1. Harmonic relations; containing an idea of my own:
- The words in Greek that have such a range of meanings are interesting: it means that there was a culture in which people could look at the concept of freeing someone and destroying someone and perceive no difference. I juxtapose, or rather connect, that idea to the idea of opposites equality that appeared both in my War and Peace class and my logic class. It seems that, depending on how you look at it, opposites can merge into one meaning.
- literally: in a dark room, girl lying under the covers on a bed gradually pushes them aside, then asks the monster under her bed to play.
- Narratively: Lizzie trembles under her covers for a while in the dark after her parents had gone. Presently she calms down, shows her head and then her shoulders from beneath the blanket, looks around, sets her teddy bear aside. Slowly, carefully, she leans down to peer under her bed; and then asks, in a tiny but clear voice, looking at someone or something we cannot see, "Do you want to play?"
- metaphorically: The monster is, for us, a figment of Lizzie's imagination, but it's not so certain for her. She is uncertain what to believe and her belief really will be the final judge in a room where there's only her. Lizzie is torn between fear and fascination. She wants to fight with the monster's presence and destroy it by believing it's not there; and at the same time, she wants to unleash it, free it, give it power in this world. We question ourselves about the boundaries between reality/imagination, destruction/freedom, and even bad/good (which is what Lizzie has to decide about the monster for herself).
2. Tension relations; two ideas of other people:
- Adam's Zen drawing and Alison's bomb problem are both methods of learning about the world, but are two very different approaches to it. One is gentle and meditative, on the creative side; while the other is rather violent and requires scientific type of thinking.
- literally: man sets something beautiful on fire (it could even be a woman if we want to be really provocative and violent with it); then cries as he watches it burn and talks to his accomplice about it.
- Narratively: He never hesitates when starting the fire; does it quickly, ruthlessly, professionally, almost, with the air of someone who's done it a million times before. Then, as the flames catch up and start reflecting in his eyes and illuminating his face, we see his tears. His friend asks him: "Why are you crying?" "Because it was beautiful," the man answers. "Then why did you set it on fire?" the friend questions. The man turns to him and says, his voice cracking, "Because it is beautiful."
- metaphorically: This combines the two ways of seeing the world - the brutal one and the beautiful one - but could, metaphorically, go different ways. It could be about the different types of beauty, the courage or vice to find it in something ugly and destructive; or it could be a metaphor on mortality, claiming that only ephemeral things can really be beautiful - we make them so by knowing they'll pass away.