Counting.

I am running out of subjects, so I am going to do something completely different.

One hundred thirty-two, one hundred thirty-one, one hundred thirty. One hundred twenty-nine, one hundred twenty-eight, one hundred twenty-seven, one hundred twenty-six, one hundred twenty-five, one hundred twenty-four, one hundred twenty-three, one hundred twenty-two, one hundred twenty-one, one hundred twenty. One hundred nineteen, on hundred eighteen, one hundred seventeen, one hundred sixteen, one hundred fifteen, one hundred fourteen, one hundred thirteen, one hundred twelve, one hundred eleven, one hundred ten. One hundred nine, one hundred eight, one hundred seven, one hundred six, one hundred five, one hundred four, one hundred three, one hundred two, one hundred one, one hundred. Ninety-nine, ninety-eight, ninety-seven, ninety-six, ninety-six, ninety-five, ninety-four, ninety-three, ninety-two, ninety-one, ninety. Eighty-nine, eighty-eight, eighty-seven, eighty-six, eighty-five, eighty-four, eighty-three, eighty-two, eighty-one, eighty. Seventy-nine, seventy-eight, seventy-seven, seventy-six, seventy-five, seventy-four, seventy-three, seventy-two, seventy-one, seventy. Sixty-nine, sixty-eight, sixty-seven, sixty-six, sixty-five, sixty-four, sixty-three, sixty-two, sixty-one, sixty. Fifty-nine, fifty-eighty, fifty-seven, fifty-six, fifty-five, fifty-four, fifty-three, fifty-two, fifty-one, fifty. Forty-nine, forty-eight, forty-seven, forty-six, forty-five, forty-four, forty-three, forty-two, forty-one, forty. Thirty-nine, thirty-eight, thirty-seven, thirty-six, thirty-five, thirty-four, thirty-three, thirty-two, thirty-one, thirty. Twenty-nine, twenty-eight, twenty-seven, twenty-six, twenty-five, twenty-four, twenty-three, twenty-two, twenty-one. Tjuo, nitton, arton, sjutton, sexton, fjorton, tretton, tolv, elva, tio, nio, åtta, sju, sex, fem, fyra, tre, två, ett,

There we have it; by no means was this entertaining, but it was creative. Have you ever noticed that words or names, once repeated many times, sound utterly ridiculous, and do not even sound like proper words anymore?

Various Hamlet Movies.

There is not much to say about what we have been reading in Hamlet these past few classes. Everything has already been analyzed for me. We have read the third scene twice in class, and the second time was thoroughly explained. All of the possible ideas for an analysis or academic entry have been taken. I certainly cannot speak of answers that were on the quiz. So, I supposed a simple recap will suffice. No, I know of something better. Something that has not been discussed extensively in previous classes, the various movies we have been watching.

Now obviously no two movies can be portrayed in the exact same way, there would be many copyright issues. However, the different versions of Hamlet are so entirely different; it is very odd watching them all. It is as though we are watching one movie (throughout multiple class periods) with completely different plots. In some of the movies, Hamlet is crazier; there is more shouting, emotion, and so on. Some of them are much better than the others. I have never imagined any of the characters being any such way as they are in the movies, but that’s Hollywood. How was Hamlet to be portrayed at the time Shakespeare had written the play? Is he being accurately represented by producers and directors in these new movies, or would Shakespeare roll over in his grave knowing that such horrid renditions are available for viewing? From watching bits and pieces of all the movies, it is certain that everyone has a different view on Hamlet and those around him. 

Writing Songs.

I’ve always wanted to write a song. No, this probably will not be an interesting blog of any sort; however, it’s something I’ve always wanted to do. I have always wanted to, but have never had the means to complete the task. A piece of paper and a pencil are not difficult to obtain, and are quite numerous in the backpacks of other children in a school, but that is not all that is included in a song. I cannot just get those two and magically make the pencil write words (if I could, I would never do any of my own homework). I am a horrible story teller, I can barely make up random things to say and make it sound interesting – most of what I say is, in fact, completely and utterly uninteresting, I’m sure of it. Even if I could tell a story, what would the story be on? What direction would I take the lyrics? Would it be repetitive like most main-stream pop music? Would it contain no chorus? There are so many directions for writing something such as this. I could write about the detestable nature of people and their capability of doing no good in life, but I’m not sure how many people would actually have any interest in something like that; everyone likes their happy endings and upbeat music too much. The complication of writing such things and my conflicting feelings of humanity are too much; I have decided that I do not want to write a song. Too much work, too complicated, and too much related to poetry. Maybe one day, but not today. 

What I Will Do Over Break -No- What I Meant To Do Over Break.

(Meant for) October 10, 2013

Sunday morning, I shall no longer be in this state. I will be making my way up to Idaho with a friend and his family. For the length of this trip, I know, for a fact, that I will be doing little academic work. This is the purpose of a break, to give the mind a rest from stress and academics. I have to spell everyday, that will suffice.
If I do indeed do work over break, I will work diligently in the beginning so that I have the remainder of the week to myself - if only that were true. And so, I will attempt to get my act together, complete a few college entry-essays, and possibly some applications, all in addition to my regular class work that all of the mean teachers bestow upon us during these times of perceived solitude. Reading will be done, analyses will be done, Internet work, and so on. Throughout the week, I will (obviously) view my progress, and hope that I have gotten something done.

----

As expected, I have not completed much work and my week of relaxation and catching up is almost over. Nothing, including this blog, has been completely finished. I am posting this days late. This is uncommon for me, so hopefully my penalty will be lightened or nonexistent. I had hoped to have many things completed. My hopes have been crushed by my own procrastination, how pitiful. It appears as though I will be doing last minute work a day or two before my classes. This is nothing out of the ordinary, so it shouldn't be that difficult to complete. However, I do wish that I had completed my assignments and other duties, at a much earlier time. I'm blaming Idaho and all of it's activities.

Analytical Hamlet.

Motives are created when either a character or person is attempting to hide their contemptible acts, or a guilty conscience from another person or group, if not from themselves; in doing so, deceit and further reprehensible acts are committed, often without anticipated consequence. In his play, Hamlet, Shakespeare informs that all fathers die, that all men are terminal; however, his assertion of this information poses as a façade to hide events that have occurred within the play.

King Claudius, Hamlets uncle, and now father, has developed an attachment and begins to really depict his affection towards Hamlet. However, preceding the expressed love towards the end of the soliloquy, the King explains the horrors, and ungodliness of Hamlets mourning. It can be interpreted that mourning is a fine and acceptable way to cope in the event of one’s death, but when done in excess "'tis a fault to heave, a fault against the dead, a fault to nature,".

The king's soliloquy is nothing but foreshadow, a highly indirect foreshadow. No one, nor the audience (dramatic irony is not occurring), is truly informed on what the king means when he is telling Hamlet to give up his mourning and understand that his father is dead. However, when a clear answer is given to the King's death, it becomes apparent that the current king was attempting to hide his sins, by making all forget that it had previously happened; in doing so, he would become loved by Hamlet, and all others are none the wiser towards done deeds.

Following his speech on the death of fathers, the King expresses to Hamlet his fondness. Hamlet, chiefly after the death of his father, premeditated his plans for leaving the royal family to return to college in Wittenberg; the king had deplored him to remain with him and his mother, thus expressing his overall love. Subsequently, he had begun to disclose to Hamlet that he is the heir to the Danish throne that his father had held, thus constraining him to remain with the family so that he may fulfill his duties after the passing of the present royalties.

The king’s soliloquy had both direct and indirect meanings within. Much of which was expressly stated to gain the trust of Hamlet, and remain undetected by those suspicious of his activities and the death of Hamlets father, this however does not lead to the idea that the king’s endearment was ersatz. He has a genuine fondness for the young Hamlet, whether it is because they are naturally kin, or he really does consider Hamlet a son, is open to interpretation by audiences alike.

More Shakespeare.

It is beginning to become apparent, that Hamlet is mad. Not mad as in crazy, however - though, he must be a little crazy, everyone is crazy. His anger and wit are being shown to the audience. Such a man seeking revenge, and still mourning for his father, should go back to the way he had been, preceding the meeting with his ghostly father. But who am I to say he should continue to mourn and hide his feelings and work on his ideas for revenge. What shall he do for revenge? This is a question that must be answered, and will be answered.

There is not much recap or analysis to be done. Most of it has been completed in class whilst we act out the play, and discuss the play with each other. There is not much I can say that one does not already know, because of that discussion and exposure to the play. Additionally, we are each assigned to do specific assignments to summarize each scene, and then an analysis for each act. My home work does my blog work for me. So, from now on, I just might point out key events instead. Unless, of course, I am attempting to use as many words as possible. Even then, the key events to each scene (that my summary will pertain to) will be here. For no one but I - As no one will care what I think the main or key events are.

- Polonius is a man that likes to hear himself speak, thus he enjoys repetition. He sends another (Voltimand) off to keep tabs on his son Laertes, in addition him keeping tabs on Hamlet.

- Hamlet, as I have said before, is beginning to show his wit and anger. The appearance of his father’s ghost does not seem to have been the best thing for an attitude adjustment.

- The King receives word from Fortinbras that they would like to peacefully cross his lands to reach the Polacks. He agrees quickly, without taking any consideration that Fortinbras would want his land back, and attempt to kill the king.

- Players that take roles in nontraditional plays are introduced. Hamlet messes with one of them, just to test out how incorrectly the playmakers have been teaching them to act, in addition to how incorrect the plays are. He is going to use such inexperience to his advantage, and test his uncles conscience.

Nap Time.

I begin to come up with an idea, something to right about, an interesting point, so on an so forth. Then I immediately lose it. This is completely awesome, makes writing so simple.
Do you remember, in kindergarten or preschool, nap time? I've never really understood why they would designate and implement an activity such as that for small children that only attend school for four hours anyway. Was it just so they were not complete brats? Everyone is cranky when not on enough sleep. Maybe the same rule should be applied to us too. Especially since ours brains at this age, don't develop near as quickly.
The younger the child, the faster the brain development. For this reason, teaching children two languages is much easier until the age of five, than teaching a teenager or an adult. The development of their brains are so great that they could, more than likely, sit in a room as long as a high school student and absorb two-times more information. Instead, they play, and get nap time.
I remember, in kindergarten, learning the alphabet in sign language. It took about a week. I also remember dress up, and painting. Besides some sort of motor skills, what does dress up do for learning development? If it was a way to teach kids to use their imaginations, boy did I sure fail that course. I look back, and really wish I would have learned something more. I was never really one that wanted to play. I wanted to get school over with. Now I want both, but can only have one. I can't have them both, so can I have nap time to compensate?
Nap time would be highly beneficial for high school students. Information is retained better, and for a longer period of time whence something is taught or read or learned before a brief napping period. Imagine how much smarter we would all be. Imagine how much more rested we would all be, especially considering most teenagers are not well rested. So, being beneficial to both our health and our education, we should have nap time.