Day: February 4, 2024

Introduction: Analysis of “The Lottery”

Penned by Shirley Jackson, the analysis of “The Lottery” reveals it to possess all the features of an excellent piece of literature, with the capacity to hold a multiplicity of meanings as interpreted by different readers. Published in 1948, this story has been acknowledged for its compelling narrative voice, well-developed characters, and an outstanding plot and setting. The narrative begins by introducing a village society with intriguing characters. The story unveils an old tradition of annual public stoning that occurs every year on the 27th of June. The brutal stoning of Mrs. Hutchinson in a public setting is depicted, creating a chilling effect. The scene is described in great detail with gripping narration, allowing for various interpretations through its major elements, including the narrator, plot, structure, interpretations, setting, and language.

Third Person and Analysis of “The Lottery”

The entire story is narrated in the third person, employing the omniscient narrator—someone observing the events from a distance. All characters in the narrative merely play their roles for this omniscient narrator. It becomes evident from the outset that this third person is the storyteller. As the events commence, the writer utilizes the third person voice, stating, “The morning of June 27th was clear and sunny…” (Jackson 1). This narrative approach persists throughout the unfolding events. Numerous engaging scenes arise, such as when characters like Mr. Summers exchange opinions with the villagers or when Mrs. Hutchinson, along with others, passionately converses. The pivotal moment occurs when Mr. Summers discloses the secret of the lottery and presents the box before the villagers.

Plot and Analysis of “The Lottery”

The plot of the story is a skillful combination of suspense and conflict, woven together through a series of actions. The narrative kicks off with the annual lottery event taking place in an unnamed village. While the villagers exhibit commendable qualities in some aspects, their involvement in the lottery is far from virtuous. Mr. Summers, as is customary, is the lottery holder for the year. He takes the lottery box home, filling it with pieces of paper bearing the names of each villager, determining who will be subjected to stoning.

Tension permeates the narrative from the start, escalating when a heated argument ensues among the villagers regarding the selected person. Some argue for abandoning the brutal tradition, likening themselves to a “Pack of crazy fools” (4), especially considering its abandonment in other villages. The suspense and tension reach their zenith during the lottery draw when the chosen person’s name is disclosed. Bill Hutchinson goes to his wife with the fateful piece of paper, while the other villagers prepare to pelt her with stones. Mrs. Hutchinson utters muffled words protesting, “It isn’t fair,” yet she is too feeble to resist or flee (5). The climax occurs swiftly, and the tension dissipates with the settling dust, marking the tragic end of Mrs. Hutchinson.

The story, despite its straightforward language, intricately weaves an intriguing plot with a sensational sequence of events unfolding simultaneously. The characters and setting remain consistent throughout, with only the order of events shifting as the narrative progresses. From the story’s inception to its conclusion, the village gathers in the square to discuss and carry out the lottery. Following the selection of the person to be stoned, the group of villagers disperses, marking the story’s conclusion. Dialogues transpire among various characters, yet the overall plot remains unchanged, undisturbed by external interruptions. The plot maintains a seamless sequence, offering a cohesive and impactful narrative.

Interpretations and Analysis of “The Lottery”

Absolutely, the beauty of “The Lottery” lies in its interpretive openness. Each reader can bring their unique perspective to the narrative, unveiling various layers of meaning. While some traditions may appear archaic and barbaric to an external observer, they hold deep significance for the villagers, representing the enduring legacy of their forefathers. The story paints a portrait of a society where individuals cling to outdated customs, showcasing the reluctance to part ways with ingrained habits.

Every character in the narrative serves as a symbolic representation of different facets of a society unwilling to relinquish detrimental traditions. The lack of empathy among the villagers, mirrored in their participation in the lottery without sympathy for one another, reflects a disturbing societal indifference. The authority vested in those upholding these traditions reinforces the rigidity, as they resist any change that would undermine their power.

The narrative highlights a stark contrast in the societal impact of these customs, with the lower strata, exemplified by characters like Mrs. Adams, bearing the brunt of these barbaric traditions. It unveils a power dynamic where the marginalized become the victims, underscoring the inherent injustice perpetuated by blind adherence to age-old norms.

Setting and Analysis of “The Lottery”

The setting of the story is indeed shrouded in deliberate ambiguity, adding a layer of mystery to the narrative. The village, situated near a mountain range, remains unnamed, allowing readers to make assumptions about its geographical location. The landscape described could evoke images of European countries or South Asia, where such settings are prevalent. The intentional omission of the exact location enhances the story’s enigmatic quality, making it feel both universal and timeless.

The specified date of June 27th establishes a temporal anchor in the narrative, while the omission of the year contributes to the overall sense of uncertainty. Readers are aware of the story’s publication year in 1948, creating a juxtaposition between the known and the unknown. This deliberate choice in setting and time adds to the story’s authenticity and captures the readers’ imagination.

The unknown location enhances the significance of the plot, portraying characters engaged in a deadly ritual without the distraction of a specific place. Mrs. Adams’s attempt to dissuade the villagers by mentioning the abandonment of the game in nearby villages highlights the resistance to change and the stubborn adherence to tradition. The story, with its mysterious setting, becomes a timeless exploration of the human tendency to hold on to harmful practices despite evidence of their detrimental effects.

Language and Analysis of “The Lottery”

The simplicity of the language in the story contributes to its accessibility and ease of understanding. The events unfold in a clear and chronological order, making it effortless for readers to follow the plot without requiring additional information. The dialogue for each character, such as Mr. Summers or Old Man Warner, is well-suited to their respective situations.

Despite Mr. Summers appearing as an ordinary villager, his use of authoritative language reflects a keen awareness of how to command attention and convey a sense of power. His repetition of the phrase “Seventy-seventh year I been in the lottery” serves to emphasize his authority and make an impression on the villagers. This deliberate choice of language adds depth to his character.

Similar authoritative language is directed at Mrs. Hutchinson when she protests against the unjust custom. The consistent use of relevant dialogues helps readers understand each character through their distinctive conversations, contributing to a nuanced portrayal of the individuals in the narrative. The writer’s skillful use of simple language and character-specific dialogue enhances the overall accessibility and impact of the story.

Conclusion: Analysis of “The Lottery”

In short, “The Lottery” by Shirley Jackson stands out as a literary masterpiece, encompassing key elements that contribute to its brilliance. The third-person narrator provides a detached yet immersive perspective, observing and narrating the unfolding events to the readers. The plot, centered around the thrilling ritual of a lottery in a distant village, possesses a simple yet multifaceted structure, inviting a myriad of interpretations.

The story serves as a poignant reflection of society, unveiling the profound impact of archaic and irrational traditions on individuals’ lives. Through its simple language, the narrative effectively conveys the complexity of the plot, setting, and characters. The simplicity serves as a powerful tool, enhancing the accessibility of the story while allowing readers to delve into the deeper layers of its meaning. Overall, “The Lottery” encapsulates the essence of a timeless literary work, engaging readers with its thought-provoking themes and masterful storytelling.

Works Cited: Analysis of “The Lottery”

Jackson, Shirley. “The Lottery.” Middle Bury. Middle Bury. n. d. Web. Accessed 29 Apr. 2022.

Relevant Questions about Analysis of “The Lottery”

1. Symbolism and Tradition:
   • How does Shirley Jackson use symbolism to convey deeper meanings in “The Lottery”?
   • What does the ritual of the lottery symbolize in the context of the story?
   • How does the author explore the theme of blindly following tradition and its consequences?
2. Character Motivations and Social Commentary:
   • What motivates the characters in the story to participate in the lottery, and how does this reflect on human behavior and societal norms?
   • In what ways does the author provide social commentary on conformity, peer pressure, and the dangers of unquestioning acceptance of established norms?
   • How do individual characters’ reactions to the lottery contribute to the overall message of the story?
3. Foreshadowing and Suspense:
   • How does Shirley Jackson use foreshadowing throughout the story to build tension and create a sense of foreboding?
   • What specific events or details in the narrative contribute to the increasing sense of unease and suspense?
   • In what ways does the author manipulate the reader’s expectations to deliver a shocking and impactful ending?

Questions and Answers: “The Lottery” by Shirley Jackson

1. Is “The Lottery” an indictment of tradition?

”The Lottery” by Shirley Jackson is written with specific social traditions in mind. These traditions become very dear to the social groups because of their long practice. Therefore, the story is an indictment because the tradition of stoning a person in the town mentioned in this story has been going on for generations. The story is an indictment of this tradition because it indicates a wrong going on for generations does not mean that it is not wrong. The opposing members are considered a “pack of crazy fools” by the preservers of these traditions such as the Old Man Warner (Jackson 243). Although Mrs. Hutchinson raises the question of fairness of its existence, the crowd and the elders put her to silence. Therefore, the description of this horrific punishment, which she is given for nothing, is an indictment of such horrible traditions.

• Is it a commentary on lotteries in any way?

It cannot be said that “The Lottery” by Shirley Jackson is an exact commentary on ordinary lotteries in any way, but it could be a commentary too, as literature has the power to invite interpretations in multiple ways. It is because people often bet everything in greed of winning big prizes but sometimes get nothing in return. Several rich people have turned into paupers through these lotteries. The same case is there that those people sacrifice a person to get good crops, as they say, “Lottery in June, corn be heavy soon” but there is no point in sacrificing a life if the corn is not heavy (243). Yet it continues in the story in that the lottery must be held whatever may happen. Therefore, in some way, it is a commentary on ordinary lotteries too which rob a person to feed the one who wins. This is a modern replica of the same old rituals.

• Describe the attitudes of the children as they gather for the lottery.

The children consider the lottery an ordinary event. Therefore, it is a sort of sport for them to stone a person. They have gotten up very early in the morning and collected stones in the middle of the open square to stone that victim of the lottery. When the lottery is going to be held, the school is off, and they assemble before everybody else. First, they sit quietly and then start their usual conversation of “the classroom and the teacher, of books and reprimands” (240). Bobby Martin has his pockets full of stones, while others are searching for good stones that could hit the victim hard. In short, it is an exciting occasion for them. In one way, it is also a lesson for them that gradually enters their mentality and takes the form of a tradition that must not be broken at every cost.

• What is Tessie’s family’s reaction to her being chosen? Does that seem odd? Why?

When Mrs. Hutchinson arrives at the place of the lottery, she is late from others. The only thing to do is to see what happens. However, she instantly becomes an odd thing out. She knows when Bill gets the paper that he is not given enough time and she said, “It wasn’t fair” but not only does her husband reprimand her but also that others ask her to be fair as it is a sport for them (241). Bill makes her silent by saying, “Shut up, Tessie” (243). Although nobody has given any reaction except Bill, he, too, shows total indifference as he goes to her and takes out a piece of paper from her hand to verify that she has the same paper that has the spot on it. Finally, nobody pays attention to her, and she faces the stones thrown at her to kill her.

• Discuss the significance of Warner’s saying, “ Lottery in June, corn be heavy soon” (paragraph 32).

The story “Lottery” shows that it is actually a long-held social tradition that the people of ancient times used to hold a gathering to sacrifice somebody to make their gods and goddesses happy to have good crops. The same still continues, though some rituals such as salutation, chips of wood, and calling each person by names have been abandoned, but the cruelest part of it exists. It is done to prove that “Lottery in June, corn be heavy soon” which means that if this is not held, their lands would turn sterile and they would have to live in caves as the Old Man Warner warns the opposing persons that “they will be wanting to go back to living in caves” (243).  This fear is the basis of killing a person by stoning him to death every year.

Introduction: Past and Present in Maus and Berlin Stories

Past and present in Maus and Berlin Stories appear during a cursory reading of the graphic novel Maus as well as Berlin Stories, revealing distinct narratives. One is centered around Vladek Spiegelman during the Holocaust, serving as the primary storyline, and the other detailing his relationship with his son and his second wife, Mala. Spanning over 35 years, the significant gap between these narratives exposes the enduring wounds inflicted by the Holocaust on Vladek’s mind, manifesting not only in psychological scars but also impacting his physical health. The indirect consequences of the Holocaust extend to Vladek’s son, Art, who witnesses a parenting style marked by psychological and physical capriciousness.

Examining the impact of the Holocaust on Vladek requires a comparison between his pre-war self and his present reality. Initially characterized as wealthy, generous, loving, and kind, the harsh realities of survival during and after the Holocaust transform him into a resourceful yet stingy and irritable individual. His relationship with Mala becomes strained, reflecting the profound changes in his demeanor. The memories of his traumatic experiences persist, shaping his current perceptions and interactions.

Art, though not directly affected by the Holocaust, grapples with a constant reminder of his father’s harrowing experience. He experiences guilt over not doing enough for Holocaust victims, juxtaposed with frustration arising from his father’s touchy behavior. The past, symbolized by the Holocaust, hauntingly influences both major characters in the narrative. Even Art’s artistic expression, evident in his storytelling, is permeated with memories of the Holocaust, as reflected in the novel’s subtitle, “the survival’s tale.” The interplay between past and present serves as a poignant exploration of the enduring impact of historical trauma on individuals and their relationships.

Past and Present in Berlin Stories

In Berlin Stories by Isherwood, the autobiographical narratives serve as a vivid portrayal of Christopher Isherwood’s past, capturing moments that he seemingly relishes when visualizing the bohemian lifestyle amidst the rise of Nazism. These autobiographical reflections encapsulate the unfettered freedom of Berlin life, marked by sexual liberation, homosexuality, and the impending threat of Nazism. Isherwood, akin to a camera, meticulously records these details in his Berlin Stories, providing a lens through which readers can witness the nuances of life in that era.

The impact of Berlin’s memories on Isherwood is twofold. Firstly, there is a sense of nostalgia and appreciation for the unrestrained life without societal restrictions. Isherwood fondly reminisces about watching the ascent of Nazism and reveling in the company of characters like Sally Bowles at the Kit Kat Club. Life with his landlady becomes a source of enjoyment, representing the carefree spirit of that time. Secondly, Isherwood’s recording of these memories is characterized by cinematic accuracy. This meticulous documentation becomes evident in the adaptation of Berlin Stories into a musical and Cabaret after Isherwood’s migration to the United States, where he led a prosperous life.

The impacts of Berlin’s memories are not confined to Isherwood’s written stories alone; they transcend into cinematic renditions. Isherwood vividly recalls and presents the distinct mannerisms and voices of his characters, giving each a unique identity. Specific speaking styles of characters like Schroeder and Sally, the jokes of Bernstein, and Sally’s singing style are meticulously remembered and portrayed. These past memories shape Isherwood’s artistic vision, enabling him to draw his characters with cinematic accuracy, using his own style of recording akin to a metaphorical camera. The lasting imprint of Berlin’s vibrant and tumultuous past is not only reflected in Isherwood’s literary works but also in the cinematic interpretations that continue to resonate with audiences.

Works Cited: “Past and Present” in Maus and Berlin Stories

1. Doherty, Thomas. “Art Spiegelman’s Maus: Graphic Art and the Holocaust.” American literature 68.1 (1996): 69-84.
2. Isherwood, Christopher. The Berlin Stories. Vol. 1120. New Directions Publishing, 2008.

Relevant Questions about “Past and Present” in Maus and Berlin Stories

1. Narrative Techniques in Depicting “Past and Present” in Maus and Berlin Stories:
   • How do Art Spiegelman in Maus and Christopher Isherwood in Berlin Stories employ distinct narrative techniques to explore the theme of “Past and Present” and how do these techniques contribute to the overall impact of each work?
2. Impact of Historical Context on Characters in “Past and Present” in Maus and Berlin Stories:
   • In what ways do the historical contexts of the Holocaust in “Past and Present” in Maus and the pre-World War II era in Berlin Stories influence the characters’ experiences and perceptions of the interplay between “Past and Present”?
3. Temporal Dynamics and Memory Reconstruction in “Past and Present” in Maus and Berlin Stories:
   • How do the characters in both “Past and Present” in Maus and Berlin Stories grapple with the temporal dynamics of memory reconstruction, and how does this contribute to the nuanced exploration of “Past and Present” themes in each literary work?

Introduction: Technology and Humans in The Matrix

Regarding Technology and Humans in The Matrix, the movie initially presents an ordinary day in an ordinary city, depicting the mundane existence of the protagonist Neo (Keanu Reeves). However, the narrative takes a dramatic turn when Neo is confronted with two distinct options by Morpheus (Laurence Fishburne), revealing the existence of two entirely different worlds within the film. In this reality, the characters are not living in a tangible physical world but are, in fact, trapped within the confines of their own minds. The bodies and minds of the characters are under the control of a complex computer software system, each with its own hidden agendas. This underlying theme underscores the coexistence of technology and humanity throughout the entire movie, blurring the lines between computer and human existence.

The interplay between technology and human beings becomes a central theme as the movie progresses. The audience is confronted with the unsettling idea that the characters are living in a simulated reality created by the intricate software system. Human bodies are confined in long cylinders, intricately connected to complex software systems, providing them with the illusion of living in the year 1999 when, in reality, it is 2199. The revelation that all power sources in the world have dried out, forcing machines to extract energy from human bodies, adds a layer of dystopian complexity to the narrative. However, a few individuals manage to break free from these cylindrical capsules, forming a resistance to fight for the independence of others, further emphasizing the ongoing struggle between human autonomy and technological control.

Philosophical Questions, Technology and Humans in The Matrix

“The Matrix” explores profound philosophical questions about reality, consciousness, and the relationship between humans and technology. The film challenges the audience to question the nature of their existence, blurring the boundaries between the physical and virtual realms. With its thought-provoking narrative and groundbreaking visual effects, the movie remains a cinematic masterpiece that continues to captivate audiences and spark discussions about the intersection of technology and humanity.

Grim Picture of Technology and Humans in The Matrix

“The Matrix” indeed paints a dark portrayal of the relationship between humans and technology, suggesting a scenario where technology usurps control, turning humans into slaves. Movies of this nature often serve as cautionary tales, instilling a sense of fear about the potential consequences of technological advancement. Throughout history, there have been instances of individuals utilizing various mediums to instigate fear about new developments. Even before the advent of television and videos, similar fear-mongering narratives existed, warning people about the perils of embracing innovation.

While these narratives may attempt to cast technology as a looming threat, it’s crucial to recognize the tendency of fiction writers and filmmakers to underestimate the capacities of the human mind. Humans have a long history of utilizing tools and techniques, adapting to new advancements, and retaining control over their lives. The assertion that an inanimate object could control a living human brain is deemed implausible by those who believe in the resilience and autonomy of human consciousness. The film’s depiction may serve as a cautionary metaphor, but it’s essential not to take these dystopian narratives too seriously.

In reality, humans have consistently demonstrated their ability to stay ahead of their creations. The belief in human ingenuity and adaptability suggests that despite the warnings in such movies, humanity will retain control over its destiny. Rather than succumbing to fear, it is advisable to approach these films as works of science fiction entertainment, designed to spark imagination and exploration of potential futures, without necessarily predicting an inevitable dystopia. Humans, throughout history, have been the architects of their progress, and this trend is likely to persist in the face of technological evolution.

References: Technology and Humans in The Matrix

Wheeler, D. A. (January 8, 2017). “Why are Humans used as Batteries (a power source) in the Matrix?” Wheeler. Retrieved on February 24, 2023 from https://dwheeler.com/essays/humans-batteries-matrix.html

Relevant Questions about Technology and Humans in The Matrix

Human Autonomy in the Face of Technological Control in “The Matrix”:

1. How does the portrayal of “Technology and Humans in The Matrix” explore the theme of human autonomy in the context of technological control?
2. In what ways do the characters in “The Matrix” resist or challenge the notion of being controlled by technology in the narrative of “Technology and Humans in The Matrix”?
3. What message does “The Matrix” convey about the resilience of the human mind and its ability to assert control over its own destiny within the thematic framework of “Technology and Humans in The Matrix”?

Fear and Caution Regarding Technological Advancements in “The Matrix”:

1. To what extent does “The Matrix” serve as a cautionary tale about the potential consequences of rapid technological development within the context of “Technology and Humans in The Matrix”?
2. How does “The Matrix” reflect and contribute to societal anxieties and fears surrounding the integration of technology into daily life in the thematic exploration of “Technology and Humans in The Matrix”?
3. In what aspects does “The Matrix,” with its portrayal of a dystopian future influenced by technology, prompt viewers to reflect on their own relationship with advancing technologies within the broader discussion of “Technology and Humans in The Matrix”?

Introduction: Feminine Freedom in “The Story of an Hour”

It is not surprising that Kate Chopin, who was surrounded by female characters more than the male members of her family throughout her life, has portrayed such a strong character illustrating feminine freedom in “The Story of an Hour.” Page Skaggs highlights this fact in his book about her, emphasizing that her exposure to more female characters influenced her projection of feminism in her fiction. However, the calm attitude inherited from her father, as noted in her short stories, is notably absent (17).

While the character of Mrs. Louise might not strongly prompt critics to label Kate Chopin as a pioneer of American woman feminism, it does exhibit traces of independence, freedom, and a desire to break free from patriarchal domination. “The Story of an Hour” appears to be Chopin’s initial attempt to explore feminist themes. The concept of feminism can be traced back to Nathaniel Hawthorne, who depicted feminist characters in his short stories and novel, “The Scarlet Letter,” as mentioned by Nina Baym in her book, “Feminism and American Literary History: Essays” (36). Although the theory of feminism, involving the projection of female characters, dates back to Greek and Roman civilizations, it gained prominence in American literature primarily through the works of Nathaniel Hawthorne. However, it is essential to define the term itself before engaging in a discussion of the story within the framework of this literary theory.

Feminism and Feminine Freedom in “The Story of an Hour”

Regarding the term feminism, the online Merriam-Webster Dictionary asserts that it was first used in 1895 by an anonymous critic, defining it as “the theory of the political, economic, and social equality of the sexes,” advocating for women’s rights and interests (“Feminism”). This concept represents a movement across literature, politics, and society, emphasizing equal rights for women in comparison to men. Mary Eagleton, in her book “Feminist Literary Criticism,” explains that the objective of feminist literary theory is to analyze and elucidate a piece of fiction or poetry in terms of its role in portraying female characters and addressing female rights (63).

Examining “The Story of an Hour” in light of these definitions reveals that Kate Chopin depicts Mrs. Louise as suppressed by her husband, seeing his death as an opportunity to break free from his dominance. For instance, the act of Louise rising and opening the door to her sister’s importunities suggests that she perceives her sister as prodding her about her past life, a part of herself she wishes to forget (Chopin pr. 20). This portrayal reflects a strong assertion of female independence throughout the story. Indeed, signs of feminism are evident in “The Story of an Hour,” unveiling the oppressive nature of marriage, unspoken male dominance in society, entrenched social traditions, and other barriers as key factors contributing to the feminine desire for autonomy and freedom, with hints of postmodern feminism also present.

Marriage and Feminine Freedom in “The Story of an Hour”

When examining the portrayal of the bond of marriage in “The Story of an Hour,” it might not be explicitly clear whether Kate Chopin presents a traditional or oppressive marriage. However, a notable indication of marital repression emerges in the lines, “She was young, with a fair, calm face, whose lines bespoke repression” (Chopin pr. 8). These lines unmistakably convey the sense of repression within the institution of marriage, even though Chopin initially depicts Mrs. Louise as a loving and loyal wife.

Further insight into the oppressive nature of the marital bond surfaces when Mrs. Louise confesses, “she had loved him – sometimes. Often she had not” (pr. 15). This revelation suggests that there were moments in her marriage when she did not feel love for Brently. Robert Evans, in “Literary Contexts in Short Stories: Kate Chopin’s ‘The Story of An Hour,'” emphasizes the story’s essential honesty, particularly when Louise admits that her feelings for Brently become less important than the prospect of a bright future and freedom (Robert). Evans implies that Mrs. Louise recognizes her ability to live without her husband and seizes the opportunity to assert her identity after his death, leading to her sudden happiness.

The pleasure Mrs. Louise experiences in her newfound freedom becomes evident as any form of prodding, even from her sister, disrupts her pleasurable stupor, making her feel as though it is anathema. This reaction suggests that she relishes the freedom from the oppressive bond of marriage.

Oppressive Marriage and Feminine Freedom in “The Story of an Hour”

Another piece of evidence supporting the oppressive nature of the marital bond is Mrs. Louise’s “wild abandonment” regarding the significance of the event that has transpired in her life (Chopin pr. 3). This abandonment suggests that she hasn’t grasped the full significance yet; her initial response is purely emotional. It implies that one hour is insufficient for a complete realization of the impact of Brently’s death. However, this brief time is enough for self-reflection, as Selina Jamil suggests in her paper, “Emotions in THE STORY OF AN HOUR,” noting that observing the world through emotions provides a powerful and heightened awareness compared to mere rational observation (220).

During this introspective moment, Mrs. Louise fully recognizes her emotional response, realizing her own self. It dawns on her that the bond of marriage has become unshackled before her. It is only natural for her to acknowledge her newfound independence, an awareness she might not have achieved in the presence of her husband. This is because the oppressive bond of marriage, experienced during times when she did not love her husband, didn’t afford her the opportunity to engage with the natural events occurring around her, such as the quivering tops of the trees, the breath of fresh rain, the crying of the peddler, the distant song, and the patches of the blue sky (Chopin pr. 5-6). Her emotional response to these natural occurrences signifies her newfound awareness, a perspective hindered by the oppressive bond of marriage during times when love for her husband was absent.

Patriarchy in Feminine Freedom in “The Story of an Hour”

The dominance of male members in society during that time may have been subtle and imperceptible. The final scene featuring Brently’s appearance at the doorstep holds critical significance, with Mark Cunningham addressing critics who view it as having a patriarchal impact on the feminine psyche. Cunningham challenges this assumption, asserting that there is no concrete evidence to suggest that the return of patriarchal domination directly causes her death. Instead, he argues that the story portrays the position of women in late nineteenth-century American society as so bleak that any attempt to break free from the life-denying limitations of patriarchal society is inherently destructive (49).

This perspective underscores the idea that all limitations and avenues in society were determined by male members. Any alternative attempt by Louise to break free might have resulted in harm to herself. Thus, it is crucial to consider that during that time, patriarchal domination was so entrenched that breaking the limitation of living without a husband and enjoying solitude in one’s room, especially for a married woman, seemed nearly impossible. The shattered illusion, upon seeing Brently by the end of the story, reinforces Louise’s realization that the fulfillment she briefly experienced in his supposed permanent absence was not truly attained.

Patriarchal Structure and Feminine Freedom in “The Story of an Hour”

The patriarchal social structure of that time placed women in subservient positions to men in all aspects. Louise Mallard is not portrayed as a working woman; instead, Brently Mallard is depicted as the breadwinner, employed in the railway industry. This detail is significant, emphasizing that he holds a dominant role in the family and has considerable influence over family affairs. It indicates that Mrs. Louise would have been left in a subservient position to Brently, contributing to the oppression she experienced in their marriage. This is evident when she instructs her sister Josephine to “Go away,” emphasizing, “I am not making myself ill” (pr. 18). It underscores her desire to assert her individuality by being alone. However, she is unaware that the independence from male domination that she has gained may be short-lived. Mark Cunningham argues that “her position would be defined as that of a widow, so any current freedom is based on her relation to the past” and not the present (57). Cunningham suggests that patriarchal domination is so deeply ingrained that a woman cannot easily cast off these shackles even after the death of her husband. Even a woman’s future freedom is contingent on the roles and attitudes of men in society.

Social Traditions and Feminine Freedom in “The Story of an Hour”

Concerning social traditions in “The Story of an Hour,” explicit references to these traditions are not overt, except when there is an opportunity to inform the lady in question. It could be inferred that there might be a tradition suggesting that a widow should be informed by her sister, explaining Josephine’s presence. However, it is evident that the story is set during the industrial age when traditions are rapidly evolving. For instance, there is no clear familial connection between Richards and Josephine, indicating a societal shift where strangers of different genders can interact.

The influence of social traditions is also evident in the changes brought about by the industrial age, specifically through the introduction of the railway. This technological advancement has altered the traditional mourning process, with news of accidents becoming more commonplace. Mourning occurs before the arrival of the deceased’s body, leading the widow to assume newfound freedom and independence. Her anticipation of something coming to her, described as “fearfully,” suggests that she has harbored such aspirations in her heart, possibly freedom from social traditions (pr. 9). In essence, it becomes apparent that the woman’s experience of freedom is intertwined with her departure from established social norms.

Conventions and Feminine Freedom in “The Story of an Hour”

The story subtly suggests that men play a role in creating and upholding social traditions. While it is not explicitly stated that Mrs. Louise Mallard did not follow these traditions, the arrival of her sister and her husband’s friend indicates that she adheres to traditional norms. She does not go out herself to gather information, reinforcing the idea of her as a traditional woman.

Mark Cunningham’s comments on social traditions and systems are crucial in this context. He highlights the unfortunate reality that women have been unable to establish their own system, leading to the situation where “The female self will have gained autonomy only to find that she has no life to lead” (53). Cunningham implies that women can truly lead autonomous lives only when they have the ability to create their own systems. In “The Story of an Hour,” Mrs. Louise Mallard fails to create her own system. Her joy in feeling independent exists only in her dreams, and the problem lies in the fact that dreams often remain unrealized. The arrival of “Someone… opening the front door with a latchkey” signifies that this someone is always a man. This suggests that wherever Louise may go, she will inevitably encounter men who have constructed every system, including norms of consolation, conveying messages, and homecoming—such as Brently’s return at the end, ultimately causing her death.

Barriers and Feminine Freedom in “The Story of an Hour”

Despite the numerous barriers, the desire for independence among women remains alive, representing a continuous and unyielding struggle from which they cannot shy away. Every woman aspires for freedom, autonomy, and independence, regardless of the circumstances at home. Although reasons for their failure may persist, the longing for independence and freedom persists unwaveringly.

In the context of “The Story of an Hour,” a nuanced distinction arises between independence and freedom. Independence implies the ability to think, act, and do as one pleases in the complete absence of a patriarchal world. On the other hand, freedom conveys a partially liberated existence, where the influence of men can intrude at any time. In Louise Mallard’s case, she is experiencing a sense of freedom, evident in the passage where she oscillates between loving and not loving her husband. The passage culminates with the word ‘free,’ as she declares, “Body and soul free,” capturing a fleeting sensation of freedom but not true independence (Chopin pr. 6).

Scott Johnson identifies implicit meanings in the story, including dependence, freedom, indifference, and love, emphasizing the dual structure present throughout the narrative without explicitly categorizing it as either freedom or independence (“Appendix: Applications: Diverse Responses to Kate Chopin’s ‘The Story of an Hour'” 285). While Louise desires freedom for both her soul and body, it remains unclear whether this equates to independence—a permanent state of freedom where she possesses the will to come and go as she pleases. The turning of the latchkey at the story’s end suggests an impending constraint, leading to her death. This implies that even if freedom is transitory, it holds significant meaning for her.

Independence and Feminine Freedom in “The Story of an Hour”

Independence is indeed one of the themes in the story, but it doesn’t encompass the entire theme. Louise Mallard seems to envision something in the long run, as suggested by the mention of “patches of the blue sky” (Chopin pr. 6). The blue sky implies distance, indicating that she has a considerable amount of life ahead of her. This sentiment becomes more apparent when she exhibits a sense of relief. Happiness often prompts individuals to engage in spontaneous actions, as seen when “she abandoned herself a little, and a whispered word escaped her slightly parted lips” (pr. 13). This suggests that she was previously confined to certain limitations from which she is now free.

Additionally, the passage indicates her love for her husband and the likelihood that she would weep upon seeing his dead body again. This could be interpreted as a sign of her gaining independence from something oppressive. The long-term nature of this independence is emphasized in the statement, “But she saw beyond the bitter moment a long process of years to come that would belong to her absolutely” (pr. 13). This sense of possession influences her desires, making it clear that she envisions the long years of her life as something within her complete control.

Feminine Desire and Feminine Freedom in “The Story of an Hour”

“The Story of an Hour” undeniably captures the qualities of feminine desire for the freedom of the soul and body, the wish to escape patriarchal dominance, and the yearning to overcome social and other barriers, solidifying its status as a representative story of feminism. However, the narrative delves into more aspects beyond just the freedom and independence of women.

The article exploring diverse responses, “Appendix: Applications: Diverse Responses to Kate Chopin’s ‘The Story of an Hour,'” highlights various facets of modern and post-modern feminism, including self, gender, the power of sexuality, and recognition. Quoting Kathleen B. Durrer, the article notes that Mrs. Mallard’s physical tiredness serves as evidence of a lifelong battle in her mind. Durrer suggests a conflict between “the id, the ego, and the superego,” asserting that Mrs. Mallard has led a sexually repressed life, and her reaction to her husband’s death implies a lack of sexual passion in her marriage (276). Durrer even speculates that the death of her husband may have triggered an internal battle in her unconscious mind, where her id might have found pleasure in Brently’s death while her superego could have been appalled. The ego, in this scenario, would attempt to mediate between the conflicting forces (277). However, the text does not provide substantial evidence to support the existence of such a mental conflict in Mrs. Mallard’s mind.

Sexuality and Feminine Freedom in “The Story of an Hour”

In examining modern signs of sexuality within the text, certain terms do suggest a presence of these themes. The article, “Appendix: Applications: Diverse Responses to Kate Chopin’s ‘The Story of an Hour,'” quotes Freudian scholar Barbara Larson, who contends that almost all the words associated with Mrs. Louise Mallard carry connotations of feminine sexuality, particularly terms like “sank,” “pressed down,” “her body,” “reached into her soul,” and “physical exhaustion.” However, Larson notes that this portrayal is passive and implies domination, suggesting patriarchal dominance, which contradicts the ideals of modern feminism (277). Two other Freudians, Lara Bridger and Geni Williams, are quoted in the article suggesting interpretations related to a violent “release of primal energy” after the prolonged repression of married life and the cessation of adrenaline, leading to exhaustion (277).

Despite these interpretations by modern feminists, the truth is that the text itself does not provide substantial evidence in this context. While certain words or phrases may hint at such interpretations, the overall ambiguity in the story allows for varied readings, leaving room for the possibility that these interpretations may hold some truth.

Mrs. Mallard and Feminine Freedom in “The Story of an Hour”

In short, “The Story of an Hour” exhibits a remarkably progressive approach compared to the era in which it was written. It unmistakably reflects a feminist perspective from a female writer who may have desired to attain freedom, despite having spent most of her life in a female-dominated environment—a contradiction often observed in writers. The signs of feminism emanate clearly from the character of Mrs. Mallard, who not only expresses a sudden release of emotions but also conveys a newfound sense of freedom, anticipating a long life ahead for her to relish. This liberation is portrayed in contrast to the unspoken dominance of the male setup, where men have constructed systems to keep women subservient to them. The story vividly illustrates Mrs. Mallard’s experience when informed about her husband’s death, emphasizing the necessity of a male presence.

Moreover, the narrative depicts the theme of freedom from social traditions and norms, evident in the presence of Richards, the movement of a latchkey in the door, and the unconventional manner in which she learns about her husband’s demise. These elements contribute to the story embodying feminist qualities. Some critics have also explored postmodern feminist aspects, suggesting mental conflicts between Mrs. Mallard’s id, ego, and superego, as well as speculating on the release of repressed sexuality in her jubilation at Brently’s death. However, these interpretations lack substantial support from the text, relying on isolated words and phrases.

Regardless, the story effectively portrays the repression of women in conjugal life, male domination, and societal traditions, firmly aligning with feminist ideals and garnering textual support. One certainty is that “The Story of an Hour” initiated a feminist movement during a time when addressing such themes was considered almost taboo. Kate Chopin’s bold exploration of these aspects of women’s lives set a precedent, with no other female writer at the time delving into these themes as vigorously as she did.

Works Cited: Feminine Freedom in “The Story of an Hour”

1. “Appendix: Applications: Diverse Responses to Kate Chopin’s “The Story of an Hour.” Short Fiction: A Critical Companion (1997): 271-295. Humanities Source. Web. 30 May 2023.
2. Baym, Nina. Feminism and American Literary History: Essays. New Jersey. Rutgers University Press. 1992. Print. pp. 35-36.
3. Cunningham, Mark. “The Autonomous Female Self and The Death of Louise Mallard in Kate Chopin’s “Story Of An Hour”.” English Language Notes 42.1 (2004): 48-55. Humanities Source. Web. 30 May 2023.
4. Eagleton, Mary. Feminist Literary Criticism. New York.Taylor & Francis, 2014. Print. pp. 63.
5. Evans, Robert C. “Literary Contexts In Short Stories: Kate Chopin’s “The Story Of An Hour.” Literary Contexts In Short Stories: Kate Chopin’s ‘The Story Of An Hour’ (2006): 1. Literary Reference Center Plus. Web. 30 May 2023.
6.  “Feminism.” Merriam-Webster Online. Merriam-Webster, n.d. Web. 30 May 2023.
7. Jamil, S. Selina. “Emotions In The Story Of An Hour.” Explicator 67.3 (2009): 215. MasterFILE Premier. Web. 30 May 2023.
8.  Skaggs, Peggy. Kate Chopin. The University of Michigan. Twayne Publishers. 1985. Print. pp. 17.

Relevant Questions about Feminine Freedom in “The Story of an Hour”

1. How does the character of Louise Mallard in “The Story of an Hour” express and explore the theme of feminine freedom in response to the news of her husband’s death?
2. In what ways does Kate Chopin use Louise’s moments of solitude and contemplation to underscore the notion of “Feminine Freedom in “The Story of an Hour,” within the societal constraints of the late 19th century?
3. How does the story portray the contrast between societal expectations for women and Louise’s internal desire for autonomy, and how does this exploration of “Feminine Freedom in “The Story of an Hour”” contribute to the overall theme of the narrative?

Introduction: Muslims in Tamburlaine and Othello

Muslims in Tamburlaine and Othello are depicted with nuanced complexity, offering insights into the portrayal of Islam in Elizabethan and Jacobean literature. Decrying the holy Prophet (PBUH), Tamburlaine thunders, saying, “Come down thyselfe and work a miracle” (Tamburlaine Part III, Act-I, scene, v), along with various other blasphemous remarks almost unmentionable in this literature review. Showing his true intentions, Marlowe presents a distorted image not only of the founder of Islam but also of Islam itself, vociferously erupting invectives against God, the Holy Prophet (PBUH), and the creed. He is as vociferous and loud as Shakespeare is subtle and shrewd.

Muslims in Shakespeare

Both, however, have presented and represented Islam negatively. In contrast to Marlowe, Shakespeare portrays Othello in “Othello,” who has converted to Christianity, but deep down, he retains his Moorish identity. This becomes apparent when Othello confesses, almost acknowledging his true nature, while committing suicide, saying, “Where a malignant and a turbaned Turk / Beat a Venetian and traduced the state, / I took by th’throat the circumcised dog / And smote him thus” (Othello, Act-V, scene, ii). The ambiguity in Shakespeare’s portrayal raises questions about the purpose behind depicting a Moor dreaming of killing a Turk while taking his own life. Interpretations vary, with some suggesting the Muslims are presented as “monstrous” and the demonization of others prevalent in both works (McJannet et al., 2009, 184-185).

Academic Studies and Muslims in Tamburlaine and Othello

When it comes to academic studies on Tamburlaine, Warner Rice and Chew’s works are frequently referenced in addition to discussions on aesthetic merits and historical accuracy. For instance, Linda McJannet (2009) argues that the portrayal is dispassionate (184), although this seems contrary to Tamburlaine being depicted as a God-sent scourge to the Muslim world, aligning closely with “English stereotypes of the cruel Islamic despot” (45-46). McJannet connects Tamburlaine’s identity with “intra-Islamic conflict and schism,” extending beyond presenting him as a Muslim monster or adhering to other stereotypes. Similarly, Jane Grogan (2012) addresses the ambiguity surrounding Tamburlaine in his article “A warre…commodious”: Dramatizing Islamic Schism in and after Tamburlaine, clarifying that the authorial objective is to demonstrate “religious schism and empire” in the broader world, linking it to the time of sectarian conflicts within Islam (46).

Initiating a polemic about Tamburlaine’s affiliation with either sect, Gordon posits that his desire is to go global rather than focus solely on Persia or the Ottoman Empire (47-48). Gordon adds that Tamburlaine proactively engages with “interlocked issues of religious schism and imperial sovereignty” (48), reflecting the concerns of Elizabethan London at that time (48). Although Gorgon interpolates insights from various topical studies to emphasize that this point requires attention as it is “to the benefit of all Christendom” (51), occasionally commenting on contemporaries and Islamic heritage, and acknowledging the bloodbath in its initial stages (54), he pays less attention to the demonization and monstrosity depicted in Tamburlaine, instead emphasizing the broader global conflict and the inner schisms within the Islamic world.

Turks, Moores, and Muslims in Tamburlaine and Othello

In contrast, Daniel Vitkus (1997) asserts that the presentation and representation of Turks and Moors, specifically as Muslims, in Tamburlaine, stem from England’s two-fold conversion fears, particularly the expanding Ottoman Empire (145). The Protestant proselytizing felt shattered, conflating the political and external enemies as ones determined to turn “Christian to Turk, from virgin to whole, from good to evil, and from gracious virtue to black damnation” (145). The captivity of the English people by the Turks further fueled the writers’ “demonizing representation” of Muslims and Muslim culture (147). However, in the case of Tamburlaine as a non-Muslim character, Irving Riber (1954) perceives Tamburlaine as the “savior of Western Europe from Islam” and hence a “hero to the Christian world” (354), likening him to the heroes of antiquity. Yet, Riber also portrays Tamburlaine with Machiavellian characteristics, comparing him to the image presented by the Italian Renaissance through Machiavelli’s “The Prince,” possessing qualities of ruthlessness that go “beyond good and evil” (355). Although Riber concludes that Tamburlaine’s second part shows the “disillusionment of Marlowe,” he bases it on his premises about Machiavelli (351). Furthermore, Riber avoids commenting on Tamburlaine’s anti-Muslim and anti-Islam rant, despite equating him with the classical hero and savior of the Christians for saving them from the fearful invading Turks.

Turkish and Persian Muslims in Tamburlaine and Othello

The impact of Turkish and Persian influences on the English Renaissance, particularly in Tamburlaine, is explored by Javad Ghatta in his article (2009), aligning with the perspectives of Nabil and McJannet (235). Ghatta posits that Tamburlaine reflects the impacts of the Islamic world by adopting multiple identities simultaneously, specifically embodying “a distinct Persian Islamic identity” (237). He suggests that the mention of Persepolis in the play is indicative of this Persian influence, portraying Tamburlaine as a “Don Juan of Persia” (237-238). However, Ghatta’s polemic focuses more on Persian and Ottomanian religious schisms and less on the presentation of Muslims and Islam in the play (239). He concludes that Persian characters were abundant in London during the staging of such plays (245), suggesting that Tamburlaine aligns more with Persian influences than with Christendom (255). Therefore, it appears that Ghatta pays more attention to the Persian influence than to Marlowe’s depiction of Muslims and Islamic characters.

Depiction of Islam and Muslims in Tamburlaine and Othello

Regarding the depiction of Islam and Muslims, Joel Elliot Slotkin (2014) notes that the presentation of Orcanes, a Muslim king, and Tamburlaine, the hero, reveals their differing views on religion, with the Muslim king being respectful and Tamburlaine disdainful (413). Slotkin attributes Marlowe’s confirmed atheism (408) to two prevalent anti-religious trends of the time (411). While acknowledging Tamburlaine’s conflictual religious identity, the focus on his “Muslim origin” (413) and the manifestation of Turkish features like “pride and cruelty” (415) suggests Marlowe’s inclination. Tamburlaine’s vituperation against the founder of Islam (PBUH) and Islam (415) is seen by Slotkin as an attempt to discredit the power of Muhammad (415), although he does not directly attribute this to the author. Slotkin suggests that while the holistic portrayal of Islam may not be sympathetic, the overall representation of Muslims is not uniformly negative (416), partly due to the character Orcanes.

Commenting on the conversation between two characters, Bajazeth and his wife (417), Slotkin argues that their inability to show a “coherent theological position” rather than a loss of faith (418) aligns with his argument regarding Elizabethan audiences. He emphasizes the Turkish bloodletting through Orcanes (419), suggesting an authorial objective of indirectly demonizing Muslims and Islam. Although Slotkin briefly highlights Islamic tolerance among kings of that time and their broader views on theological perspectives (422-423), he returns to Tamburlaine’s iconoclasm to underscore the dichotomy of religious beliefs and the author’s attempt to shift attention from Christianity to Islam and its adherents.

Religious Order and Muslims in Tamburlaine and Othello

Conversely, Leila Watkins (2012) challenges Slotkin’s argument, suggesting that Tamburlaine’s defiance toward the religious order reflects the author’s intention to portray him as defying all codes of “Christianity, Islam, and paganism” (164-165). Watkins’ argument appears to deflect the authorial position from the depiction of the monstrosity of Islam and Muslims, attributing Marlowe’s ambivalence toward all religious orders (164). She focuses on this aspect of the play to highlight the prevailing attitude in London at that time, driven by a quest for likely imperial expeditions (165). Watkins alleges that critics’ attention to different perspectives in Tamburlaine is symptomatic of the play’s larger attitude toward religion, contesting that no religious creed could provide justice to human beings (165).

Watkins also points to Zabina’s religious attitude (175), Tamburlaine’s vituperative anti-religious oratory (175), and blasphemy committed by several characters. She argues that Tamburlaine targets “religion in general” and not Islam specifically (175), echoing Slotkin’s argument. When balancing these anti-religious views in the play regarding Christianity and Islam (175-176), Watkins suggests that the authorial purpose is to portray religion in a negative light rather than demonizing Islam and its adherents. Her leanings toward this interpretation emerge from her categorical statement that “it is the Christians rather than the Muslims who break the peace treaty in Tamburlaine” (179), indicating an ambivalence that exonerates Marlowe, similar to Tamburlaine. Watkins concludes her argument by stating that Tamburlaine, the play, demonstrates “early modern doubts about religion” in the depiction of Orcanes and Tamburlaine, avoiding direct allegations against Marlowe for demonizing Islam or its adherents through such character depictions (183).

Critics about Muslims in Tamburlaine and Othello

Interestingly, some other Western critics also lean toward the view that Marlowe’s tendency is toward a “titillating, blasphemous edge” due to existing theological paradoxes in the post-Reformation era, as argued by Daniel Vitkus (2003). He comments on the controversies generated by Tamburlaine regarding Islam and Turks, stating that Christendom was pitted against the multireligious Mediterranean world, where Marlowe’s “Christian antagonist” exhibits a proclivity for portraying divine figures in a negative light, playing with Islamic ideals, figures, and people through characters like Zabina, Orcanes, and Tamburlaine. While Vitkus attributes the presentation of Tamburlaine as a notional persona to Marlowe, he seems to vindicate him for demonizing Muslims and Islam, portraying Marlowe pitting the divine against the human agency of Tamburlaine.

Vitkus’s argument is grounded in the medieval European-Christian anti-Islamic attitude, claiming that Marlowe’s characters throw vituperation against Islam, God, and Islamic personas, aligning this attitude with the general tendency in the early modern period to show antagonism toward Islam due to fear of humiliation and defeat from the Turks. Although Vitkus delves into Tamburlaine’s anti-Islamic rant, giving it psychological nuances through semantic jugglery, he hesitates to explicitly declare that Marlowe is engaged in presenting Muslims as monsters and Islam as demonic. However, in the later part of his essay, he asserts that Marlowe’s Tamburlaine draws upon the anti-Islamic discourse developed over centuries in Christian Europe, specifically the traditional misrepresentation of Islam as a religion that deifies and worships Muhammad himself.

Vitkus indirectly contradicts his own premises, suggesting that Marlowe’s sources for depicting anti-Islamic characters are based on the existing “anti-Islamic discourse” and traditional misrepresentation, attributing it to Marlowe’s upbringing in the anti-Islamic atmosphere of Europe. He concludes that Marlowe’s primary purpose in staging this play is to cater to his audience’s desire to see Islam receding and facing humiliation, highlighting scenes like Koran burning and the sacking of Babylon. Finally, he evokes classical Christian romances to underscore the anti-Islamic stance that continued with the Reformation period, Crusades, and anti-Islamic Protestant discourse as the main reasons for Marlowe’s vituperation and blasphemous remarks against Islam. Vitkus hints at Tamburlaine’s defeat as the “self-construction” of English imperialism and acknowledges the association of Tamburlaine with Christ, the messiah, through the deployment of biblical language in the play. Despite not explicitly admitting it, Vitkus’s argument suggests that the defeat of Tamburlaine serves the imperial momentum and aligns with the efforts of various Christian writers of the time to paint Turks in a negative light to maintain imperial dominance. In the end, he places his critique in a Marxist context, describing it as a natural inclination of “primitive accumulation,” while implicitly presenting the othering of Islam and Muslims by Tamburlaine in the strongest possible terms.

Works Cited: Muslims in Tamburlaine and Othello

1. Elliot Slotkin, Joel. “‘Seeke out Another Godhead’: Religious Epistemology and Representations of Islam in <em>Tamburlaine</Em>.” Modern Philology, vol. 111, no. 3, The University of Chicago Press, 2014, pp. 408–36, https://doi.org/10.1086/673713.
2. Ghatta, Javad. “‘By Mortus Ali and Our Persian Gods’: Multiple Persian Identities in ‘Tamburlaine’ and ‘The Travels of the Three English Brothers.’” Early Theatre, vol. 12, no. 2, [Early Theatre: A Journal Associated with the Records of Early English Drama, Becker Associates], 2009, pp. 235–49, http://www.jstor.org/stable/43500647.
3. Grogan, Jane. “‘A Warre . . . Commodious’: Dramatizing Islamic Schism in and after Tamburlaine.” Texas Studies in Literature and Language, vol. 54, no. 1, University of Texas Press, 2012, pp. 45–78, http://www.jstor.org/stable/41349149.
4. Marlowe, Christopher. Tamburlaine. Manchester University Press, 1999.
5. McJannet, Linda, et al. “Early Modern English Drama and the Islamic World: Islam and English Drama: A Critical History.” Early Theatre, vol. 12, no. 2, July 2009, pp. 183+. Gale Literature Resource Center, link.gale.com/apps/doc/A228909294/LitRC?u=anon~d2395fa8&sid=googleScholar&xid=722b8fc0. Accessed 9 Oct. 2021.
6. Ribner, Irving. “Marlowe and Machiavelli.” Comparative Literature, vol. 6, no. 4, [Duke University Press, University of Oregon], 1954, pp. 348–56, https://doi.org/10.2307/1768203.
7. Vitkus, Daniel. “Marlowe’s Mahomet: Islam, Turks, and Religious Controversy in Tamburlaine, Parts I and II.” Turning Turk: English Theater and the Multicultural Mediterranean, 1570–1630. Palgrave Macmillan, New York, 2003. 45-75.
8. Watkins, Leila. “Justice ‘Is’ a Mirage: Failures of Religious Order in Marlowe’s ‘Tamburlaine’ Plays.” Comparative Drama, vol. 46, no. 2, Comparative Drama, 2012, pp. 163–85, http://www.jstor.org/stable/23237103.

Relevant Questions about Muslims in Tamburlaine and Othello

1. How do the portrayals of Muslims in Tamburlaine and Othello reflect the cultural and historical context of the Elizabethan and Jacobean eras, and what stereotypes or nuanced perspectives emerge in the characterization?
2. In what ways do the Muslim characters in Tamburlaine and Othello challenge or conform to the prevalent stereotypes of their time, and how do these representations contribute to the broader understanding of Islam in early modern English literature?
3. How do the interactions between Muslim characters and the Christian societies in Tamburlaine and Othello shape the narrative dynamics and contribute to the exploration of religious and cultural tensions in the plays?

1)      The Speaker or Person in“Introduction to Poetry”

Speaker or person in the poem “Introduction to Poetry” by Billy Collins means the person who speaks the words of this poem. He is the narrator and the main character of the poem. He is, actually, a mouthpiece of the poet.  This could be single person or two persons. He could have a name or an anonymous person. For example, in the poem, “I” or the poet himself is the speaker who is speaking to the readers in the first-person mode.

2 )     Figurative language in “Introduction to Poetry”

It is a type of languages in which the poet or the writer uses different figures of speech to make his language impactful, persuasive and beautiful. For example, in the poem “Introduction to Poetry,” Billy Collins has used simile as poem like a color slide, and indirect metaphor of burrow of the mouse or a living human being having a room.

3 )     Closed Form vs. Open Form in “Introduction to Poetry”

A closed form poem means a poem which has proper structure and other poetic elements such as structure, meter, rhyme scheme and regular lines, while an open form poem does not have a definite structure. The poem, “Introduction to Poetry” by Billy Collins is an open form poem which does not have proper structure. It only comprises of conversation and something metrical rhythm, but it does not follow any structure.

4 )     Personification in “Introduction to Poetry”

It is a figure of speech in which an inanimate objective is attributed with human qualities such as in this poem, the poem has been made to be a human being having her own room “walk inside the poem’s room” or “torture” a poem.            

5 )     Connotation in “Introduction to Poetry”

Connotation is a common idea, quality or a perception that culture or society associate with a word. For example, “torture” always means to beat, but here in “Introduction to Poetry,” it means to beat a prisoner as it has specific meanings attached to it due to the chair and rope which are used to tie a captive or a prisoner.

6 )     Assonance in “Introduction to Poetry”

Assonance is a literary device in which two or more closely occurring words have the same vowel sounds though they start with different consonant sounds. In “Introduction to Poetry,” “really means” have the same vowel sounds.

7 )     Paradox in “Introduction to Poetry”

Paradox in poetry means the occurrence of the opposite or contradictory ideas close together to have complete and comprehensive meanings such as in “Introduction to Poetry,” there does not seem any paradox. However, there is an example that you must be cruel to be kind in which cruel and kind are two contradictory ideas put together.

8)      Metaphor in “Introduction to Poetry”

A metaphor is a figure of speech which declares something as something else such as “Introduction to Poetry” shows surface of the poem as if poem is a sea or a waterbody. This is a metaphor of sea or waterbody used for a poem. This is an indirect metaphor.

9)      Allusion in “Introduction to Poetry”

Allusion is a short reference to something historical, social or literary in a piece of literature. For example, a line of “Introduction to Poetry” alludes to John Keats who has a tombstone inscribed with a phrase “Here lies one whose name was writ in water” and this is the line “waving at the author’s name on the shore.” Although the author may not have intended it, is somewhat clear.

10)    Conceit in “Introduction to Poetry”

A conceit is a fanciful idea of making two highly different things similar though the use of metaphor or simile, such as in “Introduction to Poetry,” Billy Collins has declared the poem as a bee, or a room or a pit and an ocean or a water body. All these are conceits in the form of metaphors or similes.

Work Cited: “Introduction to Poetry” by Billy Collins

 Collins, Billy. “Introduction to poetry.” The apple that astonished Paris (1988): 58.

Introduction: The Knight in “The Prologue”

Among all the characters, the Knight in “The Prologue” receives the most detailed description from Chaucer. Not only does Chaucer highlight the Knight’s historical battles against heathens, but also his journey to the farthest reaches of the earth to spread Christianity. This touch of religiosity in the Knight’s character may seem odd in the context of chivalry, a term closely associated with the secular and romantic nature. However, Chaucer intertwines faith with the wars the Knight fought, giving a religious dimension to the character. This religious touch is perhaps the reason the Knight is described as having won “truth, honor, freedom, and courtesy” among the pilgrims.

The sense of religion is evident in the Knight’s “discolored and stained” clothes, which likely garnered respect from others. Chaucer’s point about the Knight’s accounts of battles being “ilke worthy knight” suggests that what Chaucer describes is based on the tales the Knight told the pilgrims. It’s possible that as they rode on the pilgrimage, the Knight recounted his battles and adventures.

As he embarks on a pilgrimage, a pious act, the Knight likely combined his love for religion with his tales of bravery in Prussia, Latvia, Belmarie, Alexandria, and, notably, Turkey, where the fall was considered a blow to the Christian faith. The widespread journey and fighting for religion were seen as signs of strength and bravery during that time. Thus, the Knight was viewed as a strong, brave, and wise figure among the pilgrims—the only sign of his being respected. Despite his meek demeanor, akin to a maid, he never uttered any offensive words throughout his journey. Due to these tales and his reputation as a religious person, the Knight earned genuine respect and great honor among the rest of the pilgrims.

Personal Opinion about The Knight in “The Prologue”

In my opinion, while the Knight may have been a skilled warrior, there’s a possibility that he embellished his expeditions, prompting Chaucer to offer a wry smile as he described what the Knight told him. The detailed accounts of numerous places, the emphasis on his religious devotion, battles against heathens, and his apparent meekness might have influenced Chaucer to suggest that the Knight resorted to exaggeration, perhaps veiling a subtle satire in his portrayal.

The concluding lines, however, provide a stark contrast by highlighting the state of the Knight’s clothes despite his good reputation and noble horse. The juxtaposition of his well-regarded tales and the worn condition of his attire adds a layer of irony, suggesting that appearances can be deceiving. Chaucer’s choice of describing the Knight as a “noble and perfect knight” despite the irony further enhances the complexity and interest in interpreting the character.

Works Cited: The Knight in “The Prologue”

Chaucer, Geoffrey. The General Prologue. Vol. 2. University of Oklahoma Press, 1993.

Relevant Questions about The Knight in “The Prologue”

1. How does Chaucer characterize the Knight in “The Prologue” of “The Canterbury Tales,” and how do these characteristics align with the traditional ideals of knighthood during the medieval period?
2. In what ways does the Knight’s tale, as introduced in “The Prologue,” reflect or deviate from the expected behavior and values associated with knights in medieval literature?
3. How does Chaucer use the description of the Knight in “The Prologue” to satirize or comment on the societal norms and expectations of the time, and what deeper insights can be gleaned about the Knight’s role in the social hierarchy?