3/29 Notes from Class
Quiz on Faulkner
William Faulkner’s speech
after he won the Nobel Prize in 1950
I feel that this award was not made to me as a man, but to my work — a life’s work in the agony and sweat of the human spirit, not for glory and least of all for profit, but to create out of the materials of the human spirit something which did not exist before. So this award is only mine in trust. It will not be difficult to find a dedication for the money part of it commensurate with the purpose and significance of its origin. But I would like to do the same with the acclaim too, by using this moment as from which I might be listened to by the young men and women already dedicated to the same anguish and travail, among whom is already that one who will some day stand here where I am standing.
Our tragedy today is a general and universal physical fear so long sustained by no that we can even bear it. There are no longer problems of the spirit. There is only the question: When will I be blown up? Because of this, the young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat.
He must learn them again. He must teach himself that the basest of all things is to be afraid; and, teaching himself that, forget it forever, leaving no room in his workshop for anything but the old verities and truths of the heart, the old universal truths lacking which any story is ephemeral and doomed - love and honor and pity and pride and compassion and sacrifice. Until he does so, he labors under a curse. He writes not of love but of lust, of defeats in which nobody loses anything of value, of victories without hope and, worst of all, without pity or compassion. His griefs grieve on no universal bones, leaving no scars. He writes not of the heart but of the glands.
※ephemeral:lasting a very short period of time
※gland: any of various secreting organs (as a nectary) of plants
※be blown up : to become suddenly very angry
§He writes not of the heart but of the glands§
is addressed to all of the writers out their writing from their nerves or body rather than their heart. To fear and not capture things adequately with the heart, one could assume that literature would deteriorate as we know it. After presenting a problem and a solution, he goes on to assure everyone’s things will be ok.
※adequate: sufficient for a specific need or equipment
Until he relearns these things, he will write as though he stood among and watched the end of man. I decline to accept the end of man. It is easy enough to say that man is immortal simply because he will endure: that when the last ding-dong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny inexhaustible voice, still talking. I refuse to accept this. I believe that man will not merely endure: he will prevail. He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance. The poet’s, the writer’s, duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet’s voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.
※commensurate:equal or similar to something in size, amount ,or degree
Make a sentence: a salary that is commensurate with skills and experience
※prop: An object placed beneath or against a structure to keep it from falling or shaking; a support.
【Synonym】: brace, buttress, mount, mounting, support, reinforcement, shore, spur, underpinning
※buttress:
《architecture 》a projecting structure of masonry or wood for supporting or giving stability to a wall or building
※brace myself:
Preparing to hear something emotionally bad, or preparing for an impact
(for an example: car going to crash)
*car about to crash*
Driver: Brace yourselves boys!
or
Girl 1: Brace yourself, because you're not going to like what I'm about to say.
※masonry something constructed of materials used by masons
※mason: a skilled worker who builds by laying units of substantial material (as stone or brick)
A Rose for Emily
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※Discussion
The NarratorThe unnamed narrator of “A Rose for Emily” serves as the town’s collective voice. Critics have debated whether it is a man or woman; a former lover of Emily Grierson’s; the boy who remembers the sight of Mr. Grierson in the doorway, holding the whip; or the town gossip, spearheading the effort to break down the door at the end. It is possible, too, that the narrator is Emily’s former servant, Tobe—he would have known her intimately, perhaps including her secret. A few aspects of the story support this theory, such as the fact that the narrator often refers to Emily as “Miss Emily” and provides only one descriptive detail about the Colonel Sartoris, the mayor: the fact that he enforced a law requiring that black women wear aprons in public. In any case, the narrator hides behind the collective pronoun we. By using we, the narrator can attribute what might be his or her own thoughts and opinions to all of the townspeople, turning private ideas into commonly held beliefs.
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The narrator deepens the mystery of who he is and how much he knows at the end of the story, when the townspeople discover Homer’s body. The narrator confesses “Already we knew” that an upstairs bedroom had been sealed up. However, we never find out how the narrator knows about the room. More important, at this point, for the first time in the story, the narrator uses the pronoun “they” instead of “we” to refer to the townspeople. First, he says, “Already we knew that there was one room. . . .” Then he changes to, “They waited until Miss Emily was decently in the ground before they opened it.” This is a significant shift. Until now, the narrator has willingly grouped himself with the rest of the townspeople, accepting the community’s actions, thoughts, and speculations as his own. Here, however, the narrator distances himself from the action, as though the breaking down of the door is something he can’t bring himself to endorse. The shift is quick and subtle, and he returns to “we” in the passages that follow, but it gives us an important clue about the narrator’s identity. Whoever he was, the narrator cared for Emily, despite her eccentricities and horrible, desperate act. In a town that treated her as an oddity and, finally, a horror, a kind, sympathetic gesture—even one as slight as symbolically looking away when the private door is forced open—stands out.
※endorse: to promote the interest or cause of
＃Make a sentence→an increase in the number of parents who endorse the idea of school uniforms
【Synonym】add, assist, plump (for). plunk (for) ,embrace
※plump for(Condition→used with "for"):
to favor or decide in favor of someone or something strongly or emphatically
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Faulkner and the Southern Gothic
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| Southern Gothic |
Southern Gothic is a literary tradition that came into its own in the early twentieth century. It is rooted in the Gothic style, which had been popular in European literature for many centuries. Gothic writers concocted wild, frightening scenarios in which mysterious secrets, supernatural occurrences, and characters’ extreme duress conspired to create a breathless reading experience. Gothic style focused on the morbid and grotesque, and the genre often featured certain set pieces and characters: drafty castles laced with cobwebs, secret passages, and frightened, wide-eyed heroines whose innocence does not go untouched. Although they borrow the essential ingredients of the Gothic, writers of Southern Gothic fiction were not interested in integrating elements of the sensational solely for the sake of creating suspense or titillation. Writers such as Flannery O’Connor, Tennessee Williams, Truman Capote, Harper Lee, Eudora Welty, Erskine Caldwell, and Carson McCullers were drawn to the elements of Gothicism for what they revealed about human psychology and the dark, underlying motives that were pushed to the fringes of society.
Southern Gothic writers were interested in exploring the extreme, antisocial behaviors that were often a reaction against a confining code of social conduct. Southern Gothic often hinged on the belief that daily life and the refined surface of the social order were fragile and illusory, disguising disturbing realities or twisted psyches. Faulkner, with his dense and multilayered prose, traditionally stands outside this group of practitioners. However, “A Rose for Emily” reveals the influence that Southern Gothic had on his writing: this particular story has a moody and forbidding atmosphere; a crumbling old mansion; and decay, putrefaction, and grotesquerie. Faulkner’s work uses the sensational elements to highlight an individual’s struggle against an oppressive society that is undergoing rapid change. Another aspect of the Southern Gothic style is appropriation and transformation. Faulkner has appropriated the image of the damsel in distress and transformed it into Emily, a psychologically damaged spinster. Her mental instability and necrophilia have made her an emblematic Southern Gothic heroine.
What is Southern Gothic？
From Wiki
Definition
Southern Gothic is a subgenre of Gothic fiction in American literature that takes place in the American South.
Common themes in Southern Gothic literature include deeply flawed, disturbing or eccentric characters who may or may not dapple in hoodoo, ambivalent gender roles, decayed or derelict settings,grotesque situations, and other sinister events relating to or stemming from poverty, alienation, crime, or violence.
※ambivalent(+about): having a mixture of opposing feelings
＃Make a sentence→She is somewhat ambivalent about the relationship
【Synonym】conflicted, equivocal
【Related Words】contradictory,faltering, irresolute, uncertain ,unsure
※grotesque:
(1)a style of decorative art characterized by fanciful or fantastic human and animal forms often interwoven of foliage or similar figures that may distort natural into absurdity,ugliness ,or caricature.
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| Imaginarium: The Grotesque |
(2)a piece of work that is in this(grotesque) style
【Synonym】verdure, herbage(from vocabulary: herb), leafage(=leave+age)
※dapple:to mark with small spots especially unevenly
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| A imagination of "Canopy of Vines" |
＃Making a sentence→The sunlight dappled the canopy of vines over our heads
※derelict: abandoned especially by the owner or occupant
＃Making a sentence→the guards were judged derelict by their duty.
※caricature:
(1) a poor ,insincere ,or insulting imitation
(2)exaggeration by means of often ludicrous distortion of parts or characteristics drew a caricature of the president
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| The caricature of President Barack Obama |
※foliage: a representation of leaves, flowers, and branches for architectural ornamentation The doorframe was decorated with beautifully carved foliage.
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| The Gothic foliage -- English Gothic carved foliage — Early English |
※barrack:a building or set of buildings used especially for lodging soldiers in garrison
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| Take a look of barrack |
(1)not harmonious
(2)not conforming
(3)lacking propriety
(4)inconsistent within itself
【Synonym】inappropriate, incorrect, perverse,unbecoming, unseemly, unsuitable
※perverse:
(1)
a : obstinate in opposing what is right, reasonable, or accepted : wrongheaded
b : arising from or indicative of stubbornness or obstinacy
(2)
a : turned away from what is right or good : corrupt
b : improper, incorrect
c : contrary to the evidence or the direction of the judge on a point of law perverse verdict
Elements of a Gothic treatment of the South were apparent in the 19th century, ante- and post-bellum, in the grotesques of Henry Clay Lewis and the de-idealized visions of Mark Twain. The genre came together, however, only in the 20th century, when dark romanticism, Southern humor, and the new literary naturalism merged into a new and powerful form of social critique.
The term "Southern Gothic" was originally used as pejorative and dismissive. Ellen Glasgow used the term in this way when she referred to the writings of Erskine Caldwell and William Faulkner. She included the authors in what she called the "Southern Gothic School" in 1935, stating that their work was filled with "aimless violence" and "fantastic nightmares." It was so negatively viewed at first that Eudora Welty said, "They better not call me that!"
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Characteristic
The Southern Gothic style is one that employs the use of macabre, ironic events to examine the values of the American South.[5] Thus unlike its parent genre, it uses the Gothic tools not solely for the sake of suspense, but to explore social issues and reveal the cultural character of the American South – Gothic elements often taking place in a magic realist context rather than a strictly fantastical one.
There are many characteristics in Southern Gothic Literature that relate back to its parent genre of American Gothic and even to European Gothic. However, the setting of these works are distinctly Southern. Some of these characteristics are exploring madness, decay and despair, continuing pressures of the past upon the present, particularly with the lost ideals of a dispossessed Southern aristocracy and continued racial hostilities.
Southern Gothic particularly focuses on the South's history of slavery, a "fixation with the grotesque, and a tension between realistic and supernatural elements".
Similar to the elements of the Gothic castle, Southern Gothic gives us the decay of the plantation in the post-Civil War South.
Villains who disguise themselves as innocents or victims are often found in Southern Gothic Literature, especially stories by Flannery O'Connor, such as Good Country People and The Life You Save May Be Your Own, giving us a blurred line between victim and villain.
Southern Gothic literature set out to expose the myth of old antebellum South, and its narrative of an idyllic past hidden by social, familial, and racial denials and suppressions.
Important Quotations Explained
1. Alive, Miss Emily had been a tradition, a duty, and a care; a sort of hereditary obligation upon the town . . .
This quotation appears near the beginning of the story, in section I, when the narrator describes Emily’s funeral and history in the town. The complex figure of Emily Grierson casts a long shadow in the town of Jefferson. The members of the community assume a proprietary relationship to her, extolling the image of a grand lady whose family history and reputation warranted great respect. At the same time, the townspeople criticize her unconventional life and relationship with Homer Barron. Emily is an object of fascination. Many people feel compelled to protect her, whereas others feel free to monitor her every move, hovering at the edges of her life. Emily is the last representative of a once great Jefferson family, and the townspeople feel that they have inherited this daughter of a faded empire of wealth and prestige, for better or worse.
The order of Faulkner’s words in this quotation is significant. Although Emily once represented a great southern tradition centering on the landed gentry with their vast holdings and considerable resources, Emily’s legacy has devolved, making her more a duty and an obligation than a romanticized vestige of a dying order. The town leaders conveniently overlook the fact that in her straightened circumstances and solitary life, Emily can no longer meet her tax obligations with the town. Emily emerges as not only a financial burden to the town but a figure of outrage because she unsettles the community’s strict social codes.
2. Then we noticed that in the second pillow was the indentation of a head. One of us lifted something from it, and leaning forward, that faint and invisible dust dry and acrid in the nostrils, we saw a long strand of iron-gray hair.
These lines end the story. Emily’s secret, finally revealed, solidifies her reputation in the town as an eccentric. Her precarious mental state has led her to perform a grotesque act that surpasses the townspeople’s wildest imaginings. Emily, although she deliberately sets up a solitary existence for herself, is unable to give up the men who have shaped her life, even after they have died. She hides her dead father for three days, then permanently hides Homer’s body in the upstairs bedroom. In entombing her lover, Emily keeps her fantasy of marital bliss permanently intact.
Emily’s excessive need for privacy is challenged by the townspeople’s extreme curiosity about the facts surrounding her life. Unsatisfied with glimpses caught through doorways and windows, the townspeople essentially break into the Grierson home after Emily’s death. Convincing themselves that they are behaving respectfully by waiting until a normal period of mourning has expired, they satisfy their lurid curiosity by unsealing the second-floor bedroom. There is no real moral justification for their act, and in light of their blatant violation of Emily’s home and privacy, Emily’s eccentric, grotesque behavior takes on a layer of almost sympathetic pathos. She has done a horrible, nightmarish thing, yet the confirmation of the townspeople’s worst beliefs seems sad, rather than satisfying or a cause for celebration.
※have a blast: to enjoy doing something very much
§ Making a sentence→We will have a blast tonight at the party! It will be incredible! Themes, Motifs, and Symbols
Themes
TRADITION VERSUS CHANGE
Through the mysterious figure of Emily Grierson, Faulkner conveys the struggle that comes from trying to maintain tradition in the face of widespread, radical change. Jefferson is at a crossroads, embracing a modern, more commercial future while still perched on the edge of the past, from the faded glory of the Grierson home to the town cemetery where anonymous Civil War soldiers have been laid to rest. Emily herself is a tradition, steadfastly staying the same over the years despite many changes in her community. She is in many ways a mixed blessing. As a living monument to the past, she represents the traditions that people wish to respect and honor; however, she is also a burden and entirely cut off from the outside world, nursing eccentricities that others cannot understand.
Emily lives in a timeless vacuum and world of her own making. Refusing to have metallic numbers affixed to the side of her house when the town receives modern mail service, she is out of touch with the reality that constantly threatens to break through her carefully sealed perimeters. Garages and cotton gins have replaced the grand antebellum homes. The aldermen try to break with the unofficial agreement about taxes once forged between Colonel Sartoris and Emily. This new and younger generation of leaders brings in Homer’s company to pave the sidewalks. Although Jefferson still highly regards traditional notions of honor and reputation, the narrator is critical of the old men in their Confederate uniforms who gather for Emily’s funeral. For them as for her, time is relative. The past is not a faint glimmer but an ever-present, idealized realm. Emily’s macabre bridal chamber is an extreme attempt to stop time and prevent change, although doing so comes at the expense of human life.
※affix:
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| metallic number |
Death hangs over “A Rose for Emily,” from the narrator’s mention of Emily’s death at the beginning of the story through the description of Emily’s death-haunted life to the foundering of tradition in the face of modern changes. In every case, death prevails over every attempt to master it. Emily, a fixture in the community, gives in to death slowly. The narrator compares her to a drowned woman, a bloated and pale figure left too long in the water. In the same description, he refers to her small, spare skeleton—she is practically dead on her feet. Emily stands as an emblem of the Old South, a grand lady whose respectability and charm rapidly decline through the years, much like the outdated sensibilities the Griersons represent. The death of the old social order will prevail, despite many townspeople’s attempts to stay true to the old ways.
Emily attempts to exert power over death by denying the fact of death itself. Her bizarre relationship to the dead bodies of the men she has loved—her necrophilia—is revealed first when her father dies. Unable to admit that he has died, Emily clings to the controlling paternal figure whose denial and control became the only—yet extreme—form of love she knew. She gives up his body only reluctantly. When Homer dies, Emily refuses to acknowledge it once again—although this time, she herself was responsible for bringing about the death. In killing Homer, she was able to keep him near her. However, Homer’s lifelessness rendered him permanently distant. Emily and Homer’s grotesque marriage reveals Emily’s disturbing attempt to fuse life and death. However, death ultimately triumphs.
Motifs
※motifs:
a usually recurring salient thematic element(as in the arts)especially : a dominant idea or central theme
※salient: moving by leaps or springs : jumping
※distort: to twist out of the true meaning or proportion
※gaze:a fixed intense look
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| An intense gaze ---------- |
Emily is the subject of the intense, controlling gaze of the narrator and residents of Jefferson. In lieu of an actual connection to Emily, the townspeople create subjective and often distorted interpretations of the woman they know little about. They attend her funeral under the guise of respect and honor, but they really want to satisfy their lurid curiosity about the town’s most notable eccentric. One of the ironic dimensions of the story is that for all the gossip and theorizing, no one guesses the perverse extent of Emily’s true nature.
For most of the story, Emily is seen only from a distance, by people who watch her through the windows or who glimpse her in her doorway. The narrator refers to her as an object—an “idol.” This pattern changes briefly during her courtship with Homer Barron, when she leaves her house and is frequently out in the world. However, others spy on her just as avidly, and she is still relegated to the role of object, a distant figure who takes on character according to the whims of those who watch her. In this sense, the act of watching is powerful because it replaces an actual human presence with a made-up narrative that changes depending on who is doing the watching. No one knows the Emily that exists beyond what they can see, and her true self is visible to them only after she dies and her secrets are revealed.
A pall of dust hangs over the story, underscoring the decay and decline that figure so prominently. The dust throughout Emily’s house is a fitting accompaniment to the faded lives within. When the aldermen arrive to try and secure Emily’s annual tax payment, the house smells of “dust and disuse.” As they seat themselves, the movement stirs dust all around them, and it slowly rises, roiling about their thighs and catching the slim beam of sunlight entering the room. The house is a place of stasis, where regrets and memories have remained undisturbed. In a way, the dust is a protective presence; the aldermen cannot penetrate Emily’s murky relationship with reality. The layers of dust also suggest the cloud of obscurity that hides Emily’s true nature and the secrets her house contains. In the final scene, the dust is an oppressive presence that seems to emanate from Homer’s dead body. The dust, which is everywhere, seems even more horrible here.
Symbols
EMILY’S HOUSE
Emily’s house, like Emily herself, is a monument, the only remaining emblem of a dying world of Southern aristocracy. The outside of the large, square frame house is lavishly decorated. The cupolas, spires, and scrolled balconies are the hallmarks of a decadent style of architecture that became popular in the 1870s. By the time the story takes place, much has changed. The street and neighborhood, at one time affluent, pristine, and privileged, have lost their standing as the realm of the elite. The house is in some ways an extension of Emily: it bares its “stubborn and coquettish decay” to the town’s residents. It is a testament to the endurance and preservation of tradition but now seems out of place among the cotton wagons, gasoline pumps, and other industrial trappings that surround it—just as the South’s old values are out of place in a changing society.
※decadent:marked by decay or decline
Making a sentence→an increasingly decadent society
※affluent: having an abundance of goods or riches
【Synonym】opulent, rich , wealthy, well-endowed
※spire:(From Wiki)A spire is a tapering conical or pyramidal structure on the top of a building, often a skyscraper or a church tower. Etymologically, the word is derived from the Old English word spir, meaning a sprout, shoot, or stalk of grass.
※taper("tapering"is its adjective)to become gradually narrower at one end, or to make something do this
※cupola: a dome (= round roof) on top of a building
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| Aluminum Cupola refurbished copper top historic renovation |
※sprout:to send out new growth
←→stout: (especially of older people) fat and solid-looking, especially around the waist
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| Frostcrag Spire |
※strong(Describe a person's nice body figure) : wiry ,powerful, athletic, strapping, sturdy,
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| athletic body figure |
THE STRAND OF HAIR
The strand of hair is a reminder of love lost and the often perverse things people do in their pursuit of happiness. The strand of hair also reveals the inner life of a woman who, despite her eccentricities, was committed to living life on her own terms and not submitting her behavior, no matter how shocking, to the approval of others. Emily subscribes to her own moral code and occupies a world of her own invention, where even murder is permissible. The narrator foreshadows the discovery of the long strand of hair on the pillow when he describes the physical transformation that Emily undergoes as she ages. Her hair grows more and more grizzled until it becomes a “vigorous iron-gray.” The strand of hair ultimately stands as the last vestige of a life left to languish and decay, much like the body of Emily’s former lover.
※Tiffany blue:
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| Tiffany blue |
TIFFANY BLUE BOX
The world has been enthralled with the distinctive Tiffany Blue Box since the very beginning. It was Charles Lewis Tiffany who mandated that the coveted boxes could only be acquired with a Tiffany purchase. As reported by the New York Sun in 1906, "Tiffany has one thing in stock that you cannot buy of him for as much money as you may offer, he will only give it to you. And that is one of his boxes."
Glimpsed on a busy street or resting in the palm of a hand, Tiffany Blue Boxes make hearts beat faster, and epitomize Tiffany’s great heritage of elegance, exclusivity and flawless craftsmanship.
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| Charles Lewis Tiffany |
Tiffany Blue story
from Wiki
Tiffany Blue is the colloquial name for the light medium robin egg blue color associated with Tiffany & Co., the New York City jewelry company. The color was used on the cover of Tiffany's Blue Book, first published in 1845.Since then Tiffany & Co. has used the color extensively on promotional materials, including boxes and bags.
※colloquial
※robin :
a : a small chiefly European thrush resembling a warbler and having a brownish-olive back and orangish face and breast
b : any of various Old World songbirds that are related to or resemble the European robin
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| Take a look of Robin Bird |
※robin egg blue:The color robin egg blue is displayed at right. It is a web-safe color and an official Crayola color. In the early 1990s, the crayon was originally included unlabeled in Crayola boxes, and purchasers were asked to submit ideas for the color's name. Among the contest winners, this color was named by Christopher Straub (Age: 8).
※web-safe:
※official Crayola color
Robin egg blue, also called eggshell blue, approximates the shade of the eggs laid by the American robin.
The first recorded use of robin egg blue as a color name in English was in 1873.
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| Robin Egg |
※chiefly:most importantly
【Synonym】altogether, principally, basically, by and large, mainly, mostly, predominantly,
＃dominant v.s predominant：
※warbler :
※orangish: somewhat orange
The Tiffany Blue color is protected as a color trademark by Tiffany & Co. in some jurisdictions including the U.S.
Life and career
Born in Killingly, Connecticut on February 15, 1812, Tiffany was educated in a district school and in an academy in Plainfield, Connecticut. Starting at the age of 15, he helped manage a small general store started by his father, the owner of a cotton-manufacturing company. Charles Tiffany later worked at the office of his father's mill. The Tiffany family descended from the immigrant Humphrey Tiffany (England, UK, 1630-Swansea, MA, 1685),who had lived in the Massachusetts Bay Colony in 1660.
In 1837, with $1,000 borrowed from his father, Tiffany and a school friend, John B. Young, set up a small stationery and gift shop in New York City. Their first three days in business brought them only $4.38 in total sales, but two years later they were still in business, selling glassware, porcelain, cutlery, clocks and jewelry.
The store expanded in 1841 and changed its name to Tiffany, Young and Ellis. It established a reputation for selling only the finest goods and specialized in Bohemian glass and porcelain. It also began manufacturing its own jewelry. In the early 1850s, the company was reorganized under the name Tiffany and Company and opened branches in Paris (1850) and London (1868). The store also relocated uptown to a Fifth Avenue location in that decade.
Tiffany was terribly embarrassed in an 1872 diamond and gemstone hoax perpetrated by Philip Arnold that cost investors more than half a million dollars.
One of the great achievements in his life was when he teamed up with Thomas Edison and together they created foot lights and other ways of electrically lighting theaters. As a result of this, Broadway and other shows became more popular during that time.
The firm acquired and sold some of the French crown jewels in 1887, firmly establishing its reputation.[4]
At his death in Yonkers, New York on February 18, 1902 at the age of 90, Charles Tiffany's company was capitalized at more than $2 million and acknowledged as the most prominent jewelry company in North America.
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| Tiffany blue and silver wedding cake idea | Most Inspiring post by Bridestory.com |
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| Audrey Hepburn's Portrait "Tiffany Blue" by Michael Moebius exclusively at Mouche Gallery. |
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What is color Tiffany Blue？
The color is produced as a private custom color by Pantone, with PMS number 1837, the number deriving from the year of Tiffany's foundation. As a trademarked color, it is not publicly available and is not printed in the Pantone Matching System swatch books.
authentic v.s aesthetic
authentic:
aesthetic:
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The Yellow Wallpaper
The Yellow Wallpaper (original title: "The Yellow Wall-paper. A Story") is a 6,000-word short story by the American writer Charlotte Perkins Gilman, first published in January 1892 in The New England Magazine.It is regarded as an important early work of American feminist literature, illustrating attitudes in the 19th century toward women's health, both physical and mental.
Presented in the first person, the story is a collection of journal entries written by a woman whose physician husband (John) has rented an old mansion for the summer. Forgoing other rooms in the house, the couple moves into the upstairs nursery. As a form of treatment, the unnamed woman is forbidden from working, and is encouraged to eat well and get plenty of exercise and air, so she can recuperate from what he calls a "temporary nervous depression – a slight hysterical tendency", a diagnosis common to women in that period.She hides her journal from her husband and his sister the housekeeper, fearful of being reproached for overworking herself. The room's windows are barred to prevent children from climbing through them, and there is a gate across the top of the stairs, though she and her husband have access to the rest of the house and its adjoining estate.
The story depicts the effect of understimulation on the narrator's mental health and her descent into psychosis. With nothing to stimulate her, she becomes obsessed by the pattern and color of the wallpaper. "It is the strangest yellow, that wall-paper! It makes me think of all the yellow things I ever saw – not beautiful ones like buttercups, but old foul, bad yellow things. But there is something else about that paper – the smell! ... The only thing I can think of that it is like is the color of the paper! A yellow smell."
In the end, she imagines there are women creeping around behind the patterns of the wallpaper and comes to believe she is one of them. She locks herself in the room, now the only place she feels safe, refusing to leave when the summer rental is up. "For outside you have to creep on the ground, and everything is green instead of yellow. But here I can creep smoothly on the floor, and my shoulder just fits in that long smooch around the wall, so I cannot lose my way."
※recuperate: to become healthy and strong again after illness or weakness
＃Making a sentence→Half the office was out today, many employees being sick or recuperating from the flu
【Synonym】come back,gain , heal, recoup , recover, snap back
※buttercup: Ranunculus is a genus of about 600 species of plants in the Ranunculaceae. Members of the genus include the buttercups, spearworts, and water crowfoots. The petals are often highly lustrous, especially in yellow species. Buttercups usually flower in the spring, but flowers may be found throughout the summer, especially where the plants are growing as opportunistic colonizers, as in the case of garden weeds.
※lustrous: giving off or reflecting much light
※smooch:smudge, smear
Plot Synopsis
The story details the descent of a young woman into madness. Her supportive, though misunderstanding husband, John, believes it is in her best interests to go on a rest cure after the birth of their child. The family spends the summer at a colonial mansion that has, in the narrator's words, "something queer about it". She and her husband move into an upstairs room that she assumes was once a nursery, having it serve as their bedroom due to its multitude of windows, which provide the air so needed in her recovery. In addition to the couple, John's sister Jennie is present; she serves as their housekeeper. Like most nurseries at the time the windows are barred, the wallpaper has been torn, and the floor is scratched. The narrator attributes all these to children, as most of the damage is isolated to their reach. Ultimately, though, the reader is left unsure as to the source of the room's damage.
The narrator devotes many journal entries to describing the wallpaper in the room – its "yellow" smell, its "breakneck" pattern, the missing patches, and the way it leaves yellow smears on the skin and clothing of anyone who touches it. She describes how the longer one stays in the bedroom, the more the wallpaper appears to mutate, especially in the moonlight. With no stimulus other than the wallpaper, the pattern and designs become increasingly intriguing to the narrator. She soon begins to see a figure in the design, and eventually comes to believe that a woman is creeping on all fours behind the pattern. Believing she must try to free the woman in the wallpaper, the woman begins to strip the remaining paper off the wall.
On the last day of summer, she locks herself in her room to strip the remains of the wallpaper. When John arrives home, she refuses to unlock the door. When he returns with the key, he finds her creeping around the room, circling the walls and touching the wallpaper. She exclaims, "I've got out at last,...in spite of you and Jane", and her husband faints as she continues to circle the room, stepping over his inert body each time she passes.
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Quote: Life is but a walking shadow
From Macbeth Act 5 , Scene 5
Life's but a walking shadow, a poor player,
That struts and frets his hour upon the stage,
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.
Interpretation
Macbeth utters these words shortly after he is told that his wife, Lady Macbeth, has died. He is speaking of her life (the life of all humans, really) being fleeting and short. Our life is but a walking shadow (nothing we really see in substance until perhaps it is too late) a poor player (we are all bad actors...myself and my wife especially) that struts and frets his hour upon the stage and then is heard no more (we act upon the stage of life strutting and fretting and then we are gone--none of us are all that important and we are quickly and easily forgotten). It is a tale told by an idiot (the story is told by a fool...myself included...since I was led around by my wife and encouraged by the witches) full of sound and fury (while it's being told it sounds good--full of passion, full of excitement--but once the words are uttered there isn't much to it) signifying nothing (there are many words but in the end, nothing important has been said. It is all for nothing and changes nothing).
Macbeth (/məkˈbɛθ/; full title The Tragedy of Macbeth) is a tragedy by William Shakespeare; it is thought to have been first performed in 1606.[1] It dramatises the damaging physical and psychological effects of political ambition on those who seek power for its own sake. Of all the plays that Shakespeare wrote during the reign of James I, who was patron of Shakespeare's acting company, Macbeth most clearly reflects the playwright's relationship with his sovereign.It was first published in the Folio of 1623, possibly from a prompt book, and is his shortest tragedy.
A brave Scottish general named Macbeth receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders King Duncan and takes the Scottish throne for himself. He is then wracked with guilt and paranoia. Forced to commit more and more murders to protect himself from enmity and suspicion, he soon becomes a tyrannical ruler. The bloodbath and consequent civil war swiftly take Macbeth and Lady Macbeth into the realms of madness and death.
Shakespeare's source for the story is the account of Macbeth, King of Scotland; Macduff; and Duncan in Holinshed's Chronicles (1587), a history of England, Scotland, and Ireland familiar to Shakespeare and his contemporaries, although the events in the play differ extensively from the history of the real Macbeth. The events of the tragedy are usually associated with the execution of Henry Garnet for complicity in the Gunpowder Plot of 1605.
In the backstage world of theatre, some believe that the play is cursed, and will not mention its title aloud, referring to it instead as "The Scottish Play". Over the course of many centuries, the play has attracted some of the most renowned actors to the roles of Macbeth and Lady Macbeth. It has been adapted to film, television, opera, novels, comics, and other media.
Themes and motifs
Macbeth is an anomaly among Shakespeare's tragedies in certain critical ways. It is short: more than a thousand lines shorter than Othello and King Lear, and only slightly more than half as long as Hamlet. This brevity has suggested to many critics that the received version is based on a heavily cut source, perhaps a prompt-book for a particular performance. That brevity has also been connected to other unusual features: the fast pace of the first act, which has seemed to be "stripped for action"; the comparative flatness of the characters other than Macbeth; and the oddness of Macbeth himself compared with other Shakespearean tragic heroes.
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Parting is such a sweet sorrow
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Anna Karenina
Anna Karenina (Russian: «Анна Каренина»; Russian pronunciation: [ˈanːə kɐˈrʲenʲɪnə]) is a novel by the Russian writer Leo Tolstoy, published in serial installments from 1873 to 1877 in the periodical The Russian Messenger. Tolstoy clashed with editor Mikhail Katkov over political issues that arose in the final installment (Tolstoy's negative views of Russian volunteers going to fight in Serbia); therefore, the novel's first complete appearance was in book form in 1878.
※clash (with): (for the color of something) to conflict with or mismatch with another color
Widely regarded as a pinnacle in realist fiction, Tolstoy considered Anna Karenina his first true novel, after he came to consider War and Peace to be more than a novel. Fyodor Dostoyevsky declared it "flawless as a work of art." His opinion was shared by Vladimir Nabokov, who especially admired "the flawless magic of Tolstoy's style," and by William Faulkner, who described the novel as "the best ever written."The novel remains popular, as demonstrated by a 2007 Time poll of 125 contemporary authors in which Anna Karenina was voted the "greatest book ever written."
Plot Introduction
Anna Karenina is the tragic story of a married aristocrat/socialite and her affair with the affluent Count Vronsky. The story starts when she arrives in the midst of a family broken up by her brother's unbridled womanizing—something that prefigures her own later situation, though she would experience less tolerance by others.
A bachelor, Vronsky is eager to marry her if she will agree to leave her husband Karenin, a senior government official, but she is vulnerable to the pressures of Russian social norms, the moral laws of the Russian Orthodox Church, her own insecurities, and Karenin's indecision. Although Vronsky and Anna go to Italy, where they can be together, they have trouble making friends. Back in Russia, she is shunned, becoming further isolated and anxious, while Vronsky pursues his social life. Despite Vronsky's reassurances, she grows increasingly possessive and paranoid about his imagined infidelity, fearing loss of control.
A parallel story within the novel is that of Konstantin Levin, a wealthy country landowner who wants to marry Princess Kitty, sister to Dolly and sister-in-law to Anna's brother Oblonsky. Konstantin has to propose twice before Kitty accepts. The novel details Konstantin's difficulties managing his estate, his eventual marriage, and his personal issues, until the birth of his first child.
The novel explores a diverse range of topics throughout its approximately thousand pages. Some of these topics include an evaluation of the feudal system that existed in Russia at the time—politics, not only in the Russian government but also at the level of the individual characters and families, religion, morality, gender and social class.
※All happy families are alike.each unhappy family is unhappy in its own
Major themes
Anna Karenina is commonly thought to explore the themes of hypocrisy, jealousy, faith, fidelity, family, marriage, society, progress, carnal desire and passion, and the agrarian connection to land in contrast to the lifestyles of the city.[5] Translator Rosemary Edmonds wrote that Tolstoy does not explicitly moralise in the book, but instead allows his themes to emerge naturally from the "vast panorama of Russian life." She also says one of the novel's key messages is that "no one may build their happiness on another's pain.
Levin is often considered a semi-autobiographical portrayal of Tolstoy's own beliefs, struggles, and life events.[6] Tolstoy's first name is "Lev," and the Russian surname "Levin" means "of Lev." According to footnotes in the Pevear/Volokhonsky translation, the viewpoints Levin supports throughout the novel in his arguments match Tolstoy's outspoken views on the same issues. Moreover, according to W. Gareth Jones, Levin proposed to Kitty in the same way as Tolstoy to Sophia Behrs. Additionally, Levin's request that his fiancée read his diary as a way of disclosing his faults and previous sexual encounters parallels Tolstoy's own requests to his fiancée, Sophia Behrs.
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The difference between
paragraph,summary & synopsis
A synopsis tells the story in far fewer words than original, trying to include all the major points. It is written as prose and in the present tense. It's commonly used for fiction by publishers and in screenwriting as a tool to sell an idea.
A summary kind of does the same thing but concentrates more on overarching themes and the conclusions reached by the piece. It is more likely to be used for non-fiction and can employ dot points. It is generally a scholarly term, where synopsis is more commonly used for commercial purposes.
Explain:
§ A summary is a condensed version of a work
Little Red Riding Hood's mother asked her to take some supplies to her grandmother's house, and instructed her not to talk to any strangers along the way. In the forest she met a big bad wolf, and told him where she was headed. The big bad wolf raced to the grandmother's house, locked her up in the attic, put on her clothes and laid on her bed. When Little Red Riding Hood arrived, she started talking to the wolf, thinking it was her grandmother. When the wolf pounced at her, she screamed, and the woodcutters in the forest came to her rescue. The big bad wolf ran away, never to be seen again, and Little Red Riding Hood learned her lesson never to talk to strangers again.
§ A synopsis is a brief description of the work, written in present tense. The synopsis may contain some summarized portions of the work as part of the description. It is designed to entice the reader, or listener, to read, or listen to, the complete work
Little Red Riding Hood is the story of a little girl who lives with her mother in a forest, and is asked to bring some supplies to her grandmother, who lives on the other side of the forest. Against her mother's advice not to talk to strangers, she engages in a conversation with a big bad wolf she meets along the way, and tells him where she is headed. The big bad wolf races to the grandmother's house, takes her place, and tries to eat the girl when she arrives. Some woodcutters working in the forest hear her scream, and run to the house to rescue her and her grandmother. The wolf escapes, never to be seen again, and Little Red Riding Hood learns a valuable lesson: Never talk to strangers!
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The Yellow Wallpaper
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The Yellow Wallpaper (original title: "The Yellow Wall-paper. A Story") is a 6,000-word short story by the American writer Charlotte Perkins Gilman, first published in January 1892 in The New England Magazine.It is regarded as an important early work of American feminist literature, illustrating attitudes in the 19th century toward women's health, both physical and mental.
Presented in the first person, the story is a collection of journal entries written by a woman whose physician husband (John) has rented an old mansion for the summer. Forgoing other rooms in the house, the couple moves into the upstairs nursery. As a form of treatment, the unnamed woman is forbidden from working, and is encouraged to eat well and get plenty of exercise and air, so she can recuperate from what he calls a "temporary nervous depression – a slight hysterical tendency", a diagnosis common to women in that period.She hides her journal from her husband and his sister the housekeeper, fearful of being reproached for overworking herself. The room's windows are barred to prevent children from climbing through them, and there is a gate across the top of the stairs, though she and her husband have access to the rest of the house and its adjoining estate.
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In the end, she imagines there are women creeping around behind the patterns of the wallpaper and comes to believe she is one of them. She locks herself in the room, now the only place she feels safe, refusing to leave when the summer rental is up. "For outside you have to creep on the ground, and everything is green instead of yellow. But here I can creep smoothly on the floor, and my shoulder just fits in that long smooch around the wall, so I cannot lose my way."
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＃Making a sentence→Half the office was out today, many employees being sick or recuperating from the flu
【Synonym】come back,gain , heal, recoup , recover, snap back
※buttercup: Ranunculus is a genus of about 600 species of plants in the Ranunculaceae. Members of the genus include the buttercups, spearworts, and water crowfoots. The petals are often highly lustrous, especially in yellow species. Buttercups usually flower in the spring, but flowers may be found throughout the summer, especially where the plants are growing as opportunistic colonizers, as in the case of garden weeds.
※lustrous: giving off or reflecting much light
 |
| Buttercup |
Plot Synopsis
The story details the descent of a young woman into madness. Her supportive, though misunderstanding husband, John, believes it is in her best interests to go on a rest cure after the birth of their child. The family spends the summer at a colonial mansion that has, in the narrator's words, "something queer about it". She and her husband move into an upstairs room that she assumes was once a nursery, having it serve as their bedroom due to its multitude of windows, which provide the air so needed in her recovery. In addition to the couple, John's sister Jennie is present; she serves as their housekeeper. Like most nurseries at the time the windows are barred, the wallpaper has been torn, and the floor is scratched. The narrator attributes all these to children, as most of the damage is isolated to their reach. Ultimately, though, the reader is left unsure as to the source of the room's damage.
 |
| Nursery |
On the last day of summer, she locks herself in her room to strip the remains of the wallpaper. When John arrives home, she refuses to unlock the door. When he returns with the key, he finds her creeping around the room, circling the walls and touching the wallpaper. She exclaims, "I've got out at last,...in spite of you and Jane", and her husband faints as she continues to circle the room, stepping over his inert body each time she passes.
------------------------------------------------------------------
Quote: Life is but a walking shadow
From Macbeth Act 5 , Scene 5
Life's but a walking shadow, a poor player,
That struts and frets his hour upon the stage,
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.
Interpretation
Macbeth utters these words shortly after he is told that his wife, Lady Macbeth, has died. He is speaking of her life (the life of all humans, really) being fleeting and short. Our life is but a walking shadow (nothing we really see in substance until perhaps it is too late) a poor player (we are all bad actors...myself and my wife especially) that struts and frets his hour upon the stage and then is heard no more (we act upon the stage of life strutting and fretting and then we are gone--none of us are all that important and we are quickly and easily forgotten). It is a tale told by an idiot (the story is told by a fool...myself included...since I was led around by my wife and encouraged by the witches) full of sound and fury (while it's being told it sounds good--full of passion, full of excitement--but once the words are uttered there isn't much to it) signifying nothing (there are many words but in the end, nothing important has been said. It is all for nothing and changes nothing).
 |
| Macbeth |
A brave Scottish general named Macbeth receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders King Duncan and takes the Scottish throne for himself. He is then wracked with guilt and paranoia. Forced to commit more and more murders to protect himself from enmity and suspicion, he soon becomes a tyrannical ruler. The bloodbath and consequent civil war swiftly take Macbeth and Lady Macbeth into the realms of madness and death.
Shakespeare's source for the story is the account of Macbeth, King of Scotland; Macduff; and Duncan in Holinshed's Chronicles (1587), a history of England, Scotland, and Ireland familiar to Shakespeare and his contemporaries, although the events in the play differ extensively from the history of the real Macbeth. The events of the tragedy are usually associated with the execution of Henry Garnet for complicity in the Gunpowder Plot of 1605.
In the backstage world of theatre, some believe that the play is cursed, and will not mention its title aloud, referring to it instead as "The Scottish Play". Over the course of many centuries, the play has attracted some of the most renowned actors to the roles of Macbeth and Lady Macbeth. It has been adapted to film, television, opera, novels, comics, and other media.
Themes and motifs
Macbeth is an anomaly among Shakespeare's tragedies in certain critical ways. It is short: more than a thousand lines shorter than Othello and King Lear, and only slightly more than half as long as Hamlet. This brevity has suggested to many critics that the received version is based on a heavily cut source, perhaps a prompt-book for a particular performance. That brevity has also been connected to other unusual features: the fast pace of the first act, which has seemed to be "stripped for action"; the comparative flatness of the characters other than Macbeth; and the oddness of Macbeth himself compared with other Shakespearean tragic heroes.
------------------------------------------------------------------------------
Parting is such a sweet sorrow
---------------------------------------------------------------------------------
Anna Karenina
Anna Karenina (Russian: «Анна Каренина»; Russian pronunciation: [ˈanːə kɐˈrʲenʲɪnə]) is a novel by the Russian writer Leo Tolstoy, published in serial installments from 1873 to 1877 in the periodical The Russian Messenger. Tolstoy clashed with editor Mikhail Katkov over political issues that arose in the final installment (Tolstoy's negative views of Russian volunteers going to fight in Serbia); therefore, the novel's first complete appearance was in book form in 1878.
※clash (with): (for the color of something) to conflict with or mismatch with another color
Widely regarded as a pinnacle in realist fiction, Tolstoy considered Anna Karenina his first true novel, after he came to consider War and Peace to be more than a novel. Fyodor Dostoyevsky declared it "flawless as a work of art." His opinion was shared by Vladimir Nabokov, who especially admired "the flawless magic of Tolstoy's style," and by William Faulkner, who described the novel as "the best ever written."The novel remains popular, as demonstrated by a 2007 Time poll of 125 contemporary authors in which Anna Karenina was voted the "greatest book ever written."
Plot Introduction
Anna Karenina is the tragic story of a married aristocrat/socialite and her affair with the affluent Count Vronsky. The story starts when she arrives in the midst of a family broken up by her brother's unbridled womanizing—something that prefigures her own later situation, though she would experience less tolerance by others.
A bachelor, Vronsky is eager to marry her if she will agree to leave her husband Karenin, a senior government official, but she is vulnerable to the pressures of Russian social norms, the moral laws of the Russian Orthodox Church, her own insecurities, and Karenin's indecision. Although Vronsky and Anna go to Italy, where they can be together, they have trouble making friends. Back in Russia, she is shunned, becoming further isolated and anxious, while Vronsky pursues his social life. Despite Vronsky's reassurances, she grows increasingly possessive and paranoid about his imagined infidelity, fearing loss of control.
A parallel story within the novel is that of Konstantin Levin, a wealthy country landowner who wants to marry Princess Kitty, sister to Dolly and sister-in-law to Anna's brother Oblonsky. Konstantin has to propose twice before Kitty accepts. The novel details Konstantin's difficulties managing his estate, his eventual marriage, and his personal issues, until the birth of his first child.
The novel explores a diverse range of topics throughout its approximately thousand pages. Some of these topics include an evaluation of the feudal system that existed in Russia at the time—politics, not only in the Russian government but also at the level of the individual characters and families, religion, morality, gender and social class.
※All happy families are alike.each unhappy family is unhappy in its own
Major themes
Anna Karenina is commonly thought to explore the themes of hypocrisy, jealousy, faith, fidelity, family, marriage, society, progress, carnal desire and passion, and the agrarian connection to land in contrast to the lifestyles of the city.[5] Translator Rosemary Edmonds wrote that Tolstoy does not explicitly moralise in the book, but instead allows his themes to emerge naturally from the "vast panorama of Russian life." She also says one of the novel's key messages is that "no one may build their happiness on another's pain.
Levin is often considered a semi-autobiographical portrayal of Tolstoy's own beliefs, struggles, and life events.[6] Tolstoy's first name is "Lev," and the Russian surname "Levin" means "of Lev." According to footnotes in the Pevear/Volokhonsky translation, the viewpoints Levin supports throughout the novel in his arguments match Tolstoy's outspoken views on the same issues. Moreover, according to W. Gareth Jones, Levin proposed to Kitty in the same way as Tolstoy to Sophia Behrs. Additionally, Levin's request that his fiancée read his diary as a way of disclosing his faults and previous sexual encounters parallels Tolstoy's own requests to his fiancée, Sophia Behrs.
----------------------------------------------------------------------------
The difference between
paragraph,summary & synopsis
A synopsis tells the story in far fewer words than original, trying to include all the major points. It is written as prose and in the present tense. It's commonly used for fiction by publishers and in screenwriting as a tool to sell an idea.
A summary kind of does the same thing but concentrates more on overarching themes and the conclusions reached by the piece. It is more likely to be used for non-fiction and can employ dot points. It is generally a scholarly term, where synopsis is more commonly used for commercial purposes.
Explain:
§ A summary is a condensed version of a work
Little Red Riding Hood's mother asked her to take some supplies to her grandmother's house, and instructed her not to talk to any strangers along the way. In the forest she met a big bad wolf, and told him where she was headed. The big bad wolf raced to the grandmother's house, locked her up in the attic, put on her clothes and laid on her bed. When Little Red Riding Hood arrived, she started talking to the wolf, thinking it was her grandmother. When the wolf pounced at her, she screamed, and the woodcutters in the forest came to her rescue. The big bad wolf ran away, never to be seen again, and Little Red Riding Hood learned her lesson never to talk to strangers again.
§ A synopsis is a brief description of the work, written in present tense. The synopsis may contain some summarized portions of the work as part of the description. It is designed to entice the reader, or listener, to read, or listen to, the complete work
Little Red Riding Hood is the story of a little girl who lives with her mother in a forest, and is asked to bring some supplies to her grandmother, who lives on the other side of the forest. Against her mother's advice not to talk to strangers, she engages in a conversation with a big bad wolf she meets along the way, and tells him where she is headed. The big bad wolf races to the grandmother's house, takes her place, and tries to eat the girl when she arrives. Some woodcutters working in the forest hear her scream, and run to the house to rescue her and her grandmother. The wolf escapes, never to be seen again, and Little Red Riding Hood learns a valuable lesson: Never talk to strangers!
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