Month: February 2024

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?

Introduction: Jack London and “What Life Means to Me”

Jack London and “What Life Means to Me” are interrelated as the former is the writer of this autobiographical essay in which he delves into existential questions and personal reflections. Jack London has been an excellent author and pioneer of science fiction. In his autobiographical essay, “What Life Means to Me,” he has beautifully built the argument of shunning materialism after finding that it is rotten to the core.

Jack London and “What Life Means to Me”

The essay starts with his argument that he has dreamed to go up the ladder of status and wealthy since his childhood. He starts his life seeing dreams of going at the top in the social hierarchy of classes to become a person having noble and glorious thoughts and deeds like that of the educated and upper class. However, he sees that his “ideals and illusions” about that upper class are his handicaps.

Money, Jack London and “What Life Means to Me”

Then he turns to the remarkable way of becoming rich by investing money in government bonds, but soon he discovers that it is actually a slow way of becoming a rich man. The real way is to start a business, as he experiences by selling newspapers and doubling his earnings at the same spot. This makes him sick of the working class who always use their muscles, which become weary and worn out with labor. Following this, he becomes “The Prince of the Oyster Pirates” and starts his piracy business but soon faces huge losses and leaves it. Finally, he hits upon the idea of using his mind to reach the top, and it works well. With a lot of reading and hard work, he becomes a socialist but finds that all the demagogues, politicians, and other professionals who seemed noble and glorious to him are materialistic, eating up the lower classes through exploitation.

Moreover, he finds the glorious ladies of the upper class very materialistic and “sentimentally selfish.” This leads to his disillusionment with this upper class. He engages in brawls with several people over their hypocrisy and their way of life exploiting the lower classes. By the end, he finds that it is “the same everywhere”: a pursuit of more money and more wealth, often achieved through “crime and betrayal” of other human beings.

Conclusion: Jack London and “What Life Means to Me”

Finally, he becomes so disenchanted with this life of artificiality, crime, and betrayal that he once again joins the working class, where he finds sincerity and faith. By the end, he declares that his faith lies with the working class. In fact, his conclusion is that the pursuit of wealth does not bode well for humanity, as his biographical details provide ample evidence of this.

The essay serves as a critique of capitalism. He posits that on the surface, becoming a rich man may seem glorious and noble, making others feel jealous or envious. However, it involves the exploitation of the lower working class. Even in socialism, the upper crust comprising professionals exploit the lower class by pretending to represent them. However, this is all “crime and betrayal,” prompting him to aspire to return to the same class he had left.

Works Cited: Jack London and “What Life Means to Me”

Williams, James. “The Composition of Jack London’s Writings.” American Literary Realism, 1870-1910, vol. 23, no. 2, 1991, pp. 64–86. JSTOR, http://www.jstor.org/stable/27746444. Accessed 31 Jan. 2024.

Relevant Questions about Jack London and “What Life Means to Me”

1. Jack London and “What Life Means to Me” illuminate the impact of personal experiences and struggles on the essay’s themes and perspectives. How do London’s own challenges shape the narrative within the text?
2. How does Jack London, in “What Life Means to Me,” skillfully navigate the complexities of nature and the human condition, utilizing literary devices to convey profound ideas and reflections?
3. In “What Life Means to Me,” Jack London’s exploration of the human condition is rooted in the socio-economic context of his time. How do the historical conditions of London’s era shape the essay’s themes, and how do these themes resonate with readers in the present day?

Introduction: “Braveheart”

When I first watched “Braveheart,” I was truly enchanted by the charisma that the hero cast upon the people around him, especially the audience experiencing it for the first time. The physical aura that Mel Gibson embodied for this particular movie exceeded expectations. Portraying William Wallace, he embraced the full personality of a Scottish warrior with his long-flowing hair, short leather jacket, and tall leather boots, appearing as a true hero of ancient times.

Driven by the desire for revenge after the death of his beloved wife, Murron, he united all the tribes, trained them, and initiated a full-scale war against the English King Longshanks. He proved himself worthy of being a hero. William Wallace wasn’t just a bold and courageous young man; he exhibited the agility and cleverness of a Scottish commoner. Taking action to save others and secure freedom for his homeland, Scotland, against the cruelties of the English King and nobility, he showcased intelligence during battles and compassion for his compatriots, defining the hallmarks of his personality.

Despite facing cowardly treachery from Robert the Bruce and several other noblemen, he persevered, refusing to give up even when sentenced to the gallows. His inspirational leadership continued even after his death, reminiscent of a Grecian hero, ultimately leading his followers to achieve freedom. In short, William Wallace embodies all the qualities of a true hero.

Hero of “Braveheart”

William Wallace emerges as the hero of Braveheart, with Mel Gibson portraying him as a character embodying all the essential characteristics of a true hero. Not only is he a courageous and bold young man, but he also possesses the intellect and agility of a skilled Scottish warrior.

His journey begins with the tragic loss of his father and brother in a treacherous act, leaving him to survive under the care of his uncle Argyle. Despite the challenges, he holds onto the memory of his beloved Murron, who had expressed sympathy by giving him a flower on the death of his family. As he matures, Wallace becomes a robust and agile young man, continuing his love story with Murron. The two marry in secret, defying a law that required brides to spend their first night with the local magistrate.

When the local army of Longshanks learns of the secret marriage, the magistrate and his guards attempt to claim Murron. A skirmish ensues, leading to Murron’s arrest and subsequent execution for rebellion. William Wallace retaliates, attacking the soldiers and gaining widespread support from the locals. In this moment, Wallace demonstrates his courage to stand up against injustice, his boldness to launch an attack, and his leadership qualities in rallying people under his banner. This rebellion becomes a pivotal point, showcasing Wallace’s heroism as he leads his people to overcome oppression and tyranny.

Traits of Hero of Braveheart

Additionally, William Wallace exemplifies sympathy and moral integrity. While the personal grudge stemming from the soldiers’ attempt to claim his wife fueled his initial resistance, Wallace’s discontent ran deeper. Recognizing the widespread suffering under the oppressive laws of Longshanks, he felt a profound empathy for his people, motivating him to initiate a struggle for freedom.

At the point when he gathers them under a unified banner, Wallace decides not to wait for the English king’s attack. Instead, he leads an invasion of English garrisons, demonstrating his proactive approach and commitment to liberating his people. His actions go beyond personal vendettas, revealing a genuine concern for the well-being of others.

This sense of empathy is further emphasized when he instructs the princess to distribute all the gold and money among the poor. Despite facing challenges and ultimately not succeeding in his quest for freedom, Wallace leaves a lasting impact on the common Scottish people. His spirit instills a sense of determination that persists even after his death, ultimately leading to their victorious struggle for freedom.

Persona of Wallace in Braveheart

William Wallace’s multifaceted personality adds depth to his character in “Braveheart.” Firstly, he emerges as a skilled warrior, excelling in swordsmanship and archery, surpassing others in combat skills. Beyond his personal prowess, he displays leadership qualities, rallying various warring tribes under the banner of Scotland and leading them into battle against the forces of Longshanks.

A noteworthy aspect of Wallace’s character is his ability to inspire passion. Described by Robert Bruce as a fighter who exudes passion and motivates others to follow him, even his enemies are captivated by this fervor. Despite being a formidable warrior, he expresses a desire for peace, emphasizing his relatability as a common man who envisions a family life in times of tranquility.

His friendships are evident when he unites with the Irishmen on the battlefield, showcasing a camaraderie that transcends borders. However, the film also depicts Wallace with almost semi-godlike qualities, portraying him as invincible and capable of reaching any point or disappearing at will. Despite this portrayal, he remains grounded, often seen interacting with common people, emphasizing his humanity.

The film presents a nuanced view of Wallace, highlighting both his exceptional qualities and moments of vulnerability. While he may appear as a romantic hero enjoying life or a god surveying his valley, the reality of his humanity is revealed when he faces challenges, such as struggles to unite all Scottish nobles or when he is captured. These contrasts make him a complex character, resembling both a Grecian hero and, at times, the agile and intelligent Odysseus from ancient tales. William Wallace, in essence, is a real man navigating the complexities of the real world, leaving an indelible mark on history.

Conclusion: Braveheart

However, despite all this, he is a common character who, through sheer intelligence and courage, emerges as a hero and becomes a towering personality. His courage, love for others, and the realization that freedom should be for everyone make him an endearing character above all others. He always shows one or the other excellent part of his character, and that is what makes him a great hero.

Works Cited: Braveheart

1. Film: Braveheart. Dir. Mel Gibson. Perf. Mel Gibson. 1995.
2. Review: James, Caryn. “Braveheart (1995) FILM REVIEW: BRAVEHEART; The Splashy Epic Finds New Life in the 13th Century.” The New York Times, 24 May 1995. Web. 10 February 2014. http://www.nytimes.com/movie/review?res=990CE2D71E3CF937A15756C0A963958260.

Relevant Questions about Braveheart

1. How does Mel Gibson’s performance contribute to the overall impact of “Braveheart,” and in what ways does he bring depth to the character of William Wallace?
2. In Caryn James’ review of “Braveheart,” she mentions the film finding new life in the 13th century. How does the historical setting enhance the storytelling and make the film resonate with audiences?
3. “Braveheart” is often praised for its epic and splashy nature. What cinematic techniques or directorial choices by Mel Gibson contribute to the grandeur and scale of the film, and how do they impact the viewer’s experience?

Introduction: “Forrest Gump”

“Forrest Gump” is a superb adaptation of the novel of the same title, showcasing the character of Forrest Gump, a man with a low IQ but remarkable achievements. While not an exact replica of the novel, several scenes capture the spirit of the time. Directed by Zemeckis and based on Winston Groom’s novel with a screenplay by Eric Roth, the movie has garnered acclaim from the public. Tom Hanks brilliantly portrays the role of Forrest Gump, a seemingly dull-witted young man with numerous accomplishments. Robin Wright plays Jenny in her youth, contributing to the narrative told in a stream of consciousness technique.

The film portrays Forrest Gump not only exposing the Watergate scandal but also attempting to save his dear friend Bubba during the Vietnam War, eventually receiving the Medal of Honor from the President. Despite deviations from the original novel, the movie successfully reflects Zemeckis’s directorial vision. The use of the stream of consciousness technique in “Forrest Gump” adds a unique dimension to Gump, highlighting his main character trait of focus and concentration, redefining

Stream of Consciousness in “Forrest Gump”

The use of the stream of consciousness technique in the movie by Zemeckis is truly brilliant. Tom Hanks, portraying Forrest Gump, shares his stories with anyone who sits with him on the bench at the bus stop on the pavement. A recurring moment involves him taking out a chocolate, saying, “Mama says, life is like a box of chocolates…” (Zemeckis). Rob Humanick characterizes this as a gamble, playing with both visual and narrative elements, and notes that this gamble paid off, contributing to the movie’s resounding success (Humanick).

Humanick suggests that even though Jenny was added later as a victim of AIDS, the focus on Gump and his perspective is sufficient for the audience. Gump narrates his stories in his own unique way, sharing whatever comes to his mind (Humanick). This narrative approach makes Gump a captivating focal point for those who have the chance to sit with him and experience his stories through his eyes.

Relations in “Forrest Gump”

The use of the stream of consciousness technique in the movie significantly impacts the portrayal of relationships, refining Forrest’s connections with other characters, including his mother, Jenny, and his friend Bubba. Despite some differences from the novel, David Lavrey notes that Forrest remains “faithful to his mother” and is by her bedside when she passes away (Lavery). Forrest carries the wisdom of his mother, encapsulated in the phrase “Stupid is as stupid does,” along with the famous box of chocolates (Zemeckis). This unwavering faith in his mother’s teachings propels him forward, earning him a positive reputation wherever he goes and guiding him to stay on the right path.

Lavery emphasizes Forrest’s steadfastness in war, where he not only helps his lieutenant but also remains loyal to his friend Bubba. While Forrest’s relationship with Jenny differs from the novel, it is portrayed as somewhat unique in the movie. Forrest marries Jenny in the film and becomes a father to a son, showcasing a different dimension to his character. A poignant scene unfolds when Forrest leaves his son on the school bus, imparting the same life wisdom about a box of chocolates.

Narrative Style in “Forrest Gump”

The movie adeptly showcases Gump character traits through his unique narrative style. Seated on the same bench at the bus stop, he consistently shares his life story with changing audiences, demonstrating his unwavering commitment until he remembers his appointment to meet Jenny. This consistency reflects his strong character.

Forrest consistently exhibits commendable qualities in every challenge he faces. In the face of adversity, such as being chased by boys or heroically carrying his friend in a bombardment, he showcases remarkable strength and resilience. His dedication is evident in his achievements, whether excelling in running, succeeding in marketing, or exposing the Watergate Scandal. Rob Humanick describes the film as “an unlikely film with an unlikely man,” but notes that both have received accolades, highlighting the success of the movie (Humanick).

The resounding success of the film can be attributed to the quality of character traits portrayed by Forrest Gump, showcasing his journey from childhood to youth. His unwavering determination and steadfastness in his beliefs contribute to his ultimate success, making him a compelling and memorable character.

Conclusion: “Forrest Gump”

In short, the movie emerges as a unique film that introduces an extraordinary character characterized by a low IQ but an exceptional focus on every task at hand. The narrative unfolds the idea that success is attainable with unwavering concentration. The film’s uniqueness lies not only in the character but also in the storytelling style and its visual presentation.

Adopting the stream of consciousness technique, Tom Hanks, as Forrest Gump, shares his story with the audience while seated on the bench of a bus stop, holding a chocolate box with his iconic phrase. This narrative style plays a pivotal role in refining Forrest’s relationships with his loved ones. His commitment to his mother and Jenny, with whom he fathers a son and imparts the same life lesson, is a testament to this.

Forrest successfully navigates various roles, serving as both a marketing executive and a soldier, achieving resounding success in both realms. Despite some deviations from the source material, these differences seamlessly integrate into Forrest Gump’s narrative. The movie’s success, as suggested by Rob Humanick, lies in the unlikely nature of both the film and its central character, emphasizing that a compelling story can capture hearts, even without a traditional hero.

Works Cited: “Forrest Gump”

1. Humanick, Rob. “Forest Gump.” Slant Magazine. 04 Sept. 2014. https://www.slantmagazine.com/film/review/forrest-gump. Accessed on 06 Nov. 2017.
2. Lavery, David. “”No Box of Chocolates”: The Adaptation of Forrest Gump.” Literature Film Quarterly, vol. 25, no. 1, Jan. 1997, pp. 18-22. EBSCOhost, libuno.uno.edu:443/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=hft&AN=509634509&site=ehost-live&scope=site.
3. Zemeckis, R., et al. Forrest Gump. Hollywood, CA, Paramount Pictures. 2001.

Relevant Questions about “Forrest Gump”

1. How did Tom Hanks prepare for his role as Forrest Gump?
2. What is the significance of the feather in “Forrest Gump”?
3. How did “Forrest Gump” address and depict historical events?

Introduction: Gone Baby Gone

The film “Gone Baby Gone” delves into the sensitive subject of prevalent crime in contemporary Boston society, where family life is tainted by lust, greed, and drug addiction. Crimes are concealed under various layers, revealing that seemingly gentle and civilized individuals are engaged in illegal activities. The movie explores the complexities of a society where each new layer uncovers sinister acts committed by criminals, gangsters, mafias, and abductors. It unravels the knots of crime, exposing the selfishness and hollowness of the characters. Many characters maintain different facades to conceal their true selves, but the film takes on the responsibility of revealing these false appearances. As the story progresses, individuals initially perceived as helpful and nice are discovered to be involved in criminal activities. The film adopts language suited to gangsters, using typical words and registers. It continues the tradition of detective movies popular over the years, such as “The Departed,” “Minority Report,” “Traffic,” and “Hot Fuzz.” Crime in this film is portrayed as a direct consequence of moral degeneration, corruption, and drug addiction, leading to an identity crisis.

Moral Degradation in Gone Baby Gone

Moral degradation is the root cause of the crimes depicted in this movie. The society of Boston is generally considered to be civilized, well-mannered, and educated. While this is undoubtedly true, the movie’s writer offers a profound and different perspective, exposing the true reality of their lives. The characters introduced in the film exhibit dual personalities. Helene, the mother of the missing girl Amanda, appears disinterested in finding her. Her dialogues and actions suggest that she might even sacrifice her daughter for sensual pleasures and drugs. Furthermore, she, along with her boyfriend, is involved in robbing a drug dealer named Cheese. he moral element is also lacking in other characters, such as Lionel, who is Beatrice’s husband. Initially appearing genuinely concerned about the missing girl, it is later revealed that he has been involved in her abduction. Additionally, the movie portrays an incident of abduction where a seven-year-old boy is kidnapped by a child molester. Detective Remy remarks about the molester, stating, “Corwin’s plan is to keep a kid in the house

Corruption in Gone Baby Gone

Corruption within the ranks of police officers and detectives has significantly contributed to the exacerbation of the crime menace. Aside from the two main characters, Patrick and his girlfriend Angie, nearly everyone is involved in some form of corruption. The detectives engage in bargaining with drug suppliers, driven by their own greed rather than a sincere commitment to finding the missing girl. The entire atmosphere of the city appears sinister, echoing Patrick’s sentiment, “This city can be hard.”

Patrick shares a perspective he gained from his priest in his youth, highlighting the challenging balance between navigating a harsh environment and maintaining personal integrity. He describes the need to be both wise as serpents and innocent as doves, emphasizing the duality he faces amid criminal elements, even within his own department. He has to be sheep and serpent at the same time. The other two detectives Nick and Remy in collaboration with Captain Doyle stage a drama of the girl’s murder in a shootout near the Quarry. They intelligently put the doll in the water to show that she is drowned. Captain Doyle appears to be very loyal and dedicated police officer. He pledges to recover the baby at all costs because he has also happened to lose her daughter once. We believe in his words when he takes early retirement for not being able to save the baby. At the end it transpires that he is the person who has planned to abduct the baby and it was all a mere show to satisfy her family.

Drugs in Gone Baby Gone

The use and sale of drugs are portrayed as a major catalyst for the rise in crimes in US society. The drug mafia is shown to directly and indirectly promote criminal activities. It is revealed that Helene indulges in drug consumption five days a week, particularly using arsenic. Numerous other characters frequent pubs, engaging in excessive drinking and drug inhalation. The high cost of drugs compels users to seek money through any means necessary, leading to their involvement in robberies, exemplified by Helene and her boyfriend robbing a drug dealer.

Additionally, abductions for ransom serve as a means to accumulate funds for purchasing drugs and alcohol. The prevalence of drugs in society has also contributed to the adoption of abusive language, with characters using a distinct register filled with profanities such as “Fuck” and “Fucking,” along with repeated sexual references. This highlights how the use of drugs is further contributing to the moral decadence of the individuals within that society.

Conclusion: Gone Baby Gone

In shot, the film explores moral degeneration, corruption in law enforcement, and the widespread use of drugs as major contributors to the increased crime levels in US society. Human relations are marked by alienation, with individuals pursuing their own selfish goals, leading to a disintegration of the social fabric. The mother-daughter relationship is strained, emphasizing the prevalence of moral degradation as priorities shift towards personal indulgences. The film also reveals the involvement of professional police officers and detectives in abductions and connections with drug dealers. Furthermore, the pervasive spread of drugs in society has led to various evils, compelling individuals to commit heinous crimes for financial gain. Overall, the movie unfolds a captivating detective story that exposes the realities of drug addiction, societal double standards, moral decay, and corruption within the fabric of US society.

Works Cited: Gone Baby Gone

Gone Baby Gone. Dir. Ben Affleck. Perf. Ed Harris, Casey Affleck Morgan Freeman. 2007.

Relevant Questions about Gone Baby Gone

1. How does the character of Patrick Kenzie navigate the moral and ethical dilemmas surrounding the investigation in “Gone Baby Gone,” and what does his decision-making reveal about the complexities of justice?
2. In “Gone Baby Gone,” how does the setting of the working-class neighborhoods in Boston contribute to the overall atmosphere of the story, and what impact does it have on the characters’ decisions and actions?
3. The novel “Gone Baby Gone” explores themes of parental responsibility and societal expectations. How do the characters grapple with these themes, and what commentary does the story provide on the challenges faced by families in the midst of adversity?

Introduction: “Fences” and “Sweetheart of the Song Tra Bong”

“Fences” and “Sweetheart of the Song Tra Bong” both explore struggles; the first of Troy Maxson as he grapples with his past, the second of Mary Anne Bell as she becomes enmeshed in the harrowing realities of the Vietnam War. In her groundbreaking work, “Gender Trouble: Feminism and the Subversion of Identity,” Judith Butler argues that, “Although social scientists refer to gender as a ‘factor’ or a ‘dimension’ of an analysis, it is also applied to embodied persons as ‘a mark’ of biological, linguistic, and/or cultural difference” (09). By this, she suggests that the depiction of female characters in literature differs significantly from their male counterparts not only in a biological sense but also within cultural contexts. Here, culture refers to the ways in which women navigate their lives within specific domestic, familial, or social settings. In both “Fences” and “Sweetheart of the Song Tra Bong,” female characters like Mary Anne Bell and Rose Maxon attempt to challenge the boundaries imposed on them by gender-segregated perceptions and conventional expectations of the “softer sex” individuals. Despite belonging to diverse communities and races with significant ethnic heritage considerations, Rose and Mary Anne Bell conform to entrenched notions of feminine fragility under patriarchal domination. While Mary Anne Bell, a young white girl, defies societal expectations by visiting Mark Fossie in Vietnam, breaking gender norms, Rose Maxon challenges traditional feminine roles by adopting the daughter of Troy from his second wife, Alberta, thus responsibly confronting the expectations placed upon her. This action makes Troy Maxon feel ashamed of his role as the head of the family. Both female characters not only exemplify strong-willed and unconventional feminine traits but also reveal their softer sides, emphasizing their importance as binding members within their respective social groups.

Gender in “Fences” and “Sweetheart of the Song Tra Bong”

Regarding Mary Anne Bell’s role as a strong young girl, there is undeniable evidence of her courage, exemplified by her extensive journey from “Cleveland to Los Angeles, LA to Bangkok, Bangkok to Saigon,” ultimately reaching her man Fossie via C-130 and helicopter, as detailed by O’Brien (04). This journey underscores her bravery in venturing into the combat zone, disregarding military officials’ recommendations against allowing women in such areas. Patrick A. Smith (1967) further explores this transformation of Mary Anne Bell, suggesting in his critique of Tim O’Brien’s works that her metamorphosis is more accurately described as an enchantment with the wilderness, noting that it doesn’t intimidate Mary Anne as it does other American soldiers (109). This suggests her innate courage and love for enchantment, placing her on par with the Green Berets stationed in the same challenging environment.

Similarly, Rose Maxon exhibits immense courage in navigating life with her strong-willed and sometimes volatile African American husband, Troy Maxon. Despite Troy’s forceful personality, Rose asserts her authority not only in domestic matters but also in decisions concerning her son, particularly his passion for baseball. She explicitly supports her son by stating, “They got a lot of colored baseball players now. Jackie Robinson was the first,” and swiftly adds that Troy should not object to Lyons joining the baseball team in college (Wilson 06). While Lyons may hesitate to defy his father, it is Rose who instills courage in her son, emphasizing her pivotal role in shaping the family dynamics. Furthermore, Rose makes it clear that she is the one to decide the future of the household if the male members fail to shoulder their responsibilities, showcasing an unconventional feminine leadership akin to leading a small batch of Green Berets from the front. However, beneath this assertive exterior, there is always a softer side to her feminine qualities that distinguishes her in various roles within the family dynamic.

Femininity in “Fences” and “Sweetheart of the Song Tra Bong”

The feminine side of these female characters revolves around their ability to capture the hearts of the men in their lives. Despite Troy’s extramarital affairs, he finds solace and a sense of homecoming with Rose, considering her a stabilizing force. Analyzing this aspect of Rose’s character, Harry J. Elam contends that although she consistently supports Troy through various challenges, the implicit notion of “a woman needing a man” underlies the actions in the play. Elam further argues that Rose takes control because Troy willingly “relinquishes this element of economic authority,” and she assumes it as her own responsibility (168). This distinctive aspect of Rose’s character sets her apart, showcasing her successful roles as a wife and a mother. Additionally, Rose exhibits love and care by taking responsibility for Alberta’s daughter, stating, “From right now…this child got a mother. But you a womanless man” (19). This reveals the softer side of her feminine role as she acknowledges that baby Raynell is not accountable for the actions of her father or mother. However, despite her caring nature, Rose becomes assertive and firm in taking control of the household, demonstrating a balance of strength and compassion. Similar complexities can be observed in the character of Mary Anne Bell.

Events of “Fences” and “Sweetheart of the Song Tra Bong”

Mary Anne Bell emerges as a central figure and a morale booster for the soldiers at the checkpoint, offering a refreshing presence after months without female companionship. Described as a “novelty” and a source of morale, Mary Anne exudes a coy and flirtatious energy that is not lost on the soldiers. However, her openness and flirtatious nature do not provoke any jealousy or suspicion from her beloved, Fossie, who understands and respects her right to enjoy life. Mary Anne’s softer side becomes evident when she actively engages in wrestling with soldiers and expresses a genuine curiosity about local villages, wanting to experience their smells and customs. Yet, she remains vigilant, realizing the potential danger her outgoing nature could pose to herself and the soldiers, as it might attract ambushes. Despite Fossie’s initial suspicions about her involvement with other soldiers, these prove unfounded upon investigation.

Described as a unique character by Stefania Ciocia, Mary Anne Bell stands out in Tim O’Brien’s narrative. Ciocia notes that, apart from Mary Anne Bell, the main female figures in “Things They Carried” are entangled in male characters’ attempts to cope with the trauma of their lives. In essence, Ciocia suggests that while Mary Anne Bell provides courage and boldness needed for combat duty at the post, she also embodies a stereotypical character serving as a rallying point for all the soldiers present. Mary Anne’s softer side complements her unconventional nature, making her a multifaceted and intriguing character in the story.

Both Mary Anne Bell and Rose Maxon exhibit unconventional aspects of their personalities that defy traditional expectations for female characters. During the time the story was written, the concept of women being combat-ready for the forces was considered awkward and even grotesque, challenging societal norms. The presence of Mary Anne Bell with the Green Berets is particularly jarring, and Fossie’s initial reaction of being “a little dazed” and eventually whimpering reflects the disbelief and discomfort associated with the breaking of traditional gender roles (10). Patrick A. Smith argues that Mary Anne Bell, as the softer sex, undergoes traumatization in the jungle, being enchanted by a beau and quickly succumbing to the spell of the environment. Smith suggests that she becomes a victim of the “depth of depravity that the war engenders,” evolving to a point where her brutal side aligns with that of the Green Berets (109).

Similarly, Rose Maxon transcends her traditional roles as a mother and wife. Not only does she support her son’s choice of playing baseball, but she also insists that her husband, Troy Maxon, build a fence in front of the house. This effort is to keep intruders out, but it fails to prevent Troy from straying outside the boundaries of their marriage, leading to a confrontation about his affair with Alberta. Rose’s taunt, “Where was ‘we’ at when you was down there rolling around with some godforsaken woman?” points to Alberta, emphasizing that Troy has crossed a figurative fence (16). Rose is not attempting to keep her husband tied to the home, but she is fulfilling her duty by addressing the issue and expressing her disapproval. In this context, Rose embodies both traditional and unconventional roles, navigating the complexities of societal expectations and asserting herself in both spheres.

Binding Capability of Characters in “Fences” and “Sweetheart of the Song Tra Bong”

Concerning their roles as binding members, Mary Anne Bell effectively integrates into the platoon of Fossie, earning the respect, love, and affection of almost all the members. Patrick A. Smith refers to this process as her “indoctrination,” where she learns the art of war from Fossie and his friends, becoming a central figure. She becomes so ingrained in the dynamics that even Fossie suspects Diamond of being involved with her, and Sanders notes that she, in a sense, is connected to all of them without it being a sexual connection (09). Mary Anne’s ability to form bonds is not through flirtation but rather through becoming a unifying force, tying everyone, including Sanders, Rat, Fossie, and Diamond, to her in various ways.

Similarly, Rose Maxon plays a crucial role in binding her family together. By attempting to have a fence constructed in front of her home, she aims to prevent inmates from leaving and outsiders from entering. She becomes a binding force by keeping Raynell when Troy asks her to take her, shielding her son from Troy’s violent behavior, and instilling in him respect for his father. Despite her household facing challenges, Rose manages to maintain its safety and unity. Her straightforward statement to her son at the end of the play reflects her efforts to keep her family intact: “I know you and your daddy ain’t seen eye to eye, but I ain’t got to listen to that kind of talk this morning” (23). Both consciously and unconsciously, both women strive to keep the members of their respective groups together, showcasing their roles as binding forces within their contexts.

Conclusion: “Fences” and “Sweetheart of the Song Tra Bong”

In both works, the depiction of gender goes beyond traditional feminist notions, aligning with Judith Butler’s views but also transcending them. Mary Anne Bell displays courage by breaking away from traditional femininity, leaving the United States to join the Green Berets as a formidable soldier. This unconventional step challenges traditional feminist perspectives. Rose Maxon, on the other hand, doesn’t cross boundaries as Mary Anne does, but she exhibits strong determination in dealing with her violent husband. Rose takes on the responsibility of caring for the family, supporting her son’s desire to play baseball, and looking after Troy’s daughter from his second wife. Both characters demonstrate a blend of conventional and unconventional traits, navigating between crossing boundaries and reverting to traditional roles. They also serve as binding forces within their respective groups, keeping all members together.

Mary Anne Bell keeps the soldiers intrigued, presenting herself as both soft and loving yet not entirely committed. She ultimately leaves the group after learning the art of war, becoming as hardy as the Green Berets. In summary, both Mary Anne Bell and Rose Maxon showcase their gender identity in various ways, successfully performing traditional and unconventional roles. They effectively bind their respective groups together. While Mary Anne crosses certain boundaries, her experience also reveals the potential psychological toll of war on women. In different ways, both female figures illustrate the complexities of women’s roles during challenging times.

Works Cited: “Fences” and “Sweetheart of the Song Tra Bong”

1. Ciocia, Stefania. Vietnam and Beyond: Tim O’ Brien and The Power of Storytelling. Liverpool, UK: Liverpool University Press. 2012.
2. Elam, J. Harry. “August Wilson’s Women.” May All Your Fences Have Gates: Essays on the Drama of August Wilson Ed. Alan Nadel. Iowa City, US: University of Iowa Press, 1994. Print. 165-183.
3. O’ Brien, Tim. “Sweetheart of Song Tra Bon.”  MCCC. n. d. www.mccc.edu/…/O’Brien%20-%20Sweetheart%20of%20the%20Song%20Tra%20Bo…Accessed on 23 Apr. 2023.
4. Smith, A. Patrick. Tim O’Brien: A Critical Companion. Westpoint, Connecticut: US, Greenwood Press. 1967. Print. 
5. Wilson, August. “Fences.” MIT. n. d. http://web.mit.edu/wpick/output.pdf. Accessed on 23 Apr. 2023.

Relevant Questions about “Fences” and “Sweetheart of the Song Tra Bong”

1. In “Fences,” how do Troy Maxson’s past experiences and racial tensions shape his relationships with his family and friends, and what broader societal issues do these dynamics reflect in 1950s Pittsburgh?
2. In “Sweetheart of the Song Tra Bong,” how does Mary Anne Bell’s transformation in the Vietnam War serve as a metaphor for the dehumanizing effects of conflict, and what does her story reveal about the impact of war on individuals, particularly women?
3. Both “Fences” and “Sweetheart of the Song Tra Bong” explore the consequences of societal expectations and norms. How do the characters in each work navigate and challenge these expectations, and what broader commentary do these narratives offer on societal norms during their respective time periods?

Introduction: Francis Bacon’s Essays: Annotated Bibliography

Francis Bacon’s essays, composed in the late 16th and early 17th centuries, are a collection of philosophical and moral reflections. Characterized by their concise and aphoristic style, these essays cover a broad range of topics, including friendship, studies, marriage, and human nature. Bacon’s objective is to provide practical wisdom and guidance for individuals understanding life’s complexities. Through a blend of classical wisdom, empirical observations, and a keen understanding of human psychology, he provides insightful reflections on the challenges and virtues of human existence.

Davis, Walter R. “Francis Bacon: Overview.” Reference Guide to English Literature, edited by D. L. Kirkpatrick, 2nd ed., St. James Press, 1991. Literature Resource Center, go.galegroup.com/ps/i.do?p=GLS&sw=w&u=txshracd2512&v=2.1&id=GALE%7CH1420009027&it=r&asid=8996bf137d4b34c95c57772e2e7b6987. Accessed 28 Oct. 2023.

Walter Davis provides a comprehensive overview of Francis Bacon and his work, highlighting Bacon’s interpretations of human nature in relation to myths, history, and personal experiences, all of which are documented in his essays. Davis reviews Bacon’s works, emphasizing that the essays cover a wide array of subjects, offering insights into worldly wisdom and moral issues. He remarks on Bacon’s writing style and imagery, noting their coherence in structure and explicitness in advice. Davis further asserts that the essays form a unified whole, exploring practical everyday subjects. In conclusion, he characterizes Bacon’s essays as fine examples of a subtle reevaluation of his own thoughts on worldly matters, contributing to personal and professional advancement.

Miller, John J. “`Pruning by Study’: Self-Cultivation in Bacon’s Essays.” Papers on Language & Literature, vol. 31, no. 4, Fall95, p. 339. EBSCOhost, libaccess.hccs.edu:443/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=9512121382&site=ehost-live&scope=site.

In his article “Pruning by Study”: Self-Cultivation in Bacon’s Essays,” John Miller examines the practical nature of Bacon’s essays, drawing from his treatises “The Novum Organon” and “The Advancement of Learning.” Miller notes that Bacon’s method is inductive, deriving results from specific arguments, as observed by critics. He contends that Bacon’s aphorisms reflect the common “anxieties, concerns, or socio-political conditions” of his time (339). Miller adds that the essays are not only standalone entities but also embody a pure wisdom emanating from Bacon’s own self, possibly bordering on selfishness. Analyzing Bacon’s social essays, Miller highlights their primary focus on the relationship between private and public life, offering advice on how to strike a balance. He suggests that Bacon’s overarching objective is to prompt others to project their public selves and understand the influence of societal perceptions on their lives.

Strachey, Lytton. “Bacon as a Man of Letters.” Literature Criticism from 1400 to 1800, edited by James E. Person, Jr., vol. 18, Gale, 1992. Literature Resource Center, go.galegroup.com/ps/i.do?p=GLS&sw=w&u=txshracd2512&v=2.1&id=GALE%7CH1420009031&it=r&asid=e1b32ec0c485c59cca9c99a1516e4cb7. Accessed 28 Oct. 2017. Originally published in Spectatorial Essays, by Lytton Strachey, Harcourt, Brace Jovanovich, 1965, pp. 82-87.

In the essay “Bacon as a Man of Letters,” Lytton Strachey, a prominent English literary figure, encapsulates the philosophy and wisdom found in Francis Bacon’s essays. Strachey draws comparisons between Bacon and Sir Thomas Brown and Jonathan Swift, emphasizing their shared commitment to writing for practical purposes. Describing Bacon’s essays, Strachey characterizes him as a “wonder for wise men” due to his concise and sagacious remarks on a myriad of subjects. He commends Bacon’s style and approach, noting that his philosophy is utilitarian rather than strictly moral or ethical. Additionally, Strachey highlights Bacon’s love for refined prose, likening him to Montesquieu and even suggesting that Bacon occasionally surpasses him in linguistic richness. Acknowledging Bacon’s social standing as a “man of the world,” Strachey underscores the practical wisdom embedded in Bacon’s writings.

Sessions, William A. “The Essays: Reading Them as “Dispersed Meditacions”.” Francis Bacon Revisited, Twayne Publishers, 1996, pp. 21-56. Twayne’s English Authors Series 523. Twayne’s Authors Series, go.galegroup.com/ps/i.do?p=GLS&sw=w&u=txshracd2512&v=2.1&id=GALE%7CCX1590800014&it=r&asid=254d4ab4af5b3a84bcd8e218b160934f. Accessed 28 Oct. 2023.

William Sessions sheds light on Francis Bacon’s essays, life, and intellectual pursuits in both English and Latin. Noting Bacon’s service to the Prince of Wales and his practical experiences, Sessions suggests that Bacon’s style evolved through the study of Latin and eventually became geared towards practical purposes. Sessions argues that Bacon, being cognizant of the rhetorical demands and situations in which he wrote, adopted an aphoristic style that suited him best. Referring to Bacon’s maxims as a kind of law, Sessions asserts that these aphorisms serve as a “visible sign of the truer method of knowledge” (36). According to Sessions, this reflects an essential dialectic that Bacon consistently engages with in his essays. Sessions specifically comments on three renowned essays by Bacon, namely “Of Truth,” “Of Studies,” and “Of Cunning.”

Tyagi, Ankit. “Francis Bacon’s Philosophy of Life and Morality.” International Journal of English Language, Literature and Translation Studies, vol. 2. no. 3 (2015): 524-527.

Ankit Tyagi’s concise paper explores the life and morality portrayed in Francis Bacon’s essays. Through a thorough review of several essays, Tyagi asserts that Bacon’s worldly wisdom is exceptional in English literature, attributing this uniqueness to his versatility. Tyagi notes that Bacon addresses a diverse array of social topics, presenting a distinctive set of maxims in each instance. While acknowledging the occasional absence of morality in Bacon’s maxims, Tyagi emphasizes their practical applicability in the real world. Supporting his argument with extensive quotations from Bacon’s essays, Tyagi contends that Bacon’s philosophy is predominantly utilitarian. In short, Tyagi characterizes Bacon as a “citizen of the world,” emphasizing the practical nature of his essays.

Books on Francis Bacon’s Essays

1. Vickers, Brian. “Francis Bacon: The Major Works.” Oxford University Press, 2008: This comprehensive collection of Bacon’s essays by Brian Vickers includes insightful annotations that provide a deep exploration of the historical and philosophical context of each essay, offering readers a thorough understanding of Bacon’s intellectual contributions.
2. Peltonen, Markku (Ed.). “The Cambridge Companion to Bacon.” Cambridge University Press, 1996: In this comprehensive companion, edited by Markku Peltonen, various scholars contribute critical essays that provide a broader perspective on Bacon’s life, works, and influence. The book offers readers a well-rounded background to contextualize Bacon’s essays.
3. Jardine, Lisa. “Francis Bacon: Discovery and the Art of Discourse.“ Cambridge University Press, 1974: Lisa Jardine’s work focuses on the rhetorical aspects of Bacon’s essays, offering valuable insights into Bacon’s mastery of language and persuasive techniques. This book enriches the understanding of Bacon’s communication strategies.