An Essay on Man 6/30/19

Before major scientific breakthroughs occurred, religion sought to explain the world and how it works. Then people began studying and seeking answers outside of biblical reasoning, and the two entities became conflicting. However, Pope’s arguments that divine order can coexist with evil and chaos create a logical explanation for religion and science to exist together. His rhyming “An Essay on Man” blends religion, science, and good old fashioned poetry to defend his position.

For starters, Pope asserts that God knows the way systems work and can see the entirety of the universe as compared with the relatively miniscule field of vision for mankind (90-91). Although British society had advanced to such an extent that science and education became the norm, Pope also noted that cultures must begin in a primitive setting. He points out that the Native Americans saw God in nature, but he further asserts that such beliefs lead to happier outlooks -- rather than seeking slaves and gold (92-93). If discovery and education lead to corruption, are the supposed intellectual superiors truly moral and just?

At the end of the day, human beings need religion and science to live a more balanced life. Religion provides the moral compass to direct mankind through all situations, while science explains how and why things work. Alexander Pope’s “An Essay on Man” brilliantly argues that science and religion can coexist, even when people question how evil can exist under God’s watchful eye. After all, evil exists in balance with good, just as light coexists with darkness.

Work Cited
Pope, Alexander. "An Essay on Man." The Norton Anthology of World Literature. Gen. ed. Martin Puchner. Shorter Third edition. Vol. 2. New York: W.W. Norton & Company, 2013. 90-97. Print.

de Navarre 6/23/19

The mark of a good ruler always shines through their treatment of their subjects. A fair and merciful ruler understands that life’s circumstances are out of one’s control, whereas a bad ruler abuses the power they were born into. Marguerite de Navarre’s “Story 8” tells the tale of a husband who attempts to become intimate with his wife’s chambermaid, who feels victimized and concerned for her mistress’ marriage. Although the husband and wife of de Navarre’s tale hardly count as royalty, they certainly hold a position of power in order to afford a chambermaid. Assuming for a moment the husband and wife are king and queen, the husband abuses his power by coercing the chambermaid to bed with him (de Navarre 1643). He and his friend plot to share the poor young lady as a means of amusement outside of marriage. Such behavior is unbecoming for Godly men, of course, but the chambermaid has no intention of becoming an adultress herself. Confronting her “queen,” the chambermaid reveals the “king’s” lecherous ways, which leads the wife to hatch a plan (de Navarre 1643). In this case, the royalty involved takes pity upon her loyal subject and protects the chambermaid from the “king.” She offers the chambermaid sanctuary despite the fact her husband would rather sleep with the chambermaid than the wife herself. Rather than becoming riddled with jealousy, the wife spares the chambermaid from sullying herself. As such, Pierre Bayle’s argument that Marguerite de Navarre is a queen who “grant[s] her protection to people persecuted for opinions which she believes to be false” proves accurate. De Navarre clearly refused to see the chambermaid be wronged by her master and stood up as the wife to prevent such persecution from progressing. Works Cited de Navarre, Marguerite. “From The Heptameron: Story 8.” The Norton Anthology of World Literature. Gen. ed. Martin Puchner. Shorter Third edition. Vol. 1. New York: W.W. Norton & Company, 2013. 1640-1647. Print.

Sunjata 6/16/19

In modern times, Western brides walk down the chapel aisle decked in white as they approach the wedding party at the altar. Her father escorts her to her husband as the ancient ritual of the father giving away his daughter. These days the custom merely symbolizes a rite of passage rather than the archaic exchange of property. The bridesmaids gather around their friend in solidarity. However, "Sunjata" portrays a much difference bridal experience.

Sologon Conde could not walk to her husband due to her health conditions, therefore the other wives carried the poor woman to her new home and husband (Sunjata lns 750-771). At first glance, this procedure appears friendly and helpful because the women are coming together to help their “sister.” However, their true intentions shine through when poor Sologon Conde’s headscarf falls off to reveal she is bald (Sunjata 773-774). Rather than assisting her and reassuring their “sister,” the other wives begin singing taunts about the “heron-head” (Sunjata 780). The custom becomes more of a bullying scenario with the wives teasing the new “kid.” Otherwise, the custom seems simply fascinating, not horrific -- within the context of the selected lines.

While some cultures practice various rituals when joining two people together as a couple, similarities can be found. Up to the point before the wives taunted Sologon Conde, the gathering seemed reminiscent of a bridal shower or bachelorette party. However, bullying is unacceptable across cultural boundaries. Given that Islam permits polygamy for men, "Sunjata" raises the question of bullying among Islamic wives -- a question for another time.

Works Cited
“Sunjata: A Western African Epic of the Mande Peoples.” The Norton Anthology of World Literature. Gen. ed. Martin Puchner. Shorter Third edition. Vol. 1. New York: W.W. Norton & Company, 2013. 1536-1537. Print.

Basho 6/9/19

The videographer’s combination of Japanese paintings and pictures with some of Basho’s poetry captures the feeling of an elderly man lamenting his old age. The references to death, autumn, and the passage of time become prominent, especially given the double use of the withered tree image in the video. The spring cherry blossoms are gone, and the summer cicadas are blissfully unaware of their imminent death. The cold air and perched crow foretell the narrator’s approaching death. The images almost paint a picture of the narrator’s life flashing before his eyes, recalling more youthful memories.

In contrast, The Norton Anthology highlights more optimistic works from Basho’s journey through the “Deep North.” The excerpts illustrate the actual trip itself, leaving the poems in the context Basho originally intended. The video takes specific poems to evoke the overall tone of the content. Combined with the images and somber music, the poetry presents a different emotion than that of the Norton excerpts. Perhaps Santiago-Sebazco intended to highlight how Basho passed away in his autumn years, never making it to his winter years. Puchner et al. states that Basho lived from 1644 until 1694, meaning Basho was only fifty upon his death (324). Basho did not begin his travels with his friend Sora until 1689, a mere five years before his death (Puchner et al. 324).

During Basho’s journey, he seems more inclined to channel the same appreciation and respect for nature as the Tang poets. “Aw inspiring!/ on the green leaves, budding leaves/ light of the sun” (Basho 327). Basho revels in the changing of the seasons, and he becomes especially delighted by the summer. Due to the climate of the “Deep North,” such a change in weather likely brought about great joy to the locals he encountered. However, towards the end of the Norton excerpt, Basho begins discussing autumn. Although he may have been unaware at the time, Basho may have foreshadowed his own untimely death when admiring the helmet of Sanemori (335).

Works Cited
Matsuo, Basho. “From The Narrow Road to the Deep North.” The Norton Anthology of World Literature. Gen. ed. Martin Puchner. Shorter Third edition. Vol. 2. New York: W.W. Norton & Company, 2013. 325-336. Print.
Puchner, Martin, et al. “Matsuo Basho.” The Norton Anthology of World Literature. Gen. ed. Martin Puchner. Shorter Third edition. Vol. 2. New York: W.W. Norton & Company, 2013. 324-325. Print.
Santiago-Sebazco, Raul. “Matsuo Basho.” YouTube.com. 2010. https://www.youtube.com/watch?v=zXvzgR3A9_I.

Classic of Poetry 6/2/2019

In “Classic of Poetry,” ten poems offer several interpretations of morals and virtues that transcend time. Work ethic, loyalty, purity, and reverence for nature all permeate the lines in each poem, extolling the virtues of goodness and patience. “Fishhawk” repeats “Gentle maiden, pure and fair” several times throughout the poem, indicating that a woman is more attractive when her beauty radiates from within -- her purity (759-760). Followed by the “Peach Tree Soft and Tender,” the message of purity and loyalty continues to assert that a woman must be faithful to her family and husband, maintaining her purity once again (760). In “Plums Are Falling,” once again the the maiden must remain pure and faithful to the one who will become her husband. “Many men want me” repeats the narrator, who must choose amongst the fruit -- men -- courting her, but she can only be the “bride of one” (760). In contrast to the first three poems, “Dead Roe Deer” implies a young maiden has gone into the forest with a young man where they likely become intimate with each other against the cautions of the previous three poems.

“Huge Rat” and “She Bore the Folk” set more guidance for worth ethic and respect for nature. The narrator of “Huge Rat” pleads with a rat to stop eating their crops, seemingly ready to give up life due to the hardship caused by nature’s wrath upon their farm. Leaving the rat for somewhere happier seems to indicate the narrator is contemplating suicide, rather than determining a way to stop the rat from destroying the millet, wheat, and sprouts (764). Finally, Lord Millet grows into a prosperous farmer, cultivating crops to feed future generations and encouraging the successors to continue striving for bountiful harvests. Nature can give or take, but hard work and faith pay in dividends.

Works Cited
“Classic of Poetry.” The Norton Anthology of World Literature. Gen. ed. Martin Puchner. Shorter Third edition. Vol. 1. New York: W.W. Norton & Company, 2013. 759-766. Print.