Please Take Note

The celebration will be on next thurdays(8/10/09) 2pm at Secret Recipe.Please Take Note :)

Universal Declaration of Cakes Week in PL2

This shall begin from 27/9/09 untill 14/10/09. Members of PL2 please take note XD!!

Just for LOLs: Hamlet Batman Style

Came across this on the internet (click picture to enlarge). The similarities between Hamlet and Bruce Wayne/Batman are striking. But Hamlet 'super-smart'? Um, I don't think so Robin!

Happy Holidays! Good luck about the results [why did you have to remind me about that, Angela? =( ]. Next Hamlet post will be up... unsure. Will have to see first.

Tata for now!

Simone

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Batman & Robin copyright of DC Comics

All rights reserved

Happy Holidays !

Hey PL2 !!!

Hope the holidays are going on swell for you guys! I'm having a really fast paced holiday right now and I MISS YOU GUYS! :D

Like what Ophelia said, results most likely to be out on Monday and the one sent via mail will be arriving probably around Thursday or so.

Happy holidays guys! Don't forget to do your revision and all those things while you are busy having a good time. xD

See you guys real soon after the holidays are over. *hugs*




Love;
Angela

Lol

Got nothin better to do.. LOL..

Twelfth Night by William Shakespeare: Appearances Versus Reality:

Many of the problems and confusions in Shakespeare’s "Twelfth Night" are the result of gender bending episodes, many of which involve disguise and deceit of one form or another. In the most prominent examples of disguise and appearance versus reality in Twelfth Night by William Shakespeare, appearances hide an important reality and sometimes actually hinder a character from developing or attaining his or her desire. Certainly, Viola in "Twelfth Night" by Shakespeare is the clearest example since her love for Orsino must go unrecognized until the appearance is exchanged for reality.

Furthermore, the problems associated with deceit and reality create tension in "Twelfth Night" by Shakespeare, especially in the case of Malvolio. In addition to these more explicit examples of appearances not matching reality, there are other aspects to the play that are not entirely clear in terms of gender. For example, the typical love relationships in "Twelfth Night" by Shakespeare, especially between men, are often confused and somewhat ambiguous. Although by the end of "Twelfth Night" by Shakespeare, the reader is assured by the marriages and heterosexual unions of the central characters, one cannot completely ignore the larger implications and suggestions made such episodes of gender bending. The comedic nature of Twelfth Night is produced as a result of these mix-ups and without them, this could easily have been a tragedy in which frustrated lovers were scorned and siblings were lost and mourned for years.

The action of "Twelfth Night" by Shakespeare is driven by Viola’s decision to voluntarily conceal her identity and go to work as a servant for the lovesick Orsino instead of Olivia. In one of the important quotes from Twelfth Night by Shakespeare She tells the Captain that she wishes to become a eunuch and begs him to, “Conceal me what I am, and be my aid / For such disguise as haply shall become / The form of my intent” (I.ii.51-53). This disguise and gender confusion early in the play serves Viola quite well in the beginning, especially since she is a young woman alone in a strange city. With this vulnerability removed, she is now free to seek employment although she does not figure it will cause her as much trouble as it does. In the case of Viola/Cesario the appearance constitutes the reality for other characters, but of course, not for herself. As her love for her master grows, she finds herself wishing for the reality but is now so embroiled in events that she cannot turn back. She expresses her tension when she states, “O time, thou must untangle this, not I. / It is too hard a knot for me t’ untie” (II.ii.38-39) but realizes that she cannot, at this point at least, reveal her identity—the reality behind the appearance. There is a sense of hopelessness in the battle between what one sees and what is truth and it is best summed at the climax of this identity conflict when Viola, realizing that Olivia loves her/him, says, “Poor lady, she were better love a dream” (II.ii.24). In other words, the dream is the appearance while the reality is unattainable because of it. It is only through another case of mistaken identity (the arrival of her brother) that she allowed to shed the appearance and engage in the reality.

Through means of deceit, appearances and reality are confused as well in Twelfth Night. This is most obvious in the case of the trick played upon Malvolio. Interestingly, he is a character that is not necessarily likable, especially when we first encounter him, but at least he is one of the few that does not seem to have any kind of disguise other than the fact that his simple background does not match up with the grand vision he has of being “Count Malvolio.” Despite his outward participation in creating an appearance to replace reality, he still is a victim of this paradigm in his own thoughts. He has an enormous ego that allows him to look only at the outward appearances rather than into the deeper truth or reality and gladly takes on another appearance to satisfy the conditions set forth to (supposedly) make his wish reality. Malvolio grows into the role of the love object (which can be seen as a disguise of sorts) and wears the yellow stockings because he has been misled. His behavior echoes the words of Orsino, who laments, “So full of shapes is fancy / That it alone is high fantastical” (I.i.14-15). In this line, Orsino is stating that “fancy” or romantic love is fantastical and not associated with reality. Whether it is Malvolio acting as a fool for love or Orsino who wishes only to lay about all day thinking about his Olivia in the beginning, the two themes are clear—love itself is the ultimate form appearances trumping reality and appearances, when taken too lightly, begin dictating reality.

Appearances versus reality are also an issue for the reader of Twelfth Night as well as the characters. The play opens with a character deciding to take on another gender appearance and although there are characters who never take a formal disguise, gender identities and love interests still seem less than traditional throughout the play. For example, while it is almost expected that Viola/Cesario might have an inclination to love her master, it twists the situation later when the reader begins to see that perhaps Orsino might have a love interest in his boy servant. Even after Viola’s true appearance and reality is exposed and confirmed, Orsino still has a strange attachment to the idea of being more in love with the boy rather than the female behind him. At one point near the end, Orsino says, “Cesario, come— / For so you shall be while you are a man; / but when in other habits you are seen, / Orsino’s mistress and his fancy’s queen” (V.i.372-375) and this demonstrates that there is still an interchangeable nature to the gender and thus the reality over appearance in this situation. A similar example of unexpected love crossing gender lines can also be seen in the case of Antonio who follows Sebastian, not necessarily out of some sense of manly duty it seems, but rather because of “desire/ More sharp than filed steel” (III.iii.4-5). While none of these less traditional gender pairings are ever confirmed by the ending, they give the play an even more confusing quality and bring the question of what appearances versus reality really means in any case.

In sum, it seems as though Shakespeare wishes audiences to consider the true nature of reality when a multitude of appearances can have an effect on our perception of it. Also, by presenting the issue of appearances versus reality in so many contexts (cross-dressing, outright trickery, mistaken identity, and ambiguous love pairings) the reader is made to understand that appearances can sometimes be of little or no value. If all of the characters had been more in tune with reality rather than centering on their own and other characters’ appearances, one can easily assume this wouldn’t make such a grand comedy.

Twelfth Night - Analysis of Fools

A fool can be defined in many meanings according to the
Oxford English Dictionary On Historical Principles. The word
could mean "a silly person", or "one who professionally
counterfeits folly for the entertainment of others, a jester,
clown" or "one who has little or no reason or intellect" or
"one who is made to appear to be a fool" (word originated from
North Frisian). In english literature, the two main ways which
the fool could enter imaginative literature is that "He could
provide a topic, a theme for mediation, or he could turn into a
stock character on the stage, a stylized comic figure". In
William Shakespeare's comedy, Twelfth Night, Feste the clown is
not the only fool who is subject to foolery. He and many other
characters combine their silly acts and wits to invade other
characters that "evade reality or rather realize a dream", while
"our sympathies go out to those". "It is natural that the fool
should be a prominent & attractive figure and make an important
contribution to the action" in forming the confusion and the
humor in an Elizabethan drama. In Twelfth Night, the clown and
the fools are the ones who combine humor & wit to make the comedy
work.

Clowns, jesters, and Buffoons are usually regarded as fools.
Their differences could be of how they dress, act or portrayed in
society. A clown for example, "was understood to be a country
bumpkin or 'cloun'". In Elizabethan usage, the word 'clown' is
ambiguous "meaning both countryman and principal comedian".
Another meaning given to it in the 1600 is "a fool or jester".
As for a buffoon, it is defined as "a man whose profession is to
make low jests and antics postures; a clown, jester, fool".
The buffoon is a fool because "although he exploits his own
weaknesses instead of being exploited by others....he resembles
other comic fools". This is similar to the definition of a
'Jester' who is also known as a "buffoon, or a merry andrew. One
maintained in a prince's court or nobleman's household". As
you can see, the buffoon, jester and the clown are all depicted
as fools and are related & tied to each other in some sort of
way. They relatively have the same objectives in their roles but
in appearance wise (clothes, physical features) they may be
different. In Shakespeare's Twelfth Night, Feste's role in this
Illyrian comedy is significant because "Illyria is a country
permeated with the spirit of the Feast of Fools, where identities
are confused, 'uncivil rule' applauded...and no harm is done".
"In Illyria therefore the fool is not so much a critic of his
environment as a ringleader, a merry-companion, a Lord of
Misrule. Being equally welcome above and below stairs.." makes
Feste significant as a character. In Twelfth Night, Feste plays
the role of a humble clown employed by Olivia's father playing
the licensed fool of their household. We learn this in Olivia's
statement stating that Feste is "an allowed fool"(I.v.93) meaning
he is licensed, privileged critic to speak the truth of the
people around him. We also learn in a statement by Curio to the
Duke that Feste is employed by Olivia's father. "Feste the
jester... a fool that the Lady Olivia's father took much pleasure
in"(II.iv.11).

Feste is more of the comic truth of the comedy. Although he
does not make any profound remarks, he seems to be the wisest
person within all the characters in the comedy. Viola remarks
this by saying "This fellow's wise enough to play the
fool"(III.i.61). Since Feste is a licensed fool, his main role
in Twelfth Night is to speak the truth. This is where the humor
lies, his truthfulness. In one example he proves Olivia to be a
true fool by asking her what she was mourning about. The point
Feste tried to make was why was Olivia mourning for a person
who's soul is in heaven?

"CLOWN Good madonna, why mourn'st thou?
OLIVIA Good Fool, for my brother's death.
CLOWN I think his soul is in hell, madonna.
OLIVIA I know his soul is in heaven, fool.
CLOWN The more fool, madonna, to mourn for your
brother's soul, being in heaven. Take away the fool,
gentlemen.

Adding to the humor of the comedy, Feste, dresses up as Sir
Topaz, the curate and visits the imprisoned Malvolio with Maria
and Sir Toby. There he uses his humor to abuse Malvolio
who is still unaware that he is actually talking to the clown
than to the real Sir Topas. Feste (disguised as Sir Topaz)
calls Malvolio a "lunatic" (IV.ii.23), "satan"(IV.ii.32) and
confuses him by wittingly making him a fool.

Throughout the play, Malvolio has always been the person who
intentionally spoils the pleasure of other people(killjoy). He
is Feste's worst nightmare in the play, but in the end is
triumphed over by Feste completely and is the only character to
show a negative attitude and a dignity reversed.
"MALVOLIO: I'll be revenged on the whole pack of you!"
(V.i.378) At the end of the comedy, Feste, "is given the
last word and is left in possession of the stage".
Maria, Olivia's companion is another person who seems
enthusiastic in playing pranks on other people. In Twelfth
Night, she plays the unsuspecting role of a behind the scene
fool who gives ideas to Feste, Sir Andrew & Sir Toby to
assist her in her plans. In two incidents, she remains quiet
while her plans are carried out by either the Knights or the
Clown.

Part of the humor that lies in this comedy is that Maria's
pranks are harsh & cruel, using love and power (status of Olivia)
to attack Malvolio, steward of Olivia, who is "....sick of self
love"(I.v.90). For this, Malvolio's greed for power ends
himself locked up in a dark cell and is accused of being mad.
She also prepares Feste to disguise as Sir Topaz. This is seen
in the quote: "Nay,I prithee put on this gown and this beard;
make him believe thou are Sir Topas the curate; do it quickly.
I'll call Sir Toby the whilst." (IV.ii.1,2,3) Combined with other
fools, Maria helps make Twelfth Night a hilariously funny comedy.
Lastly, Sir Toby Belch is another fool in Twelfth Night.
His role is helping "on the game of make-believe". Always
convincing & encouraging the rich Sir Andrew Aguecheek that he
has a chance of winning Lady Olivia's love. He is similar to
Feste, except he plays the role of a knight and is Olivia's
kinsman. His role is similar to a fool because he depicts many
pranks of a fool. For example in Act II scene iii, while he was
drunk he sings along with Feste when Malvolio barges in to shut
them up. Whenever there is a prank, Maria invites Sir Toby to
participate. One such prank was to assist Maria's fake
letter to make Malvolio think Olivia is in love with
him. Sir Toby's make-believe scheme works convincingly on
Malvolio. Another prank was to accompany the disguised Feste
(Sir Topaz) into the dark cell where Malvolio was imprisoned.
This accompaniment was probably to assure Malvolio that the real
Sir Topaz is visiting him. Yet it is another make-believe scheme
of Sir Toby.

In Twelfth Night, the fools are the ones that control the
comedy and humor in the play. They assist in the make believe
game and fool around with characters who "evade reality or rather
realize a dream". In Twelfth Night, Feste, Maria and Sir Toby
are the fools that make the comedy work in many senses. They
create the confusion through humor and it all works out in the
end to make William Shakespeare's Twelfth Night a really funny
Elizabethan play.

A View From the Bridge: Marco and Eddie’s Character Relationship

How does the relations between Marco and Eddie change throughout the play?

In the play “A View from the Bridge”, the relation between Eddie and Marco changes a lot and worsen as it gets to the end. From the beginning of the play, Eddie already proved his dislike towards Beatrice’s cousins from cousin from coming by telling her to not give a room to them and also saying it’s unnecessary to buy new table cloths to welcome them.
When Marco first arrived, he thought that Eddie was a kind, friendly man and so he had his trust in him and therefore, sent twenty dollars back immediately (believing that he had a stable condition here and could certainly support the his family for the long term).

As the play develops, Rodolfo’s relations with Catherine tighten and lead to Eddie’s jealousy of Rodolfo being so close to Catherine. His dislike of the pair of them increased as Rodolfo tried to go out with Catherine to Broadway. Because of this, Eddie tried to insult Marco by saying that when he went back to Italy, there may be “plenty surprises” and added “…they count the kids and there’s a couple extra then when they left”. This is aiming to insult Marco by suggesting that his wife might be doing prostitution during his absence at work. This is when Marco took notice of the fact that Eddie wasn’t so friendly. Later on, when Rodolfo and Catherine still haven’t lost interest in each other, Eddie pretended to teach Rodolfo how to box, but was actually trying to humiliate his weakness and lack of masculinity. He hurt Rodolfo and therefore Marco felt the responsibility to intervene with what Eddie is doing. This led to the chair scene where the stage direction shows the change in authority between Eddie and Marco through “face to face… tension… raised like a weapon…glare of warning…smile of triumph…Eddie’s grin vanished”. It is the turning point which leads Eddie to become a traitor and report the illegal immigrants (which at the beginning he described as a possible threat that others would do).

When Eddie found out that Rodolfo and Catherine had a sexual intercourse, he was very angry about the illegal immigrants. He tried to find another reason apart from the illegal immigration issue to prevent Rodolfo and Catherine from marrying. There was no way to prevent this marriage apart from reporting them to the immigration department and so he did so. This contradicted to his earlier saying in the play: “I don’t care what question it is. You - don’t - know- nothin’ (won’t be questioned if they are captured)… Vinny… no more than fourteen… he snitched… he was crazy after…”. This sparked rage in Marco and it was shown under the words “He killed my children…stole the food from my children”.

Through his anger, although Alfieri persuaded him not to kill Eddie earlier, Marco turned the knife which Eddie tried to kill him with against Eddie. It led to the final ending to the entire climax which Miller has produced. Through conflict and the urge to revenge, the story ends with Marco turning back the murder Eddie had planned. Power didn’t end up on either one of them because Eddie died and Marco was deported back to Italy. Too much power and power-struggle leads to the conflicts and consequences.

Here is a song dedicated to Hamlet

http://www.youtube.com/watch?v=cL7kcFdGGPM&feature=related

Laugh your stress out!

Hamlet's Blog: To Be or Not To Be (Part 3 aka The Really Gay PL2 Part)

Author's Note: May contain mentions of incest, gayness and what looks like attempted rape. Reader discretion is adviced.

Disclaimer: I don't own Hamlet.

All the rights go to Shakespeare. Maybe. Depends on whether he really wrote the play. And he himself plagiarized someone else. Hmmph. Some example you are, Mr Goncang Lembing.

Any events, persons or objects mentioned here are entirely coincidental and any resemblence to any persons, living or dead, is unintentional. As is any offense cause.

And one more thing: This is entirely FICTIONAL. Seriously, who is as emo as Hamlet?

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Hamlet here. Today...

Today... I set part one of my plan into action. And it went really well.

As previously wrote. I was going to pretend to be mad. Yes, that's right, madly in love. Love is in the aaaaiiiiirrrrrrr!!! (Hey, I'm pretending to be mad, okay? What if Uncle Claud reads this blog?)

Anyway, so I entered Ophelia's room while she was sewing (even though I'm not allowed inside a ladies room, so what, I'm mad). And in order to look really, really, really mad, my shirt was all undone and my hair was messy and my tights (Yeah, so I wear tights. So what? We all wore tights those days.) were torn and sliding down my legs. In order to look all weak and pathetic I cut my wrist in the bathroom again before this and then I asked Horatio to push me down the hill. In a nutshell, I looked like shit.

That's me. I'm the man.

Ophelia of course was all, *high pitched voice* "Omigosh, omigosh, Hamlet, darling, what's wrong, what happened to you, Hammy baby?"

But I didn't say anything, though I really wanted to slap her. Or kiss her. Or both. Whatever. I just grabbed her hard by the wrist and pushed her against the wall (Oy, I wasn't going to do anything to her, okay. Gosh, you people have a very sick mind.)

Hey baby, nice to see ya.

And then I just stared at her and stared at her and stared at her.... I think she was scared.

This is so totally not gay. Seriously!!

Gay? This? You call two guys looking like they're gonna make out gay? Seriously, man, what's wrong with you?

And then I sighed. And walked away while starring at her all the while.

Yeah, I really think I scared her. I hope she won't be mad at me. Or reject me. Well, she does, I still have Horatio.

Me proposing to Horatio last summer (ignore the curious bystander). He rejected it because he caught me kissing Ophelia the day before. Love is cruel...

Anyway, my plan worked so far. I'm sure Ophelia wil go and tell her father about this. I will work my way up and soon... Claudius will be mine!!!!!! Muahahahahaha!

His Royal Evilness and Emo-ness,

Prince Hamlet of Denmark

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Any gayness is intended. Photos are posed by models. Nothing dirty took place, guaranteed. Faces blacked out to protect privacy.

Have a nice day!

Good luck for exams!!!