don't be a fool.

The words that I chose to look up in the concordance were variations of the word, fool. They included foolish, fool and fooling. I got a lot of hits and it totaled about 7 pages of quote citations.

2. Where is the data you retrieved found? What is happening in context when Shakespeare employs this particular theme or image?

Well the word fool appeared may times. In general, it is often characters calling other characters a fool are describing them as foolish. The Feste's name came up the most and he is not usually referring to to himself. Malvolio calls others a fool a couple of times, which is ironic because he's being made a fool of my Maria. Sir Andrew and Sir Toby say it once or twice, that is also ironic because they make fools of themselves. Olivia and Orsino talk of being foolish, which is ironic because Orsino is being foolish because he loves someone and is pursuing someone that has no interest in him. And Olivia is being foolish because she is in love with Cesario, who is really a woman. Finally, Maria says it, which is fitting because she is making others look foolish *cough cough* Malvolio. In short, Feste and Malvolio have to most hits.

3. How does the data you retrieved support your first thoughts on Shakespeare’s obsessive use of a particular image? What can you argue about Shakespeare’s figuration?

In every Shakespeare play I've read, I've found the the Fool or the Jester plays an important part. For example, he is the voice of reason or the character that knows what is going to happen and tries to warn others when a plan will go array. And he is often over looked because the characters believe him be there for shear entertainment. So I think a motif of the play is the fact that every character is foolish in some way, accept for the fool, which is really ironic because... I mean his name is the fool..

4. I cannot answer because I have not met with my group...

lunacy, instability and delirious musings

Viola: I am the man (II.ii.25)

This is just plain comedy and it is seems to be the biggest joke in the whole play. Viola is not a man, actually. She is a woman. The audience knows that, and we know that... But the other characters don't know that. I can already predict this is going to cause a lot of mayhem throughout the closing of the play.

Malvolio: ...and yet to crush it a little, it would bow to me (II.v.143-145)

Malvolio is reading the letters on the post script, whicih are MOAI and he says that if he were to rearranged and change his name just a little, they are the letters of his name and therefore it is referring to him. It shows his desperation and for his "lady" and his delusion of how he can fit into the equation, when in fact the equation has no answer and equates to nothing.

Viola: Then you think your right. I am not what I am.

Olivia: I would you were as I would have you be. (III.i.148-9)

Olivia does not know that Viola is really a women so when Olivia tells Viola she isn't what she is, Viola replies, 'you're right, I'm not what I am.' So Olivia doesn't know what what this exclamation really means, which is that she is really a woman. She claims that she wishes Viola was what she wants her to be. This is very ironic because Olivia is talking is the correct context, but she doesn't not know the truth. Unfortunately, Viola could never be what Olivia wants her to be and Viola does not in fact know who she is.

freewriting royal.

Act II sc. iii line 170: "Sport royal"

Maria is referring to her letter that she fooled Malvolio with. A sport is a game, in which two entities compete for a prize and for the entertainment spectators. Although Malvolio does not realize, his prize has been made unattainable by his deceiver, Maria. He also does not know that Maria is a player in this sport and that she and other characters in the play are spectators. They are watching this game unfold as Malvolio tries desperately to win his prize, and they are thoroughly amused by it--as if it were a real sport.

small essay, BIG REACTION

After I finished this essay, I'm going to be honest. It wasn't my best, nor my favorite. I feel like I had a really good plan and I mapped out my plan of attack nicely. But it didn't translate as well as I thought it was going to. I started it early, but I finished it late. It was one of those essays that you just can't wait to be done with. Do I think I did terrible? No. Am I proud of it? Well, I'm not ashamed of it, if that answers my own question... I did rest on the fact that we can rewrite this. So I didn't type my fingers off. However, I don't want to make it seem like I just did it because I had to and handed it in. Well, I did. But I did put thought into it as well. I did work on it. I did go to the writing center. I just couldn't find a passion for it to make my writing outstanding. Maybe next time.

blood, sweat and ink.

"BG's" quote:

From: Act 2, iv 80-85

Said by: Feste the Fool

"Now the melancholy god protect thee, and the tailor make the doubtlet of changeable tuffeta, for thy mind is very opal. I would have men of such constancy put to sea, that their business might be everything and their intent everywhere..."

The fool is comparing a man's changing mind to an opal and changing taffeta. He says he will put them to sea. He begins by wishing him luck, because a changing mind is a dangerous one. By stating the mind is like "tuffeta" and "opal" he identifies it as changing. I think he puts them to sea, because that is where they can go with their thoughts and sort them through. Those kind of men with changing minds should be put to sea. They can do anything and go anywhere with their wandering minds and make "a good voyage of nothing."

Seeking Six Shakespeare Answers

Six Questions:

1. What kind of significance does the Fool hold in the play? Does he foreshadow events? Or does he serve as an omnipotent character?

2. Of what status is Viola?

3. What is the point of the hair and languages conversation on page 19, line 91-98?

4. Is there a double meaning to the conversation of dancing on page 21?

5. What is the Fool saying on page 29, line 40 in plain English?

6. Are there multiple places where foreshadowing of what will happen to characters later on in the play made by other characters?

cut and paste.

I do revise. I don't always save that process to be the last thing that I will do. When I get done with a section of my essay I will go back an reread that one section. I usually leave out words or make silly grammatical mistakes. But sometimes I also find that I got lost in a certain thought while writing, and I have left out something vital to the meaning of my passage. Sometimes I realize that I have to explain something that makes sense to me but perhaps not to my audience and sometimes I need to move paragraphs or sentences around. After each section I usually repeat the process and then read it through again when I have finished the whole thing.

What figuration...? Well, it's like when you play music. You start to play the whole thing anticipating to get to the end. However sometimes, you mess up and go back to play it slower or to break it down until when you play it at full speed again, it sounds like it should. And then you move on to the next part.

poor torreya tree

The increasing climate change and it's effect on the Torreya taxifolia is the main thesis in Michelle Nijhuis's article, "To Take Wilderness In Hand." She claims that although the tree is extremely small and scrawny and literally means "stinking cedar" it is an ancient tree (Kolbert 181). It is even considered an "ancient relic" and because of the changing climate, they are hard to find and are "reduced to a handful of mossy trunks, rotting in riverside ravines" (181). One solutions she recognizes would to be uproot the plants and transport them to a climate that would better support their growth and expansion, better known as assisted migration. However, this is costly and indefinite because the tree would be entering as a new species and cause a dangerous affect. As the riverbanks slowly erode away, another solution is brought up. Nijhuis interviews David Printess about "burn boss" which are controlled fires that he believes would bring "some sunlight back to the steep ravines where the Florida torreya once grew" (184). However the disease killing the trees has not been identified and therefore there is not definite that it will not sprout up again when the trees relocate. Sometimes, she identifies that meddling must take place in order to save a species although must practices have many negatives.

what's up sue halpurn

...I forget what the first question was! My paper was collected and I can't find them anywhere, so I don't remember what the fist one was.

Active Verbs:

"It was a quiet, undemanding job, intended to allow him to decompress from combat" (117).

"It dropped viewers into one of two scenarios..." (118).

"...its rotor whirring, body casting a running shadow over rice paddies..." (118).

*this can be considered figurative as well*

"It was the first assessment of of mental-health problems emerging from service..." (122).

"...increases the likelihood of evoking the patients actual experience while engaging the patient on so many sensory levels..." (123).

Figurative Language:

"... they worry it might be cruel to immerse a patient in a drowning pool of painful memories" (119).

"A sandstorm could be raging..." (123)

"...he pick through a jumble of cables searching for the one that was live" (125).

"Even when the guy in the seat next to me was shot, and his shirt sprouted a red bloom..." (126).

Leave with a Quote:

"It showed me that they were motivated to do game tasks and that the more they did them the better they got, and it hit me that there could be a link between cognitive rehabilitation and virtual reality" (123).

abstract numero tres

Sue Halpern's article, "Virtual Iraq" is one that aims to describe a new method of treating post traumatic stress disorder, better known as PTSD. PTSD is hard to treat and many "therapies that we've seen don't seem to be working" (Kolbert 118). With almost 20% of war verterans from Iraq and Afghanistan suffering from this disease, the need for a successful treatment is eminent. Halpern offers this new kind of treatment that is based off of old psychological theories and the Virtual Vietnam, which was the first program of its time invented by Jarrell Pair. The Virtual Iraq, created by Albert Rizzo, is a simulation, video game-esque alternate reality that allows a patient to experience a time of trauma over and over again until they have been desensitized. Halpern notes that it must be supervised by a trained therapist who will warn the patient when they will deploy more sounds or more airplanes. This process is called habituation and the video game aspect of this treatment places the patient in a more comfortable environment in which they are not embarrassed, ashamed or overwhelmed. However, it still forces them to face the fear and anxiety that lie in these events. Halpern tells the story of Travis Boyd as an example of a PTSD success story who at first, could not even drive off base by himself. Although the road to creating such a treatment was difficult because of funding and skepticism, it has helped those like Travis Boyd enjoy life again. Halpern makes a strong argument in favor of Virtual Iraq, however she assumes that because of culture today, that a virtual reality treatment would be acceptable. However, this "video game" may only attract younger veterans as appose to the older ones aversive to the idea of a virtual reality.