obtained by a human. The court wrongfully persecuted, John Proctor, a man who sought redemption from the only one able to grant it: “I confess to God, and God has seen my name … it is enough” (Miller 142). Although Proctor eventually gave in and publicly confessed, it was not until he confessed to God that he felt satisfied. It, once again, asserted the senselessness in confessing to a society blinded by sin. Abigail Williams’ lies were the igniting spark and fuel that set the witch hunt ablaze, yet the court failed to see this. This erroneous notion that radiated throughout the towns of Salem and Boston was the same one implemented within Dorian Gray; they all believed that a sinner must “suffer public shame” (Wilde 228). However, one should be granted with salvation after confession, rather than be tortured by the overwhelming emotion of shame.
In Boston, society’s objective was to bring shame upon Hester Prynne for her sin of adultery. They did this by forcing her to bear a physical embodiment of her sin as well as making her stand on a scaffold for hours where she was the object of ridicule and cruelty: “‘they should have put the brand of a hot iron on Hester Prynne’s forehead’” (Hawthorne 49). Despite their beliefs, it was made crystal clear that shame does not bring one to salvation. In Hester’s case, shame brought her to benevolence while the emotion brought Dorian to murder.
Even before being the “subject of the sermon”, “punishment of children”, or the “punishment of new eyes” (Hawthorne 79), Hester found redemption. She acknowledged her sins and looked to dissolve any feelings of shame through charity: “Hester bestowed all her superfluous means in charity, on wretches less miserable than herself … she employed in making coarse garments for the poor” (Hawthorne 77). Though Dorian never publicly confessed his sin as Hester did, he felt overwhelmingly shameful when confronted by Basil Hallward, who was unaware of the bargain he made. Instead of suppressing this emotion or using it for good, Dorian allowed it to evolve into “an uncontrollable hatred for Basil [that seemed to be] suggested to him by the image in the canvas [that] whispered into his ear by those grinning lips” (Wilde 162). Dorian, who killed Basil as a result of shame, exemplified the danger in experiencing public shame. Dorian admitted that “the murder had been simply the madness of the moment” (Wilde 227). The minor shame that came about due to Basil’s concerns drove Dorian to madness. If the shame that caused Dorian to kill was not even public, it makes one wonder how destructive Dorian would be if he were forced to stand on a scaffold for hours being the object of crude and taunting remarks. Even if Dorian could handle facing public shame, he could never bring himself to confess.
Both Dorian Gray and Reverend Dimmesdale struggled internally with the burden of their sins. The Reverend’s torment was evident through his physical transformation: “his cheek was paler and thinner, and his voice more tremulous than before” (Hawthorne 111). On the other hand, the burden of Dorian’s sin sought out to dominate him and send him in a state of paranoia: “what sort of life would his be if, day and night, shadows of his crime were to peer at him from silent corners, to mock him from secret places, to whisper in his ear as he sat at the feast, to wake him with icy fingers as he lay asleep!” (Wilde 206). As Dorian stated, the only way they could rid themselves of these tortures was to confess and be the object of disgrace, however they were not able to due to their society. In Boston, Dimmesdale was highly respected for his priesthood: “in [society’s] eyes, the very ground on which he trod was sanctified” (Hawthorne 130). On the contrary, Dorian was praised solely for his good looks: “‘Dorian, with your pure, bright, innocent face, untroubled youth – I can’t believe anything against you’” (Wilde 154). With high expectations set, it made it extremely difficult for them to publicly confess. Dorian acknowledged the difficulties in confessing: “even if he did confess, who would believe him?” (Wilde 228). Thus, it explains why Dorian failed to fulfill his claim, again demonstrating the invalidity of his statement. In the end, Dimmesdale was able to find salvation without public confession, while Dorian continued to struggle with his sins, because of his refusal to ask God for forgiveness.
With the possibility of public confession out of the picture, the only way Dorian could satiate his feelings of shame and terror was through confession to the Lord. God would relieve any feelings of discomfort within him if he would simply ask for forgiveness. However, because Dorian has a false understanding of Christianity, he could not bring himself to confess despite Basil’s urgings. Basil encourages Dorian to pray for in turn he will be absolved of his past sins, but Dorian argues that “‘it is too late’” (Wilde 162). Again, Dorian is erroneous in his statement and Reverend Dimmesdale is a contradicting example to this. After seven lengthy years of physical and mental torture, Dimmesdale’s ailments were finally alleviated through salvation. As Basil attempted to explain, it is never too late to ask God for forgiveness. Throughout the text, it seemed as though Dorian did everything possible to evade repentance: “though forgiveness was impossible, forgetfulness was possible still, and he was determined to forget” (Wilde 189). There is nothing wrong with putting a sin from the past in the past, however one must be forgiven first; it is not the other way around. Hester Prynne sought out exoneration, received it, and moved on using charity as a means of forgetting. Dorian only sought out to forget through the use of drugs in attempts to rid himself of the guilt: “the memory of old sins could be destroyed by the madness of sins that were new” (Wilde 189). Dorian failed to grasp the true meaning of Christianity. It became increasingly clear that Dorian needed to confess his sins to the Lord, but he could not do this until he acknowledged his sins.
Because of the terror that began to dominate him, Dorian had no choice but to admit his sin, whether it was to himself or to others. The only thing Dorian failed to realize was the mere fact that he was responsible. This one factor separates Dorian from Hester, Proctor, and Dimmesdale. Unlike Dorian Gray, they were all able to find redemption because they owned up to their sins. Dorian met Basil and Lord Henry, two men who had an overwhelming influence on him. This strong and undeniable influence led Dorian to believe that he could not be held accountable for his dreadful actions: “‘Whatever my life is, [Basil] had more to do with the making or marring of it than poor Harry has had’” (Wilde 173). The first step to absolution is actually admitting that one is at fault for their sin. Without this recognition, Dorian simply cannot confess: “If we claim we have not sinned, we make [God] out to be a liar and his word has no place in our lives” (1 John 1: 10). Dorian continued to blame everyone and everything, but himself, thus there was nothing to confess and with no confession, there is no absolution. To further prove that he was not to blame, Dorian sought out to destroy the portrait , hoping to be free from any feelings of guilt: “He would destroy it … [the knife] would kill the painter’s work, and all that that meant” (228). Dorian’s decision to eradicate the portrait, which was also a physical representation of his conscience, was his worst act. In the end, his worst and final sin demonstrated Dorian’s helpless situation. His statement remains untrue, but for Dorian Gray, there is no alternative.
Hester Prynne is the only one who exemplifies the positivity in experiencing public shame. However, she did not find redemption due to the public shame, she found it herself. Therefore, the only thing God calls us to do when we sin is to confess solely to him. Of all the characters discussed above, the only one who failed to grasp the true meaning of Christianity was Dorian Gray. As a result, his fateful end was much more agonizing than anyone else’s. It was evident that Dorian was to blame for his actions, in spite of the many influences he encountered. Yet, he attempted to avoid confessing his sins by blaming Lord Henry, Basil, and the painting. He realized that if he continued to put the blame on someone other than himself, he would not have to confess a sin that was not his fault. However, his plan backfired and ultimately showed that one must simply admit their faults and ask for forgiveness. The God, that Dorian speaks of, who commands one to confess their sin to Heaven as well as to Earth does not exist. The only thing a most just God asks of his children is to acknowledge their sins, confess their sins, and in turn He will “forgive us our sins and purify us from all unrighteousness” (1 John 1: 9).
AP English 11 – Mr. George
04.06.2010
God Does Not Call Us to Bring Our Sins to Heaven and Earth
There is a God who calls upon his children to confess their sins for they will receive absolute salvation. One may seek forgiveness solely from the almighty, omnipotent being who is capable of forgiving our sins: “though your sins be as scarlet, they shall be as white as snow” (Isaiah 1:18). The object of confession is to achieve redemption, and since nobody but God can grant this, one’s confession to the public is pointless. Therefore, Dorian Gray is wrong in his belief that there is a God who calls “upon men to tell their sins to earth as well as to Heaven” (Wilde 228). Dorian’s erroneous belief sprouts from his false understanding of Christianity. Along with the characters of The Crucible and The Scarlet Letter, Dorian Gray lives in a society based on sin, ultimately hindering their ability to seek redemption from the public. Thus, it is these characters’ duty to rise above the sin that surrounds them and confess their sins solely to a most just God.
The town portrayed in The Crucible is best known as a sham theocracy. The court system attempted to prove their infallibility despite the many lies and deception they based their lives on. They even tried to prove that they were just as perfect as God at the expense of other people’s lives: “Postponement now speaks a floundering on [Judge Danforth’s] part … [Danforth] should hang ten thousand that dared to rise against the law” (Miller 129). Ultimately, the people who make up the court system are not free from sin, therefore they have no jurisdiction in the condemning of souls. Seeking redemption from a court system full of sinful people is just as senseless as a relapsed drug addict seeking help from an alcoholic. They claim to be a religious based society, yet they defy one of God’s most important law: “Do not judge, and you will not be judged. Do not condemn, and you will not be condemned” (Lk 6: 37). This is one of the few sins the court system is guilty of, the court’s fallacies were also demonstrated through their inability to see who was actually deserving of punishment.
God is the only being that is incapable of making errors, a quality that can never be obtained by a human. The court wrongfully persecuted, John Proctor, a man who sought redemption from the only one able to grant it: “I confess to God, and God has seen my name … it is enough” (Miller 142). Although Proctor eventually gave in and publicly confessed, it was not until he confessed to God that he felt satisfied. It, once again, asserted the senselessness in confessing to a society blinded by sin. Abigail Williams’ lies were the igniting spark and fuel that set the witch hunt ablaze, yet the court failed to see this. This erroneous notion that radiated throughout the towns of Salem and Boston was the same one implemented within Dorian Gray; they all believed that a sinner must “suffer public shame” (Wilde 228). However, one should be granted with salvation after confession, rather than be tortured by the overwhelming emotion of shame.
In Boston, society’s objective was to bring shame upon Hester Prynne for her sin of adultery. They did this by forcing her to bear a physical embodiment of her sin as well as making her stand on a scaffold for hours where she was the object of ridicule and cruelty: “‘they should have put the brand of a hot iron on Hester Prynne’s forehead’” (Hawthorne 49). Despite their beliefs, it was made crystal clear that shame does not bring one to salvation. In Hester’s case, shame brought her to benevolence while the emotion brought Dorian to murder.
Even before being the “subject of the sermon”, “punishment of children”, or the “punishment of new eyes” (Hawthorne 79), Hester found redemption. She acknowledged her sins and looked to dissolve any feelings of shame through charity: “Hester bestowed all her superfluous means in charity, on wretches less miserable than herself … she employed in making coarse garments for the poor” (Hawthorne 77). Though Dorian never publicly confessed his sin as Hester did, he felt overwhelmingly shameful when confronted by Basil Hallward, who was unaware of the bargain he made. Instead of suppressing this emotion or using it for good, Dorian allowed it to evolve into “an uncontrollable hatred for Basil [that seemed to be] suggested to him by the image in the canvas [that] whispered into his ear by those grinning lips” (Wilde 162). Dorian, who killed Basil as a result of shame, exemplified the danger in experiencing public shame. Dorian admitted that “the murder had been simply the madness of the moment” (Wilde 227). The minor shame that came about due to Basil’s concerns drove Dorian to madness. If the shame that caused Dorian to kill was not even public, it makes one wonder how destructive Dorian would be if he were forced to stand on a scaffold for hours being the object of crude and taunting remarks. Even if Dorian could handle facing public shame, he could never bring himself to confess.
Both Dorian Gray and Reverend Dimmesdale struggled internally with the burden of their sins. The Reverend’s torment was evident through his physical transformation: “his cheek was paler and thinner, and his voice more tremulous than before” (Hawthorne 111). On the other hand, the burden of Dorian’s sin sought out to dominate him and send him in a state of paranoia: “what sort of life would his be if, day and night, shadows of his crime were to peer at him from silent corners, to mock him from secret places, to whisper in his ear as he sat at the feast, to wake him with icy fingers as he lay asleep!” (Wilde 206). As Dorian stated, the only way they could rid themselves of these tortures was to confess and be the object of disgrace, however they were not able to due to their society. In Boston, Dimmesdale was highly respected for his priesthood: “in [society’s] eyes, the very ground on which he trod was sanctified” (Hawthorne 130). On the contrary, Dorian was praised solely for his good looks: “‘Dorian, with your pure, bright, innocent face, untroubled youth – I can’t believe anything against you’” (Wilde 154). With high expectations set, it made it extremely difficult for them to publicly confess. Dorian acknowledged the difficulties in confessing: “even if he did confess, who would believe him?” (Wilde 228). Thus, it explains why Dorian failed to fulfill his claim, again demonstrating the invalidity of his statement. In the end, Dimmesdale was able to find salvation without public confession, while Dorian continued to struggle with his sins, because of his refusal to ask God for forgiveness.
With the possibility of public confession out of the picture, the only way Dorian could satiate his feelings of shame and terror was through confession to the Lord. God would relieve any feelings of discomfort within him if he would simply ask for forgiveness. However, because Dorian has a false understanding of Christianity, he could not bring himself to confess despite Basil’s urgings. Basil encourages Dorian to pray for in turn he will be absolved of his past sins, but Dorian argues that “‘it is too late’” (Wilde 162). Again, Dorian is erroneous in his statement and Reverend Dimmesdale is a contradicting example to this. After seven lengthy years of physical and mental torture, Dimmesdale’s ailments were finally alleviated through salvation. As Basil attempted to explain, it is never too late to ask God for forgiveness. Throughout the text, it seemed as though Dorian did everything possible to evade repentance: “though forgiveness was impossible, forgetfulness was possible still, and he was determined to forget” (Wilde 189). There is nothing wrong with putting a sin from the past in the past, however one must be forgiven first; it is not the other way around. Hester Prynne sought out exoneration, received it, and moved on using charity as a means of forgetting. Dorian only sought out to forget through the use of drugs in attempts to rid himself of the guilt: “the memory of old sins could be destroyed by the madness of sins that were new” (Wilde 189). Dorian failed to grasp the true meaning of Christianity. It became increasingly clear that Dorian needed to confess his sins to the Lord, but he could not do this until he acknowledged his sins.
Because of the terror that began to dominate him, Dorian had no choice but to admit his sin, whether it was to himself or to others. The only thing Dorian failed to realize was the mere fact that he was responsible. This one factor separates Dorian from Hester, Proctor, and Dimmesdale. Unlike Dorian Gray, they were all able to find redemption because they owned up to their sins. Dorian met Basil and Lord Henry, two men who had an overwhelming influence on him. This strong and undeniable influence led Dorian to believe that he could not be held accountable for his dreadful actions: “‘Whatever my life is, [Basil] had more to do with the making or marring of it than poor Harry has had’” (Wilde 173). The first step to absolution is actually admitting that one is at fault for their sin. Without this recognition, Dorian simply cannot confess: “If we claim we have not sinned, we make [God] out to be a liar and his word has no place in our lives” (1 John 1: 10). Dorian continued to blame everyone and everything, but himself, thus there was nothing to confess and with no confession, there is no absolution. To further prove that he was not to blame, Dorian sought out to destroy the portrait , hoping to be free from any feelings of guilt: “He would destroy it … [the knife] would kill the painter’s work, and all that that meant” (228). Dorian’s decision to eradicate the portrait, which was also a physical representation of his conscience, was his worst act. In the end, his worst and final sin demonstrated Dorian’s helpless situation. His statement remains untrue, but for Dorian Gray, there is no alternative.
Hester Prynne is the only one who exemplifies the positivity in experiencing public shame. However, she did not find redemption due to the public shame, she found it herself. Therefore, the only thing God calls us to do when we sin is to confess solely to him. Of all the characters discussed above, the only one who failed to grasp the true meaning of Christianity was Dorian Gray. As a result, his fateful end was much more agonizing than anyone else’s. It was evident that Dorian was to blame for his actions, in spite of the many influences he encountered. Yet, he attempted to avoid confessing his sins by blaming Lord Henry, Basil, and the painting. He realized that if he continued to put the blame on someone other than himself, he would not have to confess a sin that was not his fault. However, his plan backfired and ultimately showed that one must simply admit their faults and ask for forgiveness. The God, that Dorian speaks of, who commands one to confess their sin to Heaven as well as to Earth does not exist. The only thing a most just God asks of his children is to acknowledge their sins, confess their sins, and in turn He will “forgive us our sins and purify us from all unrighteousness” (1 John 1: 9).
Sunday, March 28, 2010
DG: Pg. 215-END
“‘Art has no influence upon action. It annihilates the desire to act’” (224).
Most, if not all of Lord Henry’s theories have been known to be true in the cynical sense. However, this quotation proves to be his most erroneous claim yet. Art has been of great importance to Lord Henry and Dorian; it is evident that aestheticism is something they care deeply about. The portrait, a form of art, is a contradiction to this statement. Upon viewing his self portrait for the first time, Dorian immediately made a bargain: “’If it were I who was to be always young, and the picture that was to grow old! For that – for that – I would give anything! … I would give my soul for that!’” (28). As seen here, the portrait definitely did not annihilate Dorian’s desire to make that dreadful bargain. In the end, we see just how much of a negative influence art has on their lives contrary to Lord Henry’s unsubstantial beliefs.
“A cry of pain and indignation broke from him. He could see no change, save that in the eyes there was a look of cunning, and in the mouth the curved wrinkle of the hypocrite” (227).
This quotation ultimately sums up the many disputes that we had in class over the topic of change within a person. Half of the class believed that people can change while the other half argued that you are simply what you are. The quotation above definitely supports the claim that one cannot necessarily change. Despite Dorian’s promise to change, his conscious remained unchanged demonstrating his inability to change who he is. Though one can never change, this does not mean one can simply continue being a bad person. They should try and change but simultaneously accept the fact that deep inside, they will remain the same person.
Most, if not all of Lord Henry’s theories have been known to be true in the cynical sense. However, this quotation proves to be his most erroneous claim yet. Art has been of great importance to Lord Henry and Dorian; it is evident that aestheticism is something they care deeply about. The portrait, a form of art, is a contradiction to this statement. Upon viewing his self portrait for the first time, Dorian immediately made a bargain: “’If it were I who was to be always young, and the picture that was to grow old! For that – for that – I would give anything! … I would give my soul for that!’” (28). As seen here, the portrait definitely did not annihilate Dorian’s desire to make that dreadful bargain. In the end, we see just how much of a negative influence art has on their lives contrary to Lord Henry’s unsubstantial beliefs.
“A cry of pain and indignation broke from him. He could see no change, save that in the eyes there was a look of cunning, and in the mouth the curved wrinkle of the hypocrite” (227).
This quotation ultimately sums up the many disputes that we had in class over the topic of change within a person. Half of the class believed that people can change while the other half argued that you are simply what you are. The quotation above definitely supports the claim that one cannot necessarily change. Despite Dorian’s promise to change, his conscious remained unchanged demonstrating his inability to change who he is. Though one can never change, this does not mean one can simply continue being a bad person. They should try and change but simultaneously accept the fact that deep inside, they will remain the same person.
Thursday, March 25, 2010
DG: Pg. 189-214
"though forgiveness was impossible, forgetfulness was possible still, and he was determined to forget" (189).
It is frustrating to witness Dorian self-destruct as he continues to carry the overwhelming burden of guilt on his shoulders. Above, it is evident that Dorian misunderstands the concept of forgiveness. God has always taught us to forgive and forget, therefore our confessions to God will be forgiven and forgotten as well. There is no timeline on when one can seek redemption and Dimmesdale is a prominent example of one who found salvation after seven years. When Basil told Dorian to pray, he believed that it was too late and he continues to proclaim that it is too late. His method of solely forgetting is obviously not working as he struggles internally with the guilt of his sins.
"'From a label there is no escape" (199).
This is probably one of the few ideas expressed by Lord Henry that makes perfect sense and can also be defended. Not only is this true but this statement can be seen as possible foreshadowing to Dorian's ill-fated end. In the previous chapter, Dorian was confronted by Sibyl Vane's brother but was able to weasel his way out of dying by showing his youth. After 18 years of searching for him, James Vane was able to locate him by overhearing someone call him by the name he'd been known by: Prince Charming. Ultimately, that was his label and even after 18 years he could not escape that title. He might of been able to avoid his death at that moment but there is no escaping it: "the consciousness of being hunted, snared, tracked down, had begun to dominate him" (205). Even he realizes that there is a major possibility that he has not seen the last of James Vane. Considering the use of the word 'dominate', it is also a clue that this is something that will not go away.
It is frustrating to witness Dorian self-destruct as he continues to carry the overwhelming burden of guilt on his shoulders. Above, it is evident that Dorian misunderstands the concept of forgiveness. God has always taught us to forgive and forget, therefore our confessions to God will be forgiven and forgotten as well. There is no timeline on when one can seek redemption and Dimmesdale is a prominent example of one who found salvation after seven years. When Basil told Dorian to pray, he believed that it was too late and he continues to proclaim that it is too late. His method of solely forgetting is obviously not working as he struggles internally with the guilt of his sins.
"'From a label there is no escape" (199).
This is probably one of the few ideas expressed by Lord Henry that makes perfect sense and can also be defended. Not only is this true but this statement can be seen as possible foreshadowing to Dorian's ill-fated end. In the previous chapter, Dorian was confronted by Sibyl Vane's brother but was able to weasel his way out of dying by showing his youth. After 18 years of searching for him, James Vane was able to locate him by overhearing someone call him by the name he'd been known by: Prince Charming. Ultimately, that was his label and even after 18 years he could not escape that title. He might of been able to avoid his death at that moment but there is no escaping it: "the consciousness of being hunted, snared, tracked down, had begun to dominate him" (205). Even he realizes that there is a major possibility that he has not seen the last of James Vane. Considering the use of the word 'dominate', it is also a clue that this is something that will not go away.
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