by Lilian Whitehead 15 years ago
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Scene Three (Page 47):
Vivian (weakly, painfully leaning on her IV pole, she moves to address the audience). Hi. How are you feeling today?
Silence.
These are my last coherent lines. I’ll have to leave the action to the professionals. It came so quickly, after taking so long. Not even time for a proper conclusion.
Vivian concentrates with all her might, and she attempts a grand summation, as if trying to conjure her own ending.
And Death – capital D – shall be no more – semi colon. Death – capital D – though shalt die – ex-cla-mation point!
She looks down at herself, looks out at the audience, and sees that the line doesn’t work. She shakes her head and exhales with resignation.
I’m sorry.
She gets back into bed as Susie injects morphine into the IV tubing. Vivian lies down and, in a final melodramatic gesture, shuts the lids of her own eyes and folds her arms over her chest.
Vivian. I trust this will have a soporific effect.
Susie. Well, I don’t know about that, but it sure makes you sleepy.
This strikes Vivian as delightfully funny. She starts to giggle, then laughs out loud. Susie doesn’t get it.
Susie. What’s so funny? (Vivian keeps laughing). What?
Vivian. Oh! It’s that – ‘soporific’ – means ‘makes you sleepy.’
Susie. It does?
Vivian. Yes. (Another fit of laughter).
Susie. (Giggling). Well, that was pretty dumb –
Vivian. No! No, no! It was funny!
Susie. (Starting to catch on). Yeah, I guess so. (Laughing). In a dumb sort of way. (This sets them both off laughing again). I never would have gotten it. I’m glad your explained it.
Vivian. (Simply). I’m a teacher.
They laugh a little together. Slowly the morphine kicks in, and Vivian’s laughs become long sighs. Finally she falls asleep. Susie checks everything out, then leaves. Long silence.
Direct references:
Within Scene Three, Vivienne refers directly to John Donne's Death be not Proud through her recitation of the final stanza; "And Death – capital D – shall be no more – semi colon. Death – capital D – though shalt die – ex-cla-mation point!", alluding to Vivienne's own death, as opposed to that of the "abstract." Vivienne describes the stanza as her "last coherent lines", providing evidence for the consuming nature of John Donne's Holy Sonnets on Vivienne's life and alluding to a memory in which Professor Ashford presented Vivienne with the opportunity to "Go out and enjoy yourself with friends. Hmm?" Vivienne's rejection to do so, however, provides evidence for a rejection of humanity which continued throughout Vivienne's life, resulting in the isolation which Vivienne lives in as a fifty year old lecturer.
Indirect references:
Within Scene Three, Edson personifies “death” by referring to “death” as “it” and describing the actions of “death” as “[came] so quickly, after taking so long…”, which suggests the tyrannical nature of death and the power, if allowed, which death can hold over humanity.
The indirect reference of death as a personified character has been reshaped for a contempoarry audience within W;t, linking indirectly to Donne's Death be not Proud. Within Death be not Proud, John Donne establishes rhetoric effective of captivating an audience through the personification of death, in which Donne establishes “death” as a character; attacking and degrading “death” through use of apostrophe, argumentation, paradox and conceit. In conjunction with the use of adjectives “mighty” and “dreadful” which suggest “death” as possessing tyrannical qualities, Donne’s use of personal pronouns in referring to “death” as “thou” personifies “death”, establishing “death” as a character. Death be not Proud, however, acts as an attack and degradation of “death”, as Donne states “thou art not so”, in reference to “death” as “mighty and dreadfull”.
Contexts within Scene Three:
Medical/Scientific: The medical/scientific context within Scene Three is established through the theme of Science vs Humanity, which explores the ideas of science as void of humanity, evident through Dr Kelekian's "Dr Bearing, are you in pain?", which provides evidence for the oblivious nature of Kelekian and the "research team", in particular, Jason, to Vivienne's state of suffering and fear, as Vivienne is viewed primarily as research material. The theme of Science vs Humanity has been reshaped for a contemporary audience through the metaphor existent within Hymne to God my God, in my sickness; "...cosmographers, and I their map..."; with Vivienne acting as a "map" for the contemporary "cosmographers", Kelekian's team.
Social: Social context has been established within Scene Three through the attempt made by Vivienne in connecting with humanity, in which Vivienne shares laughter with Susie; "No! No, no! It was funny", suggesting Vivienne's realisation of the absence of humanity within her life, and her yearning for human compassion, laughter and emotion.
Educational: Educational contexts have been established within Scene Three through Vivienne's explanantion of the definition of soporific; "Oh! it's that - 'soporific' - means 'makes you sleepy', which alludes to a child hood memory of Vivienne's in which language was inituially established as Vivienne's passion.
Values:
Determination:
-The value of determination is highlighted within Scene Three through Vivienne's direct reference to Death be not Proud; "These are my last coherent lines...", which highlights the strength and determination of Vivienne in presenting the words of Donne, despite the pain and suffering which she is experiencing.
Defying the fear of death:
-The value of defying the fear of death is presented within Scene Three through Vivienne's ability to connect with and share laughter with Susie, which is highlighted through the repetition, "No! No, no! It was funny", despite Vivienne's approaching death, pain and suffering.
Acceptance:
-The value of acceptance is evident within Scene Three through the laughter which Susie and Vivienne share together; highlighting the idea that they are able to accept and feel a state of comfort with one another.
Humanity/Human Compassion:
-The value of humanity is evident within Scene Three through Vivienne's connection with Susie; "I'm a teacher", which suggests Vivienne's realisation of the absence of humanity within her life, and her yearning for human compassion. The value of human compassion is evident through the comforting, grateful nature of Susie; "I never would have gotten it. I'm glad you explained it."
Ideas:
Salvation:
-The idea of reaching a point of understanding and humility prior to achieving salvation within Hymne to God my God, in my sickness, is exposed through the metaphor, "All straits, and none but straits...", which is metaphorical of a spriritual journey. The idea of reaching humility prior to achieving salvation is reshaped for a contemporary context through Vivienne's ability to reach a point of understanding, which then allows Vivienne the freedom to complete her "journey" to salvation. Vivienne's understanding is shaped within Scene Three through her final ability to engage with humanity and to experience human kindness, both giving; "I'm a teacher", and receiving; "I never would have gotten it. I'm glad you explained it". However, metaphysical conceit exists through the idea that it is only while close to death that Vivienne experiences human compassion, gains knowledge concerning relationships between herself and others and reaches humility.
The importance of love and human relationships:
-The idea of the importance of love and human relationships within Scene Three has been reshaped for a contemporary context through the search for engagement within Stanza Four of Hymne to God my God, in my sickness, in which the author questions, "Is the Pacific Sea my home? Or are the eastern riches? Is Jerusalem", linking directly with Vivienne's search for love and human engagment, particularly with Susie and Jason.
Language forms, features and structure of text:
Language Techniques:
Technique: Rhetorical question: "Hi. How are you feeling today?"
Analysis and Purpose:
Vivienne's rhetorical question mirrors that of the question which she was asked on multiple occasions during her first set of tests; with irony existing in Vivienne's statement, "I am waiting for the moment when someone asks me this question and I am dead", in that Jason does, in fact, inquire as to "how are you [Vivienne] feeling today?", when Vivienne is dead.
Technique: Repetition: "No! No, no! It was funny!"
Analysis and Purpose:
Vivienne's repetition aims to persuade Susie of the comedial nature of Susie's comment, providing evidence of Vivienne's ability to connect with humanity through laughter.
Structure:
Vivienne's stage directions: "Weakly, painfully, leaning on her IV pole, she moves to address the audience", "Concentrates with all her might, and she attempts a grand summation, as if trying to conjure her own ending", "...Vivian lies down and, in a final melodramatic gesture, shuts the lids of her own eyes and folds her arms over her chest", "...she starts to giggle, then laughs out loud...", "...this sets them both off laughing again."
Analysis and Purpose:
-Vivienne's stage directions highlight the gradual connection with humanity which Vivienne establishes through the laughter shared with Susie, providing evidence of the idea of compassion within humanity and highlighting the comfort Vivienne was able to gain from the situation.
Susie's stage directions: "Starting to catch on", "Laughing", "This sets them both off laughing again."
Analysis and Purpose:
-Susie's stage directions provide evidence of the comforting, grateful nature of Susie, and the way in which Susie is able to aid Vivienne in establishing a human connection; therefore experiencing human comfort and compassion.
Scene Two (Page 35):
Vivian. Bedside manner.
Jason. Yeah, there’s a whole course on it in med school. It’s required. Colossal waste of time for researchers. (He turns to go).
Vivian. I can imagine. (Trying to ask something important). Jason?
Jason. Huh?
Vivian. (not sure of herself). Ah what…(Quickly). What were you just saying?
Jason. When?
Vivian. Never mind.
Jason. Professor Bearing?
Vivian. Yes.
Jason. Are you experiencing confusion? Short-term memory loss?
Vivian. No.
Jason. Sure?
Vivian. Yes. (Pause). I was just wondering: why cancer?
Jason. Why cancer?
Vivian: Why not open-heart surgery?
Jason. Oh yeah, why not plumbing. Why not run a lube rack, for all the surgeons know about Homo sapiens sapiens. No way, Cancer’s the only think I ever wanted.
Vivian. (Intrigued) Huh.
Jason. No, really. Cancer is…(Searchingly).
Vivian. (Helping) Awesome.
Jason. (Pause) Yeah. Yeah, that’s right. It is. It is awesome. How does it do it? The intercellular regulatory mechanisms – especially for proliferation and differentiation – the malignant neoplasia just don’t get it. You grow normal cells in tissue culture in the lab, and they replicate just enough to make a nice, confluent monolayer. They divide twenty times, or fifty times, but eventually they conk out. You grow cancer cells, and they never stop. No contact inhibition whatsoever. They just pile up, keep replicating forever. (Pause). That’s got a funny name. Know what it is?
Vivian. No. What?
Jason. Immortality in culture.
Vivian. Sounds like a symposium.
Jason. It’s an error in judgement, in a molecular way. But why? Even on the protistic level the normal cell-cell interactions are so subtle they’ll take your breath away. Golden-brown algae, for instance, the lowest mutlicellular life form on earth – they’re idiots – and it’s incredible. It’s perfect. So what’s up with cancer cells? Smartest guys in the world, with the best labs, funding – they don’t know what to make of it.
Vivian. What about you?
Jason. Me? Oh, I’ve got a couple of ideas, things I’m kicking around. Wait till I get a lab of my own. If I can survive this…fellowship.
Vivian. The part with the human beings.
Jason. Everybody’s got to go through it. All the great researchers. They want us to be able to converse intelligently with the clinicians. As through researchers were the impediments. The clinicians are such troglodytes. So smarmy. Like we have to hold hands to discuss creatinine clearance. Just cut the crap, I say.
Vivian. Are you going to sorry when I – do you ever miss people?
Jason. Everybody asks that. Especially girls.
Vivian. What do you tell them?
Jason. I tell them yes.
Vivian. Are they persuaded?
Jason. Some.
Vivian. Some. I see. (With great difficulty). And what do you say when a patient is…apprehensive…frightened.
Jason. Of who?
Vivian. I just…never mind.
Jason. Professor Bearing, who is the President of the United States?
Vivian. I’m fine, really. It’s all right.
Jason. You sure? I could order a test-
Vivian. No! No, I’m fine. Just a little tired.
Jason. Okay. Look. Gotta go. Keep pushing the fluids. Try for 2,000 a day, okay?
Vivian. Okay. To use your word. Okay.
Jason leaves.
Indirect references:
Scene Two links indirectly with John Donne's The Relique through the evidence highlighting Jason's views concerning Vivienne existing as research material, as opposed to a human being. Jason's fascination with cancer and passion for knowledge are highlighted through the extensive descriptions of cancerous cells which Jason presents to Vivienne concerning cancer, and the rhetorical questions, "...why not plumbing. Why not run a lube rack..." which Jason presents to emphasise his passion for cancer. Jason's passion for cancer, however, obstructs any possibility of human relationships or engagment, just as Vivienne's passion for Donne obstructs any possibility of engagement. Jason, therefore, views those who are infected with cancer, such as Vivienne, as "research" material, (as opposed to human beings), whose bodies are tampered with, even following death. The Relique questions, "Will he not let'us alone", linking directly to Jason's actions of attempting to resuscitate Vivienne, despite Vivienne's DNR status.
Scene Two links indirectly with A Valediction: forbidding mourning through the metaphor of the "stiff twin compasses", which is reshaped for a contemporary context through the idea that Vivienne's "compass point" has been Donne; Donne is all Vivienne has had throughout her life, stemming from the initial rejection of Professor Ashford; "Go out and enjoy yourself with friends. Hmm?" However, metaphysical conceit exists in the idea that the points of a compass never meet, connecting to the idea that Vivienne is unable to achieve true happiness with Donne; Vivienne yearns for human engagement and connection.
Scene Two links indirectly with Hymne to God my God, in my sickness, through the metaphor “…Cosmographers, and I their map…”, in which Donne refers to himself as a “map” for Donne’s “physicians”; corresponding to the concept of Vivienne as “research”, which is highlighted through Jason's yearning for knowledge, passion for the disease, lack of human engagment and oblivion to the attempts made by Vivienne to engage with Jason; "Are you experiencing confusion? Short-term memory loss?...You sure? I could order a test..."
Contexts within Scene Two:
Medical/Scientific:
The medical/scientific context within Scene Two is established through the theme of Science vs Humanity, which explores the ideas of science as void of humanity, and is evident through Jason's stage directions, "He turns to go" and "He makes notions on his clipboard throughout the scene", which suggest the views of Jason concerning Vivienne existing as research material, as opposed to a human being. The theme of Science vs Humanity has been reshaped for a contemporary audience through the metaphor existent within The Relique; with Vivienne portrayed as a "relique"; material research, as opposed to a human being.
Social: Social context has been established within Scene Two through the attempt made by Vivienne in connecting with humanity, in which Vivienne questions, "...And what do you do when a patient is...apprehensive...frightened", suggesting Vivienne's realisation of the absence of humanity within her life, and her yearning for human compassion and reassurance from Jason.
Educational: Educational contexts have been established within Scene Two through the academic nature of Jason's language in describing cancerous cells; "The intercellular regulatory mechanisms..." in order to emphasise his passion and fascination with the disease.
Values:
Humanity/Human Compassion:
-The values of humanity and human compassion are exposed within Scene Two through Vivienne's attempts to reach out to and connect with Jason, and Jason's oblivion at the attempts of connection made by Vivienne. Vivienne's struggles to engage with humanity in Scene Two are exposed through the stage directions, "Trying to ask something important", "Not sure of herself" and
"With great difficulty."
Acceptance:
-The value of acceptance is exposed within Scene Two through Vivienne's acceptance to continue with the full dose of medication by continuing to "push[ing] the fluids...", exposing the strength of character and determination of Vivienne in completing the task which she began.
Determination/defying the fear of death: The values of determination and defying the fear of death are exposed through the repetition, "No! No, I'm, fine...", which highlight Vivienne as determined to continue with the full dose of medication, and provide evidence for the strength of character and resilience of Vivienne in completing the cancer treatment and defying the fear of death.
Ideas:
Margaret Edson’s W;t provides evidence of humanity living in isolation from itself through the personas Vivienne and Jason, as each both reject and attempt to engage with humanity. The flashbacks utilised within W;t highlight the rejection of humanity displayed by Vivienne as a young student, providing evidence for the isolation which Vivienne lives in as a fifty year old lecturer. The rhetorical question, “Enjoy yourself with friends. Hmm?” highlights the opportunity which Vivienne had to engage with humanity. The struggle to do so and the rejection of the opportunity, however, are highlighted through the apostrophe utilised by Vivienne; “I just couldn’t…I went back to library.” Vivienne’s rejection of humanity through the rejection of personal relationships is highlighted through the rhetorical question, “You’re not having a lot of visitors, are you”, in which Susie questions the state of isolation in which Vivienne remains during the treatment. Furthermore, Vivienne states, “That won’t be necessary”, in response to Susie’s enquiry of “anybody you want me to call for you”, providing evidence of Vivienne’s direct rejection of humanity. Vivienne’s theatrical directions, “uncomfortable with kindness”, reinforce the state of isolation which Vivienne lives in and the awkward manner which Vivienne displays when presented with acts of kindness or humility.
The apostrophe utilised by Vivienne provides evidence as to humanity living in isolation from itself through Vivienne’s reluctance to interact with humanity. The repetition, “It’s not supposed to be now…It should not be now…” exposes Vivienne’s feelings of awkwardness and unfamiliarity in engaging with humanity, and exposes Vivienne’s preference to, for that moment; exist in a metaphysical state of mind where Vivienne can return to a position of power as a lecturer.
Jason provides a further example of humanity as living in isolation from itself through the reminders from Dr Kelekian for Jason to perform the “clinical” procedure, which entails interacting and engaging with humanity. The stage directions, “Kelekian stops Jason…They leave her with her stomach uncovered”, highlight Jason’s inability to engage with humanity in a natural manner and without having been reminded to do so. Jason’s inability to engage with patients and perform “clinical” procedures mirrors Vivienne’s feelings of being “uncomfortable with kindness.” The stage directions, “without looking at Vivienne”, reinforce Jason’s feelings of “bedside manner” as being a “colossal waste of time” and highlight the underlying theme of science as void of humanity. Vivienne’s attempt to engage with humanity through forced dialogue with Jason, which is exposed through the theatrical directions, “With great difficulty”, and the continued broken dialogue, “And what do you say when a patient is…apprehensive…frightened…” expose Vivienne’s unfamiliarity with humanity, in conjunction with Jason’s oblivion to the engagement. The barrier which exists between Jason and Vivienne is highlighted by Jason’s rhetorical question, “You sure? I could order a test-”, which exposes Jason as oblivious to an attempt at human contact.
The theme of science as void of humanity reoccurs through the concept of Vivienne existing only as “research”, as opposed to that of a human being. Within Hymne to God my God, in my sickness, the metaphor “…Cosmographers, and I their map…”, in which Donne refers to himself as a “map” for Donne’s “physicians”, corresponds to the concept of Vivienne as “research”; existing only to further the knowledge of Kelekian and Kelekian’s team.
Language forms, features and structure of text:
Language Techniques:
Technique:
Rhetorical questions: "Oh yeah, why not plumbing. Why not run a lube rack..."
Analysis and Purpose:
-The rhetorical questions posed by Jason highlight Jason's passion for cancer, and his views concerning open-heart surgeons; "for all the suregons know..." The rhetorical questions Jason poses aim to emphasise to Vivienne that "cancer's the only thing I [Jason] ever wanted", highlighting for Vivienne the ardour which Jason possesses concerning cancer, and in turn, providing evidence for the audience concerning the reluctance of Jason in allowing Vivienne to exist as a DNR patient; to Jason, Vivienne exists as "research" material.
Technique:
Rhetorical questions: "But why?"..."So what's up with the cancer cells?"
Analysis and Purpose:
-The rhetorical questions posed by Jason continue to highlight Jason's genuine fascination for cancer and passion for knowledge. Jason states, "wait till I get a lab of my own...", providing evidence for Jason's eager nature concerning cancer and cancer cures and treatment.
Technique:
Colloquial language: "Oh, I've got a couple of ideas, things I'm kicking around."
Analysis and Purpose:
-The colloquial language utilised by Jason juxtaposes with the academic nature of Vivienne's language, who attempts to gain power through language in order to recompense for her loss of power due to the "insidious" cancer which infects her body.
-The colloquial language also allows the audience to connect with and relate to the persona, Jason.
Technique:
Hyperbole:
"Like we have to hold hands to discuss creatinine clearance."
Analysis and Purpose:
-The hyperbole presented by Jason highlights Jason's frustration in existing as a member of the "fellowship" and interacting through "the part with the human beings"; providing evidence of the connections between Jason and Vivienne concerning a lack of humanity and human compassion within each persona's life.
Technique:
Repetition: "Okay. To use your word. Okay."
Analysis and Purpose:
-Provides evidence of Vivienne attempting to connect with and reach out to humanity by attempting to view issues from the perspective of others and accept her inevitable future.
Structure:
Jason's stage directions: "He turns to go", "He makes notions on his clipboard throughout the scene."
Analysis and Purpose:
-The stage directions, “he turns to go”, reinforce Jason’s feelings of “bedside manner” as being a “colossal waste of time” and highlight the underlying theme of science as void of humanity. The barrier which exists between Jason and Vivienne is highlighted by Jason’s rhetorical question, “You sure? I could order a test-”, which exposes Jason as oblivious to an attempt at human contact.
Vivienne's stage directions: "Trying to ask something important", "Not sure of herself",
"With great difficulty."
Analysis and Purpose:
-Vivienne’s attempt to engage with humanity through forced dialogue with Jason, which is exposed through the theatrical directions, “With great difficulty” and "not sure of herself", expose Vivienne’s unfamiliarity with humanity, in conjunction with Jason’s oblivion to the engagement.
Scene One (Page 44):
Vivian. I knew.
Susie. You did.
Vivian. I read between the lines.
Susie. What you have to think about is your ‘code status.’ What you want them to do if your heart stops.’
Vivian. Well.
Susie. You can be ‘full code’, which means that if your heart stops, they’ll call a Code Blue and the code team will team will come and resuscitate you and take you to Intensive Care until you stabilize again. Or you can be ‘Do Not Resuscitate’, so if your heart stops we’ll…well, we’ll just let it. You’ll be ‘DNR’. You can think about it, but I wanted to present both choices before Kelekian and Jason talk to you.
Vivian. You don’t agree about this?
Susie. Well, they like to save lives. So anything’s ok, as long as life continues. It doesn’t matter if you’re hooked up to a million machines. Kelekian is a great researcher and everything. And the fellows, like Jason, they’re really smart. It’s really an honour for them to work with him. But they always…want to know more things.
Vivian. I always want to know more things. I’m a scholar. Or I was when I had shoes, when I had eyebrows.
Susie. Well, okay then. You’ll be full code. That’s fine.
Silence.
Vivian. No, don’t complicate the matter.
Susie. It’s okay. It’s up to you-
Vivian. Let it stop.
Susie. Really?
Vivian. Yes.
Susie. So if your heart stops beating-
Vivian. Just let it stop.
Susie. Sure?
Vivian. Yes.
Susie. Okay. I’ll give Kelekian the order, and then-
Vivian. Susie?
Susie. Uh-huh?
Vivian. You’re still going to take care of mea, aren’t you?
Susie. ‘Course, sweetheart. Don’t you worry.
As Susie leaves, Vivian sits upright, full of energy and rage.
Vivian. That certainly was a maudlin display. Popsicles? ‘Sweetheart?’ I can’t believe my life has become so…corny.
But it can’t be helped. I don’t see any other way. We are discussing life and death, and not in the abstract, either; we are discussing my life and my death, and my brain is dulling, and poor Susie’s was never too sharp to begin with, and I can’t conceive of any other…tone. (Quickly). Now is not the time for verbal swordplay, for unlikely flights of imagination and wildly shifting perspectives, for metaphysical conceit, for wit. And nothing would be worse than a detailed scholarly analysis. Erudition. Interpretation. Complication. (Slowly). Now is a time for simplicity. Now is a time for, dare I say it, kindness. (Searchingly). I thought being extremely smart would take care of it. But I see that I have been found out. Ooohhh. I’m scared. Oh God. I want…I want…No. I want to hide. I just want to curl up in a little ball. (She dives under the covers).
Direct references:
Within Scene One, Vivienne refers directly to the technique of metaphysical conceit which Donne utilises throughout the Holy Sonnets, stating, "Now is not the time...for metaphysical conceit, for wit." Vivienne's reference to metaphysical concet provides evidence for Vivienne's rejection of Donne and Vivienne's yearning for human comfort, which Donne could not provide. Vivienne's need for human comfort is highlighted through Vivienne's attempts to connect with Susie, in which Vivienne questions, "You're still going to take care of me, aren't you?"
Vivienne's reference to metaphysical conceit alludes to Donne's overall conceit, which suggests that humanity complicates and dramaticises issues, when life, in fact, is simple and should not be over-complicated. Donne's overall conceit is reinforced through Vivienne's wishes to not "complicate the matter", suggesting both an acceptance of Vivienne's circumstances and rejection of the complexity of Donne. Vivienne's prior frustration concerning her position within the hospital setting as an object of research, as opposed to her position of power and dominance within the University setting, is dispelled as Vivienne accepts that she, in conjunction with Kelekian's research team, is learning about herself and accepting the emptiness of human contact within her life, which is highlighted through Vivienne's realisation, "now is a time for...kindness."
Vivienne directly refers to Donne's Death be not Proud through the reiteration that "we are discussing life and death"; the primary themes within Donne's text.
Indirect references:
Within Death be not Proud, Donne attacks the persona of “death”, utilising argumentative, direct addresses in order to seize “death” from “death’s” position of power. The adjective “poore”, which Donne uses to describe “death”, retracts “death” from any position of power, in turn weakening and degrading “death”. The personification of death has been reshaped for a contemporary audience within Scene One, with Vivienne overcoming the “might” of “death” through the repetition, “let it stop”, which Vivienne makes in reference to Vivienne’s heart; and, ultimately, Vivienne’s life and death. By repeating the command to “let it stop”, Vivienne reiterates the personal decision to be DNR (Do not Resuscitate), exposing a readiness to die, and, therefore, exposing little fear in the persona “death”; stripping death of its “might[y]” and “dread[full]”. By exposing a readiness to die, Vivienne recognises that death is “nothing but a breath – a comma - [which] separates life from the everlasting.”
The repetition, "Now is not the time..." links indirectly to Donne's At the round earths imagin'd corners through Vivienne's rejection of Donne, highlighted by Vivienne's rejection of "metaphysical conceit...wit...erudition...interpretation...complication." Within W;t, Donne acts as the 'imagin'd corners' of Vivienne's mind; the limitations of living which exist within Vivienne's life. By rejecting Donne, Vivienne is metaphorically rejecting the limitations or "imagin'd corners" or her life. Paradoxically, however, it is only while close to death that Vivienne is able to abolish the "imagin'd corners" and ascertain the elements of human comfort and compassion which lack within Vivienne's life.
Scene One links indirectly with Donne's Hymne to God my God, in my sickness through the hyperbole, "It doesn't matter if you're hooked up to a million machines...But they always...want to know more things", which highlights Vivienne as material research from which knowledge can be gained; a "map", as opposed to a human being. Within Hymne to God my God, in my sickness, the metaphor, "...cosmographers, and I their map..." is reshaped for a contemporary context through the reference to Vivienne as existing as "full code" or DRN, highlighting Vivienne as a "map" from which the "cosmographers", which have been reshaped for a contemporary context through the characters Jason and Kelekian, gain knowledge.
The explicit acceptance of death within the first stanza of A Valediction: forbidding mourning; “Whilst some of their sad friends do say, “Now his breath goes””, is reshaped within Scene One through Susie's explanation of the system of Codes, highlighting Susie's acceptance of Vivienne's death and willingness to aid Vivienne in the process of deciding upon a "code status". The explicit reference to the rejection of death within the first stanza of A Valediction: forbidding mourning; "and some say, "no""; is reshaped within Scene One; "but they always...want to know more things", highlighting Jason's yearning for knowledge and ultimate disagreement in allowing Vivienne to die.
Contexts within Scene One:
Medical/Scientific: The medical/scientific context within Scene One is established through the theme of Science vs Humanity, which explores the ideas of science as void of humanity, and is evident through the hyperbole, "It doesn't matter if you're hooked up to a million machines", which suggests the views of Jason concerning Vivienne existing as research material, as opposed to a human being. The theme of Science vs Humanity has been reshaped for a contemporary audience through the metaphor existent within Hymne to God my God, in my sickness; "...cosmographers, and I their map..."; with Vivienne acting as a "map" for the contemporary "cosmographers", Kelekian's team.
Social: Social context has been established within Scene One through the attempt made by Vivienne in connecting with humanity, in which Vivienne questions, "You're still going to take care of me, aren't you", suggesting Vivienne's realisation of the absence of humanity within her life, and her yearning for human compassion.
Educational: Educational contexts have been established within Scene One through the academic nature of Vivienne's language in describing the elements of Donne's poetry; "...verbal swordplay...metaphysical conceit...wit", and the educational manner in which Susie informs Vivienne of the choices of Code Status, in turn resulting in Vivienne's final acceptance of her death.
Values:
Determination:
-The value of determination is highlighted within Scene One through the repetition, "Let it stop", in which Vivienne reiterates her decision to exist as DNR, therefore allowing herself to die without attempts of resuscitation.
Defying the fear of death: The value of defying the fear of death is presented within Scene One through Vivienne's decision to exist as DNR; stripping "death" of its "dread" and "might" as discussed within Death be not Proud.
Acceptance: The value of acceptance is evident within Scene One through the asyndeton, "Now is not the time for verbal swordplay, for unlikely flights of imagination... for metaphysical conceit, for wit", which highlights Vivienne's rejection of the complexity of Donne and acceptance of her inevitable death.
Humanity/Human Compassion: The value of humanity is evident within Scene One through Vivienne's attempt to connect with Susie; "You're still going to take care of me, aren't you", suggesting Vivienne's realisation of the absence of humanity within her life, and her yearning for human compassion.
Ideas:
In conjunction with Vivienne’s repetition of the personal decision to act as a DNR patient, Vivienne’s initial compliance to undergo treatment acts as a means of facing, as opposed to cowering from, “death”. Vivienne displays determination in undergoing the “full treatment”, highlighting the need to defeat death, as opposed to allowing death the strength to overpower Vivienne. Edson has reshaped the original theme of the defeat and the defiance of death within Death be not Proud in a contemporary context within W;t. Within Death be not Proud, Donne explores the need for humanity to fight death, as opposed to allowing death to conquer an individual. The verb “overthrow” suggests the ability of death in conquering an individual, if given the power. Donne, however, maintains an accusatory, defiant tone, stating, “…nor yet canst thou kill me”, utilising personal pronouns in order to personify “death”.
Both Donne’s Death be not Proud (1601-1610) and Edson’s W;t, (2000), highlight a belief in Eternal Life as another means of stripping “death” of power and might. The adverb “[wake] eternally” suggests an Eternal Life following “one short sleepe”, implying that death, contrary to bringing despair, brings new hope and a promise of Eternal Life. The adjective “short” continues to degrade “death” by stripping the persona of significance, power or strength. Donne continues to mock “death”, utilising logic in order to describe “death” as something of “pleasure”, and stripping importance and power from “death” by describing “death” as a “slave”.
A Valediction: forbidding mourning explores the underlying theme of forbidding mourning upon the departure of lovers. The verb “melt [and make no noise]” highlights the little need for drama, sadness or mourning upon departure, and suggests that there need not be “tear-floods” to prove the love which exists between the couple. The underlying theme of forbidding mourning and complication upon departure is highlighted within Margaret Edson’s W;t, in which Vivienne states, “No, do not complicate the matter”, upon the subject of being known as Full Code. The explicit rejection of death within the first stanza of A Valediction: forbidding mourning; “and some say, “No””, is reshaped within W;t through the reluctance of Jason to allow the death of Vivienne, and the underlying theme of science as void of humanity.
Language forms, features and structure of text:
Metaphysical Conceit:
Within Donne’s Death be not Proud, metaphysical conceit is present through the personification of “death”, in which “death” is regarded as an existent character displaying tyrannical qualities. Metaphysical conceit exists through the extended metaphor regarding “death” as existent, suggesting that “death”, which is the definition of non-existence, does, in fact, exist as a character. “Death” is personified through Donne’s use of personal pronouns in addressing “death”, such as “thou” and “thee” and adjectives which Donne utilises to describe “death”, such as “poore”, “mighty” and “dreadful.”
Metaphysical conceit in Donne’s text is reshaped for a contemporary audience through Edson’s W;t, in which conceit exists through Vivienne’s sickness, which has become Vivienne’s life. Conceit exists through the idea that it is only while close to death that Vivienne is able to learn about life itself. Vivienne’s wishes to not “complicate the matter” mark Vivienne’s defeat of death and acceptance of the future, as Vivienne no longer fears the tyrant “death”.
Metaphysical conceit exists within Vivienne’s lack of power within the hospital setting, and Vivienne’s unwillingness to accept new circumstances due to the position of power which Vivienne once held as a lecturer. Vivienne utilises the repetition “Yes, having a former student give me a pelvic exam was thoroughly degrading…” to display the initial degradation and frustration felt at no longer possessing the power of a lecturer. The explicit reference to John Donne’s Holy Sonnets, in which Vivienne states, “I know all about life and death”, is juxtaposed within Scene One, as Vivienne states, “I though being extremely smart would take care of it. But I see that I have been found out…” Vivienne utilises apostrophe in order to admit to having been “fount out”, which exposes Vivienne’s acceptance of the future and defeat of the fear of “death”.
Language Techniques:
Technique:
Hyperbole: "It doesn't matter if you're hooked up to a million machines."
Analysis and Purpose:
-Highlights Vivienne as "research", as opposed to that of a human being, and suggests the yearning of Jason, in particular, for further knowledge; "they always want to know more." Suggests the characterisation of Jason in doing all in his power in order to keep Vivienne alive. However, the hyperbole, "a million machines", suggests that the concept of "alive" for Jason, requires a human being to be breathing and functioning with the help of "machines". Susie's tone of exaggeration suggests that Susie believes being "alive" involves more than "breathing"; rather, it involves communicating with human beings, experiencing emotions and experiencing and performing human compassion.
Technique:
Hyperbole: "So anything's ok, as long as life continues."
Analysis and Purpose:
-Highlights the willingness of Jason to sustain the life of Vivienne, considering, even, that Vivienne is no longer able to function with the absence of the support of many machines.
-Links to the theme of science as void of humanity; Jason is unable to see the human soul within the human body.
Technique:
Asyndeton: "Or I was when I had shoes, when I had eyebrows."
Analysis and Purpose:
-Highlights the journy through which Vivienne has come to a state of realisation concerning the lacking elements of human compassion and kindness within her life
-Suggests that Vivienne has accepted her place of little power within the hospital setting, and has overcome the initial feelings of frustration due to her previous position of power and dominance within the University setting, as a comparison to that of the hospital setting in which Vivienne is a subject of research.
Technique:
Metaphor: "I read between the lines."
Analysis and Purpose:
-Suggests Vivienne's acceptance of her inevitable future, and her readiness in preparing herself for the final states of her salvavtion journey.
Technique:
Repetition: "Let it stop."
Analysis and Purpose:
-Vivienne exposes a readiness to die, and, therefore, exposes a reduced fear in the persona “death”; stripping death of its “might[y]” and “dread[full]”. By exposing a readiness to die, Vivienne recognises that death is “nothing but a breath – a comma - [which] separates life from the everlasting.”
Technique:
Colloquial Language: "'Course, sweetheart."
Analysis and Purpose:
-The colloquial language utilised by Susie juxtaposes with the academic nature of Vivienne's language, who attempts to gain power through language in order to recompense for her loss of power due to the "insidious" cancer which infects her body.
-The colloquial language also allows the audience to connect with and relate to the persona, Susie.
Technique:
Polysyndeton: "...and my brain is dulling, and poor Susie's was never that sharp to begin with, and I can't conceive of any other...tone."
Analysis and Purpose:
-Provides evidence for Vivienne's gradual acceptance of her death, her loss of control and power over her body and her limited time remaining in existence.
Technique:
Asyndeton: "Now is not the time for verbal swordplay, for unlikely flights of imagination... for metaphysical conceit, for wit."
Analysis and Purpose:
-Provides evidence for Vivienne's rejection of Donne and for her yearning for human comfort, and suggests both an acceptance of Vivienne's circumstances and rejection of the complexity of Donne.
Structure:
Stage Direction: "Silence."
Analysis and Purpose:
-Highlights Vivienne's final acceptance of the inevitability of her death and provides evidence for the rejection of the complexity of Donne through Vivienne's wishes to not "complicate the matter."
Stage Direction: "...Vivian sits upright, full of energy and rage."
Analysis and Purpose:
-Displays Vivienne's stubborn persona in succumbing to human kindness, yet is juxtaposed with the following text highlighting Vivienne's gradual acceptance.
Stage Direction: "She dives under the covers."
Analysis and Purpose:
-Highlights the fear that Vivienne has been suppressing from the point of her diagnosis, and provides evidence for the qualities of humanity and human compassion which Vivienne possesses, despite these being rarely expressed until this point.
Stage Direction: "Quickly", "Slowly", "Searchingly".
Analysis and Purpose:
Highlights Vivienne's gradual acceptance of her future, provides evidence for her rejection of Donne and Donne's complexity and provides evidence for Vivienne's yearning for human companionship which, thus far, has been absent from her life due to Donne and the complexities of his work.
THE SUNNE RISING.
by John Donne
BUSY old fool, unruly Sun,
Why dost thou thus,
Through windows, and through curtains, call on us ?
Must to thy motions lovers' seasons run ?
Saucy pedantic wretch, go chide
Late school-boys and sour prentices,
Go tell court-huntsmen that the king will ride,
Call country ants to harvest offices ;
Love, all alike, no season knows nor clime,
Nor hours, days, months, which are the rags of time.
Thy beams so reverend, and strong
Why shouldst thou think ?
I could eclipse and cloud them with a wink,
But that I would not lose her sight so long.
If her eyes have not blinded thine,
Look, and to-morrow late tell me,
Whether both th' Indias of spice and mine
Be where thou left'st them, or lie here with me.
Ask for those kings whom thou saw'st yesterday,
And thou shalt hear, "All here in one bed lay."
She's all states, and all princes I ;
Nothing else is ;
Princes do but play us ; compared to this,
All honour's mimic, all wealth alchemy.
Thou, Sun, art half as happy as we,
In that the world's contracted thus ;
Thine age asks ease, and since thy duties be
To warm the world, that's done in warming us.
Shine here to us, and thou art everywhere ;
This bed thy center is, these walls thy sphere.
THE RELIC.
by John Donne
WHEN my grave is broke up again
Some second guest to entertain,
—For graves have learn'd that woman-head,
To be to more than one a bed—
And he that digs it, spies
A bracelet of bright hair about the bone,
Will he not let us alone,
And think that there a loving couple lies,
Who thought that this device might be some way
To make their souls at the last busy day
Meet at this grave, and make a little stay?
If this fall in a time, or land,
Where mass-devotion doth command,
Then he that digs us up will bring
Us to the bishop or the king,
To make us relics ; then
Thou shalt be a Mary Magdalen, and I
A something else thereby ;
All women shall adore us, and some men.
And, since at such time miracles are sought,
I would have that age by this paper taught
What miracles we harmless lovers wrought.
First we loved well and faithfully,
Yet knew not what we loved, nor why ;
Difference of sex we never knew,
No more than guardian angels do ;
Coming and going we
Perchance might kiss, but not between those meals ;
Our hands ne'er touch'd the seals,
Which nature, injured by late law, sets free.
These miracles we did ; but now alas !
All measure, and all language, I should pass,
Should I tell what a miracle she was.
THE APPARITION.
by John Donne
WHEN by thy scorn, O murd'ress, I am dead,
And that thou thinkst thee free
From all solicitation from me,
Then shall my ghost come to thy bed,
And thee, feign'd vestal, in worse arms shall see :
Then thy sick taper will begin to wink,
And he, whose thou art then, being tired before,
Will, if thou stir, or pinch to wake him, think
Thou call'st for more,
And, in false sleep, will from thee shrink :
And then, poor aspen wretch, neglected thou
Bathed in a cold quicksilver sweat wilt lie,
A verier ghost than I.
What I will say, I will not tell thee now,
Lest that preserve thee ; and since my love is spent,
I'd rather thou shouldst painfully repent,
Than by my threatenings rest still innocent.
A VALEDICTION: FORBIDDING MOURNING.
by John Donne
AS virtuous men pass mildly away,
And whisper to their souls to go,
Whilst some of their sad friends do say,
"Now his breath goes," and some say, "No."
So let us melt, and make no noise, 5
No tear-floods, nor sigh-tempests move ;
'Twere profanation of our joys
To tell the laity our love.
Moving of th' earth brings harms and fears ;
Men reckon what it did, and meant ; 10
But trepidation of the spheres,
Though greater far, is innocent.
Dull sublunary lovers' love
—Whose soul is sense—cannot admit
Of absence, 'cause it doth remove 15
The thing which elemented it.
But we by a love so much refined,
That ourselves know not what it is,
Inter-assurèd of the mind,
Care less, eyes, lips and hands to miss. 20
Our two souls therefore, which are one,
Though I must go, endure not yet
A breach, but an expansion,
Like gold to aery thinness beat.
If they be two, they are two so 25
As stiff twin compasses are two ;
Thy soul, the fix'd foot, makes no show
To move, but doth, if th' other do.
And though it in the centre sit,
Yet, when the other far doth roam, 30
It leans, and hearkens after it,
And grows erect, as that comes home.
Such wilt thou be to me, who must,
Like th' other foot, obliquely run ;
Thy firmness makes my circle just, 35
And makes me end where I begun.
HYMN TO GOD, MY GOD, IN MY SICKNESSE.
SINCE I am coming to that Holy room,
Where, with Thy choir of saints for evermore,
I shall be made Thy music ; as I come
I tune the instrument here at the door,
And what I must do then, think here before ;
Whilst my physicians by their love are grown
Cosmographers, and I their map, who lie
Flat on this bed, that by them may be shown
That this is my south-west discovery,
Per fretum febris, by these straits to die ;
I joy, that in these straits I see my west ;
For, though those currents yield return to none,
What shall my west hurt me ? As west and east
In all flat maps—and I am one—are one,
So death doth touch the resurrection.
Is the Pacific sea my home ? Or are
The eastern riches ? Is Jerusalem ?
Anyan, and Magellan, and Gibraltar ?
All straits, and none but straits, are ways to them
Whether where Japhet dwelt, or Cham, or Shem.
We think that Paradise and Calvary,
Christ's cross and Adam's tree, stood in one place ;
Look, Lord, and find both Adams met in me ;
As the first Adam's sweat surrounds my face,
May the last Adam's blood my soul embrace.
So, in His purple wrapp'd, receive me, Lord ;
By these His thorns, give me His other crown ;
And as to others' souls I preach'd Thy word,
Be this my text, my sermon to mine own,
“Therefore that He may raise, the Lord throws down.”
HOLY SONNETS.
IX.
If poisonous minerals, and if that tree,
Whose fruit threw death on (else immortal) us,
If lecherous goats, if serpents envious
Cannot be damn'd, alas ! why should I be ?
Why should intent or reason, born in me,
Make sins, else equal, in me more heinous ?
And, mercy being easy, and glorious
To God, in His stern wrath why threatens He ?
But who am I, that dare dispute with Thee ?
O God, O ! of Thine only worthy blood,
And my tears, make a heavenly Lethean flood,
And drown in it my sin's black memory.
That Thou remember them, some claim as debt ;
I think it mercy if Thou wilt forget.
HOLY SONNETS.
VII.
At the round earths imagin'd corners blow
Your trumpets, angels, and arise, arise
From death, you numberless infinities
Of souls, and to your scattered bodies go ;
All whom the flood did, and fire shall o'erthrow,
All whom war, dea[r]th, age, agues, tyrannies,
Despair, law, chance hath slain, and you, whose eyes
Shall behold God, and never taste death's woe.
But let them sleep, Lord, and me mourn a space ;
For, if above all these my sins abound,
'Tis late to ask abundance of Thy grace,
When we are there. Here on this lowly ground,
Teach me how to repent, for that's as good
As if Thou hadst seal'd my pardon with Thy blood.
HOLY SONNETS.
VI.
This is my playes last scene ; here heavens appoint
My pilgrimage's last mile ; and my race
Idly, yet quickly run, hath this last pace ;
My span's last inch, my minute's latest point ;
And gluttonous Death will instantly unjoint
My body and soul, and I shall sleep a space ;
But my ever-waking part shall see that face,
Whose fear already shakes my every joint.
Then, as my soul to heaven her first seat takes flight,
And earth-born body in the earth shall dwell,
So fall my sins, that all may have their right,
To where they're bred and would press me to hell.
Impute me righteous, thus purged of evil,
For thus I leave the world, the flesh, the devil.
HOLY SONNETS.
X.
Death, be not proud, though some have called thee
Mighty and dreadful, for thou art not so ;
For those, whom thou think'st thou dost overthrow,
Die not, poor Death, nor yet canst thou kill me.
From rest and sleep, which but thy picture[s] be,
Much pleasure, then from thee much more must flow,
And soonest our best men with thee do go,
Rest of their bones, and soul's delivery.
Thou'rt slave to Fate, chance, kings, and desperate men,
And dost with poison, war, and sickness dwell,
And poppy, or charms can make us sleep as well,
And better than thy stroke ; why swell'st thou then ?
One short sleep past, we wake eternally,
And Death shall be no more ; Death, thou shalt die.
Module A: Comparative Study of Texts and Context
Introductory Notes
Margaret Edson’s W;t (2000) and selected poems from John Donne’s Holy Sonnets (1601-1610) display both implicit and explicit connections which are established through intertextuality, common contexts, values and ideas and the use of language forms and features. Within W;t, Edson reshapes significant elements of Donne's texts for a contemporary context. Edson exposes similar values and themes to that of Donne’s text, such as life, death and defeat through similar language forms and features, such as metaphysical conceit and paradox, designed to challenge the reader to explore the way in which texts shape and reshape meaning.
