Questions about Carmilla 1.) Revisit the following description of Carmilla's room in Chapter III:

"Our visitor lay in one of the handsomest rooms in the schloss. It was, perhaps, a little stately. There was a somber piece of tapestry opposite the foot of the bed, representing Cleopatra with the asps to her bosom; and other solemn classic scenes were displayed, a little faded, upon the other walls. But there was gold carving, and rich and varied color enough in the other decorations of the room, to more than redeem the gloom of the old tapestry."

After some quick research on Cleopatra and reflection on the novella as a whole, why do you think the work references her? Is this allusion meant to connect to Laura or Carmilla? Why?

2.) How do you think Carmilla feels about being a vampire? Why or why not? Remember to include quotes from the novel to support your view.

3.) Why is Laura's tone significantly dryer in the final chapter of the novel?

4.) How do you think Carmilla feels about Laura? How do you think Laura feels about Carmilla? Why?

5.) Create your own discussion question.

c) in the address bar

explanation:

this is the only place where url's may be found or entered in to successfully get to a web page.

the difference between an explicit and implicit meaning is that the explicit meaning of a poem is that the detail is exactly defined. nothing is left to interpretation. an implicit meaning is an implied meaning. kabir's poetry is both explicit and implicit in that it can be interpreted on different levels. the explicit meaning leaves nothing to interpretation while the implicit meaning leaves lots open to interpretation. an example of this is found in the poem "rumi and the spiritual lover". 

answer:   a good wench, give it me.

iago

good girl, give it to me.

emilia

what will you do with ’t, that you have been so earnest

325to have me filch it?

emilia

and what are you going to do with it? why did you want it so much that you begged me to steal it?

iago

  why, what is that to you?

iago

what’s it to you?

emilia

if it be not for some purpose of import,

give ’t me again. poor lady, she’ll run mad

when she shall lack it.

emilia

if you don’t need it for some important reason, then give it back to me. poor lady, she’ll go crazy when she sees it’s missing.

iago

be not acknown on ’t,

330i have use for it. go, leave me.

iago

don’t admit to knowing anything about it. i need it. now go, leave me.

exit emilia

emilia exits.

i will in cassio’s lodging lose this napkin

and let him find it. trifles light as air

are to the jealous confirmations strong

as proofs of holy writ. this may do something.

335the moor already changes with my poison.

dangerous conceits are in their natures poisons

which at the first are scarce found to distaste,

but with a little act upon the blood

burn like the mines of sulfur.

i’ll leave this handkerchief at cassio’s house and let him find it.to a jealous man, a meaningless little thing like this looks like absolute proof. this handkerchief may be useful to me. the moor’s mind has already become infected with my poisonous suggestions. ideas can be like poisons. at first they hardly even taste bad, but once they get into your blood they start burning like hot lava.

enter othello

othello enters.

    i did say so.

340look, where he comes. not poppy nor mandragora

nor all the drowsy syrups of the world,

shall ever medicine thee to that sweet sleep

which thou owedst yesterday.

here he comes. no drugs or sleeping pills will ever give you the restful sleep that you had last night.

othello

    ha! ha! false to me?

othello

argh! she’s cheating on me?

iago

why, how now, general? no more of that.

iago

oh, general, , no more of that!

explanation:

answer: color a chicken orange

thats how you make orange chicken