I thought Nels did a great job in his presentation of applying science to the texts that we have read throughout the class. His interpretation of the complicated chemical reactions that synthesize organic molecules is not unlike that of an artist who creates meaning out of the seemingly random characteristics of nature. In both cases, the scientist/artist takes something that is originally meaningless and produces a work of beauty. And without both the artist and the scientist, we as humans would be lost in the chaos of our surroundings.
Ashley’s presentation was exemplary in all regards, and one aspect that I found quite interesting was the alternate interpretation of Hazel’s message in the barn. As we had previously discussed in class, the jumbled message repeats the word “atalanta” several times, which serves to solidify Hazel’s status as a Vanessa atalanta butterfly after her death. Ashley found another way to read the message that consists of Hazel warning her father not to go to the house of the crazy commentator (Kinbote), as this is the event that leads to Shade’s murder. Indeed, if read aloud the message does sound vaguely like a warning to a father, with words like “pada” (padre or papa), “ata” (ought), “not,” and “ogo” (go). Like almost everything else in Pale Fire, it appears that Hazel’s cryptic message is subject to multiple interpretations.
Bizz and Jenny’s portrait of Shade and Kinbote was outstanding! It was packed with symbolic significance to Pale Fire, and the more I looked at it the more details I caught that were direct references to the text. I liked especially how the center of the painting was a mirror of sorts that reflected Shade and Kinbote. This is not a normal mirror, however, as what is on one side is partially distorted on the other side. For example, Kinbote and Shade have some characteristics in common (such as that they are both interested in literature), but are exact opposites in many other ways (such as that Kinbote is erect and handsome while Shade is hunched over and ugly). Similarly, I thought it fitting that Bizz and Jenny’s painting portrayed a sun on one side and a moon on the other, as the sun and moon are often seen as opposites even though their light is derived from the same source (the sun). This image further establishes the mirror’s status as an agent of both reflection and distortion.
Bizz’s diagram of dyslexia was quite relevant, as I can see similarities between the thought process of a dyslexic and the manner in which we read Pale Fire. In both instances, confusing material is presented to the reader, which ultimately leads to rickety conclusions. It appears that the conclusion reached by the reader the first time can send him or her either way in comprehending the text. If the initial conclusion is close to the “right” one, the reader will get progressively closer with each repetition of the cycle, but if the first conclusion is totally off-base, each new cycle will lead the reader on an ever widening spiral away from the correct interpretation. Thus, whether we like to admit it or not, our reading process of a difficult text is similar to that of a dyslexic in that our initial impressions play an important role in understanding the material.
Jenny’s presentation on the different variations of chess was interesting, and I was excited to learn that there is a type of chess called ultima chess. My paper topic is on Zembla’s role as an ultima thule, so I will have to look up some further information on this variety of chess. Jenny mentioned that in ultima chess, the positions of the white king and queen are reversed. This could in some way be related to Kinbote, the exiled Zemblan king, as he seems to have traits more fitting for a queen than a king (the most obvious being his homosexuality). If this is so, the fact that the white, and not the black, king and queen are reversed is appropriate, as I envision Kinbote as white (clean appearance, religiously pure) and Shade as black (not religious, shades and shadows are dark).
Thank you James. I've been think of Shade in terms of silver and sunlight for so long (because of our mural) that I didn't even think of how fitting it would be for Shade to be placed on the black side. I certainly saw Kinbote as white (he makes the first move etc.), but I like seeing Shade as dark. This actually reminds me of one of my favorite quotes: "Into these roses and thorns there walked a black shadow: a tall, pale, long-nosed dark-haired young minister whom I had seen around once or twice strode out of the vestry and without seeing me stopped in the middle of the court. Guilty disgust contorted his thin lips. He
ReplyDeletewore spectacles. His chenched hands seemed to be gripping invisible prison bars." This quote, if Shade is taken to be the only truly religious one, would suggest a darkness on his side as a result of religion, which I fully subscribe too despite Kinbote's continuous stream of comments to the contrary.
One point that was absent in our mural (due to aesthetic impossibilities) was a grid-work across both Shade and Kinbote's face. There are a couple other instances aside from the above where prison bars are suggested on Kinbote's side (I'm still picturing the mural as I say this) while Shade is seen (by Kinbote) through horizontal blinds/shades. the combination of both horizontal and lateral lines creates a grid which, funnily enough, Fairy Chess is said to be played on a grid-not a chess board (though really they are the same). I seem to have found myself off on a tangent, but my point is that your comments were helpful. I will be sure to add more about homosexuality to my paper if possible as it does have strong links to the white king/queen inversion.
-Jenny