“Wassup Holmes” or, how I want this song on my itunes

I found this video just by searching “Sherlock Holmes parody,” and it was one of the first to pop up. Entitled “Wassup Holmes,” it is in the spirit of a traditional Holmes mystery but in the form of a rap. It is very well made, and I was actually quite impressed at the production value. I find particularly funny the word play involved with Watson and “What-son” as well as the juxtaposition of new and old.

The clothing that Sherlock, Watson, and Jimmy Mortimer wear as well as the setting at the beginning are all “appropriate” for the 1890’s, yet they refer to modern “Converse footprints” and the criminal in the clip is dressed in jeans and a hoodie (not to mention the modern colloquialisms in the lyrics present throughout…).

Another part I thought was funny in the context of our class discussion on Tuesday was the part where they went to question the two young ladies in sailor suits. While the Sherlock character is the one to instigate the questioning, it is Watson who wishes to stay with them rather than continue solving the mystery.

I also found a version of this song with clips of the most recent Sherlock Holmes film (kind of like Princess Tutu except the lips and words don’t match up as well as they would were it in cartoon form).

Online Fan Fiction

In searching for this week’s blog post, I found that there aren’t really a lot of “funny” things around Jane Eyre. At least, not many popular, widely known parodies. I was able to find some pieces of fanfiction though. One short piece, found here:

http://www.fanfiction.net/s/7517367/1/bJane_b_in_the_Discworld

tells the brief story of how the character of Jane gets sick of her life in her own story and decides to leave, finding herself in a library. She then decides to hop into another book for a change in scenery.

A second short one that I found <http://www.fanfiction.net/s/4647608/1/Mine> adds on to the scene in which Jane leaves the party through a back door and Rochester goes after her. They have a short conversation that ends with Rochester saying “My–“. This short piece elaborates on Jane’s reaction to this, wondering what it is that he could have said. I found this one interesting especially because I myself was wondering the same thing.

These are just two short pieces out of literally hundreds–some of them have well over 3,000 words. I think these two are representative of the two main types: ones that stick to the plot and elaborate and others that take the characters and completely change the story.

Oh, I DID find this youtube video though…

http://www.youtube.com/watch?v=YMg2t-1eiO8

 

 

Jane’s comfort in imagination

Throughout Charlotte Bronte’s Jane Eyre, Jane’s imagination is a source of fear, such as when she is locked in the red room, but it is also a source of comfort. One scene in particular that highlights this use of imagination is when Jane receives a response to her ad in the paper when she is trying to leave Lowood after being there for eight years. After reading the letter, she “examined the document long; the writing was old-fashioned and rather uncertain, like that of an elderly lady” (64). From this, Jane derives a whole scene in her head about Mrs. Fairfax, the author of the letter. She describes her as “an elderly lady…in a black gown and widow’s cap; frigid, perhaps, but not uncivil: a model of elderly English respectability” (64). She uses this image in order to comfort herself during this uncertain time in her life. Jane writes that “a private fear had haunted me, that in thus acting for myself, and by my own guidance, I ran the risk of getting into some scrape; and, above all things, I wish the result of my endeavours to be respectable…I now felt that an elderly lady was no bad ingredient in the business I had on hand” (64). Jane is scared to enter this new chapter in her life and the image she conjures in her mind helps to quite these fears. However, I find the use of litotes here interesting. In saying that the figure of Mrs. Fairfax was “no bad ingredient,” she is making an ironic understatement. Indeed, considering the fact that once Jane arrives at Thornfield she gets well more than she expects (i.e. Mr. Rochester with his crazy wife in the attic). I also found if funny that while she could get a perfect image in her head of the figure of an elderly woman, when thinking of Thornfield itself she “failed in [her] efforts to conceive a correct plan of the premises” (64). When thinking in context of Jane Austen’s character of Catherine in Northanger Abbey, I find it interesting that Jane Eyre did not conjure a vision of her future home. Catherine, it seems, imagines all sorts of things about places she does even visit and even more about the places she does. Jane Eyre, on the other hand, imagines only about the person based on the handwriting and takes what she can from her “recollections of the map of England” in order to imagine what the town and area around Thornfield might be like. Indeed, we can see that while Jane does use her imagination, she does so in order to comfort herself in an uncertain time. Furthermore, the image she creates of Mrs. Fairfax is corroborated by the actual Mrs. Fairfax. However, this person is only an “ingredient” in her new life at Thornfield. Ironically, the overactive, gothic-novel-influenced imagination of Catherine might be more suited for what Jane actually encounters in her new home in the figure of Edward Rochester’s mad wife.

Reading in Shelley’s “Frankenstein”: Connecting the Creature to the World and Us to the Creature

In Mary Shelley’s Frankenstein, the creature uses readings and texts as a way of making sense of his place in the world. This is evidenced by the amount of allusions present when he relates his story to Frankenstein. One piece in particular though, Paradise Lost, speaks to the creature’s character. He alludes to this text more so than the other books he lists and furthermore, he makes direct connections between himself and the figures of Adam and Satan as they appear in Milton’s work. Indeed, even before he speaks of the books that he read, the creature uses an allusion to describe his feelings over finding a small cottage to stay in when he says “it presented to me then as exquisite and divine a retreat as Pendæmonium appeared to the dæmons of hell after their sufferings in the lake of fire” (106). The creature’s eloquence in describing his experience reveals his intellect and brings the reader to feel sympathy for him since we can “see” that he is more than a monster. He expresses how he learns morality through his reading of “Plutarch’s Lives” when he says how he “felt the greatest ardour for virtue rise within me, and abhorrence for vice, as far as I understood the significance of those terms, relative as they were, as I applied them, to pleasure and pain alone” (129). The creature’s worldview is shaped through his reading of books, yet this self-education is incomplete. He is sentenced to isolation because of his appearance and while his books do educate, they are not a replacement for true human interaction.

The creature tells Frankenstein that he read Paradise Lost “as a true history” (129). Because the story and characters are so real for him, he is able to more readily apply them to his own situation. He sees himself like Adam, “united by no like to any other being in existence,” yet also like Satan because he thinks himself “wretched” and envied the happiness of his “protectors,” or the family in the nearby cottage (129). As we witness the creature’s struggle for identity, we begin to realize the implications of Frankenstein’s work. Furthermore, the creature uses the framework of Milton’s epic in order to make sense of his relation to Frankenstein, or his creator. The creature challenges Frankenstein and asks “Why did you form a monster so hideous that even you turned from me in disgust (130)? And goes on to say that he “remembered Adam’s supplication to his Creator. But where was mine (131)? These accusations by the creature to Frankenstein evoke feelings of sympathy for the “monster.” We can relate to his feelings though our own understanding of the texts to which he alludes as well as our own personal struggles with identity at different points in our lives. Shelley effectively flips the roles of protagonist and antagonist within the novel as we are able to relate to the creature and side with him. Looking through the creature’s eyes, we see Frankenstein as an irresponsible and cruel creator in spite of his dominant perspective in earlier parts of the novel.

From “classic” to “cult”

I heard about this movie from my Earth and Ocean Science professor, Alexander Glass. Apparently, this movie is now a cult classic. It is about the weekend surrounding Shelley’s creation of the Frankenstein story, although it embellishes quite a lot (as in, apparently there is a random orgy in the middle?) Here is the trailer from YouTube:

 

Something else that came to mind when thinking of this post is the Alice Cooper song “Feed my Frankenstein.” The video can be found here:

Here are the lyrics too:

“Well, I ain’t evil, I’m just good lookin’
Start a little fire, and baby start cookin’
I’m a hungry man
But I don’t want pizza
I’ll blow down your house
And then I’m gonna eat ya

Bring you to a simmer
Right on time
Run my greasy fingers
Up your greasy spine

CHORUS
Feed my Frankenstein
Meet my libido
He’s a psycho
Feed my Frankenstein
Hungry for love
And it’s feeding time

You udon’t want to talk
So baby shut up
And let me drink the wine from your fur tea cup
Velcro candy, sticky sweet
Make my tattoos melt in the heat
Well, I ain’t no veggie
Like my flesh on the bone
Alive and lickin’ on your ice cream cone”

[ From : http://www.elyrics.net/read/a/alice-cooper-lyrics/feed-my-frankenstein-lyrics.html ]

It seems that Alice Cooper was rather referring to Frankenstein’s “monster” rather than the person. Furthermore, the sexual connotations in the lyrics approach the point that they are embarrassing to post. I think it is interesting, however, that the concept of the “monster” within is associated so closely with sex and gluttony. This is much like the movie “Gothic” with its sexual scenes as well.

Comics from Hark! A Vagrant by Kate Beaton. This first one is a commentary on the common misconception that Austen was completely private about her works while simultaneously poking fun at the recurrent themes present in Austen’s works (i.e. a hansom hero). From our readings though, we understand that while Austen wasn’t overtly public, she did share her work with circles of family and other close relations. This second comic (which I personally find hilarious) is a commentary on the many fan fictions that one can find on the internet and, apparently, in hard copy as well. It is entitled “Fan Novel.”

 

Seriously though, hahaha!

 

Dorm life: a critical review with Miss Isabella Thorpe

My dear Family,

You will have noted, I trust, in my previous correspondence the general tone of felicity with which I have described these my first weeks at University. Only with the utmost apprehension do I now endeavor to burden you with a grief I have been suffering since residing here, within the walls of the dormitory.  As I briefly mentioned in one of my previous letters, I do not have the preferred arrangement of private bathing quarters here. Instead, I find myself bearing the burden of a shared bathroom with the other ladies who reside on my hall—although after reading what I am about to describe, I am sure you will agree that naming them “ladies” is perhaps a stretch of my generosity. Indeed, it is my unfortunate duty to relate to you that this arrangement of a shared bathroom is the exclusive source of my present inquietude.

As my most loving and dearest family, you are aware, of course, of my adherence to proper bathing practices and etiquette—as befits any such lady in my position. I therefore, in keeping to what is right and appropriate—as well as suitable with my own tastes—I take to the bath 3 times daily. This would not be too terrible of an ordeal were the location of my current bathroom so horridly far from my sleeping quarters! Oh! To carry all of the necessary shampoos, lotions, and perfumes back and forth three times a day is quite taxing on my abilities—I am certain that in the next attempt I make at such a fete that I will slip and fall on my way back, spilling my precious ointments everywhere and resulting in quite an unsightly and painful bruise. But this is not the worst of it, no. Not by far.

It was Saturday the last when I was going in for my evening bath when I came across a pair of boots sticking out from one of the stalls—yes, stalls. That is what the other girls call them and I have decided it is quite fitting based on the demeanor with which they act in there, rather like a barn for horses—this will all become clear to you momentarily. Well, upon further examination of these boots, I discover that they are attached to one of the other women who lives on my hall and, consequently, shares this bathroom. This girl was face-down, in the commode, and clearly out of her wits. In my good nature, I rushed to her to assist her, for she was clearly in need of some assistance in her ill state. Upon closer examination, however, I come to find that she is the cause of her current state and that she had been in her cups the whole evening! I was shocked by such behavior as befits a stable hand!

But alas, I have come to find these current arrangements inhospitable and have even taken to bathing only once daily now—hardly enough for a proper lady such as myself. Indeed, I would venture to say that aside from the showers, sinks, and hot, running water, it is hardly a bathing room at all! Not to mention that there is not a marble counter to speak of in the entire place and the soap provided is most disagreeable with my sensitive skin. I apologize for any distress that is account may cause you, my dear loved ones. I know that the hardship I face here is great, but I assure you that I will not lose sight of that which is of the greatest importance at my time here—finding a well bred and suitable husband who will, I am certain, provide me with the most agreeable estate, and bathing quarters, that one such as myself can dream of.

Yours affectionately Isabella Thorpe

Reading Novels– Women’s Work

One early instance in which reading is discussed in Austen’s Northanger Abbey is when as Catherine and Isabella deepen their friendship, they read novels together and discuss them. Indeed, as Austen writes, “The progress of friendship between Catherine and Isabella was quick as its beginning had been warm…[they] shut themselves up, to read novels together” (23). Further, one morning when the girls meet in the “Pump-room,” they begin to discuss a novel that Isabella has recommended Catherine read, entitled “Udolpho”. They talk about some of its more exciting plot points, then Isabella tells Catherine that she has “made out a list of ten or twelve more of the same kind for [her]” (25). In the case of Catherine and Isabella’s friendship, novels serve as a binding factor, giving them more topics of conversation as they discuss the current text they are reading as well as ones for the future. Indeed, novels give a promise of the future strength of their relationship, especially since Isabella’s list for Catherine is so exhaustive. Furthermore, novels provide a means for them to talk about other people, such as when Isabella mentions Miss Andrews who has read all of Isabella’s recommended novels.

When Catherine asks Isabella’s father, Mr. Thorpe, about “Udolpho,” she is faced with some of the rules that govern the discussion of novels. Her question is innocent enough as to whether he has read “Udolpho,” but Mr. Thorpe’s reply is highly charged: “Udolpho! Oh Lord! Not I; I never read novels; I have something else to do” (Austen 32). But if Mr. Thorpe’s answer is telling to the reader, Catherine’s reaction to it is even more so: “Catherine, humbled and ashamed, was going to apologize for her question, but he prevented her by saying ‘Novels are so full of nonsense and stuff…’”(Austen 32). Although Mr. Thorpe and Catherine go on to actually have a small discussion about novels, Mr. Thorpe’s tone is such that it is clear to both Catherine and the reader that novels are not appropriate topics of discussion between young women and older men. Furthermore, it seems that novels are strictly reserved for the women’s sphere, and within that, only to be discussed in smaller parties. Because the reading and discussion of novels is a gendered activity, only for women, it seems to make them frivolous and unimportant with no actual weight or effect on society. It is with this in mind that we return to earlier in the novel when the voice of the narrator, Austen, goes on a tangent.

After mentioning that the friendship of Isabella and Catherine was strengthened by reading novels together, the author goes on a rather lengthy (and somewhat humorous) rant, justifying the fact that she is having her characters read novels. She writes: “I will not adopt that ungenerous and impolitic custom so common with novel writers, of degrading by their contemptuous censure the very performances, to the number of which they are themselves adding…” (Austen 23). Austen’s tangent which essentially calls all authors of novels, who have their characters scoff at novels, hypocrites, is telling of the society at the time. It seems that the reading of and conversing about novels was not only an “unimportant” activity in Catherine and Isabella’s society, but also Austen’s.

Language of Holiness and Union in Philips’s “To Mrs. Mary Awbrey at Parting”

Many of Katherine Philips’s poems are ones addressed to specific friends, expressing her feelings of friendship for them. I choose “To Mrs. Mary Awbrey at Parting” in particular because I find the language she uses defines more of a romantic relationship than a platonic one.  Furthermore, she frequently describes her relationship in religious terms. For example, at the beginning of the poem Philips writes “’Twas sacred sympathy was lent/ Us from choir above./ That friendship fortune did create,/ which fears a wound from time or fate” (9-12). Here, the use of the words sacred, fortune, and fate as well as the reference to the chorus of angels, conveys to the reader that the relationship between Philips and her friend is something that was destined to be by God. This type of language, when used to describe the relationship between two people, most often belongs in the expression of a romantic one. This romantic speech is continued throughout the poem, specifically when she writes:

“Thus our twin souls in one shall grow,
And teach the world new love;
Redeem the age and sex, and show
A flame fate dares not move:
And courting death to be our friend,
Our lives together too shall end”
Philips 49-54

The language in this stanza is one of eternal union. Indeed, as she writes how their souls will grow into one, this calls to the reader’s mind a type of physical union as well. This thought is continued in the next line when she refers to teaching “the world a new love.” Is it possible that this “new love” could be a homosexual one? This seems to be the case. Philips then uses the metaphor of a flame to describe their love. This imagery is one of passion, which again imbues this passage with romantic undertones. Further, this instance marks the second time she uses fire as a device.

Earlier in the poem, Philips describes how their love is “Inspired with a flame divine” (25). Here, the two concepts are brought together. The word “divine” again gives their relationship an elevated position while the word “flame” implies a romantic passion that burns within the author. In the passage quoted above, Philips also describes how their lives will end together. This thought is continued in the next stanza when she writes how “A dew shall dwell upon our tomb” (55). In writing “our tomb,” Philips ends the poem with her and her friend in eternal union, physically buried with each other. Traditionally, it is only husbands and wives who share a grave site or tombstone. Even family plots in cemeteries are common. As the final thought in her poem, Philip’s description of their eternal resting place implies a level of love and dedication not found in most platonic, friendly relationships. Furthermore, the consonance within the line of “dew shall dwell” with “dew” and “dwell” as well as “shall” and “dwell,” adds a sweetness to the line that seeps with romance.

While Katherine Philips was supposedly writing just to her friend, the language of fate and union tells a different story. Her language elevates their friendship and seals their souls together in a seemingly romantic union, leaving the two women in an eternal bond.

Mz. Lurker: an introduction

“Hello world.” That is, of course, the proper greeting of new web pages in the ever-growing internet sea. Thus, as a citizen of the internet, I find it only proper to start this blog accordingly.

I suppose I should explain a little about my name. You see, here in the internet, within the countless forums (chiefly Reddit, in my case), those who read new posts and comments diligently yet never bring themselves to comment are dubbed with the affectionate title of “lurker.” I find myself within this category seeing as I have interneted (yes, it’s a verb now) for years and have never posted, commented on a post, or even created an account in any forum or other internet community.

I have spent my time reading, observing, and absorbing countless gigabytes of information like a sponge, but never being so bold as to assert my own beliefs and opinions onto other interneters. I know the rules and customs associated with posting, and I can identify when someone is out of line. I’d like to think that if I did create an account somewhere that I would be accepted as moderator the very same day, in fact. Such is my knowledge and prowess.

I hope you enjoy my various insights into the topics I address. You can rest assured knowing that they are of the highest quality found in the internet.