PARADISE LOST FINAL PAPER
To Exist in a "Paradise"
To Exist in a "Paradise"
Cover Letter- This is my final edition of the end of Creation unit paper about Paradise Lost and the specifically the usage of the word "Paradise". While writing about the title word may seem like an easy way of doing an assignment about the most important word in a book or in this case epic poem, it is quite hard to fully justify and argue why this specific word "Paradise" is a necessity for the text. It is understandable that this word is important because why else would a writer title it this way. My biggest obstacle though is to go beyond what the initial implication of seeing the word is. Therefore, I ask myself as a reader, do we fully take the time and attention to detail to actually look at the individual word and think about its overall function in a story? Probably not for my curious non-experts. By writing this specific paper, my intention here is to create a conversation around my interpretation of the word “Paradise” and exploring its varying definitions, usage in the text, and etymology. After my peer revisions, I sought out to do a reverse outline to properly frame my thoughts and pull out the specifics from the revised argument. By doing so, I carefully reminded myself of the implications of using the word Paradise and tried to illustrate those in the best efforts that I could. I was willing to rework and accept the discomfort that comes from revisions as a writer. What truth could writers hold if they were not at least content with being discontent with their writing knowing the true value of possible pure substance and the well craftsmanship art of their own doing?
In John Milton’s epic poem, Paradise Lost, he attempts to tell a story centered around Christian beliefs where man exists in a place called Paradise. This Paradise exists on Earth and is also known as the Garden of Eden; however, in Christian stories the Garden of Eden is not referenced or looked at as a Paradise. By naming the poem "paradise lost", Milton is opening up the ethical implications that arise from having a lost paradise. There are questions like how could humans exist in a new home that is equally good in the eyes of Creator God? Likewise, how can Adam and Eve exist in a place when they have no direct contact with an authority? Adam and Eve then loses a sense of self as Paradise contained all the knowledge they would ever know about one another. From the expulsion from Paradise and for the rest of existence, the identity of Adam and Eve will be lost as they have showed God their need to test their human character and go against authority.
Throughout the story, there are small encounters where minor characters recount on the loss of Paradise. The understanding of it being that Paradise itself is not lost, but the feeling and longing of man’s home is lost. Although Paradise is referenced as a place in the story, perhaps Milton’s argument is the idea that Paradise exists in the individual because ultimately in the end, Adam and Eve are forced out of Paradise therefore making their home "lost", but the main inhabitants of that area was the two, and because of their love and desire, they have each other.
Milton’s choice of rhetoric characterizes the distinctions between Heaven vs. Paradise as well as Eden vs. Paradise. At the time of writing it seemed that the words could be used interchangeably, but Milton attempts to use “Paradise” in a way that can set up for the fall of man. By doing so, readers can understand what it means to have this specific place be lost, whereas the usage of “Eden” and “Heaven” help to explain that these places could never fall due to the disobedience of man.
The first instance of the word “Paradise” is the end of Book III. This is the first usage of the word, but in Book I, Adam and Eve’s home is referenced but never actually called a Paradise. It is interesting that Milton calls the Garden of Eden, a Paradise, because God and the archangels look to it as a place where Adam and Eve disobeyed their Creator God. This shows readers a shift into contemporary language and its use within the telling of this human Creation story.
In Christian texts, the 3 main points of existence are Heaven, Hell, and Earth. As the King James Bible argues that Earth was created in 7 days, Milton provides that Paradise was created after Satan’s rebellion and Earth is partly connected to Heaven through various styles of communication, but still retains its own existence as a separate place between eternal spirits and humankind. In contrast, some religions like Islam interpret the word “Paradise” as heaven ("Paradise, n1c") , Milton makes it so Paradise can exist as it’s own place separate from the other realms of existence within the poem.
One place commonly associated with Paradise is Eden, as most Creation texts refer to the home of Adam and Eve as the Garden of Eden. Eden is a Hebrew word which actually means “delight” or “pleasure” ("Eden, n") whereas Paradise around the 16th century meant “park” ("Paradise, n5"). Therefore, when referenced Eden is being called a “Garden of Delight/ Pleasure”. These are emotions and provide feelings and this feeling does not change after the committed sin of Adam and Eve. Eden could still be a place full of delight and pleasure whereas Paradise is subjective to an individual. For example, when Satan sees Paradise, they refer to it as a “delicious Paradise (Milton, 4.132).” The language expresses the emotional gratification that lies within Satan when looking into Paradise. Milton could have put Eden but that would not carry the same effect that the word “Paradise” has.
The word “Paradise” has multiple origins as borrows some from Latin "paradisus" ("Paradise, n") and some from French making it "paradis" ("Paradise, n"). While Milton’s Paradise consists of the specific location home to man, there are other speculations as to whether Heaven is truly Paradise. However, if Paradise was Heaven, then Heaven would also be lost. Heaven is also not home to man. A definition for “Paradise” is that Paradise exists as the form of the “Judeo- Christian Heaven” ("Paradise, n2a"). The significance of this in relation to Milton is that this notion of Heaven is home to God and angels but also "the final abode of the redeemed" (Paradise, n2a"). Arguably, Milton uses “Paradise” in a way that exists separate from the eternal power of God.
Although it is believed that Paradise and Heaven are synonymous with one another, Milton distinguishes the differences between these two abodes. The main distinction being that man in Paradise has free will and with this is reason as long as man obeys the authority of God. Heaven is the home of God and the archangels who trust and follow their God, and Heaven is light and set above all things in the universe. By using the word “Paradise”, Milton alludes to the idea that this world exists in it’s own sphere. As Heaven is the home to spirits and eternal power, Earth is home to humans who exist in their own choice. Paradise represents the home of both good and evil. This dialectical relationship grapples with the two distinctions of man.
This thinking and belief system was, somewhat modern at the time, as man could exist in a world but still have forms of direct communication with God. Religion use to be the foundational structure of life and society, but Milton sought out a way that could tell the story and work of God for man, but instead signifies the importance that God imposed a basis of freewill and choice. Thus being, human beings can exist in a world created by God but instead of ruling through eternal providence, humans authority will have come from their own freewill and choice. In Heaven, perhaps the absence of freewill and choice has allowed for the strong establishment of eternal power and authority which has makes it not "fall” or "lost". Heaven has succumbed to the treatment and ruling of Satan but it has never stood alone in the face of sin.
Citations:
"Eden, n." Oxford English Dictionary Online, March 2020, https://www.oed.com/view/Entry/59493?isAdvanced=false&result=1&rskey=UPq7f9&. Accessed 13 April 2020.
"Paradise, n." Oxford English Dictionary Online, March 2020, https://www.oed.com/view/Entry/137340#eid31855778. Accessed 13 April 2020.
"Paradise, n1c." Oxford English Dictionary Online, March 2020, https://www.oed.com/view/Entry/137340#eid31855778. Accessed 13 April 2020.
"Paradise, n2a." Oxford English Dictionary Online, March 2020, https://www.oed.com/view/Entry/137340#eid31855778. Accessed 13 April 2020.
"Paradise, n5." Oxford English Dictionary Online, March 2020, https://www.oed.com/view/Entry/137340#eid31855778. Accessed 13 April 2020.
In John Milton’s epic poem, Paradise Lost, he attempts to tell a story centered around Christian beliefs where man exists in a place called Paradise. This Paradise exists on Earth and is also known as the Garden of Eden; however, in Christian stories the Garden of Eden is not referenced or looked at as a Paradise. By naming the poem "paradise lost", Milton is opening up the ethical implications that arise from having a lost paradise. There are questions like how could humans exist in a new home that is equally good in the eyes of Creator God? Likewise, how can Adam and Eve exist in a place when they have no direct contact with an authority? Adam and Eve then loses a sense of self as Paradise contained all the knowledge they would ever know about one another. From the expulsion from Paradise and for the rest of existence, the identity of Adam and Eve will be lost as they have showed God their need to test their human character and go against authority.
Throughout the story, there are small encounters where minor characters recount on the loss of Paradise. The understanding of it being that Paradise itself is not lost, but the feeling and longing of man’s home is lost. Although Paradise is referenced as a place in the story, perhaps Milton’s argument is the idea that Paradise exists in the individual because ultimately in the end, Adam and Eve are forced out of Paradise therefore making their home "lost", but the main inhabitants of that area was the two, and because of their love and desire, they have each other.
Milton’s choice of rhetoric characterizes the distinctions between Heaven vs. Paradise as well as Eden vs. Paradise. At the time of writing it seemed that the words could be used interchangeably, but Milton attempts to use “Paradise” in a way that can set up for the fall of man. By doing so, readers can understand what it means to have this specific place be lost, whereas the usage of “Eden” and “Heaven” help to explain that these places could never fall due to the disobedience of man.
The first instance of the word “Paradise” is the end of Book III. This is the first usage of the word, but in Book I, Adam and Eve’s home is referenced but never actually called a Paradise. It is interesting that Milton calls the Garden of Eden, a Paradise, because God and the archangels look to it as a place where Adam and Eve disobeyed their Creator God. This shows readers a shift into contemporary language and its use within the telling of this human Creation story.
In Christian texts, the 3 main points of existence are Heaven, Hell, and Earth. As the King James Bible argues that Earth was created in 7 days, Milton provides that Paradise was created after Satan’s rebellion and Earth is partly connected to Heaven through various styles of communication, but still retains its own existence as a separate place between eternal spirits and humankind. In contrast, some religions like Islam interpret the word “Paradise” as heaven ("Paradise, n1c") , Milton makes it so Paradise can exist as it’s own place separate from the other realms of existence within the poem.
One place commonly associated with Paradise is Eden, as most Creation texts refer to the home of Adam and Eve as the Garden of Eden. Eden is a Hebrew word which actually means “delight” or “pleasure” ("Eden, n") whereas Paradise around the 16th century meant “park” ("Paradise, n5"). Therefore, when referenced Eden is being called a “Garden of Delight/ Pleasure”. These are emotions and provide feelings and this feeling does not change after the committed sin of Adam and Eve. Eden could still be a place full of delight and pleasure whereas Paradise is subjective to an individual. For example, when Satan sees Paradise, they refer to it as a “delicious Paradise (Milton, 4.132).” The language expresses the emotional gratification that lies within Satan when looking into Paradise. Milton could have put Eden but that would not carry the same effect that the word “Paradise” has.
The word “Paradise” has multiple origins as borrows some from Latin "paradisus" ("Paradise, n") and some from French making it "paradis" ("Paradise, n"). While Milton’s Paradise consists of the specific location home to man, there are other speculations as to whether Heaven is truly Paradise. However, if Paradise was Heaven, then Heaven would also be lost. Heaven is also not home to man. A definition for “Paradise” is that Paradise exists as the form of the “Judeo- Christian Heaven” ("Paradise, n2a"). The significance of this in relation to Milton is that this notion of Heaven is home to God and angels but also "the final abode of the redeemed" (Paradise, n2a"). Arguably, Milton uses “Paradise” in a way that exists separate from the eternal power of God.
Although it is believed that Paradise and Heaven are synonymous with one another, Milton distinguishes the differences between these two abodes. The main distinction being that man in Paradise has free will and with this is reason as long as man obeys the authority of God. Heaven is the home of God and the archangels who trust and follow their God, and Heaven is light and set above all things in the universe. By using the word “Paradise”, Milton alludes to the idea that this world exists in it’s own sphere. As Heaven is the home to spirits and eternal power, Earth is home to humans who exist in their own choice. Paradise represents the home of both good and evil. This dialectical relationship grapples with the two distinctions of man.
This thinking and belief system was, somewhat modern at the time, as man could exist in a world but still have forms of direct communication with God. Religion use to be the foundational structure of life and society, but Milton sought out a way that could tell the story and work of God for man, but instead signifies the importance that God imposed a basis of freewill and choice. Thus being, human beings can exist in a world created by God but instead of ruling through eternal providence, humans authority will have come from their own freewill and choice. In Heaven, perhaps the absence of freewill and choice has allowed for the strong establishment of eternal power and authority which has makes it not "fall” or "lost". Heaven has succumbed to the treatment and ruling of Satan but it has never stood alone in the face of sin.
Citations:
"Eden, n." Oxford English Dictionary Online, March 2020, https://www.oed.com/view/Entry/59493?isAdvanced=false&result=1&rskey=UPq7f9&. Accessed 13 April 2020.
"Paradise, n." Oxford English Dictionary Online, March 2020, https://www.oed.com/view/Entry/137340#eid31855778. Accessed 13 April 2020.
"Paradise, n1c." Oxford English Dictionary Online, March 2020, https://www.oed.com/view/Entry/137340#eid31855778. Accessed 13 April 2020.
"Paradise, n2a." Oxford English Dictionary Online, March 2020, https://www.oed.com/view/Entry/137340#eid31855778. Accessed 13 April 2020.
"Paradise, n5." Oxford English Dictionary Online, March 2020, https://www.oed.com/view/Entry/137340#eid31855778. Accessed 13 April 2020.
Paradise Lost Final Paper (ROUGH DRAFT)
To exist in a "Paradise"
Cover Letter- This is my first edition of the end of Creation unit paper about Paradise Lost and the specifically the usage of the word "Paradise". While writing about the title word may seem like an easy way of doing an assignment about the most important word in a book or in this case epic poem, it is quite hard to fully justify and argue why this specific word "Paradise" is important for the text. It is understandable that this word is important because why else would a writer title it this way. However, as a reader, do we fully take the time and attention to detail to actually look at the individual word and think about its overall function in a story? Probably not for my curious non-experts. My intention here is to create a conversation around my arguing and interpretation of the word “Paradise” and exploring its varying definitions, usage in the text, and etymology. All of which can adhere to my argument that this is the most important word in the text.
In John Milton’s epic poem, Paradise Lost, he attempts to tell a story centered around Christian beliefs where man exists in a place called Paradise. This Paradise exists on Earth and is also known as the Garden of Eden, however, in Christian stories the Garden of Eden is not referenced or looked at as a Paradise. By naming the poem "paradise lost", Milton is opening up the ethical implications that arise from having a lost paradise. In Milton’s Creation story, instead of referencing Eden as a place where sin first entered the minds of man, he refers to it as “Paradise”. This in turn, allows for a modern retelling of a Christian text and shows readers a shift into contemporary language and its use within the telling of the human Creation story.
The first instance of the word “Paradise” is the end of Book III. This is the first usage of the word, but in Book I, Adam and Eve’s home is referenced but never actually called a Paradise. It is interesting that Milton calls the Garden of Eden, a Paradise, because God and the archangels look to it as a place where Adam and Eve disobeyed their Creator God.
In modern times, the word elicits a positive connotation. Milton’s juxtaposition of a positive word with a presumed evil place creates a rhetorical argument dealing with an ethos appeal. Therefore, Milton wants readers to see the Garden of Eden as a Paradise vs the common understanding that Eden turned into a place of sin and evil.
Eden is a Hebrew word which actually means “delight” or “pleasure” ("Eden, n") whereas Paradise around the 16th century meant “park” ("Paradise, n5"). When referenced within the text, the tone begins to shift and that is when readers begin to differentiate the speaker’s feeling toward Paradise. For Satan, this place is a “delicious Paradise (Milton, 4.132).” The language expresses the emotional gratification that lies within Satan when looking into Paradise. Perhaps, this feeling of intense longing and excitement yields to the modern day usage of the word.
While Eden is a Hebrew word, the word “Paradise” has multiple origins as borrows some from Latin "paradisus" ("Paradise, n") and some from French making it "paradis" ("Paradise, n") . Some religions like Islam interpret the word “Paradise” as heaven ("Paradise, n1c") , Milton makes it so Paradise can exist as it’s own place separate from the other realms of existence within the poem. In Christian texts, the 3 main points of existence are Heaven, Hell, and Earth. As the King James Bible argues that Earth was created in 7 days, Milton provides that Paradise was created after Satan’s rebellion and Earth is partly connected to Heaven through various styles of communication, but still retains its own existence as a separate place between eternal spirits and humankind.
While Milton’s Paradise consists of the specific location home to man, there are other speculations as to whether Heaven is truly Paradise. One definition for the word “Paradise” is "theological uses" ("Paradise, nI"), but the definition varies for the type of religion. For example, Milton’s usage is a noun and suggests the place where Adam and Eve were created and lived. The other definition is that Paradise exists as the form of the “Judeo- Christian Heaven” ("Paradise, n2a"). The significance of this in relation to Milton is that this notion of Heaven is home to God and angels but also "the final abode of the redeemed" (Paradise,n2a"). Arguably, Milton uses “Paradise” in a modern way as his version exists separate from the eternal power of God.
Although it is believed that Paradise and Heaven are synonymous with one another, Milton distinguishes the differences between these two abodes. The main distinction being that man in Paradise has free will and with this is reason as long as man obeys the authority of God. Heaven is the home of God and the archangels who trust and follow their God, and Heaven is light and set above all things in the universe. By using the word “Paradise”, Milton alludes to the idea that this world exists in it’s own sphere. As Heaven is the home to spirits and eternal power, Earth is home to humans who exist in their own choice. Paradise represents the home of both good and evil. This dialectical relationship grapples with the two distinctions of man. Although Paradise is referenced as a place in the story, perhaps Milton’s argument is the idea that Paradise exists in the individual because ultimately in end, Adam and Eve are forced out of Paradise therefore making their home "lost", but they also lose their sense of self.
This thinking and belief system was, somewhat modern at the time, as man could exist in a world but still have forms of direct communication with God. Religion use to be the foundational structure of life and society, but Milton sought out a way that could tell the story and work of God for man, but instead signifies the importance that God imposed a basis of freewill and choice. Thus being, human beings can exist in a world created by God but instead of ruling in through eternal providence, humans authority will have come from their own freewill and choice.
Citations:
"Eden, n." Oxford English Dictionary Online, March 2020, https://www.oed.com/view/Entry/59493?isAdvanced=false&result=1&rskey=UPq7f9&. Accessed 13 April 2020.
"Paradise, n." Oxford English Dictionary Online, March 2020, https://www.oed.com/view/Entry/137340#eid31855778. Accessed 13 April 2020.
"Paradise, nI." Oxford English Dictionary Online, March 2020, https://www.oed.com/view/Entry/137340#eid31855778. Accessed 13 April 2020.
"Paradise, n1c." Oxford English Dictionary Online, March 2020, https://www.oed.com/view/Entry/137340#eid31855778. Accessed 13 April 2020.
"Paradise, n2a." Oxford English Dictionary Online, March 2020, https://www.oed.com/view/Entry/137340#eid31855778. Accessed 13 April 2020.
"Paradise, n5." Oxford English Dictionary Online, March 2020, https://www.oed.com/view/Entry/137340#eid31855778. Accessed 13 April 2020.
In John Milton’s epic poem, Paradise Lost, he attempts to tell a story centered around Christian beliefs where man exists in a place called Paradise. This Paradise exists on Earth and is also known as the Garden of Eden, however, in Christian stories the Garden of Eden is not referenced or looked at as a Paradise. By naming the poem "paradise lost", Milton is opening up the ethical implications that arise from having a lost paradise. In Milton’s Creation story, instead of referencing Eden as a place where sin first entered the minds of man, he refers to it as “Paradise”. This in turn, allows for a modern retelling of a Christian text and shows readers a shift into contemporary language and its use within the telling of the human Creation story.
The first instance of the word “Paradise” is the end of Book III. This is the first usage of the word, but in Book I, Adam and Eve’s home is referenced but never actually called a Paradise. It is interesting that Milton calls the Garden of Eden, a Paradise, because God and the archangels look to it as a place where Adam and Eve disobeyed their Creator God.
In modern times, the word elicits a positive connotation. Milton’s juxtaposition of a positive word with a presumed evil place creates a rhetorical argument dealing with an ethos appeal. Therefore, Milton wants readers to see the Garden of Eden as a Paradise vs the common understanding that Eden turned into a place of sin and evil.
Eden is a Hebrew word which actually means “delight” or “pleasure” ("Eden, n") whereas Paradise around the 16th century meant “park” ("Paradise, n5"). When referenced within the text, the tone begins to shift and that is when readers begin to differentiate the speaker’s feeling toward Paradise. For Satan, this place is a “delicious Paradise (Milton, 4.132).” The language expresses the emotional gratification that lies within Satan when looking into Paradise. Perhaps, this feeling of intense longing and excitement yields to the modern day usage of the word.
While Eden is a Hebrew word, the word “Paradise” has multiple origins as borrows some from Latin "paradisus" ("Paradise, n") and some from French making it "paradis" ("Paradise, n") . Some religions like Islam interpret the word “Paradise” as heaven ("Paradise, n1c") , Milton makes it so Paradise can exist as it’s own place separate from the other realms of existence within the poem. In Christian texts, the 3 main points of existence are Heaven, Hell, and Earth. As the King James Bible argues that Earth was created in 7 days, Milton provides that Paradise was created after Satan’s rebellion and Earth is partly connected to Heaven through various styles of communication, but still retains its own existence as a separate place between eternal spirits and humankind.
While Milton’s Paradise consists of the specific location home to man, there are other speculations as to whether Heaven is truly Paradise. One definition for the word “Paradise” is "theological uses" ("Paradise, nI"), but the definition varies for the type of religion. For example, Milton’s usage is a noun and suggests the place where Adam and Eve were created and lived. The other definition is that Paradise exists as the form of the “Judeo- Christian Heaven” ("Paradise, n2a"). The significance of this in relation to Milton is that this notion of Heaven is home to God and angels but also "the final abode of the redeemed" (Paradise,n2a"). Arguably, Milton uses “Paradise” in a modern way as his version exists separate from the eternal power of God.
Although it is believed that Paradise and Heaven are synonymous with one another, Milton distinguishes the differences between these two abodes. The main distinction being that man in Paradise has free will and with this is reason as long as man obeys the authority of God. Heaven is the home of God and the archangels who trust and follow their God, and Heaven is light and set above all things in the universe. By using the word “Paradise”, Milton alludes to the idea that this world exists in it’s own sphere. As Heaven is the home to spirits and eternal power, Earth is home to humans who exist in their own choice. Paradise represents the home of both good and evil. This dialectical relationship grapples with the two distinctions of man. Although Paradise is referenced as a place in the story, perhaps Milton’s argument is the idea that Paradise exists in the individual because ultimately in end, Adam and Eve are forced out of Paradise therefore making their home "lost", but they also lose their sense of self.
This thinking and belief system was, somewhat modern at the time, as man could exist in a world but still have forms of direct communication with God. Religion use to be the foundational structure of life and society, but Milton sought out a way that could tell the story and work of God for man, but instead signifies the importance that God imposed a basis of freewill and choice. Thus being, human beings can exist in a world created by God but instead of ruling in through eternal providence, humans authority will have come from their own freewill and choice.
Citations:
"Eden, n." Oxford English Dictionary Online, March 2020, https://www.oed.com/view/Entry/59493?isAdvanced=false&result=1&rskey=UPq7f9&. Accessed 13 April 2020.
"Paradise, n." Oxford English Dictionary Online, March 2020, https://www.oed.com/view/Entry/137340#eid31855778. Accessed 13 April 2020.
"Paradise, nI." Oxford English Dictionary Online, March 2020, https://www.oed.com/view/Entry/137340#eid31855778. Accessed 13 April 2020.
"Paradise, n1c." Oxford English Dictionary Online, March 2020, https://www.oed.com/view/Entry/137340#eid31855778. Accessed 13 April 2020.
"Paradise, n2a." Oxford English Dictionary Online, March 2020, https://www.oed.com/view/Entry/137340#eid31855778. Accessed 13 April 2020.
"Paradise, n5." Oxford English Dictionary Online, March 2020, https://www.oed.com/view/Entry/137340#eid31855778. Accessed 13 April 2020.
Scott and Greenblat 2.0 REVISIONS
Knowing You Are Not Your Own Creator
Cover Letter- This is my second revision of the summer AP lit homework. For this edition, I am focusing more on the innate similarities of Greenblatt and Scott with criticism. Previously, I had written mainly about the overall work but did not focus on one single concept that really guided the work. It was a representation of my voice but not so much a representation of the work. I narrowed down to ideas that guide Greenblatt and Scott’s argument. I noticed that my work was passionate but was broad. By contextualizing ideas of both Greenblatt and Scott, I was thus able to work on the details that signify the real significance of art. I like to highlight what characteristics allow us to create our identity of if we are the sole true creator of our identity. Is our role as an authority and creator attainable or is it something that can never exist and is perhaps something outside of the body.
For this re-edition of my piece I decided to step outside my comfort zone and get help from a student outside of my seventh period AP Lit class. This was Sophie Kieffer but I also had Jacob Ripps peer edit my paper in class. It was interesting to see because Sophie was not familiar with the work of Scott and Greenblatt so she had a different lens to look at it with. I could definitely see her inner sense of Bard but I could also her thinking, analyzing, and editing like a passionate literature student. I learned that I should not derail from my claim and stick with it till the very end. This includes in my examples in which I kinda lost the mere explanation of my work. The one challenge I faced was which peer editor do I make changes for? Do I change my conclusion to make more sense for someone like Sophie who has never read Scott or Greenblatt or keep it because Jacob thinks it is a strong claim? The real learning lesson is the fact that they are suggestions and the only work to be done should be of my own self interest. I change what I want to change because I want the argument to ultimately make sense but also show clarity and improvements as a writer/student.
Knowing You Are Not Your Own Creator
Cover Letter- This is my second revision of the summer AP lit homework. For this edition, I am focusing more on the innate similarities of Greenblatt and Scott with criticism. Previously, I had written mainly about the overall work but did not focus on one single concept that really guided the work. It was a representation of my voice but not so much a representation of the work. I narrowed down to ideas that guide Greenblatt and Scott’s argument. I noticed that my work was passionate but was broad. By contextualizing ideas of both Greenblatt and Scott, I was thus able to work on the details that signify the real significance of art. I like to highlight what characteristics allow us to create our identity of if we are the sole true creator of our identity. Is our role as an authority and creator attainable or is it something that can never exist and is perhaps something outside of the body.
For this re-edition of my piece I decided to step outside my comfort zone and get help from a student outside of my seventh period AP Lit class. This was Sophie Kieffer but I also had Jacob Ripps peer edit my paper in class. It was interesting to see because Sophie was not familiar with the work of Scott and Greenblatt so she had a different lens to look at it with. I could definitely see her inner sense of Bard but I could also her thinking, analyzing, and editing like a passionate literature student. I learned that I should not derail from my claim and stick with it till the very end. This includes in my examples in which I kinda lost the mere explanation of my work. The one challenge I faced was which peer editor do I make changes for? Do I change my conclusion to make more sense for someone like Sophie who has never read Scott or Greenblatt or keep it because Jacob thinks it is a strong claim? The real learning lesson is the fact that they are suggestions and the only work to be done should be of my own self interest. I change what I want to change because I want the argument to ultimately make sense but also show clarity and improvements as a writer/student.
When Stephen Greenblatt wrote Renaissance Self- Fashioning, he was originally writing to show how there was a heightened sense of identity in sixteenth century England. This sense of self would ultimately lead to the act of self-fashioning. As Greenblatt would argue that to say such a thing would be so bald as it is contextually strange. The factors that would contribute to formation of identity were at this time, defining characteristics of the self.
Scott and Greenblatt are about shaping the self through the art of criticism, but with this, Greenblatt would specifically argue that the formation of identity thrives from the chaos built from the alien, authority, and self. Scott puts criticism into practice in Better Living Through Criticism by analyzing pieces of art that shape the mind, but will ultimately shape the identity from the exhortations and evocations of such art. The raw detail of such realizations will effect the mind in a way that would almost be seen as harmful. That is the most important connection which binds both arguments of Scott and Greenblatt, the consequences of such pronouncements are the same, as there is no inherent reason “to sustain the illusion that I am the principal maker of my own identity” (257). This conclusion is different from what I had previously written, as I thought that identity was shaped from the self and the beauty from art which includes criticism. I thought that identity was obviously about the self and the individual with no other factors. Since then, my understanding has changed as there are external factors that contribute to the making our our identity whether that be rejecting societal norms or submitting to a higher power.
Scott tells stories about how art struck him and caused him emotions that were otherwise unknown. These are aesthetic experiences. These experiences were seen in the work of Maria Abromovíc or “Archaic Torso of Apollo” by Rilke. Although, this poem is not a substance that can be taken in in person, Scott however, attempts to visualize the individual lines in order to make an argument or intention. The most significant line “you must change your life” (67) shows how art can speak to the audience and elicit a certain response. By analyzing such art you then become immersed into the eyes of a critic. As a critic, Scott would argue that you should indeed change your life because of the gratification you felt when looking at a piece bigger than life itself. The ouput of this is what Scott would call a “cognitive and erotic frenzy” (71) which is when one feels a need sustain criticism because of aesthetic experiences. Scott in turn argues the fact that the authority in Rilke’s poem goes too far which thus allows the critic to become absorbed into the analytics of art. This belief in a desire will once again lead back to criticism and “carries enormous risk” (80). To submit oneself to the power of a creation will only create a separated view of the fact that one is not the single ruler of their identity.
The formation of identity is very different in the eyes of Scott and Greenblat. If Scott is about criticism within aesthetic experiences, then aesthetic experiences is ultimately about changing your life and becoming a critic who lives through the implications of life altering encounters with art. Greenblatt is about self-fashioning and attaining an identity that correlates with his 10 conditions of self-fashioning. Such conditions highlight the relationship with the alien, authority and the self. These conditions are synonymous and mimic the form of governing conditions that one should abide by for example, “Self-fashioning is achieved in relation to something perceived as alien, strange or hostile. This threatening Other -- heretic, savage, witch, adultress, traitor. Antichrist-- must be discovered or invented in order to be attacked or destroyed” (9). The result of this would be someone who is abiding by the relationships formed by the alien, authority, or self and can show how to form an identity from culture. Identity becomes coerced from these relationships as they are a insistent cycle of chaos. These implications are criticism built into the form of something foreign to our knowledge.
When Greenblatt recounts his moment with the old man on the plane, he knew that it was not possible for him to recite the words that were not his own. This contradicts, a condition of his in which “Self-fashioning is always, though not exclusively in language” (9). By doing so, he is rejecting his own knowledge and seeking out something entirely different. Language is rightly part of a larger sphere of culture and this helps construct the identity of a person. This instance on the plane contradicts the knowledge that our language is not our own no matter how hard we try to make it fit the individual.
Scott is about the aesthetic experiences that come with the critiquing such art as Greenblatt is about shaping the self through the deep and impactful criticism. The consequences of such actions is the fact that there are extraneous forces that contribute to the formation of identity. Such remnant forces are the ones which prove that Greenblatt’s argument is unsubjective to the self and are seemingly “unfree” (256). The free is beyond attainable which we learn in Renaissance Self Fashioning and in Better Living Through Criticism, as well as the extent of which art effects the mind and body, and can provoke a sense of criticism. Above all, the changes are provoked from external extraneous powers and something larger than the authority and self. With that being said, the creation of identity belongs to something outside of the maker. Criticism fuels the desires that the creator seeks and continues to foster the culture that will impact identity over time.
Scott and Greenblatt are about shaping the self through the art of criticism, but with this, Greenblatt would specifically argue that the formation of identity thrives from the chaos built from the alien, authority, and self. Scott puts criticism into practice in Better Living Through Criticism by analyzing pieces of art that shape the mind, but will ultimately shape the identity from the exhortations and evocations of such art. The raw detail of such realizations will effect the mind in a way that would almost be seen as harmful. That is the most important connection which binds both arguments of Scott and Greenblatt, the consequences of such pronouncements are the same, as there is no inherent reason “to sustain the illusion that I am the principal maker of my own identity” (257). This conclusion is different from what I had previously written, as I thought that identity was shaped from the self and the beauty from art which includes criticism. I thought that identity was obviously about the self and the individual with no other factors. Since then, my understanding has changed as there are external factors that contribute to the making our our identity whether that be rejecting societal norms or submitting to a higher power.
Scott tells stories about how art struck him and caused him emotions that were otherwise unknown. These are aesthetic experiences. These experiences were seen in the work of Maria Abromovíc or “Archaic Torso of Apollo” by Rilke. Although, this poem is not a substance that can be taken in in person, Scott however, attempts to visualize the individual lines in order to make an argument or intention. The most significant line “you must change your life” (67) shows how art can speak to the audience and elicit a certain response. By analyzing such art you then become immersed into the eyes of a critic. As a critic, Scott would argue that you should indeed change your life because of the gratification you felt when looking at a piece bigger than life itself. The ouput of this is what Scott would call a “cognitive and erotic frenzy” (71) which is when one feels a need sustain criticism because of aesthetic experiences. Scott in turn argues the fact that the authority in Rilke’s poem goes too far which thus allows the critic to become absorbed into the analytics of art. This belief in a desire will once again lead back to criticism and “carries enormous risk” (80). To submit oneself to the power of a creation will only create a separated view of the fact that one is not the single ruler of their identity.
The formation of identity is very different in the eyes of Scott and Greenblat. If Scott is about criticism within aesthetic experiences, then aesthetic experiences is ultimately about changing your life and becoming a critic who lives through the implications of life altering encounters with art. Greenblatt is about self-fashioning and attaining an identity that correlates with his 10 conditions of self-fashioning. Such conditions highlight the relationship with the alien, authority and the self. These conditions are synonymous and mimic the form of governing conditions that one should abide by for example, “Self-fashioning is achieved in relation to something perceived as alien, strange or hostile. This threatening Other -- heretic, savage, witch, adultress, traitor. Antichrist-- must be discovered or invented in order to be attacked or destroyed” (9). The result of this would be someone who is abiding by the relationships formed by the alien, authority, or self and can show how to form an identity from culture. Identity becomes coerced from these relationships as they are a insistent cycle of chaos. These implications are criticism built into the form of something foreign to our knowledge.
When Greenblatt recounts his moment with the old man on the plane, he knew that it was not possible for him to recite the words that were not his own. This contradicts, a condition of his in which “Self-fashioning is always, though not exclusively in language” (9). By doing so, he is rejecting his own knowledge and seeking out something entirely different. Language is rightly part of a larger sphere of culture and this helps construct the identity of a person. This instance on the plane contradicts the knowledge that our language is not our own no matter how hard we try to make it fit the individual.
Scott is about the aesthetic experiences that come with the critiquing such art as Greenblatt is about shaping the self through the deep and impactful criticism. The consequences of such actions is the fact that there are extraneous forces that contribute to the formation of identity. Such remnant forces are the ones which prove that Greenblatt’s argument is unsubjective to the self and are seemingly “unfree” (256). The free is beyond attainable which we learn in Renaissance Self Fashioning and in Better Living Through Criticism, as well as the extent of which art effects the mind and body, and can provoke a sense of criticism. Above all, the changes are provoked from external extraneous powers and something larger than the authority and self. With that being said, the creation of identity belongs to something outside of the maker. Criticism fuels the desires that the creator seeks and continues to foster the culture that will impact identity over time.
Summer Reading + Brainpickings
Cover Letter: Throughout the AP lit summer reading, I have read numerous stories about being in touch with the mind and body. The work has been inspiring as well as challenging as it teaches readers to analyze, question, and think beyond the typical student. Overall, the main takeaway is how to be a better artist whether it is developing a self-fashioning attitude or asking thoughtful and inquisitive questions. Something that continued to fascinate me throughout the summer lit experience is the connection between the mind and body with time. A question that arose for me was how can I make a mark on the world in what feels as a short amount of time? In Better Living Through Criticism I was studying the basis of time in relation to art. In A More Beautiful Question, time was looked at as something negative as it has obstructive affects on the young child brain. Renaissance Self-Fashioning served as an overview of time, while studying the movements in the 16th century that would serve a self fashioning purpose. Popova, however, explores time as a philosophical element that “we strain to locate ourselves within time, against time, grasping for solid ground while aswirl in its unstoppable flow” (Popova). I became heavily enticed from Kierkegaard on Time, the Fullness of the Moment, and How to Bridge the Ephemeral with the Eternal. Interestingly, this piece contextualizes ideas that plague the human mind -- the past, present, and future.
Popova critiques that Kierkegaard was writing about spatial being before physicists could identify humans inability to remember the future, or a time where Einstein’s theories of human thought were nonexistent. It is common to place time in three periods, but “the present is is not a concept of time” (Kierkegaard). The present is an infinite, limitless, and vanishing hole that is later categorized into the present and past. The fact that the present is infinite contradicts the common assumption of time, which is seen as short and temporary.
While writing about something so valuable to human connection, Popova simply looks to the past to reconcile with Kierkegaard’s work. She cites the famous French philosopher Gaston Bachelard who was known for his famous words of “if our heart were large enough in all its detail, we would see that every instant is at once a giver and a plunderer” (Bachelard). Through the use of Bachelard, Popova was able to connect Kierkegarrd’s main argument of succession vs instant. If Popova used the word instant instead of quoting a philosopher, she would lose the pathetical value of the sentence. Popova embeds short two sentence liners in between each quotation from Kierkegaard which does not overpower the piece. Along with the philosophical work , there are several paintings that depict time. One is an illustration from Harvey Weiss that contains several different clocks. These clocks are what we commonly associate time with. It shows various forms of clocks from stopwatches to grandfather clocks. Another painting is by Lisbeth Zwerger which depicts the rabbit from Alice in Wonderland. This painting is quite interesting as the rabbit itself is old, but is a character in a children's book. The rabbit is known for its eagerness of being on time. It could be that the rabbit is instead referring to being late in life, as if it is trying to be on time for an inevitable action like death. The painting is also a reminder of youth and vapid imagination of the young mind. It is interesting that a painting from a children’s story is included in deep philosophy that goes beyond an anthropomorphic rabbit. Together, the entire collection refers to one of the deepest desires of the human fate, and has gathered into an argument between science and mind.
While writing about something so valuable to human connection, Popova simply looks to the past to reconcile with Kierkegaard’s work. She cites the famous French philosopher Gaston Bachelard who was known for his famous words of “if our heart were large enough in all its detail, we would see that every instant is at once a giver and a plunderer” (Bachelard). Through the use of Bachelard, Popova was able to connect Kierkegarrd’s main argument of succession vs instant. If Popova used the word instant instead of quoting a philosopher, she would lose the pathetical value of the sentence. Popova embeds short two sentence liners in between each quotation from Kierkegaard which does not overpower the piece. Along with the philosophical work , there are several paintings that depict time. One is an illustration from Harvey Weiss that contains several different clocks. These clocks are what we commonly associate time with. It shows various forms of clocks from stopwatches to grandfather clocks. Another painting is by Lisbeth Zwerger which depicts the rabbit from Alice in Wonderland. This painting is quite interesting as the rabbit itself is old, but is a character in a children's book. The rabbit is known for its eagerness of being on time. It could be that the rabbit is instead referring to being late in life, as if it is trying to be on time for an inevitable action like death. The painting is also a reminder of youth and vapid imagination of the young mind. It is interesting that a painting from a children’s story is included in deep philosophy that goes beyond an anthropomorphic rabbit. Together, the entire collection refers to one of the deepest desires of the human fate, and has gathered into an argument between science and mind.
REVISIONS
Cover Letter: Throughout the AP lit summer reading, I have read numerous stories about being in touch with the mind and body. The work has been inspiring as well as challenging as it teaches readers to analyze, question, and think beyond the typical student. Overall, the main takeaway is how to be a better artist whether it is developing a self-fashioning attitude or asking thoughtful and inquisitive questions. Something that continued to fascinate me throughout the summer lit experience is the connection between the mind and body with time. A question that arose for me was how can I make a mark on the world in what feels as a short amount of time? In Better Living Through Criticism I was studying the basis of time in relation to art. In A More Beautiful Question, time was looked at as something negative as it has obstructive affects on a child's brain. Renaissance Self-Fashioning served as an overview of time, while studying the movements in the 16th century that would serve a self fashioning purpose. Popova, however, explores time as a philosophical element that “we strain to locate ourselves within time, against time, grasping for solid ground while aswirl in its unstoppable flow” (Popova). I became heavily enticed from Kierkegaard on Time, the Fullness of the Moment, and How to Bridge the Ephemeral with the Eternal. Interestingly, this piece contextualizes ideas that plague the human mind -- the past, present, and future.
Time is a crucial part of human existence and through the summer reading, I have noticed its various takes on language and art. In Better Living Through Criticism, Scott explores the concept of art and judgement. The exploration takes place in the Louvre which stands as a testament of time. Specifically, the idea of what beauty is comes into question.
"Beauty satisfies and impulse higher than mere sensuous appetite. And beyond the beautiful lies 'the good,' which inspires admiration and respect' "(Scott).
This 'beyond' refers to something deeper and more passionate. It can be hard to feel beautiful, but it is even harder to feel admired and respected which is what Scott's saying. We as humans give in to something beyond our physical imagination. The mere aspect of feeling beautiful is something abstract and fruitful. Being able to say something is beautiful takes a lot of sophistication because beauty is anything. Its complicated and ambiguous but the 'beyond' is even more complex. Its complicated because we are afraid of the unknown. It takes place in a course of time that cannot always be planned out. However, our opinions shape our desires and as we age these can become so normal.
As humans we are constantly changing. Our bodies shaped by what we put in and our minds shaped by our environment. These changes feel so natural but drastically change the course of our lives. As children the mind is changing rapidly while constantly firing neurons every second. When we reach 18 that signifies a moment where you become independent. This scary new chapter marks a time where we learn to be an independent thinker and learner. Warren Berger explores education and its relativity to the mind. Time is commonly referenced with age and with age, the brain becomes more intricate and complicated. Questions are a slowly diminishing process affected by time. Berger writes that "at around age five, the brain starts trimming back some of those neural connections that were expanding so rapidly the first few years; this 'synaptic pruning' could translate to less questioning and less wondering about the surrounding world" (Berger). This time is so precious not just for a sentimental moment, but for the rapid decay of curiosity. It almost seems impossible that with time we can grow to be an intelligent leader, but at such a young age we lose a skill that is vital to the body. Something that felt so naive now feels so mundane and represents the collapse of the creative spirit.
This creative spirit makes us who we are. It shows our likes and dislikes. Our taste is subjective but what really makes our identity ours. It is easy to assume we are a product of time? Our self- fashioning world entices our minds and invades our thought by telling us how to live according to norms. In Renaissance Self- Fashioning, time becomes the producer of life and all its creations. Greenblat explores time by examining how self-fashioning developed through the 16th century, this time signified a movement like any other because it was a 'rebirth'. This rebirth created ideas that would shape minds and ultimately change the fate of human existence, but "if literature is seen only as a detached reflection upon the prevailing behavioral codes, a view from a safe distance, we drastically diminish our grasp of art's concrete functions in relation to individuals and to institutions, both of which shrink into an obligatory 'historical background' " (Greenblat). Here, time is seen almost as a negative because literature from this period stands as a testament of what had lived, but he later arrives at the thought of "I am the principal maker of my own identity" (Greenblat). Our tastes may be defined by what is around us, but our identity belongs to oneself and lives as a monument of time.
It is common to place time in three periods, but “the present is is not a concept of time” (Kierkegaard). The present is an infinite, limitless, and vanishing hole that is later categorized into the present and past. The fact that the present is infinite contradicts the common assumption of time, which is seen as short and temporary. While writing about something so valuable to human connection, Popova simply looks to the past to reconcile with Kierkegaard’s work. She cites the famous French philosopher Gaston Bachelard who was known for his famous words of “if our heart were large enough in all its detail, we would see that every instant is at once a giver and a plunderer” (Bachelard). Through the use of Bachelard, Popova was able to connect Kierkegarrd’s main argument of succession vs instant. If Popova used the word instant instead of quoting a philosopher, she would lose the pathetical value of the sentence. Popova embeds short two sentence liners in between each quotation from Kierkegaard which does not overpower the piece. Along with the philosophical work , there are several paintings that depict time. One is an illustration from Harvey Weiss that contains several different clocks. These clocks are what we commonly associate time with. It shows various forms of clocks from stopwatches to grandfather clocks. Another painting is by Lisbeth Zwerger which depicts the rabbit from Alice in Wonderland. This painting is quite interesting as the rabbit itself is old, but is a character in a children's book. The rabbit is known for its eagerness of being on time. It could be that the rabbit is instead referring to being late in life, as if it is trying to be on time for an inevitable action like death. The painting is also a reminder of youth and vapid imagination of the young mind. It is interesting that a painting from a children’s story is included in deep philosophy that goes beyond an anthropomorphic rabbit. Together, the entire collection refers to one of the deepest desires of the human fate, and has gathered into an argument between science and mind.
Time is a crucial part of human existence and through the summer reading, I have noticed its various takes on language and art. In Better Living Through Criticism, Scott explores the concept of art and judgement. The exploration takes place in the Louvre which stands as a testament of time. Specifically, the idea of what beauty is comes into question.
"Beauty satisfies and impulse higher than mere sensuous appetite. And beyond the beautiful lies 'the good,' which inspires admiration and respect' "(Scott).
This 'beyond' refers to something deeper and more passionate. It can be hard to feel beautiful, but it is even harder to feel admired and respected which is what Scott's saying. We as humans give in to something beyond our physical imagination. The mere aspect of feeling beautiful is something abstract and fruitful. Being able to say something is beautiful takes a lot of sophistication because beauty is anything. Its complicated and ambiguous but the 'beyond' is even more complex. Its complicated because we are afraid of the unknown. It takes place in a course of time that cannot always be planned out. However, our opinions shape our desires and as we age these can become so normal.
As humans we are constantly changing. Our bodies shaped by what we put in and our minds shaped by our environment. These changes feel so natural but drastically change the course of our lives. As children the mind is changing rapidly while constantly firing neurons every second. When we reach 18 that signifies a moment where you become independent. This scary new chapter marks a time where we learn to be an independent thinker and learner. Warren Berger explores education and its relativity to the mind. Time is commonly referenced with age and with age, the brain becomes more intricate and complicated. Questions are a slowly diminishing process affected by time. Berger writes that "at around age five, the brain starts trimming back some of those neural connections that were expanding so rapidly the first few years; this 'synaptic pruning' could translate to less questioning and less wondering about the surrounding world" (Berger). This time is so precious not just for a sentimental moment, but for the rapid decay of curiosity. It almost seems impossible that with time we can grow to be an intelligent leader, but at such a young age we lose a skill that is vital to the body. Something that felt so naive now feels so mundane and represents the collapse of the creative spirit.
This creative spirit makes us who we are. It shows our likes and dislikes. Our taste is subjective but what really makes our identity ours. It is easy to assume we are a product of time? Our self- fashioning world entices our minds and invades our thought by telling us how to live according to norms. In Renaissance Self- Fashioning, time becomes the producer of life and all its creations. Greenblat explores time by examining how self-fashioning developed through the 16th century, this time signified a movement like any other because it was a 'rebirth'. This rebirth created ideas that would shape minds and ultimately change the fate of human existence, but "if literature is seen only as a detached reflection upon the prevailing behavioral codes, a view from a safe distance, we drastically diminish our grasp of art's concrete functions in relation to individuals and to institutions, both of which shrink into an obligatory 'historical background' " (Greenblat). Here, time is seen almost as a negative because literature from this period stands as a testament of what had lived, but he later arrives at the thought of "I am the principal maker of my own identity" (Greenblat). Our tastes may be defined by what is around us, but our identity belongs to oneself and lives as a monument of time.
It is common to place time in three periods, but “the present is is not a concept of time” (Kierkegaard). The present is an infinite, limitless, and vanishing hole that is later categorized into the present and past. The fact that the present is infinite contradicts the common assumption of time, which is seen as short and temporary. While writing about something so valuable to human connection, Popova simply looks to the past to reconcile with Kierkegaard’s work. She cites the famous French philosopher Gaston Bachelard who was known for his famous words of “if our heart were large enough in all its detail, we would see that every instant is at once a giver and a plunderer” (Bachelard). Through the use of Bachelard, Popova was able to connect Kierkegarrd’s main argument of succession vs instant. If Popova used the word instant instead of quoting a philosopher, she would lose the pathetical value of the sentence. Popova embeds short two sentence liners in between each quotation from Kierkegaard which does not overpower the piece. Along with the philosophical work , there are several paintings that depict time. One is an illustration from Harvey Weiss that contains several different clocks. These clocks are what we commonly associate time with. It shows various forms of clocks from stopwatches to grandfather clocks. Another painting is by Lisbeth Zwerger which depicts the rabbit from Alice in Wonderland. This painting is quite interesting as the rabbit itself is old, but is a character in a children's book. The rabbit is known for its eagerness of being on time. It could be that the rabbit is instead referring to being late in life, as if it is trying to be on time for an inevitable action like death. The painting is also a reminder of youth and vapid imagination of the young mind. It is interesting that a painting from a children’s story is included in deep philosophy that goes beyond an anthropomorphic rabbit. Together, the entire collection refers to one of the deepest desires of the human fate, and has gathered into an argument between science and mind.