The imagery in this paragraph reminds me of past pieces of literature in which women are reborn through death on beachside settings. In both "Annabel Lee" by Poe, which came before Dreams, and The Awakening by Kate Chopin which followed shortly after Dreams, the women around which the respective works are centered find rebirth through death in a beachside setting. In Chopin's work, specifically, the idea of Edna's death by drowning is a reclaiming of agency and marks the character's freedom from the restraints put upon her by a patriarchal society. As Dreams is considered a feminist text which led heavily to women's suffragette movement, the repetition of the image of a sleeping woman rising from the sand in Schreiner's work creates a motif amongst female-centric texts surrounding the implications of female rebirth. One may read into these repeated image as a connection to the Romantic's emphasis on the natural world as a setting for spiritual realignment and inspiration, while this may additionally be read as social commentary on the lack of escape options for women in a male-dominated society. Most accurately, I would argue, it can be read as both.

I find it interesting that, in addition to James utilizing a first person narrator, the narrator is directly addressing the audience as "you." This adds a new layer to the story-telling; this story is more self-aware than the previous works we've read in this class, and causes the audience to consider how the narrator's awareness and perspective are intended to be received. In a third parson omniscient tale, the narrator is believed to be more reliable, and the events to be more realistic, as there is no singular character/narrator within the text framing their story for the audience. In contrast, as first person narration creates questions of reliability in the narrator, and the narrator's breaking of the fourth wall by directly recognizing the audience raises certain questions; Has the story been changed/embellished in order to make a better story? Is the narrator altering their voice/method of storytelling in order to sell the story?

Adler is mimicking Holmes' trope of describing to others how he figures out what has gone on through his powers of deduction.

Irene Adler holds Holmes in high esteem for his abilities as a detective, and raises herself to the same esteem. She emphasizes her own abilities of deception and disguise, while simultaneously praising Holmes for the same. Adler also utilizes terms of endearment to address Holmes, as a means of reflecting her view of Holmes as an equal/a partner.

Bijou means small, dainty, and elegant.

This image is another of the ten Paget illustrations featured in the original publication of "A Scandal in Bohemia." The scene depicts the exchange between Holmes and Adler as she follows him home to Baker Street. The inscription "Goodnight, Mr. Sherlock Homes" can be seen in the image.

The preceding illustration is one of ten created by the artist Sidney Paget to accompany the original publication of "A Scandal in Bohemia." This piece appeared during the first of the story's three sections, alongside the inscription "He tore the mask from his face."

Carte Blanche is translated into unconditional authority, or full indiscretion.

Vizard masks, typically made of black velvet, were oval masks utilized most commonly by women in the 16th and 17th centuries as a means of protecting their complexions from the elements (namely sun and wind).

Beryl is the mineral from which many rich gemstones are derived, including emerald and aquamarine.

Astrakhan is a luxurious and rare fur sourced from fetal lambs in Central Asia; black Astrakhan fur was frequently utilized by nobility in Central and Eastern Europe when the practice was common.

The descriptive language in this paragraph reminds me of our class' past discussions on Mayhew's "In The Clouds." Much as Henry Mayhew had utilized heavily artistic and realistic language to paint a picture for his readers, Dickens is utilizing vivid descriptions here to the same effect; both authors create a sense of a "virtual reality" in their stories, by creating so realistic and sensory a setting that their audience feels transported to the world of the story. Dickens specifically calls upon multiple senses in this passage - noting the "wet wall" (touch) and the "earthy, deadly smell" (smell), in addition to the dreary visuals - to provide his readers with an all-encompassing sense of the world they're about to enter. In establishing the setting of the story, and its accompanying somber mood, Dickens makes his tale both more believable and more effective. Believable, in that the realism implied by such descriptive language creates credibility, and effectiveness, in that a somber, chilling tale is more likely to remain so when set against a sunless sky than in a lover's stroll through Mykonos. What's more, the reader of the story is provided with a more personal experience in their readership; not only can the audience imagine themselves in this setting in a very real fashion, but they are doing so from the perspective of the narrator, who is experiencing such sensations for the first time. This causes both the narrator and the audience to feel a sense of awe at their surroundings, and to take careful not of their environment. Receiving this same information from the signalman's perspective would not carry the same gravitas; he is accustomed to the routine nature of life at his post, and is therefore desensitized to much of the sensory onslaught and environmental stimuli Dickens presents through the narrator's eyes.

Here, the reader is given context as to the role of women during the Victorian time period, in additions to the expectations faced by women in this heavily patriarchal society. Hester's status as a poor, unmarried maid at the age of 37 as a direct result of her parent's misfortunes reveals how little agency Hester has on her own. Firstly, her life circumstances are defined by the actions of others, specifically by her father's lack of wealth. This indicates her inability to move into a differing social class of her own accord; Hester would need to marry in order to gain higher economic standing, yet her marriage would be dependent on the bridegroom being offered a dowry of some size, which is not possible in her current conditions. (Further commentary may be made her on the cycle of poverty present in an economic-class observing, capitalistic society.) Furthermore, her sources of employment are limited by her gender, resulting in her working as a servant in order to sustain a lifestyle. The idea of a woman seeking employment, and not marriage, is uncommon and frowned upon during this time, as is revealed by the quote "was not married and flourishing... but a poor maid-of-all-work." The idea of marriage is equated with wealth and social status/comfort, whereas a working woman is assumed to be poor and a "lesser" woman for her lack of relation to a man. The reader finally observes the standards of beauty equated with age during this period through the phrase "homely-looking (at thirty-seven)." The idea of a woman being homely at 37 is a compliment in and of itself, as 37 is considered more elderly for women at this time, who are expected to be married mothers by the age of one's early 20s, and frequently years earlier. It is expected for Nathan to be seen as generous and kindly here for complimenting the beauty of a woman of such age during the era, when in reality the compliment is shrewd and back-handed. Hester's beauty is noted in spite of her age, and is described as "homely," which would be considered a lesser compliment. This section of text within the early exposition of story effectively and easily provides context to the readership as to what would typically be expected of Hester in her world - married with children, beautiful, and reliant upon her relationship with her husband - and juxtaposes this image with what would be considered a bleak reality. Rather than being praised for her determination to work for her own benefit in spite of her family's hardships, she is put down for the lowly decision, and looked down upon for her lack of social connections and physical appeal.

I remember us going over this painting in Brit Lit 2! Our class emphasized the feminine sexuality of women, particularly the loosened clothing, free hair, and the side gaze that frequently appears in depictions of women in Pre-Raphaelite art.

Important term! scopic = sight-based regime = system of power, body that has power scopic regime = something that has power because of the way it sees THINK: Maps & political motivations of cartographers

• historically take liberties in representation of the world
• influential in colonization (know where and how to colonize based on geographic location)
• define borders of nations
• maps are knowledge! (about nationalism and belonging!)
• reinforce systems of oppression (what is inside and outside of community, inside/outside control)
• who has power over what?
• relationship between seeing and controlling determines specific type of power!

Totalizing image is not in fact about the totality, it's about the limitation!

• not focusing on flaws of invention
• so immersed in panoramic image that you fail to see anything but image
• can't get a grip of own sense of reality
• how does experience draw attention to the limitation?
• self-centered experience! made aware of own humanism
• thinking about how small we are in comparison to grandeur of image
• can look at everything, but can't see everything!
• are we capable of understanding everything we see?
• as humans, we want a total experience
• we value and crave a universal knowledge
• fantasy of being everywhere and knowing everything
• limits to capacity to human experience
• universality of knowledge is impossible for us!
• how important is the limiting of humanity?!
• upsides v. downsides to human limitations
• both limitations VERSUS totality and limitations AND totality

creating an experience v. capturing a blank

I find the use of the word "coward" interesting. The men in this passage use it within its definition of meaning "a person who lacks the courage to do or endure dangerous or unpleasant things," but its connotation in this conversation is meant to denounce those who shy away from extreme violence and cruelty. While there is a form of bravery that is associated with partaking in confrontation and defending oneself in the face of fighting, is it not more brave to resist the call to partake in unnecessary action, and to take the moral high road?

I specifically chose this section of the selected passage for the fact that it concludes the introduction of the abducted child; I intend, in this annotation, to comment on the action of the family throughout this occurrence.. Firstly, the very act of abducting the child denotes the monstrous and animalistic nature of the family in question, as is surely intended by Bronte. The novel's overarching Gothic themes coupled with how little is known of the inhabitants of Wuthering Heights leading this to point in the novel together create this highly focalized first impression of the family's moral values (should it be determined they have any) and their treatment of children as a whole. By the act of abducting a child from the streets, as well as the family's utter lack of action in regards to recovering the child's family and home, create the sense of an uncomfortable complacency for the reader, indicating that, with the exception of a singular objection, "Are you mad?", the family finds little to no fault with this behavior. Going further into the passage, we the audience see the child referred to as an "it," with no proper place to sleep and no attempt to bridge the language barrier between the child and the child's captors. When combined with the striking of the male child of the house, and the action of the young lady of spitting on the new addition without repercussion, one can easily see the lack of domestication in Wuthering Heights.

Fanny's "homecoming" to her birth family in Portsmouth, I believe, was intended by Sir Thomas as a form of punishment for her delay in accepting Henry, as a means of reminding Fanny of the situation she would be in without the patronage and generosity of the Bertrams in Mansfield Park. This action comments on the control which the upper class holds over the lower class in Austen's pre-Victorian society, reinforcing that those with property and fortune, no matter their relation to another individual, are capable of exhibiting large amounts of control over said individual's resources, connections, and future prospects, including but not limited to marriage opportunities, social circles, quality of livelihood, and general expectations for manners and etiquette. This can be seen when Fanny comments on the general dirtiness and disorganization of her siblings and mother, as well as her disdain for their lack of "civilized" conversation. The entirety of Sir Thomas' action of sending Fanny away with William, in conjunction with Fanny's reactions to her family's situation and her dismissal of her siblings in favor of the company in Mansfield Park, can be interpreted as commentary of behalf of Austen on the influence of the rich over those of lower social status, as Fanny's worldview has been greatly altered by her more wealthy cousins and would most likely, without their heavy influence, find very little wrong with her family had she been raised by them.

Furthermore, the comment "But here, one subject swallowed up all the rest" holds a double meaning of referring not solely to the topics of conversation held by her family, but additionally to their ignoring Fanny in many situations due to her status as a stranger within the house, in a fashion not dissimilar to how the Bertrams treated her upon her initial arrival. Despite the progress Fanny has made in becoming accustomed to and a part of the life in Mansfield Park, she remains an outsider in this new situation, implying that her identity is still being questioned and her sense of belonging not yet solidified. Despite being offered a set position in society and within a family - through Henry's offer - Fanny continues to find herself in a societal limbo, wherein she is neither here nor there.

This section of the text comments on the lack of autonomy held by Mrs. Norris is the governance of household affairs following Sir Thomas' return from Antigua. Whereas she has accustomed herself to having an important voice in family matters during his absence, thusly giving her a small dosage of the liberty to spend her cousin's money and exhibit financial independence, while additionally exercising levels of control over the lives and activities of the young people at Mansfield Park. However, now that the family patriarch has returned and is actively engaged in the lives of his children and their companions - most especially his new favorite, Fanny - she finds herself returned to the lower social rungs of being a woman without a large income, allowing her wishes and autonomy to be overshadowed by a man and his wealth, as is the custom for this time period.

I find it ironic here that Fanny's cousin so desires her "advice" and attentions when previously, Fanny has been little more than an inconvenience and overlooked guest in her family's home. For all her good intentions and untapped intellect, this is the first instance in which Fanny is asked to share such, and yet is continually interrupted and ignored, used simply as someone to speak at rather than to speak with. The quote "I will not interrupt you any longer" is particularly ironic, as Fanny had been interrupted by Edmund not shortly before this very moment, and as he has spoken on this subject at a much greater length than Fanny has. This exchange can be seen as a representation of the Romantic critique of the oppression of the voices of the lower class by the upper class, as well as highlighting the upper class's lack of desire to see their own hands of oppression and the greater power of their voice. Furthermore, Edmund's continued assumption of Fanny's desire to read and remove herself from social situations - per his insistence that she reads to expand her mind - provides further evidence of this possible interpretation through the exemplification of Edmund's influence over his cousin, her actions, and her "developing" intellect. (Quotations here used to indicate that Fanny is more intelligent than her family believes her to be, yet they recognize limited progress in this regard due to Edmund's influence over her leisurely reading, not as a means of providing due credit to their cousin, but rather to praise Edmund for his good deed.)

This quote is an example of the ironic social commentary of the landed gentry class that Austen is known for in her writings, particularly on the subject of female subjugation to matrimonial standards and the place of a woman in society. (In historical context, the class of landed gentry during Austen's time (which she frequently writes about due to her personal experiences of belonging to a family in this class, as is exemplified here) was known for their social circles intended to increase a daughter's chances as an "advantageous" marriage, and these chances increase exponentially when a sister or cousin marries well, as the other women's social circles become of a higher tier of society.) As is the case in the famed opening line to Pride and Prejudice, Austen here comments on the notion that women are considered to be successful in their personal lives and deemed "attractive" and "accomplished" based upon to economic and social benefits of their marriages. In this quote particularly, Austen uses irony to highlight that the number of traditionally pretty women in the world (i.e. land-owning Britain) exceed the number of "eligible" men of high society (based on economic game), yet these women are not deemed worthy of the men above them in rank based on physical appearance alone. Women, though judged based upon physical appearance, are also expected to be of docile nature, highly educated in language and literature, and literate in housekeeping skills and basic artistic qualities in order to be deemed "worthy" of a worthy marriage, wherein their husband's qualifications are that he be rich, handsome, and kind.

In this collection of lines and in those leading up to this point, Wordsworth appears to be offering praise and appreciation for the unnoticed beauty of the farmlands around him - the rolling green and the dense forests which have provided him, as he states here, "that best portion of a good man's life." This emphasis on the beauty of the natural creation, most especially in instances such as this, wherein that creation is overlooked in favor of more "favorable" city-dwelling, is a common theme among Wordsworth's Romantic contemporaries, who frequently compare and draw connections between the natural and Enlightenment philosophies.

Here, Keats addresses the over-abundance of warm, nice-weather days to be found in the summertime, comparing their number to the amount of "clammy cells" to be found along the shoreline on a beach, which is a common image used to represent the summer months. The usage of a clam as comparison here is interesting, for not only are clams abundantly found during the summer, they are additionally considered to be commonplace and lower-quality food items to be purchased as food. Unlike this association with clams, the food-items mentioned by Keats as being associated with Autumn are those which are typically reserved for the higher class; fruit, sweet kernel, apples, hazel shells. This distinction between the two seasons based upon the harvest available during the two respectively cheapens the idea of fine summer days, and enriches the speaker's love and appreciation for the crispness of Autumn.

Possible Connection: Could this entire poem be an allusion to or reinterpretation of Plato's Allegory of the Cave? Similarities between the two: A man coming down from light into a darkened, hopeless place wherein lies a chained man, and attempts to bring him solace and new information. In both pieces, the purpose of the unnamed of the unknown man from the light is bring forward to those chained to darkness a new imagining of their situation. For Plato, this is done through the literal bringing of knowledge. For Wordsworth, this is encompassed in the introduction of compassion and a call for action to the convicted individual. Although there is always the possibility for written texts to be interpreted literally, it is possible for Wordsworth to be bringing Plato's message of intellectual and moral redemption into his own time period through this piece, by using a similar metaphor to comment on the injustice of the prison system and the lack of light provided to those in fetters.