Tag: short essays

Introduction to Odysseus’s Adventures in Odyssey

Odysseus’s adventures in Odyssey shows him a hero, who carries on wandering for ten years after the Trojan war facing different challenges, where his ingenious ploy of coming up with the Trojan horse idea won the Greeks the war in Troy. During his return journey, he faced numerous incidents where he faced temptations, was tricked and forced to overcome obstacles that he must face if he is to return to his kingdom to take his rightful position at the throne. He had invariably invited the anger of two gods but remained steadfast and using his intelligence, discernment, bravery and strength, he overcame whatever came his way. Besides his own will power, he also had the help from the goddess Athena, who selected him as one of her chosen heroes and thereafter ensured he had her blessings, helping him overcome three formidable obstacles that blocked his path on his journey back to his home which had he not won, he would surely have faced stark reality of failure.

Obstacle and Odysseus’s adventures

The first big obstacle Odysseus’s adventures come across on his journey back home comes when Hecuba falls to him. He was tempted by her beauty but he hurled down her grandson from a wall that she did not tolerate.  Athena, the Goddess, heard her screaming and wailing and created fierce tornadoes of tremendous strength that they were forced to finish off Hecuba or else would have faced destruction.  The second obstacle came his way when he conquered Cicones, a city, and was served wine which made him and his men fall asleep and in the meantime a bunch of his fighters were killed as they were attacked while asleep. Odysseus forced his men awake to be able to escape successfully. The third obstacle was when they arrived at the island where Cyclops resided and ended up trapped with the Cyclops in his cave. Using his quick thinking, Odysseus got him drunk from the earlier wine and blinded him thereafter. Odysseus succeeded in moving the wheel away from the entrance of the cave from where he and his men escaped from there as Cyclops, enraged, hurled a huge stone at them to stop them from escaping but they managed to get away. Bad for them however it proved that the Cyclops was the son of Poseidon and the sea god got angry with Odysseus for blinding his son. He began to create trouble for him afterwards. Odysseus’s adventures in Odyssey, in fact, bring him obstacle this time on Aeolus Island which Odysseus successfully overcomes.

Incidents During Odysseus’s Adventures in Odyssey

The other two incidents came in the form of cannibals and the island of Circe, the sorceress. He managed to survive the incident with the cannibals but he was overcome with lust for Circe and it was only after the help of a goddess that he was able to overcome his desire. There were several temptations he had to overcome. First he traveled to the underworld to meet Hades. He saw several ghosts over there even of his dead mother who had died waiting for him to return from Troy. He wanted to stay there but he consulted Tiresias, the blind seer, on how to win the favor of Poseidon, the sea god, and got his answers. He also saw other notable ghosts of kings and other important people but decided to return. He then returned to Circe and asked her how to cross the sirens successfully. Odysseus and his men managed to avoid the whirlpool Charybdis and the six headed monster Scylla, by rowing directly in between the two to avoid both of them. He was tempted once again by a nymph Calypso, who fell in love with him and wanted him to stay with her forever. He stayed with her for 7 long years but eventually his longing for home overcame him. He wanted to eventually return.  Poseidon was busy elsewhere in Ethiopia which provided him a chance to leave. Zeus helped him make preparation to depart and he ordered Hermes to tell Calypso to allow him return. Third time he was tempted was with Nausicaa, her being a princess of Phaeacians. Competitions were held routinely there and life was never boring in this kingdom but soon after Odysseys got homesick again.  The Phaeacians helped him make preparations and soon after he departed for home leaving Odysseus’s adventures to end.

Conclusion to Odysseus’s Adventures in Odyssey

His troubles were not over yet. He was tempted and tested many times during his return journey. But even then he constantly used his wit, quick thinking, mental ingenuity and courage to overcome these obstacles and temptations. It was also he had the favor of the gods on his side. One other thing that helped him resist these temptations was his strong love for his family that being his wife and son, his home land and his people which drew him back and made him be able to aptly resist his desires. Even when he was getting complacent and stayed with the nymph for 7 long years, his love for his homeland suppressed his desire and temptation and he wanted to return home. It may be assumed that his love for his homeland fueled his determination to return home and overshadowed other temptations.

Works Cited

1. Homer. Odyssey. Harper & Row Publishers, Inc., 1977.

Relevant Questions about Odysseus’s Adventures in Odyssey

1. How do Odysseus’s encounters with various supernatural beings and mythical creatures, such as the Cyclops Polyphemus, Circe, and the Sirens, serve to illustrate the themes of cunning and resourcefulness in the face of seemingly insurmountable challenges?
2. The journey of Odysseus is marked by a strong sense of longing for home and family. How does this theme of nostos (homecoming) and the role of Penelope, Telemachus, and Ithaca contribute to the narrative’s emotional depth and resonance?
3. In “The Odyssey,” Odysseus faces numerous moral dilemmas and choices that test his character. How do his actions, including the blinding of the Cyclops and his interactions with the suitors in Ithaca, reflect the concept of heroism in ancient Greek culture, which often involved complex moral decision-making?

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Introduction to “Bunty in the Light of a Hero”

This extract under analysis through narratological lens of Meike Bal has been taken from the chapter ten “Bunty in the Light of a Hero” of the novel, Seven Little Australians, by Ethel Turner. When the theoretical terms enunciated by Bal in her book are applied to this extract of two pages, it demonstrates that stories are “structured whole composed of signs” (Bal, p. 6) which show different shades, perspectives, interpretations and aspects to different audiences and readers. If this extract is analyzed in the light of these views through narratological strategies, it shows the complexity of fabula elements of events, actors, time location as well as of description, dialogue and perspectives using the narrator and focalizer.

“Bunty in the Light of a Hero” as a Fabula

If this extract “Bunty in the Light of a Hero” is taken as a complete fabula with event/s given, it shows a logical and chronological order (Bal, p. 6). The third person omniscient narrator shows the character of Bunty and Judy in the loft. Bunty is already hiding there when Judy arrives playing truant from school. Both agents (Bal, p. 6) perform this action of the event that takes place in the location of the “loft” as stated by the third person narrator or external narrator. As the duration of the act and its exact timing is not given, the third person narrator has shown that as they are in the loft, it is probably day light, and there is some darkness in the loft. The second actor, Judy, tells the other character, Bunty, that it is the “loft” (Turner, p. 64-65) where they are meeting, and that she will stay there “for a time” (Turner, p. 64) which is not specified.  Therefore, the location is clearly stated that it is the loft at home that is beyond other rooms where both the characters are hiding. It also shows that both are children and are using this location to hide themselves from the authority of the elders.. Other locations such as Lawson, Springwood and Katoomba are just for reference but they show that the characters are far away from these locations in this loft. Judy is asking the other character, Bunty, that she has run away from school that is located at a great distance. It also points to this location that is the “loft” (Turner, p. 64-65) and that it is in the building of the house.

Events in “Bunty in the Light of a Hero”

As the events happen at this place in “Bunty in the Light of a Hero”, the first event is the hiding of Bunty in the loft and his thinking about other animate objects, second is the arrival of Judy, third involves their conversation and the fourth departure of Bunty to bring something to eat for Judy. Other than these two, there are some characters who are absent from the events but are present through the impact they have had on both children. The first impact is invisible as is clear from the sound that Bunty makes after terrified of something like rat and second is the clear names that he shrieks out such as “Meg – oh! Father—Esther” (Turner, p. 64), There is another character that Judy refers to which is of Miss Burtons, who seems to be a teacher. It appears that Miss Burtons will come to know about her whereabouts when she is back to school. Whereas Bunty is somewhat naughty and playing hide and seek though terrified at this place, Judy, too, seems not much less, for she has stated that she has played truant from school and has asked Bunty to bring for her sometime to eat. Therefore, both the characters are distinct and individualized.

Description in “Bunty in the Light of a Hero”

As far as the description of the text of “Bunty in the Light of a Hero” is concerned, it has been applied by the external third person narrator as pointed out with “He.” It is his perspective about the characters that the readers would have. He makes the characters to show the naughty, clever, terrifying or fearful side of their individualities, and it is he who describes their traits with specific images. He states about Bunty when opening the text “He fancied…” (Turner, p. 63) which is an exact wording for a naughty boy and also states the location of the place as “second loft” (Turner, p. 65) and where it is located. This external narrator also makes the boy to say “Shoo” (Turner, p. 64) by which the narrator means the readers to understand that the boy is fearful of something, and then makes the boy think that it is “rat” (Turner, p. 64) where the objective is clear that it is intended to show to the reader. The argument here is to show how two naughty and clever children can plan to move away from the adult and authoritative world to hide their activities.

Narrator in “Bunty in the Light of a Hero”

Whereas the narrator and the focalizer are in “Bunty in the Light of a Hero” concerned, they, too, have played an important role. The text uses the narrator and focalizer both at the same time as the third person narrator is also the focalizer. The main task of the narrator here in this passage is to describe and show how actors act and move the act forward (Bal, p. 167). However, the focalizer, though, he is the same makes the readers think about the specific vision that he wants to show (Bal, p. 167) which is that children often play truant and that the readers should understand the specific perspective of the children. As both the perspectives are interspersed with dialogues, it becomes clear that focalizer and narrator shift the text to dialogue when it becomes necessary to show the action of the agents/characters. They are involved again when they want to show the specific perspectives and aspects of the situation of Judy and Bunty to the readers. This constant shift moves the text from one event to another, building logic and chronology in the text to make it credible. In this way, the narrator /focalizer build characters by first giving a vision to the readers what the specific character such as Judy or Bunty is going to appear, and then announcing through the dialogue of the character how he is going to act, and how it is going to impact the act or the event. For example, third person narrator / focalizer here announces constantly within the text how Judy arrives and how she surprises Bunty when he is hiding in the loft as when she puts her hand “over his mouth” (Turner, p. 64). The narrator could have stated that she has put her hand on her shoulders, but the focalizer wants to build readers’ vision that it is a moment of surprise and that Bunty could shriek out loud in that case.

Conclusion

By using description and then dialogue of “Bunty in the Light of a Hero”, the third person narrator builds the characters and then events and moves them forward chronologically to build a vision through focalization that the readers see clever and naughty children of a household hiding in a loft where they think that they can hoodwink the world of adults. This also gives a very good clue to the readers that they must expect something hard for these naughty boy and girl who are hiding in the loft. The final description by the narrator the emotions of Bunty which are foreshadowing that he would go to bring something to eat. This foreshadowing by the readers is the impact of the gradual progression of the events. 

Bibliography

1. Turner, E., 2005. Seven Little Australians. National Library Australia.
2. Bal, M., 2009. Narratology: Introduction to the Theory of Narrative. University of Toronto Press.

Relevant Questions about “Bunty in the Light of a Hero”: Narratological Analysis

1. How does the narrative perspective and focalization in the story “Bunty in the Light of a Hero” affect our understanding of the characters and events? How does the choice of a first-person narrator influence the reader’s perception of Bunty and her actions?
2. Explore the use of narrative structure and time in the story. How does the author employ flashbacks and shifts in chronology to reveal Bunty’s character development and the underlying themes of the narrative? What effect does this temporal manipulation have on the reader’s engagement with the story?
3. Analyze the role of narrative voice in conveying Bunty’s emotional and psychological experiences. How does the narrator’s tone and language contribute to our understanding of Bunty’s internal struggles and her transformation over the course of the story?

Introduction

Literature has always witnessed transformations according to the society it is created in, its culture, and its values as Glengarry Glen Ross seems a postmodern answer to Miller’s Death of a Salesman. The modern period which started quite lately in literature, as compared to modernity, reached its peak following WWII, and then after further evolution it entered into the postmodern world where cultural values, beliefs, and morals witnessed sea changes. The transformation in these values, morals, and beliefs could be seen in the respective literary pieces. Not only that the literary ideals such as tragic heroes and their representations have changed, but also themes and structures, language, and moral values have gone through massive changes. Written by Arthur Miller, Death of a Salesman presents a modern literary piece that presents modern tragedy, values of the society, modernist language structures and themes of faith, hope and dreams, while contrary to it, its supposed sequel Glengarry Glen Ross seems a postmodern answer demonstrating postmodern trends of literature sans tragedy, sans morality, transparent and language to be inferred by the audience.

Tragedy and Glengarry Glen Ross

As far as the idea of tragedy is concerned, the debut of Death of Salesman created a stir in the literary circle regarding presentation of a common man as a tragic hero, for which Miller has to write an essay to explain his idea of tragedy in this play which he states, “the common man is as apt a subject for tragedy in its highest sense as kings were” (Miller 3-7) and Willy Loman is a down-to-earth common American who is disillusioned by the mythical American dream. Contrary to the classical idea of Aristotelian definition of tragedy, having heroes with grand stature, Miller has touted that “The commonest of men may take on that stature to the extent of his willingness to throw all he has into the contest, the battle to secure his rightful place in his world” (Miller 3-7) which in Willy’s case is his two sons, his whole career and family that he bets in order to make himself equal to either Ben or his own father that Ben mentions or others in his familiar circle. However, none is achieved. In other sense, everything seems to him in “disorder” (Klages) through which Miller has tried to bring out the “order” (Klages) of the moral values that is to dig out “meaning which has been lost in the most of modern world” (Klages) which Biff states at the end that “He had the wrong dreams. All, all, wrong” (Miller). He is followed by his younger son Happy, who says that “I’m gonna show you and everybody else …that …he had a good dream” (Miller) which is that Willy wants to bring order by realizing his dreams that were not right according to Happy, but he could not, which is why he seems to be a common tragic hero of Arthur Miller. However, opposed to this modern view, there are no morals, no scruples and no values whatsoever in Glengarry Glen Ross. There is only “talk” (Mamet) about “leads” (Mamet), “close and sales” (Mamet) devoid of all morals that shows Glengarry Glen Ross seems a postmodern answer. If Levene seems to the central character, he acts just like a common salesman but unlike Willy, he is devoid of any dream and therefore no order exists for him.

Glengarry Glen Ross Seems a Postmodern Answer to Morality and Values

Whereas the question of morality or moral values is concerned, in Aristotelian and Elizabethan tragedies, the protagonist is always on the guard to set right that “Something is rotten in the state of Denmark” (Shakespeare 90) and takes the entire onus of doing this on himself and the piece presents a “clear-cut moral position” (Klages). However, in modern literature, this does not mean that the common man, as a hero, is morally upright similar to the classical heroes, but that “if it is true that tragedy is the consequence of a man’s total compulsion to evaluate himself justly, his destruction in the attempt posits a wrong or an evil in his environment” (Miller) which Willy sees in the shape of situation and his own ideal of achieving the American dream. Even his affair does not mean that there is no morality, but it means that he realizes that he has done due to which he could not achieved his desires and expectations which Miller has presented a modern view of “clear-cut moral position” (Klages) that this cut-throat competition takes its toll form the people involved in the rat race for money.  Also, there does not seem to be any morality in it, Glengarry Glen Ross seems a postmodern answer and the characters are living in world where stealing, lying, cheating, burglaries, sex, and drinking are the order of the day in which man has become a machine as Roma says about Levene “That’s the “Machine.” That is Shelly “The Machine” Lev…” (Mamet).  It is on the audience to deduce the meanings from the situation presented to them. At least there is a faith, hope and dreams in Death of Salesman which Willy demonstrates but there is no such thing in Glengarry Glenn Ross, a typical postmodern feature of the literature. In fact, it is Roma who seems to be the epitome of the postmodern era whose lengthy and baffling monologue regarding absence of “an absolute morality” (Mamet) in this world shows a world sans conscience.

Glengarry Glen Ross Seems a Postmodern Answer to Transparency of Language

As far as the question of language is concerned, there is a modern idea that “language is transparent, that words serve only as representations of thoughts or things, and don’t have any function beyond that” (Klages) which seems to be true in the case of Willy Loman and he has “Big” (Miller) ideas, “contacts” (Miller) and above all the idea of “well-liked” (Miller) through which we could assess his dreams. He is the “signified” in which the “reality resides” (Klages). However, the case of Glengarry Glen Ross seems a postmodern answer. There is no idea and “only surfaces” (Klages) and only “signifiers, without no signifieds” (Klages) which is clear from the language used by Levene, Roma and Williamson. Contrary to Death of a Salesman, where language is a vehicle to communicate the reality, the characters in Glengarry Glenn Ross do not use language for communication but for hiding, manipulating and exploiting truth and hooking the customers and others of their ilk. Miller’s ideas are clear that he wants to show the other side of capitalism and he presented it through Willy but Mahmet has left everything on the reader to deduce from the use of language.

Conclusion

In nutshell, the difference lies in the periods in which both plays have made their debuts where Death of Salesman represents the modern idea of tragedy as expounded by the author himself. On the other hand, Glengarry Glen Ross does not present any tragedy, hence no catharsis of any emotions in it. Whereas Death of a Salesman is a journey toward the realization of a moral system, beliefs, and hopes or better to say order, Glengarry Glen Ross is the epitome of a world sans moral values, beliefs, or creeds except material gains by hook or by crook. If Death of Salesman uses transparent language to point out the reality, the same reality disappears as Glengarry Glen Ross seems a postmodern answer. It is true that both have the same theme and one seems to be the sequel of the other, but both present a world poles apart from each other where one is a modern play and the other is a postmodern one. 

Works Cited

1. Klages, Mary. “Postmodernism.” Postmodernism. N.p., n.d. Web. 30 May 2014.
2. Mamet, David. Glengarry Glen Ross: A Play. New York: Grove, 1984. Print.
3. Miller, Arthur. Death of a Salesman. Oxford: Heinemann, 1994. Print.
4. Miller, Arthur. “Tragedy and the Common Man.” The Theater Essays. New York: Viking, 1978. 3-7. Print.
5. Shakespeare, William. “Hamlet”. Shakespeare Online. 1999. Web. 29 May 2014

Relevant Questions about Glengarry Glen Ross Seems A Postmodern Answer

1. How do the themes of disillusionment and the American Dream in Glengarry Glen Ross and Death of a Salesman reflect the postmodern critique of traditional values and narratives in American society?
2. In what ways do the characters in Glengarry Glen Ross and Death of a Salesman challenge or subvert the conventional portrayal of the salesman figure in American literature, and how does this reflect postmodern perspectives on identity and success?
3. Both Glengarry Glen Ross and Death of a Salesman depict the harsh realities of the capitalist system and its impact on individuals. How do these plays engage with the postmodern notion of a fragmented and uncertain reality, and how does this influence their portrayal of the characters’ struggles and aspirations?

Introduction to Accountant in Heart of Darkness

Although it is a work of fiction and comprises fictional characters, it has much to do with the reality of that time as shown by the accountant in Heart of Darkness. Colonialism was expanding far and wide into Africa as well as Asia at the time when Conrad penned this novel. The novel mostly deals with the machinations of the colonial powers to plunder the resources of the other lands by keeping the natives subjugated and illiterate. The hero of the novel, Marlow, explores the farthest land of the Congo to find out that the real intention touted by the European nation of educating the natives is a myth and farce. This he finds out through the observation of several characters, stations he visits, and the real situation in the country. Marlow sees imperialism and colonialism running rampant everywhere and comes across two important characters, emblems of imperialism, which are related to accounting. The first is the accountant in Heart of Darkness whom Marlow meets at the Nellie, the cruising yacht and the second is the chief accountant of the first station towards Congo (Conrad 3-26).  My opinion is that both the characters not only show their maximum professional restraint, but also orderly professional behavior in everyday settings and in conversation.

Restraint and Accountant in Heart of Darkness

As far as the restraint is concerned, both the accountants show maximum restraint, because it is the demand of their profession. The first accountant appears shortly when Marlow boards the Nellie. He sees that the Accountant brings out a box of dominoes and starts “toying architecturally with the bones,” as his profession demands that he should do only what he is supposed to do which is do accounting (3). The second character is the chief accountant whom Marlow comes across when he lands at the first station. This typical accountant is also a thoroughly professional who keeps himself to himself which means restrains himself from exposing the secrets of the trade. He only comes out “to get a breath of fresh air” (27). In this connection, Harold Bloom says that it is necessary for the accountant to stay rigid in order to “imply that certain cold, unfeeling, rigid lines of conduct must be observed” to run the business of the office (Bloom 57). That is the very reason for their restraint that both accountants are only accountants and Marlow never mentions their names at any place. It is actually their professional requirement to keep themselves to themselves and not be frank with anyone as is common in the accounting profession.

Professionalism and Accountant in Heart of Darkness

Both first and the second accountant in Heart of Darkness are professional in their behavior as well as everyday life. Although there is not much about the first accountant; however, the first initial of his professional name is enough to announce that he is a professional accountant. The second is mentioned as chief accountant which Marlow has described in detail. Marlow says that “in great demoralization of the land he kept up his appearance” that is a hint to his professional setting and professional behavior that he must keep up with (Conrad 27). He carries on saying that even in his everyday life at that station he has taught a woman to do domestic work for him though he was thoroughly professional “devoted to his books, which were in apple-pie order” (27). It is because he was to be accountable for his profession. That is why not only he keeps himself in order, but also keeps his ledgers and books in order. Due to both of these qualities, Marlow, the hero of the novel, calls him a miracle, for everything over there was in muddle. His professionalism is shown through his conversation when he tells Marlow that even the groans of the natives dying over there distract his attention. He says that without showing his fury to the locals, it is “difficult to guard against the clerical errors in this climate” (28). This shows how he is professional in his ordinary as well as in his working behavior.

Conversation and Accountant in Heart of Darkness

Where the conversation of and about accountant in Heart of Darkness is concerned, it is not frank, but it is highly secretive. The first accountant does not talk to Marlow and anybody else. However, when Marlow stays for ten days at the inner station, the accountant does not talk much to him. He only shows, but when Marlow becomes quizzical, he just tells him to that there is a person Kurtz, who is very important for the authorities sitting in Europe. In other words, he exposes that there is a person who is very capable financially, for he keeps the record. Mohit Kumar Ray argues that that is the very reason that “he is obliged to see Kurtz through the eyes of the accountant” (Ray 61). It could be that the accountants are more aware of every business than the ordinary people and even highups. That is why he paints the real picture of Kurtz to show Marlow who could be his next boss in the depth of the Congo.  He wins the confidence of the accountant who tells him briefly about Kurtz. This is what an accountant can do in his professional life to inform the middle authorities about the highups and their demands.

Conclusion

Therefore, the accountant in Heart of Darkness by Joseph Conrad shows a true professional. As the first accountant is not very senior, he keeps himself to himself and does not talk to Marlow at all. However, the chief accountant is a senior and knows everything about the business of the company. Therefore, he tells Marlow what is very important for him to know. However, about the other things, he keeps his mum and does not let him know what the business actually is. He keeps himself professional even in this squalid corner of the world and has learned how to live professionally by grooming a local lady. He also mentions heartlessly that the groans of the dying person distract his attention which destroys his clerical tasks of keeping the accounts correct. In short, both the accountants are highly professional, trained, and well-conversant with their status as well as situations.

Works Cited

1. Conrad, Joseph. Heart of Darkness.  Planet Ebooks. Online ebook. 2009.
2. Bloom, Harold. Joseph Conrad’s Heart of Darkness. New York. Infobase Publishing. 2009. Print.
3. Ray, Mohit Kumar. Joseph Conrad’s Heart of Darkness. New Delhi. Atlantic Publishers and Distributors. 2006. Print.

Relevant Questions about Accountants in Heart of Darkness by Joseph Conrad

1. How do the accountants in Heart of Darkness symbolize the bureaucratic and administrative machinery of European colonialism, and what role do they play in the broader critique of imperialism presented in the novella?
2. In what ways do the accountants’ meticulous record-keeping and adherence to rules contrast with the chaotic and morally ambiguous world of the Congo, and how does this tension contribute to the overall themes of the novella?
3. Considering the accountants’ limited presence in the narrative, what can we infer about their attitudes and beliefs regarding the African natives and the exploitation of the Congo? How does their perspective align with or differ from that of other characters in the story?

Introduction to Imperialism in Heart of Darkness

Joseph Conrad has mixed feelings and conflicting ideas about the concept of imperialism in Heart of Darkness that could be termed ambivalence. The novel which shows a journey from within and from without also divides itself into two parallel and conflicting ideas which are often associated with imperialism. Conrad being a white and also a westerner watches the oppression with his own eyes but being a non African also seems to detach himself from what actually happens with the Africans. There are so many examples where his protagonist seems to be divided in his view point and his inclination to blacks or whites become doubtful. Therefore, it can be said that the writer’s deep ambivalence about imperialism in Heart of Darkness regarding ambivalence in the consciousness, ambivalence in the treatment of blacks and whites and ambivalence in the mode of description thus making it a novel which apparently sides the Africans but inwardly reflects the superiority of the west.

Marlow and Imperialism in Heart of Darkness

The hero of the novel goes out to explore the unexplored lands of Africa. His travel is also on two levels. One is physical travel and the other is spiritual and inner travel. The learning and exposure go on both levels. Apparently it looks that his experiences are making him enlightened and well informed as compared to his previous understanding. However, the ambivalence of the situation is that his enlightenment is in other words an experience of the more negative things and as if he were going back to the primitive age. So his description of the protagonist’s development is at the same time forward and backward. So the protagonist suffers from a split personality with conflicting ideas which oscillate him between the civilization of the west and African primitivism.  In this way the description shows the conflict and ambivalence between the unconsciousness subsequently sub consciousness and the depiction of consciousness. This conflict is evident in the narrative related with wilderness, the African landscape, its society and its people. The wilderness again has two contradictory angles. One angle of it can be captured by Europe while the other aspect of supernatural type can only be left to die. This could be termed a drive exposing imperialism in Heart of Darkness.

Africa and Imperialism in Heart of Darkness

Conrad starts his assessment of Africa with the introduction of the Congo River and its comparison with the river Thames.  The Thames symbolizes the purification, civilization and intelligence whereas the Congo River shows darkness and under civilized society which is still not developed. Marlow seems to mention the Thames with reverence and great care while his description of the Congo River makes him a little pessimistic. Congo River is shown as “ the mystery of an unknown earth”. (Heart of Darkness 3). Moreover, during the course of the novel we find that the Congo River has so many difficult spots around it. It passes through many dark and dangerous places. The scenes around are rough and are not maintained as if nobody had touched them.  It unfolds that Africa is a place to be invaded and this mystery is to be solved and resolved and only white people can solve this mystery.  Here the narrator who is the mouthpiece of the writer is ambivalent about the concept of imperialism in Heart of Darkness.

Primitivism and Imperialism in Heart of Darkness

Conrad describes African people as he had described the Congo River and associated it with ignorance and primitiveness. He declares them barbarous liable to be kept under subjugation. They need to be taught, modernized and enlightened according to the standards set by the west. Sometimes he favors these Africans by saying that they live with nature which is a positive thing. Therefore they get a supernatural power with their association with nature. He also feels a kind of association with them as a human being.  On the other hand, the African people have been treated as devils as if they have come from hell” catch “im,”—”Give’im to u.”— what would you do with them? ““Eat’im!” he said curtly…. (42). In these examples we see that he identifies himself with the Africans and also detaches himself from them at the same time deeming himself as a superior person and mentioning their so called inhuman act. This shows how he in reality looks at the African people. So his purpose does not seem to be the expansion, but to take pity on the natives. So in this way his description shows how he has an ambivalent description of African people.

European Progress and Imperialism in Heart of Darkness

The word the whited sepulcher is used in the novel for the cities of the west. These cities are apparently very advanced, refined and civilized but inwardly there is evil and hypocrisy prevalent in them. This is the double standard of the so called civilized world which Marlow indicates. In the same vein, Conrad depicts Belgium as a country or city full of death or hypocrisy and we also know that Belgium was the centre of imperialism.  The city shows as if it is devoid of emotions and there is no civilization left there. We can also cite example of the two women who were knitting wool because it is associated with man’s doom as we remember “ Charles Dickens’s A Tale of Two Cities, where Madame Defarge  knits “with the steadfastness of fate” (103). In this way, the description of the city has ambivalence as every one of them represents darkness and light, death and peace.

Conclusion

In the novel, the writer describes the details of Africa, its wilderness, the Congo River and the inhabitants of that area in a way as to compare them with the civilized world of the west in an attempt to expose imperialism in Heart of Darkness. The journey within versus journey without goes on showing the differences between the attitude of the writer towards the native Africans and the white westerners. Marlow has mixed feelings for both the Africans and the Europeans. It can be said that he has attached and detached feelings for both the Europeans and the Africans simultaneously. His identification with nature and affiliation with superior Europe makes him ambivalent toward imperialism. 

Works Cited

1. Conrad, Joseph. Heart of Darkness. CSP Publishing. 2011.Print.

Relevant Questions about Imperialism in Heart of Darkness

1. How does the character of Kurtz exemplify the ambivalence towards imperialism in “Heart of Darkness”? What aspects of his journey and actions reflect the complex relationship between colonization and the corrupting effects of power?
2. In “Heart of Darkness,” how does the narrative structure, particularly the framing of Marlow’s story within the story, contribute to the ambivalence towards imperialism? How does this layered storytelling highlight the contradictory perspectives on colonialism?
3. Explore the symbolic significance of the Congo River in “Heart of Darkness.” How does the river itself represent the ambivalence surrounding imperialism, and how does Marlow’s journey along the river reflect the moral and ethical dilemmas associated with European expansion and exploitation in Africa?

You may read more on Short Essays below:

• Accountant in Heart of Darkness by Joseph Conrad
• Glengarry Glen Ross Seems A Postmodern Answer
• “Bunty in the Light of a Hero”: Narratological Analysis
• Odysseus’s Adventures in Odyssey

Introduction to Comparison Between Death of a Salesman and Glengarry Glen Ross

Literature has always witnessed transformations in culture shown through similarities between Death of a Salesman and Glengarry Glen Ross. The modern period which started quite lately in literature as compared to modernity reached its peak following WWII and then after further evolution it entered into the postmodern world where cultural values, beliefs, and morals witnessed sea changes. The transformation in these values, morals, and beliefs could be seen in the respective literature. Not only that the literary ideals such as tragic heroes and their representations changed, but also themes and structures, language, and above all moral values have witnessed massive changes. Written by Arthur Miller, Death of a Salesman presents a modernist literary piece which shows presents modern tragedy, values of the society, modernist language structures, and themes of faith, hope, and dreams, while contrary to it, its supposed postmodernist sequel Glengarry Glen Ross by Mamet demonstrates postmodernist trends sans tragedy, sans morality, transparent and audience-centered language to be inferred in any way. It means despite several similarities between Death of a Salesman and Glengarry Glen Ross are entirely different plays.

Tragedy and Death of a Salesman

As far as the idea of tragedy is concerned, the debut of Death of Salesman created a stir in the literary circle regarding presentation of a common man as a tragic hero, for which Miller has to write an essay to explain his idea of tragedy in this play which he states, “the common man is as apt a subject for tragedy in its highest sense as kings were” (Miller 3-7) and Willy Loman is a down-to-earth common American who is disillusioned by the mythical American dream. Contrary to the classical idea of Aristotelian definition of tragedy, having heroes with great stature, Miller has touted that “The commonest of men may take on that stature to the extent of his willingness to throw all he has into the contest, the battle to secure his rightful place in his world” (Miller 3-7) which in Willy cases is his two sons, his own career and family that he bets in order to make himself equal to either Ben or his own father that Ben mentions or others in his familiar circle. However, none is achieved. In another sense, everything seems to him in “disorder” (Klages) through which Miller has tried to bring out the “order” (Klages) of the moral values that is to dig out “meaning which has been lost in the most of modern world” (Klages) which Biff states at the end that “He had the wrong dreams. All, all, wrong” (Miller) while Happy says that “I’m gonna show you and everybody else …that …he had a good dream” (Miller) which is that Willy wants to bring order by realizing his dreams that were not right according to Happy, but he could not which is why he seems to be a common tragic hero of Arthur Miller. However, as opposed to this modernist view, there is no morals, no scruples and no values whatsoever in Glengarry Glen Ross. There is only “talk” (Mamet) about “leads” (Mamet), “close and sales” (Mamet) devoid of all morals. If Levene seems to the central character, he acts just like a common salesman but unlike Willy devoid of any dream and therefore no moral values at the end. However, despite similarities between Death of a Salesman and Glengarry Glen Ross are different in this sense.

Whereas the question of morality or moral values is concerned, in Aristotelian and Elizabethan tragedies, the protagonist is always on the guard to set right that “Something is rotten in the state of Denmark” (Shakespeare 90) and takes the entire onus of doing this on himself and the piece presents a “clear-cut moral position” (Klages). However, in modernist literature, this does not mean that the common man, as a hero, is morally upright similar to the classical heroes, but that “if it is true that tragedy is the consequence of a man’s total compulsion to evaluate himself justly, his destruction in the attempt posits a wrong or an evil in his environment” (Miller) which Willy sees in the shape of situation and his own ideal of achieving the American dream which he could not. Even his affair does not mean that there is no morality, but it means that he realizes that he has not achieved his desires and expectations in which Miller has presented a modernist view of “clear-cut moral position” (Klages) that this cut-throat competition takes its toll form the people involved in the rat race for materialism.  However, there does not seem to be any morality Glengarry Glenn Ross and the characters are living in world where stealing, lying, cheating, burglaries, sex, and drinking are the order of the day in which man has become a machine “That’s the “Machine.” That is Shelly “The Machine” Lev…” (Mamet).  It is on the audience to deduce the meanings from the situation presented to them. At least there is a faith, hope and dreams in Death of a Salesman which Willy demonstrates but there is no such thing in Glengarry Glenn Ross, a typical postmodern feature of the literature. In fact, it is Roma who seems to be the epitome of the postmodern era whose lengthy and baffling absence of “an absolute morality” (Mamet) in this world shows a world sans conscience. This shows a great difference between Death of a Salesman and Glengarry Glen Ross.

Language in Death of a Salesman and Glengarry Glen Ross

As far as the question of language is concerned, there is modernist idea that “language is transparent, that words serve only as representations of thoughts or things, and don’t have any function beyond that” (Klages) which seems to be true in the case of Willy Loman and he has “Big” (Miller) ideas, “contacts” (Miller) and above the idea of “well-liked” (Miller) through which we can judge his dreams. He is the “signified” in which the “reality resides” (Klages). However, the case of Glengarry Glen Ross is quite different. There is no idea and “only surfaces” (Klages) and only “signifiers, without no signifieds” (Klages) which is clear from the language used by Levene, Roma and Williamson. Contrary to Death of Salesman, where language is a vehicle to communicate the reality, the characters in Glengarry Glenn Ross do not use language for communication but to hide, manipulate and exploit truth and manipulate the customers and their own brethren. Miller’s ideas are clear that he wants to show use the other side of capitalism and he presented it through Willy but Mahmet has left everything on the reader to deduce from the use of language.

Conclusion

In nutshell, the difference between Death of a Salesman and Glengarry Glen Rosslies in the periods in which both plays have made their debuts where Death of Salesman represent the modern idea of tragedy as expounded by the author himself, Glengarry Ross does not present any tragedy, hence no catharsis of any emotions. Whereas Death of Salesman is a journey toward the realization of a moral system, beliefs and hopes, Glengarry Glen Ross is an epitome of a world sans any moral value, belief or creed except material gain by hook or by crook. If Death of Salesman uses transparent language to point out the reality, the same reality itself disappears in Glengarry Glenn Ross of the postmodern ear. It is true that both have the same theme and one seems to be sequel of other, but both presents world pole apart from each other where one is a modern play and the other is postmodern. 

Works Cited

1. Klages, Mary. “Postmodernism.” 30 September 2005. Willaim Mette. <http://www.willamette.edu/~rloftus/postmod.htm>. Accessed 24 Nov. 2020.
2. Mamet, David. Glengarry Glen Ross. New York: Grove Press, 1984.
3. Miller, Arthur. Death of Salesman. Oxford: Heinemann Educational Publishers , 1994.
4. ____. “Tragedy and the Common Man.” Miller, Arthur. Theater Essays. Viking Penguin, 1978. 3-7.
5. Shakespare, William. Shakespearen Plays. 1999. Shakespeare Online <http://www.shakespeare-online.com/plays/hamlet_1_4.html>. Accessed 24 Nov. 2020.

Relevant Questions about Death of a Salesman and Glengarry Glen Ross

1. In Death of a Salesman and Glengarry Glen Ross, how do the characters navigate the American Dream’s illusion and their harsh realities?
2. In both plays, how does workplace culture shape the characters’ identities and self-worth?
3. How do power dynamics and competition impact the characters’ moral choices in Death of a Salesman and Glengarry Glen Ross?

Introduction to Henry Dorset Case

Several literary pieces have boosted unique and different characters but none so unique and so digitized as Henry Dorset Case, whose very name evokes certain digital features in the soul of a reader. Although he does not resemble Rick of Do Androids Dream of Electric Sheep? his character is central to Neuromancer and without his casing personality, it would be reduced merely to a digital web of artificial creatures. Although there are other characters who have got modernized, none equals him in a way he has merged in modern technology or modern technology has adopted him. Henry Dorset Case could be termed a digital dream of the Internet era in which a person would become so much habitual of cyberspace and virtual reality that without them, it seems life would seem merely a skeleton. What makes Case different from all other characters is that he still has a human brain that can analyze fast and think out-of-the-of the box solutions of the problems that come his way. Despite not being an embodiment as a hero of the novel, Henry Dorset Case is more human and humane than any other character in the novel in that he feels loneliness, love, hatred, revenge, and even the courage to deceit and then suffer the consequences. His is not the fall of Oedipus, nor rise of Hamlet; his is the oscillation of a modern digital creature that cannot stay within the world and cannot live without it. Willy-nilly, he has to become a part of this process of digitization. Case could be analyzed not only as a digitized human being, but also as a human being with certain qualities, desires and motivations which could make or break his life. Not only his name and role, but also his bodily strangely complicates his characterization in the novel.

Henry Dorset Case as a Human Being

Henry Dorset Case is a simple human being – “an intellectual punk rather than a simple greaser” (Spinrad 1990 223), who has been digitized to meet the requirement of this strange transformation of the time. Despite ignoring all around him solely to find treatment of his own nervous system, he loves Linda at heart that is very much clear form what Zone says to him “Lindas are a generic product in my line of work” (Gibson 84) and then posing him a rhetorical question, “Know why she decided to rip you off?” with quick answer “Love” (84). This shows that not only he loves Linda but also Linda loves him but it is his own life that he wants to live in the cyberspace over which he is becoming touchy and even sometimes suicidal. The solace he has found out in drugs in Chiba does not numb his soul. In this search, he meets Molly who is planned by Armitage to trap him and manipulate his hacking skills to get some data from his mentor though he becomes part of a larger game of Neuromancer and Wintermute or their eventual murder. Despite himself being a great hacker, Henry Dorset Case is slave of the time and circumstances. Armitage makes him hostage to his desire of freedom. Although he goes through a transformation but says a human being who finally leaves Chiba but he knows that change is the spice of life “if Wintermute wins, but it will change something” (153), and he leaves for his city for the change he has won.

Character of Henry Dorset Case

Although Case has been dubbed as a protagonists, antihero, hustler, hacker, drug addict, digital hero etc. but the novel has not referred to his past or any future plans. It has not been mentioned who he is expect his age, his profession and his objective of coming to Chiba. He “had been a hottest computer “cowboy” who had invested in cyberspace’s disembodied consciousness” (Nemura 37-39)  However, his motive of working for Armitage with Molly is just an acceptance to get free his mind for hacking in order to enter the cyberspace of which he seems more addicted than his drug addiction. His name is only significant to the point that it demonstrates the modern science fiction. It is because Henry Dorset Case refers to the computer case or it could be a functional defect in something that is digital in nature or it could be a mental case. The problem of who he is not resolved because he is referred with different names in the novel. For example Mitsubishi Bank Chip “gave his name as Charles Derek May” (9) that could be false name, while his passport shows his name as “Truman Star” (9) while the Panthers refer to him as “Cutter” (38). He is as ambiguous as his mission and his objective.]

Aims of Henry Dorset Case

His entire passion lies in his love for cyberspace. Although he has been crook of the digital world and was caught red-handed, his objective of coming to Chiba was to get treatment from some Chiba clinics. However, it is another thing that he is caught in the web of web disputes in such a way that by the end, he is free from everything. He accepts Armitage’s offer to work for him only because he was going to get him treated from some clinic but he was again tricked as they put sacs of poison in his pancreas in case he shows any sign of rebellion as he was told “‘cause you got a new pancreas thrown into the deal” (19) which he made with Armitage.

So does it make him hero a victim is a big question.  It depends  on how the readers see him. In fact, he has been a data thief.  In fact, with his body, he became a prisoner because he could not come of this prison despite his best efforts. He was attacked in such a way by his former employers that he could not hack any more that was his profession. Though it has not been mentioned whether he became hack for his hobby or due to duress of circumstances, it has been told that he became a prisoner of his body “The body was meat. Case fell into the prison of his own flesh” (3). These are the circumstances in the novel that he faces in his life and seems to be victim. However, his release at the end shows that he is rather considered a modern or digitized hero because he has understood and explained the cyberspace as “I’m the sum total of the works, the whole show” (156). This could be the end of his character as well as his career but like before there is no reaction whatsoever.

Conclusion

In nutshell, Henry Dorset Case is the central figure around whom all other characters are revolving. Although he does not seem to be a true hero in the real sense of term, still he is the hero in the sense that the whole novel revolves around his personality. His acts and motives are intended to relieve him from the bondage of his ex-employer, he is further trapped in other issues. If a professional and truly professional is a hero of a novel or movie, he is a professional that Armitage is directed to trap him to perform the task of merging the Wintermute with Neuromancer in order to create super-intelligence. Therefore, he could be termed a human being and hero of Neuromancer.

Works Cited

1. Gibson, William. Neuromancer. Washington: HarperCollins Publishers, 2011. Print.
2. Nemura, Naomi. “A Study of the Body View in Cyberculture.” Journal of Socio-Informatics 7.1 (2014): 37-47.
3. Spinard, Norman. Science Fiction in the Real World. New York: SIU Press, 1990. Print.

Relevant Questions about Henry Dorset Case

1. How does Henry Dorset Case’s history of hacking and his struggle with drug addiction contribute to his complexity as a character in Neuromancer? In what ways do these elements shape his personality and motivations?
2. Explore the theme of redemption and self-discovery in Henry Dorset Case’s character arc. How does his journey from a washed-up, self-destructive hacker to a central figure in a high-stakes cyberpunk plot reveal layers of his character and the potential for transformation?
3. Analyze the relationships that Case forms with other characters, such as Molly Millions and Armitage. How do these connections influence his character development and the moral dilemmas he faces in the novel? How does he navigate trust and betrayal in a world where loyalties are fluid?

Introduction to Beauty in “Me and My Song”

Beauty even if beauty in “Me and My Song” is not limited to symmetry in physical features, or color, or in using makeup. It lies in the order of words, aesthetics, and musicality. And this proves true in the case of African Americans in the United States, for not only do they have their sense of beauty and their aesthetics, but also they have their music. The sense that they belong to African, a continent usually associated with the b–ck color, African Americans are sensitive about their cultural heritage and its beauty, for its richness lies deep “As the b–ck earth” (Line 17) and is gentle and kind (Line 2, 4). The humanity associated with the b–ck color represents the beauty of the African American culture as well as their origin. Langston Hughes shows beauty in “Me and My Song,” through metaphorical language, tries to prove that African American community and its homeland, the African continent, have their own life, music, and beauty.

Metaphor of Body and Beauty in “Me and My Song”

Whereas beauty in life is concerned, Hughes is clear in about beauty in “Me and My Song” that the metaphor of body going out of Africa is about the life of the people being smuggled or sold to other continents but they are Africans. The difference lies in the discrimination meted out to them after they are away from their homeland which is stated as a b–ck place having b–ck people. The argument of Hughes lies in the color b–ck that is of the African Americans. The equates this with the gentleness and kindness of night using different similes. But when he uses “Body” (Line 7), it becomes clear that he means a life that is also “Strong and b–ck” like iron despite having been discriminated against in the United States. This part of his argument, however, is missing as it is implicit rather than explicit. The similes equate their body and the continent, both, to humanity in general. The beauty of life lies in this color and the color represents the African Americans as well as their homeland, Africa. However, this color, its similarity to the African Americans and their life, shows that it has its own music and its own specificity about beauty. This music is in its song that is also about Africa and here lies beauty in “Me and My Song”.

Music and Beauty in “Me and My Song”

Where Hughes’s view about music in this poem is concerned, it has specific relevance with the African Americans as well as their homeland, Africa, showing its beauty in “Me and My Song”. First, he uses the word song in the thirteenth line of the poem followed by how it has gone out of African and what it is. He uses a meaningful metaphor “Deep and mellow song” (Line 15). By deep and mellow, he means that this song is incomprehensible to those who are not from African as it has come out of African (Line 14) and that it is mellow because it has no discrimination. The use of the word “mellow” (Line 14), points to the harshness and hardness that the African American community has faced in the United States or for that matter in any other country. The interesting point is that if thought on binary terms such as mellow and harshness, his pointer is not explicit; rather, he is very implicit that he only points out the beauty of his own song that its origin is Africa, it is their song and that it is very deep and mellow having no discrimination, prejudice or hatred against others. However, when he associates with his compatriots “From the dark lips” (Line 23), he personifies African saying that it comes out of the lips of Africa that are dark and that this is beautiful and rich like Africa (Line 26-27). This also points to African American people and his association with them when he says “My and My / Song” (Line 33-341). The difference lies in that the beauty of the Africans and Africa are different from that of the other people who discriminate against them on the basis of color, race, or physical features.

African American Beauty in “Me and My Song”

The beauty of the African Americans lies not only in their color but also in their song, including land, the reason behindbeauty in “Me and My Song”. Whereas their color is concerned, Hughes has used similes and then personified Africa to assert its beauty. The very first simile is about the color, b–ck, equated with the gentleness and kindness of the night (Lines 2-5). However, this equation is not soft, slender, or weak. It is rather strong for which he again uses the simile of iron (Lines 9-10). Although this shows that he is not equating beauty, the intervention of this strength of the African land and its people point to the very next feature of its beauty that is its “song” (Line 15) that he calls deep as well as soft (Line 15). He again refers to its richness (Line 16) as well as its strength (Line 19) and links this strength to the song. By this linkage, Hughes means that it is not that the African Americans are just gentle, kind, they are also strong and melodious, and herein lies the beauty of the people and the land. When the poem ends, Hughes also reaches the end of his argument of equating the people and land to the features and things to link the people with nature to point out the beauty “Me and my /Song” (Line 33-34) that ends the poem on the song. The start of the poem with the color ends on the word “Song” (Line 34), which points to the underlying current of beauty – that is in the association of things with nature.

Conclusion

Concluding the argument of linking the African Americans and their color, b–ck, with night and the earth shows that Langston Hughes wants to show that African Americans, have also the same human features as others have. His use of metaphors, similes, personifications and their repetition demonstrates his skill in writing short and cryptic sentences to point out that beauty lies in the association of human features with that of the nature and land from which they have originated. This shows his sense of beauty that is not only gentle and kind but also strong and that it is also melodious, having musical quality in the people and the land. He repeats almost the same metaphors and similes to stress upon this beauty and ends his poem on himself as well as the song that is his own song, of his people and his homeland. This is sans discrimination meted out to them.

Works Cited

Hughes, Langston. “Song.” Poets.org, https://poets.org/poem/song-16. Accessed September 17, 2022.

Introduction to Religion in “A Very Old Man with Enormous Wings”

Religion in “A Very Old Man with Enormous Wings” by Marquez shows its critical role in the lives of people. Its interpretation, and its interpreters have a special place in society, town, or village. They not only hold far-reaching dominance but also voice their opinions on matters totally beyond their understanding. Although “A Very Old Man with Enormous Wings” is a very simple story of a couple Pelayo and Elisenda who fortunately find an old man with wings on a stormy night, in the midst of this plot, there appears a religious figure, Father Gonzaga, who steals the show through his religious domination and interpretation of such occurrences. It shows that religion holds a special place in the life of people and takes any form the religious figure wants to even if the event or the incident is entirely incomprehensible to them. In the simple plot of this story, Garcia has revealed a typical religious figure, Father Gonzaga, who exploits the raw belief of the common man by invoking a unique interpretation of the incomprehensible phenomenon in the language which is totally abracadabra to the common public using hierarchical authority to hide his inability.

Gonzaga and Religion in “A Very Old Man with Enormous Wings”

When Father Gonzaga,  who is a critical figure related to religion in “A Very Old Man with Enormous Wings”, appears on the scene, the rumor about the old man with wings has already spread in the village, and the old neighboring woman of the village has already named him “He’s an angel” (Marquez 144) with her typical opinion that “He must have been coming for the child” (144). When Father Gonzaga arrives, he talks to the angel in his Latin language which he observed that he did not “understand the langue of God or know how to greet His ministers” (145) declaring that it was something similar to the devil after minute observation. He concluded that he was unable to give a final verdict, which is typical of such figures. His first interpretation of the incomprehensible language of the angel is that he is none of the celestial creatures, and his first impression is that he is “an impostor” (145). His conclusion is that “noting about him measured up to the proud dignity of the angles” (145) which he makes known to the people who have no other option except to believe him. He not only warns them of the risks but also “reminded them that the devil had the bad habit of making us of carnival tricks” (145) which clearly shows how much he can exploit the simpleton people of the village through his sacred authority. The entire plot revolves around this figure and his opinion.

Authority of Religion in “A Very Old Man with Enormous Wings”

Secondly, he has used his authority of knowing the religious language which is Latin in his case. When Father Gonzaga arrives, Garcia tells that earlier he used to be a “robust woodcutter” (145) but then turns to the priesthood which he cleverly perceived would bless him with greater authority than he had with being a simple woodcutter as is shown when he asks the people to “open the door” (145) to have him a closer look. However, the deeper impression that he makes on the mind of the people is through his grip on the religious language, Latin, that others do not understand. This is his supreme authority, and a tool to exploit others declaring that whosoever does not know this religious language that he says is the “language of God and His ministers” (145), he/she is not able to decide on religious matters. As the common people do not understand this abracadabra, it becomes a tool for him to voice his opinion declaring that this is a devil and for more opinion, he would seek advice from his higher-ups. This shows how a lone figure wields religion in “A Very Old Man with Enormous Wings”.

Religious Hierarchy about Religion in “A Very Old Man with Enormous Wings”

Like dictatorial structures, religious figures also hold their authority based on religious hierarchical structures irrespective of whatever religion they hold. When they fail, they refer it to the higher-ups and so on until the final verdict is lost in the maze of this structure and people forget if there is such an incident. However, even if the opinion is given, it is considered a sacred verdict and is implemented and complied with as such. Father Gonzaga here, when he fails to understand but gives his opinion, tells that he would “write a letter to his bishop so that he letter would write to his Supreme Pontiff to get final verdict” to let the people know what it is but until then they can either accept his opinion or let it slip out of their minds and carry on enjoying their pranks which they did in the case of this angel. On the other hand, it would have happened the same with his letter as it happens in bureaucratic structures that “They spent their time finding out …whether he wasn’t just a Norwegian wings” (147). Then another incident happens in the town and the people lose their interest in the angel which is also a point that people often pay attention to even sacred or non-sacred things but for a moment and not forever. This shows the role of religion in “A Very Old Man with Enormous Wings”.

Conclusion

In short, religion holds a greater authority on the life of the simple people and they only come out of its hold when religious figures suffer from “insomnia” (147) and they have other interests to engage in. Otherwise, such typical figures are highly clever and use their tools such as language that is not comprehensible to the common people to voice their opinion or declare something unholy which in this case is the angel. They also resort to using their bureaucratic set up to keep the thinking of the people in check. In the Latin language, sacred terms such as celestial being, divine thing, or angel and further religious hierarchical terms such as the priest, bishop, and Supreme Pontiff are just symbols used to elaborate this further.

Works Cited

Marquez, Gabriel Garcia. A Very Old Man with Enormous Wings. n. d. NDSU. Web. Accessed 20 Nov. 2019.

Relevant Questions about Religion in “A Very Old Man with Enormous Wings”

1. How does religion in “A Very Old Man with Enormous Wings” influence the characters’ reactions to the mysterious old man, and what does this reveal about the story’s exploration of faith and doubt?
2. What symbolic significance does religion in “A Very Old Man with Enormous Wings” hold, particularly in relation to the Church and its authority, and how does it shape the overall thematic depth of the narrative?
3. How does the portrayal of religion in “A Very Old Man with Enormous Wings,” influence the story’s commentary on the human response to the supernatural and the conflict between religious doctrine and genuine spirituality?

Introduction to Larsen’s Passing

A common word passing assumed significance during the period of migration of the b–ck from the rural south to the northern and midwestern urban areas specifically mentioned as a theme in Larsen’s Passing. Passing means “fair complexioned Negroes passing as whites” (Gatewood 180). There is permanent passing that means to lose identity and the b–ck people cut off their roots while non-permanent passing means to stay in touch with the b–ck community and relatives (180).

A noted b–ck poet Langstone Hughes has also expressed his thoughts about the phenomenon of passing in his poem of the same title “Passing” as its last lines go thus;

“the ones who’ve crossed the line

to live downtown

miss you,

Harlem of the bitter dream

since their dream has

come true.” (Lines 11-16).

Cases and Nella Larson’s Passing

Referring to Chicago Defenders, Hobbs has also commented on the girls who have crossed the lines (02). She has noted a girl who went to Los Angeles and could not come even on the death of her father, losing her identity (04). She further argues that those days were risky and that it seems a stupid and foolish act but most of the girls and mixed- racial people decided to change their identities (04). There is a case of Homer Plessy known as Plessy v. Ferguson case of 1896 in which Plessey won the case and his case did fall in the category of violation of race (12). Although it seems that Nella Larson has depicted the Rhinelander Case as some of the critics have suggested similarities, her heroin, Clare Kendry has the courage to pass, cross boundaries and still do not lose her identity. The same has been presented in Larsen’s Passing.

Representation of the Idea of Passing

Presentation of the idea of passing in Larsen’s Passinghas a double notion. It centers on personal and racial identity (Henderson 17)

1. Personal Identity

Clare Kendry has lost her personal identity by breaking up with her family in the story of Larsen’s Passing. When Clare Kednry meets Irene she narrates her tale and how she marries John after telling about her white aunts who were prejudicial about race and even passing. She tells it how on personal level she has lost her identity deliberately. She says about aunts;

“They forbade me to mention Negroes to the neighbours, or even to mention the south side. You may be sure that I didn’t. I’ll bet they were good and sorry afterwards” (Larson 67).

2. Social Identity

On the social level, Clare Kendry, the girl in Larsen’s Passing, has hoodwinked John when she meets Irene and Gertrude. However, on social level, she even tries to hoodwink her own community though she meets her negro friends. When her husband calls her ‘nig’, she tells him;

“Jack dear, I’m sure ’Rene doesn’t care to hear all about your pet aversions. Nor Gertrude either. Maybe they read the papers too, you know” (Larson 81).

Representation of the Time in Larsen’s Passing

When Larson wrote Passing, those were the modern times in literature as well as culture. Henderson says that she has presented biracial woman as “the site of contradiction and negotiation, transgression and conformity, tradition and modernity” (8).

1. Clare Kendry: A Modern Biracial Woman in Larsen’s Passing

Clare Kednry as her modern character of passing presents contradiction and negotiation. She has contradicted her own race and her own identity by marrying John Bellew. She, with her acts, has caused ambiguity and confusion in Irene, the protagonist of the novel.

“Irene could only shrug her shoulders. Her reason partly agreed, her instinct wholly rebelled. And she could not say why” (Larson 69).

Clare is shown as contradicting not only her personal but also social identity. She is also shown constantly negotiating it with herself as well as with the characters around her. She is showing John that she is white but to her friends that she is one of them.

“I do think that coloured people—we—are too silly about some things. After all, the thing’s not important to Irene or hundreds of others” (Larson 77).

She has the courage to transgress as she has already noted the words of her father who told her that “Everything must be paid for” (Larson 77).

She is well are of the risk that she has taken and knows the consequences of transgression. Therefore, she seems to be very careful as Larson says, “Clare began to talk, steering carefully away from anything that might lead towards race or other thorny subjects” (78).

2. Modern Woman’s Dilemma About Conformity and Tradition in Larsen’s Passing

The case of Clare Kendry is highly different in terms of conformity as well as tradition. She does not conform to the race codes and crosses boundaries. She does not stick to traditions. Even in the other space, she plays hide and seek and often jumps the fence to enjoy both sides.

Henderson says, “her story fails to conform to the convention of the tragic mulatta who typically experiences guilt and remorse resulting from racial ‘desertion” (20).

Irene’s reaction to this non conformity of Clare speaks volume about her ability to vacillate between two spaces. She says that Clare Kendry only belongs to a race but care nothing. Even Irene becomes double minded about it as she says;

“It’s funny about ‘passing.’ We disapprove of it and at the same time condone it. It excites our contempt and yet we rather admire it. We shy away from it with an odd kind of revulsion, but we protect it” (Larson 95).

3. Confusion of Modernism in Larsen’s Passing

Henderson is of the view that there is clear modern sense of dislocation and ambiguity (08). This ambiguity exists in both of the characters, Irene as well as Clare. In Irene, this ambiguity is about her feelings toward Clare as she cannot and did not refuse meeting her. In the case of Clare, she is confused and ambiguous in her articulations about choosing one or the other race as she says;

“You can’t know how in this pale life of mine I am all the time seeing the bright pictures of that other that I once thought I was glad to be free of….It’s like an ache, a pain that never ceases” (52).

On the other hand, Larson’s narrator tells about Irene;

1. She always steps on the danger
2. She is ambiguous about decision to sit on the one side of the fence
3. She does not feel any arms “or feeling of outrage on the part of others” (50).

These major features of the character of Clare Kendry tells about her as an African American modern woman that Larson has depicted her novel Passing.

Conclusion

Larsen’s Passing reflects the time and idea in which the author has lived in the following ways.

1. It presents the historical fictionalization of passing, a phenomenon of miscegenated generation of b–ck into white.
2. It presents the dilemma of a girl who passes successfully but hides it and also wants to stay in contact with her family and race.
3. The novel presents confused characters of Clare Kendry who has passed and Irene who has not.

Works Cited

1. Gatewood, Willard B. Aristocrats of color: The b–ck elite, 1880–1920. University of Arkansas Press, 2000.
2. Henderson, Mae G. “Critical Foreword” from Passing by Nella Larson, New York: Modern Library, 2009.
3. Hughes, Langstone. “Passing.” SS2. n. d. http://swc2.hccs.edu/kindle/hughespassing.pdf. Accessed 04 May. 2019.
4. Larson, Nella. Passing. New York: The Modern Library, 2009.
5. Thaggert, Miriam. “Racial Etiquette: Nella Larsen’s ‘Passing and the Rhinelander Case.’” Meridians, vol. 5, no. 2, 2005, pp. 1–29. JSTOR, www.jstor.org/stable/40338664.