We started The Great Gatsby! So exciting. I probably won’t get to everything that happened in these first four chapters, but I will highlight what stood out to me and what I found interesting. 

The first “event” to happen is that Mr. Nick Carraway goes to dinner at Daisy and Tom Buchanan’s House, where he meets Ms. Jordan Baker for the first time. In these scenes, I couldn’t help but notice how different Nick seems than Daisy and Tom. Tom talks about how he’s a “pessimist” (12) and Nick talks about how he feels “compelled” by Tom, “as though he were moving a checker to another square” (11). In comparison, Nick is described as “[innocent]” (14). Nick may seem to be friends with Tom, but this man seems to be more manipulative and cunning than friendly, and, to me, Nick seems awkwardly out of place with this set of people. 

Nick’s difference from Tom is further revealed as we learn about Tom’s affair with Myrtle, picking her up right in front of her husband’s face and showing her off at the restaurants. Tom seems to be flaunting his dishonesty, which makes me like him even less. He acts above the rules and does not give his crowd of people a good look. Once again, in comparison, later on, Nick remarks that he thinks he himself is “one of the few honest people that I have ever known” (59). 

After the chapter about Myrtle, we start to learn more about Gatsby’s parties. Once again, I get the feeling that Nick is out of place there. He describes fantastic parties, but his descriptions are full of how (at the first one he attends) he feels awkward because he doesn’t know anyone there, and he offers details like “most of the remaining women… now having fights with men said to be their husbands'' (51). Upon giving a list of people who attend the parties, he tells the reader about a man who drowns, a man who strangles his wife, and a man who commits suicide by jumping in front of a train. It seems that the reader is being warned…these people, with their parties and fun, maybe aren’t having nearly as much fun as they seem. There is something amiss. 

I am glad that Nick realizes that something’s a bit off. It seems that he’s still holding out from this whole society he’s slowly becoming a part of. Do you think he’ll be able to keep his own sort of “independence”?

I didn’t even get to talking about Jordan or how many times I saw stuff about “roses” throughout the chapters. We’ll just have to talk about it in class. :)

Beloved Ending

The beinging of the final pages of Beloved definitely felt as though things were coming undone. At the start of chapter 26, I couldn't help but feel just so sorry for Denver. Her whole life has been about Beloved. Everything she had lost was because of Beloved, and now that Beloved is back, Sethe, the only thing Denver ever had, begins slipping away too. I feel as though Denver often goes unnoticed because her pain and trauma isn't as visible as the scar on Beloved's throat.

Sethe and Beloved have begun to unravel. I always thought their lovely relationship would take a turn for the worst because Sethe did kill Beloved and when we first saw Beloved, there was violence in the shadows. It feels like in chapter 26 the feelings hidden in the shadows are coming to light. I'm glad Beloved is expressing the pain and trauma she felt being murdered and left behind by her mother. This whole time Sethe has allowed herself to justify her actions but now she must face the consequences of them in a much more real way. She cannot reason away the pain Beloved felt. 

Having gone into this chapter feeling sorry for Denver, it brought me so much joy to see her finally venture out into the world. After being lonely for so long, she bumps into strangers in the road and exchanges pleasantries and gets to see what is beyond 124 once again. More so, her time with Lady Jones feels like the beginning of the end, as Denver begins to step up. I also love how the community comes together in such a relaxed way to help Denver out. She has finally been able to re-enter a community and find people, something she cannot receive at home where Beloved and Sethe are seemingly going mad whilst ignoring Denver. I am also so happy she found what I would imagine to be love. I like to imagine it as an easy love, not one as overpowering as her mother's, but easy and kind and pure.

“This Sethe has finally lost her wits” (299).

Sethe has finally come undone. The torment and tragedy of her past has finally caught up with her and she can no longer ignore it. When the women come to send Beloved away and Sethe attacks the “man without skin” it is clear that this is it. With her past at sweet home and school teacher and Beloved, seeing Mr. Bodwin is too much and Sethe fights one more time. Sethe thus gives herself up to the colors leaving Denver to note “I think I've lost my mother” (314). I loved the final words in her exchange with Paul D just being “Me? Me?” I’m not sure what it was, but to me it felt like finally Sethe was able to claim her identity. With no plans and nothing to do, Sethe can finally breathe.

The main question on my mind was the significance of my Beloved being pregnant and this passing on of motherhood. What do you think was the message and importance of this detail? Also, how do you feel that Sethe’s last moments in the book are with Paul D?

Beloved 236-237

 

Even though this wasn’t our longest reading assignment, I feel like there was a lot that happened and there’s definitely a lot to unpack. We see a stream of consciousness/monologues from Sethe, Denver, and Beloved (plus a weird mixture of the three) and we also find out more about Paul D’s past at Sweethome as well as what he’s up to right now. 

Okay so jumping straight in with Sethe’s monologue, I’ll be honest and say that my first thought when I finished reading it is that Sethe is literally freaking unhinged. I mean understandably, but still. I think part of it was because Morrison wrote it as one long paragraph that didn’t break until basically the last page, so it felt like a madman’s ramblings. I also thought it was interesting that Sethe says that she’ll “[E]xplain to her, even though I don’t have to,” (Morrison 236), referencing that she’ll explain to Beloved why she killed her even though she doesn’t owe anyone her reasoning. I found this ironic, because even so, Sethe goes on to explain herself for basically the whole rest of the chapter (aka leading her to ramble and sound CRAZY): “How if I hadn’t killed her she would have died and that is something I could not bear to happen to her,” (136), “I have felt what [slavery] felt like and nobody walking or stretched out is going to make you feel it too,” (239), “My plan was to take us all to the other side where my own ma’am is,” (240), etc. etc. you get the idea.

From all of this, I basically gathered that even though Sethe has defended herself and maintained her stance that what she did was right to Paul D, the townspeople, and even her own family, she still has some doubts. I think that although she blames the institution of slavery and the townspeople for not warning her about school tecaher’s arrival for the infanticide, she still blames herself, second-guessing her actions and even going so far as to justify them to herself.

As much as I would love to spend more time on this chapter because there are just so many things going on, I’ll move on for time’s sake and also because I have a math quiz tomorrow that I have yet to study for. That being said, let’s move on to Denver’s monologue. My biggest reaction to learning more about Denver and her perspective on her life is that I just feel so bad for her. We start off strong with, “I swallowed [Beloved’s] blood right along with my mother’s milk,” (242), which is just ew, not to mention very intense, and then we go right into how scared Denver is of Sethe. She says that “I love my mother but I know she killed one of her own daughters, and as tender as she is with me, I’m scared of her because of it,” (242). I mean that is just so terrible. Later on, I got the idea that she really only loves Sethe because she is scared of her, and is also terrified of the idea that Sethe/whatever made Sethe try and kill her will come back and make Sethe try again. Additionally, Denver constantly mentions her father and how he’s coming for her (“I always knew he was coming,” (244)), which is basically what keeps her motivated to keep living with Sethe. Knowing what we do now about Halle, this just made me feel so bad for her all over again. 

Next up is Beloved’s chapter, which I have to admit was totally confusing and I really didn’t know what was going on half the time to be honest. This section also made me second-guess Beloved’s origins, though I know this ambiguity was totally purposeful on Morrison’s part. A large part of this made me think of the Middle Passage from Africa to the United States. For example, she often talks about “men without skin”, which I took to mean white men, and she also talks a lot about death, sickness, and how she is “always crouching” (248). All of this led me to think about the Middle Passage, and how even though she might be telling her own story, Morrison made it as though she is telling the story of millions of slaves as well. Additionally, the untraditional way in which this chapter was written gave me the idea that Beloved’s experience is one that cannot be conveyed justly through regular prose, and in fact goes above and beyond any sort of written word. 

After this part ended and she started talking about Sethe, a woman with her face, and how she is “looking for the join” (251), I became totally lost so I would love to talk more about this section of the chapter.

After all of this, we go to chapter 23 which is also just so confusing, but I thought it was like a mix of Sethe, Denver, and Beloved’s voices (“You are my sister/You are my daughter/You are my face; you are me,” (255)). Sethe tries to comfort Beloved because she is scared the white men will come back while Denver warns Beloved not to get too attached to Sethe. Because you cannot always tell who is saying what in this chapter, it feels like their identities as people become less defined and mix together, possible representing how white people did not see slaves as their own entities but rather one collective group, or it could go along with the continues theme of how the characters in this novel often have incomplete identities and don’t really know who they truly are.

Speaking of incomplete identities, Paul D can certainly relate as is conveyed to us in chapter 24. He recalls how he didn’t know much about his family other than his two half-brothers and how “[h]e watched [families] with awe and envy, and each time he discovered large families of black people he made them identify over and over who each was, what relation, who, in fact, belonged to who,” (258). I found this interesting, because like Sethe, he has no real familial identity. This leads him to lose a fundamental component of his humanity and therefore unsure of who he is as well as his masculinity. 

Finally, Stamp Paid discusses what made him choose his name and why he changed it. He had to give up his wife for his master’s son and thought it was an act so terrible that he decided all of his debts had been paid and he no longer owed anything to anyone. When his wife, Vashti, comes back to him, Stamp Paid tells Paul D that he wanted to “snap” her neck but instead decided to change his name and is reborn into a new identity free of his old life. 

Okay that’s all I have (sorry that it’s literally a mile long but there was a lot) so I will leave you with some parting questions: Who is Beloved and where did she really come from? How do you feel about Sethe’s actions after hearing Sethe’s justification of it and Denver’s point of view? What do you think Paul D’s future holds for him? Will he be able to come to terms with his humanity or will this prove to be impossible?

Beloved 147-195

Well, this section finally gave us some of the answers we were looking for! So much happened, so let's just start from the beginning. 

First things first, Paul D is left to question his manhood right off the bat. With the memories of school teacher and how he treated him and the recent actions of Beloved, he begins to compare the two relationships. School teacher led him to think, "Was that it? Is that where the manhood lay? In the naming done by a whiteman who was supposed to know? Who gave them the privilege not of working but of deciding how to? No" (Morrison 147). For so long, he had convinced himself that school teacher was wrong, but with the presence of Beloved bringing back these feelings from his past, he begins to question if school teacher was right all along. While discussing what makes him question this, Morrison writes, "It was being moved, placed where she wanted him, and there was nothing he was able to do about it" (148). In order to stop Beloved, Paul D believes that his best option is to tell Sethe. While he isn't able to confess that he is losing his manhood, he is somehow able to just go right on ahead and ask her if she will have another baby! Unsure of what to make of this, the two laugh it off, but this is not the last time Sethe thinks of this conversation. Eventually, she decides that she can't have a baby with Paul D because she was scared of "Needing to be good enough, alert enough, strong enough, that caring - again" (155). Finally, she questions Paul D's intentions, but winds up deciding that this is her way of justifying not wanting to have this baby. 

The next chapter is brief, yet still jampacked. Sethe leaves the room and Beloved manages to pull a tooth out of her mouth in the short time she has been gone, leaving her to believe that "Pieces of her would drop maybe one at a time, maybe all at once" (157). Beloved is not complete without Sethe, and she will simply fall apart without her...interesting. I'm curious what y'all think the significance of this seemingly simple moment is?

Anyways, moving on. In the next chapter, we are taken back to a time where Baby Suggs is hosting a feast. As time passes, those who attended the feast grow mad at Baby Suggs, as they equate the feast with a boastful sense of pride. If I'm being honest, the "dark and coming thing" (163) that Baby Suggs senses confuses me. What is it that y'all think she is sensing? 

This next chapter is where it gets heavy. The imagery is vivid and the scene is laid out in front of us. We see her sons, "[bleeding] in the sawdust" (175) and Sethe holding "a blood-soaked child to her chest with one hand and an infant by the heels in the other" (175). Later in the text, we discover that Sethe felt that she was saving her children from the trauma and horror that she had experienced in her own life. With some time to think, Paul D shows sympathy and understands that "to go to a place where you could love anything you chose - not to need permission for desire - well now, that was freedom" (191). Though the decision seems absolutely absurd to us, this is a situation of which we cannot even imagine. I have trouble even wrapping my mind around how Sethe must have felt and what must have been going through her mind at this moment. 

Morrison essentially leaves us with a quote from Paul D, that came out of nowhere. Just when you think he is sympathizing with her, he says, "You got two feet, Sethe, not four" (194). He is suggesting that Sethe was acting "animal-like" when she killed her children. I applaud Sethe for her composure, yet I wonder what is truly going through her head. Is this just the pure shock factor of the statement talking, or is she truly unaffected by his comment. What do y'all think?

Beloved 101-146

I will not lie. This reading left me quite uncomfortable. Let’s dive in.

After contemplating the disturbing information about Halle and his buttered face, Sethe returns to the Clearing as it is her place of refuge. The Clearing used to be a space where Baby Suggs would encourage the Black community to embrace their flesh and most of all, their hearts. The personification here is really beautiful. The woods almost come to life just like the “laughing children, dancing men, [and] crying women” (Morrison 105). The trees are described as “ringing” and the groundlife as “shuddered.” I love how well the setting captures the tone of this passage. 

Sethe then shares her last memory of Baby Suggs, who on her deathbed said, “There is no bad luck in the world but white folks” (Morrison 105). As Denver, Beloved, and Sethe walk towards the clearing, we are transported to another of Sethe’s flashbacks. This one is a story of how Stamp and Ella helped Sethe and Denver reach 124. When Baby Suggs first catches a glimpse of Sethe’s back, we are captivated by the euphemisms of the description. Sethe’s back is described as “roses of blood blossomed in the blanket” (109). I find it interesting how Morrison chooses to describe something so disturbing with a plant so beautiful.

Ah. I love this next part. We’ve seen this type of syntax before, but it’s back again. When describing Denver as a baby, the sentences start off with a lowercase letter. I have compiled these sentences into the following list for your pleasure: “girl were brought in,” “baby blinked,” and “girl in her arms” (110). This might just be a me thing, but this choice makes this moment feel so tender and precious. After hearing about Sethe’s strenuous journey, we finally find a moment of peace, and here we find proof that the journey was worth it. 

Okay pause. I need to speed this along because I’m only on page 110 right now. I’m going to go ahead and assume y’all don’t need a plot summary because y’all actually read the book, so I am going to skip to the parts of this reading that made me want to squeeze lime juice into my eyeballs. 

Denver accuses Beloved of being the one who choked Sethe. I believe her. This Beloved character is way too impulsive, which leads me to another scene. Beloved, who we think is the “true-to-life presence of the baby [ghost],” (141) tries to seduce the man whom her basically-mother is bedding. She demands, "I want you to touch me on the inside part and call me by my name” (137). Absolutely disgusting. To make matters worse, Paul D. succumbs, not once, but multiple times! 

Personally, I am not a fan of Denver, and here is some proof to support my opinion. Denver cares more about Beloved than her own mother, and regarding the choking scene, “Denver was alarmed by the harm she thought Beloved planned for Sethe, but felt helpless to thwart it, so unrestricted was her need to love another” (123). Denver apparently feels shame for this choice. Well duh, of course, she should.

Let’s also look at this quote about Denver: “The present alone interested Denver,” (141). Good for her for living in the moment, but I feel as if her having no interest in the past, specifically her mother’s past, is the reason for her lack of empathy. Sethe has given so much for Denver, and unlike Paul D, who only shares small amounts of love with the people around him, Sethe gave all her love to Denver. How does Denver pay it back? She picks a reincarnated baby ghost over her own mother and basically becomes a simp (for lack of a better word) for Beloved. However, this is just my opinion. I will never be able to understand how Denver feels, and there is probably a greater meaning behind Denver, Paul D, and Beloved’s poor choices, but this is my blog post, so I have the right to share my opinion.

Toodles,

Lena

Beloved 52-100

 Wow, these fifty pages have a lot to cover. We got further insights into Sethe's past and Denver's birth, more exploration on the relationships developing between the characters living in 124, and, of course, the questionable and mysterious appearance of Beloved. 

After having an argument about Sethe's protectiveness over Denver, Paul D thinks that, "for a used-to-be-slave woman to love anything that much was dangerous, especially if it was her children" (Morrison 54). He believes that you should only love a little bit, so that when the thing you love eventually breaks, you have some love left over for the next person. Paul D's life and trauma has left him with the idea that love isn't regenerative, and that what he loves will eventually leave him. He sees love as being finite. Sethe loves in a different way. This novel is about the love she has for her children, and Sethe puts everything into her love for them. She devotes all of her love to Denver and devoted so much to her baby girl, escaping while pregnant to get milk to her. Through Paul D's eyes, if everyone only has a certain amount of love to give, then Sethe gave too much love to her baby, which is why the baby's death continues to haunt her. He believes that if she's giving all her remaining love to Denver, she doesn't have enough for him and the life they could lead. He wants Sethe to make space for him, as well. However, after this conversation, Sethe believes that she sees a good omen for her new family at the carnival. The shadows of Denver, Sethe, and Paul D are all holding hands, which signifies to Sethe that they can make a life together in 124. 

In the next section, Beloved basically appears out of thin air from the water. The way that she's described in this section was so unsettling to me. She shares many attributes that I think of as belonging to a baby or young child. There are scratches on her skin that look like baby hair, and she has soft hands and feet that look like they're brand new. Her feet are described as "barely capable of their new job", and she walks to the bed like she's a toddler who has just learned to walk. The characters also estimate her to be nineteen or twenty, which was especially creepy to me because I think that's how old Sethe's baby would be if she was still alive. Paul D describing that she acts sick yet could pick up a rocker with one hand only added to how off-setting Beloved's character was to me. It was unclear to me here exactly who Beloved is - a ghost? Oh, and later in this section, Beloved seemingly chokes on bread pudding and thrashes around holding her throat. This originally seemed like a random scene to me, yet took on another meaning when I remembered that Sethe's baby had her throat cut. 

Later, when Beloved helps Sethe make bread, "their two shadows clashed and crossed on the ceiling like black swords" (68). This directly contrasts how Sethe's shadow held hands with Denver's and Paul D's shadows, which made me wonder if Beloved's return could mean the ruin of Sethe's other relationships or create tension in this new family. However, Sethe is able to tell Beloved stories about her past that were still too painful to talk about with Baby Suggs or Paul D. It's unclear why it's easier for Sethe to speak about these events with Beloved, maybe because she sees Beloved as more distant from Sweet Home. Sethe is able to talk about memories that aren't completely full of pain, like when she made her own wedding dress or when Mrs. Garner gives her earrings. However, Sethe only pierced her ears and wore the earrings when she moved to 124. This made me wonder if Sethe wouldn't allow herself to appreciate any beauty when she was living such a painful life at Sweet Home. She wouldn't wear the earrings there and describes her self-made dress as ugly. 

In the next section, Paul D tells Sethe that Halle did see her assault, which broke him. Learning about this horrible story leads Sethe to have an internal monologue about how painful it is that her brain keeps absorbing these horrific stories and images. She thinks, "just once, could it say, No thank you? I just ate and can't hold another bite?" (83). This was another example of how Sethe's past continues to affect her present and future. Sethe's brain is so full of her past that it can't even think about the future, which prevents her from moving on. She doesn't want to keep taking in these painful memories, yet she has no choice. 

Finally, Denver and Beloved talk about where Beloved came from. Beloved tells Denver that she got her name from the dark, which is hot and stuffed with people, some of them dead. In the dark, Beloved is forced to lie curled up. Beloved reveals that she came back to see Sethe's face because Sethe left her behind - possibly in the afterlife? This section of the novel left me with so many questions. How will Beloved's appearance affect the potentially budding familial relationship between Paul D, Sethe, and Denver? Where did Beloved really come from, and who is she? Does her shadow's violence toward Sethe's foreshadow Beloved having bad intentions toward the family?

Hamlet...Act V!

 This act in particular is, I believe an example of this: “…to hold as t’were the mirror up / To nature; to show virtue her own feature, scorn her own image, / And the very age and body of the time his form and pressure” (3.2.18-20).

In discussing Shakespeare with Ms. Bromfield, she said that a good director will “find the comedy in the Shakespearean tragedies and the drama in the comedies.” Throughout this entire play, we’ve witnessed Hamlet’s continued sarcasm and constant wordplay even though this humor can be morbid or incredibly disturbing…so too, morbid humor begins the final act of what has become the most well-known play of all time – needless to say, I think Ms. Bromfield has a point.

At the beginning of this act, there are two gravediggers, one of whom is a clown. Hmmm…interesting and ironic. Hamlet instructs the players in Act III that “those that play your clowns speak no more than is set down for them…[that] shows a most pitiful ambition in the fool that uses it” (3.2. 31-32, 35-36). Anyway, I digress.

There are two gravediggers arguing over how Ophelia died then proceeding to shift the conversation to arguing over “who builds stronger than either the mason, the shipwright, or the carpenter” (5.1.35-36). To which the so cleverly named “other” gravedigger replies, “The gallows maker, for that frame outlives a thousand tenants” (5.1.37). Ok, gross, but also, so true!

In all seriousness though, Shakespeare is clearly saying something with this banter about the significance of a profession dealing with death. What does this mean? Our book says on pg. 204 that “death is the great leveller.” Again, so true. Almost everyone dies at the end of this play, hence Shakespearean tragedy. What does Hamlet try to do this entire play? Try to kill Claudius (*ehem* death). What does Claudius do to protect himself? Try to kill Hamlet (*ehem* death again).

Shakespeare is clearly commenting on how our emotions affect our desires – those desires are tied to power in some way, shape, or form; therefore, the desire for power or control over another (as in Hamlet's and Claudius's cases), clouds the characteristic that distinguishes us from, well, animals: an analytical mind. No wonder we have been questioning the extent to which Hamlet is losing his mind! Because of the vengeful actions he is encouraged to take, his emotions and impulses overtake his mind.

Couldn’t that be connected to 2022? People acting on their emotions and sacrificing their analytical minds to other people or other devices who will think for them? I mean, Hamlet said it first: the play is a way “to hold a mirror up / to nature; to show virtue her own feature, scorn her own image” (3.2.18-19). Again, I digress.

After this whole clown business, Laertes joins Hamlet and Horatio at Ophelia’s graveside – Laertes just hops right in the grave (again, somewhat comical in the reading of it) followed by Hamlet who tries to one-up Laertes contesting “forty thousand brothers could not with all their quantity of love make up my own” (5.1.236-238). Ok, if my brother heard that, a duel would probably soon follow.

Claudius and Gertrude express their sorrow for Ophelia’s death, Gertrude briefly comments on Hamlet’s madness, and the scene ends with Claudius’s pep talk to Laertes: “We’ll put the matter to the present push” (5.2.262).

Ok – moving to the final scene of the play! We finally get to see a moment with Horatio! Hamlet confides in Horatio that he found Claudius’s order for Hamlet’s "head to be struck off” (5.2.24). Ouch! While Hamlet continues word-vomiting about all that happened aboard the freaky pirate ship, we only hear Horatio’s small interjections either affirming Hamlet’s statements or posing a question.

Here is a question: Horatio is a confidante for Hamlet, right? Could he be viewed as a piece of Hamlet’s fragmented conscience? He is present at the beginning and end of the play, the same times when ounces of Hamlet’s sanity are present. In the beginning, he mourns his father’s death, and in the end, he apologizes to Laertes for Polonius’s murder. Just a thought.

I really want to get to this ending, so I’m going to skip Osric’s brief moment in the spotlight, but maybe we can discuss it further as a class?

So, this duel: Laertes vs. Hamlet. Fighting it out…like men…sounds like the slogan for our brother school last night.

Hamlet seems to adopt the Beatles's philosophy in preparing for this duel (que “Let It Be”). “If it be now ‘tis not to come; if it be not to / come, it will be now; if it be not now, yet it will come – the / readiness is all.” Hamlet seems to have reached a state of contentment and all of a sudden, too. What all did they really do to him on that ship? Or, is it in killing Polonius and seeing Ophelia’s death that he recognizes the abundance of uncertainty in life and realizes that the way to approach it is not to try to control the future? Now, I am the one word-vomiting.

 What I am continuing to grapple with is Hamlet’s confession, and more shockingly, the continuation of the duel after his confession. “Who does it then? His madness.” (5.2.209). And Laertes responds: “I do receive your offered love like love” (5.2.223). This seems like a mutual agreement. Why do we still need to duel, you guys?

Anyway, this play ends with death, and I don’t have to tell you that. So order of events: we lose Gertrude (that one got me), then Claudius (aka Scar), then Laertes (who apologizes before he dies so maybe no purgatory for him), then our boy Hamlet, and almost Horatio.

Hamlet asks Horatio to “tell my story” (5.2.28). His final lines are: “the rest is silence” (5.2.337). I thought this was really beautiful. All Hamlet has wanted is for the voices in his head (maybe this included the Ghost?) to be silenced and most importantly to “rest.” “To die, to sleep - / No more; and by a sleep to say we end / The heart-ache and the thousand natural shocks / That flesh is heir to” (3.1.60-63). Remember this?

So, Shakespeare, why not end the play here? Why are we ending the play with affirming words from Fortinbras? Is this how you thought the play would end? Should Shakespeare have been a philosopher or a playwright? (Ok, yes, that was supposed to be my own comic relief…but seriously, what do you think?)