Characters
within the novel are not inherently mad but instead, they are driven to madness
through a range of traumatic events and the propagation of hegemonic and
patriarchal attitudes. Annette's descent into madness was driven by situational
factors instead of a result of her disposition. The traumatic experiences
Annette faces such as the fire at Coulibri which causes the death of her son
placed her in a vulnerable state. From this state she was driven to madness as
Christophine explains, "They drive her to it. When she lose her son she
lose herself for a while and they shut her away. They tell her she is mad, they
act like she is mad. " Antoinette experiences a journey into madness
similar to that of her mother's. In the beginning of the novel, Antoinette's
childhood shows the reader that while she may have had a troubled upbringing,
she was in no was "mad". However, after her marriage to Edward
Rochester Antoinette is driven insane by a period of long term exposure to her
husband's patriarchal and hegemonic influence. As a result of Rochester's
oppressive behaviour, Antoinette is stripped of her identity and driven to her
eventual breaking point. In Part Three of the novel, the compromised nature of
Antoinette's mental state becomes revealed to the reader as Rochester's
treatment and abuse has finally driven her to true madness.
Sunday 20 March 2016
Thursday 17 March 2016
Insanity in Wide Sargasso Sea
Posted on 00:37 by Unknown
| No comments
Discuss the portrayal of insanity in Wide Sargasso
Sea.
Thesis:
Within the context of the novel, Jean Rhys presents insanity or madness as a social phenomenon defined by a defiance of cultural and
social norms rather than perhaps a true illness of the mind. Annette and
Antoinette are both driven to madness by an inherently patriarchal society and
racial tensions as a result of colonial attitudes and values.
Topic Sentence 1:
At the centre of the
story lies a patriarchal society that promotes the oppression of women which
ultimately served as a contributing factor
to Annette's and Antoinette's madness.
Evidence:
- Women are oppressed through the legal system that is designed to benefit men
- Seen through Antoinette's marriage to Rochester
- “You want her money but you don’t want her. It is in your mind to pretend she is mad. I know it.The doctors say what you tell them to say. The man Richard he say what you want him to say -- glad and willing too, I know. She will be like her mother” - Christophine, page 145
- Annette was forced to marry Mr. Mason because she needs economic protection
- Her marriage is was ultimately drove her to madness as Mr. Mason did not listen to her and left her to dwell in her sorrow and mental breakdown
- “My mother whom you all talk about, what justice did she have? My mother sitting in the rocking chair speaking about dead horses and dead grooms and a black devil kissing her sad mouth.” - Antoinette, page 133
- “They drive her to it. When she lose her son she lose herself for a while and they shut her away. They tell her she is mad, they act like she is mad. Question, question. But no kind word, no friends, and her husband’ he go off, he leave her…” - Christophine
Topic Sentence 2:
Edward Rochester's
role as a colonizer drives Antoinette to madness as her culture is deemed
subaltern and she is forced to endure the hegemonic values of her husband.
Evidence:
- Rochester is unable to understand Antoinette's culture and therefore resents it and beliefs that it is subaltern
- He grows to resent her "alien" nature and looks
- Antoinette's actions, looks, and beliefs differ from the traditional English expectations and values that Rochester is accustomed to
- Rochester attempts to conform Antoinette to what he considers a more proper way of life
- Starts calling her Bertha
- This resentment leads him to deem here as "mad"
- It is in your mind to pretend she is mad. I know it. The doctors say what you tell them to say. The man Richard he say what you want him to say -- glad and willing too, I know. She will be like her mother” - Christophine, page 145
Topic Sentence 3:
The racial tension
in the West Indies post-emancipation created an environment of hostility which also
prompted Annette and Antoinette's identity crisis and eventual mental
breakdowns.
Evidence:
- Racial tension caused the fire at Coulibri which resulted in the death of Pierre
- Annette is driven to madness after this
- Antoinette faces an identity crisis as she is descended from slave-owners
- Creole
- Not rich English and not a poor black
- Hybridity
Topic Sentence 4/Conclusion (?):
Characters within
the novel are not inherently mad but instead, they are driven to madness
through a range of traumatic events and the propagation of hegemonic and
patriarchal attitudes.
Evidence:
- “They drive her to it. When she lose her son she lose herself for a while and they shut her away. They tell her she is mad, they act like she is mad. "
- Antoinette goes insane and experiences an eventual mental breakdown after long term exposure to her husband's values
- Stripped of her identity
- Antoinette locked in the attic
- Annette is driven mad after be constantly called mad
- Often, the characters have completely understandable reasons for being upset yet they are deemed "hysterical" as typical in Victorian era
Monday 14 March 2016
Gender in Wide Sargasso Sea Essay
Posted on 22:01 by Unknown
| No comments
Thesis:
Within the novel, Jean
Rhys examines the societal constructs of nineteenth century masculinity and
femininity in order to highlight the imbalance of power that exists in the relationship
between men and women and the resulting consequences.
Topic Sentence 1:
The character of
Edward Rochester is representative of the main aspects of masculinity as seen
in his dominant attitude, rational thinking, and the active role he plays in
the plot.
Evidence:
- “These people are very vulnerable. How old was I when I learned to hide how I felt? A very small boy.” – Rochester
- Rochester displays a great deal of arrogance as he asserts his will on others – mainly Antoinette – which portrays his dominance
- Begins calling Antoinette Bertha, exerting his power over her
Topic Sentence 2:
Antoinette Cosway is
constructed as an embodiment of stereotypical femininity; her strong emotions,
seemingly irrational thoughts, and submissive nature dictate her role in the
story.
Evidence:
- “Vain, silly creature.” – Rochester describing Antoinette
- Antoinette is desperate to keep her marriage intact, despite Rochester’s clear lack of love
- Constantly valued only for her beauty by Rochester
- “Don’t put anymore scent on my hair. He doesn’t like it.” –Antoinette attempts to alter her identity to conform to Rochester’s standards
- “This was Antoinette. She spoke hesitatingly as if she expected me to refuse, so it was easy to do so.”
Topic Sentence 3:
Through the marriage
of Antoinette and Rochester, Rhys highlights the imbalance of power that exists
in the relationship between men and women.
Evidence:
- “But I cannot go. He is my husband after all.”-Antoinette
- “You are handing over everything the child owns to a perfect stranger.” – Aunt Cora
- Antoinette is stripped of all power in her marriage with Rochester
- She has no protection in her marriage agreement and therefore all her money is given to Rochester
- Rochester locks Antoinette in the attic, showing that he is capable of stripping her of freedom and free will
Sunday 6 March 2016
Antoinette
Posted on 19:08 by Unknown
| No comments
In what ways does Jean Rhys characterize Antoinette as an
outsider in Part One of the novel and to what effect?
Consider the significance of theme and context.
Consider the significance of theme and context.
Alienation and the idea of otherness is one of the main
themes of novel Wide Sargasso Sea. This theme can be seen as the driving force
behind many of the destructive actions of the main characters within the story.
Antoinette’s position as an outsider begins in Part One of the novel and
progresses and evolves until she eventually becomes alienated from her family
and even herself.
Antoinette’s characterization as an outsider in Part One is
mainly composed around the complex racial dynamics and resulting tension that
was developing in Jamaica in the 1830’s. Between the whites born in England and
the black ex-slaves, Antoinette’s creole background leaves her stranded in an
ambiguous middle-ground. Antoinette narrates that “They say when trouble comes
close ranks, and the white people did. But we were not in their ranks.” Despite
being white, Antoinette and her family are not accepted by the upper-class
white Jamaicans and are therefore treated as outsiders. This is as a result of
the family’s economic status and Annette’s behaviour and appearance. This line
is key in characterizing Antoinette’s struggle to find her place in the racial
hierarchy as she identifies the “white people” but does not actually identify
as one. Furthermore, Antoinette’s family stems from a line of former slave
owners which creates animosity between her family and the recently emancipated
slaves on the island. Through this distinction, Rhys is able to portray the
true complexity of the racial and class turmoil of this time period.
In addition to this, Antoinette is characterized as an
outsider through the portrayal of her relationships with her members of her
family and her friend Tia. During Antoinette’s narration she describes the way
in which she used to seek comfort in the arms of her mother however, this
description is clearly in the past tense emphasizing that this is no longer the
case. Regarding her friendship with Tia, Antoinette considers her the closest
friend she has however after the fire at Coulibri Tia succumbs to external
pressure and betrays their friendship by throwing a stone at her.
Through the establishment of this particular aspect of
Antoinette’s character, Rhys emphasizes the depth of a character that had
previously been reduced to a simple caricature of a cultural group. In Part One
of the novel the author is laying the groundwork for the core theme of the
story which will eventually results in the demise of the protagonist.
Sunday 7 February 2016
Sheikh Ali al-Junaydi
Posted on 09:28 by Unknown
| No comments
Within the novel The
Thief and the Dogs , characters tend to extend beyond themselves into a
much greater form of symbolism. Just as certain characters in the novel could
be considered representations of particular social classes, the character of
Sheikh Ali al-Junaydi also plays a certain role in the story.
The Sheikh acts as the soothing presence for the main
character Said Mahran. After Said is rejected by his daughter Sana he seeks the
company of the Sheikh who used to serve as the spiritual advisor for his
father. The first words spoken by the Sheikh towards Said are “peace and God’s
compassion be upon you,” which truly highlights the role of the Sheikh in the
novel. The Sheikh is a reoccurring reminder and representation of an alternate
path that Said could choose to take. Said is blinded by his self-destructive
quest for revenge however, his encounters with the Sheikh convey to the reader
another route that could have been possible for him. This alternate route
offered by the Sheikh presents a form of redemption born from religion and
worship. Regardless, Said is unable to accept the possibility of a different
and brighter future and this ultimately results in his tragic downfall.
The Sheikh contributes to the characterization of Said
Mahran by exposing a few of his weaknesses and flaws that will eventually bring
about his end. Sheikh al-Junaydi is very wise and highly perceptive of Said’s
situation. He observes that “[Said’s] burning heart yearns for shade, yet
continues forward under the fire of the sun.” This simple observation
highlights the destructive and irrational nature of Said’s quest for revenge
while exposing his inability to move on as one of his key flaws.
In the novel, the main settings can be divided into open and closed places. They can also be categorized as places that have changed and places that remained the same during Said's time in prison. The Sheikh's house is categorized as both open and a place that has remain unchanged. As with other spaces designated as open, this is an environment where Said does not feel the threat and pressure of society. The Sheikh serves as a safe haven and refuge for Said as he escapes from the world he feels is out to get him. Furthermore, the Sheikh's house offers Said a simple connection to his past since it has not changed over time. It is here that the readers learn a lot of the backstory surrounding Said and what set him on the path he is currently on within the story.
In the novel, the main settings can be divided into open and closed places. They can also be categorized as places that have changed and places that remained the same during Said's time in prison. The Sheikh's house is categorized as both open and a place that has remain unchanged. As with other spaces designated as open, this is an environment where Said does not feel the threat and pressure of society. The Sheikh serves as a safe haven and refuge for Said as he escapes from the world he feels is out to get him. Furthermore, the Sheikh's house offers Said a simple connection to his past since it has not changed over time. It is here that the readers learn a lot of the backstory surrounding Said and what set him on the path he is currently on within the story.
Wednesday 3 February 2016
Thesis Statements
Posted on 23:01 by Unknown
| No comments
Through
Said's quest for revenge within the
novel , Mahfouz explores the definition of justice and its highly subjective
nature through stream of consciousness narrative, thereby raising the question of who can be responsible for determining
what is deemed as 'just'?
Monday 1 February 2016
The Tragic Hero
Posted on 09:35 by Unknown
| No comments
Fatal Flaw (Hamartia)
Said's fatal flaw is that he is unable to forgive all those who he feels have wronged him in some way. As with all tragic heroes, Said's fatal flaw is what ultimately leads him to demise as he begins a rapid downward spiral. His quest for revenge is unstoppable as Said actively makes his situation worse. This insatiable thirst for revenge is evident directly from chapter 1 as Said's inner monologue revealed that "The hour was coming when he would confront them, when his rage would explode and burn, when those who had betrayed him would despair unto death, when treachery would pay for what it had done." Had he simply forgiven or at least moved on from Illish and Nabawiyya, his dark fate could have easily been avoided.
Displays of Excess Pride (Hubris)
Throughout the novel, Said holds firm to the belief that he is always right no matter what. However, as we've discussed in class this perception of reality is most likely highly skewed. Said is always quick to critique others however, he is unable to find fault in himself or his own actions. This becomes evident in his discussion when he asks Rauf, "Hasn't your conscience bothered you even in the dark?" He's quick to judge Rauf without taking into consideration the fact that he's been a thief his entire life and is plotting to murder a man. Furthermore, he only blames others for his downfall without examining his own role in it.
Reversal of Fortune (Peripeteia)
Within the novel, there are many events that could be considered the turning point for Said. However, I believe that the point of no return occurred when Said commits his first murder. In the eyes of Said, "[His] life was finished, spent to no purpose; he was a hunted man and would be to the end of his days." From this point onward, Said's misfortune increases rapidly as he continues down the dark road of revenge.
Recognition of Fault and Role in Downfall (Anagnorisis)
In this aspect Said actually deviates from the archetypal structure of the tale of the tragic hero. Normally, a tragic hero eventually experiences an epiphany in which they realize that their downfall is ultimately their own fault. However, Said never realizes that everything that has happened to him was due to his never-ending quest for vengeance. He dies still believing that all the unfortunate events in his life have been a result of the actions of others or simply some twisted form of fate.
Fate (Nemesis)
From a certain perspective it could truly be argued that Said'd fate is quite fair in comparison to the pain he inflicted on others as he ended up murdering two innocent people. Typical tragic heroes are often introduced as highly respectable and noble characters. However, Mahfouz begins the novel by making it clear that Said is certainly not on any pedestal. For this reason its hard to convince the reader that his fate was truly greater than what was deserved.
Saturday 30 January 2016
Chapter 11 Passage Analysis
Posted on 21:32 by Unknown
| 2 comments
The Sheikh greeted you with that sweet and
kindly look of his. And how enchanted you were by his fine white beard!
"So this is your son you were telling me about," he said to your
father. "There's a lot of intelligence in his eyes. His heart is as
spotless as yours. You'll find he'll turn out, with God's will, a truly good
man."
Yes, you really adored Sheikh Ali al
Junaydi, attracted by the purity in his face and the love in his eyes. And
those songs and chants of his had delighted you even before your heart was
purified by love.
"Tell this boy what it's his duty to
do," your father said to the Sheikh one day.
The Sheikh had gazed down at you and said,
"We continue learning from the cradle to the grave, but at least start
out, Said, by keeping close account of yourself and making sure that from
whatever action you initiate some good comes to someone."
Yes, you certainly followed his counsel, as
best you could though you only brought it to complete fulfillment when you took
up burglary!
The days passed like dreams. And then your
good father disappeared, suddenly gone, in a way that a boy simply could not
comprehend, and that seemed to baffle even Sheikh Ali himself. How shocked you
were that morning, shaking your head and rubbing your eyes to clear away the sleep,
awakened by your mother's screams and tears in the little room at the entrance
to the students' hostel! You wept with fear and frustration at your
helplessness. That evening however, Rauf Ilwan, at that time a student in Law
School, had shown how very capable he was. Yes, he was impressive all right, no
matter what the circumstances, and you loved him as you did Sheikh Ali, perhaps
even more. It was he who later worked hard to have you--or you and your mother,
to be more precise--take over Father's job as custodian for the building. Yes,
you took on responsibilities at an early age.
This passage from Chapter 11 of the novel is flashback that
Said is having as he remembers events and conversations from his past. In this
passage the reader learns detail's about Said's tragic past as he recounts the
death of his father and later his mother. From the perspective of both the
reader and Said himself this passage is the pinnacle of dramatic irony. Mahfouz creates a wonderful juxtaposition
between Said's past and his present. This conversation with the Sheikh
highlights the alternative path that Said could have taken had he not been
driven to a life of crime and had not become obsessed with getting revenge. As
the Sheikh says "His heart is as spotless as yours. You'll find he'll turn
out, with God's will, a truly good man." one begins to wonder how exactly
Said has strayed so far from his seemingly bright future. This scene also
raises the question of to what extent is Said's current character and predicament
due to situational or dispositional factors?
“Making sure that from whatever action you initiate some good comes to
someone."
Again we see this contrast of what Said was taught as a boy and the
way in which he lives his life in the present. After his release from jail and
Sana’s rejection, Said’s actions are of his own self-interest and almost all of
his actions result in someone else being harmed.
Furthermore, this passage serves to emphasize the strong bond that Said
shared with his beloved mentor Rauf as the reader gains some insight into how
the two met and under what circumstances. We see that Said truly looked up to
Rauf who symbolized the missing father figure in his life following the death
of his father. In the passage Said says “you loved him as you did Sheikh Ali,
perhaps even more” which further highlights the deep connection Said felt to
Rauf. This gives the reader a deeper sense of understanding as it makes it
easier to see why Rauf’s apparent betrayal so deeply affected Said.
This passage is a prime example of Mahfouz’s unique narrative style
and the specific way in which he chooses to reveal Said’s story to the reader.
Prior to this passage, the reader did not know a great deal about Said’s past
or his family. However as seen in this passage, Said’s history and tragic
background have actually come to affect his character in a highly negative
manner. We see that following the death
of his parents, the bright future that the Sheikh had predicted is exchanged in
turn for a much darker future full of thievery and eventually even murder.
Wednesday 27 January 2016
Stream of Consciousness Narrative in The Thief and the Dogs
Posted on 21:23 by Unknown
| 4 comments
Stream of consciousness narration is described as “a type of
fiction in which the basic emphasis is placed on the exploration of the
pre-speech levels of consciousness for the purpose, principally, or revealing
the psychic beings of the characters”. This form of narration places emphasis
on the thought pattern of an individual and immerses the reader in the
innermost thoughts of the character. Through this narration the reader is
exposed to the character’s emotions and thoughts in an unfiltered manner, thereby
adding depth to the character.
Through an intricate intertwining of realism and stream of
consciousness, Naguib Mahfouz establishes and explores his main character Said
and his perception of reality in the novel The
Thief and the Dogs. Mahfouz employs stream of consciousness narration in
order to giving the reader insight into Said’s inner conflicts. To quote one of
our readings that I think put it best:
“Access to Said Mahran’s internal experiences enhances the reader’s
understanding of his external reality.”
Stream of consciousness narrative also gives the reader a
clearer idea of the emotional stability or instability in the case of Said
Mahran. In the first chapter of the novel Said ponders that its likely his
daughter does not know anything about him however, when faced with her eventual
rejection his reasoning and logic become irrational as he feels that Sana
rejected and betrayed him. This reaction seen within Said’s thoughts hints at
how he may react to similar situations later in the novel. When Said ventures
to find his old friend and mentor Raush and discovers that his socio-economic
status has been elevated, he once again jumps to hasty conclusions. In this
interaction between mentor and student, Said’s previous feelings of paranoia
and distrust resurface as he feels that Rauf has also betrayed him. Mahfouz’s
style of an alternating narrative voice prompts the reader to establish a
closer connection with Said and evokes a deeper sense of sympathy than what may
have been achieved through a simple third or first person narration. However as
the novel progresses, this sympathetic connection is tested as Said’s thoughts
become irrational and his actions become morally unacceptable to the reader.
While this narrative technique does give the novel a unique
flair, it also comes with some limitations. The reader’s perception of
characters and events can become highly skewed due to the biased portrayal in
Said’s thoughts. The reader is never given the opportunity to experience the
story from another character’s perspective and therefore their perception of
reality within the novel is tainted by Said’s obvious and strong bias. As seen
in the novel, it can be difficult to attain an unbiased perspective of certain
characters such as Nabawiyya whom Said describes as “that woman who sprang from
filth, from vermin, from treachery and infidelity”.
Both Mahfouz and Achebe utilize a distinct form of
storytelling in their novels. Mahfouz uses stream of consciousness narration
which presents the reader with a highly subjective perception of reality within
the novel. While there is some use of an unbiased third person narrative voice,
the reader is generally left to establish events and characters through the
eyes of Said Mahran. On the other hand Achebe employs third person narration
throughout his novel which creates a different effect for the reader. This
allows Achebe to present an unbiased view of the story and furthermore allows
the reader to make their own moral judgement instead of relying on that of the
narrator or a specific character. Achebe
makes it very clear that Okonkwo is a flawed character through the unbiased
narrative form. However, the narrative technique used by Mahfouz does not
necessarily highlight the flaws of Said but instead leaves the reader to
establish this for themselves.
Tuesday 19 January 2016
Texts in Translation
Posted on 20:47 by Unknown
| 2 comments
“So many people
consider their work a daily punishment. Whereas I love my work as a translator.
Translation is a journey over a sea from one shore to the other. Sometimes I
think of myself as a smuggler: I cross the frontier of language with my booty
of words, ideas, images, and metaphors.” -Amara Lakhous
As part of the International Baccalaureate, our courses
constantly provide opportunities to assume a perspective that differs from our
own. In Language and Literature this opportunity arises in the form of studying
one text in translation. As demonstrated
in the above quote by translator Amara Lakhous, the practice of translation is truly
an art. A translator is tasked with transforming an entire text while
simultaneously remaining true to the author and their style and intentions.
However, this can sometimes be quite difficult as a translator always brings
their own unique personal style when approaching a text. When Feng Tang
published his translation of poems by Rabindranath Tagore he was faced with heavy
criticism for some his word choices. Some felt that his translation had
disgraced the original poet while Tang himself felt that he was merely
suggesting a different reality regarding the poems. However, despite the
difficulties posed, translated literature is highly valuable in our world
today. Translated literature from Arabic about an Arab city can provide a wider
audience with a particular insight that would most likely prove difficult to
capture in English. Many stories are often left untold due to the fact they are
originally told in only one language. However, by translating literary texts
these stories may travel the world and reach a more global audience.
Subscribe to:
Posts (Atom)