Act of Resistance

When I first discovered that the smoking rate in the U.S. had dramatically decreased I was extremely surprised. I personally feel that smoking has always been an ongoing problem in this nation alone, with its devastating effect on consumers. It was on November 17th that I first heard the news that the smoking rate in the U.S. may be at its lowest level since mass consumer marketing of tobacco products began in the 1920’s. The news not only served as inspiration for a possible act of resistance project, but it provided a catalyst, causing me to begin a project advocating the non-use of drugs. It was with this disposition that I first began my fight back.
I decided that the best way to influence others was to start small. For an English assignment, I felt it satisfactory that I focus on a small group of individuals. My younger sister attends Carve Academy of Mathematics and Science. For my project, I would be frequently visiting the classes in this K through eighth school in order to address the issues regarding smokers and non-smokers today. I felt it important that I speak to both issues as it is valuable to be cognizant of the effects of smoking on smokers and non-smokers alike. Starting with first and ending with eighth graders, I began to present to each of the classes my opinions on smoking and tobacco use in the U.S. today. Along with my personal opinion, I presented gathered facts and statistics which put things into a more literal perspective for the students. Through this presentation I felt I provided valuable information for the students and a reason to avoid tobacco use as well as encourage others to do the same.
Personally I felt this experience helped me to grow as it allowed me to recognize my own capabilities and, when applied, the effect I have on the decisions of others. I believe that not only did the students appreciate the fifteen minute break from class, but also the information being provided and a person who took the time to thoroughly explain the basics. One student mentioned that he appreciated details rather than the usual, "don't smoke". I'm glad that I could provide more insight on the issue and hopefully effectively enlighten the students to the risks of smoking.
Upon reflection however, there are a few things that I would like to expand upon. Given the time restraint and that I didn't want to interrupt the class for too long, I didn't feel that I had enough time to provide all of the information that I would've wanted to. However, if I were to have more time I would definitely improve upon a few aspects. For one, I would provide more information and give real life examples. Also, I would want to do some sort of crafts project with the students so that the experience would have more of a lasting effect on them. One thing in particular which I would like to do is to create T-shirts for the students with some sort of witty slogan.
When I find the time, I will most definitely continue to do such acts. I have agreed to speak at a T.A.T.U. (Teens Against Tobacco Use) Program that my sister will attend. I will also participate as a volunteer on various workshops where we demonstrate different lungs: those affected by smoking and those not, etc.
Overall, I'm glad that I've accomplished this project and I can truly see it's connection to Lysistrata. With a plan and commitment, anything is possible.

Act of Advocation

Tenuous Oath?

At one point I was skeptical about whether or not all of the women would keep to their promise. For one,the women were extremely reluctant to partake in Lysistrata's plan in the first place, and made it apparent that sex meant a great deal to them. Kleonike states: "Try something else. Try anything. If you say so, I'm willing to walk through fire barefoot. But not to give up SEX-there's nothing like it, Lysistrata!" (26). It is obvious that the women treasure sex, not only the men. Also, I felt that the way the oath was sworn was doubtful as it was altered at the last minute from a shield to a recommendation of wine, which I felt made the oath more tenuous.

Peace

The ending of Lysistrata was extremely interesting to me although I was confused by some parts. I enjoyed the way Lysistrata used Peace the woman as a map for the men to divide land upon. I found it humorous and creative on Lysistrata's part. I don't understand, however, the men's ability to divide up the land as easily as they did with so much built up sexual tension/lust. Because of this I believe that Peace was simply used to keep the men amused while Lysistrata further convinced them to sign the treaty. After this however, the men became more serious because land was at stake...something possibly more important to them than their current sexual desires. Also, I found Talor's comment that Peace was turned into an object interesting.

Applying Lysistrata to Modern Affairs

Lysistrata was obviously accomplished in the pursuit of her ultimate goal of peace through abstinence. When applied to the current war in Iraq however, I do not believe the plan would have been successful. The war in Iraq covers a broad spectrum of men from various parts of the country. Whereas in Lysistrata, the Peloponnesian War is situated in Greece and the men at war are much fewer. Lysistrata is the dominant woman in control and does a superb job at leading the women. However, in our time, it would be difficult to control so many women many of which would most likely be unwilling to participate. Also, in today's war, it would be easy for a man to obtain sex from another source. The entire idea I believe would only serve to promote violence and more of a class between men and women rather than bring about any sort of peace whatsoever.

Diction

The diction of the characters is an important aspect of the play. However, I find it difficult to fully assess the diction seeing as we are reading the play and unable to actually hear the voices. Despite this drawback though, we can assume certain dialects from the way the character's speech is written. Lampito's dialogue for example, is written as if it is spoken in a stereotypical Southern accent. Although it may seen unimportant, this dialect contributes greatly to Lampito's character. As representative of the Spartan women, Lampito's accent depicts these women as dim-witted and ignorant. On the other hand, Lysistrata has a diction which seems to demand respect. Her lexicon combined with her enunciation and perfect delivery place her in a position of authority and one which involves the careful consideration of the men, something seemingly incapable of women during this time. Overall the diction is fundamental to the development of characters and, although we cannot actually hear the language, we can work with what we know from what is presented in the text.

Puns

The puns presented throughout Lysistrata were extremely interesting to me and added comic relief to the otherwise dramatic situations presented throughout the play and involving the two sexes. I am aware that the content of our English translation is basic compared to that of the actual Greek plays and other translations. It is said that Americans are unable to handle the crudeness of the original Greek plays and that it would be extremely offensive however I believe that I would find it interesting and more humorous to read the harsher version. I am curious to know what controversy, if any, would be provoked if these plays were to be translated and produced with the full effect of their original puns. However, it was difficult for me to catch most of the puns and many of them had to be explained to me before I fully realized them; others, were fairly obvious. My personal favorite pun involves the interaction between Myrhhine and Kinesias during which Myrhhine is constantly returning to the Akropolis for items apparently meant to comfort Kinesias provoking Kiniseas to state, "What a lovefeast! Only the table gets laid".

Costumes

While reading Lysistrata, it was somewhat interesting to me to imagine what the costumes for this production were like. While reading, I was disappointed to find little reference to the costumes. There are some points where the women's clothing is described as well as the garments of both the Koryphaios and the Choruses. However, these scenes leave little room for interpretation and are more a part of the general idea of the separation of man and woman (for example, the tunics between the two choruses). A scene which I enjoyed involved the veil of Lysistrata. While Lysistrata is attempting to explain her plan for the Treasury to the Commissioner, he states he cannot listen to a woman wearing a veil. At this point, Lysistrata removes her veil and places it on the Commissioner. As the veil is the garment of a woman it is comical to see it on a man. This action on the part of Lysistrata demonstrates the veil as the women's sign of inferiority. Another reference to clothing is in the description of the women's attire. The garments and the lingerie described and discussed between the women demonstrates how they are in-tune with their feminity. One woman in particular who is excited about her feminine garments in Kleonike. It is as if the garments for the women represent their ability to express themselves and their feminine nature. For women like Kleonike, the garments are exciting to the women as it allows them to excite their men and show off their bodies. These two references to the characters' costumes proved most interesting to me. 

The Wool Metaphor

In Lysistrata, the metaphor which I found to be most interesting was Lysistrata's wool metaphor described to the Commissioner. On page 62 Lysistrata continues her wool metaphor in which she compares wool to Athens as a whole city; a united body of citizens rather than separated. Lysistrata believes the whole city should be cleansed of burs. In this metaphor, the burs represent the bad men and corruption which plague the city. The imperfections in the wool represent the imperfections in society. The removal of the "knots and snarls to snag important posts" (63) is Aristophanes reference/criticism of the politicians in Athens who conspire in order to get each other elected. Lysistrata announces who would be and would not acceptable in her city. Among the accepted include: loyal "Resident Aliens, All Foreigners of proven and tested friendship, and any Disenfranchised Debtors". Lysistrata believes that the collection of these people with create a stronger, renewed Athenian civilazation. To Lysistrata, these people represent the wool which she believes will encompass and embrace all of the various people loyal to Athens. During this metaphor, Lysistrata's voice is heard to the end, uninterrupted by the men. This passage clearly symbolizes one of the main voices of Artistophanes in which he believes women have a place in society and a right to fight for what they believe in.

The War Between the Sexes

The War between the sexes is a theme presented frequently throughout Lysistrata. One thing that I noticed was that there are a lot of characters/actions which parallel the fighting between the men and the women. For example, the Koryphaios of Men and the Koryphaios of Women as well as the two Choruses parallel the actions of the men and women. While the men and women are arguing the Koryphaios' and the Choruses are arguing as well. The same goes for the actions between the two while the men and women are passing slanderous remarks back and forth, criticizing each other, and attacking each other. Finally in the end we see the Koryphaios of Men and Women unite as one as the men sign the Treaty for peace. I find these similarities extremely important as they provide an example of the battle between sexes in a manner other than the obvious battle between men and women. Also, I find it a good way to incorporate the Koryphaios' and the Choruses as they are important to Greek literature. The war between sexes is seen throughout the play (at some points more obvious than others) and helps to establish other themes as well for example, "abstinences bring about peace". In the end of the play, the battle between the sexes is ended and peace is brought about due to the women's sexual inhibitions. Also, the theme "love your neighbor" as it helps to demonstrate the need for love between the women from the outskirts and the women from Athens as well as the Spartans and the Athenians.

Lysistrata - Characterization

In my opinion, Lysistrata embodies the complete rejection of the stereotypical domestic female. Not only does she maintain an authoritative role by constantly dictating the actions of others, but she gains respect among the men through her wit and ability to repress her sexual desires. The scene in which she directs Myrrhine is a suitable example to Lysistrata's control over others. From atop her platform Lysistrata literally directs Myrrhine as to how she will act towards Kinesias. Then, she watches from the platform in order to ensure that Myrrhine does not surrender to her sexual desires. The men respect Lysistrata for multiple reasons. For one, Lysistrata does not openly flirt with the men. She does not appear to have any obvious lovers and does not participate in the sex strike. Each of these characteristics help to separate Lysistrata from the other women in the play. Lysistrata  has amazing potential as a leader and maintains her strict demands regarding the women's participation in the strike. Because of her austerity, Lysistrata is able to successfully guide the women through the boycott and accomplish peace within Greece.

The Boycott

I saw the play "The Boycott" and personally, I would have to say that I am somewhat disappointed. I appreciate what Kathryn Blume is attempting, and her desire "to find a bright flame of hope for herself, for her audience, and for the future of the world" however the play itself wasn't exactly what I had expected. The creativity of the play was great, and it was obvious that Blume put a lot of time and effort into making it just right, however I felt that it was almost too much. For one, the comparison between Lysistrata and her current performance was extremely faint and I would've preferred a more noticeable resemblance. Also I feel that she had a lot of substance to the play much of which, although it was humorous, was unnecessary and digressed from the main purpose of the play. Frequently during the play I was confused because it was difficult for me to distinguish between some of the accents. On the other hand, I found particular points of her performance humorous. For example, the scene including Ghandhi and the scene where she made an allusion to "Lord of the Rings". Overall, I do not regret going because I feel it contributed to a good purpose.

Thea Elvstead

Personally, I my viewpoint is different from others. To me, Thea's main characterization feature is that she is extremely ditsy and simple- minded. Many would argue that this is untrue seeing as she has helped Eilert on his manuscript; not to mention, the manuscript was extremely successful. Also, Thea has helped to rehabilitate Eilert from his alcoholic past. Because of these accomplishments on her behalf, it would seem natural to argue that Thea is an extremely capable woman who overcomes the barriers which typically inhibit women of that time. Even so, I see Thea as a simple-minded character whose naivete is seen in her obsession with Eilert and her constant worrying over his well-being. Thea's actions throughout the play as well as her dialogue only help to reinforce these beliefs. In the initial presentation of Thea, she is described as having "a startled, questioning look." Automatically this displays her uncertainty. Other various parts of her description evoke pity. For example, "she wears a dark visiting dress, tasteful, but not quite in the latest fashion." Thea seems disordered and somewhat pathetic. " [Hedda] drags Mrs. Elvsted, almost by force toward the doorway" (272). The manner in which Thea allows Hedda to treat her, further portrays her malleable nature. Furthermore, the reunion between the two women serves to demonstrate Hedda's ability to manipulate Thea for information

From a feminist standpoint...

Hedda's main goal is to maintain power over at least one other character. Throughout the play Hedda shows extreme admiration for General Gabler and does her best to emulate him. As a woman, however, she finds this difficult. It is obvious that as a female, Hedda feels inferior.  This oppressive consciousness is only strengthened by the constant remarks made by Julie and Tesman regarding her feminine character which she does her best to ignore. When Tesman remarks, "But have you noticed how plump and buxom she's grown? How much she's filled out on the trip?" Hedda retorts, "Oh, do be quiet-!" It seems that Eilert Lovborg is the only man who truly respects Hedda. However, Hedda realizes that Eilert is now involved with Thea and  becomes jealous of their connection. She notices the way Eilert both recognizes and appreciates Thea's contribution and opinion regarding the manuscript and therefore, comes to detest the manuscript as well seeing as for her, it represents the bond between Eilert and Thea. Indirectly, Hedda may feel that in some way destroying the manuscript gave her power and might allow her to regain her connection with Eilert. On the other hand, Tesman treats Hedda almost like a child. The manner in which he constantly exclaims "Imagine!" and "Oh is that so?" to Hedda is similar to the way in which an adult might humor a child and lacks genuine interest.  Judge Brack seems to be most familiar with Hedda's character. He is also the one who maintains the most control over Hedda. This control is best seen towards the end of Act Four when he confronts Hedda about Eilert's death. Brack is aware that Hedda is the one who provided the pistol for Eilert's death. He tells Hedda that the police have the pistol and will attempt to trace it back to its owner. Hedda inquires, "Do you think they'll succeed?" and Brack replies vindictively, "No, Hedda Gabler-as long as I keep quiet" (301). Especially with this information, Brack attains complete control over Hedda and well as her fate. Hedda's suicide stands for her surrender to the male domination which subordinates her and her overall inability to continue as a female in her society.

"one cock of the walk"

I would say the "one cock of the walk" line by Judge Brack is in reference to how he wishes to be the main "man of the house" or at least in Hedda's life.  However, Judge Brack does mention that "All [he] want[s] is to have a warm circle of intimate friends, where [he] can be of use one way or another, with the freedom to come and go as-as a trusted friend-" (252). Later Brack makes it apparent that he would allow not another man to intrude into this triangular arrangement.  (Referring to Eilert Lovbourg) "Yes.  I'll admit I'd find it more than annoying if that gentleman were to have free access here.  If he came like an intruder, an irrelevancy, forcing his way into- (Spoken by Hedda) "Into the triangle?" (Again, Brack) "Precisely." (282). Later Brack again admits that what he wants is to be the one cock of the walk. "Yes, that's what I want to be. And that's what I'll fight for-with every means at my disposal" (282). It is obvious that Brack is more than serious about his intentions in gaining his "one cock of the walk" status. Throughout the play his actions reflect his promise to fight for it by any means necessary.  It is observable how Brack especially uses his control as a  Judge in order to maintain this position in Hedda's life.

Hedda Gabler video

http://www.youtube.com/watch?v=qKgcjssJgvY

Pistol Motif

Throughout Ibsens's "Hedda Gabler" many motifs are used in order to reflect seperate thoughts or underlined meanings otherwise not openly stated. One of the most prominent motifs is the use of pistols, most notably by Hedda. Throughout "Hedda Gabler" Ibsen uses pistols as the main symbol for Hedda's ultimate power and that which gives her joy. Not only does Hedda love her pistols with an insane-like possession, but they are the sole object of amusement for her as well.

Act One/ Act Four

In the initial description of Act One's setting, both Juliana Tesman and Berta are presented, each in a positive manner. "Miss Juliana Tesman [enters] wearing a hat and carrying a parasol" (221). Juliana Tesman is dressed fashionably and has a "kind and good-natured look" (221). Next Berta enters carrying flowers with a plain and rather provincial appearance. Both of these women are positively presented. Hedda Gabler's character, however, remains unmentioned. In comparison to Act Four's setting, on the other hand, both of these women are presented in a despondent and seemingly negative way. Contrary to Act One's setting, Hedda Gabler is the first character presented, "pacing back and forth in the dark room" (289). Berta is next presented "carrying a lighted lamp with eyes red from crying [and] black ribbons on her cap" (289). It is obvious that Berta is burdened and troubled by her constant movement about the room. Along with the presence of Hedda Gabler comes an overall shroud of darkness and obscurity. It is obvious that Hedda in unconcerned with the death of Aunt Rina and her movement throughout the description of Act Four's setting convey this lack of worry. Hedda's general presence asserts a certain power over the other two women present and adds, both figuratively and literally, darkness to the room.

Hedda on youtube part 2

http://www.youtube.com/watch?v=9Vk9QKZwAG8&feature=related

Appearance

The ways in which the two women are initially presented helps to convey their character. Hedda is not presented until the midway into Act One. However, until then, she is mentioned as napping in the next room and the other characters (Aunt Julie, George, and Berta) are careful not to wake her. Already this demonstrates the control Hedda has over others. It is obvious that she maintains respect due to her relationship with the extinguished General Gabler, however, Hedda has an air about her as well which demands respect. Upon first entering, Hedda comments on the bright sunlight flooding in and immediately Miss Tesman goes to adjust the curtains. Throughout the play, this control Hedda has over others is observable through her actions.

Love Quadrangle

I am beginning to notice a love quadrangle between four of the characters in "Hedda Gabler".  It seems to me that the dominant relationships are concentrated between Hedda, Eilert Lovborg, Thea (Mrs. Elvsted), and Judge Brack.  It appears as if Hedda and Eilert have been in some sort of relationship previously. I believe Hedda, although she may not be completely open with her emotions, either is currently or has at one point been in love with Eilert Lovborg. Hedda's inquisitive nature towards Thea anent Eilert hints at a certain curiosity which insinuates a passionate or even desperate consideration of his current love affairs.  Also, I view the ways in which Hedda treats (or rather mistreats) Thea as representative of her envy. Eilert Lovborg, on the other hand, although he may have been involved with Hedda at one point, is now intimately involved with Thea: his inspiration and the woman with whom he shares his work. Initially Eilert seems to be a changed man and has made a conscientious effort to "[give] up his old habits" (241). However, throughout the continuation of the play, Eilert alternates between his old tendencies and his rehabilitated self. As Eilert spends time with both Hedda and Thea, he correspondingly shifts between his old habits and his improved self. (Unfortunately, this constant interchanging ultimately leads to his death). It is obvious that Thea is passionate about Eilert, his work, and his overall well-being, almost to a point of obsession. Judge Brack obviously yearns for Hedda. This desire is demonstrated throughout his actions and dialogue regarding Hedda. "Unfortunately I was headed quite a different way" (254). When discussing the custom of men walking the women home after a party, Brack regrets not being the one to bring Hedda home. Overall Judge Brack wishes to be "the one cock of the walk", the one man in Hedda's life. Thus, the quadrangle of love is completed.

Initial Reaction

When I first began reading "Hedda Gabler" I was really skeptical about whether or not I was going to enjoy the play.  The plot seemed to move along slowly and although it seems like Ibsen provides a lot of exciting additions and scandals none of them were exactly appealing to me.  Upon further reading, however, I'm finding that I enjoy the book more and I am beginning to become increasingly interested in Hedda's character.  In Act One she was extremely annoying to me though and it was difficult trying to sympathize with her and her situation.  Also, although there isn't much shown regarding Tesman's inner character, I find him to be a carefree man and for these reasons, I admire his persona.  His simplicity and laid-back attitude is best revealed to me in the initial description of his attire (223).  Overall I'm excited to continue reading and witness how the situations unfold.