A Doll House and Age of Innocence

There are many similarities between Henrik Ibsen’s A Doll House and Edith Wharton’s Age of Innocence. One of these similarities is the gender which holds the power in the relationships. In that society and time period men were generally known to hold more power, but in both works the authors depict women who subversively hold control. Both Nora and Ellen manipulated the men in their lives who unknowingly thought they were deciding their own fates.

In Wharton’s Age of Innocence May had “clear” eyes throughout the whole novel. While Archer always thought she was a young girl who needed to be enlightened and read to, she always understood and this led her to control her relationship without Archer knowing. The affair between Ellen and Archer was never a surprise to her and she manipulated the situation to fit her mold for a picture-perfect family. Ellen went away and May was left with a faithful husband and guiding father for her children. Her eyes “shone with victory” when she told Archer the news that she was pregnant because she knew that this would be the anchor to keep him from pursuing Ellen, which is what she always wanted. If she had approached her husband from the beginning, then he might have resented her, but instead she waited for an opportunity to arise that would make it seem like it was Archer’s decision to stay- even if he did not really have a choice.

Similarly, in Ibsen’s A Doll House, Nora manipulates Torvald into doing her will while he unknowingly plays along. She holds the control, and even his life, in her hands, yet she leads Torvald to believe that she is a helpless “little bird”. This playful façade led them both to be satisfied with their marriage, both Nora and Torvald thinking they were in control; however, as soon as Torvald proved to Nora that she was not in control and that he would not support her, she realized that the marriage was not what she thought it was. She lost the power struggle and this led her to realize that she needed to escape that “doll house” and regain control of her own life.

Both these works demonstrate women who control the men in their lives by means of manipulation and smug secrecy, yet the endings are very different. In A Doll House Nora leaves her husband and family in order to find herself and live a genuine life, while in Age of Innocence May and Archer live out the rest of their lives in this socially acceptable “doll house”. While Ibsen’s play finishes with a hopeful tone, Wharton ends the novel with a disappointing conclusion as Archer never finds true fulfillment in his life. The different endings depict the two options that the characters in the works had- they could either ignore reality, continuing to live seeking society’s acceptance, as May and Archer did, or they could rebel and search for true fulfillment in their lives like Nora.

Wine Pressing

But in the Wine-presses the Human Grapes Sing not nor Dance

William Blake

But in the Wine-presses the human grapes sing not nor dance:
They howl and writhe in shoals of torment, in fierce flames consuming,
In chains of iron and in dungeons circled with ceaseless fires,
In pits and dens and shades of death, in shapes of torment and woe:
The plates and screws and racks and saws and cords and fires and cisterns
The cruel joys of Luvah's Daughters, lacerating with knives
And whips their victims, and the deadly sport of Luvah's Sons.

They dance around the dying and they drink the howl and groan,
They catch the shrieks in cups of gold, they hand them to one another:
These are the sports of love, and these the sweet delights of amorous play,
Tears of the grape, the death sweat of the cluster, the last sigh
Of the mild youth who listens to the luring songs of Luvah.----

 

William Blake is known to write poems and create artwork contrasting innocence and experience using many biblical allusions and symbolism. In his poem “But in the Wine-presses the Human Grapes Sing not nor Dance” Blake juxtaposes love and torture to show the torment of experience.

His first line sets up the poem in a wine press, where grapes are squeezed in order to make wine. In order for the grapes to turn into the fine drink, they must first be pressed and aged, transforming from one state to another. This is symbolic of the transition from innocence to experience, and Blake illustrates this process by personifying the grapes which “howl and writhe in shoals of torment”. The transition could be described as painful because the effect of eating this “fruit of knowledge” (in this case a grape), is losing the ignorance and bliss associated with innocence. The grapes “no longer sing nor dance” because they have been weighed down by age and experience. Blake continues describing the almost torturous process by repeatedly using fire imagery. This could be an allusion to the fires of Hell, in which the grapes are being scorched. The allusion to Hell with “fierce flames consuming” and “chains…circled with ceaseless fires” describes experience as a sinful experience, contrary to the pure and innocence found in heaven.  Blake goes on to describe Luvah’s sadistic daughters and sons. He juxtaposes “cruel joys” and “deadly sport” when speaking of lacerating and whipping victims. Luvah, which Blake created, is symbolic of love and the fact that his offspring enjoy torture depicts an ironic scene demonstrating both the good and bad aspects of experience. These “sweet delights of amorous play” show that experience can be painful yet beneficial. Love is often seen with positive connotation, and when posed with violence it captures the dual emotions associated with the fruit of knowledge.  William Blake uses these descriptions to demonstrate his view that neither innocence nor experience is superior to the other. Both have their advantages and their drawbacks and he compares them in his poem about enlightened yet pained grapes as they transition to wine.

Blake uses the process of wine pressing to demonstrate the acquisition of knowledge in his poem. Luvah represents love and tortures his victims in the “sports of love”. The juxtaposition and violent imagery presented in the poem demonstrate the downsides of experience. Compared to innocence, it reveals knowledge and takes away the ignorance, but it is also reality- which can be devastating. William Blake finishes his poem describing “the last sigh of the mild youth who listens to the luring songs of Luvah”. This reveals that experience is tempting, yet the loss of innocence is something to be sighed over, a distressing experience.

Age of Innocence or Old New York?

A question from our lit circle on Monday has stuck with me: “Should the novel be named Age of Innocence or Old New York?”  This got me thinking about what each title would imply about the novel and while the Age of Innocence title captures overall William Blake-like theme of innocence versus experience, Old New York emphasizes the role of society within the novel. While reading the novel through the gender lens, one could argue that the given title is appropriate because of the contrast between experienced men and naïve pretty women. The Marxist lens, however, which focuses on the power struggle between classes, fits in better with the latter title.

The novel does demonstrate gender roles, such as after dinner when the women would go upstairs while the men would stay downstairs and smoke “discussing business”, but the end of the book leads me to believe that the more important theme was about the elite society. There is an emphasis on the change within the values of the society within the last chapter which notes the contrast between the past and the future. For example, in Archer’s youth importance was placed in the reputation of someone’s family, and they joked about Beaufort’s bastard children, which Newland’s son ironically marries. The old New York was more “old-fashioned”, like Archer describes himself to his son Dallas in front of Ellen’s apartment. (304). His reason for not going upstairs is because he is old fashioned, implying that there is a change within him. This implies that Newland has become someone interested in tradition, as society always urged him to be. His many years with May could have influenced this change within him, and she could have molded him into a perfectly acceptable husband. This kills the passion and drains the youth within him as he is left dull and old-aged. Archer seems to have become stagnant as he sits on the bench fantasizing about what is occurring within the apartment, too “old-fashioned” to enter. He barely travels- another interesting change within him. The young Archer had an interest in art and foreign countries, which contrasted with May, who was bored on their wedding tour and eager to get home to fulfill her wifely duty. He is content with his lifelessness as he walks away back to his hotel. The boundaries which constricted Archer before are now comforting to the prosaic old man, who is a representation of the “old New York”, which is being replaced by younger people and newer viewpoints.

Archer’s transformation within the novel shows the gradual acceptance of being a part of this elite New York society. At first he rebelled, but as time went on he fulfilled his role and even came to symbolize the old traditions which he came from. This contrasts strikingly with the youth, such as his son Dallas. For this reason, both titles are relevant to the novel but when looking at it from a societal point of view, the Old New York title is more fitting.

Blake and Grendel

William Blake, a man with little formal education who was thought mad by many, criticized the world and wrote genius ideas about society. His poems are works which display paradoxes and in "Introduction (Song of Innocence)" and "Introduction (Song of Experience)" he comments on the ignorance of the unenlightened and the despair of the enlightened. These contrasting poems still manage to work together, similar to how John Gardner uses the contrasting ideas of innocence versus experience in his novel Grendel. 

In “Song of Innocence”, Blake writes about a child telling a piper to “pipe song about a lamb” which symbolizes Jesus and purity. The piper is then instructed to drop his “happy pipe” and sing “songs of happy chear” then lastly write his songs in a “book that all may read”. These artistic forms of portraying the joyous song demonstrate the association that art and music has with innocence. This relates to Grendel in his early days of inexperience, before he was touched by the knowledge of the evil, pointless world. The Shaper’s song sounds much like the Piper’s song. The song about religion, people weeping with joy, it all sounds very familiar. However, Blake does state that a shortcoming of innocence is that it can be ignorance. This can be seen clearly within Grendel because the people were entranced by the Shaper’s words, ignorant to the truth, or lack of truth, behind his words.

The contrasting poem, “Song of Experience” would then demonstrate the Dragon’s perspective. The Bard “who Present, Past, & Future sees” sounds like the exact description of the Dragon, who is also all-knowing. The dragon’s “ears have heard The Holy Word” of the Shaper, but they have also experienced the darkened world that those who gain knowledge see. Grendel is engulfed into this world when he accepts the dragon’s perspective and is tortured by the darkened world, only seeing the experience side of life.

Blake himself never identified himself wholly with either view of innocence or experience, and he stood on the outside pointing out the fallacies in each. While the balance of both would be perfection, Grendel experienced such a tormented experience because of the imbalance he found in his life. He abandoned the Shaper’s ideals about innocence and inhaled the scent of the dragon, letting experience become his aura. This imbalance can be seen in Chapter 7, where he narrates his story in two parts, Cut A and Cut B- Cut A containing all of the content and Cut B being empty. This imbalance, Blake would likely claim, is what led to Grendel’s death. He was metaphorically torn, and eventually was physically torn, his cause of death.

In both introductory poems an idea of conflicting sides of humanity is expressed. These conflicting views are demonstrated in Gardner’s Grendel with the ideologies of the Shaper and the dragon. The lack of balance between the two states is what leads to Grendel’s end, and the fallacies of both perspectives are demonstrated in the poems and in the novel alike.

Truth

             What is this truth that we keep reading about? That every character within every book we read seems to be searching for? Does it even exist? Is the fact that a truth doesn’t exist- the truth itself? Seen prominently as a motif within Sherwood Anderson’s Winesburg, Ohio, this idea is also demonstrated in John Gardner’s novel Grendel, where the melodramatic protagonist is torn between two concepts and confused as to which one is the ultimate truth. Even in Shelley’s romantic novel Frankenstein, we pondered upon the truth behind creation. So what is it?

Each novel we read contains allusions to the Bible’s creation story. In the story a truth is presented in the Garden of Eden. This truth, this knowledge, is seen as the fruit in the tree. The twisted apples in Winesburg, or the shiny apples that Grendel threw at poor, miserable Unferth.  The search for truth can also be seen in the Greek myth concerning the contents of Pandora’s Box and in many more stories across cultures. The opening of the box, or discovery of the truth, leads to disasters of massive proportions. Adam and Eve lose their connection with God and are kicked out of the Garden of Eden, and Pandora’s Box releases miseries of all kinds. In Winesburg, each person was destroyed, turned grotesque by the truth. In Frankenstein once Victor was exposed to the truth about creation, misery found him at every turn. After Grendel finds the truth, whether he believed it to be the shaper’s words or the dragon’s, he lives miserably and ultimately dies. He falls off a cliff. Let’s not pretend he didn’t jump joyously into death. These truths, whatever they may be, do not seem to bring any positive outcomes. No one is elevated to a god-like level; in fact, they all seem to be cast down- like Satan after his attempt to overreach the boundary between angel and God. The characters, like Lucifer, are all cast into a pit of self-pity and misery and chained to their despair. They are doomed to live a wretched, unsatisfied, and isolated life.

Perhaps no one will ever quite know what the ultimate truth is, and these books are only creative, well written attempts by authors who are just trying to figure it out themselves. And maybe, just maybe, we’re best left not knowing, seeing as to how all the stories end.

 

Grendel Vs. Beowulf

Grendel meets Beowulf. The scene we’ve all been waiting for.  We’ve either dreaded or awaited it eagerly, depending on how much we enjoyed reading the novel… Personally, I feel as if I was ready for Grendel to die, and I do not think he minded it much himself, yet a little part of me did feel sad to see baby Grendel go. Beowulf, his undoing, is seen with such a heroic and arrogant light in the epic from Anglo Saxon times, yet John Gardner’s Grendel tells a completely different story.

 Meeting Beowulf is quite the scene. The amount of foreshadowing and irony presented in chapter 11 is incredible and Gardner portrays the hero, or perhaps villain, in a new “twisted” light. Let’s just take a minute and address the admiration with which Grendel looks at Beowulf and the almost infatuated state of mind he was in. He was entranced with his body… stating that he could “drop into a trance just looking at those shoulders” (Gardner 155). The glorification of Beowulf’s body is extremely ironic since it is these beautiful shoulders that will be tearing his shoulder from its socket, leading to his demise. With his “cold eyes” and his dramatic arrival as “gray wind teased lifeless trees”, Beowulf does not seem the least bit heroic or even “good” (Gardner 152). His lifeless stares and boasts that hinder others are evil, and Gardner illustrates the tone towards him very clearly using diction. Everything in the chapter is “gray”, “dark”, and Beowulf is described as “grotesque” more than once, a word which brings back memories of a small miserable town in Ohio. The connotations of the words used to describe the scene are not very favorable, connoting horrible evilness. As Beowulf physically tortures Grendel he decides it is not enough and decides to psychologically infest Grendel’s mind to prove a point. What point? What was Beowulf trying to say? Also noteworthy and similar to Winesburg, Ohio are the allusions to the Garden of Eden. All throughout the chapter Gardner describes objects as twisted, and as Grendel stares at his enemy he gets a glimpse of a memory of “twisted roots, an abyss…” (Gardner 164). This could connect to the tree of knowledge in the Garden of Eden, as a truth is also mentioned throughout the chapter. “They were like trees, those strangers”, just like Hrothgar in the ruling of his kingdom, yet the roots are twisted because of the injustice found in the base of the society. The evil that is the foundation of it all. However, if the Anglo-Saxon society were the true evil and Beowulf/Hrothgar were antagonists within the story, it would make Grendel the true hero of the novel, which would make sense since he is our protagonist.

When looking at Chapter 11 we can see that Gardner truly emphasizes the gray, antagonistic qualities within Beowulf, a very different perspective from that of the much older epic- yet it all makes sense, because all along we’ve wanted to know that Grendel was truly “good”, a protagonist, and a fulfillment of our expectations of what a main character should be like.

Hallows Eve

Spirits of the Dead

Edgar Allen Poe

Thy soul shall find itself alone

’Mid dark thoughts of the gray tombstone—

Not one, of all the crowd, to pry

Into thine hour of secrecy.

 

II

Be silent in that solitude,

Which is not loneliness—for then

The spirits of the dead who stood

In life before thee are again

In death around thee—and their will

Shall overshadow thee: be still.

 

III

The night, tho’ clear, shall frown—

And the stars shall look not down

From their high thrones in the heaven,

With light like Hope to mortals given—

But their red orbs, without beam,

To thy weariness shall seem

As a burning and a fever

Which would cling to thee for ever.

 

IV

Now are thoughts thou shalt not banish,

Now are visions ne’er to vanish;

From thy spirit shall they pass

No more—like dew-drop from the grass.

V

The breeze—the breath of God—is still—

And the mist upon the hill,

Shadowy—shadowy—yet unbroken,

Is a symbol and a token—

How it hangs upon the trees,

A mystery of mysteries!

Halloween is nearing. It's the time for costumes and candy and pumpkin themed bake sales. But not only that- it's the time for the spooky, the creepy, and every imaginable crawly. This time of the year can be anticipated or dreaded- especially for those who are allergic to all things frightful. Thankfully for us AP Lit students, we are immersed in Grendel, a book seeping with dreadful ideas. It really is perfect timing for such a literary work; however, I was left craving something scarier to read- something that would make the hair on my arms stand on edge and make me wish I was seated with my back to the wall. So I searched in the romantic works of the classic Poe. And I can’t say I was disappointed.

Edgar Allen Poe’s Poem “Spirits of the Dead” explores the connection between life and death, describing the afterworld in a scene that chills our bones. He depicts a lone living soul amidst a crowd of spirits of the dead, and in the first stanza he describes the dark state the soul is in.

 

Thy soul shall find itself alone

’Mid dark thoughts of the gray tombstone—

Not one, of all the crowd, to pry

Into thine hour of secrecy.

                Poe uses words such as “dark” and “grey” to demonstrate the sad and gloomy thoughts that the person has as they think about death. By depicting the person alone at a tombstone he begins his poem in a morbid place, setting us up for the rest of the poem.

Poe then writes about the how the spirits are in an elevated state and are among the presence of the living.

Be silent in that solitude,

Which is not loneliness—for then

The spirits of the dead who stood

In life before thee are again

In death around thee—and their will

Shall overshadow thee: be still.

 

In the second stanza, the person is surrounded by the “spirits of the dead” whose will “shall overshadow” his. The fact that the will of the spirits will overcome his demonstrates the power they hold. This informs us of their superiority.

Towards the end of the poem Poe personifies nature to create a sense of intensity that displays the discomfort that the living must face in life. The frowning light and the stars that “shall seem as a burning and a fever” seem very hostile. This demonstrates the hostility of everyday life and how it can weigh down on an individual. The fever which would “cling to thee forever” and the thoughts that will “not banish” are everlasting pains. Since human life is so ephemeral, every discomfort can seem like an eternity.

 

The night, tho’ clear, shall frown—

And the stars shall look not down

From their high thrones in the heaven,

With light like Hope to mortals given—

But their red orbs, without beam,

To thy weariness shall seem

As a burning and a fever

Which would cling to thee for ever.

 

Now are thoughts thou shalt not banish,

Now are visions ne’er to vanish;

From thy spirit shall they pass

No more—like dew-drop from the grass.

 

In the last stanza Poe uses mist to show the veil between this world and the next and how as long as the veil exists, the next world will be a mystery to the living.

 

The breeze—the breath of God—is still—

And the mist upon the hill,

Shadowy—shadowy—yet unbroken,

Is a symbol and a token—

How it hangs upon the trees,

A mystery of mysteries!

 The troubles of this life can not compare with the stillness present in the next. As the soul sits next to that tombstone, surrounded by the crowd of spirits and tortured by the discomfort of life, it sees the most as a promise of the clarity and peace that must surely exist in the afterlife. 

 

Although this poem was deep and thoughtful rather than chilling, it still had that edge of gloom and darkness that Poe never seems to fail to bring.