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Significance:

This scene has more that one dramatic purpose.

In a cavern, when the weird sisters throw awful ingredients such as "eye of newt and toe of frog" (4.1.14) into a cauldron full of a boiling brew, one witch cries out "Something wicked this way comes". One dramatic purpose of this scene is showing the resemblance between Macbeth and the witches now. All are wicked, all are unnatural. Realizing these similarities between Macbeth and the witches reinforces he new crazy state of mind that was for presented when he started seeing Banquos ghost. Furthermore, there is a dramatic purpose behind the eight kings that appear walking in a line -- the eighth holding a mirror, and all of them followed by Banquo's ghost. Personally, I believe that the king holding the mirror symbolizes King James who ruled England when Shakespeare wrote Macbeth, and whose family traced its ancestry back to Banquo. Moreover, the mirror was placed there so King James could see his own reflection.

When I read this scene for the second time, I understood that it held the ambition and fear have pushed Macbeth to that final step: he is no longer targeting just his political enemies, but also their innocent families. Macbeth now truly turned a monster.

In addition, Act Four Scene One is the only part I've read so far that have all of the following themes:

Ambition

The weird sisters' prophecies spur both Macbeth and Lady Macbeth to try to fulfill their ambitions, but the witches never make Macbeth or his wife do anything. Macbeth and his wife act on their own to fulfill their deepest desires. Macbeth, a good general and, by all accounts before the action of the play, a good man, allows his ambition to overwhelm him and becomes a murdering, paranoid maniac.

Lady Macbeth: once she begins to put into actions the once-hidden thoughts of her mind, is crushed by guilt.

Both Macbeth and Lady Macbeth want to be great and powerful, and sacrifice their morals to achieve that goal. By contrasting these two characters with others in the play, such as Banquo, Duncan, and Macduff, who also want to be great leaders but refuse to allow ambition to come before honor, Macbeth shows how naked ambition, freed from any sort of moral or social conscience, ultimately takes over every other characteristic of a person. Unchecked ambition, Macbeth suggests, can never be fulfilled, and therefore quickly grows into a monster that will destroy anyone who gives into it.

Fate

From the moment the weird sisters tell Macbeth and Banquo their prophecies, both the characters and the audience are forced to wonder about fate. Is it real? Is action necessary to make it come to pass, or will the prophecy come true no matter what one does? Different characters answer these questions in different ways at different times, and the final answers are ambiguous--as fate always is.

Unlike Banquo, Macbeth acts: he kills Duncan. Macbeth tries to master fate, to make fate conform to exactly what he wants. However, fate doesn't work that way. By trying to master fate once, Macbeth puts himself in the position of having to master fate always. At every instant, he has to struggle against those parts of the witches' prophecies that don't favor him. Especially in act four, scene one. Ultimately, Macbeth becomes so obsessed with his fate that he becomes delusional: he becomes unable to see the half-truths behind the witches' prophecies. By trying to master fate, he brings himself to ruin.

Violence

Violence is seen in this scene when Lennox enters. He brings word that Macduff has fled to England. In an aside, Macbeth scolds himself for failing to kill Macduff when he wanted to earlier. He vows in the future to act on every impulse, and decides to attack Macduff's castle and kill anyone connected to him: servants, wife, and children. Moreover, to call Macbeth a violent play is an understatement. It begins in battle, contains the murder of men, women, and children, and ends not just with a climactic siege but the suicide of Lady Macbeth and the beheading of its main character, Macbeth. The violence through which Macbeth takes the throne, as Macbeth himself realizes, opens the way for others to try to take the throne for themselves through violence. So Macbeth must commit more violence, and more violence, until violence is all he has left. As Macbeth himself says after seeing Banquo's ghost, "blood will to blood." Violence leads to violence, a vicious cycle.

Nature and the Unnatural

The Nature and the Unnatural is probably the most present and prominent theme in this particular scene. This is shown when the apparitions appear by the witches' power.

SIDE NOTE: Duncan and Malcolm use nature metaphors when they speak of kingship. In contrast, Macbeth and Lady Macbeth either try to hide from nature (wishing the stars would disappear) or to use nature to hide their cruel designs (being the serpent hiding beneath the innocent flower). The implication is that Macbeth and Lady Macbeth, once they've given themselves to the extreme selfishness of ambition, have themselves become unnatural.

Significance:

In act three, the theme of  "repercussions of acting on ambition without moral constraint" is become more clear and defined. This theme has been articulated because be know that nothing is going to stop Macbeths murder spree - except his own death. His actions are becoming more inevitable, and only know I have realized that Macbeth's demise is the only hope that can restore Scotland.

Throughout Macbeth, the supernatural and unnatural appear from the exposition to the catastrophe. However, I believe the banquet scene shows both the supernatural and unnatural most effectively. It is also simultaneously the high point of Macbeth's reign and the beginning of his downfall. There is a major contrast between this scene and the one in which Duncan's body was discover; before, he was cold-blooded and secure - now he allows his anxieties and vision to get the best of him. In addition, the royal couple seem to feel the fateful force of their deeds coming back to hunt them as many recurring apparitions or hallucinations reflect their insecurity. It is debatable whether the visions are real or purely hallucinatory, however the Macbeths read them uniformly as supernatural signs of their guilt.

Relationships:

Macbeth and Lady Macbeth seem to have traded roles. Their attitudes and actions towards each other have defiantly shifted/switched. This is shown when Macbeth decides to hire murderers to kill Banquo and Fleance by himself. This suggests a change in relations because he doesn't need Lady Macbeth's approval and now has the confidence and the ruthlessness, to carry out such an evil deed alone. Hence, Lady Macbeth is now seen as the follower rather than the powerful mastermind behind all the mischief that has happened. Another example of this "switch" was when Macbeth reminds his wife to mask her unease and "make [their] faces visors to [their] hearts, Disguising what they are" (3.2.35-36). This is an echo from 1.3.63-64, when it was Lady Macbeth who told her husband to "look like the innocent flower, But be the serpent under't".

The now-found assertiveness Macbeth shows towards his wife also shows that his guilt, deniability and doubt were feeling that persuaded him to kill Banquo. Furthermore, his declaration about he planned murderer is ironically questioned by the same women who earlier convinced her husband onto the slaughter of Duncan. (We can begin to see Lady Macbeth crack under all of the pressure.) Nonetheless, their sense of closure is just an illusion and their realization of thing being "done" is nothing more than an incorrect assumption.

Characters:

Macbeth and Lady Macbeth show suspicion, paranoia, and inner turmoil by their use of imagery in their language. Especially when Macbeth speaks of how commissioning murderers are going to bring him security and contentment. Moreover, it seems like what Macbeth's saying is even more ironic because the deeper his arm sinks in blood, the more violent and evil he become. 

Significance:  

Act 2 is very different form Act 1 in that there is only one main concern or focus; the central point is this act is Duncan's murder. In addition, Shakespeare writes very contracting acts be using elisions. This technique allowed Shakespeare to keep a constant pace and tempo throughout the play's development. In addition, this technique also allowed us to not see the actual murder and rather focus on the power of its suggestion.

The symbol of blood has now changed to show a form of treachery and treason. Lady Macbeth starts this off when she asks the spirits to "think my blood" (Act 2 Scene 2). Furthermore, she knows that the evidence of blood is a treacherous symbol, and knows it will defeat the guilt from her and Macbeth to the servants when she says, " Smear the sleepy grooms with blood" (Act 2 Scene 2).

Questions:

What meaning does the line, "God's benison go with you, and with those that would make good of bad, and friends of foes!" have?

I believe these lines are sending a warning to Ross that he should be very careful in dealing with Macbeth.

What is the main motif shown in Act 2?

Sleep:

"Nature seems dead, and wicked dreams abuse / The curtain'd sleep"
 Act 2 Scene

"There's one did laugh in's sleep, and one cried 'Murder!'" 
Act 2 Scene

"Methought I heard a voice cry 'Sleep no more!' / Macbeth does murder sleep"
 Act 2 Scene 2

Quotes: 

"Whence is that knocking?-- 
How is't with me, when every noise appals me? 
What hands are here! Ha, they pluck out mine eyes. 
Will all great Neptune's ocean wash this blood 
Clean from my hand? No, this my hand will rather 
The multitudinous seas incarnadine, 
Making the green one red." (2.2.60-66)

Macbeth's lines have many hidden meanings. For example, foreshadowing is shown when Macbeth hears a mysterious knock on his gate. At the movement, Macbeth believed this knock promised him doom; he was right! Macduff, the person knocking on the gate was the person that eventually exceeded Macbeth. Furthermore, the theme of guilt is present, as Macbeth's crime has forced him to inhabit place of evil where a powerful sense of remorsefulness is felt. It is this same feeling of guilt that correlates with the blood imaginary shown in this quote. For example, it is Duncan's blood that cannot be cleansed; hence, Macbeth's guilt cannot be forgotten or destroyed. This is so much so that Lady Macbeth shares some of her husband's feelings as she is coming to the conclusion that her crime has irreparably stained her hands with blood.

Characters: 

The Porter: Although his role in the entire play is small, the porter hits on many truths. Also, his good-natured jokes break up the tension building up in the play while touching upon the play's main themes. For example, Macbeth's moral confusion for power and money are represented by the porter's confusion provoked by alcohol. His ineffective comments on sexual desires are also echoed by Lady Macbeth when she calls upon the spirits to unsex her in order for Macbeth to carry out "the deed". 

Significance:

In my opinion, these scenes are perhaps some of the most important in the whole production. This is because the idea of a moral order is presented. No matter how hard he tries to resist the temptations, Macbeth knows the crime he is about to commit will initiate a violent cycle that will leave plenty of room for expensive consequences. His soliloquy exhibit that his virtues and values are not concrete because of the vigorous manipulation occurring between his wife and him. 

Characters:

Lady Macbeth is most dominant and memorable character in these scenes. Her strength and power over Macbeth is easily shown as her upper-hand on all situations is what really drives the plot of the Scottish play. As her soliloquies undeniably testify to her violent authority, they also introduce the nature of masculinity and her lack of feminine characteristics. The readers and the viewers are not the only ones that see these characteristics; Macbeth too, sees Lady Macbeth's boldness. However, his views on his wife perhaps differ from our own. He relates heroism and "warrior-like" qualities to Lady Macbeth rather than greed or cruelty.

Quotations:

·      "The raven himself is hoarse 
That croaks the fatal entrance of Duncan 
Under my battlements. Come, you spirits 
That tend on mortal thoughts, unsex me here, 
And fill me from the crown to the toe top-full 
Of direst cruelty. Make thick my blood, 
Stop up th'access and passage to remorse, 
That no compunctious visitings of nature 
Shake my fell purpose, nor keep peace between 
Th' effect and it. Come to my woman's breasts, 
And take my milk for gall, you murd'ring ministers, 
Wherever in your sightless substances 
You wait on nature's mischief. Come, thick night, 
And pall thee in the dunnest smoke of hell, 
That my keen knife see not the wound it makes, 
Nor heaven peep through the blanket of the dark, 
To cry 'Hold, hold!'" (1.5.36-52)

In this quote, Lady Macbeth clearly touches on the theme of masculinity as she is praying to the spirits to takes way anything nurturing about herself. For example, she says, "unsex me here", "come to my woman's breasts" and "take my milk for gall". Her beliefs on masculinity are further touch on as she convinces her dear husband to "be a man" and kill Duncan.

Reflections:

Significance:

Since these opening scenes are part of the exposition in the structure of the tragedy, they establish the play's dramatic premise. Moreover, the witches set the whole mood of the Scottish play as the stage directions indicate a violent storm and powerful, unnatural forces.

The significance of act one scene two is very important because it describes Macbeth's character for the first time. This is done when the captain and Ross describe him as a "brave" and heroic nobleman that is stronger than his opponents.

Questions:

·      What do the witches mean when they say, "Lesser than Macbeth, and greater. Not so happy, yet much happier. Thou shalt get kings, though thou be none"?

Since their language is so different than the rest of the characters, it is difficult to know what them mean specifically. However, I believe they are trying to tell the viewer that Banquo will be greater in death than Macbeth is in life. In other words, I feel that the witches' rhymes tell us that Macbeth will have success and happiness I bit sooner than Banquo, even if Macbeths satisfaction doesn't last for long. 

·      How do the references to blood relate to Macbeths character and motives?

The first blood reference illustrated in act one scene two of that honour: "what bloody man is that?" (1.2.1) This line symbolizes that Macbeth is a brave fighter who is willing to be injured in battle for his country. The following reference to blood is, "Which smok'd with bloody execution". This line, similar to the first one, shows us that Macbeth's bravery is such that he covers his sword in the enemy's blood.

From these examples, it is clear that the imagery blood illustrates are following the personal and physical changes seen through Macbeth. Since the Scottish play is a tragedy, I suspect that the death and blood references that follow will be identified with a less "heroic" Macbeth. I presume further that the blood references will show his guilt in many different forms.

·      How do the references to clothing add to the viewers' imagination of the play?

We see rich imagery in scene 3.

"The Thane of Cawdor lives. Why do you dress me

In borrows robes?" (106-7)

"Or did line the rebel with hidden help" (111)

I believe that these references add imagination to the play by portraying Macbeth's attempts to cover-up his selfishness and disgrace. Furthermore, I think Shakespeare was trying to symbolize greed, as Macbeth is wearing garments and robes that do not belong to him. The following passage lets the readers/viewer create a visualization of Macbeth's character with the description of the clothing. For example, the reference to the badly fitted garments which are upon him suggest that Macbeth is still not comfortable with the idea of his new honour.

"New honours come upon him

Like our strange garments, cleave not to their mould,

But with the aid of use." (103-5)

·      What are the most common ways that the directors of the Scottish play have managed to make the "witches vanish"?

In 1.3, between lines 76 and 77, there is a stage direction that tells the witches to vanish. This "practical puzzle" has to be convincing enough for any audience to believe the witches' vanishing, magical powers. If I were the director, I would think of using smoke and fog for a few seconds until the witches had a change to leave the stage. However, since I have never directed a play, I wouldn't know if my method would look realistic; Mr. Newman, how did you manage to make the witches vanish when you directed "Macbeth"?

Characters and Quotations:

Shakespeare's more vivid female characters are presented in the play "Macbeth". The three witches are extremely wicked but are also stronger than the men they surround themselves with. Their rythming language stands out form the rest of the characters in "Macbeth"; this is mainly due to their use of contradictions. Their famous line, "fair is foul, and foul is fair" (1.1.10) is just one of the many examples where contradiction is present. In 1.3.67, the withes' prophesy of Banquo also shows contradiction: their characterize Banquo as "lesser than Macbeth, and greater". These quotes are significant because they play off a main concept of the play - insecurity. The quotes imply that nothing is quite what it seems by adding unconditional confusion.

Conclusion

Reading the first three scenes of "Macbeth" has been entertaining! It has challenged me to look really deep inside the meanings of a certain line. It has also forces me to find connections between imagery are characters that I wouldn't have found otherwise. I look forward to reading the rest of the play. 

There is more magnitude to myths than answering fundamental questions; they "symbolize human experiences and represent the spiritual values of a culture". Fertility myths originate from all over the world and were created to educate beings on the beginnings and the endings of life. Through the differences and similarities shown in "The Taming of the Sun" and "The Death of Balder", we learn how their culture's perspective on the gods, determination, and the cyclical patterns of life affect their philosophy.

The relationship between humans and gods shown in these myths suggest that the Hawaiian culture views life as difficult and hard while the Northern European myth values collaboration and teamwork. In "The Taming of the Sun", "the more Maui's heart ached for his mother, the more his heart filled with anger at the sun" (362). From this quote we learn that mortals in Hawaii do not show love and admiration towards their gods and that they dread depending on them greatly. Usually, when morals do not appreciated and praise their gods, it is due to the fact that they live life with more difficulty. This indirectly demonstrates that their daily life is possibly tougher than the life written about in the European myth. Likewise, there is no love shown by the Sun god towards his mortals: "I don't care about your mother and her kapa! And I certainly do not care about those who are not gods! The faster I travel each day, the longer I can sleep each night" (364). His selfish ways emphasize that life is hard because of their conflict with a god. This is very different from the life style lived in "The Death of Balder", a European myth. Here, it is clearly displayed that gods love mortals considerably, and depend on them for happiness. An example of this is when Frigg relies on animals to keep Balder alive and well. All mortals, except for one, swore to do whatever she asked to bring her son back from the Underworld.  Their display of affection towards one another suggests that teamwork and love are qualities deeply ingrained in the European culture. Their perspective on gods affected both world cultures and influenced their spiritual beliefs.

The amount of determination shown in "The Taming of the Sun" is equivalent to the amount of determination displayed in "The Death of Balder". However, rather than their determination being focused on peaceful agriculture, the European culture prioritizes on accumulated wealth by the sword. Determination is shown in "The Taming of the Sun" when Maui risked his life to confront the Sun god. Furthermore, Maui's determination for life to be much easier for human beings helped him win the battle against the Sun. His actions show that Hawaiians desire immortality because of the value and appeal of an easy life. With his use of his grandmother's axe, Maui's deed is compared with those of other tricksters. Loki (a mistletoe bush) in "The Death of Balder" also had a clever mind like Maui. However, Loki's great determination was focused on destroying Balder. His determination was so strong that he uses the weakest being, Balder's blind brother, as his accomplice. These two events carry on in such way that evil does not triumph in either society; their culture's spiritual values are affected as a result. It is known that good conquers because the Sun compromises his divine powers by helping the Hawaiians and Loki's actions cause him to die. From Loki's same determination to kill Balder, we can also infer that insecurity is part of the European culture. This myth shows insecurity by exposing Loki's jealousy towards Balder. More determination is shown in "The Death of Balder" when Hermod went on a quest to bring Balder back from the Underworld. His actions show that heroism is a belief they practice in their culture. In this case, Hermod's acts of heroism reflected a universal desire of human beings: to bring back those loved ones who have died. Lastly, the heroes in each myth signify the importance of having a powerful member in society and their culture.  These cases denote that Hawaiian and European cultures are affected by their view on stubbornness and determination.

The culture in "The Taming of the Sun" and "The Death of Balder" centered their myth on the earth's fertility. That being said, "The Taming of the Sun" and "The Death of Balder" were written in two different time periods, thus there are differences in their beliefs on fertility and personal interests. For example, the beginning of "The Death of Balder" shows a more relaxed life: "The hall resounded with happy laughter as the gods hurled every kind of object at the beautiful god, all with no effect whatsoever" (469).  Life almost seems as if it was taken for granted. This is an absolute contrast from the life shown in the beginning of "The Taming of the Sun". In the Hawaiian myth, "farmers did not have time to plant or harvest a crop. And it was impossible for men and women to finish any one task within the few hours of daylight" (361). Although there are differences between the beginnings of the fertility myths, both indicate that their culture believed in a repetitive cyclical pattern in life. This pattern stayed constant, where one could not be removed from that path. As the Hawaiian myth progress, we see that there is one main god in "The Taming of the Sun". From this we can infer that their society and culture was only based on the cyclical patterns life because the Sun god was the only thing they depend on. This is different than "The Death of Balder" because its gods revolved their life around much more than being fertile. In fact, the gods in "The Death of Balder" organized and attended many parties. This shows us that the European culture lived a much more social life. Some more pronounced differences between the myths are about the cyclical patterns in the story. Balder is one of the many fertility gods who are killed, depart to the Underworld and then resurrect. This pattern of life, death and resurrection reflects an annual cyclical pattern of the seasons in nature: birth (spring), maturity (summer), death (fall and winter), and rebirth (the spring that follows).  Furthermore, the cyclical pattern of the day changed in "The Taming of the Sun" when the Sun's attitude and actions improved the life of the Hawaiians. Unlike Balder, his emotions affected the weather. In addition to making days longer, the Sun's new compromise also impacted the cycle of the seasons: birth (spring), maturity (summer) and death (fall/winter). Its influence on the cyclical pattern of the day altered the lunar pattern: new waxing moon, full moon, waning moon and old moon. Since this is so, we learn that the people in their culture value the ability to work together and meet a common goal or resolve conflicts - just like Maui fixing his people's problems with the Sun. Different cyclical patterns of life influence Hawaiian and Northern European cultures as their perspective on fertility changes the way their society functions.

      In conclusion, it is the main people, their attitudes and the natural events in myths that change a culture's perspective on life. When comparing "The Taming of the Sun" and "The Death of Balder", gods, determination, and the cyclical patterns of life are the main factors influencing their culture.

Work Cited

Rosenberg, Donna, ed. World Mythology, An Anthology Of The Great Myths And Epics.

3^rd Ed. Lincolnwood, Illinois: NTC Publishing Group, 1999.

On a stranded island filled with littluns, everyone wants to be heard. One method for doing this is by using a conch; it is their only version of a megaphone! Through the use of the conch as a symbol in Lord of the Flies, Golding develops the idea that organization, democracy and civilization are needed for a society to function. In the beginning of the novel, the conch brought organization and unity to a civilized community. As the novel progresses, the democracy shown by using the conch becomes less crucial to the boys' survival, and more irrelevant. As their sense of civilization vanishes and the horrors of humanity are displayed, the conch is no longer a useful tool for leadership and organization.

It has been said that, "decency must be an even more exhausting state to maintain than its opposite" (Crisp). During the falling action of Lord of the Flies, the conch illustrates how the boys' right judgment and civilization completely disappear. In addition to this, we can see how their sense of decency deteriorates into a sense savagery! An example of this is shown just after the boys disperse in the middle of an assembly. Ralph says to Piggy, "If I blow the conch and they don't come back; then we've had it. We shan't keep the fire going. We'll be like animals" (99). Though this quote we can conclude that the conch has lost its importance and power because the hunters' savage actions have overpowered any authority the conch once had in providing civilization. Furthermore, we can see the demise of decency when the savages at Castle Rock ignore Ralph's attempt in reasoning with them with his use of the conch. For the last time, Ralph says, "I'm calling an assembly" (195). Instead of listening, "Jack made a rush and stabbed at Ralph's chest within his spear" (196). This event confirms that having ownership of the "ever so valuable" (11) conch doesn't mean anything anymore! By this time, the conch becomes transparent and more fragile than ever before. Similarly, the boys' civilization is also delicate. Lastly, Golding develops the idea that civilization is necessary in a community when Roger throws a rock that strikes Piggy. As a result, the conch held by Piggy explodes "into a thousand white fragments and ceased to exist" (200). This shows the errant boys and their lack of respect for each other. Parallel to losing their respect, the shell that once governed a political legitimacy, was lost too. Through the conch, these examples show that the boys' society on the island is not adequate because of the community's lack of civilization; therefore, civilization is needed.

Works Cited

Golding, William. Lord of the Flies. London: Faber, 1954. Print.

Crisp, Quentin. "Brainy Quotes." Decency Quotes 2 January 2012

<http://www.brainyquote.com/quotes/keywords/decency.html>.

 Saturday September 1^st, 2026

Today, I wake up to the fresh smell of brewed coffee, bacon and pastries. Without getting up, I can hear the waves crash outside my bedroom window. My soft, silk bedding (imported from Italy), straps me to the bed, as I don't want to wake up. Nonetheless, breakfast smells too compelling and I begin the short walk towards the kitchen.

In the attempt to find my husband, I wander across the kitchen and pass the magnificent art piece by Tom Thomson that hangs on our main kitchen wall.  As I take a minute to admire the kaleidoscope of colours and the confusing sky, my husband sneaks up on me to give me a good morning kiss. Together, we have a mouth-watering meal in our small breakfast nook and talk about our plans for the day, relatives, and our past memories; the list goes on. 

Once breakfast is devoured and my husband leaves for his office, I take a long time in my waterfall shower. After I put on my monogrammed Terry bathrobe, I walk into the heavenly paradise that is my closet. My $70 000 clothing budget allows me to own everything from a Carolina Herrera ball gown to a soft pair of J brand blue jeans. Today I put on my favourite Ralph Lauren dress of the season and head to work.

            I get in my Mercedes, where the hot black leather seats burn my legs. Driving to work is enjoyable because I can see a calming view of the ocean and a peaceful view of my neighborhood. I see that the ocean tide that's going in and out is in harmony with the music that blasts in my car, and the day is already wonderful.

            Entering the tremendously large glass doors of Vogue, I know that today's workday must be more productive than most. I begin by viewing the editorial photos taken in the Versailles gardens, seeing where they go in the page-by-page layout of this issue. I am relieved to see that the director of the shoot followed my specific directions. "SIMPLICITY, SIMPLICITY, SIMPLICITY! I cannot stress that enough!" Good job Paul! Next, I have a long conversation with the featured designer of September, Angelica Santisteban. I spotted her in Milan where she quickly went from "Nada to Prada". Her intuitive personality and sense of fashion direction will truly take her further than it already has.

I invite her to have an early lunch with me, so together we drive to Angelica's favorite restaurant, where I happen to bump into my close friend, Rachel Hunter and her four dogs. By coincidence, Angelica was already designing clothes for Rachel. What a small world! The food is delicious there, especially the calamari appetizer and the house salad. Unfortunately, the lunch is cut short, as Angie has other meetings to attend.

Back at the office, my assistant Ingrid is presenting me with her ideas for the cover of the magazine. So far, we know that the emphasis is on colour blocking. Now it's just deciding what model, what venue, and what garments all shout VOGUE.

The day seems longer than most, as there are still many decisions to be made. Nonetheless, I feel a significant amount of progress is being made today with the upcoming September Vogue issue; I know that the utopian venue chosen for the PRADA photo-shoot will truly capture the "romantic" feel for this fall season. Thank God for my assistant Ingrid; I couldn't have booked the venue without her!

It is now 5:30PM and my husband picks me up as he promises to accompany me to watch my friend's class put their work on the catwalk. I leave my car at work thinking I'll pick it up the next day. However, I first feel a dire need for my daily Starbucks. As usual, there is a mile-long line just to enter the doors of my favorite café, but it only takes us a minute to pick up my Grande, light-iced, Tazo Chi; the barista has it ready for me!

From Starbucks, we go to the Parsons School of Design, where I am continually excited to spot new graduates with fresh ideas and a creative spirit.  As we park, a swarm of Parson students rush up and greet me. I sign an autograph here and an autograph there -- not too many of course. Watching from the front row, I didn't take off my trademark sunglasses that fit smugly on my face. As each girl passes, the collection reminds me more and more of the Oscar de la Renta Fall collection I recently cut from the magazine. There were brilliant pieces, but they were all in the shade of black -- not the colour for this fall season!

Unfortunately, the music by Meg and Dia, and the event design by­­ Colin Cowie are not very impressive. The theme seems similar to the Mercedes-Benz fashion week I watched two weeks ago, and I can't tolerate unoriginality!

Excusing myself politely, I say good-bye to my friend when the event's nearly over. As I give her a kiss on the each check (she's from Italia), I tell her my recommendations for the next event. I jokingly think that I'll send her the bill for my tips. Just then, my iPhone Galaxy6 vibrates; it's my parents inviting us to come over to their house.

My old home is warm, comforting and a place that is more than pleasant shelter, it is a sanctuary. When we arrive it is already 8:00PM and I can see my sister approaching us under the bright, illuminating house lights. I see a great deal of myself in her -- especially since we share an abundant passion for the same sport, golf! She is wearing my grandma's heavy knit sweater, a wool mini skirt, and socks. I see this as a good opportunity to tease her about her weird clothing selection and style. We share a good laugh as she teases me back about how old I am. Next, we tell each other all about our day. My mom and dad greet us with hugs and kisses, and the ever-so-welcoming smell of my mom's special caldo, a Spanish soup.

Once dinner is inhaled, we play an everlasting game of Jenga, making it to 35 stories high, until my husband's clumsy hands makes it crumble right down. An exciting movie and non-buttered popcorn follows. However, to my dismay, my sister's closed eyes and the sound of her snoring tells me it is time to head back.

Going home at 12:30AM is not ideal. However, I am thankful I'm not needed at work tomorrow. A five-hour sleep just doesn't cut it for me! The journey home is relaxing as my husband's driving. Arriving, he makes me a hot cup of Chamomile tea that he brings to our bedroom. There, I take out my journal and start writing out this -- my ideal day.