edebiyat 1

T.C. ANADOLU ÜN‹VERS‹TES‹ YAYINI NO: 2710 AÇIKÖ⁄RET‹M FAKÜLTES‹ YAYINI NO: 1673

ANADOLU UNIVERSITY OPEN EDUCATION FACULTY DISTANCE BA PROGRAM IN ELT

ENGLISH/AMERICAN LITERATURE-I ‹NG‹L‹Z/AMER‹KAN EDEB‹YATI-I

Yazarlar Ö¤r.Gör.Dr. ‹pek GÖNEN (Ünite 5, 7, 8, 12, 13, 14) Ö¤r.Gör. Murat GÖLGEL‹ (Ünite 1, 3, 6) Okt. Ela ÖZBEK (Ünite 2, 4, 9, 10, 11)

Editör Prof.Dr. Zülal BALPINAR

ANADOLU ÜN‹VERS‹TES‹

Bu kitab›n bas›m, yay›m ve sat›fl haklar› Anadolu Üniversitesine aittir. “Uzaktan Ö¤retim” tekni¤ine uygun olarak haz›rlanan bu kitab›n bütün haklar› sakl›d›r. ‹lgili kurulufltan izin almadan kitab›n tümü ya da bölümleri mekanik, elektronik, fotokopi, manyetik kay›t veya baflka flekillerde ço¤alt›lamaz, bas›lamaz ve da¤›t›lamaz. Copyright © 2012 by Anadolu University All rights reserved No part of this book may be reproduced or stored in a retrieval system, or transmitted in any form or by any means mechanical, electronic, photocopy, magnetic tape or otherwise, without permission in writing from the University.

UZAKTAN Ö⁄RET‹M TASARIM B‹R‹M‹ Genel Koordinatör Doç.Dr. Müjgan Bozkaya Genel Koordinatör Yard›mc›s› Arfl.Gör.Dr. ‹rem Erdem Ayd›n Ö¤retim Tasar›mc›lar› Doç.Dr. Müjgan Bozkaya Arfl.Gör.Dr. ‹rem Erdem Ayd›n Grafik Tasar›m Yönetmenleri Prof. Tevfik Fikret Uçar Ö¤r.Gör. Cemalettin Y›ld›z Ö¤r.Gör. Nilgün Salur Kitap Koordinasyon Birimi Uzm. Nermin Özgür Kapak Düzeni Prof. Tevfik Fikret Uçar Ö¤r.Gör. Cemalettin Y›ld›z Dizgi Aç›kö¤retim Fakültesi Dizgi Ekibi

English/American Literature-I ‹ngiliz/Amerikan Edebiyat›-I

ISBN 978-975-06-1375-3 1. Bask› Bu kitap ANADOLU ÜN‹VERS‹TES‹ Web-Ofset Tesislerinde 3.000 adet bas›lm›flt›r. ESK‹fiEH‹R, Eylül 2012

İÇİNDEKİLER

Ünite 1 Short Story ................................................................................................

Ünite 2 The Story Of An Hour................................................................................

1

17

Ünite 3 The Legacy ................................................................................................

35

Ünite 5 The Boardıng House...................................................................................

73

Ünite 7 Everday Use................................................................................................

103

Ünite 9 Robinson Crusoe 1 ....................................................................................

135

Ünite 11 Robinson Crusoe 3 ....................................................................................

169

Ünite 4 The Kugelmass Episode ............................................................................

Ünite 6 Like A Winding Sheet................................................................................. Ünite 8 Novel As A Genre ...................................................................................... Ünite 10 Robinson Crusoe 2 .................................................................................... Ünite 12 Dracula I ................................................................................................... Ünite 13 Dracula II .................................................................................................

Ünite 14 Dracula III .................................................................................................

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51 89

117

149 181 201 223

Önsöz

Sevgili Öğrencilerimiz,

İngiliz/Amerikan Edebiyatı I dersimizin amacı size meslek yaşamınız boyunca haşır neşir olacağınız İngiliz dilini biraz daha iyi tanıtmak, fikir vermek ve bu dilin yaratmış olduğu yazılı ürünlerden birkaç seçkin örnek sunabilmek. Ayrıca, okuduğunuz eserlerin sizin İngilizceğizin gelişimine de yardımcı olacağı inancındayız.

Bir çoğunuz dersimizin kapsamına baktığı zaman seçilmiş olan eserler hakkında bilgi sahibi olmayabilir veya bu kadar çok eseri bize neden okutuyorlar diye sorular sorabilir. Ancak, bilmeniz gereken önemli bir nokta var. Bir dilin en güzel özellikleri o dilin edebiyat eserlerinde gizlidir. Sizlere hem İngiliz hem de Amerikan edebiyatından bazı eserler seçerken bu noktadan hareket ettik, bu nedenle de farklı edebiyat türlerinden eserler seçtik. Gerek kısa öykü, gerek roman, gerek tiyatro gerekse şiir gibi farklı edebiyat türleri dil, kültür, düşünce sistemi ve o dili konuşan toplum hakkında bizleri yönlendirir, bilgilendirir. O dili konuşanlar neye ağlarlar, neye gülerler, imgelerini nasıl oluştururlar bilgi sahibi oluruz. İşte bu nedenlerden sizlere geniş bir yelpazeye yayılan eserler seçtik. İstedik ki İngilizce konuşan toplumlar hakkında birazcık da olsa bilgi sahibi olasınız ve o dilde yazılan birkaç eseri de okuyasınız. Tabii tüm bu çabalarımızda bir de gizli amacımız vardı. Elden geldiğince sizin İngilizce okumanızı sağlamak. Bu kitabımızda yukarıda sözünü ettiğimiz edebi türlerden kısa öykü ve roman örneklerini göreceksiniz.

Peki bu derse nasıl çalışmalı, başarılı olmak için neler yapmalı? Bu sorunun yanıtı aslında basit. Başarılı olmak için sorumlu olduğunuz eserleri okumanız ve anlamaya çalışmanız yeterli olacaktır. Sizlere sorumlu olduğunuz eserleri anlamanızda yardımcı olabilmek amacıyla bu kitabı hazırladık. Bu kitabı dikkatli okur ve özümserseniz eserleri anlama konusunda zorlukla karşılaşmayacağınıza inanıyoruz. Konularınız ünite, ünite size yazıldı ve hangi üniteleri hangi zaman aralığı içinde okuyup özümsemeniz gerektiği de belirtildi. Size yol gösteren bu takvime uyarsanız zaman sorununuz olmaz ve her şeyi bir program içerisinde takip etmiş olursunuz. Tabii eğer sizin okuma hızınız bizim size önerdiğimiz takvimin önünde gidiyorsa ne mutlu bize okumayı seven öğrencilerimiz var demektir.

Biraz da bu derse nasıl çalışılmayacağı konusu üzerinde durmak istiyoruz. Hepiniz üniversite 3. sınıf öğrencilerisiniz. Sorumluluklarınızın bilincinde ve kendi kendine düşünme olgunluğuna sahipsiniz. İngilizce düzeyleriniz de bu eserleri okuyabilecek düzeyde. Ancak, yukarıda da anlattığımız gibi size önerilen takvimi göz ardı edip, her şeyleri son dakikalara bırakırsanız, zamanınızı iyi organize edemezseniz başarısızlığa giden yola girmiş olursunuz. Hele hele bir de bu eserleri ‘belki daha iyi anlarım’ gibi yanlış bir düşünce ile Türkçe okumaya kalkarsanız işte o zaman işler daha da karışır. Geçmiş deneylerimizden biliyoruz ki size sunulan her eserin ustaca çevrilmiş Türkçe karşılıkları yok. Bazen yalan yanlış çevirilere başvurma olasılığınız var. Bu tür bir çalışma yöntemi sizi başarısız kılar ama daha önemlisi dersin amacı boşa gitmiş olur. Eğer amacınız Türkçe okumak ise onu kendi boş zamanınızda da yapabilirsiniz. Ama lütfen sizin için seçtiğimiz eserleri İngilizce olarak okuyun ve özümseyin. Bir dilin edebiyatı ile uğraşmak keyifli bir iştir. Üstelik biz sizlere farklı türlerden seçenekler sunmaya çalıştık. Umarız bizim kadar sizlerde keyif alırsınız. Başarılar diliyoruz. Prof.Dr. Zülal BALPINAR Öğr.Gör.Dr. İpek GÖNEN Öğr.Gör. Murat GÖLGELİ Okt. Ela ÖZBEK - IV -

UNIT 1 SHORT STORY AS A GENRE Amaçlarımız - Our Aim

After studying this unit, you will be able to discuss;

• The background information of short story; • Definition of the short story; • Types of the short story;

• The Elements of the short story.

Anahtar Kavramlar - Key Concepts • Short story as genre

İçindekiler - Unit Contents •

INTRODUCTION

• WHAT IS SHORT STORY

• DEVELOPMENT OF SHORT STORY

• CLASSIFICATION OF SHORT STORIES

• ELEMENTS OF FICTION ANALYSIS

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INTRODUCTION

The aim of this study unit is to help you read and understand the background information on short story. In this unit you will learn the definition of short story, its history, types, and the elements of a short story. The unit will help you to focus on the elements of short story. While you are going through this study unit you will be asked to do tasks.

WHAT IS SHORT STORY

The exact definition of short story may not easy to be given. However, if it is asked what a short story is the answer would be very simple; a story which is short. However, in detail the answer needs more explanation, such as one of the most successful short story writer H.E. Bates quotes, “the basis of almost every argument or conclusion I can make is the axiom that the short story can be anything the author decides it shall be.”

The shortest short story can be no more than a page or two in length, or can run over a hundred pages. Here we are facing with a problem. It is quite impossible to draw a line between the long short story and the short novel. Some modern critics name a long short story as novella. The novella at this point is different from short novel with its smaller number of characters, its less varied setting, and its simpler plot. That makes the definition of what a short story is clearer. (Rees in Deedari, 2005). In short it is suitable to keep in mind that, a story is briefly a fictional prose narrative which may vary widely in length. As in a novel the elements of plot, characters, theme and setting are interwoven. A novel may go on for hundreds of pages, mix plots, introduce and eliminate characters, develop several themes and roam from one setting to another but a short story does not have the space to do so. Most of the terms used for analyzing the component elements, the types, and the various narrative techniques of the novel are applicable to the short story as well. Short stories existed from pre-historic times until the present but different from what we describe as the “short story”. It’s Your Turn!

1

• What makes short story different from novel?

DEVELOPMENT OF SHORT STORY

In the very beginning, short stories emerged as oral story telling traditions. In other words, oral story telling tradition was the previous form of short stories that we read in our modern world. Oral stories were told to youngsters by elders of the tribe in a rhyming poetic format -2-

so that others can remember the stories in the future. These story telling ceremonies aimed to give lessons and moral about life to the younger members of the tribe.

It is believed that the earliest form of storytelling traditions are the folk tales, proverbs and the legend fables. Fables were assumed as some kind of folk tales that explicitly expressed moral to the society. There is a general belief that fables were originated in India and then carried into Persia and from there spread into Greece, nevertheless; according to Greek historian Herodotus, fables were born with the Greek slave named Aesop in the 6th Century BC. These ancient fables are also known as Aesop’s Fables. Fables are the short stories featuring animals and plants which are given human qualities. They show how foolish or wise people can be. While making us laugh, their main purpose is to teach a particular lesson to people.

Another ancient form of short story is anecdotes. This short story form was famous during the years of Roman Empire. These forms function as a sort of parable in which the narration is brief and realistic.

In the early 14th Century the oral story telling tradition began to leave its place to its written form in Europe. Geoffrey Chaucer’s “Canterbury Tales” and Giovanni Boccaccio’s “Decameron” can be considered as the first examples of written short story forms. In the 17th Century the development of short story was refined in France with a new name “nouvelle”. In the 19th Century with the growth of printed magazines and journals, modern short stories started to be widely seen in the market. In the 20th Century a number of high-profile magazines were publishing short stories in each issue. It’s Your Turn!

2

• What is the time line of a short story?

CLASSIFICATION OF SHORT STORIES

Short stories can be categorized in several different ways. It is possible that one short story may fit into several different categories.

The plot short story: It is a narration telling a series of events that has a traditional pattern of structure. A conflict is identified at the beginning, the action bundles until it reaches a climax, and then the story either ends or gradually goes to the end. The action story: A type of plot story, the action story is dependent primarily upon what the characters do, not upon deep development of characters or theme. Most of the actions are physical. -3-

The plotless short story: In this type, there apparently is no action or very little action. The story appears to be mostly the description of a character or the creation of a mood. While this may seem like a useless type of short story in fact the author does not want to come to a firm conclusion. The plotless story may well be more realistic than any other type since as life itself cannot always be said to be organized.

The episodic story: This type of story also referred to as the “slice of life” type. It consists of one main incident. What has happened may be told, hinted at, or not told at all. What happens after the incident is left up to the reader, although the author makes that clear. While the incident may not appear to be important, it may capture some aspect of life quite well and may even reveal more. The character story: This type of short story has, as its main purpose, the revealing of something about one main character; for that reason there may be very little plot. The character may be involved in only one episode, and he may be the only character in the tale. At the end of the story, the reader usually knows a good deal about the character.

The thematic story: In this type, the author’s main purpose is to develop one particular theme; the theme may attempt to reveal some great truth about life such as “humanity is corrupted” or a simple statement about life such as “mothers are always worrying about their children.” The psychological short story: Sometimes the character of the story fits into this category. Typically any action in the story takes place within the character-such as changes in feelings, states of mind, beliefs, desires, and attitudes. One leaves such a story knowing a great deal about what the character is like internally. It’s Your Turn!

3

• What types of short stories do you lime reading most?

• What are the differences between the episodic story and the thematic story?

ELEMENTS IN FICTION ANALYSIS Plot

Plot, in general definition, is the sequence of incidents or events that composes the story. A story plot may include what a character says or thinks, as well as what s/he does. Yet it leaves out description and analysis and concentrates ordinarily on major happenings. (Perrine, 1974) On the other hand, plot, in a very common definition, is a connected chain of events.

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It is customary to say that a narrative- a story whether a short story or a novel has an introduction, a complication and a resolution. In other words it gets under way, some difficulty or problem or complexity (usually a conflict of opposed forces) arises and there is some type of settling down.

A plot in a story contains a strong sense of causality (cause and effect relation). Some fiction has a good deal of physical action, wondering, births and deaths. Nevertheless, there is also fiction in which little seems to happen. Usually those plotless stories involve a mental action which is the plot. The sense of causality is mostly rooted in the character. Things happen in most good fictions, at least partly because the people have certain personalities or character traits (moral, intellectual). What they look like or their names may help us understand them. What they say and do are also important.

The Phases of a Plot

A good plot is consisted of five phases. These are initial balance (exposition), rising action, climax, falling action and denouement (resolution). All these phases can be shown in Freytag’s Pyramid.

Freytag’s Pyramid is a way to analyze a plot that consists of these five elements in an ascending and descending manner.

Initial Balance (exposition): In exposition the setting, characters and the plot are introduced. In other words, the background information that is necessary to understand the story is provided. Exposition ends as the motion in the story starts and this motion leads to rising action.

Rising Action: In rising action the conflict is developed and intensified. Conflict is a clash of actions, ideas, desires or wills (Perrine, 1975). The protagonist meets with some obstacles that frustrate him to reach his goal.

Conflict: Conflict is the tension or the struggle between characters or opposing forces in a plot. It is the conflict which provides the elements of interest in a play or a novel or a short story. There are four types of conflicts that may become an obstacle for the protagonist. -5-

Person against Self: An internal conflict of feelings. Conflict with some element in his/her own nature. This may be physical, mental, emotional or moral. Person against Person: This is a typical protagonist verses antagonist scenario. The good guy and the bad guy have some kind of battle in this type of conflict.

Person against Society: The protagonist battles against the larger organizations of the society, or a system of beliefs held by the society. Person against Nature: The protagonist is threatened by a component of nature.

Climax: Climax is the highest dramatic tension of the story that the reader can find. In other words, climax is the turning point in the story which shows that nothing will be the same again.

Falling Action: In falling action the tension subsides and the plot moves towards its conclusion. Namely, the conflict between the protagonist and the antagonist resolves with the protagonist’s victory or defeat against the antagonist. The falling action, then, is made up of the events that follow the climax and lead to the resolution. Denouement (resolution): It is the final outcome of the story. The main event or the conflict unravels. In resolution loose ends are tied up, the fate and perhaps, the future of the characters is revealed. There are three types of plot structure other than the triangular plot structure mentioned within the illustration of Freytag’s pyramid. These are:

Linear Plot Structure: There is no climax in this type of plot structure. It has an anti-climax in which the turning point does not take place and the protagonist relieves all the tension.

Circular Plot Structure: In this type the action finishes where it is started. The same setting (place) and the same characters are the key words for a circular plot structure. Time is also important in this type. At the end of the story we should find ourselves in the same place where the action started.

Open-Ended Structure: This type of plot structure does not offer a complete resolution and ends with a climax. This time we do not have falling action or resolution. The reader is left to imagine the fate of the characters. When analyzing a story be sure to remember:

• In most short stories, plot depends less on large external events than on small occurrences that set off large internal changes in the main character. • Stories mostly present how the main character comes to a personal turning point, or how this character is examined or revealed by events.

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• A good story in a way is like life itself. The true nature of a character should be revealed by the way the character acts not by the words that s/he uses to clarify her/him self. (Kennedy, 2007)

It would be beneficial to keep in mind that plot is the most obvious and superficial part of a story and it is an important expressive device. That means a plot combines with the other elements of fiction like, imagery, style, and symbolism. (Kennedy, 2007)

Point of view

It is the camera eye of the story.

In the old times the story tellers of the tribes started to tell their stories without considering the form. “Once upon a time”, they began their stories and proceed to narrate the stories to their listeners describing the characters when necessary and telling what they thought and felt as well as what they did. While doing this the story tellers interjected their comments and ideas of their own. In our times, modern fiction writers know that there are many ways to present a story. They decide upon a method before they begin to compose a story. Instead of telling the stories themselves they employ one of their characters in the story to do it for them (Perrine, 1974).

The opening lines of The Adventures of Huckleberry Finn by Mark Twain would be a suitable and clear example of what is said in the previous paragraph. “You don’t know about me, without me you have read a book by the name of The Adventures of Tom Sawyer, but it ain’t no matter. That book was made by Mr. Mark Twain, and he told the truth, mainly.”

Mark Twain wrote the novel but the narrator or the speaker is Huck Finn. The story is told from Huck Finn’s perspective. By doing this Mark Twain selects a special angle of a vision of a boy who moves through the tick of events, with a mind at times shrewd, at other times innocent. Through Huck Finn’s eyes Mark Twain takes in certain scenes, actions and characters and records them memorably, as only Huck Finn’s angle of vision could have enabled Twain to do so well. (Kennedy, 2005) Not every narrator in fiction is the main character like Huck Finn. Some narrators play only minor parts in the stories they tell, others take no active part at all (Kennedy, 2005). So to determine the point of view the reader should ask, “Who tells the story?” and “How much is s/he allowed to know?” and especially “To what extend does the author look inside his/her characters and report their thoughts and feelings?” (Perrine, 1974)

The point of view informs us how the story is told and how we know about what happens in a story. The narrator of a story shapes the reader’s perception of reality in the story. The narrator may be a character in the story or some unknown voice outside of the plot. Narrative -7-

voice falls into two categories: third person voice (he or she) or first person voice (I, we). Sometimes, the author intrudes, speaking directly to the reader, outside of the plot narration.

Briefly, stories are told from the point of view of a narrator and the narrator as a participant may appear in a major or minor character. When the story is narrated by using the first person “I”, it is clear that the narrator is there as a major character, protagonist, or one of the minor characters in the story. I. Participant

A. As a major character

B. As a minor character

First Person: First person narrators embody the first person autobiographical (the character in the story tells the story, often about his or her own life, sometimes in a confessional tone); first person observer (the character in the story tells story, but this time s/he talks about the other characters. In other words the narrator is a reflector of the action); first person interior monologue (narrator speaks to us either in non-linear or stream-of-consciousness style or in a linear, focused or edited monologue). In the first person voice, the character refers to himself or herself as “I” in the story and addresses the reader as “you,” either explicitly or by implication. In the stories sometimes the narrator is a voice from outside; the narrator is not a participant. II. Non-Participant

A. Omniscient (talks about all the characters)

B. Selective Omniscient ( talks about some of his characters)

C. Objective (does not enter into the minds but objectively reports what he hears or sees.)

When the narrator is non-participant, he or she does not appear in the story as a character. Rather the narrator is the viewer. When the narrator refers to characters as “he”, “she” or “they”, it is clear that the narrator is non-participant, and then it is true to say that the story’s point of view is third person. Third person: It is the voice outside the action who tells the story. Third person narrator includes:

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The omniscient: In this type, the narrator is all-knowing and is able to tell us what each character is thinking using the third person. The narrator in such circumstances can direct the reader’s attention to the inner thoughts of any of the characters and controls the sources of information.

Limited omniscient: The author tells the story in the third person, but s/he tells it from the view point of one character in the story. The author places him/herself at the elbow of one character in the story. This way the author looks at the events of the story through his/her eyes and through his/her mind. The author moves inside and outside this character. Yet never leaves this character’ side. The writer tells us what this character sees and hears and what s/he thinks and feels. The writer knows everything about this character, more than the character knows about him/herself. However, the author shows no knowledge about what the other characters are thinking. The chosen character may be either a minor or major character, participant or an observer. (Perrine, 1974)

Objective: This is the most “drastic” third person point of view, the story is told simply by no one. The narrator disappears into a kind of roving sound camera. This camera can record only what is seen and heard. There is no way of entering into the minds of the characters. The reader is permitted to view the work only externally, from the outside. In other words, the reader is placed in the position of a spectator at a movie or a play. The readers see what the characters do and hear only what they say. So this point of view is sometimes called Dramatic Point of View. Here the author is not there to explain anything about the events or the characters. (Perrine, 1975) Characters

The simplest definition of a character is an imagined person who inhabits a story (Kennedy, 2005). Much of the interest in a short story or in a novel lies in the characters whose world the readers enter and whose lives they share. The readers while reading analyze their personalities through the way they behave on incidents and the way they talk sometimes and trace how the characters are affected by events and empathize or disapprove of them (Croft, 2000) Characterization is the introduction, presentation and description of characters in a work of fiction. Moreover, characterization is the creation of imaginary persons so that they seem lifelike. Character refers to a person or an animal in fables that has a part in the story and has motivation to talk and act and do something. Characters in a short story interact with each other, often revealing their personality in the process. However, characters in a short story often have symbolic names and attributes since the short story is economical in both language and length. Therefore, this process is not a process of a sequence of events but a process of gradually revealed symbolism. -9-

The ability to characterize the people of his/her imagination successfully is one of the chief attributes of a writer, although modern fiction may sometimes dispense with characterization altogether. There are three fundamental methods of characterization in fiction.

1. The explicit presentation by the author of the character. This maybe done through the authors own description or by means of the comment, thoughts, feelings of another characters concerning the character in question. 2. The presentation of character in action with little or no explicit comment by the author.

3. The representation from within a character of the impact of actions and emotions upon his inner self. This type of characterization is best represented by the stream of consciences novel where through interior monologues, the subconscious or unconscious mind of the character is revealed.

Reading for character is more difficult than reading for plot, for character is much more complex, variable, and ambiguous. Anyone can tell what a person has done in a story, nevertheless; one may need to have considerable skill to analyze what type of character the person in the story is (Perrine, 1974). In order to identify what a person is one should first have an idea about the character types. Character Types: The character types and their explanations are given below.

Flat character: It is the character type that has one or two traits- one dimensional. In other words this type of character is built around a single idea or quality and is presented with much individualed detail, and therefore can be summarized in a single sentence. (Abrams, 1999)

Round character: It is the character type who is many sided, complex, has multiple qualities and unique. To describe these characters is not easy. This character type may require an essay for full analysis.

Stock character: (A stereotype character) a stock character is a familiar figure who appears regularly in certain literary forms. Among the most familiar stock character of contemporary fiction and cinema are the tough (often insensitive) realistic and cynical detective and the absent minded professor. Static character: This character type remains the same from the beginning of the plot to the end.

Dynamic character (developing): The character undergoes a permanent change, changes and develops in the story. The character grows as a person, learns a vital lesson, or becomes something else. This change must be • within the possibilities of the character • sufficiently motivated

• allowed sufficient time for change

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Protagonist: The most important character in a story, play or other literary work. The terms “principal character” and “central character” are often used synonymously. It is the central character, sympathetic or unsympathetic or a hero and is considered dynamic. Antagonist: The rival of a protagonist, the major character in opposition to the central one.

Anti-hero: A central character who does not conform to the patterns of the hero of the old fashioned kind. (ex. Dustin Hoffman in Rain Man) An anti-hero is not necessary capable of heroic deeds. Confidant: (female- Confidante) Someone to whom the secrets, especially love affairs are confided.

A foil: It is the character who serves to bring out the qualities of another. A foil makes character seem better, more prominent or different in an important way.

Fool: A familiar character in drama who speaks wisely under the appearance of folly. In dramatic use of fools are often used as vehicles for social satire. Setting and Atmosphere

Setting is the locale in which the readers find the characters. In other words it is the imagery world of a fiction into which the readers are invited to meet the characters and see the location and the place of the fiction (Croft, 2000). Description of setting is a way to establish the atmosphere, mood or tone of the story. There may be many different settings during the course of the story (Grover, 1988). Through the setting writer can create an emotional state for the reader while reading the story. The setting of the environment, not mere geography, provides an atmosphere, an air that the characters breathe, and a world in which they move. Narrowly speaking, the setting is the physical surroundings, the furniture, the architecture, the landscape, the climate, and there are characters that are associated with them. Setting in a story means the time and place where the events of the story occur. As mentioned above it can mirror the mood of the story, but it can also be used ironically. Setting can mold or shape the character. It also helps the reader escape to imaginary or historical places and times.

Setting can be divided into two categories; place and time. Similarly, these two categories can be divided in two as well. Place can be analyzed as dramatic place and geographical place. Time can be categorized as dramatic time and historical time. Here are the brief details of setting.

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Place:

Dramatic Place: This is exactly where the story takes place. For example, a living room, a house or a bar

Geographical Place: In which country, which city, which town, etc the story takes place.

Time:

Dramatic Time: How long the story takes place. Maybe two hours, may be a year.

Historical Time: The real time, or the exact time. For example, in 1986, in April, in the summer etc. Tone and Style

Style in a story refers to the language codes used to build the story. To create a style, a fiction writer can conduct diction, sentence structure, phrasing, dialogue, and other aspects of language. Therefore, the reader may feel that the story’s style is richly detailed, flowing or barely controlled. Main styles change through time; thus the time period in which a fiction is written often influences its style. For example, Nathaniel Hawthorne’s “Young Goodman Brown,” was written in the nineteenth century and the writer uses diction and sentence structure that might seem somewhat artistic and formal to contemporary readers: “With this excellent resolve for the future, Goodman Brown felt himself justified in making more haste on his present evil purpose.”

Author’s style can create a communicative effect with the readers, and this effect can be named as the story’s voice. In order to identify the story’s voice, the readers should ask themselves, “What kind of person does the narrator sound like?”A story’s voice may be serious and straightforward, richly comic, or dramatically tense.

A story’s style and voice contribute to its tone. Tone refers to the attitude that the story creates toward its subject matter. Tone in writing is the attitude that the writer conveys to the reader. It’s designed to create a specific response or emotion in the reader. Tone creates a personality that can either engage or repel readers. For example, a story may convey an earnest and sincere tone toward its characters and events, signaling to the reader that the material is to be taken in a serious, dramatic way. On the other hand, an attitude of humor or sarcasm may be created through subtle language and content manipulation. Theme

Theme of a work is its central or dominating idea. In other words it is the idea that holds the story together, such as a comment about society, human nature, or the human condition. It is - 12 -

the controlling idea of the story. It is a generalization about life arising from details or specifics of the work itself. Theme is the unifying generalization about life stated or implied by the story. To reach the theme of a story one should ask what its central purpose is: What view of life it supports or what insight into life it reveals. “Not all stories have themes. The purpose of a horror story is to thrill the reader; the purpose of an adventure story is to take the reader to exiting places; the purpose of a murder mystery may be simply pose a problem for the reader and to try to solve the murder; the purpose of some stories is to entertain the reader and to make them laugh or surprise them at the end. Theme exist only” • “ When an author has seriously attempted to record life accurately or to reveal some truth about it

• When s/he has mechanically introduced some concept or theory of life into it that s/he uses as a unifying element and that his/her story is meant to illustrate.” (Perrine, 1974)

Theme can be;

• a revelation of human character

• may be stated briefly or at great length

• a theme is not the “moral” of the story.

When analyzing the theme of a story, the readers should consider some important items, such as; • A theme must be expressible in the form of a statement - not “children” but “being a child sometimes mean freedom in thoughts.”

• A theme must be stated as a generalization about life; names of characters or specific situations in the plot are not to be used when stating a theme. • A theme is the central and unifying concept of the story. It must adhere to the following requirements: 1. It must account for all the major details of the story.

2. It must not be contradicted by any detail of the story.

3. It must not rely on supposed facts - facts not actually stated or clearly implied by the story.

• There is no one way of stating the theme of a story.

• Any statement that reduces a theme to some familiar saying, aphorism, or cliché should be avoided. Do not use “all roads lead to Rome,” “you can’t please everyone, “ “seeing is believing,” and so on.

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Determining and Discussing the Theme

First we should distinguish between the story and theme from each other in fiction. The story is concerned with “How does it turn out?” “What happens?”

But the theme is concerned with “What is it about?”

“What motifs hold the happening together?”

“What does it make of life and perhaps what wisdom does it offer?” Symbols

Symbols are neither puzzles nor colorful details but are among the concrete embodiments that give the story accuracy and meaning.

Symbolism in short story deals with the abstract layer of meaning. More specifically, a symbol is something that stands for or suggests something else by reason of relationship, association, convention, or accidental resemblance.

In literature, symbols are often used deliberately to suggest and reinforce meaning, to help to organize and unify the whole work. In short story, symbols are more often used since a short story should be economical in language. Some symbols have associations shared universally (for example, water for fertility). Symbols can be personal to the writer; in that case the reader can distinguish the symbols by reading multiple works of the author. Literary symbols can have multiple possible meanings (for example, the garden in Western culture). Symbols, especially complex ones, may be ambiguous or uncertain (the title whale of Herman Melville’s Moby Dick). Symbols acquire their full meaning in the context of a story or other literary work. It is possible to say that • names, objects or actions can be used as symbols.

Here are some suggestions to identify literary symbols:

1. The story itself must furnish a clue that a detail is to be taken symbolically - symbols nearly always signal their existence by emphasis, repetition, or position.

2. The meaning of a literary symbol must be established and supported by the entire context of the story. A symbol has its meaning inside not outside a story.

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3. To be called a symbol, an item must suggest a meaning different in kind from its literal meaning. 4. A symbol has a cluster of meanings.

The symbol in the story “Miss Brill” written by Katherine Mansfield, is a very significant one. The main symbol in the story is Miss Brill’s old fur neckpiece. The fur neckpiece is very old and out of date which symbolizes Miss Brill. Another symbol used to express the theme is the fact that it was autumn. This season symbolizes Miss Brill because the season has just started to change and it was windy, cold and leaves were falling off the trees. This is just like Miss Brill’s life in her old age. Irony

This term always includes some elements of saying or implying the reverse of, the literal meaning of the words used. There are three types of ironies in literary works.

Verbal irony: In this type of irony one meaning is stated and a different meaning is intended. Situational irony: Inconsistency between appearance and reality, or between expectation and fulfillment, or between what is and what would seem appropriate.

Dramatic irony: depends on the structure of a literary work more than on the actual words of the characters. Dramatic irony is a plot device according to which; a. The spectators know more than the protagonist.

b. The character reacts in a way contrary to that which is appropriate or wise. c. Characters or situations are compared or contrasted for ironic effects

d. There is a marked contrast between what the character understands about his acts and what the play demonstrates about them. It’s Your Turn!

4

• Did you read a short story that was presented through a first person narrative point of view? What was it? • Think about the last short story you have read. Which character types did you come across?

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References

Abrams, M. H (1999), “ A Glossary of Literary Terms”, Heinle&Heinle Thomas Learning. United States of America Croft, Steven&Helen Cross (2000) “Literature, Criticism and Style” Oxford University Press, UK Deedari, Reza & Mozhgan Mansuri (2005) “Understanding Short Stories” Rahnama Press, Iran Grover, Julie (1988) “ GCSE English Literature” Longman Group UK Limited, England

Kennedy, X.J.&Dana Gioia (2007) “Literature -An Introduction to Poetry, Drama, Fiction and Writing” Pearson Longman, USA

Perrine, Laurence (1974), “Literature- Structure, Sound and Sense Vol 1” Harcourt Brace Jovanovich, Inc. United States of America Answer.com editors.(2007) Answers.com on Definition of Short Story. Retrieved July 3, 2010 from http://www.answers.com/topic/short-story Swenson Pat. Elements of Fiction Analysis. California State University Northridge. Retrieved July 1, 2010 from http://www.csun.edu/~pjs44945/fiction.html Perrine, Laurence. (1978) .Elements of Drama, Melodrama, Comedy and Farce

Definitions and examples from Literature: Structure, Sound, and Sense; Shapiro and Beum, A Prosody Handbook; Miller Williams, Patterns of Poetry; and Lawrence Zillman, The Art and Craft of Poetry. Retrieved June 30, 2010 from http://www.psu.edu/dept/inart10_110/ inart10/narr.html

Reuben, Poul P. (2009) PAL: Perspectives in American Literature - A Research and Reference Guide - An Ongoing Project. Appendix G: Elements of Fiction - A Brief Introduction. Retrieved June 28, 2010 from http://web.csustan.edu/english/reuben/pal/append/ AXG.HTML http://www.dlshs.org/webpages/LeighL/shortstoryelements.htm

Bedford St. Martins. Virtualit Interactive Fiction Tutorial. Retrieved July 2, 2010 From http://bcs.bedfordstmartins.com/Virtualit/fiction/elements.asp?e=3

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UNIT 2 THE STORY OF AN HOUR Amaçlarımız - Our Aim

After studying this unit, you will be able to;

• discuss Kate Chopin as a writer;

• understand the background of the story;

• understand the conditions that the characters of the story live in.

Anahtar Kavramlar - Key Concepts • Naturalism

İçindekiler - Unit Contents • INTRODUCTION

• BACKGROUND TO THE WRITER

• BACKGROUND TO THE STORY • SUMMARY OF THE STORY

• ANALYSIS OF THE STORY

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INTRODUCTION

The aim of this study unit is to help you have a better understanding of Kate Chopin’s “The Story of an Hour”. Before analyzing the story, first of all read the background to the story and the writer closely because understanding any literary work depends on the understanding of the conditions that are prevalent in the time of writing, the influences of the writer’s personal experiences that may have affected the literary work, and the literary movement that the story belongs to. While analyzing the story, try to see the connections between the conditions of the period and the motives of the characters. Do not forget that studying a short story on your own requires self-discipline and carefully thought-out work plan in order to be effective.

BACKGROUND TO THE WRITER Kate Chopin (1851-1904) Life and Career

Kate Chopin was born in St Louis with the name Katherine O’Flaherty. She came from a wealthy Irish family that made a fortune from retailing. She lost her father at a young age in a train accident and was brought up in a family full of women. She was deeply influenced by the single, independent women who had brought her up; and especially her great grandmother’s mother who had been the first woman to divorce her husband in St. Louis (Wyatt, 1995).

Chopin had her education in a monastery for nuns “The Sacred Academy” and won medals for her exceptional work. In those years, she learned how to smoke, an unacceptable behavior for women at that time, which also indicated her exceptional personality. Later in 1870 she married Oscar Chopin “a creole cotton broker from New Orleans” and the couple moved to Cloutierville (Kennedy & Gioia, 2007, p. 116). It is generally believed that their marriage was a happy one and Oscar Chopin marveled at Kate Chopin’s intelligence. In 1883, Chopin lost her husband suddenly and was left with six children whom she had to look after. Moreover, she had to deal with the debts left by her husband. As a result, she began to produce short stories, but as it was difficult to both write and run business, she sold everything and moved back to St. Louis to live with her mother who died three years later (Wyatt, 1995). Chopin died of cerebral hemorrhage in 1904.

Literary work and style

Chopin’s observations of the strong women in her family were very influential in her philosophy and literary works. As previously noted, she grew up in a house full of single women who had to attain their lives. Under this influence, the major themes of her writings - 18 -

are about the liberation of women, the sexual and professional independence of women (especially in her novel The Awakening). While analyzing these in her literary works, she used a naturalistic language which requires precise observation of the unpleasant truths about life. Therefore, she was harshly criticized for her vivid descriptions of what was considered to be ugly in her time (Kennedy & Gioia, 2007, p. 116). After the publication of The Awakening, Chopin was unable to publish her work and was censored. This disappointed Chopin severely and her productivity ceased as a result of rejection by society. With her deep indulgence in women’s search for individual identity, she is considered to be one of the earlier American feminists; however, her work was appreciated only after seven decades after her death (Kennedy & Gioia, 2007, p. 116).

BACKGROUND TO THE STORY Naturalism

Naturalism is a literary movement that began to be formed through the end of the 19th century and developed in the 20th century. The idea of naturalism is driven from the Darwinian Theory that one’s character is shaped by heredity and social conditions s/he lives in and that people have little control over their lives. Naturalism focuses on and questions the conditions that lead the characters into conflict. It is “a type of literature that attempts to apply scientific principles of objectivity and detachment to its study of human beings” and “Naturalistic texts often describe the futile attempts of human beings to exercise free will, often ironically presented, in this universe that reveals free will as an illusion.” (Campbell, 2010).

Place of Women in Society in the 19th Century

In the 19th century women were considered inferior to men. The basic duties of women were to look after their children, take care of the household and satisfy the needs of their husbands. They had no political and civil rights and when they married all they owned were their husband’s, and they had no control over their possessions. Moreover, the chances for education and occupation were very low which disabled them from achieving any financial and social independence. Therefore, they were brought up as a wives from childhood. There was also little chance for divorce as it was the right of men to divorce. In any case, the divorced women were degraded in society and in case of adultery, the situation was even worse. Therefore, many women had to endure their unhappy marriages.

SUMMARY OF THE STORY

The story begins in medias-res (in the middle of events). The story opens as Josephine gives the news of the death of Brently Mallard to Mrs. Mallard as gently as possible because Mrs. - 19 -

Mallard suffers from a heart disease. It is Richards, Brentley’s friend who brings the news that Brently was killed in a railroad accident. Hearing the news Mrs. Mallard bursts into tears and when she calms down, she goes upstairs to her room alone, and does not allow anybody to follow her.

When alone in her room, Mrs. Mallard sits into the armchair just opposite the window; and she begins to watch outside where she can see all the joy of spring life, the twittering sparrows, the distant song, the fresh smell of the rain and the voice of a peddler.

While watching outside, from time to time she sobs, but the sobs initially leave their place to a new feeling which the young Mrs. Mallard cannot identify. The approach of the new feeling is welcomed by Mrs. Mallard, although it is somehow accompanied by fear. When she finally accepts the new feeling, a few words escape her mouth: “Free, free, free!”. After repeating these words, her body relaxes. In her new state, Mrs. Mallard thinks about how she would cry again in the funeral. However, she thinks she will not be crying a lot since she believes there is nobody else that she will be responsible for except herself after the death of her husband. She confesses that she sometimes loved her husband, but thinks that love is a weak concept when compared to freedom. She repeats her claim of freedom. It is at this moment that Josephine wants to come into her room worried that Louise will make herself ill. Louise tells her to go away, but Josephine insists. After a while Louise opens the door and comes out.

Together Josephine and Louise go downstairs and join Richards who has been waiting for them. Right at that moment the front door is opens, and Brently Mallard enters. Although Richards tries to screen him from Louise’s vision, he fails; and Louise sees Brently and dies. When the doctors come, they say that Louise has died because of extreme joy.

ANALYSIS OF THE STORY Overall Analysis

“The Story of an Hour” is a short story that must be analyzed almost word by word to have a deep understanding of the themes explored, the things that are represented by the symbols and the psychological state of the central character. It is significant to analyze the details in the story also to understand Kate Chopin’s views about love and marriage. Therefore, in this section a detailed analysis of the story will be provided. While reading the analysis, be sure that the story should be interpreted with the norms of the society when the story was written.

The story opens as Josephine breaks the news of Brently Mallard’s death as gently as possible to the protagonist of the story, Louise Mallard. The reader is informed that the reason why the news is given with a special care is because Louise is “afflicted with a heart trouble”. - 20 -

Josephine cannot tell the news straight, rather she gives the news “in broken sentences, veiled hints that revealed in half concealing” (lines 4-5). This can be considered as a paradox as Josephine is trying to “conceal” but at the same time “reveal”. Moreover, because Louise’s health condition is perceived to be very serious, Richards, Brently Mallard’s friend who is described as tender, rushes to the home of the Mallards to make sure that the news is given with caution. These first two paragraphs of the story serve as the exposition introducing the characters and the main event of the story. Moreover, the health condition of Louise is made clear right at the beginning of the play. This not only explains the reason of the overcautious behavior of Richards and Josephine, but also serves as a foreshadowing to the end of the story where Louise dies perhaps of heart attack. It can be said that foreshadowing is the footsteps of a writer. If you can follow them during the story you can discover the link between the seemingly unrelated events in a literary work. The writers usually give implications of the future events within a literary work by deliberately giving hints. The exposition of the story is not only critical in the understanding of the characters but also implies the position Kate Chopin takes in introducing one of the central themes of the story. Right from the beginning of the story, Louise is introduced as a very weak character who is in need of support from others. Here, her heart trouble is significant because it is also a symbol of the oppressive nature of her marriage. Although there is no specific explanation of the reason for her heart trouble, throughout the story, marriage is presented as a repressive institution which causes intensive stress. It’s Your Turn!

1

• Does heart trouble have any such symbolic meaning in your culture? Have you seen any event in which the heart trouble is associated with any institution or concept?

After the exposition, in the rising action where the conflict is introduced and intensified, Kate Chopin goes into a deeper analysis of the psychology of the central character, Louise. In the third paragraph, lines 11-13, the first reaction of Louise to her husband’s death is introduced. Louise cries suddenly in the arms of Josephine, and her cry is somewhat hysterical. The writer explains her unusual reaction by saying “She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance” This explanation introduces the codes of behavior expected of women upon hearing death news in the 19th century. Women are expected to be paralyzed unable to give any reaction at first. They are expected to be shocked and unable to comprehend the significance of the situation. However, unlike the common behavior, Louise cries suddenly which indicates that she is not a woman of the accepted norms of the society. It’s Your Turn!

2

• How are people expected to react upon hearing death news in your society? • Do you think Louise’s reaction is normal?

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The feelings of Louise are described with the words “storm of grief” (line 13) signifying the personality of Louise who is presented as a woman with intensive feelings. As will be demonstrated later, it seems Louise is a woman who feels everything in extremes. When she finally overcomes this feeling, she goes to her room alone. Again normally, women are not left alone after such news, which again highlights Louise’s exceptional personality. In this section the first reactions of Louise are introduced, again the reason for her unusual reaction is not made clear. Some critiques identify her first reaction as an indication of her sudden happiness for her late-received freedom. When Louise enters her room, the first detail given about the room is “a comfortable, roomy armchair” in front of an open window (line 16). It is interesting that details about comfort and open window are given, normally people do not recognize such details when they are overcame by the exhaustion of death news. That Louise “sank” into a comfortable chair facing an open window, which implies her readiness for a new life and opportunities, symbolized by “the open window”, and that life is presented as comfortable, symbolized by the depiction of the chair.

The description of Louise in this paragraph in lines 17-18 is also quite complicated. She is said to “have pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul”. This physical exhaustion has two meanings. The first straightforward meaning is that Louise is exhausted because she cried a lot and she is very sorry for her husband’s loss, and she feels deep sorrow. The other implied meaning is about the very nature of marriage and how Louise perceived it. Upon close investigation, it can be understood that Louise was not happy with her marriage both physically and spiritually. The exhaustion that is said to have “haunted her” therefore is considered to be a metaphor for marriage itself, and exhaustion here is personified. This type of representation in which a writer expresses something which can be interpreted in two ways is called double entendre. The reason why Kate Chopin preferred such kind of presentation is actually lies in the norms of the society. In those times, it was not possible for women to question their roles as women, daughters and wives. It’s Your Turn!

3

• Is it possible for women to question their roles as women and wives in your culture? • How are women treated when they question their position?

After Louise sits down into the “roomy armchair”, she begins to view outside from the open window. This part of the story which is highly symbolic is of utmost importance because it highlights how Louise perceives her future. First it is spring time (line 20) and spring symbolizes renewal and the beginning of a new life, in her case the new life where she will experience her complete freedom. The “open square before her house” also symbolizes the lack of a superior authority over her will in her new life. Other details about spring life - 22 -

provided in this paragraph also require attention. Among the things that attract Louise’s attention are the fresh air, a peddler, a distant song and the twittering of the sparrows. To begin with, it is said that “the delicious breath of rain was in the air” (lines 21-22). Here the fresh air is considered to be just the opposite of the oppressive atmosphere of her marriage. The distant song and the twittering of the sparrows are also noticed by Louise. These two, which indicate a positive mood and are usually considered to be inappropriate for mourners to recognize, are the things which imply the change in Louise’s mood. Moreover, the peddler who can be considered as trivial in the face of such serious situations is among the things that Louise recognizes. Normally, people are not expected to pay attention to details around them upon death news. In addition to the lively atmosphere created, the description of the sky is also highly symbolic. There are clouds in the sky, yet “there were patches of blue sky showing here and there through the clouds that had met and piled above the other in the west facing her window” (lines 24-26). The clouds present a metaphor for the problematic life Louise had and the repression she feels in her marriage. The “patches of blue sky”, on the other hand are considered to be the symbol of hope for a better future. Blue is also usually associated with freedom, and it can also be considered that the blue sky stands for the approaching freedom Louise feels. Nevertheless, there is a dramatic touch to this scene. West is usually associated with old age, descending of sun and sometimes even death. Therefore, even if there is some sort of freedom for Louise, it will only be short-lived as the patches of blue sky show up in the west of her window. It’s Your Turn!

4

• Do directions have any symbolical meaning like this in your culture? If so what are they? • Louise notices the spring life outside to its slightest details. What kind of change do you think it signals?

After the physical description of the outside, the narration turns back to Louise. In this paragraph (lines 27-29) Louise is resembled to a child “who has cried itself to sleep and continues to sob in its dreams”. This simile where she is resembled to a child is another depiction of Louise as a weak character who is in need of the protection of the others.

The next paragraph (lines 30-34) talks about Louise’s past. In this paragraph, she is portrayed as a fair young woman; however, she is also depicted as a woman “whose lines bespoke repression”. This is another double entendre in the short story which would enable the readers to interpret her situation in two different ways. On the surface level, which the 19th century readers would accept, she is presented as a woman who cannot show her feelings. On the one hand, this feeling can be interpreted as her inability to express her grief over the death of her husband. Nonetheless, Kate Chopin was a feminist writer and the repression she - 23 -

intended was the repression that Louise felt during her marriage. As previously noted, the roles of women in marriage were to satisfy the needs of the husband and to keep the family together. It was this role that caused the lines on Louise’s face and it is because of this that she was “fixed on one of those patches of blue sky” (line 32). Her dull gaze here also implies the approach of the “intelligent thought”, that is, the feeling of newly achieved freedom.

In lines 35-38, Louise is trying to cope with the new feeling that is new to her. It is indicated that she had been waiting for this feeling, yet she is still fearful. The reason behind this fear might be interpreted again in two ways. The first is for a person who has never felt free before, it is a frightening feeling because she does not know what to do with it. The next one is the difficulties that Louise will perhaps encounter if she really behaves freely as a widow. Here again, the emphasis is on the feeling of freedom that she has never tasted before. As it is indicated she feels that “creeping” feeling of freedom from the “sounds, scents, the color that filled the air”.

In the next paragraph (lines 39-41) Louise tries to “beat back” the new feeling with her will. However, again this is not a very strong impulse as she is trying to beat it back “as powerless as her two white slender hands would have been”, that is, she is not really trying had to get rid of the feeling. Her slender hands here symbolize the weak desire to get rid of the feeling. Moreover, her excitement is also echoed in the motion of her body which shows great excitement.

It is the next paragraph (lines 43-47) that introduces the climax of the story. She repeats “Free, free, free!” which indicates that the change has occurred. The change is also reflected in her body. She experiences epiphany (a moment of enlightenment) and the blood that rushes every inch of her body relaxes. In this moment she becomes a whole new person which is clarified in the next paragraph.

In lines 48-50, Louise is completely stripped off her dubious feelings about her freedom as she dismisses the idea whether it was “monstrous joy that held her” and considers it as trivial. Up until this paragraph, she is depicted as a woman who is still trying to behave within the prescribed roles assigned to her by the patriarchal society that would make her feel guilty. However, when she finally admits that she is free, she relaxes spiritually and physically which is again explained in the following paragraph. In lines 51-55, Louise imagines that she would be again crying in the funeral when she sees the corpse of Brently, but this again would not be a genuine mourning as she imagines her future years that would only belong to herself. This paragraph is very important not only because it demonstrates the new psychological state of Louise but also it implies the nature of her relationship with Brently. Although their marriage is portrayed as a repressive one from the beginning of the story, in this paragraph, Brently is depicted as a loving and caring husband: “the face that had never looked save with love upon her”. As can be understood from these words, Brently was not a patriarch who would exercise any violence on Louise. This is especially significant because it - 24 -

highlights the fact that the problem was not about Louise and Brently’s relationship but about the marriage institution itself. In marriages, men and women have responsibilities and the society also assigns both parties some roles, which are expected to be fulfilled. One of these roles is to be mothers and fathers. In this paragraph, Louise stresses that the following years “would belong to her absolutely”. This indicates that their marriage was a sterile one; they did not have any children. Lack of children here can be considered as a dysfunction of their marriage according to the expectations of society. The next paragraph (lines 56-61) contains the most frequently cited sentences of this short story. The nature of relationships, or rather how the society perceives marriage is summarized by “powerful will bending her in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature”. Here men and women are presented as equals with the words “fellow creature” and marriage is introduced as an institution that allowes partners to exercise power over one another, and while doing so it is implied that love is interpreted as “blind persistence” is the cause of this power relationship. Moreover, it is explained that whether one has good or bad intentions while exercising that power over his/her spouse does not make any difference. In their marriage, it seems Brently did not have bad intentions, but in “that brief moment of illumination” Louise realizes the intentions do not really matter. It is generally believed that this paragraph summarizes Kate Chopin’s view of marriage and it is her manifestation of freedom from marriage.

In the next paragraph (lines 62-65) Louise is now confronting her conflicting feelings. She confesses that she loved Brently “sometimes”, but love is a weak “impulse” when she compares it with her independence that now she recognizes as the most important thing in her life. Toth (2012) purports “As Chopin often insists, love is not a substitute for selfhood; indeed, selfhood is love’s precondition”. Therefore, she keps on saying “Free!Body and soul free” (line 66). This exclamation is again not only a manifestation of independence but also an implication about the perceived nature of marriage. As Louise declares that both her body and soul are free, it is indicated that although she was unable to utter this overtly in the past, she saw marriage as an imprisonment both physically and spiritually; and now she feels totally liberated from those constraints. As Wan (2009) declares “Mrs. Mallard has a real existence only when she follows her own laws, and through conscious choice, becomes her own creation with an autonomous self.” (p. 168).

While Louise is enjoying her freedom, the others in the house, namely Josephine and Richards are anxious about her. Josephine begs entrance to her room claiming that Louise is going to make herself ill. This paragraph is again significant in that it is the first time that the readers learn the central character’s name: Louise (line 69). This is not coincidental. Up until this point Louise is referred to as either Mrs. Mallard, which identifies her position in society as a wife, or just “she” an unidentified female character. Until Louise is left a widow, she is not addressed with her first name. However, it is the first name that is special for the individual, and the last name is used to describe the - 25 -

members of a family. In this perspective, until Louise declares her independence with her exclamation “Free! Body and soul free!”, she is not regarded as an individual, and her liberation gives her an identity. It’s Your Turn!

5

• Can you think of any Turkish literary work in which the name of a woman is associated with her individual presence? Is there any similarity between the presentations of female characters?

This new state of individuality and independence is described as “a very elixir of life” by the author (line 71). This metaphor of “elixir of life” allows the readers to understand how Louise finds this new feeling pleasing and how it gives her a new strength to live and expresses her new state by claiming that she is not making herself ill (line 71). Her passion for her new life is strengthened in the next paragraph (lines 73-76) with her constant emphasis on the long life ahead of her. Contrary to the expectations of those around her, she is not weakened by the death of her husband, rather she is rejuvenated and wishes for an even longer life. This is also an irony as she has only a few minutes to live.

With these feelings, Louise opens the door and goes downstairs with Josephine. The description of Louise is another moment of epiphany: “She carried herself unwittingly like a goddess of Victory” (lines 78-79). Here, Louise has completely won the battle that she had in herself about her conflicting feelings about the loss of her husband. She has finally dismissed all the feelings of mourning and now she is Victorious over her own life as there will be no other authority in her life except herself. That Louise descends the stairs in this part is also symbolic because this new perception of freedom which has changed Louise drastically will bring her own end, and she will fall as quickly as she was rejuvenated.

When Louise and Josephine descend the stairs, Brently arrives “a little travel-stained” (line 83). This detail about the description of Brently is another important note about the nature of Louise and Brently’s marriage. It was earlier reported that Brently was supposed to be on the train traveling somewhere. Nonetheless, Brentley has never been on the train which brings question marks about where he actually was. He has obviously been somewhere, but that place seems to be a secret as his friend Richards also did not know anything about it as well. It can be suspected that Brently, who behaved well towards Louise, had another relationship which he also had to hide. Considering the fact that Louise had a heart trouble and the couple did not have any children, it can be inferred that their relationship was a sterile one.

Brently’s entrance is a shock to everyone in the house. Richards tries to prevent Louise from seeing Brently, however, he fails. Louise dies upon seeing Brently, which is her catastrophethe tragic end. Not knowing the spiritual transformation she has experienced, the doctors diagnose the reason for her death as extreme joy: “joy that kills”. This dramatic irony, a type - 26 -

of irony that is understood by readers but not by the characters within the story, highlights the fact that Louise died of extreme sorrow because her precious freedom lasted for only an hour. Louise’s death is important from the historical perspective, too. In the 19th century, it was impossible for women to think, discuss and declare freedom and Kate Chopin had to kill her protagonist because Louise’s transformation was so sudden and unconventional for that period.

As can be seen from the multiple layers of representation, the story can be interpreted in two ways. From the feminist perspective, which Kate Chopin held, marriage is presented as an institution where there is no room for individual existence especially for women. The repression in marriage is so severe that it can even cause heart problems that can bring the end of a person. This type of interpretation is of course was not welcomed in the 19th century. The story as a result, allows another interpretation in which a female character is punished for her inappropriate will for freedom. Considering the fact that the story takes place within an hour, this type of interpretation is more appropriate for the expectations of the readers of that time. Plot structure:

The story has a triangular plot structure. In the exposition, the characters of the story, Louise, Josephine, Richards and Brently are introduced. Moreover, that Louise has a heart problem is indicated. The major conflict of the story is man versus self; that is Louise tries to reconcile with the feeling of freedom. The plot reaches a climax, when Louise declares her freedom with the words “Free, free, free!”. Her realization of her freedom is very important because at this point Louise goes through a transformation and it is impossible to confine her to the limitations of the marriage institution. Therefore, this is the turning point of the story. After this point, there is no tension in the story until the end. In the denouement or resolution Louise dies making sure that death is symbolically a better choice than marriage after her spiritual transformation. Characters

Louise Mallard: Louise, who is the protagonist of the story, is a dynamic and round character. Although not much is revealed about her married life, it is implied that she is a woman who had to endure the limitations of marriage. It is clear from the narrative that she had always been suspicious about the uniting bond of marriage, but it seems she had played her part as a wife well. In this sense, she is a complicated and a multi-dimensional character, which makes her dynamic. Moreover, she is a round character as she passes through a significant change in her recognition of her freedom upon Brently’s death. Indeed, she has changes so much that, it is that very change that kills her. - 27 -

The development of Louise is very much like a tragic heroine. In tragedies, there is a central character who has excessive pride or a flaw in personality which is called hubris. In this story, Louise is a woman who is very ready to accept her freedom. Especially within 19th century context, questioning the authority of men, and declaring independence would definitely be considered as a flaw for women. In tragedies again, the tragic hero or heroine makes a wrong decision, which is called hamartia. In the story when Louise descends the stairs “like a goddess of Victory” she has already decided to change her life dramatically. Unfortunately, this decision usually brings the end of the characters in tragedies, which is called catastrophe. Louise, in this story dies and prepares her catastrophe because she very quickly - in an hour - embraces her freedom. From this perspective, Louise fits well in the description of a tragic heroine. Brently Mallard: Not much is revealed about Louise’s husband Brently in the story. The only information about him is that he really loved his wife and cared for her. Therefore, it is not Brently that Louise is against but marriage itself. However, the narration also makes the readers suspicious of Brently at the end of the story as he arrives home from a trip, but not from the train trip that he was supposed to be in.

Josephine: Although not much is not revealed about her, Louise’s sister Josephine is portrayed as a stereotypical women who have necessary affection for the ones around her and fulfill her nursing duties.

Richards: It is Richards, Brently’s friend who brings the news of death to the Mallards’ house. Point of view

The story is written in third person limited omniscient point of view since the writer used third person narration, but all the events are presented from Louise’s perspective. This kind of narration allows the reader to go deep into the psychology of the central character, yet the perspectives of the other characters are not given. From the beginning to the end, all the fluctuations in Louise’s psychology are analyzed in detail. Type of the story

“The Story of an Hour” is a psychological short story as the conflicts, the dilemmas and the inner evolution of the new psychological state of Louise Mallard is analyzed deeply with a precise but highly symbolic language.

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Setting

Setting of time:

Dramatic time: The story takes place within an hour.

Historical time: From the details, it can be understood that it is spring time and it is the 19th century. There is indeed no specific reference to 19th century but Kate Chopin wrote about her time, and as she lived in 19th century it is assumed that the historical time is the 19th century.

Setting of place:

The story takes place in an American house, but no other detail is given. The reason for the lack of such detail is to universalize the message that the writer is trying to give. When no specific place is given in a story, it is believed that the explored theme is universal and the writer is trying to address all readers regardless of time, country and culture. Symbolism

“The Story of an Hour” is a highly symbolic story because of two reasons. First, it was almost impossible to talk about controversial issues very explicitly in the 19th century. With a careful use of symbols, many writers avoided harsh criticism especially from the society as uncovering the symbols require some sort of literary education or insight. Therefore, the story is rich in symbols. Below are the summaries for the symbols as they were discussed within context in the overall analysis part: Open window: Readiness for a new life and opportunities, freedom Roomy armchair: Comfort of self-assertion and free-will Spring time: renewal, new beginning

Patches of blue sky: hope for the future, freedom West: death

Louise’s descending the stairs: her fall Themes

Marriage as an inherently oppressive institution: In the story, Chopin does not present a conflict between the husband and wife. Indeed especially the husband is portrayed as a man who cares for his wife. The reason for such representation is that the central focus of the story is not the characters but the concept of marriage itself. As it was previously explained “ a kind intention or a cruel intention” does not change the nature of marriages. From here it can also - 29 -

be understood that although it seems Brently had kind intentions, marriage itself imposes roles on wives and husbands and the personality of the characters does not have any effect on this fact. As such, it seems Louise also questions her own position as a person who also “tires to impose a private will” upon her own husband. Identity and Self: Throughout the story the significance of individual identity is revealed to be the primary objective of life. It is lack of the possibility of individual expression that makes Louise repress her feelings and self. Identity and self-assertion is also presented as superior to love “the unsolved mystery” Language and style

Chopin’s language is highly literary with her vast use of symbols, metaphors, similes, personifications and other figures of speech such as alliteration. Below are some examples to literary elements from the story: Metaphor: an implicit comparison Clouds: Problems in marriage

Simile: an explicit comparison made by using the words “as” or “like” She carried herself like a goddess of Victory Paradox: a sentence that has a conflict in it Revealed in half-concealing Joy that kills

Oxymoron: a phase that has a conflict Monstrous joy

Alliteration: Repetition of the same initial consonant sound Song which someone was singing

Personification: attributing human qualities to inanimate objects

Clouds that had met - normally clouds do not meet like humans, it is the wind that brings them together. It’s Your Turn!

6

• Find other examples to these literary elements from the story.

• What kind of an impact does a highly literary language make on readers? - 30 -

In addition to the extensive use of these literary devices, Chopin also uses a lot of imagery. Imagery is a mental picture that a writer creates in the minds of readers by making use of five senses. For instance in the fifth paragraph (lines 23) the vividness of the spring life is portrayed as a picture with references to sense of taste (delicious breath of rain), sense of hearing (sparrows were twittering). This kind of representation usually pulls the reader into narration making the reader a part of the picture. It’s Your Turn!

7

• Can you find other examples to the use of imagery with the five senses?

In terms of her style, Chopin’s style in “The Story of an Hour” is dynamic. The story takes place only within an hour and the fluctuations in the psychology of the protagonist within that hour are reflected in the short paragraphs one over another mimicking Louise’s rush from one thought to the next one. Moreover, Chopin uses double entender very frequently so as to make the story be interpretable in two different ways (for details see overall analysis). Title

The title of the story is significant because of two reasons. First, it is the title that gives the reader the dramatic time of the story. Within the story time is not mentioned. Moreover, the title also implies that what Louise experienced within that hour following her husband’s death is just a story that is not realistic. This is perhaps one of the most naturalistic aspects of the story; that is “free will [is presented] as an illusion” (Campbell, 2010).

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Self-Test

1. How does Louise react after hearing the death of her husband? a. b. c. d. e.

She faints. She cries wildly. She runs away. She mourns deeply. She commits suicide.

2. How do the doctors explain the reason for Louise’s death? a. b. c. d. e.

They believe she had a serious fewer. They suspect she is murdered. They think she committed suicide. They think she took the wrong pills. They believe she died of extreme joy.

3. Why is Josephine afraid? a. b. c. d. e.

Because she believes Louise will make herself ill. Because she suspects Louise will suicide. Because she thinks Louise will run away. Because she is overcautious. Because she thinks Louise will have a nervous breakdown.

4. The twittering of the sparrows in the story symbolizes __________? a. b. c. d. e.

death. the past years. the joy of life. happy marriage. love.

5. Why is Louise trying to beat the new feeling of freedom back? a. b. c. d. e.

She is afraid she is going to be judged for it. She believes freedom is not for women. She thinks freedom brings lots of responsibilities. She is not accustomed to such a feeling. She loves her husband. - 32 -

Key to Self-Test 1. B

2. E

3. A

4. C

5. D

Literature Alive

1. Do you think women have completed their quest in declaring their individual identity? If yes how? If no, what do you think are the reasons? 2. Watch the movie Titanic. Do you think she is similar to Louise in “The Story of an Hour” and Kate Chopin? In what ways?

3. The movie Titanic takes place in 1912, 18 years after “The Story of an Hour” was written, and is gives details about gender roles in America. Has anything changed during those 18 years?

References

Campbell, D.M. (2010). Naturalism in American literature. Literary Movements. Dept. of English, Washington State University. Retrieved http://public.wsu.edu/~campbelld/amlit/natural.htm

June

3,

2012

from

Kennedy, X.J. & Gioa, D. (2007). Kate Chopin. Literature: An introduction to fiction, poetry, drama, and writing. 5th Ed. New York: Pearson, Longman

Toth, E. (2012). Kate Chopin ‘The Story of an Hour’: Questions and answers about ‘The Story of an Hour.’” KateChopin.org. Kate Chopin International Society, Retrieved June 2 from http://www.katechopin.org/the-story-of-an-hour.shtml#questions Wan, X. (2009). Kate Chopin’s view on death and freedom in the story of an hour. English Language Teaching, 2(4), 167-170 Wyatt, N. (1995). Biography of Kate Chopin. Retrieved June 5, 2012 from http://www.vcu.edu/engweb/webtexts/hour/katebio.html

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UNIT 3 THE LEGACY Amaçlarımız - Our Aim

After studying this unit, you will be able to discuss;

• Virginia Woolf as a writer;

• Understand the background of the story;

• Understand the conditions of the story and the characters of the story.

Anahtar Kavramlar - Key Concepts • Feminism

İçindekiler - Unit Contents • INTRODUCTION

• BACKGROUND INFORMATION TO THE WRITER- VIRGINA WOOLF • FEMINISM

• THE STORY

• WHAT IS THE STORY THE LEGACY ABOUT?

• WHAT IS THE SETTING OF THE STORY? • WHO ARE THE CHARACTERS?

• STORY SPECIFIC INFORMATION

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INTRODUCTION

The aim of this study unit is to help you read and understand the short story The Legacy written by Virginia Woolf. It will help you to focus on the literary concepts used and stated by the writer. Moreover, you will have information that is specific to the short story, its characters, setting and the plot. While you are reading the contents of this study unit, you will answer questions in “it’s your turn” section. Each question will try to help you to gain a better insight in to the concepts that you need to know while analyzing the underlying meaning of the story. In your book A World of Fiction: Twenty Timeless Short Stories you will find the manuscript of The Legacy and information about Virginia Woolf on pages 39-50. Please read this information and the short story first and then read the information on this Study Unit. Moreover, questions and various types of activities following the manuscript of the short story will be quite helpful for you to understand the details. This short story is under the title “Husbands, Wives, and Lovers”. Hence, having information about the genre of the story is very important for better analysis.

BACKGROUND INFORMATION TO THE WRITER - VIRGINA WOOLF (1882-1941)

Virginia Woolf was born in London on January 25, 1882 as Adeline Virginia Stephen. Virginia Woolf was the daughter of Sir Leslie Stephen. He was a famous scholar and a philosopher and moreover, he was an editor of Cornhill Magazine and the author of the Dictionary of English Biography. A famous American poet James Russell Lowell was her godfather. Julia Duckworth Stephen was her mother. She was a nurse and she published a book on nursing. Her mother died in 1895 when Virginia Woolf was thirteen years old. The death of the mother was the first catalyst in the mental breakdown of Virginia Woolf.

Virginia Woolf was educated at home in her father’s library with her sister Stella. During this time she has met some very famous literary figures of the age like G.E. Moore and E. M. Forster. Virginia Woolf extensively read her father’s books especially the Dictionary of English Biography. With the effect of her education and her natural curiosity she soon found herself in the world of literature. She lost her sister Stella in 1897 and later her father Sir Leslie Stephen in 1904. Virgina Woolf married Leonard Woolf in 1912. Her husband was a brilliant writer and a critic. He was interested in both literature and economics. Virginia and her husband Leonard founded Hogarth Press together and this publishing house became very successful. Over the years they printed early Works of some very famous writers such as T.S. Eliot, E. M. Forsters and Katherine Mansfield and some works by Sigmund Freud. Virginia Woolf also printed her works in this publishing house except the first edition of her first novel “The Voyage Out (1915). - 36 -

Soon”. In later years, Virginia and Leonard Woolf became the part of the famous Bloomsbury Group. This group had famous and outstanding literary figures as members some of whom were Ezra Pound, James Joyce, T.S. Eliot, E. M Forsters and Roger Fry. Roger Fry’s theory of art may have influenced Virginia Woolf’s writing technique as a novelist.

She wrote many essays and fifteen novels. Few of her best known works are “Mrs. Dalloway (1925)”, “To the Lighthouse (1927)” and “A Room of One’s Own (1929)”. Her first novel “Mrs. Dalloway” is about a day in the life of the female character Mrs. Dalloway in postwar London. The other novel of hers “To the Lighthouse” is some kind of a family portrait and history rendered through characterization of personal views selected in points in time and presents the clash of the male and female sensibilities in the family. Her famous book “A Room of One’s Own” is mainly, as many of her other books, linked to the development of feminist criticism. Virginia Woolf was a feminist writer and she was an important figure in the modernist movement. Woolf was one of the very first writers to use stream of consciousness technique in her works. By the help of stream of consciousness technique she was able to depict the inner lives of her characters in all too intimate detail. After her mother’s death in 1895 Virginia Woolf suffered from bipolar disorder which is characterized by different moods of mania and depression. She feared that she was about to lose her mind and become a burden on her husband. In 1941, during one of those periods of depression she put a large stone in her pocket and drowned herself in the Ouse River after leaving a note to her husband explaining that she was in fear of going mad and this time she knew she would not recover. Her body was found 18 days later. For more information about Virginia Woolf read page 39 in your book A World of Fiction: Twenty Timeless Short Stories.

FEMINISM

If the subject is Virginia Woolf, it is quite impossible not to talk about the concept and the movement of feminism. Many of the people have wrong information about the meaning of feminism. When the subject is Virginia Woolf, it is highly essential to talk about the concept of feminism since Woolf is considered one of the very famous feminists. A famous British journalist gives the definition of feminism as follows. “Feminism is the radical notion that women are people.” As the quotation clearly explains feminism is a commitment of woman to achieve the equality of the sexes. In other words feminism can be defined as an intellectual dedication and a movement for social, cultural, political and economic equality of men and woman and moreover it is a movement which seeks justice for women in a male dominated world. Feminism does not mean hatred of man, unlike many people believe, but it is the desire of single woman to make a choice to live a life which is non-discriminatory and which works within the principles of social, cultural, political and economic equality and independence. - 37 -

There are three waves of feminism and here are the short summaries of those important waves. First wave of feminism

The first wave started in the 1800’s and continued to the early twentieth century. Before this time there were some important female figures who were fighting for the equality and liberty

of woman in a male dominant society. The first wave especially focused on officially mandated inequalities some of which are education, employment, marriage laws and healthcare. This movement is very important and famous because it was the first in feminist struggle. It is considered that this first wave ended when women gained the right to vote. Second wave of feminism

This second wave of feminism started in the early 1960’s and it is believed that it is still around today. This second wave also focused on unofficial inequalities. In other words, their

focus was on sexiest structures of power in the workplace, in education, in the family. Some believe that this movement gained much success while the other thinks that the second wave failed its goals. So the third wave of feminism flourished. Third wave of feminism

Third wave of feminism is not very different from the second. The main difference is that the third wave looks at the issue from the view of all women, rather than the white middle class women who dominated the second wave. Towards the end of the second wave of feminism some differences began to arise like social feminism, black feminism, liberal feminism and lesbian feminism. The third wave focused on all of them. Similar to the liberal feminism third wave was very individualistic. Third wave of feminism is focused more on personal empowerment as a starting place for social change.

There are many different kinds of feminism since feminism is not a simple unified concept. Many people, man or woman, consider themselves feminists and the belief of those people may differ from each other. Here are some different kinds of feminism; Liberal Feminism

This feminism is focused on individualistic emphasis on equality. This philosophy believes that society does not need a major take over and renovation but rather they believe that laws need to be changed and there should be opportunities allowing woman to become equals in the society. Liberal feminist measure their success as they gain positions which are previously occupied by man.

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Socialist feminism

It is also known as Marxist feminism. They believe that true equality cannot be achieved without major overtakes in the society, especially economic ones. Socialist feminists see that there are fundamental inequalities in this capitalist society, such as uneven distribution of the capital and power. According to socialist feminists one cannot achieve success individually by gaining the positions of man as Liberal feminists think but rather that power needs to be redistributed throughout the society. There should be collective change and empowerment. Radical Feminism

Radical feminists are quite similar in thoughts with socialist feminists. They think that there is a need for social change in order to achieve true equality for women. They believe that the society is mainly and strongly patriarchal and male dominant and until this patriarchy is transformed on all levels the inequality and this system will remain unjust. Black Feminism

Black Feminism supporters consider that sexism and racism is inescapably bounded. The system is still racist and since the system is so racist sexism will never be over. This movement was established by Afro American women during the Women’s Liberation Movement in the 1970s.

THE STORY

The story “The Legacy” is entirely told by the husband, Gilbert Clandon. Gilbert Clandon is somewhat a successful politician and his wife Angela has recently died accidentally. The story opens with Gilbert is confusion and puzzlement with the arrangements of Angela’s before her accidental death. She had prepared small gifts for all her friends as if she knew she was going to die. However, there is no gift left for Gilbert and he thinks that she has intentionally left the fifteen volume diary that Angela kept during their marriage to him. With the coming of Sissy Miller, who is a long term friend and the secretary of Angela’s, Gilbert’s thoughts are interrupted. Sissy Miller is visibly upset and she accepts the brooch that Angela left for her. Gilbert offers her financial support yet she declines this financial assistance and she offers to help Gilbert if he should need it.

After Sissy leaves the room, Gilbert begins the read the diaries. He randomly picks the volumes from the beginning of their marriage and he is so pleased to see his name and his career on the pages of the diaries. As he reads later volumes he realizes that his name appears less frequently on the pages but instead he sees another initials of a name appear more than his name, B.M. As he reads, he notes that B.M. comes from a lower social class and Angela liked talking to B.M. about politics. And moreover, he sees that B.M. visited Angela when she is alone. In the final volume, Gilbert reads that B.M. requires something from Angela that - 39 -

she is not willing to do. On later pages Angela writes, “I tried to make him listen but he would not. He threatened that if I did not...” Gilbert sees that the remainder of the page is crossed out. After reading such lines Gilbert assumes that B.M. asked Angela to become his mistress.

Gilbert after all remembers that Sissy’s brother has died just few weeks before Angela’s accident and telephones Sissy to confirm B.M.’s identity. Gilbert understands that his wife Angela did not die in the accident and moreover the person that Angela loved had killed himself. In other words the realization of Angela’s death is somehow response to the death of her lover, B.M. The story ends with Gilbert telling the readers that “He had received his legacy. She had told him the truth. She had stepped off the kerb to join her lover. She had stepped off the kerb to escape from him.” It’s Your Turn!

1

• How does the Legacy reveal Angela’s character and her emotional needs? • What motivated Angela to write such diaries?

• Angela had written ‘Egypt. Egypt. Egypt’ in the last of her diaries. What is the allusion of Egypt in the story?

• Do you think Gilbert Clandon fully understood the purpose and the implication of the diary? • What is the rising action of the story?

WHAT IS THE STORY THE LEGACY ABOUT?

In Virginia Woolf’s short story “The Legacy” the husband Gilbert Clandon is a widower. During their marriage his wife kept collection of diaries and left them to Gilbert. In the process of reading them Gilbert understands that his wife, Angela who was thought to be devoted to him, was in love with someone known only as B.M. By the end of the diaries, Gilbert comes to the conclusion that his wife Angela did not die because of an accident but rather committed suicide to be with her lover. That clearly reveals and expresses that Angela commits suicide because she was entirely unhappy in her own marriage and had no courage to end this marriage.

Gilbert and Angela Clandon belong to upper class society. They are quite rich since Angela has her own secretary at home and Gilbert has a position in the government. Gilbert is always busy because of his career and social obligations. While reading the diaries Gilbert realizes that Angela was unhappy and she became increasingly unfulfilled in their marriage. In some sense she was left alone in that marriage. As she wrote in her diary, she wished Gilbert had a son. Being childless and alone Angela was unhappy. - 40 -

It is clear that the story is told through the eyes of Gilbert Clandon. How aboutAngela? From Angela’s point of view it is easy to see that Angela suffers from loneliness and she tries to fulfill her life with another relation. To be with her lover forever she decides to kill herself and leaves her precious diary to her husband, Gilbert to reveal her real identity. When we look at the story from Gilbert’s point of view, the reader would see that he is some kind of a self-centered man who thinks of his own life only and after his wife’s death discovers something different. It is through Virginia Woolf’s great skill that the readers can see and feel both sides. It is the story of Angela’s freedom and Gilbert. In larger context it is the criticism of social levels in the society as well as criticism of the members in that society.

Like many of the man of this age Gilbert Clandon regards his wife, Angela as common men regard women; intellectually inferior, passive and devoted to their husbands. Gilbert is selfish and he is always neglecting her. However, B.M. had discussion with Angela about the world and politica issues. This implies that B.M. saw Angela a in better intellectual level than her husband. So it is possible to say that the diaries reflect the conflicts and search for identity for Angela. When reading the story, it is obvious that information about the characters and the events comes in pieces because of stream of consciousness. The readers follow the narrator’s mind and sees his ideas come and go, then create their own conclusion about what happened to Angela. It may be the common feeling that Angela seems to be trapped in a conventional marriage and also her realization of societal norms since she cannot leave her husband for her lover. It’s Your Turn!

2

• What stops Angela to leave her husband Gilbert for B.M. even though she feels in trapped in loneliness and boredom? • What is the plot of the story?

• How does the technique stream of consciousness work on the story and what is the main effect of this technique in the story? • What is the theme of the story?

WHAT IS THE SETTING OF THE STORY?

The setting of the story is Gilbert and Angela’s house mainly. The story takes place in the study room of Angela, where she keeps her diaries. “Gilbert Clandon, taking up the pearl brooch that lay among a litter of rings and brooches on a little table in his wife’s drawing room, read the inscription: For Sissy Miller, with my love.” (1) - 41 -

The story is mainly told from Gilbert’s point of view and since he sat down and read the diaries in the house especially in Angela’s room, it is highly possible to say that the dramatic place of the story is Angela’s study. The following quotations prove the idea that the story takes place in Gilbert’s house. “... he went on as he sat there waiting...” (12)

“fifteen little volumes, bound in green leather, stood behind him on her writing table” (20)

The geographical place of the story is clearly revealed. The story takes place in London, since one of the very famous London scenes “Piccadilly” is mentioned as in the following quotation.

“She was standing on the kerb in Piccadilly. Her eyes stared; her fists were clenched. Here came the car...”(225). The historical time is not mentioned at all, the reason could be the similar situation of the societies over the years, and the unchanged perspective of man over woman. For years and years in the history woman was considered inferior and less intellectual compared to man. To keep the universality of the story and the universality of the situation, Virginia Woolf might have preferred not to mention an exact time for the story. Moreover, dramatic time is not overtly stated either. However, Gilbert’s talking to Sissy and his reading the diaries would take couple of hours. The story does not reveal any other clues on setting. It’s Your Turn!

3

• Why do you think the whole story is generally placed in Gilbert and Angela’s house? Is it important for the development of the plot? • Why do you think that the historical time is never revealed?

WHO ARE THE CHARACTERS?

Characterization is one of the very important elements in the works of literature. It is the one that talks to the readers so the created characters must be real. Virginia Woolf was a powerful writer in creating the characters with their inner feelings, ideas or moods so that the reader can easily identify the character as individuals. In this story, the characters are created in a similar manner.

Gilbert Clandon

Gilbert Clandon can be considered as a dynamic character since his story is a kind of journey from illusion to reality. His enlightenment after reading his wife’s diary brings him face to face with the realities of his relationship that he had taken for granted. He comes to realize the facts after reading the diaries. But it is too late for everything. He is - 42 -

too busy with his own life and success in social platform and that is why he does not spare any time for Angela. As Angela describes in her diaries Gilbert is a handsome man and she proud to be his wife. He is unable to focus his attention to anyone but himself so it is right to say that he is a self-centered man. As his name appears less in the diaries he starts to lose his interest in the diaries. Gilbert becomes upset when he realizes that Angela has committed suicide. He is upset not because he realizes that he should have spent more time with her but because Angela has an affair with someone else called B.M. Moreover, he believes that his wife Angela is unintelligent to have conversation with. So he is quite astonished to read that Angela and B.M. have discussions on various subjects. That also proves his egoism.

Angela

Angela is the protagonist of the story. She can be considered as a round character. She is not happy in her marriage and feels lonely. She is having an affair with someone called B.M. She is happy with him because she feels that B.M. listens to her and they can talk to each other. They both like to spent time together. At the end of the story B.M. commits suicide because of Angela’s love. In return after B.M., Angela commits suicide.

Sissy Miller

She is the secretary to Angela at home, and her long life friend as well. She is a trustworthy character. Angela trusts her and has great affection for her.

B.M.

There is not much information about B.M. yet later it is revealed that he is Sissy’s brother. He has an affair with Angela and they love each other. He respects Angela and her ideas. The situation is clear that they have discussions over various subjects. It seems he is socialist whereas Gilbert is a capitalist. Angela was greatly affected by B.M. because he does not choose people to talk to. He talks to anybody; he is against the class system. It’s Your Turn!

4

• Who is do you think right for Angela, Gilbert or B.M.? Give the reasons. • Do you think Gilbert took the lesson out of his wife’s death?

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STORY SPECIFIC INFORMATION

Point of View, Plot, Theme and Rising Action of the Story

The story is in third person narration and the narration is viewed through Gilbert Clandon’s eyes. In other words the point of view of the story is Gilbert Clandon. The plot of the story is quite simple and may fit in one sentence. Remember, plot does not mean a summary of a story. The plot of the “Legacy” is Angela’s conflict in herself and the two men’s behavior and attention towards her. When it comes to the theme of the story, one may find some sub themes to the story, yet the main theme may be stated as the truth: revealing truth in marriage where there is no love and respect. Remember Gilbert Clandon does not pay respect to Angela since he considers her inferior in many subjects. On the other hand, Angela finds the missing link in her marriage in B.M. ‘attitude. As for the rising action of the story, it is possible to say that it is the time when Gilbert Clandon starts to reads the diaries. The tension of the story gets higher and higher as Gilbert progresses in his reading of the diaries. The truth is revealed slowly.

Ironies of the story

Gilbert in the beginning thinks that Angela is so trustworthy and there is no lie in her life and in their relationship, in short in their marriage. Gilbert utters that “She had been the soul of candour”. Nevertheless, it becomes clear as the story progresses that Angela has a secret that she has an affair with another man, and deceived her husband. Gilbert never knows that fact until he reads his legacy, the diaries.

In the story Angela writes that she is proud of being Gilbert’s wife and she thinks that he is a handsome man. The truth is Angela has deceived her husband even though she feels all that towards her husband.

Angela also talks about Gilbert’s position in government. She writes that Gilbert has only a minor post. Later she comments that she is sure Gilbert will be the prime minister in the future. That shows that Angela trusts Gilbert in his position and in life, on the other hand the way Angela behaves is untrustworthy. This is an ironic situation.

Conflicts

It would be quite helpful to explain the conflicts of Angela in two headings. Angela’s internal and external conflicts, in other words person against self-conflict and person against society conflict; Angela’ internal conflicts may be stated below, Person against self:

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Angela is in conflict with herself and with her feelings. She feels herself trapped in life. The readers may easily feel that there is love growing in Angela’s heart towards B.M. She loves him so much that she commits suicide after his death. On the other hand, she cannot divorce Gilbert, even when she feels someone else is right for her. She cannot decide what to do. That is her internal conflict.

Another internal conflict of Angela is that, it is obvious that she does not have courage to divorce Gilbert, when she is in love with someone else, yet she has the courage to kill herself for B.M.’s love. That is another conflict that Angela carries in her feelings. Angela’s external conflict may be stated as below;

Person against society

Angela again feels herself in a trap because of her social environment. Gilbert is a politician and he has a successful work life. The reason for not divorcing Gilbert may be the unwanted comments of the people in the society. She may be feeling that after her divorce or the revelation of her secret affair, many people would condemn and comment on her.

Allusion

The most remarkable allusion in the story is the lines that Angela writes in her diary, “Egypt. Egypt. Egypt.” Egypt may have two different allusions in the history. One is related to the old Testament and the other one may be the one of the very famous work of literature, Anthony and Cleopatra written by William Shakespeare. Let’s have a look at the first concept. Egypt can be a possible allusion to the bondage of the Israelites in Egypt. It is described in “Exodus” 1-14 of the Old Testament of the Bible. The relationship with the story of this allusion can be the feelings of Angela. Angela feels trapped and in between her fidelity to her husband and her great love for another man.

From the perspective of literature, Egypt can be the allusion and reference to William Shakespeare’s famous brilliant work “Anthony and Cleopatra”. More specifically the words Egypt can be the close reference to Anthony’s words when dying. Here is the conversation between Anthony and Cleopatra in act 4; “I am dying, Egypt, dying”. Cleopatra gives a respond as “Hast thou no care of me? Shall I abide / In this dull world, which in thy absence is/ No better than a sty?” Cleopatra after saying these lines commits suicide because she does not want to live in a world without Mark Anthony. It is the same act as Angela did in the story “The Legacy”. Angela also commits suicide following the death of B.M. because she does not want to live in a world withhout B.M.

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Stream of Consciousness

The literary technique, “stream of consciousness” is used to describe the unbroken flow of perception, feelings and thoughts of the characters to focus on the emotional and psychological processes which takes place in the minds of the characters. In other words, stream of consciousness is characterized by a flow of feelings, thoughts and images, yet there is no coherence and cohesion in these thoughts, feelings, perceptions and images. In other words the plot line may weave in and out of time and place and may take the reader to the life span of the character in different periods of time. This makes the reader have a better knowledge of the character since the reader has the opportunity to know what is going on in the character’s mind. However, since stream of consciousness technique weaves in an out of time and the place, the reader may get lost at times. It is the author’s skill to keep the reader and the character together in the course of the reading process. One of the very successful pioneers of this technique was Virginia Woolf.

Writing Technique of Virginia Woolf

In Virginia Woolf there is usually no chronological order in her narrations. She presents all the events, from different times, which enters the character’s consciousness. The short story “The Legacy” is about a man who in his wife’s death finds out the truth while reading the diaries his wife kept during their marriage. The truth is that his wife had fallen in love with a working man and committed suicide. The writing technique of the story gives great clues about Virginia Woolf’s narrative style. The readers may easily notice that the reality in the story is not presented at once but rather the truth is experienced by the readers gradually. By doing so Virginia Woolf keeps the readers’ interest and the attention from the very first line to the last. Gilbert’s imagination arouses curiosity and the readers wander what will happen next. Here is the example from the story;

“Yet how strange it was, Gilbert Clandon thought once more, that she had left everything in such order-a little gift of some sort for every one of her friends. It was as if she had foreseen her death. Yet she had been in perfect health when she left the house that morning, six weeks ago; when she stepped off the kerb in Piccadilly and the car had killed her. But he had always taken it for granted that she would outlive I him. If only she had stopped one moment, and had thought what she was doing, she would be alive now. But she had

I stepped straight off the kerb, the driver of the car had said at the inquest. She had given him no chance to pull up ...” Gilbert questions himself on how he would bear his wife’s death since he thought and believed that the death of his wife was an accident. He is in the same mood until he reads the last diary then he realizes that her death was a planned action. When Sissy comes to the room Gilbert has questions on his mind; - 46 -

“Could it be, that during all those years when he had scarcely noticed her, she, as the novelists say, had entertained a passion for him?”

There are more questions on Gilbert’s mind, one of them is about the identily of B.M. Here is the relative lines;

“Had a heated argument about socialism with B. M. Who was B. M.? He could not fill in the initials; some woman, he supposed, that she had met on one of her committees.” Through these questions and assumed answers, Virginia Woolf makes her character go between the imagination and reality to comprehend the truth.

After talking to Sissy Miller, the story progress with Gilbert’s reading the diaries. With the diaries the readers get to see the true life of Angela from two different points of view; one through Gilbert’s perception and one through Angela’s own sensitive observations about her own inner life and about the life with her husband and B.M. In the story this triangular relationship is fully analyzed and scrutinized. The story ends with Gilbert’s awareness of the truth about his marriage and about his wife Angela. However, the end of the story is quite ironic that he becomes aware of the truth at the end that has been missed all those years. Virginia Woolf seize the final moment of Gilbert who is sufferings.

“He could hear the cheap clock ticking on her mantelpiece; then a long drawn sigh ... He had received his legacy. She had told him the truth. She had stepped off the kerb to rejoin her lover. She had stepped off the kerb to escape from him.”

As it is seen, Virginia Woolf used the stream of consciousness technique. Through the technique she succeeds to reveal the inner lives of her chracters. It’s Your Turn!

5

• What is the effect of stream of consciousness technique in narration? • Can you find any ironies in the story?

• What are the conflicts that the characters feel throughout the story?

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Self-Test

1. What does Gilbert assume about the death of Angela in the beginning? a. b. c. d. e.

She died of a train accident She died of a car accident She died of brain tumor She committed suicide B.M. killed her

2. What is the geographical setting of the story? a. b. c. d. e.

New York Paris London Scotland Republic of Ireland

3. On what occasion it is assumed that the first wave of feminism ended? a. b. c. d. e.

After the women get right to vote After women being free to work After women’s gaining economic freedom After women have right to be in politics After women have right to divorce her husband

4. What did Angela arranged for Sissy to be given after her death? a. b. c. d. e.

Diaries Brooch Necklace Earrings Bracelet

5. What are the main conflicts that Angela carries in the story? a. b. c. d. e.

Person against person and person against society Person against nature and person against self Person against society and person against nature Person against self and person against nature Person against self and person against society - 48 -

Key to Self-Test 1. B

2. C

3. A

4. B

5. E

Literature Alive

What examples of Turkish stories which are written in stream of consciousness can you give? Do you know any contemporary writer who uses this technique in the narration?

References

Britannica Concise Encyclopedia: http://plato.stanford.edu/entries/feminism-topics/

Lavine, Ann. 1986 “Virgina Woolf’s The Legacy”, The English Journal, Vol. 75, No. 2 (Feb., 1986), pp. 74-78. National Council of Teachers of English. Retrieved from http://www.jstor.org/stable/817895 on June 18, 2012.

Payne, Kaylia, 2011. “The Waves of Feminism” http://lipmag.com/culture/the-waves-offeminism/ Rockler-Gladen, Naomi 2008. “Types of Feminism: Liberal, Socialist, Third Wave, and Other Feminist Philosophies http://suite101.com/article/types-of-feminism-a51502 http://www.notablebiographies.com/We-Z/Woolf-Virginia.html retrieved on June 16, 2012 http://classiclit.about.com/cs/profileswriters/p/aa_vwoolf.htm retrieved on June 17, 2012

http://www.virginiawoolfsociety.co.uk/vw_res.biography.htm retrieved on June 17, 2012 http://www.redletterpress.org/feminism101.html

http://www.rise-of-womanhood.org/Definition-of-feminism.html

http://classiclit.about.com/od/literaryterms/g/aa_stream.htm retrieved on June 19, 2012

http://www.egyankosh.ac.in/bitstream/123456789/25403/1/Unit16.pdf retrieved on June 19, 2012.

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UNIT 4 THE KUGELMASS EPISODE Amaçlarımız- Our Aims

• After studying this unit, you will be able to discuss; • Woody Allen as a writer;

• Understand the postmodernism as a literary genre;

• Understand the conditions that the characters live in in the story; • Analyze the story by using short story analysis techniques • Find the post-modern features in the story.

Anahtar Kavramlar-Key Concepts • Post-modernism

İçindekiler-Unit Contents • INTRODUCTION

• BACKGROUND TO THE WRITER • BACKGROUND TO THE STORY

• SUMMARY OF THE STORY • ANALYSIS OF THE STORY

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INTRODUCTION

The aim of this study unit is to introduce you to postmodern literature and help you have better understanding of Woody Allen’s postmodern story “The Kugelmass Episode”. Before analyzing the story, first of all read the background to the story and the writer closely because understanding any literary work depends on the understanding of the conditions that are prevalent in the time of writing, the influences of the writer’s personal experiences that may have affected the literary work, and the literary movement that the story belongs to. While analyzing the story, try to see the connections between the conditions of the period and the motives of the characters. In this unit pay special attention to postmodernism and its reflection in the story. Do not forget that studying a short story on your own requires self-discipline and carefully thought-out work plan in order to be effective.

BACKGROUND TO THE WRITER Woody Allen (1935-) Life and Career

Coming from a Jewish family who immigrated from Germany, Woody Allen was born in Brooklyn, New York with the original name Allen Steward Königsberg. He did not have a happy childhood because of the problems between his parents and economic problems. During school years he played baseball and began producing short jokes to be sold for newspaper columnists. After high school, he attended New York University to study communication and film (Woody, 2012).

During his life, he had relationship with several women and most of these relationships were usually unhappy. He also has claustrophobia and agoraphobia because of which he had to attend psychoanalysis sessions for over thirty seven years. He has reflected these in his works. (Woody, 2012). He is a very prolific writer. He wrote comedies, scripts for TV shows, cartoon captions, short stories and plays for theater and screen. Later, he began to direct films and starred in most of the films he directed. He won 4 Academy Awards and was nominated several times. (Woody, 2012). Literary Work and Style

Having started his career by writing jokes for newspapers, Allen did not stop adding comic elements to his fiction. Humor is an inseparable part of his writings. Moreover, he uses daily speech frequently in his writings. His literature is a good example of American humor. Moreover, both his films and literature are considered to be examples of postmodernism employing most of the postmodern techniques, particularly parody (Hucheon, 1989). - 52 -

BACKGROUND TO THE STORY Postmodernism

Originally a theory of architecture, postmodernism has its roots in the post-World War II period. Postmodernism later influenced philosophy, art, literature, film and culture. Although the exact time that it began as a movement is not clear, it is usually believed that it is a reaction to the loss of meaning after WWII and a reaction to modernist attitude. Actually, postmodernism is a continuation of modernism, a literary movement that dominated the literary world between late nineteenth century and 1940s, and makes use of most of the characteristics of modernism. Therefore, in order to understand what postmodernism is, one should have at least a basic understanding of modernism.

Modernism is a reaction to the previous realistic literature. It primarily advocates experimentation with form and meaning. One basic innovation that modernism brings in literature is fragmentation. Fragmentation, in its basic meaning, refers to a discontinuation in the narrative line in literature. In the previous literature, writers had a tendency to record events, feelings and the thoughts of characters in a linear fashion following a chronological order. However, modernists believed that life is not linear, instead it is non-linear; and if literature is a representation of life, the literary piece should be non-linear as well. There is no chronological order in the narration and the development of the characters. One technique that is frequently used for this purpose is stream of consciousness, which refers to “a flow of thoughts and images, which may not always appear to have a coherent structure or cohesion. The plot line may weave in and out of time and place, carrying the reader through the life span of a character or further along a timeline to incorporate the lives (and thoughts) of characters from other time periods.” (Lombardi, 2012). That is, the narrator reports the events, feelings and thoughts in the order that the mind of the character recollects them.

Fragmentation and stream of consciousness are also adopted by postmodernism, however, the postmodern attitude towards fragmentation is utterly different from modernism’s. Modernism sees fragmentation as something to be lamented and be sorry about, because they believe it to be a deficiency. On the other hand, postmodernism argues that fragmentation is a part of life, it cannot be changed, therefore it should be accepted, and the idea of fragmentation should be played with.

Another characteristic of modernism is subjectivity and individualism. In the previous realistic literature, the purpose of the writers was to reflect external reality by giving minute descriptions. However, modernists placed emphasis on inner states and the operation of consciousness of individuals which favored individual representation of the world instead of an objective and realistic one. They reflected this again through the use of stream of consciousness to reveal the characters’ states of mind. This characteristic is again adopted by the postmodernists who favored subjective interpretation of life.

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In addition to these, modernism marked a distinction between high and low literature (Rahn, 2011). On the one hand, there was a group of artists who produced to the tastes of general public which created a popular culture; on the other hand there was a small group of artists who produced works not for public acceptance but only for artistic inquiry. Because the public refused to accept these “elitists”, the discrepancy between these two groups of artists created a distinction between the high culture and low culture. However, in modernist elitist circles, high literature was unquestionably favored. Until the postmodernist period, the discrepancy remained to some extent, yet postmodernist literature refused such distinctions and believed that the two styles can be merged into one single literary work.

Modernism and postmodernism’s attitudes towards life are also quite different. Modernism is a movement that reaches its peak during the World War I. Having experienced the severe damage that the war had caused, the modernists developed a very pessimistic attitude towards life. Therefore, they saw little meaning in life and lamented the fragmentation. Post modernism on the other hand, does not have a pessimist attitude. Although the postmodernists also witnessed a severe war, that is World War II, they realized that people and art have no power to change it, and people have no control over the world. Therefore, instead of lamenting the outcomes of the new world order, they found refuge in playfulness, that is they believed that in order to survive in a chaotic world one has to play with that world. One of the basic techniques that the postmodernists used and still use to play is parody. Parody “imitates the serious manner and characteristic features of a particular literary work in order to make fun of those same features” (Wheeler, 2012). The purpose of the parody is to present an ironical representation of the parodied text without being serious. The techniques for parody summarized by Sturtevant (2012) are: • Reiteration: the connection to the parodied text is established by using objects or other devices such as horses to evoke western or handheld cameras to evoke documentary. • Inversion: using the element in the original text in an original way

• Misdirection: the conventions of the source text are used to create a set of expectations in the spectator which are then reversed or transformed by the parody

• Literalization: “a technique that takes a naïve approach to the source text, as though it were readable only literally and not through the lens of convention. For example “in Robin Hood: Men in Tights (1993) when Robin cries out to the crowd “Lend me your ears,” at which point the crowd starts throwing actual ears at him”. • Extraneous inclusion: elements that do not belong in a conventional generic image in order to render it strange. [for example, the mobile phone used in AROG)

• Exaggeration: takes an aspect of the source text and renders it absurd through excessive emphasis. - 54 -

As examples of parodies, Boating for Beginners by Jeanette Winterson where there is a parody of Genesis, B.H. Winters’ Android Karenina that parodies Tolstoy’s Anna Karenina can be given. It’s your turn!

1

• Terminator by Arnold Scwarzeneger is a very famous film. Go to the following link where a parody of the film is made. Terminator is sent to Christ’s time instead of the future. Find out the parodic elements: http://www.youtube.com/watch?v=Qnq7N6X4x84

• Twilight is very popular. Go to the following link and find out what is parodied about it: http://www.youtube.com/watch?v=2MKz0gkcgAo

• Can you think of a Turkish parody in the sense that it is presented here? One thing that is significant in postmodernism is the disbelief in originality. According to postmodernism, there is nothing like original anymore. As the famous quotation from the novel Fight Club which is made into a movie, “Everything is a copy of a copy of a copy” (Palahniuk, 1996, p. 21). This notion actually comes from the idea of simulacrum (singular) or simulacra (plural) which refers to the representation of the original (Simulacrum, 2012). In a world that is dominated by technology, it is hard to find the original and eventually everything becomes a copy of a copy. For example, consider the information one can find on the Internet. The same information with the exact wording can be found in many web pages; nevertheless, it is almost impossible to track the original one. Jean Baudrilard argues that “simulacrum is not a copy of the real, but becomes truth in its own right” (Simulacrum, 2012). Take for instance, a patchwork. A patchwork is a work that is a copy and a combination of several other works; however it is still something new, though not original.

One technique that signifies simulacrum is intertextuality. Abrams (1981) defines intertextuality as “a creative means used to: Signify the multiple ways in which any one literary text echoes, or is inescapably linked to other texts, whether by open or covert citations and allusions, or by the assimilation of the feature of an earlier text by a later text, or simply by participation in a common stock of literary codes and conventions” (p. 200). To put it simpler, intertextuality refers to situations where one literary text borrows characters, events from another text, or directly/ indirectly takes parts from other texts or uses the same or similar stylistic technique of a previous text.

Related to intertextuality, postmodernism also benefits from pastiche, a technique that brings multiple elements together. It can be a combination of genres like combining a horror story with a historical one, or combining fantasy with psychological story. One another use of pastiche is in language, bringing several different discourses together in a narrative such as the use of street language, combining it with the language of law etc. - 55 -

With all these techniques, postmodernism has brought a significant change, but perhaps one of the most innovative techniques in postmodernism is metafiction and self-reflexivity which refers to a text’s referring to itself as a text, that is the text is aware of itself. Orlowski identifies some of the characteristics of metafiction as follows (as cited in Taormina, 2008): • the violation of narrative levels, specifically intrusions in the narrative to comment on the writing - involvement of the author with the fictional characters - “directly addressing the reader”

- “openly questioning how narrative assumptions and conventions transform and filter reality. . . .”

• the reliance on “unconventional and experimental techniques” such as: - a rejection of conventional plot

- a display of “reflexivity (the dimension present in all literary texts and also central to all literary analysis, a function which enables the reader to understand the processes by which he or she reads the world as a test)”

The purpose of metafiction is blurring the distinction between reality and fiction. The following text is taken from the beginning of If on a Winter’s Night a Traveller by Italo Calvino (1982) and contains the characteristics of metafiction. “You are about to begin reading Italo Calvino’s new novel, If on a winter’s night a traveller. Relax. Concentrate. Dispel every other thought. Let the world around you fade. Best to close the door; the TV is always on in the next room. Tell the others right away, “No, I don’t want to watch TV!” Raise your voice - they won’t hear you otherwise - “I’m reading! I don’t want to be disturbed!” Maybe they haven’t heard you, with all that racket; speak louder, yell: “I’m beginning to read Italo Calvino’s new novel!” Or if you prefer, don’t say anything; just hope they’ll leave you alone.” P. 3).

First, the author directly addresses the readers telling them what to do and what not to do. Moreover, the narration is self-reflexive as it is aware that it is narrative by advising the readers to shout “I’m beginning to read Italo Calvino’s new novel!” out. It’s Your Turn!

2

• Can you name any book that uses metafiction? Which characteristics of metafiction were used in that example?

Irony and black humor also play a significant role in postmodernism. Black humor is “a form of humor that regards human suffering as absurd rather than pitiable, or that considers human existence as ironic and pointless but somehow comic” (Black humor, 2012). - 56 -

There are of course several other characteristics of postmodernism. However, the ones that are introduced here are the basic characteristics to understand a postmodern literary work.

SUMMARY OF THE STORY

The story opens in a psychoanalyst’s office. Professor Sidney Kugelmass is complaining about his life and is disappointed that his marriage to his second wife Daphne did not turn out to be what he had expected. He actually married Daphne because he had to pay a high alimony to his ex-wife Flo, and Daphne had money. He confesses to his analyst Dr. Mandel that what he needs is a romantic relationship to which the analyst objects because the analyst believes that a romantic relationship would be a superficial solution to Kugelmass’ deeper problems. Kugelmass talks about a dream he saw the previous night in which he was walking with a basket with a hole in it and the basket is labeled “options”. The analyst does not listen and make any comments on the dream and tells him to forget about putting his fantasies into action as he believes what Kugelmass needs is time to feel better. Kugelmass leaves Dr. Mandel’s office claiming that he needs a magician to solve his problems if the analyst cannot find a solution. A few weeks later, Kugelmass receives a call from a magician called The Great Persky who claims he has the power to change Kugelmass’ life by adding some excitement. Kugelmass rushes to Persky’s old apartment the same afternoon. He declares that he wants romance which Persky finds amazing. Persky brings in a Chinese cabinet of poor quality which makes Kugelmass suspicious of the trick that Persky is going to make, yet he gets into the cabin. Persky assures him that when he throws a book of literature into the cabin and taps it for three times, Kugelmass will be projected into the book and will have an affair with the female character in the book, which again Kugelmass does not believe. However, he gives it a try and wants to be projected into the novel Madame Bovary by Gustave Flaubert to have a relationship with Emma Bovary.

Persky plays the trick and Kugelmass finds himself in Emma and her husband Charles’ bedroom. Though surprised, Emma does not mind the intrusion and offers him a drink which Kugelmass accepts. They spend a romantic hour together and Kugelmass leaves to meet his wife Daphne, hoping to come back the next day again. Nevertheless, he does not know that the book changes when he enters the book and several students reading the novel recognize him as a strange Jew kissing Emma Bovary. Kugelmass visits Persky for several times for months and enjoys a romantic relationship with Emma, but he always makes sure that he gets into the book before page 120 when Emma meets Rudolpho, a character whom he thinks he cannot compete with.

In one of these visits, Emma complains about the monotony of her life with her husband and is excited with the several stories that Kugelmass tells about the American life in the 20th century. Emma wishes to go to New York back with Kugelmass with the help of Persky. - 57 -

Kugelmass tells her that he is going to talk to Persky, and upon his return he informs the magician about the issue, and Persky thinks he can do it.

Kugelmass returns his home late which makes his wife Daphne suspicious of the possibility of his having an affair with a woman. She tells him not to forget her father’s birthday, but Kugelmass escapes to the bath not to listen to his wife and imagines his next adventure with Emma.

The following afternoon Kugelmass gets himself projected to Yonville to be with Emma, but this time to bring her to New York. Persky plays his trick and the couple find themselves in New York near Plaza Hotel where Kugelmass reserved a suit. Emma is thrilled with the modern life, the clothes and everything she sees around her. Right at this moment, a professor notices that Emma is gone from the book and he comments that rereading classics gives the readers a new experience each time

The lovers pass the weekend together enjoying the interesting places in New York and on Monday they go to Persky’s apartment to send Emma back to Yonville. However, there is a problem and the cabinet does not work. Kugelmass is disappointed and he claims that he is a married man and cannot take further risks by keeping Emma in New York, but as Persky cannot fix the cabinet at that moment, Kugelmass takes Emma back to the Hotel. When he goes back to his home Daphne notices that something is wrong, but Kugelmass refuses the implication. On the phone, Kugelmass learns that it will take Persky several days to fix the cabinet and goes back to the hotel to inform Emma of the situation. Emma is equally upset commenting that her husband will miss her, but she has to stay there the whole week. In the mean while, she claims to be bored in the hotel room and begins taking acting lessons, which causes Kugelmass to spend a lot of money. She also threatens Kugelmass either to send her back or to marry her. In this period , the couple begins to get weary with each other’s existence.

Next Monday, Kugelmass visits Persky’s apartment, and is furious that Persk’s machine has costed him a lot of money in addition to many complications in his life. He says that Emma and himself are now sick of each other; he suspects that Daphne has hired a detective to follow him and he is threatened by a literature professor, Fivish Kopkind, for cheating on Daphne. He is very afraid that Daphne is going to divorce him and pay a huge alimony and begs Persky to solve the problem as quickly as possible. Persky answers that he is not an analyst but a magician, and cannot help his psychological problems. Another week passes and the tension between Kugelmass and Emma increases. While Emma refuses to talk to Kugelmass, Kugelmass plans to kill himself. While he is speculating suicide, Persky calls to give the news that he has fixed the cabinet. The couple rush to his apartment and Emma is sent back to Yonville safely. Kugelmass declares that he has learned his lesson and promises not to cheat on his wife again. - 58 -

Three weeks later, however, Kugelmass is back at Persky’s apartment to be projected into Portnoy’s Complaint, an erotic book to have sex and romance this time. As Kugelmass gets into the cabinet, the book is thrown in, and Persky taps the cabinet for three times. Something goes wrong and the cabinet explodes killing Persky. Kugelmass is projected into a Spanish Grammar book and is chased by an irregular Spanish verb “tener” which means to have.

ANALYSIS OF THE STORY

OVERALL ANALYSIS AND PLOT STRUCTURE

“The Kugelmass Episode” is a parody of both modern American and Jewish society and through the central character Professor Sidney Kugelmass explores one of the central conflicts of the modern consumer society: dissatisfaction.

In the beginning of the story, the reader is introduced to the central character Kugelmass going through a psychoanalysis session in which he confesses his inner conflict (man versus self). Kugelmass is deeply dissatisfied with his life and no external reason is given highlighting his conflict with himself. As Dr. Mandel explains his problems are deep and not just related to his dissatisfaction with his marriage. This part serves as an exposition, setting the scene for the coming events.

Having been disillusioned with the session, Kugelmass turns back to his monotonous life until a mysterious call comes from The Great Persky, the magician. Persky’s entrance is significant in that it starts the rising action increasing suspense with his promise of introducing Kugelmass to a whole new world of romantic experience. The initial descriptions of Persky’s “broken-down apartment house” (line 47) are significant as they foreshadow the following unfortunities that Kugelmass will endure. The house is broken-down which foreshadows the initial breakdown of the magic cabinet which is also described as “cheaplooking Chinese cabinet, badly lacquered” (line 60). The description of the cabinet is also a foreshadowing of the poor quality of the service that Kugelmass is going to receive. Indeed, the cabinet refers to the poor quality Chinese products which fail to serve their purposes after a short while following the purchase. Though suspicious, Kugelmass cannot resist the temptation of buying the service however. It’s Your Turn!

3

• Why do you think Kugelmass accepts Persky’s offer despite the terrible condition of Persky’s apartment and the poor quality of the cabinet?

Later when Kugelmass is trying to choose a book to be thrown into the cabinet, the fictional characters that he considers give a good deal of information about Kugelmass’ personality. The first mentioned name is Sister Carrie of the novel Sister Carrie by Theodore Dreiser. Kugelmass does not consider this option because Sister Carrie is a character who is - 59 -

materialistic and is never satisfied her material possessions (Sister Carrie, 2012). The next character is Hester Pryne from Nathanial Hawthorne’s novel The Scarlet Letter. Hester is also unfit for Kugelmass because she is a very strong willed woman. The next character is Ophelia of Shakespeare’s Hamlet and Ophelia is too fragile to endure any such exciting relationship. Temple Drake, the protagonist of the novel Sanctuary by William Faulkner is also unsuitable because of her indulgence in physical pleasure rather than romance. Instead of choosing the books that Persky offers, Kugelmass prefers to meet Emma from Madame Bovary by Gustav Flaubert claiming that he does not want to pay for the experience, highlighting his stinginess and materialism. Emma, afterall, is a character who is running after passion and romance cheating on her husband for several times.

Kugelmass’ entrance into the novel Madame Bovary is also interesting. Emma’s not showing any reaction is absurd and her flirtatiousness is parodied. Moreover, Kugelmass is an anachronistic character in the setting because he is utterly different in terms of his appearance, especially clothes. Emma points out to his anachronistic appearance which is ironic for the 21st century readers: “I’ve never seen anything like it around here. It’s so ... so modern. “ (lines 27-28).

Kugelmass’ relationship with Emma seems to be promising for some time because their expectations of romance and excitement match almost equally. However, this does not mean that Kugelmass has resolved his inner conflict about his lack of self-confidence. He always wants to get into the book before page 120 where Emma meets Rudolpho as he believes Rudolpho to be a very handsome Casanova who is skilled at pleasing women. The relation of the couple maintains its harmony until Emma wants to go to New York with Kugelmass. Emma’s entrance into 20th century New York is equally anachronistic as she very easily adopts to the completely new life driven with technology fairly easily. She not only understands the life, but also becomes a part of it taking private lessons of acting and adopting the English slang in a very short time whereas she was talking “in the same fine English translation as the paperback” (line 108).

What marks the change in the relationship of the couple is Emma’s entrance into the 20st century world. There is a criticism of consumer society in this part which makes individuals consume individually which leads to isolation. Emma begins to seek her own career when she is tired of watching TV all daylong in the hotel room. Naturally a dissatisfied woman, capitalism which triggers consumerism affects her and she becomes one of the members of the capitalist society. Having been distressed because of Persky’s inability to send Emma back, the couple begins to lose romanticism which is also the sign of damage that capitalism and consumer society cause on relationships.

There is a good deal of suspense “a lack of certainty, on the part of a concerned reader, about what is going to happen” (Abrams, 1999, p. 225). Suspense happens when Persky calls Kugelmass that he was finally able to fix the cabinet and will perhaps be able to send Emma back to Yonville. The text makes the readers to expect Emma to be sent and the tension to be - 60 -

resolved. Emma is sent back; however her departure serves only as an anticlimax “where something which would appear to be difficult to solve in a plot is solved through something trivial” (climax- narrative, 2012). Her departure does not make Kugelmass make peace with himself and learn from his mistakes. Emma’s departure would be a too simple solution to Kugelmass’ conflict.

The real climax, that is the turning point, happens when Kugelmass visits Persky once more to have another relationship only three weeks after Emma is sent back to her novel. This point will change his life permanently as he will never find another chance to solve his problems. In the denouement (resolution), Kugelmass is projected into a Spanish grammar book to be followed by a verb “tener” which is ironic because Kugelmass was unable to understand the meaning of the word in the real world and that his solution can only be fictional. This point actually highlights the postmodern philosophy that the problems of fragmentation and isolation cannot really be solved and one should only play with the idea. Moreover, this resolution also presents a peripety (English) or periepeteia (Latin) where there is a reversal of circumstances “whether to the protagonist’s failure or destruction... or success” (Abrams, 1999, p. 227). Here, Kugelmass is destroyed because of his decision of getting into the cabinet once more, despite the proven unreliability of the device. It’s Your Turn!

4

• The story is full of absurdities and unrealistic situations. How do you think this type of presentation is perceived by the readers?

CHARACTERS

Sidney Kugelmass

The protagonist and the antagonist of the story, Sidney Kugelmass is a professor of humanities at City College. He has two sons from his first wife Flo, and pays high alimony to her. He is presently married to Daphne who is also working at the same college. Kugelmass is unhappy with his new marriage with Daphne whom he resembles to a troglodyte. Kugelmass is also unfortunate about his physical appearance as he is bold and his body is extremely hairy. This detail becomes important at the end of the story as he is followed by a hairy word “tener” at the end of the story. What marks Kugelmass’ personality is his deep dissatisfaction with everything he has. He has a position at a college, but implicitly he compares himself to other colleagues. Moreover, he is never satisfied with his relationships perhaps because he does not know what he actually is looking for. The reason why he divorced Flo is not made clear, but the reason why he does not like Daphne anymore is because he finds Daphne stupid and unattractive. He married Daphne because she had money and could have been a good spouse, but he is quickly bored with her as well. That’s why he is in search of a love affair, a romance, that would satisfy his emotional needs. - 61 -

Kugelmass is so desperate that he accepts Persky’s offer and starts a new relationship with the fictional character Emma Bovary. This relationship highlights the irrationality and the impossibility of realizing his fantasies in real life. His dissatisfied personality is projected on his new relationship with Emma as well because he grows weary of her very quickly especially when they encounter real life problems. The reason for the new disillusionment for Kugelmass again lies in the discrepancy between his unrealistic expectations and real life conditions. Although Kugelmass claims that he has learned his lesson after sending Emma back to Yonville for the last time, the reader soon discovers that he has not learned anything since he wants to be projected into another book, this time to have sex and romance. With all these, Kugelmass is portrayed as a middle-aged man who is experiencing a midlife crisis, andropause.

Kugelmass, at the end of the story is punished for not being satisfied with anything he has and is ironically chased by a Spanish verb “tener”, meaning “to have”. He will spend the rest of his life trying to escape from the word that follows him. Another characteristic of Kugelmass is his excessive materialism. Not only he is dissatisfied with his relationships, but also he is never satisfied with money. At the beginning of the story, he complains about the high alimony he pays Flo, and later when he thinks that Daphne has hired a detective to follow him, he is not afraid that his marriage will end, but rather he is afraid that he will have to pay an even higher alimony to Daphne. Moreover, he complains about Emma’s expenses in New York, too. This characteristic is also a parody of the stinginess which is associated with Jewish people.

From these perspectives, Kugelmass is a parody of the consuming, materialistic man who is never pleased with the things he has and who is unable to find any real meaning in life. Because of this the punishment that he receives at the end of the story is highly ironic as he will have to learn the meaning of the word for the rest of his life.

As indicated by the analysis, Kugelmass is a flat character as he does not learn his lesson despite all the misfortunes and the wrong decisions that he makes. The severe consequences of his decisions do not make any significant progress in his self-development. Therefore he cannot resolve his inner conflict (man versus self) making him the antagonist of himself. It’s Your Turn!

5

• Do you think Kugelmass is a sympathetic character or not? What makes him sympathetic or unsympathetic?

Emma Bovary

Originally the protagonist of Gustave Flaubert’s novel Madame Bovary, Emma shares many characteristics with Kugelmass. Emma is a woman of energy and romance, who cannot find - 62 -

these in her marriage with Charles. Therefore, in the novel she has relationships with other men to add some excitement to her life. She is also extravagant in her spendings and at the end of the novel, she is refused by her lovers which makes her commit suicide. Emma does not appear to be a different character in “The Kugelmass Episode” as well. When Kugelmass visits her in her bedroom, she does not protest the intrusion and thrilled by the stranger that appears suddenly in her life. Moreover, like Kugelmass, she cannot stand problems and has an unrealistic view of a relationship. After spending three weeks with Kugelmass in the real wold in New York, she becomes sick of him and wants to go back to to Yonville to her novel. In addition, as Kugelmass will not get into the novel anymore, she will live in her own way still dissatisfied with her own life and seek for romance which later she will pay with her life. Furthermore, like Kugelmass, Emma is also materialistic. She is keen on good clothes and luxury and “consumes as twice as she weighs” in Kugelmass’ words (lines 299-300). Likewise, she marvels at the vivid life in New York and immediately becomes a part of it as an another consumer in the American society. Because of the above reasons, Emma is also a flat character who has no depth and does not learn a moral lesson from her experiences. Dr. Mandel

Dr. Mandel is a parody of modern psychology. At the beginning of the story, he listens to Kugelmass who is talking about his problems. Nevertheless, he does not analyze his problems, but instead just admonishes him not to act. Most of the time, he finds it difficult to communicate with Kugelmass since in his all attempts he is stopped by Kugelmass: “Mr. Kugelmass -” (lines 20, 24). However, there is a significant point that he misses. When Kugelmass talks about his dream, instead of analyzing the dream, he overlooks it and warns him not to act once more and tells him to share his feelings with the doctor. Actually, dreams are considered to be an invaluable reference for psychoanalysts, but Dr. Mandel skips it. Therefore, he functions as a parody of modern psychology that cannot find cures to the problems of modern individuals. The Great Persky

Persky is also a parodical character. He is represented as a magician who solves the problems of modern individulas, but only temporarily and superficially. Magicians bring excitement to the lives of people, nevertheless such solutions are incompatible with the deeper problems of individuals. As such, Persky confesses at the end of the story that “After all, I am a magician, not an analyst” (line 327) when Kugelmass complains about the problems he is experiencing in his life. - 63 -

Daphne

Kugelmass’ second wife Daphne is a woman who is described by various insulting expressions by Kugelmass. She is rich and as Kugelmass tells at the beginning of the story “had promise” (line 6). However, it is implied that she has changed during her marriage with Kugelmass perhaps by not being careful about her physical appearance. Because of this, Kugelmass resembles her to a cave man in line 117. She is also portrayed as a woman who holds the power in the relationship as she instructs Kugelmass to attend family meetings. Moreover, Kugelmass is very afraid of her because she has the power to drag him into poverty in case of divorce. It’s Your Turn!

6

• What are the differences between Emma and Daphne?

• Are there any similarities between Emma and Daphne?

POINT OF VIEW

Because the story is a postmodern one it employs three different narrative points of view. In the parts that concentrates on the action, the narrator is only objective, therefore the narration consist mainly of dialogues or a report of the events. This narrative point of view dominates most of the story. In the parts where the narration concentrates on Kugelmass’ feelings, this time the story is told from the third person limited omniscient narration and is told from Kugelmass’ perspective. Especially Daphne is portrayed through his vision. Moreover, there is also the use of third person omniscient narrator when the narration has equal distance to each of the characters, reporting Kugelmass’ and Emma’s feelings particularly.

TYPE OF THE STORY

The type of the story cannot be explained by a single subgenre. As it explores the consciousness of Kugelmass, it has the characteristics of a character story. Also, the story falls into an action story because the action is as important as the characters. Moreover, as the story also reaccounts adventure, it can also be categorized as adventure story. Therefore, in the postmodern sense, The Kugelmass Episode is a simulacra, benefiting from intertextuality with its borrowing from various genres.

SETTING

Setting of time:

Dramatic time: There are lots of references to the passage of time in the story. Kugelmass visits Persky a couple of weeks after his visit to Dr. Mandel. Later he has some months with - 64 -

Emma. Moreover, it takes Kugelmass only three weeks to revisit Persky to be sent into another book. Therefore, although there is no specific date in the story, it can be understood that the events in the story take in several months.

Historical time: The story takes place in to different times: One in the late 20th century, the other in 19th century when Kugelmass visits Emma in Yonville. Although dates are not specifically given, the dates can be anticipated by checking the names that take place in the story. For instance, it is known that O.J. Simpson was popular in 1980s and 1990s. This shift between centuries cause anachronism which is defined as “a chronological misplacement of persons, events, objects or customs in regard to eachother” (Anachronism, 2012).. One example of such anachronisms happens when Kugelmass visits Emma in Yonville for the first time. Emma recognizes Kugelmass’ clothes as “so modern” (line 129). It’s Your Turn!

7

• What are the other examples of anachronism in the story?

Setting of place:

The story takes place in two places, one in Yonville, the other in New York. The choice of places is highly significant because especially Yonville, a place in France associated with romance and love. It is noticeable that there is no problem between Emma and Kugelmass when they spend time together in Yonville. On the other hand, New York usually associated with cosmopolitanism, individualism and isolation causing the degeneration of the couple’s relationship. There are also various specific names given from New York.

SYMBOLISM

Although the story is not very symbolic, the dream that Kugelmass sees is a symbol worth analysis. In his dream Kugelmass sees that he is carrying a basket with a hole in it. It is significant that the basket is labeled “options”. Because there is a hole in the basket, whatever one puts in it will eventually be lost leaving the person without options. In this sense, the dream symbolizes Kugelmass’ being lost in a Spanish grammar book at the end of the story.

THEMES

Fiction and Reality

In the story Kugelmass becomes a fictional character in the novel Madame Bovary and Emma becomes a real character in the 20th century New York. The text makes sure that the distinction between the two worlds is blurred as some students recognize Kugelmass in the novel and even Fivish Kopkind threatens Kugelmass of espionaging his fictional adulterous - 65 -

affair to his wife. According to postmodernism, people are partly made of their past experiences and they are shaped partly by the things they read of fiction. Therefore, there is no real distinction between fiction and reality. The same is also valid for fiction as it sometimes adopts real events and characters. Therefore, they are interwoven. Postmodernism, as a response to this idea, plays with the division between fiction and reality. It’s Your Turn!

8

• When Allen wrote “The Kugelmass Episode”, the virtual worlds especially on the Internet were not so widespread. Now people are able to run farms, make friendships etc. on the net. Is there a similar blurring of distinctions between virtual worlds and reality in today’s world as Allen exemplifies in his story?

Isolation and Dissatisfaction As a Result of Capitalism

The world that is presented in the story is run with technology and is under the heavy influence of capitalism and consumerism. Most of the characters are living in a world where there is little genuine connection between characters. As a result of consumerism, Kugelmass is dissatisfied with whatever he has. Emma becomes no different when she comes to New York. She is soon dissatisfied with her life which makes her seek opportunities to fulfill her desires. Another effect of capitalism is rivalry which can be observed between Kugelmass and Professor Fivish Kopkind. Although there is no precise account of their relationship, Kugelmass reports that Kopkind has always been jealous of him highlighting competition over collaboration. The result is again isolation. However, Allen does not deal with this issue in a serious manner as many writers would have. Instead, adopting a postmodern attitude, he plays with the idea of isolation and dissatisfaction. Therefore, he deals with the theme by using black humor.

LANGUAGE AND STYLE

The language of the story is highly energetic especially with the use of short sentences. Moreover, Allan uses a lot of daily expressions to make the language more realistic as opposed to the unrealistic representations in the story. Although the story does not benefit from a lot of figures of speech, there are some examples: Metaphor: an implicit comparison Troglodyte- Daphne (line 117)

Ball and chain - Daphne (line 142)

Simile: an explicit comparison made by using the words “as” or “like” You are as tense as a cat (line 282)

- 66 -

It’s Your Turn!

9

• Find other similes and metaphors in the story.

What marks the language of the story is the dominant use of slang and informal language. The dialogue that uses lots of slang and comic comments makes the presentation of the serious topic quite lighthearted.

POSTMODERN FEATURES OF THE STORY:

“The Kugelmass Episode” is a story that reflects most of the characteristics of postmodernism. Below are examples from the postmodern features of the story: Self-reflexivity: The text referring to itself as a text.

One of the examples of self-reflexivity is the language that Emma uses: “She spoke in the same fine English translation as the paperback” (lines 108-109). Madame Bovary is originally a French novel and the characters normally speak French. However, the version that Persky throws into the cabinet is the English translation which makes Emma speak English in the story. This shows the fictionality of the character, however, as the reader reads the story, that she is French is no more important and the reader simply looks over her using English, especially when she becomes a part of the modern world using daily language, even slang. Therefore, the distinction between reality and fiction is blurred. One another example happens when students all over the world discover him in the novel while reading Madame Bovary in the 20th century: What he did not realize was that at this very moment students in various classrooms across the country were saying to their teachers, “Who is this character on page 100? A bald Jew is kissing Madame Bovary” A teacher in Sioux Falls, South Dakota, sighed and thought, Jesus, these kids, with their pot and acid. What goes through their minds! (lines 148-152)

In these lines a fictional character Kugelmass becomes yet another fictional character in the novel Madame Bovary, and that students identify him ensure that he literally gets into the book, which again blurs the distinction between reality and fiction. As the teacher perhaps is not reading the book at the same time as the students, the teacher cannot identify him, therefore, accusing the students for being under the influence of drugs. This is a parody of teachers who cannot follow the recent trends not refreshing their information about their subject of study. It’s Your Turn!

10

• Can you find any other examples of metafiction or self-reflexivity in the story? What are they? - 67 -

Fragmentation

Kugelmass does not have a linear life. His life is fragmented between his life in New York and his affair in Yonville. The same is reflected in the texts as well. When Kugelmass enters the novel, the narrative line of the novel is broken and it becomes nonlinear. The same thing happens when Emma begins to live in New York causing another fragmentation in his life. Blurring of the Distinction between high literature and low literature

Madame Bovary can be given as an example of high literature with its elaboration and refinement of language. However, the story “The Kugelmass Episode” is a product of popular culture with its heavy use of slang. Allen combines these two works into a single work diminishing the borders between the two.

Intertextuality

The story is overtly intertextual borrowing one of the central characters and the theme of dissatisfaction from another literary work. Patiche:

The story also uses several different discourses together. Dr. Mandel’s scientific language, Emma’s fine English translation language, Kugelmass’ slang and Persk’s advertising discourse are all united.

Playfulness and Parody

The story is actually a parody of tragedy as a literary genre and it plays with one of the modern tragedies. Kugelmass has all the characteristics of a tragic hero. He has hamartia, a flaw in personality because he is extremely acquisitive. This makes him make wrong decisions, hamartia; that is he accepts Persky’s offer and has a relationship with Emma. He does not learn from mistakes which causes him to have another hamartia, his last visit to Persky which brings his destruction, catastrophe. Although the isolation, alienation and dissatisfaction that Kugelmass experiences are the common tragedies of the modern world. These are not presented in a serious fashion. Instead the writer parodies tragedy highlighting people’s weakness and impossibility of solving such problems. Therefore, Allan uses black humor reducing Kugelmass’ suffering to a comic incidence. It’s Your Turn!

11

• What other postmodern characteristics can you find from the story?

- 68 -

TITLE

Merriam-Webster Dictionary defines the word “episode” as:

A usually brief unit of action in a dramatic or literary work as:

a. The part of an ancient Greek tragedy between two choric songs,

b. A developed situation that is integral to but separable from a continuous narrative, c. One of a series of loosely connected stories or scenes,

d. The part of a serial presented at one performance. (Episode, 2012). The “Episode” (2012) in the title of the story fits into the second and the third definitions provided by the dictionary. As for definition “b”, the title refers to the episode that Kugelmass creates when he enters the novel “Madame Bovary”. Because the story is a postmodern one that makes a parody of originality of narratives, the title refers to the new episode that is added to the book. It also refers to the Kugelmass episode in Emma’s life. It becomes an integral part of the novel however it is at the same time separable as it does not belong to the main text. As for definition “c”, the title refers to the fragmentation in the narrative. As several students (lines 148-152) and a literature professor (lines 243-246) recognize he appears as a sporadic character in the novel and breaks the unity of the narrative which causes discontinuity. It’s Your Turn!

12

• Do you think life is fragmented as presented and parodied in the story? If so how?

- 69 -

Self-Test

1. Where does the story begin? a. b. c. d. e.

In Persky’s apartment In Yonville In Kugelmass’ house In Dr. Mandel’s office In Soho

2. Where does Persky play his trick? a. b. c. d. e.

In a Chinese cabinet In a hotel room In a spaceship In a bookstore In a library

3. Who is/are the people who recognize Kugelmass in the novel Madame Bovary first? a. b. c. d. e.

Daphne Students reading the novel A literature professor Emma’s lovers The detective Daphne hired

4. Which of the following is not a literary device that is used in the story? a. b. c. d. e.

Simile Metaphor Anachronism Epiphany Intertextuality

5. In the story, the text makes it clear that Madame Bovary is fiction and Kugelmass’ fictionality is also highlighted. Which postmodern characteristic is this? a. b. c. d. e.

Irony Black humor Self-reflexivity Playfullness Fragmentation

- 70 -

Key to Self-Test 1. D

2. A

3. B

4. D

5. C

Literature Alive

1. Kugelmass is presented as a parody of especially Jewish Americans. Do you think the characteristics of Kugelmass is just peculiar to Kugelmass or do the conflicts that Kugelmass have also relevant to contemporary society? Explain your reasons. 2. Watch the episode 21/season 2 of Avrupa Yakası from the following link: http://www.eskidizi.com/izle/avrupa-yakasi-21-bolum

Find the postmodern characteristics. Can you find any similarities between Volkan and Kugelmass?

References

Abrams. M.J. (1981). Intertextuality. A glossary of literary terms. Fort Worth: Holt, Rinehart, and Winston. Abrams, M.H. (1999). A glossary of literary terms. 7th Ed. USA: Heinle & Heinle, Thomson Learning

Anachronism. (2012). Merriam Webster. Retrieved June 4, 2012 from http://www.merriamwebster.com/dictionary/anachronism Black humor. (2012). In Dictionary.com. Retrieved http://dictionary.reference.com/browse/black+humor

June

9,

2012

from

Calvino, I. (1982). If on a winter’s night a traveler. California: Harcourt Brace Jovanovich

Climax (narrative). (2012). In Wikipedia, The Free Encyclopedia. Retrieved June 9, 2012, from http://en.wikipedia.org/w/index.php?title=Climax_(narrative)&oldid=492353355

Episode. (2012). Merriam Webster. Retrieved June 4, 2012 from http://www.merriamwebster.com/dictionary/episode Hucheon, L. (1989). The politics of parody. The Politics of Postmodernism. (pp. 93-117). New York: Routledge.

Lombardi, E. (2012). Stream of consciousness. Classic Literature. Retrieved June 8, 2012 from http://classiclit.about.com/od/literaryterms/g/aa_stream.htm

Palahniuk, C. (1996). Fight club. New York: Henry Holt and Cmpany, LLC. - 71 -

Rahn, J. (2011). Modernism. The Literature Network. Retrieved June 8, 2012 from http://www.online-literature.com/periods/modernism.php

Simulacrum. (2012). In Wikipedia, The Free Encyclopedia. Retrieved June 8, 2012, from http://en.wikipedia.org/w/index.php?title=Simulacrum&oldid=495728394 Sister Carrie. (2012, February 12). In Wikipedia, The Free Encyclopedia. Retrieved June 8, 2012, from http://en.wikipedia.org/w/index.php?title=Sister_Carrie&oldid=476536842

Sturtevant, V. (2012). Parody and the postmodern. Retrieved June 8, 2012 from http://www.filmreference.com/encyclopedia/Independent-Film-Road-Movies/ParodyPARODY-AND-THE-POSTMODERN.html

Taormina, A. (2008). Metafiction. Retrieved June 9, http://www.nvcc.edu/home/ataormina/novels/history/metafiction.htm

2012

from

Wheeler, L.K. (2012). Parody. Literary Terms and Definitions. Retrieved June 8, 2012 from http://web.cn.edu/kwheeler/lit_terms_P.html

Woody Allen. (2012, June 4). In Wikipedia, The Free Encyclopedia. Retrieved June 7, 2012 from http://en.wikipedia.org/w/index.php?title=Woody_Allen&oldid=495879488

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UNIT 5 THE BOARDING HOUSE Amaçlarımız - Our Aim

After studying this unit, you will be able to;

• discuss James Joyce as a writer;

• understand the background of the story;

• analyze the setting, point of view and the characters

• understand literary concepts related to the story and study story specific information

Anahtar Kavramlar - Key Concepts • Parent and Child

İçindekiler - Unit Contents • INTRODUCTİON

• BACKGROUND INFORMATION TO THE WRITER- JAMES JOYCE • THE STORY

• WHAT IS THE STORY THE BOARDING HOUSE ABOUT? • WHAT IS THE SETTING OF THE STORY? • WHEN DOES THE STORY TAKE PLACE?

• WHAT IS THE POINT OF VIEW IN THE STORY? • WHO ARE THE CHARACTERS? • LITERARY CONCEPTS

• STORY SPECIFIC INFORMATION

- 73 -

INTRODUCTİON

The aim of this study unit is to help you read and understand the short story The Boarding House written by James Joyce. It will help you to focus on the literary concepts used and stated by the writer. Moreover, you will have information that is specific to the short story, its characters and setting. Literary concepts that are important to analyze the short story and story specific information will be given for detailed analysis. In your book A World of Fiction: Twenty Timeless Short Stories you will find the manuscript of The Boarding House and information about James Joyce on pages 143-156. Please read this information and the short story first and then read the information on this Study Unit. Moreover, questions following the manuscript of the short story will be quite helpful for you to understand the details. After reading The Boarding House carefully by taking notes and underlining the important quotations, read the analysis provided in this study unit. This short story is under the title “Parent and Child”. Hence, while reading the story analyze the relation between the mother and her daughter by considering the moral atmosphere of the story. While you are reading the contents of this study unit, you will answer questions in “it’s your turn” parts. Each question will try to help you to gain a better insight in to the concepts that you need to know while analyzing The Boarding House.

BACKGROUND INFORMATION TO THE WRITER- JAMES JOYCE

James Joyce was born in Dublin, Ireland in 1882. His father worked in many professions, which forced the Joyce family move to a poorer estate. The family lived in the Northern Dublin soon after James Joyce’s birth. His mother was a pianist who devoted herself to the practices of the Catholic Church. Joyce started his education in a Jesuit school named Clongowes Wood College and then he continued his education at Belvedere College in Dublin. He started writing poetry and essays when he was at college. His first essay was on Henrik Ibsen’s play When We Dead Awaken which appeared in a review in 1900. After Joyce graduated, he went to Paris in 1902 and worked as a journalist and teacher in order to support himself financially. Upon receiving news about his mother’s illness, he returned to Dublin in 1903 and he met his future wife Nora the following year. After his mother’s death, Joyce travelled to many places with Nora including Rome, Trieste and Zurich from 1905 to 1919. During the World Wars the couple lived in Paris. James Joyce married Nora in 1931. Joyce died in 1941 in Zurich. James Joyce published his short story collection Dubliners in 1914. The characters and places in this collection look real and he criticized the Dubliners in many aspects. His well-known novel A Portrait of the Artist as a Young Man was published in 1916 and in 1918 he published a play called Exiles. He started writing his masterpiece The Ulysses in Zurich and the book was published in 1922. Due to censorship policies, The Ulysses became legal in the United States and in the Great Britain in 1933. His second major work Finnegans Wake was published in 1939. When he started Finnegans Wake in 1923, Joyce suffered from an illness - 74 -

related to his eyes and he managed to complete the work years later. James Joyce is known for his unique stream of consciousness style, which inspired William Faulkner and Virginia Woolf later on.

In his literary works, James Joyce portrays the lives of people who look like real characters fresh from real life. At the time of his writing, there were political upheavals all around Europe and the world wars were at the outbreak As for Ireland, it sought independence from Great Britain and also experienced difficult times in preserving the Irish culture against the dominant English culture. Although Joyce did spend most of his adult lifetime away from his home country, he was quite successful in picturing and narrating the lives of Irish people. It’s Your Turn!

1

• Have you ever read any of James Joyce’s works? If so, what do you think his depiction of everyday characters?

THE STORY

Mrs. Mooney is a butcher’s daughter. She is married to her father’s foreman and opened a butcher’s shop with her husband. After her father’s death, Mr. Mooney sinks into alcoholism and ruins the family business due to his increasing debts and selling bad meat. Moreover, Mr. Mooney becomes violent against his wife and one day Mrs. Mooney has to spend the night at a neighbor’s house. After this incident, she separates from her husband and begins to live with her children. Mr. Mooney is a little man with a white mustache, white face and while eyebrows. He looks for a job after he ruins his business. With the money remaining from the butcher’s shop, Mrs. Mooney sets up a boarding house. The residents of the house are tourists, artists from music halls and clerks. The residents get on well with each other and most of time they discuss the results of horse races. Everybody in the boarding house call Mrs. Mooney “The Madam” due to her firm governing of the house. She knows when to credit someone and wait for the right time to take action. Jake Mooney is Mrs. Mooney’s son who works as a clerk. He usually comes home late at night and tell his friends about the horses or the artists the residents of the boarding house are talking about. He is a boxer and when the topic is his sister he could get mean.

On Sunday nights, the people in the boarding house unite. They listen to music, dance and talk. On these nights, Mrs. Mooney’s daughter Polly sings. She is a nineteen years old girl who used to work as a typist in an office. However, many men wanted to talk to her and Mrs. Mooney brought her daughter back to the house. Polly helpes her mother in the house. When Polly is present, young men in the boarding house like flirting with her. Mrs. Mooney thinks that these young men are just passing their time with her daughter and they are not serious about marriage. Mrs. Mooney soon finds out that Polly has an affair with one of the residents - 75 -

of the boarding house: Mr. Doran. Mrs. Mooney does not intervene with this relation and simply watches the couple. She waites for the right moment to talk about the relation between Polly and Mr. Doran. The people in the boarding house already begin to talk about the couple. It is a bright Sunday morning when Mrs. Mooney helps the maid prepare bread-pudding. The breakfast is over in the house and Mrs. Mooney thinks about the interview she had with her daughter the other night. Polly has told everything to her mother frankly and Mrs. Mooney is sure that Polly and Mr. Doran has to marry in order to save her daughter’s honor. Mr. Doran has to make up reparations for putting Polly’s reputation in danger and taking advantage of Polly’s youth. Mrs. Mooney thinks about the right moment to talk to Mr. Doran and she decides that she has to do the talk before the short twelve at church. According to Mrs. Mooney, Mr. Doran is a serious man of thirty-four or thirty-five. He is not like the other men in the boarding house. He has been employed for thirteen years at a respectable office and she thinks he would not want to risk his job by refusing to marry Polly. If things go public, it will be difficult for him to keep his job and reputation. Mrs. Mooney knows that Mr. Doran can afford marriage since she suspects that he has been saving money. Meanwhile, Mr. Doran is sitting anxiously on his bed thinking about what he and Polly have done. He has difficulty in shaving due to his nervousness. He knows that he does not have many options. He has to marry Polly or he has to run away. He thinks about what could happen if he refused to marry Polly. He dreams of his boss calling to fire him. Dublin is a small city and everybody knows everything. He is afraid of ruining years of long hardship because of his affair with Polly. He confesses to a priest and the priest told him that what he had done was a sin. Under this social pressure, Mr. Doran consideres his family’s reaction to Polly since she has a disreputable father and the boarding house of her mother is beginning to get a certain fame. He can not decide whether he really loves Polly or not. While he is sitting, Polly arrives and begins to cry. She tells him that she confessed to her mother and does not know what to do. She further threatenes that she would put an end to her life. Mr. Doran comforts her and tells her not to fear. Mr. Doran remembers the night he spent with Polly and decides that a reparation is necessary.

The maid comes and tell Mr. Doran that Mrs. Mooney wants to see him. While going down the stairs, he comes across Jake Mooney and Jake stares at him. Mr. Doran remembers the night Jake threatened the men who would harm her sister Polly. After Mr. Doran leaeves, Polly sits on the side of the bed and waits for Mr. Doran. After a while, she hears her mother calling her. Mrs. Mooney says that Mr. Doran wants to talk to Polly. It’s Your Turn!

2

• Who do you think is the victim of the story? Is it Mr. Doran, Mrs. Mooney or Polly? Why do you think so? • Do you think Mrs. Mooney sets a trap for Mr. Doran? Why? /Why not?

• What does Mr. Doran afraid of? Make a list.

• What would you do if you were in Mr. Doran’s situation? - 76 -

WHAT IS THE STORY THE BOARDING HOUSE ABOUT?

The boarding house is about a mother who plots to marry her daughter with a man whom the daughter has an affair with. This story is under the title “Parent and Child” and it mainly tells how and what a mother thinks and plans about her daughter. Mrs. Mooney is a determined woman and she aims to get a proper husband for her daughter. For this aim, she makes plans and it seems that her plans are working. In the story, in addition to the mother we are introduced to what Mr. Doran and Polly thinks about the events as well. The story portrays what marriage promises one and what it takes way. Mr. Doran is not aware of the consequence of his actions and now he has to pay for it. The concept of marriage becomes more than a feeling and it includes the social standards, moral obligations and public perception. Mrs. Mooney seems to care about her daughter but at the same time she plots about marrying her daughter with someone from a higher class. She does not intervene until the moment she is sure that Mr. Doran is ready for reparation. The following quotation shows that Mrs. Mooney has a plot about Polly and Mr. Doran. “Polly knew that she was being watched, but still her mother’s persistent silence could not be misunderstood. There had been no open complicity between mother and daughter, no open understanding but, though people in the house began to talk of the affair, still Mrs. Mooney did not intervene. Polly began to grow a little strange in her manner and the young man was evidently perturbed. At last, when she judged it to be the right moment, Mrs. Mooney intervened. She dealt with moral problems as a cleaver deals with meat: and in this case she had made up her mind (p.145).”

Mrs. Mooney seems to be proud of herself that she could get Polly to marry Mr. Doran. She thinks men have to take the responsibility of their actions in their relation with women. Mrs. Mooney thinks: “There must be reparation made in such cases. It is all very well for the man: he can go his ways as if nothing had happened, having had his moment of pleasure, but the girl has to bear the brunt. Some mothers would be content to patch up such an affair for a sum of money; she had known cases of it. But she would not do so. For her only one reparation could make up for the loss of her daughter’s honour: marriage (pp.146147).”

Mr. Doran suspects that he is being trapped but he also knows that he has to take the social responsibility of his actions. He has more to lose: public respect and his job. He fears about the social critique of the priest although he used to declare that he did not believe in God. He is also afraid of his Boss and Jake Mooney. Considering all these, he feels helpless. He thinks: “The harm was done. What could he do now but marry her or run away? He could not brazen it out. The affair would be sure to be talked of and his employer would be certain to hear of it. Dublin is such a small city: everyone knows everyone else’s business (p.147).” - 77 -

As it is clear from the quotation above, Mr. Doran cares about what others will think of him. Mr. Doran does not think about how Polly feels but he considers her background and manner of speaking. After Mr. Doran leaves, Polly who threatens to kill herself becomes happy suddenly since she is sure that Mr. Doran will propose to her. In The Boarding House, the detailed description of characterization and insight into how they feel and act portray how social acceptance and strategies have power over people’s decisions. It’s Your Turn!

3

• What is the role of marriage for each of the characters?

• Why doesn’t Mrs. Mooney interfere until the last moment she is sure of the affair? Do you think she waits on purpose? Why?

• What is Mr. Doran’s decision? How would you know?

WHAT IS THE SETTING OF THE STORY?

The main setting of the story is the boarding house run by Mrs. Mooney. After she separated from her husband Mr. Mooney, she set up a boarding house and used the money left from the unsuccessful butcher’s business. She and her children now live in the boarding house. The setting is a place where people from various backgrounds meet and mingle. The residents are generally the tourists from Liverpool and the Isle of Man. Artists from the music halls visit the place and the clerks from the business field live in the boarding house. The boarding house is described as: “Her house had a floating population made up of tourists from Liverpool and the Isle of Man and, occasionally, artistes from the music halls. Its resident population was made up of clerks from the city (p.144)”

It is actually a house, a shelter to people from different backgrounds. It roofs various people and becomes a microcosm of the city of Dublin. On Sundays, the residents come together to sing, dance and entertain each other. It is a kind of social gathering place for people. Mrs. Mooney hints about some of the characters that we come across in Dublin. People talk about the horse races, the artists and the relations just like Dubliners on the streets. Hence, the boarding house is more than a simple setting. Everyone knows about everybody and various classes are mixed in the boarding house. The life in the house is governed by the social roles and responsibilities; hence, its inhabitants are not free to do whatever they want to do and they do not live separate lives. The atmosphere of the boarding house is created by the social relations of the typical Dubliners. In this house, you cannot avoid the social responsibilities and you have to watch out for a reparation if you do something wrong. The social pressure Mr. Doran feels is visible in the - 78 -

house and Mrs. Mooney thinks that Mr. Doran will soon accept marriage with Polly. As a result, the setting is a place which reflects the social and private pressures typical citizens of Dublin feel and confront. It’s Your Turn!

4

• What is the significance of the setting? Why do you think the story is titled after its setting? • If you were to give the story another title what would it be? Why? • What does the setting signify for each of the main characters?

• Why do you think Mrs. Mooney uses her daughter to entertain the young men in the boarding house? • What do you think about the other minor characters in the boarding house? What do they hint about the real Dubliners?

WHEN DOES THE STORY TAKE PLACE?

In the story, there is no reference to any significant time. Background information regarding the past of the participants is given without any reference to timing. However, the main event in which Mr. Doran struggles about his possible marriage to Polly takes place on a Sunday morning. While thinking about what to do, brief history related to Mr. Doran is given and the details of the night they spent together is portrayed. On a Sunday morning, Mr. Doran thinks about what to do, Polly is anxious about Mr. Doran’s decision and Mrs. Mooney plans her next move. The short story collection Dubliners was published in 1914 when the world was at the break of a world war, when the social values are on focus and when people acted solely on what was expected from them in the society. In Dubliners, James Joyce intends to describe the moral history of Ireland. Hence, the short story The Boarding House reflects how people in the Dublin society in the early 1900s think about marriage and what they value as moral. The social pressures Mr. Doran feels reflect the social atmosphere of the time the short story is written. It’s Your Turn!

5

• Is there any similarity between what Dubliners think about marriage in 1900s and what people in our society think now? Are the considerations of Polly and Mr. Doran about their roles in the society if they don’t get married still valid today?

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WHAT IS THE POINT OF VIEW IN THE STORY?

The story is not told from a single point of view and we are introduced to the thoughts and feelings of multiple characters. In this respect, the short story has an omniscient third person narration. The characters are depicted in detail and background information about them is given. In the story, the events are told from Mrs. Mooney’s, Mr. Doran’s and partly Polly’s viewpoint and the focus is on what and how they feel rather than the events. Three different points of view help to overcome the limitations of the first person narration. The use of this narration technique helps the story become more novel like. The third person narration in the story is not biased or prejudiced but it portrays what really happens and how characters really think. This technique helps to get into the minds of the characters to understand their moods and the motives behind their actions. It’s Your Turn!

6

• What do you think of Joyce’s using a third person narrative with multiple perspectives rather than a first person narrative? What kind of an effect does it create on the reader? • The narration goes beyond the dialogues between the characters. How does it help to understand the motives of the characters?

WHO ARE THE CHARACTERS? Mrs. Mooney

Mrs. Mooney is the owner of the boarding house. She is separated from her husband and lives with her two children at the boarding house. She was a butcher’s daughter and her husband Mr. Mooney ruined the family business of butchery. After he acted violently, Mrs. Mooney left her husband and started her own business. She firmly governs the boarding house and also her daughter’s life. After her separation from her husband “She would give him neither money nor food nor house-room; and so he was obliged to enlist himself as a sheriff’s man (p.144).” This also shows that she is a determined and firm lady. She is called “The Madam” by the residents of the boarding house which shows that she holds the power and keeps a certain distance that makes others fear her. She does not pay attention whether Polly really likes Mr. Doran or not. For Mrs. Mooney, Mr. Doran has to pay for taking the advantage of Polly’s youth. The payment is the marriage. Mrs. Mooney waits until the last moment Mr. Doran and Polly’s relation gets public. She wants to secure her daughter in a comfortable marriage with someone from a higher class. She thinks men have to bear the consequences of their actions just like the women. However, at the same time she ironically plots to get Polly marry to Mr. Doran by manipulating their relation. When Polly becomes popular with men in the office where she worked as a typist, - 80 -

Mrs. Mooney wants her to quit her job. However, she thinks “as Polly was very lively the intention was to give her the run of the young men (p.145).” While she seems to care about her daughter’s reputation, she in fact uses her to guarantee a safe marriage with one of the young men who will think in a serious way. Although Mr. Doran is not quite serious about marriage, Mrs. Mooney assures that he will do so. Mrs. Mooney is described as “a woman who was quite able to keep things to herself: a determined woman (p.144).” Mrs. Mooney is determined to get her daughter a good husband and until she is sure that Mr. Doran has to accept the social responsibility to marry, she waits patiently. Another irony about her is that she practices religious acts such as hurrying to attend the short twelve at the church, but at the same time she uses Mr. Doran’s fears to make sure his marriage to her daughter. Mrs. Mooney’s silence despite her knowledge about the affair between Mr. Doran and Polly suggests that she sees marriage as a trap. She does not really think about her daughter’s honor. Mrs. Mooney manipulates Mr. Doran by using his fears for losing his job.

Mr. Doran

Mr. Doran is a serious man of thirty-four or thirty-five living at Mrs. Mooney’s boarding house. He has an affair with Mrs. Mooney’s daughter Polly. He is a successful clerk working at a merchant’s office for thirteen years. He feels guilt over what he has been through with Polly. Now he has to pay for this guilt. He knows that he has two options available: to marry Polly or to run away. However, his social responsibilities and status do not allow him to run away. Although he has had wild days in the past and denied the existence of the God, now as a serious businessman he cannot risk his job or reputation in the society. He feels a certain dilemma in getting married or not. He is even not sure whether he really loves Polly.

On one hand, Polly sometimes acts in a vulgar way and does not have a good grammar. Moreover, her father has a bad reputation and the boarding house of her mother is getting a certain fame. Since the Mooneys are coming from an inferior class, most probably Mr. Doran’s family will look down on Polly. These are the things that make him get rid of the idea of marriage. On the other hand, he feels guilty thanks to the priest he has confessed. He thinks reparation must be made for the affair with Polly and the reparation is marriage. Moreover, Mr. Doran is afraid of losing his respectable job. He has been working there for a long time and losing his job would mean to waste the years long labor. People will talk about this relation and it will be scandalous. He is also afraid of Mrs. Mooney and Jack’s reactions. Polly also threatens to put an end to her life, which puts an extra burden on his shoulders. Considering all these, he decides that he should marry Polly. Although the conversation between Mrs. Mooney and Mr. Doran is not acknowledged and it is not written openly whether Mr. Doran proposes to Polly or not, the reader knows that Mr. Doran has to marry Polly. At the end of the story, Mrs. Mooney calls for her daughter because most probably Mr. Doran will propose to her. Mr. Doran suspects that he is being trapped by Mrs. Mooney and Polly, but the social circumstances in Dublin force him to do what is expected from him. - 81 -

Love is not a concern for Mrs. Mooney and Mr. Doran is unsure about his real feelings. However, in the atmosphere of the play love is the least valued thing for marriage. Social responsibilities, moral consequences and reputation are what matters. He is carried away by his instincts and he knows that he has to bear the consequences of acting in this way. People in Dublin society are not allowed to act freely. Mr. Doran obviously does not want to marry, but the social necessities and fear make him accept marriage as a way to preserve his own reputation.

Polly Mooney

Polly is Mrs. Mooney’s young daughter who lives in the boarding house. She is described as: “a slim girl of nineteen; she had light soft hair and a small full mouth. Her eyes, which were grey with a shade of green through them, had a habit of glancing upwards when she spoke with anyone, which made her look like a little perverse madonna (p.145).”

She seems an innocent young lady who is manipulated by her mother and her wishes. When her mother asks her to quit her job at the office she accepts it and when her mother wants her to entertain the young men at the boarding house, she acts accordingly. However, at the end of the story while Polly is waiting for the news, she seems to be sure that her mother will take care of everything and Mr. Doran will propose to her. She is ready for accepting the social necessities. It is not clear what she really feels about Mr. Doran but she is sure that she has to marry him to save her reputation. She seems to act like her mother when she threatens Mr. Doran that she will kill herself because of the affair and then she feels comfortable and relaxed when Mr. Doran leaves to see her mother. At first she cries and begs but soon after Mr. Doran gets out of the door she stops crying and there is no fear or anxiety on her face. It does not matter for Polly whether Mr. Doran loves her. What matters to her is to marry a man like Mr. Doran. She is carried away by the dreams of the future her marriage will bring her. She will be secure and she will be higher in the social class. She is not surprised when her mother calls her at the end. All these hints make her innocence questionable. Like the other characters, she is bound to the social atmosphere of Dublin and in such an atmosphere marriage is based on social security rather than love.

Jack Mooney

Jack is Mrs. Mooney’s son who works as a clerk to a commission agent. He usually comes home late at night and enjoys telling his friends what is going on in the boarding house. When the case is others, he talks to his friends but when the case is his sister he can be mean. He threatens the young men in the boarding house to be careful with his sister. He knows boxing and this causes others to fear him. One night when one of the men made an allusion to Poly Jake became violent and others had a hard time to quite him down. It almost broke the union - 82 -

in the boarding house. This causes fear for Mr. Doran. Although Jack has little role in Mr. Doran’s obedience to Mrs. Mooney’s wishes, it adds further tension. The quick-tempered Jack acts as a protector of his sister but the irony in his character comes when he is described as being fond of soldiers’ obscenities.

Mr. Mooney

Mr. Mooney is Mrs. Mooney’s husband whom she left after he behaved violently. He used to work as the foreman for her father and it is not clear whether she trapped him to marry her like she trapped Mr. Doran to marry her daughter. After Mrs. Mooney’s father’s death, Mr. Mooney changed and thought he had the power. He most probably felt inferior to Mrs. Mooney and her family and after the father’s death he tried to take revenge of all his inferiority. When Mrs. Mooney felt weak after his violent behavior she immediately separated from him. Mr. Mooney owes all his financial security to Mrs. Mooney and after their separation he is left without a home and a job. This puts him in a powerless position against Mrs. Mooney. His appearance is in contrast with that of Mrs. Mooney. While he is described as a tiny mouse with a white face, white mustache and white eyebrows, Mrs. Mooney is described as a big imposing woman with a great florid face. The contrast in the physical appearance suggests the contrast in their characters and underlines the dominant character of Mrs. Mooney. It’s Your Turn!

7

• Which of the characters do you feel pity for? Why? • What adjectives would you use for each character?

• Rather than the exact words, the unspoken thoughts of the characters are given in the story. What kind of an effect does this technique create? How does it help for characterization?

LITERARY CONCEPTS Tone

Tone is the attitude of the writer towards the characters or the plot. The tone is described by using adjectives such as humorous, dramatic, tragic, humorous, serous or ironic. For more information about the “tone”, please read pages 151-152 from your book A World of Fiction: Twenty Timeless Short Stories. In The Boarding House, the tone of the story is ironic which gives the reader an idea about the values of the Dublin society and how characters contrast in their deeds and actions. The dominant tone in the story is ironic. In its simplest terms, irony is an expression of meaning which is used to indicate the opposite of - 83 -

its literary meaning. The main character Mrs. Mooney adds much to the ironic tone of the story. She seems to protect her daughter’s honor but she does not act in an honorable way when she forces Mr. Doran to marry her daughter. She attends the church duties but she is far from behaving in a moral way to Mr. Doran. In addition to Mrs. Mooney, Jack also displays irony. He does not mind talking about others but when it comes to her sister he acts violently. Polly also acts in an ironic way. She seems helpless and innocent. She does not know what to do and threatens to kill herself, but when Mr. Doran leaves she is sure that her mother will take care of everything and no anxiety resides on her face. All these ironic behavior of the characters show the real irony that dominates the Dublin society. The hypocrisy and surface morality are displayed through the actions of the characters in the story. This creates an ironic tone for the story.

Imagery

Imagery is the play on words to cerate a mental picture on the reader’s mind. It appeals to the senses to create images. For more information about the “imagery”, please read pages 152-153 from your book A World of Fiction: Twenty Timeless Short Stories. James Joyce uses a highly descriptive language in his characterization and depiction of the thoughts of the characters. Hence, he creates powerful imagery to picture the characters and events. James Joyce not only describes the physical appearance of the characters but he also uses imagery to give an idea about the characters’ personality and inner thoughts. The use of imagery is quite helpful in understanding the real intentions of the characters and their background. The use of adjectives while creating imagery help to understand the passions that drive the characters to do certain actions. For instance, when Mr. Doran describes the night he spent with Polly as: “He remembered well, with the curious patient memory of the celibate, the first casual caresses her dress, her breath, her fingers had given him. Then late one night as he was undressing for bed she had tapped at his door, timidly. She wanted to relight her candle at his for hers had been blown out by a gust. It was her bath night. She wore a loose open combing-jacket of printed flannel. Her white instep shone in the opening of her furry slippers and the blood glowed warmly behind her perfumed skin. From her hands and wrists too as she lit and steadied her candle a faint perfume arose.”

As it is displayed in the quotation above, the adjectives used for Polly and her appearance create a mental image that envision the night. As a result, the basic instincts and passion Mr. Doran feels become more visible. It’s Your Turn!

8

• Can you find specific examples from the text for the use of ‘irony’ and ‘imagery’?

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STORY SPECIFIC INFORMATION

In his work Dubliners, James Joyce narrates 15 stories all depicting the lives of the Irish people living in the capital Dublin. The stories do not have complex plots, but portrays everyday situations with detailed descriptions of the characters and the events. Joyce’s highly personal characterization and the characters’ connection with the atmosphere of Dublin make the collection an outstanding work of Joyce’s. In the collection, some stories share the same settings and people from one story mention the names of the others from different stories. Such connections among the characters and the setting create a shared atmosphere in Dubliners. The list of the stories in Dubliners is: • The Sisters

• An Encounter • Araby

• Eveline

• After the Race • Two Gallants

• The Boarding House • A Little Cloud • Counterparts • Clay

• A Painful Case

• Ivy Day in the Committee Room • A Mother • Grace

• The Dead

The Boarding House is one of the stories in Dubliners. Like the other stories in the book, the main setting of the story is Dublin. The moral values in the Dublin society are under the focus and Joyce deliberately presents in what way the Dubliners think about each other. The 15 stories in the book portray children, parents and adults in the middle class. The daily stories you can hear anywhere in Dublin creates an atmosphere for Irish people to observe themselves. It’s Your Turn!

9

• What does James Joyce criticize in Dubliners? Do you think he is realistic in his criticisms since he lived out of Ireland for a long time?

• Have you ever read a book or watched a movie in which the city plays a major role in connecting different characters? If so, how are the characters depicted? - 85 -

Self-Test

1. Which of the following is the setting of the story? a. b. c. d.

Corn-factor’s Office Boarding House Merchant’s office Mooney Mansion

2. Which of the following is not among the residents of the boarding house? a. b. c. d.

Artists from music halls Tourists Clerks Upper class ladies

3. Where is the boarding house? a. b. c. d.

London Dublin Cork Belfast

4. Who is Polly? a. b. c. d.

Mrs. Mooney’s daughter Jack’s fiancée Maid in the boarding house Mr. Doran’s sister

5. Who is Mr. Leonard? a. b. c. d.

Mrs. Mooney’s father Jack’s employer Mr. Doran’s employer Polly’s fiancée

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Answers 1. B

2. D

3. B

4. A

5. C

Literature Alive

• Mrs. Mooney makes a plan to force Mr. Doran marry her daughter Polly. She carefully considers her chance against Mr. Doran and she calculates the consequences. The following lines are taken from the story. Read and analyze how Mrs. Mooney pictures herself and accuses Mr. Doran. Do you think she is right?

Mrs. Mooney glanced instinctively at the little gilt clock on the mantelpiece as soon as she had become aware through her reverie that the bells of George’s Church had stopped ringing. It was seventeen minutes past eleven: she would have lots of time to have the matter out with Mr. Doran and then catch short twelve at Marlborough Street. She was sure she would win. To begin with she had all the weight of social opinion on her side: she was an outraged mother. She had allowed him to live beneath her roof, assuming that he was a man of honor and he had simply abused her hospitality. He was thirty-four or thirty-five years of age, so that youth could not be pleaded as his excuse; nor could ignorance be his excuse since he was a man who had seen something of the world. He had simply taken advantage of Polly’s youth and inexperience: that was evident. The question was: What reparation would he make? • After Mr. Doran leaves, Polly waits in his room. The following lines are taken from the story. Do you think Polly’s behavior after Mr. Doran leaves is normal? What does it suggest about Polly? Do you think she is like her mother?

Polly sat for a little time on the side of the bed, crying. Then she dried her eyes and went over to the looking-glass. She dipped the end of the towel in the water-jug and refreshed her eyes with the cool water. She looked at herself in profile and readjusted a hairpin above her ear. Then she went back to the bed again and sat at the foot. She regarded the pillows for a long time and the sight of them awakened in her mind secret, amiable memories. She rested the nape of her neck against the cool iron bed-rail and fell into a reverie. There was no longer any perturbation visible on her face. • Mrs. Mooney thinks about the details of her plot. What does she consider? What clues do the following considerations give about the Dublin society? Do you think the considerations are similar in ours? Why?

She counted all her cards again before sending Mary up to Doran’s room to say that she wished to speak with him. She felt sure she would win. He was a serious young man, not rakish or loud-voiced like the others. If it had been Mr. Sheridan or Mr. Meade or Bantam Lyons her task would have been much harder. She did not think he would face publicity. All the lodgers in the house knew something of the affair; details had been invented by some. - 87 -

Besides, he had been employed for thirteen years in a great Catholic winemerchant’s office and publicity would mean for him, perhaps, the loss of his job. Whereas if he agreed all might be well. She knew he had a good screw for one thing and she suspected he had a bit of stuff put by. • The following quotation displays what Mr. Doran thinks and feels while he is on his way to meet Mrs. Mooney. What makes Mr. Doran worry about his future? Does Jack Mooney really make him worry? How? Which of the motives is the most strong to get him marry Polly?

Going down the stairs his glasses became so dimmed with moisture that he had to take them off and polish them. He longed to ascend through the roof and fly away to another country where he would never hear again of his trouble, and yet a force pushed him downstairs step by step. The implacable faces of his employer and of the Madam stared upon his discomfiture. On the last flight of stairs he passed Jack Mooney who was coming up from the pantry nursing two bottles of Bass. They saluted coldly; and the lover’s eyes rested for a second or two on a thick bulldog face and a pair of thick short arms. When he reached the foot of the staircase he glanced up and saw Jack regarding him from the door of the return-room.

Bibliography

Marcus, S. (2006). A World of Fiction: Twenty Timeless Short Stories. The Boarding House. New York: Pearson Education, pp.143-156.

SparkNotes Editors. (2004). SparkNote on Dubliners. Retrieved May 25, 2012, from http://www.sparknotes.com/lit/dubliners/ http://www.gradesaver.com/dubliners/study-guide/section7/ http://www.online-literature.com/james_joyce/

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UNIT 6 LIKE A WINDING SHEET Amaçlarımız - Our Aim

After studying this unit, you will be able to discuss;

• Ann Petry as a writer;

• Understand the background of the story;

• Understand the conditions of the story and the characters of the story.

Anahtar Kavramlar - Key Concepts • Racism

• Civil Rights Movement

İçindekiler - Unit Contents • INTRODUCTION

• BACKGROUND INFORMATION TO THE WRITER- ANN PETRY • RACISM AND CIVIL RIGHTS MOVEMENT • THE STORY

• WHAT IS THE STORY LIKE A WINDING SHEET ABOUT?

• WHAT IS THE SETTING OF THE STORY? • WHO ARE THE CHARACTERS?

• STORY SPECIFIC INFORMATION

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INTRODUCTION

The aim of this study unit is to help you read and understand the short story Like a Winding Sheet written by, an African American writer, Ann Petry. It will help you to focus on the literary concepts used and stated by the writer. Moreover, you will have information that is specific to the short story, its characters and setting. While you are reading the contents of this study unit, you will answer questions in “it’s your turn” parts. Each question will try to help you to gain a better insight in to the concepts that you need to know while analyzing the underlying meaning of the story. In your book A World of Fiction: Twenty Timeless Short Stories you will find the manuscript of Like a Winding Sheet and information about Ann Petry on pages 229-246. Please read this information and the short story first and then read the information on this Study Unit. Moreover, questions and various types of activities following the manuscript of the short story will be quite helpful for you to understand the details. This short story is under the title “Social Change and Injustice”. Hence, having information about the genre of the story is very important for better analysis.

BACKGROUND INFORMATION TO THE WRITER- ANN PETRY

There are some question marks about the exact date of Ann Petry’s birthday, some earlier biographies place her birthday as October 12, 1911 and some other chronicles state that it is October 12, 1908. She was born in Old Saybrook in Connecticut just above her father’s drugstore. The place where she was born and grew up was predominantly middle class white society and she attended the local school of the area. Her parents had jobs in the community. Her father, Peter C. Lane, was running a drugstore and he was a pharmacist. Her mother, Bertha James Lane, was licensed chiropodist and she also worked in different positions as a hairdresser, a barber and a manufacturer. Her different positions were kind of a shield for her to be protected from the hostile environment. Ann Petry was the second child of the family with two college educated aunts, and she grew up listening autobiographies and fictional stories in this family environment. As a result she soon started to write short stories and plays even when she was in high school and she continued to write in her university education and when she was working in her father’s drug store for about nine years. Nevertheless, these stories remained unpublished. She received a graduate degree in Pharmacy.

Ann Petry first faced radical prejudice when she was attending Sunday school at the age of seven. The continuous radical and racist experiences and oppressions made her upset as well as feelings of outrage. She carried this outrage for many years. Yet the protective environment that her parents provided enabled her to survive against the effects of bigotry and isolation. Ann Petry married a New York mystery writer, George D. Petry. After her marriage she moved to Harlem, New York. She found a position in Amsterdam News and a women paper - 90 -

The People Voice as an advertising person and a reporter. She had created first an advertising slogan for a perfume company when she was a high school student. During working for these Harlem newspapers she had the opportunity to publish her first short story “Marie of the Cabin Club” in 1939 in one of the editions of The Afro American, but under a pseudonym male name, Arnold Petry. In 1941 she became the editor of the women page in The People Voice and she had a column where she wrote about Harlem’s upper middle class weekly. During these years she enrolled in Colombia University to attend writing workshops and creative writing classes. In 1943 she started writing short stories under her own name. Like a Winding Sheet was printed in the Best American Short Stories of 1946 and the volume of the magazine was dedicated to Ann Petry. In 1944 Ann Petry had chosen a position at the New York Foundation and there she carried a sociological study on ghetto children who were segregated from the society. Following the next four years she was in active civic life and she did painting, playing the piano, acting, teaching in a course called National Association for the Advancement of Colored People and worked as a recreational specialist at Harlem elementary school.

After returning to Connecticut, Ann Petry continued her writing position while she was raising her daughter, Elizabeth Ann. She wrote a children book, The Drugstore Cat as well as two historical novels to increase young adult’s knowledge about realities of life and pride in Afro American women. She gave lectures in different parts of the United States and she was honored with honorary doctorates from many universities. After an illness Ann Petry died in April 28, 1997 in Old Saybrook. For more information about Ann Petry read page 229 in your book A World of Fiction: Twenty Timeless Short Stories. It’s Your Turn!

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• Ann Petry observed the racist behaviors of the white community around. What are the reflections of those observations that can be seen in the story “Like a Winding Sheet”?

RACISM AND CIVIL RIGHTS MOVEMENT

Afro-American people have suffered a lot of racism in the United States for many years. The reason for this suffrage is their color of skin. America has had quite a long history of racism and has regarded Afro-American People a lot inferior than the whites. Racism can be defined as the belief that some particular group feels superior or inferior to another. In that belief, person’s social and moral treatments are predetermined because of his or her inborn biological characters, that is to say the skin color. This belief leads the other group to feel hatred towards the colored, in this case, ones because they start to think that the ones who - 91 -

have different outlook and different color are less human and should have less civil rights in the society where they live in.

The ones who feels superior in the society are allowed to gain economic power as well as the social dominance. Black and white segregation in United States history has many shameful stories. Black people were not allowed to drink water from the same taps or tanks that whites used. They had different tanks for them to drink and above those tanks there was a sign “for colored”. Same situation occurred in the theatre or cinema halls. Even though the whites enter the building from the front door, no blacks were allowed in from the same door. Blacks had to enter the building from the back door of the hall. Many black people were slaughtered through hanging or burning by the white racist groups, one of which was Ku Klux Klan. The group is a white supremacist organization and they are the supporters of white nationalism and racial segregation. They think and consider that only whites should have civil rights.

African-Americans had no rights anywhere, even on the busses. Many bus drivers required Afro-American riders to leave their seats to whites if the bus was full. The first four rows of the busses were reserved for the whites and blacks were forced to sit on the back rows. Actually, bus drivers could move the colored sign to any row they wished. If the rows for whites were full then the blacks were expected to give up their seats to whites if there was one standing. Blacks could only sit in the rear of the buses, and if there was no seat left they could only stand or if there was no room they had to leave the bus. If there were white people sitting on the first row, the blacks could get on the bus from the front door to pay the fee then had to disembark and reenter from the rear door of the bus. A woman named Rosa Parks did not want to give her seat after a hard working day to the white rider, even though she was sitting on the first row reserved for the blacks. The bus driver noticed that few white people were standing during the ride. He stopped the bus and asked the blacks to give their seats to the whites standing. Other blacks did what was ordered yet Rosa Parker refused. The bus driver called the police and Rosa Parker was arrested. She was charged with a violation to segregation law of the Montgomery City code. After the arrest of Rosa Parks, blacks started a bus boycott and never used busses for a year.

Rosa Parks played an essential role on raising the awareness of African Americans and their struggle for the civil rights. Another important figure against racism was Martin Luther King and he played another great role on increasing the awareness of civil rights for the black community. He was a clergyman and a prominent leader of African American civil rights movement. On August 28, 1963 there was a march in Washington DC and there Martin Luther King made his famous speech “I Have a Dream” which helped many to become aware of civil rights. Here are few lines from the speech; - 92 -

“I say to you today, my friends, that in spite of the difficulties and frustrations of the moment, I still have a dream. It is a dream deeply rooted in the American dream.

I have a dream that one day this nation will rise up and live out the true meaning of its creed: “We hold these truths to be self-evident: that all men are created equal.” ...

I have a dream that my four children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character. I have a dream today.

I have a dream that one day the state of Alabama, whose governor’s lips are presently dripping with the words of interposition and nullification, will be transformed into a situation where little black boys and black girls will be able to join hands with little white boys and white girls and walk together as sisters and brothers. I have a dream today.” (abc News)

THE STORY

Mr. Johnson lives with his wife Mae and they both work the night shift in a labor plant. Johnson has health problems with his legs that he suffers pain. That causes him to be late for work occasionally. The day was Friday thirteenth and Mr. Johnson is late for the work as usual. The boss, Ms. Scott, gets angry because he is late to work again and calls him “Nigger”. Mr. Johnson feels mad and wants to hit his boss when hearing this racist word but he was able to control himself.

After work on the way home he stops at the all night restaurant for a cup of coffee. He stands on the line and waits for his turn to come. Yet when it is his turn the white lady serving coffee says there is no more coffee. Johnson gets so angry again he thinks he was not served because of his skin color and leaves the restaurant. Johnson takes the situation as a racist insult and gets extremely angry. Yet his learnt family values stop him and he controls his anger. Johnson comes home in such a mood that he cannot bear any jokes that his wife Mae makes. All of a sudden he finds himself hitting his wife meaninglessly and he cannot stop himself. He feels as if he was wrapped in a winding sheet. He is spiritually not alive anymore.

WHAT IS THE STORY LIKE A WINDING SHEET ABOUT?

“Like a Winding Sheet” is a story in which a black man, Mr. Johnson, suffers from racist discourse and behavior. Mr. Johnson’s mind is abducted by the term racism. Yet up to hitting his wife Mae, Johnson was able to control his madness towards the racial insults. He has lived - 93 -

with racism and with its impacts so long that he struggles to continue to fight for his family beliefs. In the beginning of the story Mae and Johnson argues about going to work because it is Friday the thirteenth. Because of the date Mae does not want to go to work but Johnson argues her that she should. The following lines from the story tells the readers that Johnson has grown up with certain family beliefs; “”He couldn’t bring himself to talk to her roughly or threaten to strike her like a lot of men might have done. He wasn’t made that way”. He knows he should be gentle towards women. However, it is clear in the story how Johnson’s struggle begins and ends. The end of struggle may be considered as spiritual death of Johnson. The symbols that are given like “lipstick” and “wind sheet” also show the mentioned struggle above to continue to fight for his family’s morals that it is not right to hit women. There are three main incidents that Johnson seriously takes as a racist action and at the end he loses his control. These are kind of tests and Johnson’s beliefs are tested on that day. The first test is when he is talking to his boss. The white woman, Ms. Scott shouts at him for he being late to work and calls him nigger. There Jonson wants to hit his boss for being racist. Yet he was able not to hit her, “He stood motionless for a moment and turned away from the red lipstick on her mouth that made him remember that the foremen was a women”.

The second test that Johnson goes through is the one at the restaurant where whe goes to get a hot cup of coffee. When it is his turn the white coffee serving girl says that “there is no more coffee available for a while”. Johnson takes this personally and wants to hit the coffee lady as well. “He wanted to do was hit her so hard that the scarlet lipstick on her mouth would smear and spread over her nose, her chin, out toward her cheeks; so hard that she would never toss her head again and refuse a man a cup of coffee because he was black” He thinks that she did not want to serve him because of her racist ideas. The last test is the one which he fails. He comes home mad after his day. He starts listening to Mae’s complaining about him sitting on her work pants. When Mae says “You’re nothing but an old hungry nigger trying to act tough and...” he gets really mad and he finds himself hitting her. This is the end of Johnson and his precious family values. He loses these values in the racist environment. The story expresses racism in a shocking and exposing manner. Johnson’s contention with his work life and society causes him to blame everything on racism easily. Actually it may be that there may not be anything related to racism. Johnson was raised with moral values about women in particular. The racism can be a source for imprisonment of feelings of individuals because of the unwritten societal rules. This is the story that shows how one can lose control over the loved ones because of this type of imprisonment.

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It’s Your Turn!

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• What makes Johnson think that the coffee serving white lady is racist even though maybe she is not? • What is the main reason for Johnson to hit his wife Mae? • What is the meaning and the symbol of “winding sheet?”

WHAT IS THE SETTING OF THE STORY?

There are different dramatic places that the story takes place. The story begins in Johnson and Mae’s house. The initial scene is the bedroom of the couple. Then the setting moves to the plant where Johnson works. The machines and the working ladies are fully described there and little time is spent in the storeroom. There the workers get their wages. After the plant setting the street and the all night open restaurant. After the restaurant the readers find Johnson in the subway going home. The story ends where it begins physically. It is Johnson and Mae’s house where the story dramatically ends. The geographical story is not clearly stated, yet the line says that;

“It was a long ride to Harlem and tonight the thought of it appalled him”

From the line above it is now clear that the geographical setting is Harlem, New York and United States of America. The historical time of the story is limited. It is obvious that it is Friday and the date is the thirteenth. Here is the relevant line;

“Mae paused to look at the calendar. ‘It is the thirteenth’, she said. Then a faint excitement in her voice, ‘why it’s Friday the thirteenth’.” The exact year is never mentioned clearly in the story yet the publication of the story is 1946. So it can be assumed that the events in the story take place around the this time.

The Dramatic time of the story is not clear either. Life on the day the story begins, starts just before four a clock in the afternoon. After the shower Mae points out the alarm clock and says “it is almost four a clock”. The story ends after they are back at home after work. So it must somewhere early in the morning hours. It’s Your Turn!

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• How does the historical time have an impact on the story? - 95 -

WHO ARE THE CHARACTERS?

There are two main characters shaping the story, Mr. Johnson and his wife Mae.

Mr. Johnson

Johnson is an African American who has a night shift job in a plant. He has grown up learning how to be gentle towards women. Even though his boss Ms. Scott calls him a nigger he does not shout or get bad tempered but responds gently. He get mad, so mad but keeps himself calm, the relevant lines prove this; “You got the right to get mad’ he interrupted softly. ‘You got the right to cuss me four ways to Sunday but I ain’t letting nobody call me a nigger”

Johnson is always late for work and has pain on his legs. That is the main reason why he is late for work. He cannot rest his aching legs. He is tired of the pain on his legs as well as the racist ideas of the society. As the story develops the situation pushes Johnson’s limits and makes him lose his control. First incident is with his white boss calling him nigger. Second one is the white lady serving the coffee in the restaurant and her words “no more coffee for a while” and the last incident is Mae’s behavior and saying “you are nothing but an old hungry nigger trying to act though and...” the last one causes Johnson to lose his control.

Mae

She is a black woman and she is Johnson’s wife. She also works in a night shift. She has more sense of humor than her husband Johnson. She does not make racism a problem as much as her husband. After work she comes home before Johnson and when he is in she complains about few things. Johnson cannot bear the complaints and the jokes that Mae makes and he starts hitting her, may be, to death. Nevertheless, symbolically it is not the death of Mae but the spiritual death of Johnson. He acts against the values that he has been raised with. She is the victim of the society in some sense, because society makes Johnson mad and Johnson harms Mae. In other words, Johnson may not have the courage to hit a white woman superior then himself just like his boss or the coffee serving lady. They are both white and literally they are superior to the black man in a racist society. The fact here is that Mae is a black woman and black women are inferior to black men. So Mae is the only person Johnson may use his physical power on.

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Ms. Scott

She is the white boss of the plant and she gets angry with the workers especially with the African American ones who come to work late. It’s Your Turn!

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• Do you think Johnson and Mae are the victims of the society? If not why? If yes which of the characters can be considered as the victim of the society more?

STORY SPECIFIC INFORMATION Ann Petry’s Writing Style

Many critics think that Ann Petry’s writing style is versatile in other words many sided. Her experiences in Old Saybrook and Harlem can be easily noticed in her novels, short stories and in her poems. They also consider Ann Petry a visionary and a humanist. Before the concept of feminism become ideological in waves Ann Petry created women characters that can be idealized as feminist in her works like “The Street” and “The Narrows”. In her work “The Narrows” she described a love affair between an African American man and white woman. Such love affairs could not be even a dream in the United States in those years. Setting in her works is detailed. Ann Petry has a great talent to give details in her work and she has an ear for the dialogues. She has sensitivities to landscapes and the personalities of the characters so the readers always feel those characters and the setting close to themselves.

Ann Petry thinks that interconnection of race, gender and age may cause tragic experiences for both whites and blacks. She also showed her desire to represent the blacks in every arena of humanity. Her work have much range of critical perspectives such as social and political theories. The story “Like a Winding Sheet” gives the clear timeline of the 1946’s period. In that period there was a war and all the men would be at war. While men were at war the women would be in factories making equipment for the military. The women were the essential and focal characters in the era. Johnson in the story cares and loves Mae, but the truth is that racism and one’s own conscience finally plays tricks on one’s mind is a true testimony in the story.

Symbols

There are few certain and important symbols used in the story. These symbols have great contribution to the meaning of the story. - 97 -

Lipstick

Johnson notices the red lipstick on his boss. “He stood motionless for a moment and turned away from the red lipstick on her mouth that made him remember that the foremen was a women”. Here it is possible to say that the lipstick symbolizes the woman which reminds Johnson his family values. In the restaurant the white coffee serving lady is described with her scarlet lipstick. “He wanted to do was hit her so hard that the scarlet lipstick on her mouth would smear and spread over her nose, her chin, out toward her cheeks; so hard that she would never toss her head again and refuse a man a cup of coffee because he was black”. As the conflict progresses so the madness of Johnson, the lipstick symbolizes white woman. Winding Sheet

A winding sheet is a fabric which is used to cover and burry a body. In the story winding sheet might be used to indicate and foreshadow events. It is the physical death of Mae and psychological death of Johnson. It symbolizes death. Coffee Cup

The coffee cup is described as white. Johnson wants to have a break in the restaurant and wants to have the hot cup of coffee. It is symbolic that the cups are white porcelain and the coffee inside is black. That may give a message that whites surround the blacks, just as it is in the coffee cup. The black liquid is in the white cup. It is highly symbolic and represents the belief of the society.

Conflicts

There are two main conflicts in the story. One is internal conflict and the other one is external conflict. The internal one is person against self the external conflict is person against society. Person against Self

Johnson has inner conflicts on how to behave towards the women when he is angry. He struggles with himself towards the white women in the plant and in the restaurant. When he has an argument with Mae he tells himself that he is not raised up to talk in such a way to women.

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Person against Society

The struggles make him believe that the people around him are racist and he loses his tolerance towards people. Since he is a black man Johnson thinks that every incident he faces is related to racism. He is trying to stand against the racist society. Point of View

The story is third person narration. The narration has full of imagery that makes the text rich in words and understanding. The events are seen through Johnson’s eyes. The readers know what Johnson thinks in certain situations. The readers may feel themselves trapped in Johnson’s mind and feel the real sensitivity of the character. So the text may become more lifelike.

Colloquialism and Dialect

These two term often are used interchangeably yet the meaning of these are often confused. Here are the definitions of the terms. Colloquialism is the word or the phrase that is appropriate for everyday informal speech or unconstrained conversation. It differs a lot from formal speech and academic writings. Colloquialism can be seen a lot in spoken and informal English, so it is distinguishable from slang. In this respect, colloquialism does not reflect the speakers’ educational level.

Colloquialisms can be exemplified as the single words that are commonly used in daily life. Many English speaking people say “folks” instead of “relatives” and say “Did you see my folks around?” Or in England it is common to say “mate” for “friend”. Some clipped words are in this category such as; lab for laboratory and bike for bicycle or bugs for insects. The usage of colloquialism may differ from Standard English grammar and pronunciation. On the other hand, dialect is the spoken language that belongs to only to a specific region. In other words dialect is a kind of language style that is characteristic to a particular group in a certain geographical area. It is commonly applied to the population’s speech patterns and their use of grammar vocabulary and pronunciation.

The speech patterns in the story “Like a Winding Sheet” are widely colloquial used by New York working class. This way Ann Petry creates the authentic atmosphere in the story and the readers will find it realistic and get to know the characters much better. What the white boss says “Whatsa matter with ya? is the informal way of saying “What is the matter with you” .

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Imagery

The literary term imagery means to create vivid description in language to form mental images or mental pictures and figures in the readers’ minds. This descriptive language may appeal to all senses like sight, hearing, smell, and taste. Imagery is the use of language in representation of characters, objects, actions and ideas in a descriptive manner. The reader may have the chance to feel the atmosphere or the characters’ thoughts in a more vivid and life like way. In the story the description of the restaurant is so vivid that the readers can imagine the tables and the atmosphere as if they are really there. “He watched them walked to the porcelain-topped tables carrying steaming cups of coffee”

In this line the writer makes the readers feel the clean and shining table tops as well as the warmth of the atmosphere. The readers can feel the interior of the restaurant, hot and the smell of the coffee is everywhere.

Self-Test

1. Which of the below is not one of the settings of the story? a. b. c. d. e.

City bus Working plant Restaurant Subway Johnson’s house

2. What does white coffee cup symbolize? a. b. c. d. e.

Cleanness of the restaurant Black and white match each other well Pure thoughts of Johnson Blacks are oppressed by the whites Destiny of Mae

3. What does the date thirteenth of Friday foreshadow? a. b. c. d. e.

Nest day is the fourteenth They will be paid Next day is the holiday Something bad will happen They will watch horror movie on the TV

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4. What is the story mainly about? a. b. c. d. e.

Johnson’s and Mae’s love story Black and white relationship in the society How black couple live in New York Johnson’s daily routine life Johnson’s being victim in his idea of racist society

5. Who is the famous person made the speech called “I have a Dream”? a. b. c. d. e.

Martin Luther Martin Luther King Malcolm X Rose Parks Ray Charles

Key to Self-Test 1. A

2. D

3. D

4. E

5. B

Literature Alive

Read the following extract from the story and try to analyze the use of colloquial and dialect usage as well as imagery structures.

Mae paused to look at the calendar. “It’s the thirteenth,” she said. Then a faint excitement in her voice, “Why, it’s Friday the thirteenth.” She had one arm in her coat sleeve and she held it there while she stared at the calendar. “I oughta stay home,” she said. “I shouldn’t go outa the house.” “Aw, don’t be fool,” he said. “Today’s payday. And payday is good luck day everywhere, any way you look at it.” And as she stood hesitating he said, “Aw, come on.” ...

He pushed the cart near the foreman. He never could remember to refer to her as the forelady even in his mind. It was funny to have a white woman for a boss in a plant like this one.

She was sore about something. He could tell by the way her face was red and her eyes were half-shut until they were slits. Probably been out late and didn’t get enough sleep. He avoided looking at her and hurried a little, head down, as he passed her though he couldn’t resist stealing a glance at her out of the corner of his eye. He saw the edge of the light-colored slacks she wore and the tip end of a big tan shoe. - 101 -

References

Horsley, Sarah K. “Biography of Ann Petry

http://www.fembio.org/english/biograpy.php/woman/biograpy/ann-petry retrieved on June 20, 2012

Marcus, Sybil. (2006) “A World of Fiction; Twenty Timeless Short Stories” Pearson Education Inc., Longman, USA. O’Donnell, Heather. 1996 “Biography of Ann Petry”, http://voices.cla.umn.edu/ artistpages/petryAnn.php retrieved on June 20, 2012

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UNIT 7 EVERYDAY USE Amaçlarımız - Our Aim

After studying this unit, you will be able to;

• discuss Alice Walker as a writer;

• understand the background of the story;

• analyze the setting, point of view and the characters

• understand literary concepts related to the story and study story specific information

Anahtar Kavramlar - Key Concepts • Social Change and Injustice

İçindekiler - Unit Contents

• BACKGROUND INFORMATION TO THE WRITER- ALICE WALKER • THE STORY

• WHAT IS THE STORY EVERYDAY USE ABOUT? • WHAT IS THE SETTING OF THE STORY?

• WHEN DOES THE STORY TAKE PLACE? • WHO ARE THE CHARACTERS? • LITERARY CONCEPTS

• STORY SPECIFIC INFORMATION

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Introduction

The aim of this study unit is to help you read and understand the short story Everyday Use written by Alice Walker. It will help you to focus on the literary concepts used and stated by the writer. Moreover, you will have information that is specific to the short story, its characters and setting. Literary concepts that are important to analyze the short story and story specific information will be given for detailed analysis. In your book A World of Fiction: Twenty Timeless Short Stories you will find the manuscript of Everyday Use and information about Alice Walker on pages 279-296. Please read this information and the short story first and then read the information on this Study Unit. Moreover, questions following the manuscript of the short story will be quite helpful for you to understand the details. After reading Everyday Use carefully by taking notes and underlining the important quotations, read the analysis provided in this study unit. This short story is under the title “Social Change and Injustice”. The characters go thorough changes due to the social upheavals of the time the story is written. Hence, the historical background of the story is very important for better analysis. While you are reading the contents of this study unit, you will answer questions in “it’s your turn” parts. Each question will try to help you to gain a better insight in to the concepts that you need to know while analyzing Everyday Use.

BACKGROUND WALKER

INFORMATION TO THE WRITER- ALICE

Alice Walker was born on February 9, 1944 in Georgia. She is the eighth child of her parents who are sharecroppers. When she was eight years old, she was shot by her brother accidentally and she lost the sight of her one eye. Upon winning a scholarship, she was able to go to a college for black women in Atlanta, Georgia. She began writing with the typewriter her mother gave her as a present when she left for college. Two years later, she was transferred to Sarah Lawrence College in New York. She also traveled to Africa as an exchange student. She graduated from college in 1965. She married Melvyn Leventhal and moved to Jackson, Mississippi. She had a daughter in 1969.

Alice Walker was active in Civil Rights Movement in the 1960s. She defines herself as a ‘womanist’ which means a black feminist. She has spoken for the women’s movement, the anti-apartheid movement and against female genital mutilation. She is against all kinds of oppression against women. She currently lives in Northern California. Although Alice Walker is generally known for her novels and short stories, she writes in various genres such as the children’s literature, poetry and screenwriting. Alice Walker received a Pulitzer price in 1983 with her famous book The Color Purple. During her writing career she has won many awards and prizes from many organizations. Some of her novels are: The Temple of My Familiar (1989), By the Light of My Father’s Simile (1998) and Now is the Time to Open Your Heart (2004). In her writing, she criticizes domestic violence against women, sexual abuse and racism. - 104 -

For more information about Alice Walker, please read page 279 in your book A World of Fiction: Twenty Timeless Short Stories. It’s Your Turn!

1

• What does the background information on Alice Walker suggest about the story? Do you think her views related to the role of black women reflected in Everyday Use? How?

THE STORY

The story is told from the point of view of a mother. She and her daughter Maggie are at their yard waiting for the arrival of mother’s other daughter, Dee. Dee now lives in a city and Maggie has burn scars all over her arms and legs. Some time ago, their house was on fire and Maggie was hurt. She tries to hide the scars and she envies Dee believing that Dee has always had life go her way. While waiting for Dee, the mother has dreams in which she is united with Dee on a television show. In her dream, Dee embraces her mother and tells that she could not achieve success without her mother’s help. The mother also sees herself the way Dee would want her to be in the dream. In reality, the mother is a big woman with dark face and rough hands. She does not have a proper education and cannot look white men in the eye. However, Dee received education and she now lives in the city. Maggie, on the other hand is different from Dee. She is a black woman in scars and she walks her head lowered. She is a shy girl. She is not beautiful, has a poor sight and stumbles over words when she reads. She will marry soon. We learn that Dee hated the house burnt 12 years ago. Dee has a pretty face, light skin and she has style of her own. She preferred having nice things around and with the help of her mother she was able to receive education. The house they live now has three bedrooms like their old house and has holes cut into the sides for windows. Dee finally arrives with a man. Dee tells that her name is now Wangero Leewanika Kemanjo. She says she cannot bear to be named after her oppressors. The mother tells that Dee is the name of her aunt and the name traces back to generations. Dee does not accept it and insists on her new name. The man with Dee is introduced. The mother confusedly thinks the man’s greeting “Asalamalakim” is his name and learns that the man’s name is too long like Dee’s new name. In shorter version, his name is Hakim-a-barber. Dee does not explain whether they are married or not, but it is obvious that the man is a Muslim. They go inside and eat. After dinner, Dee pulls out quilts from her mother’s trunk. She wants to take two of them for herself.

The quilts were originally made by her mother, her aunt and her grandmother using her grandmother’s and great-grandmother’s old dresses. There is also a piece of uniform that belonged to her great-grandfather from the Civil War. The mother wants Dee to take machine- 105 -

sawn quilts since they will last longer. The mother also tells that she has promised the quilts to Maggie when she gets married. Dee does not want machine-sawn quilts and insists on the ones she has chosen. She believes that Maggie will not understand the value of the quilts and she will probably put them to everyday use. On the other hand, Dee wants to hang the quilts on the walls to preserve their historical value. The mother does not accept the idea of Dee’s taking the quilts and says that Maggie knows how to use the quilts. She remembers she offered Dee a quilt years ago when she went to college, but Dee did not want to take the quilt and found it too old-fashioned. Maggie hears the conversation and tells that Dee can take the quilts since she can remember her grandmother without them. The mother hugs Maggie and gives her the quilts. She wants Dee to take other quilts, which are not hand-made. Dee and Hakim-a-barber leave the house. When Maggie and the mother approach the car, Dee tells Maggie that she should try to make something of herself since things are different now. She puts on a ridiculous pair of sunglasses and Maggie smiles without any fear. The mother and Maggie watch the car driven away and stay in the yard until it is time to go to bed. It’s Your Turn!

2

• Why do you think the mother gives the quilts to Maggie but not to Dee?

• The mother tells that Dee is used to be ashamed of her background, but now she values the old stuff in the house. Do you think Dee is sincere? Why? /Why not?

WHAT IS THE STORY EVERYDAY USE ABOUT?

The story is about a mother and her two daughters Dee and Maggie. Dee left home for school and now lives in the city. She is a young woman with lighter skin and has a style of her own. Years ago, their house was on fire and Maggie was hurt in that fire. Maggie contrasts with Dee. She is shy and has burn scars. She will get married soon. Dee received education and now she is lives in the city away from her family. Dee has changed her name to an African name and comes to the house with a Muslim man. She wants to take the old hand-made quilts but the mother gives the quilts to Maggie instead. The story is closely associated to Alice Walker’s life like Maggie’s scars, she lost the sight of one eye and like Dee she went to city for education. Read Alice Walker’s life again and try to focus on the similarities with her life and the characters in the story. The story is also about the role of the Black Power Movement on the lives of ordinary American black people. Dee seems to advocate the new values of the movement but she underestimates the values of her own family in the meantime. She thinks her mother and Maggie are ignorant and cannot appreciate their original African background. However, the family has been living in America for a long time and even the elder members of the family joined in the American Civil War. Dee only wants the old quilts in order to display them - 106 -

whereas the mother thinks these quilts are made for everyday use. The irony and contrast between the characters highlight their change throughout the story and underline the social upheavals of the era it was written.

WHAT IS THE SETTING OF THE STORY?

The setting of the story is mainly the yard of the house the mother and Maggie lives in. The house is depicted as having three rooms with a roof made of tin. The house is located in a rural landscape and has a poor outlook. Instead of real windows, there are holes on the sides. The old house the characters used to live in was burnt in a fire. At the beginning of the story, the narrator of the story, the mother, is sitting in front of the house waiting for her elder daughter to come home. Later on, the characters go inside the house for a meal and the discussion about the quilts mainly takes place inside the house.

WHEN DOES THE STORY TAKE PLACE?

The exact time of the story is not overtly stated, but this story is published in Walker’s story collection book In Love and Trouble (1973). Most probably the time in the short story is when the Black Movement is in rise and the equality of black people, their search for their origins and place in society are discussed. It’s Your Turn!

3

• What do the quilts symbolize? What is their importance for Maggie and Dee? • How does the title reflect the theme of the story? What is meant by the title?

• What is the significance of the setting for each of the characters? Can you find an appropriate word for the meaning of the house for each of the characters?

WHO ARE THE CHARACTERS? Mother

She is the narrator of the story. The story is told from her own point of view. She describes herself as a big woman with rough hands. She is a middle-aged or older African-American woman living with her younger daughter, Maggie. It is obvious that she lives in poverty. She is proud of her life and she is strong and independent despite her poverty. She describes herself as strong as a man, which indicates that she rejects the traditional gender role as a woman. She turns her back to the house which means that she is rejecting the role given to women represented by the house, a female space. She is proud of her manly appearance she says: - 107 -

“I can kill and clean a hog as merciless as a man. My fat keeps me hot in zero weather. I can work outside all day, breaking ice to get water for washing; I can eat pork liver cooked over the open fire minutes after it comes steaming from the hog. One winter I knocked a bull calf straight in the brain between the eyes with a sledge hammer and had the meat hung up to chill before nightfall. (p.280).”

Her references to her strength and many behavior display that she had to turn into a manly figure in order to survive without a husband. She raised two girls on her own and she is proud of it. She had to take on a masculine persona to do all these. However, she thinks Dee does not value her enough and Dee’s lack of appreciation puts a distance between her and the mother. The mother dreams of uniting with Dee on a television show and Dee is appreciating her mother in front of an audience. This shows that the mother thinks her daughter does not give her the value she deserves. The mother gives hints that Dee does not like the way her mother looks. On the imaginary television show the mother thinks she looks like how Dee would like to see her: hundred pounds lighter with a skin like a barley pancake and tasking with the show presenter in a direct way. However, in reality the mother cannot look the men in the eye and she hesitates when she has to talk to them. Dee is in stark contrast to the mother and Maggie that she is self-confident and makes eye contact while talking to others. The mother could not get proper education most probably due to her skin color in the 20s. It seems that Dee looks down upon her and Maggie because they could not receive proper education like her and they could not understand the real value of the family heritage. However, at the end of the story the mother understands the real intention of Dee and gives the quilts to Maggie. Although the mother rejects her gender role just like Dee’s rejection of the name given by her family, the mother is far from understanding Dee. She does not want to understand Dee’s life and changing beliefs. She thinks what Dee does is simply rejection of her family and of her origins. As a result, Maggie appears as the caretaker of the family values represented by the quilts.

Maggie

She is a shy young woman who is about to marry. She has burn scars covering her face and legs and she tries to hide these scars. She does not have much formal education and she knows how to make quilts. She learned this skill from her family. Maggie thinks that Dee, “her sister has held life always in the palm of one hand, that “no” is a word the world never learned to say to her (p.280).” This quotation shows us that Maggie is not comfortable with her sister and thinks that Dee has everything she wantsed to have. Since Maggie has scars she is ashamed of, she is somehow jealous of Dee. Mother says Maggie is” eyeing her sister with a mixture of envy and awe (p.280).” Maggie never explicitly says that life is unfair to her but she takes the burden of the difficulties on her shoulders. While Dee is confident enough to talk to people directly by making eye contact, Maggie is shy and hesitant to talk. The mother - 108 -

describes Maggie as

“Have you ever seen a lame animal, perhaps a dog run over by some careless person rich enough to own a car, sidle up to someone who is ignorant enough to be kind to him? That is the way my Maggie walks. She has been like this, chin on chest, eyes on ground, feet in shuffle, ever since the fire that burned the other house to the ground (p.282).”

Unlike Dee, Maggie is not fond of good-looking clothes or money. She is not bright or quick nor she has the ambition to rise in the social ladder. She will soon marry John Thomas. When Dee insists on having the quilts, Maggie offers them and she says she does not need them to remember her heritage. Maggie is not a selfish and corrupted character but a pure and generous one. The mother always protected her by secluding her from the world outside. As a result, Maggie could not get proper education like Dee. She seemed to be scared of Dee at first, but after the mother gave her the quits her fear is gone at the end of the story. As a character, Maggie undergoes a change. Her shyness, lack of self-confidence due to her scars seem to have gone at the end of the story when she let Dee have the quilts.Although Maggie is reluctant to give the quilts to Dee at first (remember her slamming the kitchen door outraged), she shows her generosity by offering the quilts to Dee in order to win her favor. Her mother understands her reluctance and Maggie is selected as the one to hold the family heritage and who will understand the real value of the quilts. Unlike Dee, Maggie does not see the quilts just like priceless ornaments, but the ones that really remind of her family and her heritage.

Dee

She is the mother’s older daughter. She went to city to receive education and now turns to her house for dinner. She is an attractive and sophisticated woman with a superficial understanding of her inheritance. She now has changed her name into Wangero. She is rather selfish. In the past, she did not like her house and the quilts, but now she shoots the picture of the house and wants to take the old quilts. Her mother calls her Dee/Wangero throughout the story. According to the mother, Dee hated their old house and what it represented: the poverty, loneliness and isolation. She always wanted good things such as good-looking clothes, a good education and a nice stylish look. While talking about Dee, the mother says: “Dee wanted nice things. A yellow organdy dress to wear to her graduation from high school; black pumps to match a green suit she’d made from an old suit somebody gave me. She was determined to stare down any disaster in her efforts. Her eyelids would not flicker for minutes at a time. Often I fought off the temptation to shake her. At sixteen she had a style of her own: and knew what style was. (pp.281-282)”

In the past, she seemed to be ashamed of the situation of her family. She never brought any friends and she hated the way the house looked. However, when she visits her family she seems to be changed. She likes the way the house looks now, takes pictures of her mother and sister in their rural environment. Moreover, she seems to enjoy the old equipment in the house - 109 -

and value them. She asks to have the old churn made up of wood and the quilts left to the family over generations. She does not want these things in order to remember her family or background, but to use them as ornaments in her house, most probably to show them as signs of the oppression on black people. By taking the name of “Wangero” she seems to appreciate her black origin, but she never appreciates her family and personal heritage. This makes Dee’s behaviors ironic. Dee does not make an effort to win the approval of her mother and Maggie. With her self-determination and ambition Dee appears as a selfish, insensitive and annoying character. As a result, her new character who resists against the oppression on black people does not seem realistic and believable. She connects herself to an idealized African image by turning her back to the harsh realities black people experience in America.

Hakim-a-barber

He is a Muslim, a young man visiting the mother’s house with Dee. He has a long name and prefers to tell the short version of his name as “Hakim-a-barber”. The mother refers to him as “Asalamalakim” which is a Muslim greeting meaning “peace and happiness to you”. His actual relationship to Dee is not acknowledged. The narrator of the story, the mother does not even want to learn whether he and Dee are married or not. Thus, she does not ask what the actual relation between him and Dee is. He is a short stocky man with very long hair. Hakim means ruler, but it is rather ironic since he does not have such characteristics. His long African style hair associates him with the Black Movement but he does not eat traditional African food.

Grandma Dee

She does not appear in the story but the characters refer to her. Her presence in the story is significant. Maggie gives value to the quilts because they are made by her grandmother while Dee values the quilts just because they represent African people. Grandmother Dee also represents Maggie’s and the mother’s connection to the past. Grandma Dee and other elder members of the family settled down in America a very long time go and “Dee” is the name that traces back to generations. It shows that the family has become part of the America. It’s Your Turn!

4

• How are the characters described by the narrator? What adjectives would you use for each character?

• What are the differences between Maggie and Dee? What is the conflict presented by these characters?

• What does the mother think and feel about her daughters?

• What is the role of Hakim-a-barber in the story? What does he represent?

• What is the significance of Dee’s and Hakim-a-barber’s different preference of food? - 110 -

LITERARY CONCEPTS Point of View

In its simplest definition point of view is the perspective from which the story is told. For more information about the “point of view”, please read page 290 from your book A World of Fiction: Twenty Timeless Short Stories. The story Everyday Use is told though a first person point of view. The mother is the narrator of the story and the story is told only from her point of view. We are introduced to the characters and the events through the mother’s eyes and we see the other characters in the way the mother describes them to the reader. Hence, there is a rather subjective point of view in the story. This is very important in understanding the short story since the main conflict between the characters is presented through the mother’s narration and we are limited only to her view during the story line. By making an uneducated, black woman from lower class the narrator of the story, Alice Walker tries to confirm her value and importance in the society. The point of view is of a typical black woman who really struggles to survive in America.

Irony

Irony is an expression of meaning which is used to indicate the opposite of its literary meaning. We can see some examples of irony in the characters of the story. Dee is an educated, sophisticated young woman and she seems to know everything. Despite her education at college, it is ironic that she does not know much about her family’s inheritance. She is only superficially interested in the quilts and wants to hang them on the walls. However, mother is aware that these quilts are for everyday use and Maggie will make use of them properly. Moreover, Dee changes her name to an African name and claims that she does not want to be named after her oppressors. The following dialogue (p.283) between Dee and her mother displays how Dee hates about her name given by her mother: “Well,” I say. “Dee.”

“No, Mama,” she says. “Not ‘Dee,’ Wangero Leewanika Kemanjo!” “What happened to ‘Dee’?” I wanted to know.

“She’s dead,” Wangero said. “I couldn’t bear it any longer, being named after the people who oppress me.” “You know as well as me you was named after your aunt Dicie,” I said. Dicie is my sister. She named Dee. We called her “Big Dee” after Dee was born. “But who was she named after?” asked Wangero. “I guess after Grandma Dee,” I said.

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“And who was she named after?” asked Wangero.

“Her mother,” I said, and saw Wangero was getting tired. “That’s about as far back as I can trace it,” I said. Though, in fact, I probably could have carried it back beyond the Civil War through the branches.

The mother tells Dee the history of her name and acknowledges that this name goes back to older generations. It is quite ironic that Dee wants to change her name to an African one she has difficulty in spelling and she denies her heritage in America. It is clear that she and her ancestors have long lived in America, but she tries to own her roots in Africa. She does not have any clear information about these roots. There is also the uniform that belongs to her grand-grandfather among the quilts. It shows that black people like her grand-grandfather has fought for America and they belong to this land more than they do to Africa. However, Dee is far from understanding this. Another irony is in the character of Hakim-a-barber. He is a black, Muslim man. When mother talks about their Muslim neighbors as: “You must belong to those beef-cattle peoples down the road,” I said. They said “Asalamalakim” when they met you, too, but they didn’t shake hands. Always too busy: feeding the cattle, fixing the fences, putting up salt-lick shelters, throwing down hay. When the white folks poisoned some of the herd the men stayed up all night with rifles in their hands. I walked a mile and a half just to see the sight. Hakim-a-barber said, “I accept some of their doctrines, but farming and raising cattle is not my style (p.284).”

Hakim-a-barber says that he accepts some of their doctrines, but farming and raising cattle is not his style. It is quite ironic that although his name means ruler and he is a Muslim, he is far from ruling his religious society and discards other Muslims who do not have practices like him. Now that you are informed about some examples of irony, please try to find other examples of irony in the short story. It’s Your Turn!

5

• What is the significance of the point of view from which the story is told? How does it affect your understanding of the story? • Why does Alice Walker use irony? How does it convey meaning in the story?

STORY SPECIFIC INFORMATION The Black Power Movement

The Black Power Movement grew out of the Civil Rights Movement, which accelerated in the 1950s and 1960s. It is a turning point for the black-white relations. It was not easy for blacks to gain equal rights with whites even after they won the right to vote and - 112 -

slavery was abolished. The movement aimed to help the blacks gain their social, political and economic rights in the society and achieve equality in all aspects of social life. However, it is often associated with violence and militant actions. Although on the surface the blacks and whites seemed equal, in reality the blacks received low wages and were exposed to racial discrimination. The Black Power Movement grew out of the oppression the black people felt. It was not a legal or formal association and did not have a central leadership.

Following the civil right leaders like Martin Luther King, Jr. and Malcolm X, African Americans began to discover their heritage and they formed a group identity. The first step of the movement was to change the word “negro”, which was associated with slavery, to “black”. Black Nationalism became a popular term and many Africans were encouraged to learn their cultural ancestry. These people grew their hair into “Afros”, they dressed in traditional African clothes and they rejected their slave names. Black people discovered that they had a rich and diverse history out of America and they took pride in that history. Following the mottos of the movement, what is called the black art flourished and many black authors, poets and painters shared their works of arts. The movement was also criticized as imposing more racial discrimination between whites and blacks and separating the black people with their American roots. If we think about the relevance of this movement with the story, it is clear that this movement is reflected especially in the characters of Dee and Hakim-a-barber. Dee changes her name into an African one, puts on African clothes, denies her American background and claims that she can value her heritage more than Maggie. In the past, she was not proud of the conditions her family lived in, but now she seems to care about the old family stuff in the house. Hakima-barber like many black Africans in the 1960s is a Muslim and he has Afro hair. When the mother asks him about the Muslim neighbors she has, he says he does not share the same doctrines with them. As a result, these two characters are far from the original ideas of the Black movement; they adopt the ideas of the movement on the surface. Hence, Walker uses these characters to criticize young people who commit themselves to the movement without actually understanding its original ideas. It’s Your Turn!

6

• How is Black Power Movement reflected in the story? What is criticized about it?

• Do you think Dee and Hakim-a-barber understand the true nature of the Black Movement? Why? / Why not?

• What does Dee mean at the end of the story when she says it is a new day for black people?

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Self-Test

1. Which of the following is true for Maggie? a. b. c. d.

She lacks self-confidence She is divorced She is sophisticated She lives in the city

2. Who narrates the story? a. b. c. d.

Dee Hakim-a-barber Mother Maggie

3. Where does Dee live? a. b. c. d.

In a village In a desolate place In country side In city

4. What happened to the house 12 years ago? a. b. c. d.

It was bombed It burned It collapsed in an earthquake It was destroyed by the black militants

5. What does Dee want to take from her mother? a. b. c. d.

Her Grandmother’s ring A Broche Quilts Pictures

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Answers 1. A

2. C

3. D

4. B

5. C

Literature Alive

• The mother talks about how Dee received education and how she feels about Dee’s manners after she started receiving education. The following passage is about what the mother thinks about Dee and her educational background. Read it and analyze whether the mother is proud of Dee or whether Dee looks down upon her mother and sister. She used to read to us without pity; forcing words, lies, other folks’ habits, whole lives upon us two, sitting trapped and ignorant underneath her voice. She washed us in a river of make-believe, burned us with a lot of knowledge we didn’t necessarily need to know.

• The relation between Dee and her mother is complicated. Why do you think the mother imagines herself uniting with Dee on a T.V show? What is the significance of the following lines about Dee and her mother?

You’ve no doubt seen those TV shows where the child who has “made it” is confronted, as a surprise, by her own mother and father, tottering in weakly from backstage. (A pleasant surprise, of course: What would they do if parent and child came on the show only to curse out and insult each other?) On TV mother and child embrace and smile into each other’s faces. Sometimes the mother and father weep, the child wraps them in her arms and leans across the table to tell how she would not have made it without their help. I have seen these programs. Sometimes I dream a dream in which Dee and I are suddenly brought together on a TV program of this sort. Out of a dark and soft seated limousine I am ushered into a bright room filled with many people. There I meet a smiling, gray, sporty man like Johnny Carson who shakes my hand and tells me what a fine girl I have. Then we are on the stage and Dee is embracing me with tears in her eyes. She pins on my dress a large orchid, even though she has told me once that she thinks orchids are tacky flowers.

• When Dee and Hakim-a-barber visit the mother and Maggie, they greet them in a different way. The following lines are taken when they greet Maggie and the mother. What do the words Dee and Hakim use signify about them? Why is Maggie anxious about meeting Dee and Hakim?

“Wa-su-zo-Tean-o!” she says, coming on in that gliding way the dress makes her move. The short stocky fellow with the hair to his navel is all grinning and he follows up with “Asalamalakim, my mother and sister!” He moves to hug Maggie but she falls back, right up against the back of my chair. I feel her trembling there and when I look up I see the perspiration falling off her chin.

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• In the past, Dee hated the way their house looked and she always wanted to leave the house. Now, she turns back with a new identity and she seems to appreciate even the old stuff in the house. Examine the following lines taken from the story, why do you think Dee now values the old furniture? Do you think she really changed?

Oh, Mama!” she cried. Then turned to Hakim.a.barber. “I never knew how lovely these benches are. You can feel the rump prints,” she said, running her hands underneath her and along the bench. Then she gave a sigh and her hand closed over Grandma Dee’s butter dish. “That’s it!” she said. “I knew there was something I wanted to ask you if I could have.” She jumped up from the table and went over in the corner where the churn stood, the milk in it crabber by now. She looked at the churn and looked at it.

Bibliography

Baker, H.A. & Baker, C. (1994). Patches: Quilts and Community in Alice Walker’s Everyday Use. Everyday Use. Alice Walker. Rutgers University Press.p. 149-165. Christian, B. (1985). Alice Walker: The Black Woman Artist as Wayward. In Black Feminist Criticism, Pergamon Pres, pp. 81-87.

Marcus, S. (2006). A World of Fiction: Twenty Timeless Short Stories. Everyday Use. New York: Pearson Education, pp.279-296.

SparkNotes Editors. (2007). SparkNote on Everyday Use. Retrieved May 26, 2012, from http://www.sparknotes.com/short-stories/everyday-use/ http://www.enotes.com/everyday-use

http://www.gradesaver.com/everyday-use/

x r o a d s . v i r g i n i a . e d u / ~ u g 9 7 / q u i l t / w a l k e r . h t m l www.associatedcontent.com/article/30741/the_women_in_alice_walkers_short_story. http://legal-dictionary.thefreedictionary.com/Black+Power+Movement www.afropoets.net/alicewalker.html

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UNIT 8 NOVEL AS A GENRE Amaçlarımız - Our Aim

After studying this unit, you will be able to;

• understand novel as a literary genre

• understand how novel emerged as a literary genre • compare novel with other genres

• understand the components of the novel as a literary genre

Anahtar Kavramlar - Key Concepts • Components of novel • Types of novel

İçindekiler - Unit Contents • INTRODUCTION

• DEFINITION OF NOVEL

• BACKGROUND TO THE NOVEL • NOVEL AND OTHER GENRES • NOVEL TYPES

• THE COMPONENTS OF NOVEL

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INTRODUCTION

The novel as a literary genre creates a fictitious world made up of emotions and imaginations. The importance of fiction lies in its power to affect us as human beings. It is a kind of gate

opened to different worlds. It leads us to imagine, cry, laugh and experience distinct emotions which prevail in the deep human nature. Indeed, it is a tool to evoke emotions and it appeals

to the human nature entirely. In the essence of reading fiction lies enjoyment and understanding. At this point, one can consider the reasons of why we read fiction.

Humans have long been interested in the imaginary world of novel with imaginary characters in it experiencing imaginary adventures and living an imaginary life. A novel can help us to

pass time in an enjoyable manner, forget about our daily worries and focus on the unremitting world that a novel offers us to visit. You can pass hours more quickly and with pleasure in this imaginary world. It also helps us to build up empathy and sympathy towards the

imaginary characters that accompany us in this distinctive world. Sometimes, we put

ourselves in the shoes of these characters, we laugh together with them or we cry for the unchangeable destinies that await them. On the other times, we want to be like them and this can only be explained by the powerful influence of the novel on the human nature. However,

novel offers us more than mere pleasure. It also encourages us to develop a critical awareness towards the world and life if we can look through a true perspective. This happens in time

when we begin to gain more experience in reading. This experience is of course highly related to our taking part in more of reading fiction.

As Wallace (2001) pinpoints, we might wish to make interaction with the text by drawing

attention to the range of different possible ways of approaching, interpreting and evaluating texts. In this respect, literary texts help to encode readers’ own experiences and give rise to

strong and varied responses. In order to become critical readers who do not accept all the ideas offered him/her, but look from different points of view and challenge the ideas and

concepts in a particular work of fiction, we should learn how we can analyze a novel as a piece of literature. We also suggest you to read the Short Story Units to be able to analyze and interpret the elements of the Novel.

The aim of this Study Unit is to help you understand novel as a literary genre. This study

unit will cover the difference between novel and other literary genres like short story, and

we will talk about the types of novel. Moreover, the character types, setting, language

and style characteristics of a novel will also be presented. While you are reading the contents of this study unit, you will answer questions in “it’s your turn” parts. Each question will try to help you to gain a better insight into the concepts that you need to know about novel.

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DEFINITION OF NOVEL

The novel is often described as an extended work of literature. In its basic terms, novel is defined as “an extended work of written, narrative, prose fiction, usually in story form” (www.en.wikipedia.org/wiki/Novel). In another definition, it is “a fictitious prose narrative of considerable length and complexity portraying characters and usually presenting a sequential organization of action and scenes “(www.baylorschool.org).

The novel is also defined as “a fictional prose narrative of considerable length, representing characters and events as if in real life by a plot or scheme of action of greater or less complexity” by the Webster’s Comprehensive Dictionary (1995). Novel, in modern literary usage, is a sustained work of prose fiction a volume or more in length (www.encarta.msn.com). The writer of a novel is called a ‘novelist’. The English word ‘novel’ comes from the Italian word novella, which means ‘a tale, a piece of news.’ Since the novel is a distinct work of literature; first of all, the differences of novel from other genres should be made clear.

BACKGROUND TO THE NOVEL

It is important to learn how novel emerged as a literary genre in order to understand the novel as a genre. Although the traces of novel date back to ancient times, the novel took its modern form at the beginning of the 1500s.

Cervantes’s Don Quixote (1605) can be considered as one of the earlier examples of the genre. The novel as a literary genre came into being in the 18th century. Especially what is known as “The English Novel” began to rise with Daniel Defoe’s Robinson Crusoe (1719) and Moll Flanders (1722). Jonathan Swift’s Gulliver’s Travels (1726) is one of the pioneering English novels in the 18th century. With the rise of the middle class by the middle of the 18th century, more people could read and they had money to spend on literature. As the 18th century progressed, the novel began to take shape with the publication of Samuel Richardson’s Pamela (1740) and Clarissa (1748). Henry Fielding’s Tom Jones (1749) contributed much to the development of the novel as a genre.

In the 19th century, the literary movement “Romanticism” influenced the novel. Romanticism emphasized a return to nature and romantic writers valued imagination over reason and emotion over intellect. James Fenimore Cooper’s The Last of the Mohicans (1826), Nathaniel Hawthorne’s The Scarlet Letter (1850) and Herman Melville’s Moby Dick (1851) are some examples of romantic novels in the 19th century. Within Romanticism, Gothic style novels included tales of horror and the supernatural. Emily Bronte’s Wuthering Heights (1847) and Mary Shelley’s Frankenstein (1817) are examples of Gothic style romantic novels. The Victorian novel in the 19th century has a great influence on the development of the novel. Victorian novelists emphasized the problem of the individual’s adjustment to his society by prioritizing middle-class characters. Some of the important examples of Victorian novel are Charles Dickens’s David Copperfield (1850) and Thomas Hardy’s Tess of the d’Urbervilles - 119 -

(1891). American novelists Mark Twain’s Tom Sawyer (1876), Henry James’s The Portrait of the Lady (1881), and Kate Chopin’s The Awakening (1899) are examples of 19th century novels.

In the 20th century, the novel genre has been influenced by the great events of the century such as World War I, The Great Depression, World War II, The Cold War and the advances in technology. Questioning the existence of God, the supremacy of reason in human affairs and the nature of reality affected the novel as a literary genre. The literature of the 20th century gave importance to the self, the nature of consciousness, and the processes of perception. Novels in this century are often subjective, and personal and internal. Some of the important examples of the pioneering novels in this century are Franz Kafka’s The Metamorphosis (1915), James Joyce’s Ulysses (1921), D.H. Lawrence’s Sons and Lovers (1913) and Virginia Woolf’s Mrs.Dalloway (1925).

1945 to the present is the contemporary period of the novel. The novel in this period is influenced by race riots, assassinations and assassination attempts, protests against the Vietnam War, the rise of the feminist movement, the decline of the family and the rise of the divorce rates, the AIDS epidemic and the war on terrorism.

NOVEL AND OTHER GENRES Novel and Short Story

A novel is longer and more complex than a short story. In a short story, the writer is restricted to tell his/her story in a more limited time compared to a novel. There is usually insufficient time in a short story for the main character or characters to experience a life-changing event. In a novel, one can find sub-plots, numerous shifts in time and place (it can simultaneously talk about past and present), and continuous fictitious narratives which are not limited as in short stories. A novelist can offer more possibilities and richer stories than a short story writer.

Novel and Romance

In basic terms, romance and novel have a similar narrative in length, but each has different aims. Generally speaking, romance is a type of tale that describes the adventures, both natural and supernatural, of some heroes. Novel brings a greater sense of realism to the narrative and novels can be considered as more complex works of literature when compared to romances.

Novel and Drama

Drama is usually written for performance; therefore, highly based on the dialogues between the characters. Thus, it has limitations to portray different events at the same time. In a novel, a narrator can speak to the reader throughout the events, even s/he can be the one telling the whole story, but in drama narrators speak rarely and all the action is displayed through the characters. - 120 -

Novel and Poetry

Since poetry has the economic use of language, it has restrictions to tell something through

various figures of speech. A novel does not have a concern like this. The novel can pay attention to even the slightest details of everyday life without the limitation of structure.

However, poetry does not have this luxury hence, it focuses on details through an economical and short language use bounded by the structural and metrical restrictions.

In short, the novel has characteristics peculiar to itself and compared to other genres, it

becomes obvious that novel is a flexible type of literature and can deal with events and

characters in a more complex manner. By focusing on the characteristics of a novel, first of all let us remember how the novel emerged as a literary genre and how it is developed throughout history. It’s Your Turn!

1

• Have you ever read any of the earlier examples of the novel? If so, what kind of an effect did they have on you? • How can you define a novel? What’s the meaning of a novel for you?

• When you read various definitions of novel, which one do you think describes the novel best? Why? • Can you make a list (or a chart) of the differences between the novel and other genres?

NOVEL TYPES

The novel as a literary genre has many types. Among the types of novel, realistic novel,

historical novel, epistolary novel, picaresque novel, psychological novel, and gothic novel

are the most popular novel types. It is also important to note that a single novel may also belong to more than one type.

Historical Novel

In this type of novel, characters and events are placed in past time. The main action of the

novel evolves around historical events. The atmosphere of the novel is created thorough some historical places, time and setting. Alexander Dumas’s The Count of Monte Cristo (1844) is an example of historical novel.

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Epistolary Novel

In this type of novel, the story is told through letters written by one or more of the characters. It presents an intimate view of the characters’ thoughts without the interference of the author and contributes to the dramatic atmosphere of the novel. Samuel Richardson’s Pamela (1740) is an example of epistolary novel.

Realistic Novel

This type of novel is sometimes referred to as “the novel of manners”. In this type of novel, characters are usually complex ones with mixed motives often rooted in their social class. These characters interact with other characters and undergo plausible and everyday experiences. Thomas Hardy’s Far From the Madding Crowd (1874) is an example of realistic novel.

Psychological Novel

In this type of novel, attention is given to the thoughts, feelings, motives and inner states of the characters. These elements are usually more important than the external action in the novel. Emotional reactions and psychology of the characters are in the foreground. Virginia Woolf’s Mrs. Dalloway (1925) is an example of psychological novel.

Gothic Novel

In this type of novel, the atmosphere of the novel is created through supernatural and mystic elements like monsters, ghosts and demons. The plot includes secret, mysterious murders and the heroes are marked with a seal of demonic lot. Mary Shelley’s Frankenstein (1817) is an example of a gothic novel.

Bildungsroman

This type of novel is originated in Germany and flourished in the Europe especially in England thereafter. The long term development of a character or the maturation process of the hero is being told. Charlotte Brontë’s Jane Eyre (1847) is one of the famous examples of Bildungsroman.

Picaresque Novel

The name of this type of novel comes from the Spanish word ‘picaresco’ which means rouge or rascal. The adventures of an eccentric or disreputable hero are told in an episodic form. Henry Fielding’s Tom Jones (1749) is an example of picaresque novel. - 122 -

It’s Your Turn!

2

• Can you give examples to the novel types? Which type of novel do you like most? Why? • Think about the last book you read. Who was the protagonist and who were the antagonists? Which character types did you come across?

THE COMPONENTS OF NOVEL

Novels have some components which are of high importance to build up an appropriate criticism towards the work you are reading. A novelist uses these elements to create an atmosphere that seems real to the reader. A good novel has six components to work through. These are: Characters, Plot, Point of View, Setting, Style and Language and Theme. Let us see each one in detail:

CHARACTERS

Characters are the fictional beings created by the novelist and instead of flesh and blood they are made of words. However, the novelist try to make them seem as real people in order to create a realistic atmosphere and give us the feeling that those characters are one of us. Hence, the readers can build up empathy and sympathy towards the characters in a story. In order to better understand the characterization, let us look at the different character types we may come across.

Types of Characters

Flat character: This character type is only known by his/her most important one or more traits. It is a one-dimensional character.

Round Character: This character type is complex and many sided. It has multiple qualities.

Static Character: This character type remains the same from the beginning of the story to the end and does not experience any changes. Stock Character: This character type is a stereotype and has some universal characteristics (a cheating husband, an absent minded professor, a cruel step-mother etc.).

Dynamic Character: This character type experiences changes and develops throughout the story. Protagonist: It is the central character in the story. It can be a sympathetic hero or an unsympathetic anti-hero and this character is considered as dynamic most of the time. Protagonist’s actions and aims drive the plot forwards. It may be an individual or a group. - 123 -

Antagonist: It is the opponent of the protagonist in the story. Antagonist can be any force in a story that is in conflict with the protagonist. It may be another person or an aspect of the physical or social environment. The main objective of the antagonist is to stop the protagonist from reaching his/her/their goal. It’s Your Turn!

3

• For a better and concise analysis of characters, we should ask the following questions. Answer these questions by considering the last book you have read. Is there any question you find difficult to answer?

1. Who is/are the protagonist/s of the novel and who/what is/are the antagonist/s? 2. What are the characters’ contributions to the development of the plot?

3. What are the types of characters (flat, round, static, dynamic, stock)?

PLOT

It is in basic terms, the story of the novel and the sequence of events or actions of which the story is composed. A good plot offers an artistic arrangement of events all of which are linked as a chain. The plot of a novel has an emphasis which can be described as what the author decided to focus on or deliberately ignore. It also has pace, which shows us how the novelist is fast to cover certain materials that build up the plot.

The Characteristics of Plot Conflict

Conflict may be emotional, physical or ethical, but it gives way to a kind of tension that the characters resolve and struggle against. The conflict may be related to the protagonist’s (the central character) struggle against an antagonist (the opponent of the protagonist) or an opposing force. There are four types of conflict: 1. Human- versus- Human: In this type, the protagonist is typically against an antagonist and struggles against him/her. 2. Human- versus- Society: In this type, the protagonist struggles against the society or the larger organizations, institutions of the society.

3. Human-versus- Nature: In this type, the conflict is created by a component of nature against which the protagonist has to battle. Human beings can be helpless against the power of nature and they experience a kind of conflict to struggle against it. - 124 -

4. Human-versus-Himself: This is a kind of internal conflict which stands for a struggle of opposing forces within a character. This internal conflict of the protagonist may be related to his physical, mental, emotional or moral nature.

Consequently, the conflict gives the reader the interaction and clash of actions, goals, and desires in the story.

Plot Manipulation and Fabulation

As a nature of novel, sometimes the writer creates suspense and tension. However, in a good plot the writer leaves no question in the reader’s mind. Therefore, the function of plot manipulation is to create a unified and coherent plot. When we come to fabulation, it is the introduction of unrealistic, fabulous, supernatural and gothic elements to the plot which seem, to be realistic and happens in a realistic setting.

Artistic Unity

It is an important part of a good plot. There should be nothing irrelevant in the development of the story. Since the plot is the planned arrangement of actions and events in a narrative, it should be carefully arranged to create artistic unity.

Story Ending

In happy endings, the protagonist solves all the conflicts and complications and readers are left with a feeling that the protagonist will live happily ever after. However, in many real life situations there are unhappy endings and the writers may prefer unhappy endings since unhappy endings are more likely to raise important issues concerning life and living.

The Ways of Describing Structure in Plot: Exposition

In this stage, we are introduced to the story, the characters and the setting. The readers are given the necessary background information about the characters and their circumstances. It introduces the conflict and gives the critical information readers need to understand the rest of the story.

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Rising Action

It refers to a series of events in a story that move the action forward and build toward the climax. Rising action involves conflicts and complications, and builds toward the climax of the story. Climax

Tension and conflict reaches the highest point with climax. It stands for the turning point of the action when the rising action becomes the falling action. At this point the conflict takes a definite turn toward solution. Falling Action

It stands for all of the action in a novel that follows the turning point (climax). The falling action leads to the resolution or conclusion of the story. Resolution

This is also called ‘denouement’. Resolution is the solutions of the main complications and conflicts in the story and the point at which the reader’s expectations about what will happen to the characters are finally satisfied or denied.

Types of Plot:

Generally, there are four types of plot structure we may come across in a novel.

Linear Plot Structure: There is no climax in this type of plot structure. It has an anti-climax in which the turning point does not take place.

Triangular Plot Structure (Freytag’s Pyramid): It is a way to analyze a plot that consists of five elements in an ascending and descending manner (exposition, rising action, climax, falling action, resolution). Circular Plot Structure: In this type the action finishes where it is started. At the end of the story we should find ourselves in the same place where the action started.

Open -ended Structure: This type of plot structure ends with a climax. This time we do not have falling action or resolution.

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It’s Your Turn!

4

• For a better and concise analysis of plot, we should ask the following questions. Which question/s do you think is/are the most important while you are analyzing the plot of a novel or a story? 1. What are the most important events that make up the plot? How are they arranged? 2. Compare the plot’s beginning and end. Is there any change?

3. Is the ending appropriate to the rest of the plot? Does it have a close or an open ending? Does it end happily or unhappily? 4. Do the characters experience change? If yes, what kind of changes they experience?

POINT OF VIEW

The point of view of a literary work is the perspective from which the reader views the action and characters. It may be a fictional character in the story or some unknown voice outside the story. There are different types of point of view that can be used by the novelists.

Types of Point of View Omniscient Point of View

The story is told by a god-like narrator who knows all, hears all, and sees all in this type. We can enter the mind and inner thoughts of the characters. The narration is not restricted to only one of the characters. Limited Omniscient Point of View

In this type, the powers of the omniscient narrator are restricted to a central character. First Person Point of View

In this type, the story is told using the pronoun ‘I’. Third Person Point of View

It is the outside voice that tells the story. In this type, the narrator can be omniscient or limited omniscient. The technique of stream of consciousness (Virginia Woolf is one of the writers - 127 -

who use this technique successfully in her novels such as Mrs. Dalloway and To the Lighthouse) can be used in this type.

Stream consciousness is “a form in which the writer aims to give a sense of how a character’s mind works by tracking his/her thoughts as they flow one topic to another” (Croft and Cross; 2000, p.13). Objective or Dramatic Point of View

In this type, the narrator is objective towards the actions and characters in the story. It’s Your Turn!

5

• The following questions are necessary for the analysis of point of view. How would the point of view in a story affect your own understanding and analysis? 1. Who is the narrator of the story? What kind of a point of view does s/he hold?

2. Is the point of view consistent throughout the story or does it change?

3. Is the point of view appropriate and effective for the development of the story? 4. How would the novel be different if it was told from a different point of view?

• Did you read a novel that was presented through a first person point of view? What was it?

SETTING

In basic terms it is the physical background, time, and location of the story. Setting is important for creating the mood and atmosphere of the story. There can be different settings in a novel. Sometimes, the setting can also be symbolic. It’s Your Turn!

6

Do you think the setting of the story is important? The following questions are necessary for the analysis of the setting. By considering these questions in mind, can you recall a symbolic setting from one of the books you have read before? Why do you think it is significant? 1. Where and when does the story take place?

2. Is the setting significant? Does it have any symbolical meaning?

4. Is the setting appropriate for the development of the story?

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STYLE AND LANGUAGE

The novelist put the words, sentences and paragraphs together in a kind of style. Style is the language conventions that are used to construct the story. The period, in which the novel is written, is also important for its style, because the style of a novel is affected by the period it is written and certain periods may have different styles. Some novelists may also have specific styles. The style of the novel has influence on its tone. Tone can be described in terms of adjectives. The tone of the novel can be dramatic, serious, humorous, etc., and the style of the novel is important at this point to establish the tone. In the analysis of the style, we should consider the use of the symbols and irony as the most common devices of style in order to better understand how the style of the story is established.

Symbol

Symbol is a word or phrase that signifies an object or event which in turn signifies something else (Abrams, 1999). Symbols are used to deepen the meaning in the story. Through the use of symbolism, the novelist may talk about controversial topics (like religion, sex or politics) without being obvious. Symbols can be subtle and multi-layered in their significance (Croft and Cross, 2000). Names, objects, actions even the setting can be used as symbols in a novel.

Irony

Another important figure of speech that we likely to come across while analyzing a novel is irony. In basic terms, it means saying one thing while meaning another. Irony occurs where a word or phrase has one surface meaning but another contradictory, possibly opposite meaning is implied (Croft and Cross, 2000). It’s Your Turn!

7

• The following questions are necessary for the analysis of style and language. Can you compare the style and language of a Turkish and British/American novelist by answering these questions? Are there any similarity and/or difference?

1. What are the characteristics of the novel’s style?

2. How does the novelist establish the tone of the story?

3. Does the story make use of symbols? Can you identify them? 4. Does the story make use of irony?

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As a consequence, the literary devices give readers the opportunity to discover themselves the layers of meaning in a novel; hence they should be given importance in order to build up an appropriate and sound interpretation of the novel.

THEME

Theme is in basic terms the main idea or controlling idea of the story. It gives us the answer of the question ‘what did you learn from the story?’ It stands for the idea that holds the story together.

The Characteristics of Theme:

1. A theme should be expressed in the form of a statement, not in the form of a single word. For example, ‘love’ cannot be the theme, but ‘the devastating effects of love’ can be a good theme. 2. A theme should be stated as a generalization about life, the names of the specific characters or situations cannot be used while stating a theme.

3. A theme should not be a generalization larger than is justified by the terms of the novel. It should always be related to the story in the novel. 4. A theme should not be in contrary to any of the details in the story.

5. A theme can be stated by using more than one way. There is no just one single way of stating theme. It’s Your Turn!

8

• The following questions are necessary for the analysis of theme. Can you answer these questions for your most favorite book? 1. Does the story have a theme? What is it? How can we state it? 2. Does the theme include the major details of the story?

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Self-Test

1. Which one of the following is a characteristic of an epistolary novel? a. b. c. d.

it deals with horrors and mysteries it particularly deals with the inner thoughts of characters it consists of letters written by the characters it deals with the adventures of an eccentric hero

2. Which one of the following is NOT one of the types of a novel? a. b. c. d.

Picaresque Novel Psychological Novel Gothic Novel Melancholic Novel

3. Which one of the following is a difference between a novel and a short story? a. b. c. d.

Novel is more complex Novel is shorter Novel is in prose Novel has characters

4. A good plot should NOT have............... a. b. c. d.

a clash of actions, ideas, desires or wills unexpected turns introduction of fabulous or unrealistic elements things that does not contribute to the total meaning

5. Which one of the following is NOT characteristic of a theme? a. b. c. d.

It must be expressible in the form of a statement It must be stated as a generalization about life It must account for all the major details of the story It must rely on supposed facts

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Key to Self-Test 1. C

2. D

3. A

4.D

5. D

Literature Alive

• Bildungsroman is a novel type originated in Germany and became popular in the 18th and 19th centuries. In Victorian period, novels such as David Copperfield are based on this form. In this novel type, the growth of a man is told starting from his childhood to his maturation. In Jane Eyre, Charlotte Brontë tells the story of a heroine and especially the inner growth and maturation of a woman. Do you know novel(s) written in Turkish with a similar plot?

In Gothic tradition, supernatural and mysterious atmosphere is created. Emily Brontë’s book Wuthering Heights includes Gothic elements. Here is a quotation from Wuthering Heights. What are the Gothic elements in these lines? • “I got the sexton, who was digging Linton’s grave, to remove the earth off her coffin lid, and I opened it. I thought, once, I would have stayed there, when I saw her face againit is hers yet-he had hard work to stir me; but he said it would change, if the air blew on it, and so I struck one side of the coffin loose, and covered it up-not Linton’s side, damn him! I wish he’d been soldered in lead-and I bribed the sexton to pull it away, when I’m laid there, and slide mine out too. I’ll have it made so, and then, by the time Linton gets to us, he’ll not know which is which!” “You were very wicked, Mr. Heathcliff!” I exclaimed; “were you not ashamed to disturb the dead?”

Now you are familiar with the types of novels. The following quotations are taken from different novel genres. Can you identify the types of novels in these quotations? What helps you in your identification? Did you have difficulty? • “It was already one in the morning; the rain pattered dismally against the panes, and my candle was nearly burnt out, when, by the glimmer of the half-extinguished light, I saw the dull yellow eye of the creature open . . .”

• “She had a perpetual sense, as she watched the taxi cabs, of being out, out, far out to sea and alone; she always had the feeling that it was very, very dangerous to live even one day.” • “...we are obliged to bring our Heroe on the Stage in a much more disadvantageous Manner than we could wish; and to declare ... that it was the universal Opinion of all Mr. Allworthy’s Family, that he was certainly born to be hanged.” • “On the 24th of February, 1810, the look-out at Notre-Dame de la Garde signalled the three-master, the Pharaon from Smyrna, Trieste, and Naples. As usual, a pilot put off - 132 -

immediately, and rounding the Chateau d’If, got on board the vessel between Cape Morgion and Rion island. Immediately, and according to custom, the ramparts of Fort Saint-Jean were covered with spectators; it is always an event at Marseilles for a ship to come into port, especially when this ship, like the Pharaon, has been built, rigged, and laden at the old Phocee docks, and belongs to an owner of the city.”

References & Bibliography

Abrams, M.H. (1999). A Glossary of literary terms. Boston: Heinle & Heinle.

Croft, S. & Cross, H. (2000). Literature, criticsm & style. Oxford: Oxford University Press. Wallace, C. (2001). Language teaching: Reading. Hong Kong: Oxford University Press. Webster’s Comprehensive Dictionary. (1995).

http://www.baylorschool.org

http://www.en.wikipedia.org/wiki/Novel http://www.encarta.msn.com

http://www.csun.edu/~pjs44945/364lect1.html

http://encarta.msn.com/encyclopedia_761560384/Novel.html http://www.learner.org/exhibits/literature/read/plot1.htm

http://www.unl.edu/sbehrend/html/sbsite/StudyQuestions/Novel%20Questions.htm http://www.ex.ac.uk/~damyhill/downloads/sessionnotes/A%20level.doc http://www.historicalnovelsociety.org/definition.htm

http://www.fact-index.com/h/hi/historical_novel.html

http://www.wuthering-heights.co.uk/novel/html/chapter_29.htm

http://www.cliffsnotes.com/study_guide/literature/frankenstein/summary-analysis/chapter5/original-text.html http://classiclit.about.com/od/woolfvirginia/a/aa_mrsdalloway.htm http://www.sparknotes.com/lit/tomjones/quotes.html

http://www.literature.org/authors/dumas-alexandre/the-count-of-monte-cristo/chapter01.html

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UNIT 9 ROBINSON CRUSOE 1 Amaçlarımız - Our Aim

After studying this unit, you will be able to discuss; • Daniel Defoe as a writer;

• Understand the background of the story;

• Relate the conditions of 17th century to the novel;

• Analyze the novel by using novel analysis techniques. .

Anahtar Kavramlar - Key Concepts • Realism

İçindekiler - Unit Contents • INTRODUCTION

• BACKGROUND INFORMATION TO THE WRITER - DANIEL DEFOE • BRIEF INTRODUCTION TO 17-18TH CENTURY ENGLAND

• REALISM

• OVERALL SUMMARY

• DETAILED SUMMARY ANALYSIS OF PAGES 1-56

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INTRODUCTION

The aim of this study unit is to introduce you the background information about Daniel Defoe, information about the 17-18th centuries as well as the primary concerns of realism. You will also read a brief summary and analysis of major characters. Finally, you will find a detailed summary and analysis of the first part of the novel until page 56 because in the edition that we are using, there are no chapter divisions. Before reading and analyzing the novel Robinson Crusoe, read this unit very carefully to make the connections between the events in the novel and the background information because it is usually considered that Robinson Crusoe gives one of the most accurate accounts of British life and mentality of the time.

BACKGROUND INFORMATION TO THE WRITER - DANIEL DEFOE

Daniel Defoe was originally born with the name Daniel Foe to a dissenting butcher’s family (Koç, 2005, p. 11). The exact date and place of his birth are not known, but it is usually believed that he was born in 1661 and in London. Later he changed his last name to Defoe in 1695 (Richetti, 2003, p. vii), claiming that it sounded more aristocratic. However, it is claimed that whatever Defoe tells should be considered twice because usually he did not give a true account of his life (Westland, 1950, p. 67).

Although he is known primarily as the writer of his famous novel Robinson Crusoe, Defoe worked as journalist, a tradesman, a pamphleteer, a public official and an editor until he wrote the novel when he was fifty eight years old (Westland, 1950, p. 66).

Defoe’s father wanted his son to work as a member of ministry, but Daniel Defoe did not want that and left school at the age of eighteen. Defoe started his career as a hosier and began trading, but he went bankrupt in 1692 and was imprisoned for his debts (Koç, 2005, p. 11). When he was released, he established a brick and tile factory and began to travel to Europe and Scotland. When William III came to the throne, he also worked as a secret agent for the king and became famous with his satirical verse named The True-Born Englishman (1701) in which he discussed how English nation was not pure in its origins and how it is unjust to condemn the king who is of foreign origins. This satirical piece earned him a good fame. Later when king William III died, he published another satirical pamphlet named The Shortest Way with the Dissenters in 1702, but he was sentenced to stand in the pillory for three days and was put to prison because of this work that satirized the High Church.

After his release, he worked as a tradesman, as a political journalist and a secret agent, and he went bankrupt because of his debts for several times. In the late part of his life he produced his most known works starting with Robinson Crusoe. His writings mainly deal with religion, politics and everyday life.

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Defoe died in 1731, yet the reason for his death is not clear. According to some sources (like Richetti, 2003; and Westland, 1950) he died while escaping from his creditors, and some sources claim that he died of fatal lethargy (SparkNotes Editors, 2003).

For a detailed account of Daniel Defoe’s life and work, read pages vii-xxviii from your book Robinson Crusoe. It’s Your Turn!

1

• Although Robinson Crusoe is not an autobiographical novel, there are autobiographical elements. For instance Defoe left school at the age of eighteen against his father’s will who wanted him to work in the ministry; likewise Robinson left his home at the age of eighteen to pursue his ideals. As you read the novel, find other parallelisms between Defoe’s life and Robinson.

BRIEF INTRODUCTION TO 17th-18th CENTURY ENGLAND

The 17th and 18th centuries are the expansion times for Britain. With the rise in the middle class population, more people began to be engaged in colonial trade and the British policy was to expand the colonies as much as possible especially on the face of rising Spanish colonialism. Slave trade was not uncommon. England was involved in slave trade especially from Africa. British imperialism gained impetus especially in the 18th century after which the British Empire was named “the empire over which the sun never sets” because of the dispersed colonies from America to Africa and India.

One another striking point about England at that time is the influence of the middle class. Until 17th century, aristocratic class was unquestionably the leading class giving shape to politics, morality and arts. However, in the 17th century, middle class began to gain power thanks to the money they earned from colonial trade and began to shape the politics as well as arts. For instance, the novel genre started in these centuries because the middle class did not want to read about the heroic ideals of the aristocratic class anymore, and wanted a realistic representation of real people with their real experiences in literature (Koç, 2005, p. 10). The reason for this was because poetry was not really proper for the depiction of the lives of middle class and this gave rise to the novel genre, Daniel Defoe being the forerunner. Especially the realism and the use of daily language in Defoe’s works served well to the taste of the middle classes.

REALISM

Realism is a literary movement which actually belongs to the 19th century. It refers to the representation of life as it is in a work of literature including the character and the language. The aim of the artist is to make a picture of life through observation rather than an exploration of individual feelings and perceptions. Rahn (2011) claims that the characters are depicted in - 137 -

such a detail that “They are psychologically complicated, multifaceted, and with conflicting impulses and motivations that very nearly replicate the daily tribulations of being human”. Therefore, realistic novels take their power not only from the plot but mainly from the power of characterization. Although Robinson Crusoe was written long before realism was established as a literary movement, the novel has almost all the characteristics of realism and is usually considered to be not only the first English novel but also the first realist novel. Robinson in the novel records all the events and his observations by giving minute details about almost everything on the island. It’s Your Turn!

2

• As you read the novel, mark the parts that give the minute descriptions of events, and explain how realistic they are.

OVERALL SUMMARY

An English man of Germanic origins, Robinson is a young man who has never taken any education in any trade. His father wants him to study law, and become a middle-class man, but Robinson’s mind is always on the seas. His father’s attempt to stop him from pursuing such a career can only delay his departure for a year, and Robinson follows a friend who is to sail for London leaving no news for his family. During the voyage, a terrible storm happens and the ship sinks. Robinson’s friend’s father warns him that he will encounter such disasters until he consents his fathers will, but Robinson is determined to lead his own way.

After his arrival at London, Robinson meets an English captain, and goes on a voyage where he makes profit and learns about sailing and merchandise from the Captain. On their second voyage, they come across Moorish pirates and are held captive. Robinson spends two years as a slave until he breaks free with the help of two other slaves Xury and Ismael. When they escape, Robinson threatens to kill Ismael if he does not swim back to the shore, and immediately enslaves Xury offering him his life if he chooses to submit. Xury obediently submits Robinson and they sail. After some time, Robinson and Xury come across a Portuguese ship, and the Portuguese Captain of the ship saves their lives. The Captain also buys Xury and other things from Robinson. When they finally arrive Brazil, Robinson decides to settle there, buys some land with the money he took form the Portuguese captain, and in three years’ time, he has a very profitable plantation. Although he has all a man can need, he cannot resist the temptation of other planters about slave trade, and sets sail once more to bring slaves from Africa.

As opposed to hopes of Robinson, there is a terrible storm, and he is shipwrecked all alone on a place, which he later recognizes to be an island. Having no food, no shelter nor company, - 138 -

Robinson is highly distressed, but the next day he decides to take all he can from the ship that he can use. He makes several tours to the ship and furnishes himself with all sorts of tools, clothes, food, drink and guns and starts a new life on the island. On the island, he builds himself a tent and bower, which he develops in time, and digs a cave that would serve him as a cellar. In years he also makes himself a herd of goats as food supply. He learns to cultivate rice and corn, and makes bread for himself. Investigating the island, he finds fresh fruits, particularly grapes and dries them for food for the winter. He makes acute observations of the seasons and learns to manage many things through trial and error.

One day, Robinson recognizes a footprint on the shore, which scares him terribly. This discovery makes him overcautious because, he thinks that the footprint belongs to one of the cannibals who are said to live in those areas. Luckily, no one shows up for a long time. However, one day Robinson witnesses a cannibal feast on the shore, and one of the captives escape through the place where Robinson is waiting. Robinson saves the escapee, killing two of the cannibals. When the cannibals leave, the savage he saved makes him gestures of gratitude and shows that he will be a life-long servant to Robinson. After this Robinson names the savage as Friday to commemorate the day of Friday’s survival. Friday becomes Robinson’s right hand about the things that have to be done on the island. After a while Friday and Robinson encounter a cannibal feast from which they rescue two men, one of whom is Friday’s father. The labor on the island is divided and Robinson makes plans of getting to the land of the savages to meet the Spanish men who live on the island of the savages. As they make plans about this, a ship approaches the shore, and Robinson happily discovers that it is an English ship the captain of which is defeated by the rebels on the ship.

Robinson, Friday and the Spanish captain help the English captain to take hold of the ship and when they succeed, the English Captain take Robinson back to England. Robinson settles in England, and sells his plantation in Brazil and starts a new life. He marries and has three children, but when his wife dies, he sails once more to visit his island.

DETAILED SUMMARY ANALYSIS OF PAGES 1-56 Summary

The novel starts with Robinson Crusoe giving a brief history of his family background. He is born in 1632 to a middle-class family that emigrated from Bremen/Germany. His father wants him to study law, but Robinson’s heart has always been in the seas. His father lectures him about the benefits of being a middle-class man pointing out that a middle-class man is not burdened with the harsh conditions of lower-class life while at the same time being not corrupted with the aristocratic class pride. His father also warns Robinson that if he leaves - 139 -

despite his father’s objection, he will never be blessed by God as he would go against his father’s will as well as God’s. Robinson thinks his father is worried that Robinson will also share the bad fortune of his brother who also acted against his father’s will, who went to war and died. However, Robinson is so stuck with the idea that a few weeks later, he asks his mother to persuade his father about his intentions of seeing the world. Although his mother tells him that she would not consent anything that her husband rejected, she breaks the issue to her husband who immediately dismisses the topic.

A year later, being invited by a friend who is to sail to London in his father’s ship, Robinson sets sail suddenly without a second thought, without informing his family. Nevertheless, soon after their departure, there is a terrible storm which makes Robinson sick, and he repents having betrayed his father and God’s wish. Although he promises during the storm that he will return to his family, Robinson forgets about this when after the storm abates.

However, another storm breaks, for worse this time. The ship is in such a terrible condition that even Robinson, who has never been on a ship before, has to help the ship crew to pump out the water. Their attempts to save the ship are in vain, and the ship is to sink, therefore the Master, that is Robinson’s friend’s father, fires guns to signal that they need help. A boat from a nearby ship is sent. The ship’s crew is rescued and brought to the land safely. On land, Robinson sees the ship sink and he is utterly moved, but he is resolved not to go back home and is ready to welcome his fate even if it may be his destruction. Even when friend’s father tells him that the disaster they experienced at the sea was because of Robinson’s disobedience to his father, and that Robinson will meet nothing but disasters until he consents to his father’s will, Robinson is not persuaded. One reason for Robinson’s not wanting to go back is that he does not want to face people who would laugh at him upon his failure to realize his dreams. The prophesies of his friend’s father become true when Robinson encounters several hardships on his way to London by land. Having been determined to follow his dreams, Robinson sets sail to the coast of Africa, Guinea. He confesses that during this journey he has not learned anything that a sailor would do, but rather he learns “the duty and office of a foremast man” (p. 15). During the voyage, the Captain also teaches Robinson mathematics, rules of navigation and to keep account of the ship’s course, which all make him a sailor and a merchant.

In their second voyage, the ship is held captive by the pirates near Morocco, and the whole ship’s crew is enslaved. Robinson once more repents that he betrayed his father and God. Although he hopes that his new Master will take him to the sea, that would give him a chance to escape, he is left at home to look after his Master’s garden and to do his house work. Robinson spends two years as a slave and during this time he frequently goes fishing with his Master thanks to his extraordinary skill in catching fish. Once, his master cannot go fishing as planned because his guests will be waiting at home, so he sends Robinson to catch some fish using the ship. Before leaving Robinson tricks another slave Ismael-Moely to bring in some beeswax, gunpowder, and many other things that would assist his escape. The two and - 140 -

another slave Xury leave and when Robinson feels that they are at a safe distance, he pushes Ismael to the sea. He also threatens Xury that he would share the same end with Ismael if he betrays him. Robinson also adds that if Xury promises to be faithful, he will be able to travel the world with Robinson. Xury consents and the two escape to their liberty. After five days, the two approach a shore and anchor, but they are so scared by the terrible voices coming from creatures on the coast that they cannot land on the shore. They finally find another shore where Xury shoots a hare to eat and finds some fresh water.

Xury and Robinson go on their voyage following the shore for food and water supply. Twenty two days later, they finally find some food from a shore that is inhabited by natives, but they do not land on the shore as both parties are terribly scared of eachother, but still the natives help them by providing them with meat and corn. Eleven days later, Robinson discovers that they are close to Cape de Verd Islands. They come across a Portugese ship. The Captain of the ship tells Robinson that he saved Robinson just because it was the right thing to do as all sea man may need help in their lives. The Captain also does not take anything of Robinson in return of the service. Instead, he buys Robinson’s boat, and Xury and many other things that Robinson thinks he will not need any more. The Captain also informs Xury that he will be liberated ten years later if he converts to Christianity.

22 days later, the ship finally arrives at Brazil and Robinson starts a new life there with the guidance and the help of his new friend, The Captain. After spending some time in Brazil, he buys some land and starts his plantation, begins planting food, later tobacco and sugar cane in two to three years’ time. During this time, Robinson questions all the things he went through, as he becomes a middle-class man that he would have naturally become if he had not left his home. He also begins to reflect on his solitary existence in a totally strange land that he resemble so a solitary island. In the meanwhile, he also takes his money from London with the help of the Portuguese Captain who also brought him several tools to use in his plantation along with a slave to assist him. He also compares himself to his neighbor who has experienced similar things and comments that his own position is much superior.

A year later, Robinson has a well-established plantation and as he has also learned the language of the land and has grown into a prosperous businessman who has made acquaintances with several other plantation owners. Upon Robinson’s tales of Negroes and the trading of these people, the other merchants want him to go on a voyage to secretly trade slaves, of which he would have his equal share. Robinson cannot resist temptation and he accepts.

Before departure, Robinson entrusts all his belongings, fortune and the plantation to the Captain who would be heir to Robinson’s fortune if Robinson dies. Robinson leaves for England on September 1, 1659, eight years after his departure from his father’s home. For twelve days, they suffer a terrible storm which takes them far away from - 141 -

their destination and damages their ship severely. To take some assistance, they head for the north east to arrive at some English islands, but a second storm hits and this time the ship takes in water, so the crew has to take the boat to save their lives. Unfortunately, the sea is so furious that the huge waves devour the boat as well. Robinson hardly makes his way to the land being swallowed by the waves for several times. Although he is relieved to have landed, to his dismay, he discovers that no one from the ship survived, and he does not see any of them any more except a few things belonging to them. Robinson is desperate as he does not have anything with him except a knife, a tobacco pipe and a tobacco box. He has no clothes and nothing to eat. Luckily, he discovers that there’s a fresh water source on the land, and he falls asleep.

The next day, Robinson wakes up and begins to explore the place. He sees the ship upright at a distance, which disappoints him terribly as he believes that if they had stayed on board, they would all have survived because the ship was not torn into pieces, and was safe near the shore. He also discovers the boat, but realizes that it would be more logical to get to the ship to take something that might of some use. He swims to the ship, and quickly investigates it. He merrily finds food, drink, guns, and many other tools that would assist him in his solitary existence. He builds a kind of raft by the chests he finds and takes whatever he can to the land near the river he discovers. The next thing that Robinson does is to search somewhere to settle. At this point, he climbs up the hill only to discover that what he is on is an uninhabited island. Finding no place to rest, he builds a kind of tent by the things he has brought from the ship and resolves to go back to the ship to take all that he can, especially a bed. During the next thirteen days, Robinson visits the ship for eleven times to take all that is left, and manages to bring a huge cargo from the ship. When he is to go for the twelfth time, he realizes that another storm is approaching, so he goes back to his tent. The next morning, he realizes that the ship has perished because of the terrible storm that lasted throughout the night. He congratulates himself for his good reasoning.

Robinson now directs all his energy and attention to find a secure place that has a fresh water source nearby to build his settlement. When he finally finds a place above the hill, he builds a stronger tent that can only be accessed through a ladder as he builds the tent a little above the land so that no wild animal can readily get in especially when he is asleep. After he builds the tent, he carries especially the most important things that he brought from the ship into the tent. Later, he digs the ground behind his tent to make a cave that would serve as a cellar and a kitchen. In the meantime, Robinson improves the conditions of his tent by especially building a wall around it; and he also discovers that there are goats on the island that he can feed upon.

During this period, Robinson reflects on his desolate condition and considers whether it would have been better if he were dead. However, soon he finds consolation in the idea that - 142 -

because he is the only one to be saved from the ship, there must be a good reason for it and thanks God that he at least has everything from the ship that will enable him to maintain his life. He recollects that it was September 30 when he first landed on the island. In order not to forget the time and not to miss the Sabbath days, he begins to cut a notch on a large square post. A year passes and at a moment when Robinson is beginning to lose his hopes and feel more desperate, he decides to make a chart comparing the good and the bad sides of his condition (page 54). Thanks to this chart, Robinson begins to accept his condition. After about another six months, Robinson builds himself a table and a chair and starts keeping a journal.

Analysis

The first fifty six pages of the novel not only serve to expose the reader to the main event and the characters, but also establishes Robinson as a character. The novel starts with a conversational language. Robinson tells everything to the audience as if he were disclosing his secrets to his best friend. This type of narration makes the audience familiarize him/herself with the character in the novel. Considering the fact that Daniel Defoe himself came from the middle class and observed the expectations of the middle class, he portrayed a character with his flaws and good deeds while trying to climb the social ladder with his individual efforts. The beginning of the novel also presents the life of the middle class very realistically. It’s Your Turn!

3

• The following quotation from the novel describes Robinson’s father’s perception of middle-class life. What kind of life does he portray?

...that mine was the middle state, or what might be called the upper station of low life, which he had found by long experience was the best state in the world, the most suited to human happiness, not exposed to the miseries and hardships, the labour and sufferings of the mechanick part of mankind, and not embarrass’d with the pride, luxury, ambition and envy of the upper part of the mankind. (Defoe, 2003, p. 6)

• Do you think the middle classes have the same life standards in this century?

At the beginning of the novel, Robinson is portrayed as a man with little concern for emotions and is presented as quite a man of self-concern. He does not show any affection for his family and also does not seem to be very moved by religious drives. Although he is a little scared of the religious consequences of his betraying his father’s will, he is presented as a religiously immature character because his religious feelings are insufficient to stop him. He is moved by his father’s words for only a few days, and his own desires take over immediately. The - 143 -

same thing happens when he even sees the ship he boards on sink. While the ship is sinking, he is moved, but he does not change his mind and decides to pursue what he calls his fate. Therefore, this part of the novel establishes Robinson as a character whose primary concern is himself.

Robinson in this part also reveals that he feels superior to many people around him. For instance, in his first voyage, he does not learn anything but “the duty and office of a foremast man” (Defoe, 2003, p. 15). Later he learns to keep account and mathematics, but he does not show any inclination to learn anything that a sailor would do. The things he prefers to learn are about trade and ruling people. This becomes evident also in his escape plan when he is enslaved by the Moorish. When he, Xury and Ismael escape, he first pushes Ismael to the sea, and immediately enslaves Xury. When the two (Robinson and Xury) are saved by a Portuguese Captain, Robinson immediately sells Xury to the Captain along with many things he has with him. This is actually Robinson’s first slave trade. This point also indicates Defoe’s racist inclinations because it is the black ones who are enslaved in the novel and subjugated by the whites. It’s Your Turn!

4

• This part of the novel is full of racist undertones. Find other examples of racism.

After this point when Robinson arrives Brazil, Defoe, starts to explore the theme of colonial expansion. Robinson buys land in Brazil and settles there as a plantation owner. He even competes with the neighboring plantation owners, which is a sign of capitalist endeavor. Because of his greed, he cannot resist the temptations of slave trade, which is another sign of capitalism. This is also the hubris and hamartia of Robinson as he is defeated by his pride and makes the wrong decision by following his instincts.

Robinson is punished for his pride and is shipwrecked, which was previously foreshadowed first by his father who told him that his life would be full of miseries if he were to leave and also by the warnings of his friend’s father who warned him not to pursue his dreams as he would not find peace until he follows his father’s words. All come true when Robinson is left desolate on the island which he calls “The Island of Despair”. Robinson’s first days on the island present him as a desperate man who is defeated by the forces of nature, but Robinson does not give up and makes several trips to the wrecked ship to collect all that he can. This is an instinct of survival. Moreover, he does not cut his ties with civilization although he is the only man on the island and has a weak chance to be rescued. Therefore, he constantly keeps a record of time by cutting a notch on a cross he makes of wood, which reminds him of his tie to the rest of the world. When he begins to lose his hopes, he decides to make a comparison of the positive and negative sides on his being cast away and tries to console himself with the idea that he was selected by God to be rescued from the shipwreck, which is the starting point for his religious enlightenment. - 144 -

Self-Test

1. In which century the novel was written? a. b. c. d. e.

19th century 20th century 16th century 18th century 17th century

2. Which of the following is not true for the novel? a. b. c. d. e.

It has realistic elements. It has autobiographical elements. It reflects the lives of common people. It has supernatural elements. It reflects the colonial expansion of England.

3. How did Robinson leave England? a. b. c. d. e.

On a ship owned by one of his friends’ father. On a Portuguese Captain’s ship By land traveling to France Buying a ship of his own On a ship that was arranged by his mother

4. How did Robinson buy his first land on Brazil? a. b. c. d. e.

With the money he had from selling Xury and other goods With the inheritance he had from his father With the money he earned from slave-trade With the money he took as a debt from the English Captain With the dowry he received from his marriage

5. What was the date when Robinson landed on the island? a. b. c. d. e.

October 3 April 1 September 30 December 30 May 1

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Key to Self-Test 1. D

2. D

3. A

4. A

5. C

Literature Alive

• Read the following excerpt from the novel which is a good representation of realism in the novel:

I went to work upon this boat the most like a fool that ever man did who had any of his senses awake. I pleased myself with the design, without determining whether I was ever able to undertake it; not but that the difficulty of launching my boat came often into my head; but I put a stop to my inquiries into it by this foolish answer which I gave myself - ‘Let me first make it; I warrant I will find some way or other to get it along when it is done.’

This was a most preposterous method; but the eagerness of my fancy prevailed, and to work I went. I felled a cedar-tree, and I question much whether Solomon ever had such a one for the building of the Temple of Jerusalem; it was five feet ten inches diameter at the lower part next the stump, and four feet eleven inches diameter at the end of twenty-two feet; after which it lessened for a while, and then parted into branches. It was not without infinite labour that I felled this tree; I was twenty days hacking and hewing at it at the bottom; I was fourteen more getting the branches and limbs and the vast spreading head cut off, which I hacked and hewed through with axe and hatchet, and inexpressible labour; after this, it cost me a month to shape it and dub it to a proportion, and to something like the bottom of a boat, that it might swim upright as it ought to do. It cost me near three months more to clear the inside, and work it out so as to make an exact boat of it; this I did, indeed, without fire, by mere mallet and chisel, and by the dint of hard labour, till I had brought it to be a very handsome periagua, and big enough to have carried six-and-twenty men, and consequently big enough to have carried me and all my cargo. (Defoe, 2003). Identify the realistic descriptions in this excerpt.

• Can you name any Turkish realistic novel? Are the realistic representations similar to the ones in Robinson Crusoe?

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References

Defoe, D. (2003). Robinson Crusoe. London: Penguin Classics, Originally published in 1719. Koç, E. (2005). Birth of English Novel. Ankara: Çankaya University Publications

Rahn, J. (2011). Realism. Retrieved May 29, 2012 from http://www.onlineliterature.com/periods/realism.php Richetti, J. (Ed.). (2003). Introduction. Robinson Crusoe. London: Penguin Classics.

SparkNotes Editors. (2003). SparkNote on Robinson Crusoe. Retrieved June 14, 2012, from http://www.sparknotes.com/lit/crusoe/ Westland, P. (Ed.). (1950). Teach yourself history of English literature: The English Renascence to the Romantic revival. Vol 3. London: The English Universities Press.

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UNIT 10 ROBINSON CRUSOE 2 Amaçlarımız - Our Aim

After studying this unit, you will be able to;

• analyze the journal in the novel;

• understand the motivations of Robinson as a survivor and a colonizer; • explore the themes of the novel.

Anahtar Kavramlar - Key Concepts • Colonialism • Slavery

• Survival

İçindekiler - Unit Contents

• PAGES 57-79 SUMMARY AND ANALYSIS

• PAGES 79-105 SUMMARY AND ANALYSIS

• PAGES 106-121 SUMMARY AND ANALYSIS

• PAGES 122-143 SUMMARY AND ANALYSIS • PAGES 143-162 SUMMARY AND ANALYSIS • PAGES 163-187 SUMMARY AND ANALYSIS • PAGES 188-217 SUMMARY AND ANALYSIS • PAGES 218-241 SUMMARY AND ANALYSIS

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Introduction:

The aim of this study unit is to help you analyze the novel in detail by providing you with detailed summaries and analyses of the second part of the book “The Journal”. Because there are no chapter divisions in this edition of the novel, the novel is divided into meaningful parts that may refer to significant episodes in the journal. We suggest you to read first the summary of the relevant part, and then read those pages from your book Robinson Crusoe, and later read the analysis of that part, which may give you a deeper understanding of that part. While reading the novel, be sure to take margin notes on your book and underline the most important parts so that you can use them later for revision.

Study tip: Reading a novel takes a long time as opposed to reading a short story. In order not to forget the most important parts, you can use self-adhesive papers of different colors for different purposes. For instance you can choose one color for significant parts about themes, and another color for important quotations about characters.

The Journal Pages 57-79 Summary

Robinson starts his journal by giving a detailed account of his experiences until he begins keep to his journal. One detail he adds in his journal is about the time when he is flooded with thoughts of religion upon discovering a type of barley and rice that is growing up on the island, although he has not cultivated any. However, he reports that he forgets about the spiritual enlightenment very quickly. He also gives an account of an earthquake that he has experienced that damaged his tent partially. In such conditions Robinson reports to be extremely scared and helpless. Another point that he notifies during the early pages of his journal is the first time he prayed to God. Being very ill for the first time on the island, Robinson prayed to. God but does not really remember how he has prayed (p. 70).

At this point the narrative gets more detailed and Robinson talks about a dream he had after recovering from his illness. He dreams of a man coming from the sea and questioning him of his religious beliefs. Robinson realizes that he has never prayed wholeheartedly, and even when he prayed it was just for a short time and was not in deep religious ecstasy. He realizes that he thanked God from time to time, but that was all. He also recalls his father’s words that he would never be blessed if he acts against the will of his father. Reflecting upon the misfortunes he endured and all his sufferings, he realizes that it is God who created all and ruled them. He repents and searches for a Bible in one of the chests he has brought from the ship and finds one. The first words that he reads from the Bible are “Call on me in the day of trouble, and I will deliver, and thou shalt glorify me.” (p. 75). Upon reading this Robinson prays this time willingly, and after this he sleeps for about two days. - 150 -

When Robinson finally wakes up he is revived both physically and spiritually. He begins to read the Bible regularly and realizes that he “is delivered” from his sickness because he turned to God.

Analysis

The beginning of the journal is indeed a repetition of what Robinson has already reported before, but what makes the journal quite different is Robinson’s explanation of details about his spiritual revival on the island as well as his physical delivery. Robinson who has not entertained any serious religious thought up until this part, begins to view religion seriously for the first time especially after the dream that he has had. There are three important things that inspire religious thoughts in this part:

1. Robinson discovers barley and rice growing up on the ground. - He cannot believe this and thinks God has provided these. 2. Robinson survives a severe earthquake. - He prays God to be delivered.

3. Robinson has a dream. - He is directly warned by an angel like man to follow God’s order.

These three things that happen one after another make Robinson read the Bible that he finds in the remains of the ship. It is notable that the first lines that he reads from the Bible just answers his needs at that time and compensate for the terrible loneliness and helplessness he feels. After reading these lines, Robinson can sleep soundly and without being disturbed by any evil thoughts. This spiritual enlightenment makes Robinson a whole new man. This spiritual enlightenment however does not change Robinson’s inclination over material possession. He does not part with his belongings. This conflict between material possession and spiritual purification is at the center of the book. It’s Your Turn!

1

• Do you think Robinson is sincere in his religious thoughts and feelings? What textual clues can you give to justify your answer?

Pages 79-105 Summary

Robinson reports that it has been about ten months since his arrival to the island. Having been spiritually and physically recovered, he decides to explore the island and discover all the places he can. He finds various types of fruits to feed upon. - 151 -

Robinson declares himself the King and the Lord of the island. He also enjoys the grapes he finds and considers moving his settlement to the new place he finds, but gives up the idea upon a second thought considering his weak chance of being discovered by a passing ship. Yet, he builds himself a small bower to use the place as a kind of country house and spends most of the July there. Because of the seasonal rains, he spends the following two months engraving his cave at the other end of the hill. On the anniversary of his arrival on the island, he spends the whole day for religious practice. Because there is scarcity of ink, Robinson reports that from this time on he will not give a daily account of his experiences, but will write just about the most important things.

During this time Robinson learns to seed plants and manages to have harvest of corn and grain near his new habitation in the woods. This pleases him extremely as he is able to create opportunities of making food for himself.

Later, he makes a journey through the island for further discovery and sees another island which he thinks is inhabited by the savages and the cannibals. During this journey he catches a parrot and teaches him to speak his name, which takes him some time. Although he soon realizes that he has settled in the worst part of the island, he does not change his habitation because he has already deemed it as his home.

On the second anniversary of his arrival, he thanks God for improving his conditions and starts his third year on the island as a whole new religious man. Comparing his past miserable state with his newly found peace of mind, Robinson thinks he would not have been this happy in any other part of the world. During his third year on the island Robinson is busy with his rice and corn, which he tries to preserve against several attacks by goats and fowls, but he finally makes his harvest and spends the next six months to produce tools that he would help him turn his corn into bread. He also teaches his parrot to speak its own name: POLL. Moreover, he works on making pots for himself for cooking, and succeeds in making pots by baking the shaped mixture of clay and sand in the fire. After many efforts, Robinson is able to cook bread for himself in the oven he has built.

During this time, Robinson’s mind is quite busy with the thoughts of the island he saw nearby, but he is still scared of going there for fear of being eaten by the cannibals of the Caribbean. Therefore, he resolves to build himself a boat to carry him back to Brazil. He spends the next six months in building his boat from a cedar tree. To his disappointment however, he cannot take the boat to the sea as the boat is bigger than he anticipated. In the middle of this work, Robinson finishes his fourth year on the island and changes as a person who has no connection with the mundane issues of the real world. He claims that he has no pride, no lust. He at the same time claims that there is no rival in the island, so he is the sole king or the emperor of the island. He claims that he is content with the things just necessary for his survival, and refuses to crop more corns or cut more trees that he would not - 152 -

need. He once more expresses his consent to the will of God as he believes God was more merciful than punitive as God has saved him from many disasters and provided him with many things that assisted his survival on the island.

Analysis

In this part of the novel, Robinson with his newly found peace of mind, transforms from a miserable castaway to a survivor. Taking his strength from his religious devotion to God, he deems the island as his new home. It is notable that he names his dwelling as a home and begins to cultivate the island into a place that would assist his survival. As he is able to seed corn and take his harvest, the island is now more like a plantation especially considering his language that highlights his unquestionable ownership of the island. Moreover, Robinson’s inclination towards superior stations of life manifests itself with his deeming himself the king and the lord of the island. Once he feels that there are no real outside dangers to his existence on the island and that there are no rivals, he feels in full possession of the island. This shows his inclination to own and rule when he is not threatened by factors that make him consider his survival. The only thing that Robinson seems to be really in need of is human company. For instance, when he hears his name pronounced by the parrot he has tamed, he is overjoyed.

Although Robinson depicts himself as a religious man who acts upon religious impulses, it is not really sometimes plausible for the reader to agree with him. Robinson, for instance thanks God every time he can for his deliverance, and attributes his refusing to crop more than he can consume to religious content, however, it seems he does so because he will not be able to manage all the remaining harvest by himself. Therefore, his actions are not just a result of religious thought but also of practical reasoning.

Another point that is noteworthy is that Robinson tries to make a boat to escape the island. Although he does not know whether he will be able to manage to take the boat to the sea and use it for his escape, he does not give up working on it. This is important for two reasons. First, Robinson is never a lazy man and he always finds something to be busy with. He works dexterously and devotedly on this boat, and manages to finish it despite the fact that he cannot take it to the sea. Next, although he has improved his conditions on the island, and seems to be happy living there, he never gives up the thoughts of escaping the island. He does not idly wait someone to rescue him, but tries to create opportunities to save his own life. It’s Your Turn!

2

• Compare Robinson’s attitude towards his life on the island at the beginning of the journal and this part. How has Robinson changed?

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Pages 106-121 Summary

Robinson reports that he is running out of ink and begins to use it more sparingly. He reflects on the significance of important dates in his life that he has recorded in his journal. It appears to him that he left home, taken by the man of Sallee, escaped from Sallee men on the same day of the year. He also realizes that he has landed on the island on his 26th birthday. Another important point that catches his attention is the time when he finished his last bread on the ship. He also thanks God that he was able to find some clothes in the ship because he would not think of staying naked because of the heat although he has been all alone on the island. In time he makes himself a hat and an umbrella from the skins of the animals he has killed. Robinson reports that nothing of more importance has happened to him during his five years of settlement on the island. He attempts at building another boat, and manages to make one that is smaller and easier to take to the sea.

On the sixth of November in his sixth year on the island, Robinson sets sail with his small boat to make a tour around his island. He goes to the east of the island but is soon caught into an eddy that carries him a little away from the island. He has to spend about four days trying to survive. This makes Robinson compare his life on the island and a possible disaster and once more adores the power of God that makes him thankful for his comparatively comfortable life on the island. Luckily he is caught up by another eddy that carries him closer to the island this time. When he finally lands on the shore, he realizes that it is impossible to take the same route to go back to his habitation and sleeps there.The next day, he follows the shore to the west and arrives at his old bower and falls asleep. In his sleep he hears someone calling his name repeatedly, but cannot tell who is talking to him. When he awakes, he realizes that it is his parrot Poll, talking and asking where he is. He takes the parrot and goes back home where he spends the next year as a retired man, and he never thinks of sailing again. He spends his life making baskets, pipes and other things during the year.

He spends the next three months to build a hedge and tames several goats and by the end of four years his flock grows into forty three including the ones he killed to eat. He also learns to milk them and manages to produce butter and cheese. He is thankful for the abundance of food and is pleased that he has his own subjects (the animals) that he would rule as he wishes. He calls his dog and the two cats his family, and the parrot his servant.

Robinson once more imagines sailing with his boat and is amused with the thought of arriving at an inhabited land, however he thinks people would laugh at his strange appearance. He frequently visits his boat but dos not have the courage for another voyage. He reports that now he has two plantations: one near the shore and the one around his old bower. In the former he keeps all his harvest and his belongings in the several caves he had dug, and the latter serves as a kind of plantation where he deals with his cattle and grapes. - 154 -

Analysis

Robinson’s second attempt at making a boat is successful, but when he tries the explore the other side of the island he is nearly killed in the strong currents. When he finally arrives at the shore, his religious beliefs are strengthened. He believes God has the power to test our faith by putting us into situations where we are to weigh the positive and negative sides of the situation. Likewise, Robinson is happy to discover that his life on the island is comfortable and directs all his attention to improve his situation more. This part presents Robinson as a man making most of his situation. He tames several goats, gets into farming and manages to produce butter and cheese. He also calls his animals his subjects, which is a sign of Robinson’s will to power whenever he has the chance to. He also reports to have two plantations. It is believed that with the approach he has with having a county house and a home, he behaves as a member of the upper class which is a sign of Robinson’s ambitions (SparkNotes Editors, 2003).

Pages 122-143 Summary

One noon when going to his boat, Robinson recognizes a footprint of a man. He searches the place but cannot find the man. He is so scared that he cannot sleep the whole night as he believes the footprint belongs to Devil. In the morning he searches the place once more, but he cannot find a sign of neither any other man nor a vessel that might have brought the man. He concludes that the footprint belongs to one of the savages living on the other island. He is terribly scared that the savages would take all his goats and destroy his corn fields and resolves to produce more corn to secure his future. With these feelings, he claims that his religious belief weakens when compared with the times of prosperity. Still, he consents to whatever comes from the God because he believes he sinned against God by deserting his family. Robinson investigates the place once more and upon not finding any sign, thinks that the footprint belongs to himself, yet when he compares the footprint with his own feet, he realizes that it is much larger than his own, which means that somebody else was on the island. He is scared once more and asks for mercy from God. Having been on the island for fifteen years, Robinson thinks once more that whoever was on the island is not an inhabitant of the island but someone who was driven on shore accidentally and left immediately. However, for fear of being discovered and attacked, he decides to draw another fortification to secure his settlement. In several months he builds himself the next wall with seven holes in it to fire seven guns if there is an attack. It takes him another two years to completely surround the place with woods so as not to be noticed by any intruder. He also makes sure to secure his herd by moving fourteen of them to another place that he prepares. For all this time, he feels uneasy with the thoughts of not being able to attend to his religious duties - 155 -

because of his distress, and claims that a true prayer should reflect feelings of love and gratitude whereas his prayers were most of the time were about being saved from the savages. Planning to move another part of his herd to another place, Robinson makes a journey to the west of the island, and to his terror finds out some bones of human bodies which he believes are the remainders of the victims of the cannibals. The fireplace seems to prove his suspicions. He is terribly horrified, but also relieved by the fact that during these eighteen years on the island, he was not disturbed or attacked by any of these savages. He once more thanks God for placing him in the most secure place on the island.

Having been secured, Robinson plans to rescue the victims of the cannibals by finding a place that would serve as a shelter from recognition. For about two or three months he makes visits to the hill to catch a boat approaching the island, but all his observations are fruitless, and he reconsiders his plan and finally comes to the conclusion that he has no authority to judge and punish the cannibals. He also thinks that if he puts his plan into practice, he may well be discovered by the savages that may escape from his attack and bring other savages to the island, which would mean his own destruction by his own hands. During the next year he does not approach the place that is visited by the savages for their bloody rituals, and retires himself almost completely by just dealing with his herd, and attending to his religious practices thanking God several times for securing his solitary existence. After his discovery of the cannibals, Robinson stops firing guns on the island and burning fire in the open in order not to be recognized. However, he has to make fire to cook his bread and meat, so he manages to get some coal from wood and decides to burn them in the mouth of a great rock in order not to give fumes out. While cutting wood to make coal, he discovers a hallow place and notices that it is a kind of cave with a very narrow entrance which would make him a very secure shelter. Therefore, he decides to bring all his most valuable things, especially the gun powder into the cave.

Analysis

The time that Robinson finds a footprint on the island is very significant in that Robinson’s first reaction is of fear. Robinson first thinks that it is the footprint of Devil. When he realizes that the footprint indeed belongs to a man, he is equally scared. It is ironic that he is scared of any sign of another man while he is so much in need of human company. However, this reaction also shows that during his eighteen years on the island, he has grown into a very solitary man who is self-sufficient (SparkNotes Editors, 2003). Another reason is that Robinson also is afraid of losing the “one man country” that he has created for himself. As Kronenberg states “Crusoe manages to transform a wilderness into a one-man state, in which he is both architect and builder, husband man and housewife, management and labor, commoner and king...” (as cited in Koç, 2005, p. 15). It is difficult for Robinson even to think of losing his land and the settled life he has. That is why he is afraid of other men as he is afraid of Devil. - 156 -

Later, when Robinson recognizes the cannibals on the shore, he is full of ideas of killing them and rescuing their victims. He first acts with a religious duty, but upon second thought, he leaves the task because he believes he is no authority to judge and punish the cannibals. Here, Robinson gives a lot of references to the Bible which shows his detailed reading of the Bible. He does not see himself in a position to judge the cannibals’ beliefs, but it is again questionable whether it is purely because of religious reasoning that he decides not to attack the cannibals. After all, he is a single man and observes that there are troops of cannibals visiting the island from time to time. Even though he has guns to defend himself, he has a weak chance to survive if he is attacked by a large group of cannibals. Therefore, his resolution is again a result of his practical reasoning as well as religious conscience.

Pages 143-162 Summary

It is the December of Robinson’s twenty third year on the island. He goes to deal with harvest very frequently and one day he realizes that there is fire on the shore of his side of the island. He hides in his castle but he cannot stand the curiosity and climbs up to the hill where he discovers that there are nine savages on the shore who are feasting around the fire. When the savages are gone, he explores the place and is disgusted by the sight which makes him decide to kill them in their next arrival, but for more than fifteen months the savages do not visit the island.

In the middle of May, one stormy night Robinson hears a gun fired close to the shore, and thinks that it comes from a ship in distress and is hopeful that they can save him. He burns a fire at the top of the hill to signal his presence. Although he keeps the fire all night long, no one comes and in the morning Robinson realizes that there are no signs of any ship except the wreck of it. For the very first time in twenty four years on the island, he needs the company of another man, and feels isolated and very lonely. Two days later, he discovers the dead body of a boy and plans a voyage to the wreck of the ship to find something of use. He takes some clothes, silver, gold and shoes form the ship.

Robinson spends the next two years attending his daily rituals and reflecting on the several mistakes he has made, particularly what he calls his original sin, that is his betraying his father’s advice. He believes he could have made a fortune in England or in Brazil, so he constantly makes plans to escape the island. In distress, Robinson sees a dream in which he saves a savage from the hands of the cannibals and makes him a servant who helps him in his scheme to escape the island. After he wakes up, he concludes that the only way to escape is to really save one savage although it would mean to kill many cannibals. He finds the idea worth considering, but at the same time he cannot bring himself to act because he has to kill several cannibals for his own benefit. Nonetheless, the idea of escape wins over his conscience and he decides to put the plan into practice, but this time no cannibals visit the shore for about one and half years. - 157 -

During this time, he feels even more eager to save one of the savages, and more if possible. He plans to take the savages as slaves for himself. When he finally observes the cannibals on the shore, he is disappointed that there are so many of them. He also notices two captives one of whom is immediately slaughtered. The other captive escapes into the island, towards Robinson’s habitation. Three cannibals pursue him, one of whom has to stop the chase as he cannot swim. Robinson kills the other cannibal and wounds the last one. The savage kneels down and puts his head under Robinson’s feet as a sign which Robinson interprets as a vow of being a slave for a lifetime. When the wounded cannibal rises, the savage-as Robinson calls him- kills him with Robinson’s sword. Robinson takes the savage to his cave on the other part of the island, and gives him something to eat and drink after which the savage sleeps. Robinson observes the savage to be quite handsome with his mongrel appearance unlike the Brazilians and the Africans who he describes as ugly.

Analysis

Robinson’s discovering the wreck of the Spanish ship is very important for him because for the first time in twenty three years on the island he feels terribly in need of company. This time he is not scared as he was when he saw the footprint. This point is extremely important in that the ship that he sees is at a safe distance and no one has set foot on what he calls his own land Therefore, he does not feel any intrusion, but considers this as a chance for his resue. Moreover, the ship belongs to the Spanish, a civilized and western part of the world, an important detail for Robinson who is very class conscious and arrogant in such issues. Robinson longs for company, but is unable to find one until he encounters another cannibal feast. Robinson’s saving Friday is perhaps one of the most important parts of the novel. When Friday shows his gratitude by putting his head under Robinson’s foot, Robinson readily accepts it and already establishes himself to a superior position. Robinson is ready to rule and master, which shows his inclination towards owning slaves. Having been involved in slave trade, it is natural for him to take Friday as a slave (Koç, 2005). Moreover, Robinson’s physical description of Friday signals his racist tendencies. Friday’s skin color naturally makes him inferior to Robinson, but Robinson is sure that his “slave” is superior as his skin color is not so dark as the Africans nor as tawny as the Brazilians. This indicates that Robinson is not only a racist bu also nation conscious.

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Pages 163-187 Summary

Soon, Robinson names the savage Friday because he saved the life of the savage on a Friday. Moreover, he teaches him to speak. The first word that he teaches Friday is “Master” which he uses as his name. He also teaches him to say “yes” and “no”. In the morning the two go to the shore near the buried bodies of the two cannibals they murdered the day before and Friday offers to eat their bodies, to which Robinson responds with disgust. Robinson realizes that Friday was also originally a cannibal.

In order to change Friday’s diet, Robinson shoots a goat from his herd and a parrot. Friday is terribly scared of the gun and seeing nothing put into it, believes that the gun has a secret way of killing people and animals. Robinson uses this ignorance to his advantage to further subjugate Friday. Tasting and liking the boiled and roasted meat, Friday promises not to eat human flesh anymore, which pleases Robinson greatly. Friday soon learns to manage all the work that Robinson has been doing all the while and does most of the work himself. During this time he learns to speak fairly well and one day Robinson interrogates about his past. Friday reveals that he had been on the island before as a feaster in the cannibal rituals. He also reports that the cannibals eat the captives they take in the battles. He tells that he also fell victim in such a battle. Robinson also learns that he is in one of the Caribbean islands. Friday tells him that his nation has killed many Spaniards whose notoriety was spread over all America because of their slaughter of the Native Americans.

After some time, Robinson inquires Friday about his religious beliefs, and learns that his tribe believed in a God that rests close to them but does not hear them, and that there is a system of priesthood. Robinson teaches Friday the Christian religion starting from the almighty God, Devil and the original sin making several allusions to the Bible. Friday’s questions about the Devil and why God does not punish evil puzzles Robinson, but finally manages to persuade Friday that Devil is also reserved for repentance as all humans are. During these conversations Robinson confesses that he has also learned from his own speeches and thanks God for all he has endured and for having Friday on the island.

For three years the two live happily and comfortably. Friday is made a true Christian and Robinson a kind of preacher in his teachings to Friday. When they become really intimate, Robinson tells Friday his own story. During the conversation, Robinson learns that the crew of men whose ship was wretched on the shore of Robinson’s island about four years ago were saved by Friday’s nation. Moreover, he learns that they were not eaten by the cannibals because they only eat the men they fight with at a war.

One day when the weather is very clear, Friday sees his native land across the sea, which puts Robinson in distress as he believes Friday would leave him. However, Friday assures him that he would not leave if Robinson would not go. He even wants Robinson to kill him if Robinson is to send him back to his nation without his master. Thinking about the bearded white men saved by Friday’s nation, Robinson decides to go with Friday. - 159 -

In about a month they make a canoe big enough to take them to the main land where Friday’s nation live. Robinson also makes a sail for the canoe and teaches Friday how to sail the boat they have made. Robinson enters the twenty seventh year on the island busy with his plans of deliverance to the main land. When the rainy season passes, Robinson decides to finish his preparations for the voyage. One day when he sends Friday to the shore to find a tortoise, Friday comes back in a very frightened state upon discovering three canoes on the shore with twenty one savages and three captives. The captives are Europeans and although Robinson questions himself of the conduct, he decides to save the victims by killing the cannibals. Friday and Robinson attack the cannibals and save the Spanish man. The three men fight the cannibals and kill most of them, but four of the cannibals manage to escape in a canoe Robinson and Friday decide to chase them so that the escapees would not bring other cannibals back for revenge. When on the canoe, Robinson and Friday discover another captive who happens to be Friday’s father.

Analysis

Robinson names the savage Friday and justifies the name as a memoir of the day of the savage’s survival. It is interesting that he does not try to learn the name of the man but instead gives a name to him. This shows that Friday will have no say on the island. Moreover, the first word that Robinson teaches Friday is “master” even before the basic words of “yes” or “no”. Here Robinson’s will to power manifests itself and his need to be in a superior position is strengthened. Another significant thing is Robinson’s manupulation of Friday’s beliefs. Having not seen any gun before, Friday cannot understand how Robinson killed the goat and the parrot for food, and believes Robinson has some supernatural powers. Robinson uses this to his advantage and uses belief to subjugate Friday, a tactic used by many colonizers. After some time, Robinson begins to interrogate Friday about his religious beliefs and learns that they worship a God named Benamuckee who is different from the Christian God. Like many of the colonizers Robinson tries to and manages to convert Friday to Christianity. During these conversations, Friday’s questions about the Devil are as important as Robinson’s preaching. It is understood that there is no figure like the Devil in the lives of the savages, and Devil is a production of civilized life. Friday’s original belief does not have concepts of original sin and corruption as well (Koç, 2005, p. 22). Therefore, although there is no open criticism of Christianity, there is a juxtaposition of beliefs where the place of Evil differ significantly. This is also reflected in the lives of the two parties. The cannibals kill and eat men only when there is a battle, but not for pleasure whereas the white men do kill to colonize, to take captives and so forth. This conflict, however, remains unsolved throughout the rest of the novel. In the later pages of this part, Robinson and Friday attack the cannibals who arrive at the shore for another feast and save two men from their hands, one of whom is Friday’s father. This part justifies the previous comment that Robinson did not attack the cannibals before not - 160 -

because of just religious belief but also because of his weak chance of winning. If Friday did not ran away to the place where Robinson hid, Robinson would not have the courage to save Friday. However, now he has Friday with him, who has proved to be quite skillful in many jobs, Robinson has the courage to attack although there has not been any change in his religious beliefs.

Pages 188-217 Summary

Robinson and Friday give the Spaniard and Friday’s father some food and drink, and carry them to the dwelling of Robinson where the two build a tent for the new comers. Robinson thinks that he is now a real king and a law giver and declares the new inhabitants of the island his subjects who belong to different religions which he does not interfere with.

Robinson inquires Friday’s father about his story and upon learning that no other cannibal would visit the island for fear of being murdered by supernatural powers (as the cannibals are not familiar with guns), he directs his attention to the Spaniard. Robinson tells the Spaniard that he would not go to the lands of the Spanish because as an English man he would surely be subjugated.

The Spaniard tells him that they can bring the other fourteen Spaniards who now live with the savages to the island, but after a month, they decide that the food supply would not be sufficient for all of them, so they resolve to wait for another six months for the next harvest that would supply them with more corn and rice. Robinson also orders Friday and his father to cut trees for their work, and assigns the Spaniard to supervise them. When the harvest is made and everything is ready Robinson sends the Spaniard to the savages’ land with Friday’s father to ask the white men if they would come to the land of Robinson. Eight days later, Friday reports that the men are back, but Robinson soon discovers that the comers are not the Spaniard and Friday’s father, but an English ship. Robinson recognizes eleven men three of whom are prisoners. When the seamen go to sleep under the trees, Robinson approaches the prisoners and offers to help them, one of whom is actually the captain of the ship. They make a deal that when Robinson rescues them, the three prisoners will be his subjects on the island and if the ship is recovered they will take Robinson and the others to England. The three prisoners attack the rebellious seamen and kill the most dangerous two, and the rest submit to the Captains authority. Robinson and the captain think of a way to rescue the ship, but the captain reports that there are still several men on board who would not allow that. Therefore, they first make the smaller boat on the shore unusable. The people of the ship fire guns to show that they want the boat back, but as there is no response, they make their way to the shore. Robinson arms seven men for the battle, if there is any, as there are ten men approaching the shore. When - 161 -

the men arrive at the shore, they first investigate the boat and to their surprise they find that it is of no use. In the battle Robinson and his army of eight men defeat the mutineers killing the boatswain and two other men. Here we also learn that Robinson is called the governor of the island and he also calls himself the “Generalissimo”, and Friday, the Lieutenant. The small army of Robinson take the mutineers captives and put five of the most rebellious of them into Robinson’s cave, which now serves as a prison, and two other men are sent to the bower. Robinson and the Captain play a trick on the new captives and Robinson does not present himself as the governor but a messenger of governor. The mutineers buy the trick and promise to be under the governor’s rule to secure their lives.

Robinson sends the Captain and some of the new captives to take hold of the ship back, and the Captain and his mate take the ship back from the mutineers killing only the new captain by shooting him from his head, the sight of which scares the others.

Upon taking the ship back, The Captain fires the guns for seven times as ordered by Robinson, and Robinson sleeps a sound sleep upon this relief. Robinson wakes up with the call of the Captain and they celebrate the occasion. The Captain offers Robinson several gifts for his delivery, and Robinson appreciates especially the new clothes. He also thanks the Captain because he thinks the Captain is also his deliverer, and once more shows his gratitude to the God.

After this, the Captain and Robinson make plans about the next step to take, especially about the dangerous mutineers that they have enslaved. Robinson asks the men whether they prefer to be taken to England and be hung there or to stay on the island which he himself is going to leave. The rebels agree on staying on the island.

Analysis

After the arrival of the Spanish Captain and Friday’s father the life on the island changes. Robinson now does not need to work on his plantation as he used to before, and he makes a division of labor among the new inhabitants which he calls his subjects. The people whose lives he saved become naturally inferior to him, but he makes sure that there is a class distinction among them as well. For instance, he makes Friday and Friday’s father cut trees and attend the handy work, while he makes the Captain supervise them. This is very much like the so called civilized world where there are rulers, the white collars who do the office work, and the blue collar workers who deal with laborious tasks. Robinson also acts as a racist since he places the white Spanish man in a superior position to Friday and his father. Another significant point here is about Friday’s relationship with his father. Friday tries to have his father in view in order not to lose him one more time, and he proves to be a trustful son. When compared with Robinson’s relationship with his own father, Friday’s relationship is quite sincere, and Friday proves to be a more intimate character that Robinson. This raises - 162 -

another question about primitive life and civilization. Robinson’s relationship with his father is built upon civilized affairs, whereas Friday’s with his own father seem to be just a result of kinship, which makes the reader question the corrupting nature of civilization, whether it was Defoe’s intention or not. However, comparing the two religions of the white men and the savages bring the same result favoring the primitive over the civilized despite all racist undertones of the novel. When Robinson plans a visit to the lands of the savages to take the Spanish men, he sends a message that they can come to “his” land only if they submit to his power Robinson has already established himself as the colonizer of the island and considers himself as the lawgiver. Unexpectedly an English ship arrives which makes Robinson excited for the very first time about his departure. As noted before, Robinson is very conscious of race and nation, and sees the English ship as a real chance for being rescued from the island. Therefore, he decides to save the ship from mutineers and gets into a battle with the men assigning himself to the position of an army general. The time when the battle on the sea is narrated is the first time that there is the real use of third person narration as most of the narration in the novel is first person narration. When securing the ship from the rebels, Robinson for the first time thanks another human being for saving his life, and he is the English captain. It is not a coincidence that the one who saves Robinson’s life is an English man. For instance, Robinson has not thanked the Spanish captain nor did he Friday although both of them served Robinson well.

Pages 218- 241 Summary

Before leaving the island, Robinson instructs the new inhabitants of the island about how he has led his life for twenty eight years, teaching them how to manage the farming issues on the island and how to deal with the goats. He also informs them about the other sixteen Spanish men who are to come from the land of the savages. He leaves the island by taking his cap of goat’s skin, his parrot and the money preserved on December 19, 1686. Following a long voyage Robinson arrives England after thirty five years’ absence. He finds the widow to whom he entrusted his money before leaving England and promises to help her when he has the opportunity. Then, he goes to Yorkshire, where he discovers that almost all his family have died and the remaining members of the family thought he was dead. Realizing that there is no one to stay for in England, Robinson decides to go to Lisbon to learn about his plantation in Brazil, and in Lisbon he meets the Captain who brought him to Brazil, and the Captain assures him that his plantation is safe and has grown very profitable. The Portuguese Captain also gives a detailed account of how he made use of the money of Robinson’s plantation during the first six years and tells that he is indebted to Robinson and - 163 -

promises to pay his debt. Robinson is moved by the honesty of the Captain. Robinson does not take all the money and thanks the Captain for his honesty and kindness.

In less than seven months Robinson begins to deliver letters and goods from his plantation in Brazil, which pleases him. Later, he goes to the notary and makes the Captain have a share of his profits as a sign of gratitude, and also promises some money for the Captain’s son after his death. He feels he has paid his lifelong debt this way.

With his new fortune, Robinson is puzzled because now he has money to secure, and a plantation that he has to rule as opposed to uninhabited island where the only responsibility he had was to himself. He sends money to the widow that assisted him in England and to his sisters after which he considers his opportunities. He thinks of settling in Brazil, but because he lied to be a papist when he used to live there, he has to convert to Catholicism if he is to live in Brazil. Therefore, he changes his mind and resolves to go back to England and make new relations there that would settle him there as a merchant. For this purpose he sends several letters to his acquaintances in Brazil about his plantation along with some gifts to his partner. Having been tired of sea journeys and misfortunes, Robinson decides to go to England by land. The Portuguese Captain finds some other merchants to accompany him in his journey. Friday also accompanies him during all this process, but he is totally shocked by the change of climate. During the journey, the weather gets so cold and snowy that it is impossible for them to proceed, but they learn from a French man that a guide can help them get to France following a different route. Robinson and the others accept this, and the guide warns them to be fully armed to prevent themselves from the attack of wild animals.

The troop of men follow the new guide, but after some time, they encounter snow again, yet they can at least proceed. The guide leads the way about half a mile in front of them. All of a sudden, they hear the cries of the guide upon which Friday hastens to help him. Two wolves have attacked the guide, and Friday kills the wolves. However, the shots have alarmed the forest and a bear attacks Friday who in deed provokes the bear. Friday tricks the bear to climb up a tree and makes him come down after which he kills the bear. Robinson and others are amused by the show, but they have a long way to go and a wounded guide to carry. On their way they are attacked by more than three hundred wolves, but they manage to kill several of them and scare the rest. When they arrive at the village, they have to leave the wounded guide because of his decaying health and proceed with a new guide. When Robinson finally arrives England, he sends several letters to Lisbon to sell his plantations in Brazil, and sets himself up as a new man in England taking two of his nephews into his care, marrying and having three children of his own in seven years’ time. During this period, it is the widow that prevents him from going abroad, but when his wife dies, he once more sets sail as a trader to East Indies. During the voyage, on his way to Brazil, Robinson visits his island and gives the inhabitants - 164 -

supplies such as food and clothes. Returning from Brazils he also sends them several other supplies and seven women to the Spanish and promises the English inhabitants of the islands to send them English women once he arrives at England. He also learns that the island was attacked by 300 Caribbees but to his joy, the dwellers of the island defeated them and preserved Robinson’s colony. Robinson tells that there are several other adventures but will keep recording them for another volume.

Analysis

The last part of the novel is important in portraying human relations which have been absent from most of the novel. First, Robinson finds the widow to whom he had entrusted his money thirty five years ago, and realizes that the widow had kept his money safe and gave it back despite her own miserable condition. Moreover, Robinson finds the Portuguese Captain who helped him to establish his plantation in Brazil, and learns that his plantation is still safe despite all those years of absence. Moreover, Robinson learns that his partner has also been loyal to him. These all indicate that there are still good people in the world who act just upon good will and highlight the innate goodness in men.

It is interesting that Robinson himself lacks such affections and he just tries to compensate for such faithfulness by giving some money. Human affairs are not important for him as are the numerous adventures he goes through. For instance, he narrates his journey to England by land, and this narration takes pages. On the other hand, we learn that Robinson married, had three children and lost his wife only in two sentences. This shows that family does not matter for Robinson as does his possessions. The same idea is validated when Robinson leaves England to visit Brazil and his island and gives a detailed account of those visits where as he does not say a word about what happens to his own children. The only person he talks about is his nephew whom he also makes a shipman and assists him in his journey to his island. The last important point about Robinson is about the details that he provides from his visit to the island. He has already made the island his official colony and as the benefactor, brings supplies to the inhabitants. Until this point there is no problem. Nevertheless, among the “supplies” he brings seven women to the island from Brazil, which presents Robinson as a sexist as well as a racist. He sees women as some kind of “supply” for the men on the island. Moreover, he promises to bring English women from England for the English men which highlights not only his sexism but also racism. Apparently, Robinson does not find the other nations as true match for the English man, and tries to secure the nation’s future by bringing English women to reproduce.

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Self-Test

1. What is the name of the parrot that Robinson tames on the island? a. b. c. d. e.

Robinson Dolly Xury Poll Ismael

2. Which event makes Robinson pray consciously and seriously for the first time? a. b. c. d. e.

He sees a dream in which a man tells him to repent. He sees grapes growing on the island. The cannibals attack the island and Robinson survives. Friday saves Robinson from the attack of cannibals. A Spanish ship is wrecked near the island, and Robinson is delivered.

3. How does Robinson react upon seeing the footprint on the island? a. b. c. d. e.

He is happy to discover that the island is not uninhabited. He is so afraid that he hides for a long time. He tries to send signals so that the owner of the footprint can find him. He is very anxious to be enslaved by the new comers. He thinks it is a sign of God that he is not alone.

4. To whom does Robinson entrust his money in England? a. b. c. d. e.

the Portuguese Captain his father the widow of the English Captain his brother his partner in his plantation business

5. How many children does Robinson have when he is back in England? a. b. c. d. e.

None Two Four Five Three

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Key to Self-Test 1. D

2. A

3. B

4. C

5. E

Literature alive

Robinson Crusoe’s story has always been popular since the time it was first written. Although it has been about three centuries, it has lost almost nothing of his popularity. • What do you think is the reason for the popularity of Robinson Crusoe’s story?

• Can you think of any modern Robinson Crusoe’s in fiction, movies or in TV shows?

References

Defoe, D. (2003). Robinson Crusoe. London: Penguin Classics, Originally published in 1719. Koç, E. (2005). Birth of English Novel. Ankara: Çankaya University Publications.

Rahn, J. (2011). Realism. Retrieved May 29, 2012 from http://www.onlineliterature.com/periods/realism.php Richetti, J. (Ed.). (2003). Introduction. Robinson Crusoe. London: Penguin Classics.

SparkNotes Editors. (2003). SparkNote on Robinson Crusoe. Retrieved June 14, 2012, from http://www.sparknotes.com/lit/crusoe/ Westland, P. (Ed.). (1950). Teach yourself history of English literature: The English Renascence to the Romantic revival. Vol 3. London: The English Universities Press.

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UNIT 11 ROBINSON CRUSOE 3 Amaçlarımız - Our Aim

After studying this unit, you will be able to;

• analyze the characters in the novel; • analyze the themes of the novel;

• identify the point of view in the novel; • identify the settings in the novel

• analyze the symbols and the motifs in the novel.

Anahtar Kavramlar - Key Concepts • Elements of novel analysis

İçindekiler - Unit Contents • INTRODUCTION • CHARACTERS • THEMES

• POINT OF VIEW • SETTING

• SYMBOLS • MOTIFS

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INTRODUCTION

The aim of this study unit is to help you analyze the characters, themes, the narrative point of view, setting, symbols and the motifs of the novel Robinson Crusoe as elements of novel analysis. Moreover, this chapter will help you understand the underlying messages of the novel and the main concepts that are explored by the writer Daniel Defoe. While reading this unit, refer back to Unit 9 in which you studied the background to this novel. Try to make connections with the social and economic context of the period and the novel to understand the motivations of especially the central character Robinson and the other characters in the novel. Do not forget to answer the questions in the parts “It’s your turn!” as they will give you a detailed understanding of the novel.

CHARACTERS

Robinson Crusoe

Robinson Crusoe is a round character with multiple traits. Although the adventures he experiences sound quite improbable, his minute descriptions of the events and his justifying his actions with rational thoughts make him both a realistic character and a character that especially the eighteenth century reading public enjoyed a lot. What makes Robinson realistic as a character is his presenting himself as man with fears, repentance and misfortunes. Although, he creates a whole new land from almost nothing, he does not talk about this as an exceedingly heroic deed, but rather as a sign of survival instinct. Moreover, his first response to the events that he encounters is usually fear. For instance he is terribly scared with the first storm he encounters, and he is even more afraid once he is on the deserted island. Likewise, he is thrilled on seeing the footprint of the island, and behaves as a normal human would to preserve his security first. Another example of his presentation of himself as a real man happens when he confesses that the strategy that he applied to defeat the 300 wolfs that attacked his company on their way back to England was a total mistake. Such representation makes the reader sympathize with Robinson. However, this does not mean that Robinson does not have his personal flaws. First of all, Robinson is incapable of any human intimacy. He does not feel any close ties to his family. Later, he very easily sells Xury, whom he sees as a slave to the Portuguese captain although Xury was very helpful in his escape from the Moorish island. When he saves Friday from the hands of the savages, he seems to love Friday, but still does not reflect his feelings too much, and what happens to Friday when they arrive at England is not revealed. Robinson is not attached to his own family either. He just mentions that he married in England and had three children, but that’s all. There is no more information about any of them. Robinson feels gratitude for the widow and the Portuguese Captain, but they too receive a similar treatment from Robinson. Being a materialistic man, Robinson tries to show his gratitude with money. Moreover, it is questionable whether he would feel any closeness to both if they did not help him in his financial affairs. - 170 -

Another characteristic of Robinson is that he is not a conformist (Koç, 2005, p. 16). Robinson is not satisfied with the life that his father would provide him. Representing the imperialist ideals of England, Robinson tries to seek his individual quest for his own future where he hopes to make a fortune. For this purpose, he uses all his means to achieve his goal. When he escapes the Moorish Island, he sells Xury and other goods to make money. Later he even lies to the Brazilians that he is a Catholic, a Papist, and trades there. Even when he is on a deserted island after the shipwreck, he does not give up but makes the island a kind of small England with its plantations, farms, herds and later subjects. Therefore, Robinson is never lazy, but tries all means to his capitalist end.

Koç (2005) believes that Robinson is also an opportunist. From the beginning of the novel, Robinson makes use of all the chances that open a gate for him. He first gets on the ship of a friend’s father. When he is enslaved, he uses the first opportunity to escape by mimicking that he was going fishing. Later, he sells Xury on the first chance. Also, he does not miss the chance of slave trade in Brazil although it is illegal. For these reasons, it can be said that Robinson does not expect things to happen to him, but creates his own chances. It’s Your Turn!

1

• What other examples of Robinson opportunism can you find from the novel?

Besides these, Robinson is a capitalist, a slave trader and an imperial colonist. All his deals are made on money and land, which places him in a position unquestionably of a capital holder. When he is to fail, he is born out of his ashes and turns everything he has into money or profit. The way he cultivates the island can be given as an example. Moreover, Robinson is naturally a slave trader, which was common in the 17th and 18h centuries in England. He first takes Xury as a slave, then sells him. Later Friday takes his share, and becomes his slave. Lastly, Robinson is obviously a colonist as understood from the way he inhabits the island he has left at the end of the novel. Moreover, he is a racist who thinks low of especially the African and eastern nations.

In addition to these, Robinson is presented as a man who is in between religious faith and material possession. Throughout the novel, he matures spiritually strengthening his religious beliefs. The misfortunes he goes through enable him to form a new relationship with God and he thinks his years on the island serve as a punishment for his original sin of leaving his family behind. Nevertheless, he does not seem to have learned his lesson, as at the end of the novel he leaves his own family back in England, and does not give any details about the fate of his children. With all these attributes, it can be said that Robinson represents the materialistic individual of the seventeenth and eighteenth century who is trying to climb the social ladder.

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It’s Your Turn!

2

• What other adjectives can you use to describe Robinson? Explain your answer.

Friday

Friday is perhaps the most sympathetic character of the novel. Although he is originally a cannibal, his affectionate personality is juxtaposed with Robinson’s cold attitude in human affairs. For instance, he immediately shows his gratitude to Robinson for saving his life and refuses to leave him for a lifetime. Another example is his relationship with his father. Friday, who is a very hardworking man, cannot help checking his father every other second so as not to lose him once again. He proves to be a loyal servant and son. Moreover, the only scene that provokes laughter is also provided by Friday who entertains Robinson and the other men in his show of killing a bear.

The actual significance of Friday in the novel is his being the first nonwhite person in English literature with realistic and individual traits (SparkNotes Editors, 2003). Friday is not merely a servant or a slave. He is portrayed with emotions and is capable of reason. This is most evident when Robinson tries to convert him to Christianity. Friday questions the concept of Devil in such a reasonable way that his intelligence even surprises Robinson. Therefore, Friday’s representation remains as one of the most problematic points of the novel because on the one hand the novel has racist undertones and highlights colonial expansion, on the other hand through Friday’s personality the primitive is presented with its beauty. As a result, Friday serves as a juxtaposition to the corruption of civilized world with his innate goodness and loyalty.

The Portuguese Captain

The Portuguese Captain is a representation of innate goodness of humans. He is the one who saves Robinson in his escape from the Moors and he again pays Robinson more than required when Robinson sells him Xury, the animal skin and the other things. Without any interest or profit, he helps Robinson establish himself as a plantation owner in Brazil. Later, when Robinson shows up after twenty eight years’ absence, he informs Robinson that his plantation in Brazil is safe and has profited a lot. Moreover, he uses his own connections for the sale of the plantation upon Robinson’s desire. Therefore, “he represents the benefits of social connections” (SparkNotes Editors, 2003).

The Portuguese Captain is also very honest in his giving the particulars of the plantation in Brazil. He shows all the documents to Robinson and claims that he is indebted to Robinson which he promises to pay back. He does not consider his service as a matter of material exchange and does this only out of his good intentions. Therefore, he serves as one of the few good Europeans in the novel. - 172 -

It’s Your Turn!

3

• Robinson and the Portuguese Captain are both colonizers. Compare their attitudes towards material possession and human relationships.

The Widow

The widow of the English Captain who first took Robinson to voyage, serves another example of goodness in the civilized world. Like the Portuguese Captain, she keeps Robinson’s money in his absence of thirty five years, and prevents Robinson from leaving England once more for seven years to avoid another disaster.

Xury

Xury is a slave boy that Robinson takes with him on his escape from the Moors. He is saved from slavery by Robinson but is also treated as a slave by Robinson, too. Although he helps Robinson a lot, Robinson sells him as a slave to the Portuguese Captain. Xury represents the fates of the non-white slaves. When the Portuguese Captain buys him, he promises to liberate Xury if he converts to Christianity. This part of the novel indicates how colonialism expands through slavery and assimilation.

THEMES

Slavery and Escape

Slavery and escape are the themes that are explored from the beginning to the end of the novel. The first slave depicted in the novel is Robinson when he is enslaved by the Moors. Robinson spends two years as a slave, and he feels utterly sad about his situation, so he tries and manages to escape. Robinson cannot however sympathize with the situation of the other slaves and even as a slave does not consider himself equal with the other slaves, particularly with the ones with Arabic or African origins. Although he himself escapes as a slave he takes all precautions to prevent Xury from escaping. He trades his first slave by selling Xury to the Portuguese Captain and when he sets his plantation in Brazil, he gets into slave trade. Robinson does not consider slave trade as something wrong. Therefore slavery is not only a very important theme but a topic that brings much of the racist implications of the novel. It’s Your Turn!

4

• Although slavery and slave trade are not practiced in this century, it is usually believed that a form of assimilation of cultures is ever present Can you give any specific examples? - 173 -

Importance of Repentance

It is not until Robinson repents that he finds spiritual stability that helps him maintain his life on the island. Until he repents for his sins, he encounters several disasters, and is haunted by many evil thoughts on the island. Robinson does not lose his mind, but does not find the strength to transform the island as well. It is only after he turns to God and repents his sins that his attitude towards the island changes and he begins to view the positive aspects of his survival.

One important thing in the depictions of religion is the concept of fear. Although, Robinson thanks God for his mercy in delivering him from a miserable situation, it is usually the fear of the wrath of God that alarms him. For instance, the dream he sees is a good indicator of how he fears God. Therefore, he prays and repents mostly not to be punished. He believes he is punished for what he calls his “original sin”, that is his leaving his family without his father’s consent and by being cast away from the heavenly and trouble-free life that his father guaranteed him. The allusion is that Robinson’s original sin resembles Adam and Eve’s original sin and his being left on a deserted island without anybody to secure his life is resembled to Adam and Eve’s expulsion from the Garden of Eden (SparkNotes Editors, 2003). Moreover, the cross that Robinson makes to make a notch for every single day he spends on the island serves as a tribute to his paying for his sin as Christ paid for the sins of the Christians by being crucified.

Colonial Expansion

From Robinson’s first stepping on the ship to his final colonizing the island is full of implications of colonization. All elements of colonization are depicted as a guide for the prospective colonizers. When Robinson buys land in Brazil, the first thing he does is to settle there and establish a plantation. Then he goes into the business of slave trade, which is another part of colonization. As people need workers to use on the farms they have, slave trade becomes a just act from their perspective. Moreover, the colonizers also assimilate the slaves to make them forget their origins. For instance, the Portuguese Captain wants to convert Xury to Christianity only after which he would earn his freedom after ten years of service. Robinson also converts Friday to Christianity to make sure that Friday does not rebel against him for fear of God. At the end of the novel, Robinson’s island has turned to a real colony with its inhabitants and profit which is a message to the enterprisers of the time. Colonialism is not presented as something negative, but rather it is presented as something positive. All the punishment that Robinson receives is related not to his colonization efforts but to his rebelling against his father

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Isolation and Alienation

The novel becomes one of the earliest examples of literary works that focus on the theme of isolation and alienation. Although in much distress, when Robinson supplies himself with the necessities, he does not want any other company with him. He is extremely frightened with the sight of the footprint on the shore because he is afraid of losing isolated his existence. Although a feeling of longing for a companion hits him from time to time, he gets used to being alone and cannot find a real connection with the rest of the world for a long time. It is only after Friday that he remembers any human affection which he did not entertain even when he was with his family. Robinson’s lack of human contact instead of his business contacts reveals that he is more of an alienated personality. This notion is verified, when he leaves England for a second time at the end of the novel. It seems adventure means more to him than any familial bond or friendship.

The Significance of the Self

Throughout the novel, Robinson tries to preserve his sanity. He is in constant conflict with his desire to please his father and his impulse in realizing his ideals. He sacrifices his family for his own fulfillment. When he is cast on shore of the island, he keeps a journal to record every single detail not only to keep a record of time but also to reflect his individual experiences. Seeing how he progressed from a totally mundane man to a man of religion helps Robinson gain his self-confidence and constantly reminds him of the mistakes he has made.

POINT OF VIEW

The novel is written in the first person narration from Robinson’s perspective. Although, the narrative point of view is first person, Robinson does not establish himself as a hero of heroic deeds. He presents himself as a man with fears and ambitions, a comparatively realistic representation when compared to many first person narratives. Nevertheless, this does not mean that the whole narration is objective. For instance, in many circumstances, Robinson establishes himself as the “king”, “the master”, “the governor” and the like, and assumes that the others around him including Friday will not question his position and accept him as a natural superior. However, because the narration focuses on just Robinson’s point of view, how others actually feel about Robinson’s unquestionable mastery is not revealed.

It’s Your Turn!

5

• Think that the second half of the novel is narrated from Friday’s point of view? How do you think Friday would portray Robinson? • This time, think that the story is told from the Spaniard’s point of view. Consider the fact that Spain and England were rivals in colonialism and slave trade. How do you thing the Spaniard actually felt when he was subjugated by Robinson? - 175 -

SETTING

Setting of place

The novel takes place in a number of settings. York in England is the place where the novel starts. Although the life in England offered by Robinson’s father seems comfortable, it is presented as dull and unmotivating by Robinson. Then Robinson moves to London. London is not portrayed in detail.

After London on his second trip on the sea, Robinson is enslaved in Sallee in North Africa. Again the place is nor portrayed in detail, but there are allusions to discomfort because of Turks’ presence. After he is rescued, Robinson goes to Brazil. Brazil is presented as a promising land ready to be colonized with the vast fields and various opportunities to prosper.

The uninhabited island off Trinidad which Robinson calls “The Island of Despair” is the next station of Robinson. The island serves many purposes such as the places for colonization, a comparison between the primitive and the civilized and a microcosmic representation of the world. The way Robinson turns the island from nothing to a place worth living echoes the population of the earth with the descendants of Adam and Eve. After the island, Robinson travels around Europe on his way back to England. Particularly he goes to Lisbon, Spain and during the journey the European continent is presented no less dangerous than the primitive parts of the world. At the end of the novel, Robinson visits Brazil, and the island one more time. It’s Your Turn!

6

• Compare the representations of the colonized lands and the Europe. How are they alike and how are they different from each other?

Setting of time

The action takes place between years 1659 - 1694. These times refer to the times when English imperialism and colonization was on the rise.

SYMBOLS

The footprint

The footprint symbolizes two things. First it symbolizes Robinson’s isolation and his being content with his situation as he is afraid of the existence of any other human being on the island (SparkNotes Editors, 2003). Next, it symbolizes the archaic fear of the evil as manifested in Robinson. Robinson first believes it to be a sign of Devil. As humans usually first think of negative things when faced with uncertainty, Robinson associates the footprint with the Devil. - 176 -

The Cross or the Post

The cross serves as a tribute to the passage of time as Robinson records the dates on it by making a notch every day. However, it also has a religious reference as Robinson believes he has sacrificed himself for his sin. However, it is believed that Robinson does not make this allusion explicitly because he has not matured spiritually when he sets the cross up. Therefore, the cross stands only as a reminder for his own life (SparkNotes Editors, 2003).

The Bower

The bower is a replica of the country houses that the rich men own in England, and Robinson tries to make a life for himself that he finds comfort in, entertaining himself with the illusion of leading a wealthy life. Indeed he confesses that his life would have been no different if he had not left his father’s home.

MOTIFS

Motifs are recurrent elements in a literary work that help to develop the central themes. (SparkNotes Editors, 2003).

Keeping a Journal

Robinson’s keeping the journal and writing helps him maintain his self-preservation.

Counting and measuring

From the beginning to the end, Robinson counts his possessions and gives detailed descriptions of the things he possesses. This highlights his devotion to material possessions and his capitalism.

Eating

It is a means of survival. Robinson first considers food and water when he is on the island and he is very disturbed seeing the cannibals feasting on human flesh. Eating in the novel does not only serve as a means of survival, however. For instance, eating is associated with worldly pleasures when Robinson discovers how to dress his meals and teaches Friday to do so as well. He is also very pleased when somebody gives him food or drink. It’s Your Turn!

7

• Can you find any other recurring elements in the novel that serve as motifs? What is their significance? - 177 -

Self - Test

1. Which of the following characters is not taken as a slave or a captive in the novel? a. b. c. d. e.

Robinson Xury The English Captain The widow Friday

2. What is the name of the first slave that Robinson trades? a. Xury b. Friday c. Ismael d. Atkins e. Poll

3. Where does the action in the story begin? a. b. c. d. e.

York Sallee London Brazil Triniad

4. What is the significance of Robinson’s buying land from Brazil? a. b. c. d. e.

It shows his family inheritance It shows his inclination towards colonization. It symbolizes his greed for slave trade. It symbolizes his repentance. It highlights the strength of his social connections.

5. Robinson’s mentioning his family only briefly at the end of the novel indicates his __________. a. b. c. d. e.

having no family. being rejected by his family. having little human affection desire for adventure longing for his life in Brazil.

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Key to Self-Test 1. D

2.A

3. A

4. B

5. C

Literature Alive

1. The story of Robinson Crusoe has inspired many industries including the film and game industry. Why do you think the story of Robinson is still appealing for the modern audience? 2. The following are quotations from the novel. Discuss how Robinson’s attitude towards money change: Quotation 1: When Robinson discovers money on the ship after being shipwrecked on the island: “O drug!” said I aloud, “what art thou good for? Thou art not worth to me, no, not the taking off of the ground; one of those knives is worth all this heap; I have no manner of use for thee; e’en remain where thou art and go to the bottom as a creature whose life is not worth saving.” However, upon second thoughts, I took it away. . . .(Defoe, 2003, p. 47) Quotation 2: When Robinson takes all his money back after his survival:

“I might well say now indeed, that the latter end of Job was better than the beginning. It is impossible to express here the flutterings of my very heart when I looked over these letters, and especially when I found all my wealth about me; for as the Brazil ships come all in fleets, the same ships which brought my letters brought my goods. . . .” .(Defoe, 2003, p. 224)

References

Defoe, D. (2003). Robinson Crusoe. London: Penguin Classics, Originally published in 1719. Koç, E. (2005). Birth of English Novel. Ankara: Çankaya University Publications

Rahn, J. (2011). Realism. Retrieved May 29, 2012 from http://www.online-literature.com/

periods/realism.php

Richetti, J. (Ed.). (2003). Introduction. Robinson Crusoe. London: Penguin Classics.

SparkNotes Editors. (2003). SparkNote on Robinson Crusoe. Retrieved June 14, 2012, from http://www.sparknotes.com/lit/crusoe/

Westland, P. (Ed.). (1950). Teach yourself history of English literature: The English Renascence to the Romantic revival. Vol 3. London: The English Universities Press. - 179 -

UNIT 12 DRACULA I Amaçlarımız - Our Aim

After studying this unit, you will be able to;

• discuss Bram Stoker as a writer;

• understand the background of the novel;

• analyze plot, narrative point of view, setting, tone and the characters • understand literary concepts related to the novel

Anahtar Kavramlar - Key Concepts • Gothic Novel

• Epistolary Novel

İçindekiler - Unit Contents • INTRODUCTION

• BACKGROUND INFORMATION TO THE WRITER- BRAM STOKER • ABOUT DRACULA • PLOT OVERVIEW • GENRE

• NARRATIVE POINT OF VIEW • SETTING AND TONE • CHARACTERS

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INTRODUCTION

The aim of this Study Unit is to help you have a better insight while analyzing Bram Stoker’s Dracula by focusing on the background information about the writer, about the novel in general and its historical context, the plot overview of the novel, its genre, narrative point of view, setting, tone and analysis of the characters. Before analyzing the novel, first of all read the novel closely and follow the steps of how to read a novel. After reading Dracula carefully by taking notes and underlining the important quotations, read the analyses provided in the study unit here to have a better understanding of the writer, the background information and the plot. Do not forget that studying a novel on your own requires self-discipline and a carefully thought-out work plan in order to be effective. While you are reading the contents of this study unit, you will answer questions in “it’s your turn” parts. Each question will try to help you to gain a better insight in to the concepts that you need to know while analyzing Dracula.

BACKGROUND INFORMATION TO THE WRITER- BRAM STOKER

Bram (Abraham) Stoker was born in Dublin, Ireland in 1847. His father was a civil servant and his mother was a charity worker and a writer. Majority of his childhood was spent in sickness since he was bedridden for a long time. After his recovery, unlike his motionless years in bed, he became athletics champion and an unbeatable road walker. He studied math at Trinity College and after graduation became a civil servant just like his father. In the meantime, he worked as a journalist and a drama critic. He joined the drama circuits and met actor Henry Irving who later became his lifelong friend.

He became the manager of Irving’s theater The Lyceum from 1978 to Irving’s death in 1905. In 1878 he married an actress named Florence Balcombe, and the next year their only son, Noel was born. During his management of the Irving’s theater he met the famous literary figures in London such as Oscar Wilde, Arthur Conan Doyle and Alfred Lord Tennyson. He organized tours for the theater in England and in America. He favored the American writer Walt Whitman, wrote him letters and met him in the US as well. Stoker published his first novel The Snake’s Pass in 1890, which was inspired much by the Irish tales and legends. His first book was not a success and in the same year he began to take notes on his next novel Dracula. In 1897 Stoker published Dracula, which can be considered his literary success after his first novel. Although Dracula was successful at the time it was published it gained its worldwide fame in the first half of the 20th century. The book inspired many films and literary works afterwards. Stoker wrote other novels including The Jewel of Seven Stars (1904) and The Lair of the White Worm (1911); however, none of them caught the same success as Dracula.

Stoker’s lifelong friend Henry Irving died in 1905. After his death Stoker worked as a journalist mostly to earn money. In 1906, he suffered a stroke, which affected his ability to - 182 -

walk and sight. He interviewed Winston Churchill and published articles on the censorship of fiction. He favored the censorship of the immoral sexual content in fiction in his ‘The Censorship of Fiction’ published in Nineteenth Century and After in 1908. Bram Stoker died in 1912 at the age of 65 in London. He is remembered with his chief literary work Dracula which is still an inspiration for many writers in modern times. It’s Your Turn!

1

• Think of films and novels that you think are inspired by Stoker’s masterpiece Dracula. In what ways they are similar to and different from Dracula?

• Bram Stoker believed in the censorship of the immoral content in fiction. Do you think Dracula itself involves sexual implications?

ABOUT DRACULA

Dracula is an example of Gothic fiction. Its being a sample of Gothic tradition is highly related to the gloomy, gothic atmosphere present in the novel as well as the existence of supernatural elements such as the vampires.

The vampire legend exemplified in the novel dates back to the ancient times and in almost all cultures from Egypt to China stories and tales about vampires exist. It is quite obvious in the novel that Stoker read much on the Eastern European folklore related to the vampires. However, his vampires differ from those of others as Count Dracula was not depicted like a zombie just sucking blood. Instead, he knows foreign languages and is a man of noble origin displaying aristocratic manners. In this respect, Stoker’s creation of the vampire gave a new meaning to the depiction of the vampires and influenced many other descriptions in the modern literature. In the novel, Van Helsing talks about the Eastern European vampire legends on which the novel is based. Even the superstitions that exist in the Eastern literature are the ones that guide the protagonists in their understanding of and quest for Count Dracula. The term ‘vampire’ referring to the supernatural creatures sucking human blood was not mentioned to in the very first chapters. It is after Van Helsing comes to a conclusion about Lucy’s condition that the term ‘vampire’ is used. For the vampire-like creatures in the novel, Stoker invented a term called the ‘UnDead’. This term did not exist in the literature before, but after Stoker’s descriptions of the vampires as UnDead, this term became part of the popular culture. Van Helsing describes the UnDead while talking about Lucy’s death in Chapter XV as: “Here, there is one thing which is different from all recorded. Here is some dual life that is not as the common. She was bitten by the vampire when she was in a trance, sleep-walking, oh, you start. You do not know that, friend John, but you shall know it later, and in trance could he best come to take more blood. In trance she dies, and in trance she is UnDead, too. So it is that she differ from all other. Usually when the - 183 -

UnDead sleep at home,” as he spoke he made a comprehensive sweep of his arm to designate what to a vampire was ‘home’, “their face show what they are, but this so sweet that was when she not UnDead she go back to the nothings of the common dead.”

Later on, Van Helsing talks about how they can defeat the UnDead based on some Eastern superstitions. It is quite interesting that although the tools of science such as the telegram, phonograph, blood transfusion, steamboats help them in their quest for the evil, they can only defeat the UnDead based on the superstitious knowledge. Van Helsing talks about this in Chapter XIX as: “My friends, we are going into a terrible danger, and we need arms of many kinds. Our enemy is not merely spiritual. Remember that he has the strength of twenty men, and that, though our necks or our windpipes are of the common kind, and therefore breakable or crushable, his are not amenable to mere strength. A stronger man, or a body of men more strong in all than him, can at certain times hold him, but they cannot hurt him as we can be hurt by him. We must, therefore, guard ourselves from his touch. Keep this near your heart.” As he spoke he lifted a little silver crucifix and held it out to me, I being nearest to him, “put these flowers round your neck,” here he handed to me a wreath of withered garlic blossoms, “for other enemies more mundane, this revolver and this knife, and for aid in all, these so small electric lamps, which you can fasten to your breast, and for all, and above all at the last, this, which we must not desecrate needless.” This was a portion of Sacred Wafer, which he put in an envelope and handed to me.”

The excerpt above shows that Stoker researched the vampire legends a great deal and attributed some characteristics to the ones in the novel based on this knowledge.

Other than Eastern European folklore, the novel also reflects some historical realities, which in turn adds a realistic air to the documents presented. The Dracula family in the novel was based on the historical characters who lived in the 15th century. Vlad Tepes, or Vlad the Impaler, was a 15th century nobleman who was notorious for impaling people and terrorizing his enemies in horrific ways. He fought against the Turks and was known for his cruelty. It was told that in a battle he impaled thousands of soldiers, and the corpses he left behind looked like a forest of dead bodies. Stoker in Dracula based his vampire character Count Dracula on this legend. Jonathan Harker records Count’s historical background in his diary in Chapter III as: “Who was it but one of my own race who as Voivode crossed the Danube and beat the Turk on his own ground? This was a Dracula indeed! Woe was it that his own unworthy brother, when he had fallen, sold his people to the Turk and brought the shame of slavery on them! Was it not this Dracula, indeed, who inspired that other of his race who in a later age again and again brought his forces over the great river into Turkeyland, who, when he was beaten back, came again, and again, though he had to come alone from the bloody field where his troops were being slaughtered, since he - 184 -

knew that he alone could ultimately triumph! They said that he thought only of himself. Bah! What good are peasants without a leader? Where ends the war without a brain and heart to conduct it? Again, when, after the battle of Mohacs, we threw off the Hungarian yoke, we of the Dracula blood were amongst their leaders, for our spirit would not brook that we were not free.”

As can be seen from the excerpt above, Count Dracula considers himself coming from noble blood. He even connects his bloodline to Attila the Hun. All these records make it quite clear why Count has aristocratic manners and knows a lot about history. Apart from the historical facts, the novel also displays common fears of the people living in the 19th century England. The British Empire invaded many lands and it was at the peak of its power. Hence, people especially in London feared that one day the people from the invaded lands would come to England and invade it with fury. In the 19th century, there was immigration to England; hence, English people feared from these immigrants and labeled them as ‘foreign’ others. This foreignness is present in the novel, as the Count is a foreigner in London and causes much fear to the local inhabitants. He is also labeled as an ‘invader’ which highlights the general tendency of the fear of invasion in that era. As a result, Stoker does not limit the gothic elements to the gloomy castle of Dracula and atmosphere of Transylvania; rather he moves the gothic elements to the center of the London. This shows the deepest fears of the Londoners as well.

In addition to the fear of the outsiders, the fears of the man inside his mind are given much importance in the novel. The 19th century witnessed an interest in modern psychology and psychiatry. Freud and others used techniques like hypnosis and trance and investigated the unconscious mind of the human. All these concerns about the human mind are reflected in the novel. Dr. Seward is a psychiatrist running a mental asylum and he has a patient called Renfield. He observes him and tries to understand his intentions and mental status behind his actions. What is more, Van Helsing is also a scientist and he practices hypnosis on Mina. With the help of this, Van Helsing tries to follow Count Dracula as Mina is connected to the Count. All these display the interest in human mind and its capabilities in the 19th century.

It was also the era that embraced scientific and rational thoughts against the religious beliefs. Darwin’s ideas dominated the era and are reflected especially in Jonathan Harker and Dr. Seward’s characters, people thought in rational ways rejecting the spiritual beliefs. In the opening chapters, although the evidence was clear for Count’s being a supernatural creature, Jonathan even ridiculously tried to think in a rational way and did not accept the facts about Dracula. Dr. Seward always thought in a rational manner even after Lucy’s death. Although the events turn weird and Lucy dies in an inexplicable way he does not question the supernatural elements in her death (such as the excessive loss of blood without any drainage). Even after Van Helsing explains to him that Lucy was killed by a vampire and became and UnDead, Dr. Seward still rejects this idea. These exemplify that the scientific and rational way of thinking dominated the 19th century. - 185 -

One important point about Dracula is the depiction of women sexuality. The characters like Lucy (before she became a vampire) and Mina are depicted as pure and moral whereas the three weird sisters at Dracula’s castle are depicted as sexually immoral creatures. This shows Stoker’s concerns for sexual morality of the era. Stoker favored censorship of the immoral content in fiction. After, Lucy becomes a vampire she looses her purity and becomes a sexually seductive character. She acts in lust. Such sexual attributions were not proper for a Victorian lady; hence, she had to be killed in order to be remembered as a moral and pure lady again. All in all, Dracula is beyond a novel about supernatural creatures like vampires. It also reflects the way of thinking in the Victorian society. The analysis of the novel by considering these aspects will help you to build an insight in how the plot develops and what the characters think. It’s Your Turn! •

2

Why do you think most of the Dracula’s victims are female? Is it because women are seen as weak? What do you think about the depiction of women in the novel?

• Van Helsing and Dr. Seward are scientists. They use new technologies and are considered as men of logic. At the same time, they use holy water, garlic, and wooden stakes to hunt down the vampires. What do you think about this contradiction?

• When you consider the historical background of Count Dracula, does this give him a noble air? What effect does it create?

• After reading the section about Dracula, do you have a more critical eye towards the events in the novel?

PLOT OVERVIEW

The novel starts with the records of Jonathan Harker’s journal. The whole novel is based on letters, diaries, notes, telegrams and newspaper articles. In the very beginning of the novel, we are introduced to Jonathan Harker as he is travelling to Transylvania for business. He is going to visit a customer to finish the purchase of an estate in London. While travelling in the countryside, local people try to persuade him not to go and they give him crucifixes, wild roses and other charms to protect him from the evil. Jonathan does not pay attention to these warnings. The coachman of the Count takes Jonathan from a meeting point and he is directly taken to the castle of Dracula. On his way, he notices the strangeness of the coachman as he is extremely strong and when he whispers to the wolves they calm down. The coachman seems to follow a blue flame and when he reaches to the flame, his body seems translucent. However, Jonathan thinks his eyes are deceiving him because he is very tired. When they arrive at the castle, the coachman disappears and Jonathan meets the Count.

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The Count seems so gentle and kind and he welcomes Jonathan to his residence. Jonathan describes the Count in his diary as an old man who speaks perfect English and who is interested in the English culture. As for the physical appearance, he is a tall and thin man with scarlet lips and long white teeth. Although the Count is gentle and displays noble manners towards Jonathan, he soon realizes that he is a prisoner at the Count’s castle. The Count does not let him go out and even warns Jonathan not to pass through the locked doors in case they might be dangerous for him. Count prepares meals for Jonathan and treats him well, but Jonathan plans to find a way to escape from the castle. The Count is planning to move to his estate he bought in London and he asks a lot of questions related to the life in London. Jonathan discovers that the Count is a supernatural creature. He never eats and does not go out in the daylight. The count also has an ability to crawl downward the castle like a reptile. Jonathan does not quarrel with the Count and waits for an opportunity for his escape. One day, Jonathan falls asleep in a room in which Count warned him not to fall asleep. Three weird women, supernatural ghostly ones, visit Jonathan after he sleeps and one of them is about to kiss Jonathan when Count saves him in the last minute. Jonathan pretends to sleep, but he hears the Count threaten the women to let Jonathan until he, the Count, is done with him. Jonathan tries to escape and he climbs down the walls and discovers that the Count sleeps in a coffin full of earth.

Meanwhile, Jonathan’s fiancée Mina Murray in England waits for Jonathan to return. She has a friend called Lucy Westenra. Lucy and Mina write each other and from the letters, we learn that Lucy is proposed by three men on the same day: Dr. John Seward who runs a mental institution, Mr. Quincey Morris who is an American adventurer, and Mr. Arthur Holmwood who is a noble English man. Lucy accepts Mr. Holmwood’s proposal. Mina visits Lucy at the seaside town of Whitby. In the meantime, a ship is wrecked near the town and a huge dog is reported to be seen on the dock before it disappears. All crew of the ship is dead and from the Captain’s journal it is understood that the crew disappeared one by one mysteriously. The cargo of the ship includes fifty boxes full of earth sent from the Castle Dracula. Lucy begins sleepwalking and one night Mina realizes that she has gone to the cemetery. Mina thinks she saw a dark and thin figure bending over Lucy, but when she goes near the figure disappears. Mina sees two tiny red spots on Lucy’s throat and she thinks they are because of the pin she used the previous night while trying to wrap Lucy to keep her warm. Lucy goes on sleepwalking and looks pale and weak. Her condition worsens day by day. After Mina leaves to look after her sick fiancée Jonathan, Dr. Seward calls his mentor Dr. Van Helsing to examine Lucy.

Jonathan is found in Budapest and he is suffering from brain fever. Mina goes to nurse him and they get married immediately. Jonathan tells Mina that he wants to forget what has happened to him and Mina decides not to read Jonathan’s diary. The couple return to England. Jonathan’s boss dies afterwards leaving all his money to the newly wed couple. Meanwhile, Dr. Van Helsing tries to understand Lucy’s condition as she is losing blood without any sign of drainage. He covers her chamber with garlic and she starts to get better. However, her - 187 -

mother removes the herbs from the chamber and Lucy becomes vulnerable to further attack. Van Helsing realizes that Lucy needs blood transfusion. Arthur, Quincey, Dr. Seward and Van Helsing give their blood to Lucy, but unfortunately she dies.

Van Helsing explains to the others that Lucy is now an UnDead and she becomes an evil like creature. At first, the others do not believe Van Helsing but after they see Lucy walking in the cemetery at midnight trying to suck the blood of an infant they are convinced. They decide to destroy Lucy, and Van Helsing tells them that the only way is to plunge a steak through her hearth and cut off her head. They successfully destroy Lucy and the crew pledge to destroy Dracula himself. Van Helsing leads the group and they begin to make plans. Mina helps Van Helsing collect the various diary and journal entries that Harker, Seward, and the others have written, in order to arrive at a narrative that will lead them to the Count. As a result, they decide to destroy the boxes full of earth to destroy the Count since he uses these boxes as a sanctuary. In the meantime, Dr. Seward has a patient called Renfield and he continuously talks about a master. It is realized that the Count is the master and he lives nearby at an estate he bought. Van Helsing, Jonathan, Dr. Seward, Quincey Morris and Arthur Holmwood go to the Count’s estate while Mina stays behind at Dr. Seward’s asylum. Renfield lets Dracula inside and he preys upon Mina while the others are searching Dracula’s estate. Mina slowly starts to turn into a vampire and others find out that Mina, like Lucy, became the victim of the Count. The crew starts to sterilize the boxes of the Count by visiting the places the Count bought. They destroy all the boxes except one and Dracula manages to escape from them. They soon find out that the last box is shipped to Eastern Europe. The men pursue the Count to his castle with the help of the hypnosis sessions Van Helsing conducts on Mina as she is bound up with the Count. The men decide to divide their forces to catch the Count. Van Helsing takes Mina with him and they travel to the Castle Dracula. Vah Helsing kills three vampire women whom Jonathan met in the early chapters. Count Dracula is about to reach his castle when the rest of the men, Dr. Seward, Quincey Morris and Arthur Holmwood arrive. The count is killed, but Quincey also dies as a result of his deadly wounds. Mina is saved and she does not turn into a vampire. Later on we learn that seven years have passed and it is clear that Mina is saved. Mina and Jonathan have a boy named Quincey and they travel to Transylvania this time for a trip. It’s Your Turn!

3

• Do you think the plot of the novel is exciting? Is there any moment you think that Count Dracula will win? • How do you think the writer create suspense throughout the novel?

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GENRE

Dracula is an example of Gothic fiction which was very popular especially in the 18th and 19th centuries. The Gothic fiction involves supernatural elements such as ghosts, demons, monsters, goblins and vampires. The settings in Gothic fiction are generally dark and deserted castles, ancient remnants and haunted houses. Although the genre appeared in literature a century before Dracula, it is Dracula that often used as a symbol for Gothic fiction. The Gothic atmosphere created through the Count Dracula’s castle continues throughout the novel. In the first chapters, Jonathan Harker describes the castle as a gloomy and dark castle with many locked doors. The castle is located at the edge of a high hill and is in a deserted landscape. Jonathan describes the castle as: “The castle is on the very edge of a terrific precipice. A stone falling from the window would fall a thousand feet without touching anything!.... Doors, doors, doors everywhere, and all locked and bolted. In no place save from the windows in the castle walls is there an available exit. The castle is a veritable prison, and I am a prisoner!”

The dark atmosphere of the castle is also visible in the Count’s new estate in London. The house is old, dark and a creepy place similar to the castle in Transylvania. Moreover, the mist and dark weather accompanying the existence of Dracula also serves for the creation of the Gothic atmosphere. The evil deeds of the Count take place at night and the description of the places such as the cemeteries, Dr. Seward’s asylum, Carfax at night helps to bestow horror and fear. In this respect, Stoker modernizes the Gothic literature genre since the Gothic elements are not limited to the dark castle of Dracula. Even in the modern London the Gothic elements are visible. Other than the elements of Gothic genre, the novel also displays elements of epistolary novel. In this novel type, the main events are told through the letters of the characters. In Dracula, in addition to the letters all events are told through a variety of documents such as diary or journal entries, newspaper articles, telegrams and so on. As a result, there is no central narrator in the story. The events are told from multiple perspectives and the reader is informed about the character’s secrets, feelings and thoughts with the help of all these documents. The shift among the narrators also creates suspense throughout the novel. The main characters such as Jonathan, Mina, Lucy, Van Helsing and Dr. Seward are all involved in the narration and it is Dracula whom we do not know anything about his real thoughts, intentions and feelings. He is narrated through the others who struggled against him. As a result, the epistolary elements in the novel help to create multiple perspectives towards the events.

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It’s Your Turn!

4

• How do the different documents such as the letters, diary entries and the telegrams contribute to the atmosphere of the novel? Do you think these documents create suspense and curiosity? • Can you compare the Gothic elements in the castle Dracula and in London? Which one makes the strongest effect on you as the reader?

• Do the use of many documents make the story more or less believable? Do you think these documents involve objective observations?

NARRATIVE POINT OF VIEW

There is no single omniscient narrator in the novel. All events are told though various narrators and with the help of the documents mentioned above. In the Victorian society, the recording of events with all details through keeping diaries or journals was quite popular and the Victorian people observed even the slightest details around them to make records of. In the novel, this is reflected in the diary and journal entries of the main characters. They do not skip the details and they even report the actual conversations. That is why, the diaries do not just include the feelings and thoughts but they are the records of everyday life as well. The narration shifts among Jonathan, Dr. Seward, Mina, Lucy, Arthur and Dr. Van Helsing. For narration, some new technological devices of the era are used. Telegram and phonograph are also the sources of narration in the novel.

First-person narration dominates the novel and there is no omniscient narrator telling the events. The narration shifts from one narrator to the other and some other documents such as telegrams and newspaper articles are included as well to enrich the narrative elements. However, the narrative devices are handled with speed in the novel. The characters immediately record the events even in the middle of terrifying events. The telegrams are received in a very fast way and even the phonograph is used so effectively in short instances even though the machine is heavy and difficult to manage for long recordings. The narrators travel fast through trains and the speed of narration from one character to another parallels the speed of the devices used in the novel. It’s Your Turn!

5

• What is the effect of having no central narrator in the novel? Do you think it is difficult to follow the shifts among the narrators? • What effect does the author create on the reader with the use of various narrative points of view?

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SETTING AND TONE

There are multiple settings in the novel. The characters travel from one place to another and the settings change accordingly. The settings are in parallel with the narration. In the first chapters, the narrator is Jonathan and we are introduced to the dark and gloomy castle of Count Dracula. The setting in the early chapters creates the Gothic atmosphere of the novel. The castle includes many rooms and most of them are locked. The decoration is elegant but seems hundred years old. With Dracula’s leaving the castle for London the setting changes. This time, we are introduced to the other characters and the settings associated with them. When in Whitby and when the narrators are Lucy and Mina, the setting is Lucy and her mother’s house and when the narration shifts to Dr. Seward the setting is the mental asylum. Dracula owns an estate called Carfax and when the main characters search for Dracula the setting shifts to Carfax. After the crew of light follows Dracula, the settings change hastily. Dracula owns another estate in the center of London and when the protagonists try to trap the Count the setting is Dracula’s house in Piccadilly. Later on, Dracula leaves London with the other characters chasing him and parallel to this shift, the setting changes. Different locations in London with minor settings are introduced. The final setting in the novel is whereabouts of Castle Dracula and the narration turns to a setting where it is started.

Although the settings change according to the narration, the common point among all settings is the dominating gloomy tone. When the setting is the Castle Dracula, the tone is gloomy and dark since Jonathan is a prisoner in the castle and the events are told from his point of view. When the settings change to locations in London, the same gloomy and dark tone is evident since the characters experience horrible events such as Lucy’s sickness and death. Although the time is spring and summer in the beginning chapters, the characters are far from experiencing joy and happiness. Their moods are in stark contrast with that of weather. However, towards the end of the novel when the characters are close to trap Dracula the weather changes into winter and it is in parallel with the suffering of main characters such as Mina and Van Helsing.

The time of the novel is the 19th century. There is a contrast with the old and local Transylvanian landscape and modern and technological capital London. Transylvania is depicted as the place of local people who live on superstitions far from modernism. London on the other hand is the capital of the modern world with people who live on science and rational thought. Although these two main settings contrast with each other, the tone and atmosphere of the novel in both settings involve Gothic elements surrounded by fear and darkness. It’s Your Turn!

6

• Which setting in the novel has the most effect on you as the reader? Why?

• What are the major differences among the main settings? Do you feel similar when the setting changes from the castle to a mental asylum?

• Do you think the settings influence the way the main characters behave and act? Do the settings cause fear? - 191 -

CHARACTERS

The novel is based on the narration of many characters; hence, it is difficult to talk about a single protagonist. Here is the list of the main characters and their detailed analysis. Do not forget that understanding what the characters think, feel and believe constitute an important place to make sense of the events in the novel.

Count Dracula

Count Dracula is the evil character against whom all other main characters fight. He is of a noble family who led battles against the Turks and many others. In the opening chapters we are introduced to his physical appearance in Jonathan Harker’s diary as: “His face was a strong, a very strong, aquiline, with high bridge of the thin nose and peculiarly arched nostrils, with lofty domed forehead, and hair growing scantily round the temples but profusely elsewhere. His eyebrows were very massive, almost meeting over the nose, and with bushy hair that seemed to curl in its own profusion. The mouth, so far as I could see it under the heavy moustache, was fixed and rather cruel-looking, with peculiarly sharp white teeth. These protruded over the lips, whose remarkable ruddiness showed astonishing vitality in a man of his years. For the rest, his ears were pale, and at the tops extremely pointed. The chin was broad and strong, and the cheeks firm though thin. The general effect was one of extraordinary pallor.”

Although Dracula seems like an old man in the beginning chapters, when he later appears in London it is clear that he is transformed into a young man. This shows that he can change his appearance. Moreover, he has some powers on nature as he can create mist, control weather, control some animals like the bats and the wolves and affect the behaviors of others like Lucy and Renfield in the mental asylum. He is the source of sexual desire as his female victims eventually turn into voluptuous creatures full of lust (e.g. women in his castle and Lucy). What is more, he becomes so small that he can enter places by using the tiniest spaces available. He is also able to transform himself into a bat which Lucy encounters many times. In this sense, he appears as a supernatural being. However, he also has some flaws, which the others, especially Van Helsing, discover and these flaws lead to his destruction at the end of the novel. He only sleeps on the earth he brought from Transylvania. He brings fifty boxes of earth and places them into different places he owns in London. The crew of light soon discovers them and destroys all of them except one. Dracula successfully escapes from London in a single box full of earth. Since he escapes hastily with this box, it is clear that he cannot survive without the earth that belongs to his homeland. Another flaw is that he is weak from sunrise to sunset. This is advantageous for the others chasing him and they manage to kill him before sunset. In the night, the count gains extraordinary strength and he changes his shape and even moves with mist. His powers are also limited in the running water so that he cannot cross without help. That’s why he hires ships to move from Transylvania to London. - 192 -

Only some materials like a stake through heart, garlic and crucifix can help to weaken his power. All these flaws show that although he has many powers he is a creature that can be defeated. He is like any human being with flaws. With all this information, the other main characters manage to kill him at the end.

Although Dracula is depicted as an evil creature, he is a noble man with purpose. He wants to take revenge for his former disillusionments. He is of noble origin but his family lost power and he wants to regain it in another land. In this respect, he represents what is ‘foreign’ and ‘other’ in modern London. He laments for the long gone glorious days of his race and wants to invade this new land with his dark and brutal vision. These make the reader sympathize with the Count and view him as humanly. In the novel, the reader is not introduced into the actual purposes and thoughts of the Count and this makes him remain mysterious to all the characters as well as the readers. Stoker creates suspense with this mystery throughout the novel.

Van Helsing

Professor Van Helsing comes from Amsterdam to solve the mystery on Lucy’s illness. He is Dr. Seward’s mentor and is a trustable man. Unlike the others like Dr. Seward and Jonathan Harker, he is not blinded with scientific point of view. He is an open-minded old fellow who finds out how to destroy Dracula based on his knowledge of the Eastern folklore and superstitions. He is the only character who possesses a mind open enough to contemplate and address Dracula’s dark powers. Van Helsing is a doctor, a philosopher and a metaphysician and he is the one who unites the worlds of Western science and Eastern folklore. When Dr. Seward introduces him to Lucy he calls Van Helsing “one of the most advanced scientist of his day...an absolutely open mind”. He diagnoses and cures Lucy’s illness and traces the clues which lead to strange and supernatural elements. The others do not take supernatural or superstitious beliefs into consideration; hence, they are far from understanding the strange case of Lucy. Without Van Helsing, the others cannot defeat the Count since an understanding of his true nature is necessary for destruction. Although Dr. Van Helsing does not know Lucy personally and does not have an intimate relation with her like the other male characters such as Dr. Seward, Arthur Holmwood and Quincey Morris, he tries to cure her and does whatever necessary including the transfusion of his own blood to her. He has many connections with the people using herbs and folkloric elements to cure illnesses. This shows that he is not just a man of science. This is quite unusual for a Victorian scientist. Van Helsing is the one who diagnoses Lucy’s illness, finds a cure for it, discovers that earth is vital for Count and his other flaws. He is also the one who informs the reader about the true nature of the UnDead in the novel. He does not experience any change and he is a static character all through the novel. Even when he is lured by the women of Dracula, he preserves his morality, does not lose his dignity and he is the one who encourages the others not to lose hope in desperate times. Although he is a man of science, he has strong religious beliefs and - 193 -

these beliefs help him to preserve his morality. He sees his crew as “ministers of God’s own wish,” and assures the others that “we go out as the old knights of the Cross to redeem more.” In this Stoker portrays Van Helsing as a figure who solves the mystery based on many sources like science, superstition and religion. With all these, he becomes the mentor to all characters.

Jonathan Harker

Jonathan is the character who introduces us to Count Dracula in the opening chapters. He is a Victorian man who believes in rational thinking and like Dr. Seward at first he rejects supernatural evidences. He keeps telling himself that he is hallucinating and strange things cannot happen in the modern world. When one day he is shaving, Count approaches him and he cannot see the reflection of the Count on the mirror. Even in that he denies the fact that Count is a supernatural creature. He is blinded with the rational thought and his denial causes troubles for him. Before he goes to the castle, local people warn him but he does not pay attention to any of the warnings. He is a typical Victorian businessman who is very hardworking and does anything necessary for work. For the purchase of an estate he travels from London to Transylvania. After what he has been through with the Count in the castle, he suffers brain fever and he once again denies what he experienced at the castle until he realizes that the Count is the one who is responsible for Lucy’s death. He cannot explain the strange facts even to Mina and keeps them as a secret and chooses to forget them all. He seems to be ashamed of what he experienced in the castle and knows that the realities will not be accepted in the rational Victorian society. When he returns, he dedicates himself to his work like Dr. Seward. He marries Mina and joins the others to kill the Count. When Mina becomes the victim of Dracula, Jonathan still keeps calm but his hair gets gray over a single night. This shows that he is a man who cannot display his feelings easily. This is also true for a Victorian gentleman. A true gentleman does not show his emotions excessively and he hides them in the society. With the help of Quincey, Jonathan manages to kill Dracula and at the end he takes revenge from the Count for all his sufferings.

Dr. Seward

Dr. Seward is a typical Victorian scientist who ultimately believes in rational thinking. He runs a mental institute and tries to understand human behavior that leads to psychological problems. In the Victorian era, there was interest in human psychology and it is the era in which the roots of modern psychology are seeded. There are references in the novel to the advancements in human psychology and Dr. Seward tries new techniques. He also uses new technology like the phonograph to record his diary about patients. He is a scientist who observes and records. He patiently keeps records of Renfield to understand his deeds. However, he does not accept any idea related to superstitions or supernatural elements. Dr. - 194 -

Seward is obsessed with modern techniques and even when the evidence is clear, he denies the supernatural realities in Lucy’s death. Even after he sees Lucy walking in the cemetery voluptuously, he tries to find a logical explanation for it. He questions whether Van Helsing is fooling him about Lucy’s after-death actions. Van Helsing understands the nature of Dr. Seward and says: “You are a clever man, friend John. You reason well, and your wit is bold, but you are too prejudiced.”

Dr. Seward is one of the suitors of Lucy and upon losing his beloved, he joins the others to destroy Dracula. In this quest, he represents scientific and rational thought. He is a man who does not think with his feelings but his logic. Even when Lucy refuses his proposal he moves on with his life with his patients and work for long hours. He is dedicated to his job and his residence is the mental asylum. He represents the modern and dedicated scientist.

Mina Murray (Harker)

Mina Murray is the representative of a Victorian woman. She is loyal and submissive and she is ready to do anything for her beloved ones. As a typical behavior of Victorian people, she observes everything around and records detailed diaries. Van Helsing praises her many times as in Chapter XVIII: “Ah, that wonderful Madam Mina! She has man’s brain, a brain that a man should have were he much gifted, and a woman’s heart. The good God fashioned her for a purpose, believe me, when He made that so good combination. Friend John, up to now fortune has made that woman of help to us, after tonight she must not have to do with this so terrible affair. It is not good that she run a risk so great. We men are determined, nay, are we not pledged, to destroy this monster? But it is no part for a woman.

Van Helsing’s praise of Mina displays that she has all the virtues of the age, the virtues that are not quite common for a woman. In the Victorian times, men and women were treated differently and it was believed that women’s brain was not equal to that of men. However, Mina is clever and has an extraordinary brain that is unusual for a woman. She knows the train tables by heart, she is good at organization and she is the one who brings the pieces together in order to understand and destroy the Count. Moreover, she uses technology well as she is speedy in typewriting and curious about using Dr. Seward’s phonograph. However, she uses all these to help her husband, which shows that she is dutiful and domestic. As it is pointed out she is “one of God’s women, fashioned by His own hand to show us men and other women that there is a heaven where we can enter, and that its light can be here on earth. So true, so sweet, so noble . “ When she is compared with Lucy, she is not as noteworthy as her in beauty and it is her virtues emphasized all the time. Mina is at risk of sharing the same fate with Lucy, but unlike Lucy she resists becoming a voluptuous being and makes others promise to kill her if she shows any sign of it. In this respect, she is a representative Victorian woman who is virtuous, - 195 -

and moral. Although she and Jonathan are married, her sexuality is somewhat enigmatic throughout the novel as she never gives voice to sexual desire. After Dracula’s attack, her purity is in danger and others struggle to preserve her purity. Mina is like a symbol for fight against an invader. When she is lost, it means Dracula will reach his ambitions by using even the purest women in England. Mina is always a dutiful wife, the one who is ready to sacrifice herself for her husband. Stoker creates suspense about Mina, whether she will turn into a shedevil or not, with a stain in her forehead. After Dracula is killed, her purity is saved and she regaines her moral perfection as stainless as her forehead.

Lucy Westenra

Lucy is a Victorian woman too but she differs from Mina in striking ways. Three men propose to her in a single day and she is proud of it. Even at that time, she writes to her friend Mina and asks “Why can’t they let a girl marry three men, or as many as want her, and save all this trouble?” Unlike Mina, she has desires and her beauty affects the men around her. When her beauty captivates her suitors, she feels comfort in it. Her weakness is emphasized in the novel and she does not have capacity to resist against the transformation into a she-devil like Mina. Her soul and body do not remain pure and others have to kill her after she becomes an UnDead to preserve her purity as a respectable woman.

In the Victorian era, the marriage was considered necessary for the intermingling of blood. After Van Helsing has to transfuse the bold of Quincey, Dr. Seward and even of himself, he at first decides not to tell it to Arthur as the mixing of blood has connotations with sexuality. It is not long after Arthur learns that the others had to transfuse blood, he decides to kill monstrous Lucy. Lucy in her she-devil state is a threat to men as it is difficult to resist her sexuality. This is not welcomed in the Victorian age and women have to be moral and pure. Lucy regains her pure look only after she is destroyed.

Arthur Holmwood

Arthur is a noble man whose father holds the title of lordship and after his father’s death he gains the title as a ‘lord’. This title opens every door to the others and he uses it to destroy the Count. Arthur is the source of financial backup for the others and is respected by all people in every place he arrives. His aristocratic background increases the speed of bureaucracy in other countries outside of England as well. He is one of the suitors of Lucy and he is the only one accepted by her. Since Dracula took his beloved one, he is full of revenge. He uses all of his sources to fight against him. Without his help, the others would have difficulty in breaking into Dracula’s estate in central London and hiring a steamboat, which is quite expensive in Victorian times. It is Arthur who puts a stake through Lucy’s heart. The others think that since Lucy is engaged to Arthur, it is his right to kill her to preserve her purity. - 196 -

Quincey Morris

Quincey is an adventurous American man. He is also one of the suitors of Lucy, but he is not accepted. He is drawn by his instant instincts and he acts like a hunter at all times. When he and others chase Dracula, he uses his experiences as a hunter and is quite helpful to defeat the Count. He knows all the strategies and tools necessary for hunting and he sees Dracula like an animal to be killed. Van Helsing says “Quincey’s head is level at times, but most so when there is to hunt”. He is a very brave man. He risks his life to kill the Count. At the end of the novel, he sacrifices himself and is dead. Quincey is a foreign man in England he can be considered as an outsider like Count Dracula. It is quite interesting that at the end of the novel the two outsiders Count Dracula and Quincey Morris die. However, the others lament after him and Mina and Jonathan name their son Quincey to preserve his brave memory.

Renfield

Renfield is a patient at Dr. Seward’s mental asylum. He displays strange behavior and is interested in consuming life around him. He even catches flies, spiders and birds and kills them. Dr. Seward suspects that he eats them as well. He uses sugar to catch flies, flies to catch spiders and spiders to catch birds. This shows that he knows much about the chain cycle of living things. Moreover, he is also good at philosophy and at times he speaks logically. After Dracula’s arrival in London, his behavior change dramatically and he calls Dracula the ‘Master’. He thinks he shares much with Dracula as the Count knows how to consume life of others to remain strong. He believes that he can learn how to live on with the life of the others, but Dracula treats him like a simple servant. When Renfield figures it out, he rejects the Count’s authority. Dracula kills him for his disobedience. Since there are advancements in psychology in the Victorian times, Renfield is an important figure in seeing how Dr. Seward observes and treats him. It’s Your Turn!

7

• Which of the characters do you feel sympathy for? Why?

• How do you think the women are represented in the novel? Is it similar to our time? • What adjectives can you use for each of the main characters?

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Self-Test

1. In Bistritz, what does the innkeeper’s wife give Jonathan in order to protect him from evil? a. b. c. d.

a golden medallion a crucifix sacred water a necklace made of garlic flowers

2. Who attacks Jonathan when he falls a sleep in a room at the castle? a. b. c. d.

a wild wolf a huge bat three voluptuous women Dracula’s housemaids

3. Which of the following is true for Dracula when Jonathan meets him at the castle? a. b. c. d.

He is an old man He is a middle-aged man He is a young man He is a teenager

4. Who does Dr. Seward call when Lucy’s condition gets worse? a. b. c. d.

Quincey Jones Renfield Van Helsing Mina Murray

5. Which of the following is Dracula’s estate in London? a. b. c. d.

Essex Carfax Whitby Bistritz

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Key to Self-Test 1. B

2. C

3. A

4. C

5. B

Literature Alive

Dracula is an example of Gothic fiction, which was very popular in the 18th and 19th centuries. Dark atmosphere, haunted places and terrifying landscapes are some of the elements that can be found in the Gothic literature. Although Dracula is a representative novel of the genre, other novels such as the Castle of Otranto by Horace Walpole and Frankenstein by Marry Shelley are samples of Gothic fiction. Here are some quotations taken from Castle of Otranto and Frankenstein. Read each of them carefully and identify the Gothic elements in each of them. Compare the Gothic elements with the ones in Dracula. Are there any similarities or differences? Quotation 1 from The Castle of Otranto by Horace Walpole

I was going to tell your Highness,” said Bianca, “if you would permit me. So as I was rubbing the ring—I am sure I had not gone up three steps, but I heard the rattling of armour; for all the world such a clatter as Diego says he heard when the Giant turned him about in the gallery-chamber.” “What Giant is this, my Lord?” said the Marquis; “is your castle haunted by giants and goblins?”

“Lord! what, has not your Greatness heard the story of the Giant in the gallery-chamber?” cried Bianca. “I marvel his Highness has not told you; mayhap you do not know there is a prophecy—”

“This trifling is intolerable,” interrupted Manfred. “Let us dismiss this silly wench, my Lord! we have more important affairs to discuss.” “By your favour,” said Frederic, “these are no trifles. The enormous sabre I was directed to in the wood, yon casque, its fellow—are these visions of this poor maiden’s brain?”

“So Jaquez thinks, may it please your Greatness,” said Bianca. “He says this moon will not be out without our seeing some strange revolution. For my part, I should not be surprised if it was to happen to-morrow; for, as I was saying, when I heard the clattering of armour, I was all in a cold sweat. I looked up, and, if your Greatness will believe me, I saw upon the uppermost banister of the great stairs a hand in armour as big as big. I thought I should have swooned. I never stopped until I came hither—would I were well out of this castle. My Lady Matilda told me but yester-morning that her Highness Hippolita knows something.” - 199 -

Quotation 2 from Frankenstein by Mary Shelley

It was on a dreary night of November that I beheld the accomplishment of my toils. With an anxiety that almost amounted to agony, I collected the instruments of life around me, that I might infuse a spark of being into the lifeless thing that lay at my feet. It was already one in the morning; the rain pattered dismally against the panes, and my candle was nearly burnt out, when, by the glimmer of the half-extinguished light, I saw the dull yellow eye of the creature open; it breathed hard, and a convulsive motion agitated its limbs.

How can I describe my emotions at this catastrophe, or how delineate the wretch whom with such infinite pains and care I had endeavoured to form? His limbs were in proportion, and I had selected his features as beautiful. Beautiful! Great God! His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun-white sockets in which they were set, his shrivelled complexion and straight black lips.

References

Carter, M. L. (1988). Dracula: The Vampire and the Critics. Ann Arbor, Michigan: UMI Research Press. Farson, D. (1975). The Man Who Wrote Dracula: A Biography of Bram Stoker. New York: St. Martin’s Press. Fisher, R.L. (1988). Introduction. Dracula. New York: Tom Doherty Association Book. Hindle, M. (1993). Introduction. Dracula. Penguin Classics.

Leatherdale, C. (1985). Dracula: The Novel and the Legend. Wellingborough, Northamptonshire: Aquarian Press.

Punter, D. (1980). The Literature of Terror: A History of Gothic Fictions from 1765 to the Present Day. London: Longman.

SparkNotes Editors. (2003). SparkNote on Dracula. Retrieved March 21, 2012, from http://www.sparknotes.com/lit/dracula. Stoker, B. (1908). The Censorship of Fiction. Nineteenth Century and After. Stoker, B. (1993) Dracula. Penguin Classics.

Twitchell, J. B. (1981). The Living Dead: The Vampire in Romantic Literature. North Carolina: Duke University Press. http://books.google.com.tr/books

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UNIT 13 DRACULA II Amaçlarımız - Our Aim

After studying this unit, you will be able to;

• analyze Dracula in detail

• understand how the plot unfolds and characters act accordingly

• understand the motives behind the actions

Anahtar Kavramlar - Key Concepts • Gothic Novel

• Epistolary Novel

İçindekiler - Unit Contents

• CHAPTERS I-IV SUMMARY/ANALYSIS

• CHAPTERS V-VII SUMMARY/ANALYSIS

• CHAPTERS VIII-XI SUMMARY/ANALYSIS

• CHAPTERS XII-XIV SUMMARY/ANALYSIS

• CHAPTERS XV-XVIII SUMMARY/ANALYSIS

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Introduction

The aim of this Study Unit is to help you have a better insight while analyzing Bram Stoker’s Dracula by focusing on the detailed summaries and analyses of the each chapter. The novel consists of XXVII chapters. The chapters are based on various journal and diary entries, phonograph logs, newspaper articles and telegrams. Hence, it may be difficult to follow the exact story line. Before reading the analyses given here, first of all read the whole novel on your own by taking the steps of reading a novel into consideration. After reading Dracula carefully by taking notes and underlining the important quotations, read the analyses provided in the study units here to have a better understanding of the plot structure, the characters and the events. Do not forget that studying a novel on your own requires selfdiscipline and a carefully thought-out work plan in order to be effective. While you are reading the contents of this study unit, you will answer questions in “it’s your turn” parts. Each question will try to help you to gain a better insight in to the concepts that you need to know while analyzing Dracula.

CHAPTERS I-IV SUMMARY/ANALYSIS Chapter I

The novel starts with the diary recordings of Jonathan Harker. We learn that he is an English businessman, namely a solicitor visiting Eastern Europe for business. He is on his way to a Transylvanian residence and intends to finish the purchase of a London estate to a customer living in Transylvania. Like a true Victorian man, he observes and records everything in his diary in order to share his adventurous trip with his fiancée Mina Murray. While travelling east, he meets local people and the landscape is fascinating for an Englishman. First, he arrives at Bistritz, a Romanian town and stays at an inn. This place is suggested by Count Draculawhom Jonathan intends to have some business upon his purchase of an estate in London. At the inn, Jonathan receives a letter from the Count that welcomes him to the country and instructs him to take a coach to Borgo Pass that will bring him to his castle.

The innkeeper’s wife warns him not to leave as it is the eve of St. George’s Day. On this day, all evil spirits are swaying around. However, Jonathan does not pay attention to her warnings and thinks these are just superstitions. She gives him a crucifix to protect him against the evil. The peasants mutter words like “vampire” when Jonathan is about to leave and at the coach to Borgo Pass the passengers offer Jonathan some gifts and tokens to protect him. When the coach arrives at the Borgo Pass there is no coach waiting for Jonathan and the driver offers Jonathan to take him the next day. Meanwhile, a small coach arrives and takes Jonathan to the castle. On the way to the castle, some strange events take place as the driver seems to follow a blue light and he seems translucent when he reaches the light. Jonathan thinks he is somewhat hallucinating due to the tiring journey. The wolves are around the carriage and - 202 -

when the coachman whispers they seem to calm down. Jonathan finally arrives at the castle and the coachman disappears.

Chapter II

After waiting for a while, Jonathan is welcomed by Count Dracula. He stands at the gate of the castle and warmly welcomes him into the castle. Jonathan describes the Count in detail. The Count has a remarkable physiognomy as he has pointed ears, white long mustache, scarlet lips along with white and long teeth. His hands are cold and he seems to have extraordinary strength. Jonathan is scared at first, but when the Count greets him warmly, all his fears vanish. Dracula says the people in the house are not present and he offers him a meal. However, the Count himself does not eat anything. The castle is dark and old and the decoration seems a hundred years old although it is decorated in an elegant way. Jonathan notices that there are no mirrors inside the castle.

Jonathan and the Count talk about England and the life in England in the library. Jonathan describes the house in London that the Count has purchased. The estate in London is an old and isolated place called Carfax. The Count seems to be pleased with this purchase and they talk all night along. At the daybreak, the Count leaves Jonathan and his strange behavior cause some uneasiness for Jonathan. The next day, while Jonathan is shaving the Count comes and Jonathan cuts himself as he is startled by not seeing the reflection of the Count on the mirror. When the Count sees Jonathan bleeding he warns him to be careful and he draws back when he sees the crucifix. Then, the Count throws the shaving mirror out of the window. Jonathan becomes suspicious, but he does not want the Count notice his uneasiness. Jonathan observes that the Count does not eat and he is absent during daylight. When Jonathan is in the castle, he begins to explore it and comes across the locked doors everywhere.

Chapter III

Jonathan and the Count have a conversation about the Transylvanian history. Dracula tells Jonathan about his family’s bloodline and history. Jonathan learns that Dracula is coming from a family who fought against the Turks and other enemies in the land. Dracula is so proud of his family’s background but he feels very disillusioned since the glories of his family are long gone. Jonathan understands that he is a prisoner in the castle, so he decides to learn more about the Count. The Count also wants to learn much about English life and law. The Count asks Jonathan to write letters to his employer and fiancée in order to assure that he is extending his visit for a month. Jonathan does not argue with the Count and accepts to write the letters and sign them. Dracula warns Jonathan not to fall asleep in another room in the castle other than his own bedroom. Jonathan decides to explore the castle again and he observes that the Count crawls downward the castle in a reptile lie fashion. He is bewildered with this view and tries to find a place to escape. In the meantime, he forces a locked room - 203 -

and he falls asleep in that room. In a dream like state, three beautiful women visit Jonathan. They are so tempting with red lips and it is very difficult for Jonathan to resist their seductive manners. One of the voluptuous women bends over Jonathan and she is about to kiss him when Count comes and warns them to leave Jonathan. He promises them that they can kiss Jonathan when he is done with him. Dracula gives the women a bag in which there is a halfsmothered child. Upon taking the bag with them the women fade out and Jonathan lies unconsciously.

Chapter IV

Jonathan wakes up in his own bed and he cannot decide whether what he experienced the night before was a dream or not. Some days later, the Count asks him to write letters to his employer and fiancée again this time asks him to tell that he is leaving Transylvania safely. The letters are to be sent on June 12, 19 and 29; however, the current date is May 19. Some Gypsies are wandering around the castle and Jonathan writes a letter to be sent to Mina and gives it to one of the Gypsies he sees from his window. In the evening, Dracula arrives with Jonathan’s letter in his hand and then burns it. Jonathan cannot say anything to the Count and he does not want to make him suspicious about his escape plans. Weeks pass in the castle and there is no improvement in Jonathan’s situation. He is a prisoner in the castle and the Count does not let him go anywhere. Jonathan figures out that the Gypsies work for the Count and they carry large wooden boxes into the castle. Jonathan also realizes that his suit is missing and he sees the Count wearing his suit and crawling downwards the castle. He understands that the Count wants to make sure Jonathan is seen by the local people around as if he left the castle safely. Later on, a woman comes to the castle begging for her child. Wolves emerge and approach the woman. Jonathan is now desperate and scared, but he is resolved to escape from the castle. Jonathan manages to go downwards the Count’s room during daylight. He finds the room empty except for a heap of gold. Then he discovers a winding stairway leading directly to a passage. There, he finds out that there are fifty boxes full of earth. He discovers that the Count is lying in one of the boxes. Jonathan returns to his room as he is terrified by the view of the Count. Dracula promises Jonathan that he can leave on June 29, but Jonathan wants to leave the castle immediately. Dracula opens the gate but Jonathan is welcomed by the approaching wolves. Desperately, Jonathan agrees to leave the next day when the Count lets him. The same night, Jonathan hears the Count promising to give Jonathan to the three voluptuous women. Jonathan goes to his room and prays. In the morning, Jonathan climbs down to the Count’s room again. He finds out that Dracula is sleeping but he looks younger. There is also blood around the corners of his mouth. He wants to kill the Count with a shovel but he cannot. Jonathan’s diary entry finishes here as he says good-bye to his beloved Mina. We do not know whether he is managed to escape from the castle or not. - 204 -

Chapters I-IV Analysis

The opening chapters reflect the characteristics of Gothic tradition since the main setting is Dracula’s dark and haunted castle. The whole narrative in these chapters is based on Jonathan Harker’s diary entries and this creates a real effect on the readers. The diary is not written after a long time; instead, it narrates the real time events after a very short while they happened. This real time effect is quite popular in the Gothic genre as it creates suspense and horror. Although the reader knows that Jonathan is writing the diary and he is safe, it is not for sure whether he will survive in the castle or not because he writes directly as the events happen. He has no time to reflect on the events. It also displays the Victorian attitude towards the events. Jonathan records everything in his diary like a true Victorian gentleman who observes the slightest details around. Even in the midst of horrible events Jonathan does not quit writing in his diary. Through his detailed records, the reader learns about the Count and his castle. The descriptions of Dracula are detailed and it will help to compare his appearance in the opening chapters with the ones when the narrative shifts to the settings in London.

We learn about Jonathan in these chapters as well. He is a businessman travelling in East Europe and he is ambitious to finish the purchase of an estate. In the Victorian society, working hard and doing anything necessary for job is a characteristics of an English businessman. He travels to places he has never been before and he intends to go as far as possible. He does not listen to the warnings of local people and even at the times when he fears much he does not pay attention to his fears and travels to the castle. As a Victorian gentleman, Jonathan believes in scientific truth and rational thought. That’s why, he underestimates the superstitious beliefs of the local people who try to warn him honestly. For him, these are just irrational thoughts and cannot be trusted. He is there for business and he does not let any irrational thought get in his way. As many characters in the later chapters display, he is not open to any idea that is superstitions, irrational or supernatural. He is blinded with the Victorian ultimate belief in rational thinking. Although he knows that there are strange things happening when he is travelling on the coach or while he is in the castle he denies the strangeness in them. He thinks he is hallucinating or dreaming. However, as a Victorian gentleman he is respectful and takes the crucifix given by one of the local ladies. He does not argue with the locals about their beliefs or manners, rather he always shows respect. Even after it is evident that he is a prisoner in the castle he preserves his respectful attitude towards the Count. This also underlines the passivity in Jonathan’s actions. He does not take action until the last moment it is for sure that his life is in danger. He does not argue with the Count and obeys him. These chapters give information about the Count and his intentions. He is not a corpse like being. Instead, he is a gentleman with aristocratic manners and noble history. Count Dracula listens to Jonathan, shows him respect and prepares meals for him to make sure that he is comfortable in the castle. Stoker does not create an animal like zombie character but one who can live among us, who is gentle and kind and at the same time who is likely to turn into a horrible being. The Count knows foreign languages and is curious about the life in a foreign - 205 -

land. These give hints about his further intentions to the reader since the Count appears as a potential invader in the modern and rational London.

One of the famous scenes in the novel is in Chapter III when Jonathan meets the weird sisters in the castle. It shows that Dracula is not alone but he has power to turn women into voluptuous beings. This is a direct threat to the Victorian society in which the women’s morality is given importance. It is not proper for a Victorian lady to display sexual intentions. Rather, they should remain pure and moral to be respected in the society. When Jonathan meets the sisters in the castle, the appearance of the women is quite sexual and Jonathan has a hard time to resist their seduction. He feels “a wicked, burning desire that they would kiss me.” The women depicted here are in stark contrast with the Victorian women we will meet in the following chapters. They are full of lust and desire and they threat the virtues of the Victorian women. It foreshadows the fear that Dracula can turn proper and pure ladies of the Victorian society into voluptuous and sexual creatures. After their visit, Jonathan hears that Dracula promises them that they can do whatever they want to do with Jonathan after Dracula is done with him. It is after this moment that Jonathan fears much for his life. He leaves his fears beside and plans to escape from the castle desperately. He is not in passive mode and gets into action. These chapters end in suspense about whether Jonathan will survive or not. It’s Your Turn!

1

• What do you think will happen to Jonathan? How do you think he will escape from the castle? What can he do with the gold he takes from Dracula’s room? • What is Dracula’s real intention? Why do you think he needs fifty boxes of earth? Do you think he will let Jonathan leave the castle as he promised?

CHAPTERS V-VII SUMMARY/ANALYSIS Chapter V

The narrative shifts from Jonathan’s diary to several letters and a diary entry. We are introduced to the other characters living in England such as Jonathan’s fiancée Mina Murray and her best friend Lucy Westenra. Mina and Lucy write each other letters about their lives. Mina is waiting dutifully her future husband Jonathan and we learn that she is good at typewriting. She reports Lucy that she received a letter from Jonathan telling her that he is on his way home. Lucy in reply, talks about her own romantic relationship. She says that she is proposed by three men in a single day. She introduces in her letters the other male characters such as Dr. Seward who runs a mental asylum, an American adventurer Quincey Morris and a noble man Arthur Holmwood. She rejects the proposals of Dr. Seward and Quincey Morris and accepts Arthur’s proposal. Her heart belongs to this gentleman and she is looking forward to marry him. - 206 -

A diary entry follows the exchange of letters between Lucy and Mina. It is Dr. Seward’s phonograph entry. He talks about Lucy’s rejection of him and he is now working hard to forget about his unhappiness. He occupies himself with an interesting case at the mental asylum: Renfield. Renfield displays strange behavior. This chapter ends with Quincey’s congratulatory letter to Arthur.

Chapter VI

We again turn to Mina’s diary entries and learn that she visits Lucy in Whitby. The town is on the northeast coast of England and there is a ruined abbey which is said to be haunted. Mr. Swales, an old resident of the town, engages in the conversations between Mina and Lucy and tells them stories about the town. He tells them that most of the graveyards in the cemetery are empty as most of the men are lost at the sea. After Mr. Swales leaves the girls, Lucy tells Mina about her wedding plans. Mina notes that she is worried about Jonathan since she has not heard from him for a month.

Dr. Seward goes on to report his observations about Renfield. The patient has the habit of consuming living creatures around him. He uses sugar to catch flies, uses flies to catch spiders and uses spiders to catch sparrows. He feels joy in the consuming one creature after another. He believes that he gains strength when he eats these creatures himself. He can consume the previous lives in those animals. Dr. Seward names Renfield a “zoophagous”, a life eating maniac. Mina expresses her anxiety about her fiancée and her best friend Lucy who started to sleepwalk at nights. Mina does not understand Lucy’s condition and her worries increase about Lucy. Mina meets Mr. Swales and he tells her that he thinks his own death is approaching. While they are talking, they see a ship drifting about off shore. They guess that the ship is of Russian origin and Mr. Swales tells Mina that they will hear more about this ship.

Chapter VII

Two newspaper clippings are given in this chapter which inform us about the ship Mina and Mr. Swales have seen. The name of the ship is Demeter and it washed up on the shore during a terrible storm. The crew is missing on board and its captain is found death. The captain seems to tie himself to the wheel and he is holding a crucifix. It is reported that when the ship hits the shore a huge dog appeared and then disappeared heading to the countryside. The Demeter is carrying only large wooden boxes, which are sent to a Whitby solicitor. The captain of the Demeter kept logs about the journey and these are given in this chapter. The captain reports that the ship began its voyage at the Russian port of Varna and sailed to England. The voyage started well but after ten days strange events begin to take pace. The - 207 -

sailors were missing one by one and some of the crew members claim seeing a tall and thin man on the deck. The rest of crew fear about their trip and the first mate goes mad. When the ship reaches to the coast of England, only four men remains. A great fog covers the ship and they cannot reach the harbor. Two more sailors vanish and the first mate throws himself to the sea. The captain does not leave the vessel and stays in his ship until the end. Mina continues her recordings in her diary and the narrative shifts back to her observations. Mina is worried so much about Jonathan and Lucy. Lucy does not seem well on the day of the sea captain’s funeral. Mina thinks it is because of the sudden death of Mr. Swales who is found death with a broken neck and a look of horror in his face.

Chapters V-VII Analysis

The female characters depicted in these chapters Mina and Lucy are very different from the sisters in Dracula’s castle. These chapters help the reader learn much about Mina and Lucy. Both of them are Victorian ladies who are moral and respected. Mina and Lucy represent the goodness and purity whereas the sisters at the castle represent evil and corruption. Lucy is however, different from Mina which foreshadows her horrible end in the following chapters. Unlike Mina, she feels delighted when three men propose her and asks Mina why a woman is not let to accept all three proposals. Lucy is a beautiful young lady, she is attractive and the object of desire. Unlike Lucy, Mina’s virtues are referred to rather than her beauty. The tone and atmosphere in these chapters contrast with that of the Dracula’s castle. Chapter IV ends in horror, but Chapter V opens in a cheerful mode. This helps the reader take a break and focus on the events in England.

The characters in the London society are introduced. They live in the modern and rational London. Dr. Seward uses technological devices such as phonograph and Mina is good at typewriting. The local and strange world of Dracula is not visible here. In Dracula’s castle, the Count crawls downward the castle and the ghost like creatures reside in the castle, but in London the characters use technology, write letters and diagnose patients. Dracula’s world is now threatening the atmosphere in London with the arrival of the ship. The tone again turns to a gloomy and dark one since strange events start to take place. This is a threat to the Victorian society as the people in the Victorian society want to explain everything with rational thinking and they cannot bear what cannot be explained. In Lucy’s letters, other three male characters are introduced: Dr. Seward, Quincey Morris and Arthur Holmwood. Quincey Morris is a foreign adventurer talking with an accent and Arthur is a noble man. Dr. Seward is a man dedicated to his job like Jonathan and he occupies himself with working rather than brooding over his worries like a true Victorian gentleman. He is a man of science and is blinded with rational thinking. As a scientist, he observes the patients in detail and he is concerned much about one of them called Renfield.

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Renfield is introduced to us through Dr. Seward’s recordings, and the similarities and differences between Renfield and Count Dracula is visible. Like Dracula, he feeds upon other living things but unlike him Renfield is interested in animals not in humans. Both of them are consumers and threat the existence of others. Dracula uses other people for his own ends whereas Renfield uses animals to consume the life in them. Renfield believes that consuming the lives of the animals gives him strength and vitality. Similarly, when Count consumes lives he gains strength and youth. When Jonathan last sees him, his mouth is covered with blood and the Count seems younger and stronger. It is obvious that Renfield knows much about the cycle of life as he uses weaker animals to catch stronger ones. This may foreshadow Dracula’s intentions since he will use women to reach the men in London society. All these reflect the main concerns in the Victorian society. Darwin published The Origin of Species in 1859 and the human being is not seen as a heavenly figure but just a chain in the cycle. Victorian society is anxious about these challenges to the old ideas and this is reflected in Renfield’s character. Mr. Swales is also a minor but interesting character introduced to us. Through his character, Quincey Morris and Van Helsing in the later chapters, Stoker shows that he gives importance to local accents since all these characters have heavy accents.

The arrival of the ship on the scene creates suspense in these chapters especially after it is learned that the ship is carrying the cargo of wooden boxes. The mist, the huge dog, the dead crew and the terrible storm signify that the Gothic atmosphere of Dracula’s castle is moved to London. The characters are now far from making any connections, but with the help of the various devices of narration the reader is now making connections between the events in Transylvania and London without the presence of an omniscient narrator. It’s Your Turn!

2

• Can you compare the atmosphere in Transylvania and in London? What are the differences?

• How are the women in the Victorian London described? What are the major differences with the women in the castle and the ones in London? • Do you think Lucy’s sleepwalk is associated with Dracula? How? • Why it is not Mina but Lucy who is beginning to change?

CHAPTERS VIII-XI SUMMARY/ANALYSIS Chapter VIII

One night, Mina finds out that Lucy is not in her bed. She looks for Lucy and goes out to search for her. Mina sees that Lucy is in the churchyard and there is a dark figure bending over her. Bewildered, Mina runs to Lucy but when she arrives near her the dark figure disappears. Lucy is asleep and gasping for breath. Mina wraps her and takes her back to the - 209 -

house. When Lucy wakes, Mina finds out that there are two tiny red points on her throat. Mina thinks she is the one responsible for them while trying to pin the shawl to wrap her the other night. Lucy continues her sleepwalking attitude in the following nights and Mina is concerned more for her. Mina locks the door of their bedroom. One night, Mina finds Lucy sitting on her bed and looking at the window. Mina looks outside and sees a large bat fluttering in the moonlight. In the following days, Lucy becomes pale and weak and the red points on her throat seem to grow larger. In the meantime, Lucy’s mother is ill and Mina fears to cause more concern for the old lady; hence, she does not let her think something is wrong with Lucy. Mina is also worried about Jonathan since she does not hear from him for quite a long time.

Mina’s diary entry is followed by a letter from a Whitby solicitor. He orders the boxes of earth to be delivered from Demeter to the estate of Carfax purchased by Dracula. Mina reports in her diary that Lucy’s health is improving. She also receives letters from a Hungarian hospital reporting that Jonathan is found and is now in a hospital suffering from serious brain fever. Mina decides to leave England in order to nurse her fiancée. The narrative shifts to Dr. Seward’s diary. He talks about Renfield and the sudden changes in his behaviors. Renfield is now violent and he talks about a master. One night, Renfield runs from the asylum to an estate nearby named Carfax. Dr. Seward finds him pressing to a door as if he is talking to someone. The attendants catch him and take back to the asylum while he is begging his master to be patient.

Chapter IX

Mina writes in her diary about what she experiences in Budapest. She reports that Jonathan has changed a lot and he remembers nothing about what has happened to him. Jonathan has his diary with him and Mina knows that the cause of his illness is recorded in it. However, she does not read it without the permission of Jonathan. Jonathan gives the diary to Mina and asks her to promise never to tell anything written in it. Mina seals the diary and decides not to read it. The couple marries immediately. The situation with Renfield is getting worse as recorded in Dr. Seward’s diary. He always mumbles and one day he manages to escape again. Dr. Seward knows where to find him since he visits the old chapel of Carfax again. When Renfield is about to attack the doctor and the attendants he suddenly remains calm when he sees a large bat flying above.

The narrative shifts back to Lucy’s diary. Lucy reports that she is having bad dreams and she does not understand why she sleepwalks at nights. She becomes weak and pale again. Dr. Seward calls one of his mentors from Amsterdam, Dr. Van Helsing in order to understand Lucy’s case and cure her. Van Helsing arrives and observes Lucy but he cannot figure out the cause of her condition. He notices that much of her blood is lost and he turns to his hometown. - 210 -

Dr. Seward records that Renfield is calmed down and turns back to his old habit of catching files. At sunset, his behavior changes suddenly and he becomes violent again. Fluctuation in Lucy’s health continues as her health improves again and then changes for worse. Dr. Seward writes Van Helsing to come immediately.

Chapter X

Dr. Seward and Arthur is concerned much about Lucy’s poor condition. Van Helsing finds out that Lucy is incredibly weak and blood transfusion is necessary to bring her back to life. Since Arthur is her fiancée Van Helsing asks him to transfuse his blood to Lucy. After the transfusion, they notice the points in her throat and examine them. They cannot find a reasonable explanation to huge drainage of blood through these tiny wounds. Van Helsing asks Dr. Seward to watch Lucy during the night. The next day, Lucy’s health seems to be improved. However, Dr. Seward falls asleep and the next morning they find Lucy pale and weak again. This time, Dr. Seward transfuses his own blood to her. Van Helsing tries to understand her condition and he orders some garlic flowers from an acquaintance. He warns Lucy to wear these flowers around her neck. Dr. Seward is suspicious about the role of the flowers in her illness but lets Van Helsing decorate the room with those flowers. Van Helsing assures Dr. Seward that Lucy is safe now and she can sleep peacefully.

Chapter XI

When Dr. Seward and Van Helsing turns back to Lucy’s house the next morning, they come across Lucy’s mother who tells them she displaced the garlic from Lucy’s room. She says the garlic flowers smell bad and she opened the window for fresh air. Van Helsing and Dr. Seward rushes to Lucy’s room and find her near death. Van Helsing transfuses his own blood and warns Lucy’s mother not to remove anything from her room again. The two doctors do not want to cause fear for Mrs. Westenra as her own heath is at risk. Lucy begins to restore her health again and she reports that she is feeling much better now.

The narrative shifts to a newspaper article reporting that a large wolf escaped from the Zoological Gardens and returned the other day in broken glass. Dr. Seward records in his diary that Renfield got violent and cut the doctor’s wrist. After this action, Renfield said “the blood is the life”. Van Helsing sends a telegram to Dr. Seward urging him not to leave Lucy alone and spend the night with her. However, Dr. Seward does not receive the message in time and Lucy is let alone vulnerable to further attack. On the night the wolf escaped, Lucy records in her diary that she is awakened by a flapping at the window. Her mother is scared so she comes near her daughter. Suddenly the window opens and a large dog appears. With fear, Lucy’s mother tears the garlic around Lucy’s neck and she dies. The maids in the house enter and are horrified by the sight of the dead mother. Lucy lies unconsciously in her bed - 211 -

and the maids go to the dining room to have a glass of wine. They all fall asleep since the wine is drugged. Lucy hides the last entry in her diary terrified by the events taking place.

Chapters VIII-XI Analysis

These chapters mirror the purity and chastity attributed to the women in the Victorian society. When Mina finds Lucy at the cemetery she fears for her reputation in the society if one sees her alone in the cemetery at night. Dracula’s attack also has sexual connotations. After the first attack, Lucy starts changing and her purity is under attack. There is a possibility that she can be transformed into one of the voluptuous women at the castle. This threat is not only true for Lucy but Dracula’s dark power is now threatening the pure and moral women of the Victorian England.

A great deal of suspense is created in these chapters as the events unfold through the use of various letters and diary entries. The characters do not know the previous experiences of Jonathan with Dracula and cannot figure out what is actually happening. Dr. Seward cannot understand the reality behind Renfield’s actions but the reader can make connections between him and Dracula. We are introduced to a new character that leads the actions in the following chapters: Dr. Van Helsing. Van Helsing is a friend and mentor to Dr. Seward and since Seward feels helpless he calls Van Helsing. Van Helsing is different from Dr. Seward since he is open-minded. Dr. Seward thinks in a rational manner and tries to explain Lucy’s illness in a logical way. Such approach to her illness almost kills her. Van Helsing tries other alternatives such as putting garlic flowers around Lucy’s neck and in her room. Dr. Seward is far from understanding these actions. The science they use cannot help them to save Lucy although they use highly new technology of blood transfusion. In this respect, Van Helsing combines the two worlds: science and superstition. At one hand, he can transfuse blood and he has the necessary tools and scientific knowledge for it and on the other hand he uses some herbs to cure Lucy. The techniques and reasoning of Western science are limited. Van Helsing remain mysterious in these chapters since he does not tell Dr. Seward why he brings garlic flowers for Lucy. Since the Victorian men like Dr. Seward think everything in a rational manner, Van Helsing does not want to inform him much until he is sure what is really happening. His role as a philosopher and metaphysician is in the foreground rather than his role as a doctor.

The male characters struggle to save Lucy by transfusing their blood one after another. It is worth mentioning that Arthur is the first to transfuse blood since he is Lucy’s fiancée. In the Victorian times, mingling of bloods has a sexual connotation and it is then Arthur’s right to donate his blood to the beloved one. It is seen like a marriage ceremony since their bloods are mixed in Lucy’s body. That’s why Van Helsing does not inform Arthur about the later transfusions since it may be improper for him to learn about these. This reflects the Victorian view of women’s morality. After Dracula’s attack, Lucy’s purity is in question and it remains - 212 -

questionable after the men transfuse blood into her veins. Hence, blood and sexuality is connected to each other in these chapters.

Lucy’s blood drainage foreshadows another threat to the Victorian Society. Dracula is using women to reach the men. When Dracula sucks Lucy’s blood he is indeed sucking the blood of men who transfused her their blood. In this way, Dracula starts to possess the men. The suspense is created in these chapters: whether the evil or the good will win at the end and whether the characters will realize the actual intentions of Dracula or not. It’s Your Turn!

3

• What do you think will happen to Lucy? Do you think there is any way for preserving her purity?

• What are the differences between Van Helsing and Dr. Seward? Which of these characters do you feel sympathy?

• If you were Mina, would you read the diary of Jonathan? If Mina read the diary would that make any difference in the course of actions?

CHAPTERS XII-XIV SUMMARY/ANALYSIS Chapter XII

Dr. Seward records in his diary that he and Van Helsing find Lucy’s mother dead and Lucy almost dead. The maids lay unconscious since they are drugged. Another transfusion is vital for Lucy but the two men cannot provide more blood. Quincey Morris appears and he transfuses his blood to Lucy. Arthur arrives, his father is dead and he is now concerned about the life of his beloved Lucy.

Mina writes Lucy to inform her that she and Jonathan have returned to England and how their life is going on. In the meanwhile, Renfield escapes and he attacks two men carrying boxes of earth from Carfax. Lucy is about to die and Van Helsing covers her with garlic. She seems to sleep but she sometimes tries to push the garlic away from her. At night, Dr. Seward watches Lucy and he notices a big bat on the window. The next morning, Van Helsing senses that Lucy is going to die; he invites Arthur to say good-bye to her. The wounds on Lucy’s neck disappear. When Arthur bends over Lucy she seductively wants him to kiss her. This sudden change startles Arthur but he kisses her from her forehead. Lucy dies and in her deathbed she seems beautiful than ever.

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Chapter XIII

Dr. Seward notes Lucy’s funeral in his diary. Before the funeral, Van Helsing covers the coffin with garlic and he puts a golden crucifix on her mouth. Van Helsing tells Seward that they have to cut Lucy’s head and take her heart out. Dr. Seward is confused and suspicious about Van Helsing’s behavior. The next day, Van Helsing discovers that the crucifix on Lucy’s mouth is missing. He orders Seward to wait for a while. Arthur visits Lucy’ s tomb and he is surprised that Lucy is looking fresh and beautiful as if she is not dead. Van Helsing wants to read Lucy’s diary and asks Arthur’s permission. Arthur is now holding the title of Lord Godalming after his father’s death. He gives Van Helsing permission since he truly wants to understand what has happened to Lucy. The narrative shifts back to Mina’s dairy. She records that while she and Jonathan are visiting London they saw a thin and tall man. Jonathan is perplexed by the sight of the man and when they returned he fell asleep. He did not remember anything afterwards. Mina is suspicious and worried about Jonathan and decides to read his recordings related to his experiences in Transylvania. Mina learns of Lucy’s death. A newspaper article is informing the readers about abducted children. The children claim that they are lured by a strange lady they call the “Bloofer Lady”. The events take place near Lucy’s cemetery and when those children return home they are found to have wounds on their necks.

Chapter XIV

Mina reads her husband’s diary and is shocked by what she has read. Van Helsing visits Mina in order to discuss about Lucy’s death and Mina gives him Jonathan’s diary to read. Van Helsing reads the diary and visits Mina and Jonathan. After they have a talk, Jonathan realizes that Van Helsing believes his experiences in Transylvania. It now becomes apparent that the Count is in England. Jonathan decides to start writing in his diary.

Narrative shifts to Dr. Seward’s diary. He reports that Renfield is again busy with catching flies. Van Helsing visits Dr. Seward and informs him about the news of the “Bloofer Lady”. He notices that the events take place near Lucy’s graveyard and the wounds on the children’s necks are similar to that of Lucy. Dr. Seward is once again skeptical and he cannot make any connection. Van Helsing wants to assure him that some supernatural things are possible and he claims that Lucy could be responsible for all the suffering of the children mentioned in the newspaper article.

Chapters XII-XIV Analysis

It is clear that Lucy is beginning to be transformed into a supernatural being and it is only Van Helsing who can make connections. Dr. Seward is again skeptical as a typical Victorian scientist and he continuously denies the supernatural and strange case of Lucy. He does not - 214 -

understand why Van Helsing places garlic flowers or garlic but he shows respect and does not question Van Helsing’s actions. It is quite interesting that Van Helsing uses herbs and religious objects at the same time in order to be protected from the evil. He is not only a man of science but also a man with strong faith in religion. In this respect, he is in contrast with Dr. Seward and this contrast is more visible in these chapters. Dr. Seward does not question what happens to Lucy’s blood or how the wounds disappear suddenly before her death. He thinks there should be a logical explanation for it. The newspaper article on the “Bloofer Lady” makes it clear that Lucy is transformed into a vampire. It is only Van Helsing who can make connections with the abducted children and Lucy as a supernatural being. Lucy is now a lustful being preying upon the helpless children like the weird sisters at Dracula’s castle. It is now granted that Lucy is becoming a voluptuously and seductive creature like the weird women. The pure and ideal image of a Victorian lady disappears as Lucy seductively tries to kiss Arthur. Such behavior is not accepted in the Victorian society. These chapters signify the beginnings of the battle between the good and the evil, namely Dracula and other characters in London. Van Helsing begins to understand the reality and the pieces come together. Mina has a crucial role in this respect. She is the one who makes connections between Arthur’s recordings and what Van Helsing tells her about Lucy’s death. Unlike Lucy, her virtues and intelligence is stressed rather than her beauty. However, she is suppressed and domestic since she is doing everything for her husband’s sake. The women in the Victorian period need to be saved and protected by men and this idea is reflected It’s Your Turn!

4

• How do you think Van Helsing convince the other men to start a fight against Dracula? How will men of rational thinking believe in the supernatural in the following chapters? • Do you think Jonathan is afraid of being ridiculed in the society because of what he experienced at the castle? Why does he decide to write again in his diary later?

• What are the similarities between Lucy and the women at the castle? Do you think the women at the castle were once pure like Lucy?

throughout the novel. Lucy is dead but she needs to be saved and purified. It foreshadows the fate Mina will face in the following chapters. She will need to be saved, too. Lucy paid for her weak character and we will see whether Mina will be rewarded for her dutiful personality.

CHAPTERS XV-XVIII SUMMARY/ANALYSIS Chapter XV

Dr. Seward does not want to believe what Van Helsing tells him about Lucy. He denies the facts that Lucy can turn into a supernatural creature. However, he shows respect to Van - 215 -

Helsing and follows him on his investigation. Van Helsing and Dr. Seward visit one of the abducted children and find out that they have the same wounds on their necks similar to Lucy’s. Dr. Seward and Van Helsing visit Lucy’s tomb at night and find out that the coffin is surprisingly empty. Dr. Seward thinks grave robbers are responsible for this but Van Helsing urges him to wait and observe the tomb in the churchyard. Towards dawn, Dr. Seward notices a white figure moving in the graveyard and when he and Van Helsing go near, they find an infant lying. Dr. Seward still refuses to see the involvement of poor Lucy in this. Van Helsing and he return to Lucy’s tomb, but this time Lucy lies beautifully in her coffin. Even after this, Seward questions whether Van Helsing has anything to do with this. Van Helsing acknowledges that Lucy is an UnDead now and she needs to be destroyed by decapitating and filling her mouth with garlic. They also need to drive a stake through her heart. The two men meet with Arthur and Quincey. Van Helsing explains what must be done to Lucy and Arthur refuses to do any of the horrible actions to Lucy’s body. After Van Helsing’s explanations, he finally agrees and they all go to the graveyard.

Chapter XVI

Arthur, Quincey and Dr. Seward guided by Van Helsing go to the graveyard and visit Lucy’s tomb. They find the tomb empty and Van Helsing uses some sacred wafers to seal the door so that Lucy cannot enter again. All men hide and wait for Lucy to return. A white figure appears finally carrying a child. When they are sure that it is Lucy who is carrying the child, they surround her. When she realizes that she is surrounded she leaves the child and goes towards Arthur begging him to come to her in a seductive and passionate way. Arthur seems to be affected by her sight and he moves. Van Helsing stops him and holds a crucifix towards Lucy. When Lucy steps back, Van Helsing unseals the door of the tomb by removing the wafers and Lucy gets into the tomb. Seeing all these, the men are convinced that Lucy is transformed into a supernatural being and she is not Lucy they know and have respect for. Arthur thinks that whatever necessary should be performed to destroy this she-devil. The next night, they visit the graveyard again this time carrying the necessary tools with them to destroy Lucy. Arthur puts a stake through her hearth and Van Helsing decapitates and then fills her mouth with garlic. Lucy’s face regains her beauty again after all these and Van Helsing reassures Arthur that Lucy’s soul is now saved from darkness. Although Lucy is dead, Van Helsing knows that their task is not finished before they kill Dracula since he is the cause of all the sorrow.

Chapter XVII

Mina and Jonathan move to Dr. Seward’s asylum. In order to bring the pieces related to the Count together. Mina transcribes Dr. Seward’s diary with her typewriter. To learn the true nature of Lucy’s death and understand it fully by making connections to what Jonathan - 216 -

experienced at the castle, Seward reads Jonathan’s diary. He realizes that Dracula may be his neighbor living at Carfax. For the first time, Dr. Seward thinks about the possibility of Renfield’s connection with Dracula. In the meantime, Jonathan traces the fifty boxes of earth transferred from Transylvania to England. He soon discovers that the boxes are transferred to Dracula’s estate called Carfax. However, he is concerned that some of the boxes may be moved to another place recently. Mina observes that Jonathan is recovering from his ill state. Quincey and Arthur joins the group, and Arthur seems to be affected much from Lucy’s death.

Chapter XVIII

Mina wants to see Renfield and Dr. Seward lets her. During Mina’s visit, Renfield is extremely polite and speaks logically. Van Helsing arrives and praises Mina for copying the diaries and putting everything in order. However, he thinks chasing a vampire and killing him is not something proper for a woman and she has to leave the rest to the men. In this chapter, Van Helsing gives a detailed description of the UnDead based on the eastern folklore and superstitions. According to the information he has given, the UnDead is very powerful, can control weather and some of the animals like wolves and bats. He can have compelling powers as well. However, he too has weaknesses as he is weak against some holy objects like crucifix and sacred wafer. Moreover, he is weak at the daylight, cannot cross running water, cannot enter a place unless he is summoned, rests in a coffin or earth and cannot survive without blood. By using these weaknesses to their advantage, Van Helsing offers to make a plan. However, Mina is left out of these plans since the men do not want her to be hurt and want her remain as their hope. The company goes to see Renfield. Renfield speaks very logically and even in a philosophical manner and he asks the doctor to release him before terrible things happen. Dr. Seward thinks this is another sign of Renfield’s wicked mental state and he refuses his request.

Chapters XV-XVIII Analysis

It is revealed that Lucy is transformed into an evil creature, to a voluptuous woman like the ones Jonathan met at Dracula’s castle. This shows how dangerous Dracula’s aims are and how threatening these aims for the Victorian society. Lucy, like the women in the castle, preys upon a defendless child and she is far from a maternal spirit in her evil deeds. The Victorian women are praised for their virtues, purity and their maternity. It is every woman’s duty to protect and feed a child dutifully. However, Lucy is far from this state and the possibility of Dracula turning the virtues women of the Victorian society into horrible child killers, voluptuous beings scare the other men. As a result, they strong-mindedly decide to kill Dracula to save the society. - 217 -

Lucy’s destruction is worth mentioning. Lucy has the compelling power to affect the others. When Lucy lustfully calls for Arthur with sexually connotative words, Arthur cannot resist the temptation and opens his arms to embrace her. This shows how threatening and dangerous the transformation of purest woman even for man who knows her true nature. It is Van Helsing who intervenes and reminds the others that they have a duty to fulfill. Arthur puts a stake through Lucy’s heart and the others think it is Arthur’s right to do so as he is her fiancée. Thanks to Arthur, Lucy regains her purity and respect. Arthur saves Lucy without the interference of Dracula and now Lucy belongs to Arthur, not Dracula.

In these chapters, Van Helsing and others discover much about the UnDead and try to figure out how Dracula acts. They also realize the weaknesses in Dracula, which display that even the most powerful creatures have weaknesses like human beings and they are not perfect. This makes them vulnerable and beatable. This also raises the hopes of the men that they can destroy Dracula and win the battle against him. Van Helsing is the one who informs others about the nature of the UnDead and he brings the information based on the legends and the superstitious knowledge. The ones like Dr. Seward and Jonathan who blindly believe in rational thinking and reject any superstitious knowledge now believe in what Van Helsing tells as it is their only hope. In this respect, the tools of science and reasoning are limited and they need to depend on the tools of religion and belief such as the holy wafer, crucifix and some herbs like garlic flowers. After they see that they can destroy Lucy, they are now more willing to kill the master, Dracula. However, they know that they need to be organized and prepared to this end. Mina once again dutifully organizes the notes and types them; however, she is left out of the plans since she is a woman. She does not disagree with this idea since she is a highly domestic figure like any Victorian woman. It’s Your Turn!

5

• Can you relate Dracula’s actions with the information Van Helsing gives about the UnDead? Does it explain why Dracula visits the victims only at night or why he is powerless through the running water? • What are the roles of the characters in the fight with Dracula? Can you find appropriate adjectives for their motives? • Do you think Mina’s role is degraded in the novel? What about her features like knowing all train tables by heart, typewriting and organization, how do you think all these help for the destruction of Dracula?

• Can you figure out the diabolical plan of the Count? What do you think about his real intentions in London?

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Self-Test

1. How does Dracula arrive at England? a. b. c. d.

by transforming himself into a bat on a ship on a train on a cart carried by the gypsies

2. Which of the following character is not from England? a. b. c. d.

Lucy Westenra Arthur Holmwood Quincey Morris Dr. Seward

3. Where does Van Helsing come from? a. b. c. d.

Amsterdam Bistritz Varna Transylvania

4. Who is Dr. Seward’s lunatic patient at the asylum? a. b. c. d.

Quincey Jones Renfield Mrs. Westenra Mina Murray

5. Who visit(s) Van Helsing and Mina on their way to Dracula’s castle? a. b. c. d.

A band of gypsies Dr. Seward Dracula Three weird women

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Answer Key 1. B

2. C

3. A

4. B

5. D

Literature Alive

In the following quotation, while writing in her diary, Mina talks about the New Woman of the future. Do you think her foresight is realized? Compare the role of women and the nature of the relationship between men and women in the Victorian times and in the modern times.

“Some of the ‘New Women’ writers will some day start an idea that men and women should be allowed to see each other asleep before proposing or accepting. But I suppose the ‘New Woman’ won’t condescend in future to accept. She will do the proposing herself. And a nice job she will make of it too! There’s some consolation in that.” The Gothic atmosphere created in Dracula’s castle is envisioned in London as well. Here is a quotation taken from the part in which Van Helsing and Dr. Seward visit Lucy’s tomb. What are the similarities with this scene with the description of the Dracula’s castle in the opening chapters? “At last we reached the wall of the churchyard, which we climbed over. With some little difficulty, for it was very dark, and the whole place seemed so strange to us, we found the Westenra tomb. The Professor took the key, opened the creaky door, and standing back, politely, but quite unconsciously, motioned me to precede him. There was a delicious irony in the offer, in the courtliness of giving preference on such a ghastly occasion. My companion followed me quickly, and cautiously drew the door to, after carefully ascertaining that the lock was a falling, and not a spring one. In the latter case we should have been in a bad plight. Then he fumbled in his bag, and taking out a matchbox and a piece of candle, proceeded to make a light. The tomb in the daytime, and when wreathed with fresh flowers, had looked grim and gruesome enough, but now, some days afterwards, when the flowers hung lank and dead, their whites turning to rust and their greens to browns, when the spider and the beetle had resumed their accustomed dominance, when the time-discoloured stone, and dust-encrusted mortar, and rusty, dank iron, and tarnished brass, and clouded silverplating gave back the feeble glimmer of a candle, the effect was more miserable and sordid than could have been imagined. It conveyed irresistibly the idea that life, animal life, was not the only thing which could pass away.”

One of the important scenes in the novel is the one in which Dracula lets Mina drink his blood when Jonathan is lying unconscious. What clues does this scene give about Dracula and his dark intentions? In the previous hints about Dracula’s victims, feeding the victims on his own blood was not mentioned. Why do you think Mina is drinking his blood? What does blood symbolize in general in the novel? - 220 -

“On the bed beside the window lay Jonathan Harker, his face flushed and breathing heavily as though in a stupor. Kneeling on the near edge of the bed facing outwards was the whiteclad figure of his wife. By her side stood a tall, thin man, clad in black. His face was turned from us, but the instant we saw we all recognized the Count, in every way, even to the scar on his forehead. With his left hand he held both Mrs. Harker’s hands, keeping them away with her arms at full tension. His right hand gripped her by the back of the neck, forcing her face down on his bosom. Her white nightdress was smeared with blood, and a thin stream trickled down the man’s bare chest which was shown by his torn-open dress. The attitude of the two had a terrible resemblance to a child forcing a kitten’s nose into a saucer of milk to compel it to drink.”

Bibliography

Carter, M. L. (1988). Dracula: The Vampire and the Critics. Ann Arbor, Michigan: UMI Research Press. Farson, D. (1975). The Man Who Wrote Dracula: A Biography of Bram Stoker. New York: St. Martin’s Press. Fisher, R.L. (1988). Introduction. Dracula. New York: Tom Doherty Association Book. Hindle, M. (1993). Introduction. Dracula. Penguin Classics.

Leatherdale, C. (1985). Dracula: The Novel and the Legend. Wellingborough, Northamptonshire: Aquarian Press.

Punter, D. (1980). The Literature of Terror: A History of Gothic Fictions from 1765 to the Present Day. London: Longman.

SparkNotes Editors. (2003). SparkNote on Dracula. Retrieved March 21, 2012, from http://www.sparknotes.com/lit/dracula. Stoker, B. (1908). The Censorship of Fiction. Nineteenth Century and After.

Stoker, B. (1993). Dracula. Penguin Classics.

Twitchell, J. B. (1981). The Living Dead: The Vampire in Romantic Literature. North Carolina: Duke University Press.

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UNIT 14 DRACULA III Amaçlarımız - Our Aim

After studying this unit, you will be able to;

• analyze Dracula in detail

• understand how the plot unfolds and characters act accordingly • analyze themes, major conflicts

• analyze the important objects and places

• understand the importance of the selected quotations

Anahtar Kavramlar - Key Concepts • Gothic Novel

• Epistolary Novel

İçindekiler - Unit Contents • INTRODUCTION

• CHAPTERS XIX-XXI SUMMARY/ANALYSIS

• CHAPTERS XXII-XXV SUMMARY/ANALYSIS

• CHAPTERS XXVI-XXVII SUMMARY/ANALYSIS • THEMES

• MAJOR CONFLICTS

• OBJECTS & PLACES •

IMPORTANT QUOTES

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INTRODUCTION

The aim of this Study Unit is to help you analyze the necessary details related to Bram Stoker’s Dracula by focusing on themes, major conflicts, and various objects and places significant for analysis. The novel is written in the 19th century and it reflects many realities about the Victorian society. This unit provides you insight in order to understand the intended meaning and make connections between the events and their effects on the characters. The information given here will help you to follow the story line easily. Before reading the analyses given here, first of all read the whole novel on your own by taking the steps of reading a novel into consideration. After reading Dracula carefully by taking notes and underlining the important quotations, read the analyses provided in the study units here to have a better understanding of the themes, major conflicts, and objects and places significant in the novel. Do not forget that studying a novel on your own requires self-discipline and a carefully thought-out work plan in order to be effective. While you are reading the contents of this study unit, you will answer questions in “it’s your turn” parts. Each question will try to help you to gain a better insight in to the concepts that you need to know while analyzing Dracula.

CHAPTERS XIX-XXI SUMMARY/ANALYSIS Chapter XIX

Van Helsing and the other men decide to go to Carfax to explore the place and figure out what Count intends to do. During their visit, they carry holy objects like the sacred wafer and crucifix to protect themselves from evil. The place is dark and gloomy and when they are at the chapel of the estate, suddenly the rats start to fill the place. They use whistles to summon the dogs in order to chase the rats. To their astonishment, twenty-nine of the wooden boxes full of earth are missing. They decide to turn back to the asylum. In the asylum, Van Helsing asks Dr. Seward that he wants to see Renfield again. However, Renfield is not in any mood to talk to Van Helsing. The narration shifts to Mina’s diary. Since the men do not let her go with them into Dracula’s residence, she stays at the asylum and waits for them. While she is waiting for others, she hears strange voices coming from Renfield’s room. She finds out that her bedroom window is open but she is sure that she has closed it before. When she looks out the window she notices that a thin layer of mist is approaching and covering the building. Mina goes to her bed and she tries to sleep. She wakes and finds out that there is kind of mist in her room and she is thinks she is dreaming about seeing a figure bending over her.

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Chapter XX

Jonathan keeps his investigations about how Dracula maintains his business in London and tries to find out what may happen to the missing boxes by tracing Dracula’s business connections. He soon figures out that twenty of the boxes are moved to two houses in London. The remaining nine boxes are to be deposited at a house in Piccadilly. This area is crowded and in central London and the men plan about how they can break into the house to destroy the boxes. In the meantime, Renfield’s behaviors change. He is not in his calm mood but he longs for consuming the lives of others. Renfield, however seems to worry about the consequences of consuming life and he seems troubled. Dr. Seward thinks the idea of consuming lives burden Renfield’s soul. The attendants hear a scream the next night and they find Renfield lying on the floor covered with blood.

Chapter XXI

Renfield is in a very bad condition when the others find him. It is impossible that he can harm himself in this way. He is about to die and the others think Dracula is responsible for his death. When he is about to die, he confesses that Dracula has visited him. Dracula promises him that he will help him gain strength by consuming life in return for his obedience. During Mina’s visit, Renfield notices that she looks pale and weak and he assumes that Dracula is taking her life out. We learn that at the night Renfield is injured, Dracula visited him again but Renfield got angry and Dracula harmed him as a result. When the men learn about it, they understand that Mina is in danger. They immediately rush to her and Jonathan’s room but find the door locked. They break the door and see that Dracula is in the room. Jonathan seems to lie unconsciously in his bed and Mina is forced by Dracula to drink his blood from a vein in his chest. She is kneeled and Dracula stands over her. Van Helsing successfully retreats him by the sacred wafer. Dracula escapes from the room in a mist. Dracula destroyed their notes however, the men are able to save copies. After Mina is conscious they learn that Dracula threatened her by saying that he would kill Jonathan. He drank her blood and Mina learned that it was not the first time. He then forced Mina to drink from his own blood. Mina is in tears and she is afraid that she is becoming evil like Dracula.

Chapters XIX-XXI Analysis

In these chapters, the men think that they can trap Dracula and their ambitions to figure out his plans leave Mina open for his attacks. They think Dracula is not aware of their plans, but it turns out that Dracula himself has some plans about the characters as well. Mina is his next victim and there is strong possibility that she can be transformed into a voluptuous being like Lucy. Although Mina is a typical Victorian woman and she is highly moral, she is at risk of - 225 -

losing her purity. We also learn that Dracula preyed upon Mina before and it may be too late to save her. The men have underestimated the cunning nature of Dracula and such a mistake resulted in Mina’s being his victim. Although Mina seems to be passivized by the men around her she seems to be put in an active state by the Count since she is the one feeding upon Dracula. She is in a trance like state when the others find her. She is left passive by the other characters as they thought it is men’s business to chase the Count.

The scene Van Helsing and others come across in Mina’s room challenges the roles in the novel. Dracula is not feeding but is fed on and Jonathan is not defending his wife but he lies unconscious. It is possible that Dracula has done the same thing to Lucy. Then, Dracula is possibly approaching the victims like a mother feeding her child and makes them his own. The Count offers immortality to his victims by turning them into creatures of his own. This blood exchange is the symbol of Dracula’s transformation ritual. It is quite interesting that Van Helsing manages to defeat the Count by using the symbols of Christianity. Although he is a man of science, it is religion that helps the characters protect themselves. In the highly rational Victorian society, it is quite interesting that the salvation can be achieved through religion. From now on, the battle between the crew of light and Dracula will be more intense since Dracula takes Mina as his next victim. Dracula boldly threatens the others and challenges them. It is questionable whether Mina will be saved or not. It’s Your Turn!

1

• Do you think Mina will be saved or she will face the same fate with Lucy? Why/Why not?

• Does Renfield’s death give any clues about how Dracula can behave towards his victims if they are not obedient?

• Dracula is powerful as he can change his shape into many things. Which shape of him do you think makes him more powerful and which one makes him more vulnerable?

CHAPTERS XXII-XXV SUMMARY/ANALYSIS Chapter XXII

Jonathan notes down in his diary how Renfield has died. It is now clear that Dracula is responsible for his death. He broke his neck since Renfield did not obey him. The men decide to go to Carfax and sterilize the boxes of earth. They visit the place and put sacred wafer into the boxes so that the Count cannot rest in them. After sterilizing the boxes at Carfax, they decide to go to the house at Piccadilly to sterilize the boxes there. Before leaving, Van Helsing seals Mina’s door with wafers in order to protect her from the Count. When Van Helsing touches Mina’s forehead with the wafer, it burns her skin leaving a red scar on her forehead. Mina is in deep sorrow and she thinks that she is not clean anymore. - 226 -

Chapter XXIII

Van Helsing and others get keys to Dracula’s other houses in London and they decide to be separated to sterilize the boxes in these places. They meet at the house at Piccadilly and sterilize the last eight boxes. However, they notice that only one box is missing. They plan an ambush for the Count. It is daylight and the Count comes to the house. He is not powerful during daylight. They try to trap Dracula but he manages to escape from the window and they cannot trace him. Van Helsing believes that Dracula is frightened since he had only one box to rest in. Since they cannot find out what Dracula plans to do now, Van Helsing decides to hypnotize Mina because he thinks Mina is now connected to the Count. When Mina is in hypnosis she says that she hears the noises as if it was sea. The crew figures out that the Count has left England and he is travelling by the sea. Jonathan thinks that Mina will be transformed into a vampire unless Dracula is destroyed and he can hide many long years until he restores his powers.

Chapter XXIV

After investigation, Van Helsing and others discover that Dracula has hired a ship named Czarina Catherina. The ship is sailing to Varna where Dracula started his voyage before. They are determined to destroy Dracula although he escapes from London and they believe it is now their duty. There is no danger for them but there is possibility that Dracula may return. Mina looks pale and weak and the men do not want to include her in their plans of chasing after the Count. However, Mina insists on accompanying them and Van Helsing thinks she can help them to trace the Count under hypnosis. Jonathan finally agrees with this idea and he leaves to make the necessary arrangements for their trip to Eastern Europe. They discuss the best alternatives they can use to follow the Count and compromise on the idea that travelling by train will be the quickest and best solution. They plan to catch the Count before he leaves the ship so they have to go to Varna before The Count.

Chapter XXV

Mina wants others to kill her if she shows the signs of transforming into a vampire. The red scar on her forehead shows that she is doomed to be the victim of Dracula. Van Helsing can hypnotize Mina only at certain hours of the day so that their information about the Count’s whereabouts is limited. They travel to Varna by the Orient Express and plan to find the Count before he ports Varna.

They arrive earlier and wait for the ship. Mina tells them that the Count is still on the sea. However, it is visible that she is growing weaker day by day. Mina keeps on telling them that the ship is still on sail; however, there is no news about the ship arriving at Varna. They worry that the Count may have done something to mislead them. It turns out that the ship went to Galatz, another port. Van Helsing tells them that Mina’s connection to Dracula may have revealed their plans to the Count. They hurry to Galatz and are determined to destroy Dracula before the sunset. - 227 -

Chapters XXII-XXV Analysis

Through the death of Renfield, it is proved that Dracula uses other people for his own ends and if the others refuse to obey his orders, he kills them. In this way, The Count is portrayed as a relentless and cruel being. It also reflects how he can be ruthless and full of revenge to the others who are following and planning to kill him. Once again, Dracula appears not a creature who solely feeds on blood and is animal like, but one who is clever and cunning. It is quite innovative for Stoker to create a vampire who is intelligent, charming and cunning. He figures out the plans of the men and preys upon Mina secretly to take his revenge. Moreover, he directs the ship to Galatz rather than Varna to fool them.

Mina is now in danger of transforming into a vampire like Lucy which threatens her virtues, purity and maternity. Dracula’s threat is now even stronger since he is able to seduce the most dutiful and pure women in England. Through the women he can cause the descent of men and of England. Something must be done about him although he has left London. Van Helsing and others now see their mission more important than before as if they are leading a battle for the sake of humanity. They have to restore Mina’s, and in her name all the other possible female victims of Dracula, purity and help her to regain her unpolluted state. Moreover, they have to fulfill their duty not only for the sake of women but also for the sake of themselves as men since the Count is threatening the bodies and minds of the English gentlemen. Unlike Lucy, Mina asks the men to kill her if she transforms into a vampire. Mina is justifying any act of possible violence against her and wants to consider it as a purposeful state. Dracula manages to escape from London and he is now on the defensive. It portrays how a powerful creature like him can become weak when his tools are destroyed. It is now expected that Van Helsing and others can win an easy victory but Dracula is intriguing and he deceives the others by landing at Galatz rather than Varna. It foreshadows the fact that destroying him will not be an easy task for the others. The events take place in an incredible speed in these chapters. The characters take trains, travel from one place to another, send and receive telegraphs in an incredible speed. This speed also quickens the pace of the novel and suspense is increased. Although Dracula spends much time sailing on the sea, the others’ efforts are described in a dog chasing mice fashion. This style creates a breathless atmosphere even when the Count is in his most passive mood. It’s Your Turn!

2

• Van Helsing and others’ plans are collapsed when they found that Dracula is landed at Galatz rather than Varna, how do you think the men will win the battle against Dracula in his own lands?

• Is there any change for the purification of Mina? Do you think she will die like Lucy? • What is the role of Van Helsing in the middle of all hopelessness and desperateness? - 228 -

CHAPTERS XXVI-XXVII SUMMARY/ANALYSIS Chapter XXVI

The characters now keep their diaries on the way to Galatz. Dr. Seward records that they cannot find much out of Mina’s hypnosis sessions since she is telling less day by day. All she can say is the sound of water so that the others are sure that Dracula is still on his way. They want to reach the box before it is unloaded from the ship, but when they arrive it is too late for them. They trace the box and try to find out where it is taken. They follow the clues but arrive at a dead end since the Count killed the last man they are informed about. The crew discusses on the possible routes of the Count. They think Dracula wants to reach his castle before sunset and in his own place it will be impossible to defeat him. Van Helsing and others decide to split up their forces to chase the Count. Mina and Van Helsing take a train; Arthur and Jonathan hire a steamboat; and Dr. Seward and Quincey decide to travel on horseback. Van Helsing and Mina are directed to arrive at the castle before Dracula so that Van Helsing can sterilize the castle before him. Jonathan and Arthur are after the vessel of Dracula since Mina says she hears the noise of the water. On their way, Mina and Van Helsing hire a carriage to reach the castle. Mina is growing pale and weak.

Chapter XXVII

Van Helsing and Mina reach the Borgo Pass. It is now impossible to hypnotize Mina and he draws a circle around Mina with holy wafers in order to protect her. The three voluptuous women appear once more calling Mina as their sister. They call Mina to join them, but Van Helsing manages to stave them off. The women kill their horses and leave. In order to defeat the women, Van Helsing leaves Mina in the circle and reaches the castle on foot. He plans to find the tombs of the women in order to decapitate them. He meets the women at the castle and is affected too much by their beauty. He resists upon their temptation and manages to destroy them. After he is done with the women, he finds the tomb of Dracula and he sterilizes the tomb with the wafers. He seals the doors of the castle with the wafers and turns back to where Mina waits.

On their way, Mina and Van Helsing see the gypsies carrying a box on a cart and leading hastily to the castle. They seem to be in a hurry since they want to reach the castle before sunset. The weather is getting cold and the wolves surround Mina and Van Helsing. They also watch Jonathan, Seward, Arthur and Quincey approaching the gypsies. The sun is about to sink when the men reach the cart. The gypsies fight against the men and Jonathan is able to take the box out of the cart. The box is on the ground and Quincey is wounded. Mina sees Dracula’s face. Jonathan and Quincey kill the Count in the exact time. Dracula dies and his body turns into dust. Quincey dies as the result of fatal wounds and the scar on Mina’s forehead vanishes. Seven years pass and Mina and Jonathan visit Transylvania again this time for a holiday trip. They remember the memories of what they have been through. They now have a son named Quincey. Dr. Seward and Arthur are married and Van Helsing joins them some times. - 229 -

Chapters XXVI-XXVII Analysis

A great deal of suspense is created in the final chapters. The characters compete with time and it is a matter of seconds whether they will be successful or not. Mina’s purity is in danger and the other three seductive women try to fasten her transformation. Van Helsing is affected too much by the beauty of the women although he knows that they are evil. It underlines how dangerous those beings are for men who are pious. However, he manages to kill the women and resist the temptation which once more stresses the virtues of the Englishmen.

The battle is not only between Dracula and others but also between the East and the West, the rational and the superstitious, the local and the modern. The gypsies serving Dracula represent the East, the local and the superstitions whereas the other men against them represent rational thinking, scientific truth, the modernism and the West. Dracula aimed to invade London, which reflects the East’s invasion of the West. However, the West managed to invade the East since Dracula’s castle is sealed with wafers and he is killed at the end. Furthermore, the theme of Christian salvation is emphasized in these chapters. Dracula seems to be peaceful when he is dying and Mina is cleaned of her scar at the end. The strength of religious faith over all modern devices or superstitions is stressed throughout the novel. She regains God’s grace once more and is now purified. Stoker uses the final notes to cerate a real effect on the readers. He shows that the novel is based on historical documents and it is not mere fiction. With this attempt, the writer tries to bridge the gap between reality and fiction and creates a real atmosphere for the novel in which vampires can exist. It’s Your Turn!

3

• How did you feel at the end of the novel?

• What do you think about Mina’s carrying the blood of Dracula in her veins and transferring it to her child? Do you think she is purified at the end? • What do you think would happen if Dracula managed to get into his castle?

THEMES

The Role of the Women

Dracula is written in the 19th century Victorian Era and it reflects how women are treated in the society and how their role is perceived. There are two groups of women described in the novel. One group of the women consists of the three weird sisters Jonathan and later on Van Helsing comes across at Dracula’s castle. The other group of women consists of Mina Murray and Lucy Westenra who live in England. - 230 -

The first group of women represents corruption of women, which is not welcomed in the Victorian society. The weird women are fatally attractive and voluptuous. They are lustful beings who try to attract men, Jonathan comes across them in one of the rooms of the castle. He is warned by Dracula not to fall asleep in rooms other than his own. They approach Jonathan in a sneaky way and he is left in a dreamy state by their visions. The women are extremely beautiful and it is very difficult for men to resist them. Jonathan is in a trance like situation and it is Dracula who saves him from the women. The women are not pure and do not have chastity. These features are not accepted in the Victorian society. They threat the virtues of the Victorian women.

In the Victorian society, women are expected to preserve their purity and should not have intimate relations with men before they get married. The Victorian women are perfect motherly figures who work dutifully for their husbands and children. They look after children carefully and are responsible in raising them as respectful members of the society. However, the women at Dracula’s castle are far from having maternal features. They relentlessly prey upon infants as Jonathan has observed and they are after passion and lust to achieve their dreadful ends. They are about to kiss Jonathan when Dracula warns them and most probably they intended to prey upon Jonathan. Thus, they are very a important threat to the Victorian ideals and virtues associated with women. These women are cunning and can lure men around them to make them one of the UnDead. They are threatening the male dominance and power. Even Van Helsing is affected by them although he knows how dangerous they are. It shows that they can seduce ignorant men easily. It is interesting that Dracula is the one who is mastering the women. They listen to him and obey him. When he tells them to let Jonathan go they obey Dracula. This behavior portrays that Dracula is the one who can control the women and if the other characters do not do anything to destroy him he can use the women to reach the gentlemen of England to invade the country. The second group of women includes Mina and Lucy. They represent typical Victorian woman of the age. Both of them are respectable, pure ladies and they preserve their chastity. However, Lucy is weaker in nature and she pays for this weakness. When she is proposed by three men she jokingly asks why she is not let to marry all of them. Her purity is threatened by Dracula and she lets Dracula to abuse and use her. After she is transformed into a vampire, she becomes like one of the women Jonathan meets at the castle. She is lustfully calling for Arthur to join her. Such behavior is not accepted in the society; hence, she has to be destroyed. Sexual expression in an open way is not the virtues of a lady. After Arthur puts a stake through her heart and Van Helsing performs the necessary rituals for her destruction, Lucy regains her pure look. Lucy’s condition shows that all women of England, even the most pure and respectable ones, are in danger of becoming voluptuous beings. Through such beings, men are more vulnerable and England is open to invasion of the unknown. After Dracula attacks Mina, she is in danger of transforming into a vampire and all characters struggle hard to prevent it. If Mina transforms, it will inevitably prove that any woman can be transformed. - 231 -

It is worth mentioning the inferior role of the women in the novel. The weird sisters are inferior to Dracula. They obey him as their master and probably they cannot leave the castle without his permission. Mina is a dutiful wife and she does everything for the sake of her husband. She is skillful at typewriting and she uses this to save her husband. Although she is the one who collects the missing pieces together, she is left to stay at the asylum while the men are actively searching for the Count. Lucy respectfully waits for her future husband and she is always depicted inferior to him. All these portray the role of the women in the 19th century Victorian society. They are submissive beings who dutifully perform the roles of the mother and respected women.

Christian Salvation

The novel was written after Darwin’s theories about the origins of humankind were published. Hence, the Victorian people were in conflict between the scientific truth and their religious beliefs. The human being who was once crowned as a heavenly being was now equated with the animals. The characters in the novel have strong faiths and unlike the many rationalists in the Victorian society they believe in Christian salvation. Even the scientists Dr. Seward and Van Helsing have strong faiths. Although Dr. Seward remains skeptical at first, all the other characters do not hesitate using the icons associated with Christianity to fight against evil. The holy wafers and crucifix are the most important tools of the characters in their fight with Dracula. The power of religious tools is emphasized. Through their strong faith, the characters win the battle and Mina is saved. Salvation can only be achieved with strong faith and with the use of certain icons related to the Christian faith. It gives the message that if one tries to survive against the evil by preserving his faith, he will be rewarded at the end. The good will always win against the evil and salvation is possible for the good ones. Christian salvation is also possible for the others. When the she-devil Lucy is destroyed she regains her purity and when Dracula dies he seems to be peaceful. However, salvation is not possible when they are in the form of the UnDead. The novel promises that faith will overcome all the fears and purity can only be restored through it. This promise is true for all Victorian society whose faith is now in question.

Passivity

The theme of passivity is stressed in the novel. Some characters stay in a passive mood and this passivity is too dangerous for them. When Jonathan falls asleep in another room he feels like paralyzed in the presence of the weird women. His passiveness almost brings him face death. While Jonathan is in the castle, he is kept like a prisoner and he remains passive to Dracula and never questions anything. It is only after he realizes that his life is in danger that he becomes active and such activeness saves his life. Lucy sleepwalks at nights and - 232 -

this passive mood threatens her life. One night Mina finds her in the cemetery with a figure bending over her and she remembers nothing afterwards. While waiting for the men to come, Mina passively lets herself into the arms of lethargy. This makes her a target of Dracula since it is clear that Dracula lets people especially women passive and uses such state to reach them.

The passivity is associated with obedience to a higher power figure. After Mina become victim of the Count she can reach him through trance. In this hypothetic mood the other characters learn whereabouts of the Count. However, it is actually the Count who uses this state of hypnosis. He deceives the others and changes his route without letting Mina learn about it. Dracula preys upon the passivity of the human beings and promises them eternal activeness. Dr. Seward and others remain passive when Lucy slowly walks towards death and it is only after she dies that they decide to be active. Without being active, evil cannot be defeated.

The Use of Technology and Modernization

When the events shift to 19th century modern London, we see the excessive use of the modern technology of the time. The Victorian society is in the verge of a great change since their daily life is getting modernized with incredible speed. Dr. Seward uses the recent technology of phonograph, Mina keeps a diary through typing and the characters send each other incredibly fast telegrams. However, depending too much on those devices helps Dracula to prey upon some of the characters. The blood transfusion is a fairly new technique to be used and it cannot save the life of Lucy since the characters are far from understanding the true case of Lucy. They think science and modern tools can solve any mystery. This puts them at a vulnerable position open to further attack. The characters are blinded with technological tools and rationality that they bring forward and it is only Van Helsing who has an open mind to see beneath technology. However, he is also late in diagnosing Lucy and she is lost. The consequences of depending too much on modernization lets the characters weak in the face of old and superstitious mystery. The characters have difficulty in believing how supernatural things can happen in the 19th century England. Although the technological and

modern tools have limited power, they help a lot in the characters’ quest for Dracula. The telegrams let them learn where Dracula is and the steamboat fastens their journey. These tools are not sufficient on their own and the characters need to show strong faith throughout their journey and depend on the superstitious knowledge as well. These show that technology is not sufficient and depending too much on modernization can make one blind in the face of supernatural facts. - 233 -

It’s Your Turn!

4

• What adjectives can you use for the women at Castle Dracula and for the ones who live in England (Mina and Lucy)?

• What is the role of religion and religious faith in the main characters’ struggle against Dracula? Does it have an encouraging effect on them?

• How are the psychological techniques such as hypnosis and suggestion used in the novel?

• Why do you think some characters are passive? How do they recover from their passivity?

• What are the technological tools used by the main characters? Which one is more effective in the quest: technology, religion or superstition? What are the roles of each in destroying Dracula?

MAJOR CONFLICTS East versus West

The novel starts in an eastern landscape. The East is associated with the supernatural and it lacks modernization. The people of the East are local, far from understanding the technology and depend too much on the superstitious knowledge. The fears of the Victorian society are portrayed through the concept of the East. The fear of East invading the West is vocalized in the novel. Dracula inevitably represents the East and he is a direct threat to the Western society. The West on the other hand is associated with rational thinking, the modernization and the use of technology. The people of the West never trusts the superstitious knowledge, has hunger for understanding and practicing the new techniques and methods. The characters of the West first look down on the concepts associated with the East. However, at the end they reconcile the superstitious knowledge of the East with the technological knowledge of the West and this brings success to the characters. Similar fears can happen in Dracula’s castle and in central England. The invasion of the East on the West is successfully pushed back with the destruction of Dracula. Once he is destroyed, the characters visit the eastern places again but this time the places are far from being fearful since there is no longer attack of an outsider.

Science versus Superstition

Another conflict the characters go through is the one between science and superstition. The characters in London live solely on science. Dr. Seward is running a mental institute and he is blinded with the scientific thought. He does not accept superstitious knowledge as a fact and he insists too much on the power of scientific inquiry. However, some supernatural - 234 -

events are happening in the real world of London and the characters are doomed to become victims of the evil unless they accept the facts about superstitions and the supernatural elements. The characters in Transylvanian landscape depend solely on superstitious knowledge but the rational Jonathan does not take their warnings into account. It is Van Helsing who can combine the world of science and superstitions. He says: “All we have to go upon are traditions and superstitions. These do not at the first appear much, when the matter is one of life and death, nay of more than either life or death.”

We learn many qualities of the UnDead thanks to the superstitious knowledge he shares with the other characters. This information is key to destroying evil. The message given through such conflict is that evil can only be defeated through an open mind towards both science and superstition.

Good versus Evil

The novel portrays the eternal fight between the Good and the Evil in its basic terms. Dracula represents the Evil whereas the others characters who struggle against him represent the Good. In the novel, we are not introduced to the viewpoint of the Count; hence, we judge him according to the views of the others. The others think the Count has evil plans. He is in England to invade the place and use the pure women of England to turn them into devilish voluptuous vampires. From this perspective, Dracula is the evil one who has dark and brutal vision. In the past, he and his family fought against the others and they are known for their brutality. It is possible that Dracula will seek revenge from the others who deprived him of his glorious past. Renfield can also be considered to be on the side of the evil. He does not produce but consumes. He is feeding on the lives of the other creatures like flies, spiders and sparrows. When he finds an opportunity he will join the Count to consume more lives to keep his strength alive. Consuming life, thirst for blood, using the others for his end and being relentless makes Dracula the evil. On the good side, there are characters like Mina, Van Helsing, Jonathan, Arthur, Quincey and Dr. Seward. They struggle for their beloved ones, preserve their dignity and religious faith. They think it is their duty to destroy the Count for the sake of the humankind. It is like a heavenly duty for them. Since Dracula threatens the women, the innocent and the purest, he must be destroyed. The Good wins the battle against the Evil at the end. One of the morale of the novel is that the evil will always be defeated by the good through friendship, faith and commitment.

Local versus Foreign

One of the major conflicts in the novel is between the local and the foreign. In the opening scenes, Jonathan represents the foreign whereas Dracula is the local. The local people of the Transylvanian landscape thinks Jonathan is a foreign man who does not know about the - 235 -

important superstitions. The locals live in their own uncivilized world and Jonathan thinks their world is too closed and they always think according to superstitious beliefs. Although local people obviously fear Dracula they do not think Dracula is foreign. He is part of the land and we understand from his speech that he and his family have lived in the place for a long time. What is local turns into foreign when the narration shifts to England. Local people of England fear so much of what is foreign and Dracula is the symbol of foreign invasion for them. People who meet Dracula emphasize his foreignness. The battle against the evil turns into a battle against the foreign. The invasion is successfully set aside since Dracula has to leave England when he is left without the boxes of earth. The foreignness is also emphasized with the introduction of the characters like Van Helsing and Quincey Morris. However, they are not treated as invaders. Rather, they are the ones who preserve their local identities. That’s why, Stoker deliberately keeps the accents of Van Helsing and Quincey alive in their speeches. It’s Your Turn!

5

• Which of the major conflicts is more visible in the novel? Why? Can you find quotations related to each one of them? • Find characters who represent/are associated with each of the major conflicts?

• Which of the major conflicts is associated more with the evil purposes and deeds of Dracula? Why?

• What kind of effect does the author create through the use many different conflicts? What is the role of the conflict in creating suspense?

OBJECTS & PLACES

There are many objects, devices and places in the novel that need to be mentioned. Through the use of these, the suspense is created and the story line is constituted.

Objects

Crucifix: It is a Christian symbol and it is used to impair a vampire’s power in the novel. The local woman in Bistritz gives a crucifix to Jonathan to protect him from the evil. Van Helsing puts one on Lucy’s mouth and he uses it against the UnDead Lucy and Dracula to keep them away. Van Helsing and others use crucifixes as weapons against Dracula. Garlic Flowers: It is one of the weapons that can be used against Dracula. Van Helsing brings garlic flowers and hangs them around Lucy’s neck and he decorates her room with these. When the garlic flowers are present, Dracula cannot visit Lucy. - 236 -

The Wooden Stake: It is a tool to kill UnDead. If the wooden stake is driven through the heart, the UnDead can be destroyed. Otherwise, it will go on consuming lives of the others and live eternally.

Holy Wafer: This Christian symbol is used to keep away the evil. It provides protection from the evil things. Van Helsing seals Mina’s door with this and the other characters use holy wafer to sterilize the boxes of the Count. When Mina becomes the victim of the Count, the holy wafer burns her forehead showing that she is no longer pure. When she restores her purity the scar vanishes. Holy wafer is a weapon used by the characters against Dracula. Earth Boxes: These are the boxes full of Transylvanian soil. Dracula rests in those coffins and without these he cannot find a place to rest. Even in his own castle, Dracula rests in those boxes. When the boxes are sterilized by holy wafer, Dracula cannot use them anymore. They are like the coffins Dracula uses for his eternal rest.

Mirror: When Jonathan shaves one day at the castle, the Count approaches him and Jonathan notices that his reflection is not seen on the mirror. The Count becomes very angry at the sight of the mirror and throws it from the window. One interesting detail is that there are no mirrors at the castle. It is obvious that the UnDead do not shed any reflection on the mirror and the mirrors make them angry. Diaries: These are the main sources of information about the story line and the main characters. The characters record everything in detail in these diaries. Diaries are very common tools to record everyday life in the Victorian society. Phonograph: A device that is used to record voice. This is a new invention in the Victorian period and it works on a simple mechanism. The early phonographs are very heavy and difficult to manage. Dr. Seward has one in his office and he uses it to keep his diary. Mina later on listens to it and transcribes.

Typewriter: A device used by Mina to record the events. Mina uses it to copy her notes and diary entries. This is a fairly new technology in Victorian times and it fastens the typing and copying process.

Telegram: This is a device used by the characters to communicate with each other. They send and receive many telegrams to keep in touch. Mina sends a telegram to the characters to inform them that Dracula has left Carfax and he is on his way to Piccadilly. Arthur receives telegrams about the route of Dracula’s ship. However, they send and receive telegrams in incredible speed and telegram makes it easy for characters to interact with each other to trap and destroy the Count. Blood Transfusion Tools: Van Helsing is a doctor and he knows how to transfuse blood. He carries his tools with him so that he can transfuse blood to Lucy. Blood transfusion is performed many times in the novel to save Lucy. Blood transfusion tools are used in a speedy and incredible way like other devices used by the characters. - 237 -

It’s Your Turn!

6

• Which object/s do you think is/are effective in destroying Dracula? Which one do you think is the most fatal for the Count?

• Are the objects related to Dracula’s weaknesses similar to the ones you heard or watched about the vampires?

• Can you match the characters with the tools used in the novel?

Places

Dracula’s Castle: The castle is a very dark and gloomy place including many Gothic elements. There are high and chained doors and the castle is located on the edge of a high cliff. The decoration is very old and there are many doors in the castle. Dracula tries hard to reach his castle at the end of the novel which shows that this castle is the source of his power. It is Dracula’s home. Van Helsing finds the graves of the weird women and the Count in his castle. This shows that the castle is the resting place for the UnDead. Carfax: It is Dracula’s estate in London. The house is like Dracula’s castle. It is an old and creepy mansion. The estate is located near the mental asylum. When the characters visit this house, they notice the dark atmosphere.

The House at Piccadilly: It is one of the residences of Dracula in London. Unlike Carfax, this house is located in central London and it is in a crowded location. This shows that

Dracula is ready to mingle with the local people of London and he can come and go into the house without being noticed. This makes his threat to invade England stronger. Suicide’s Grave: This is a very favorite spot for Lucy and Mina when they are in Whitby. The two girls visit this place and can view sea. This is the place where Dracula attacks Lucy.

When Mina looks at Lucy from a distance she sees a figure bending over Lucy. However, when she goes there the figure disappears.

Mental Asylum: This is where Dr. Seward works and lives. The place is reserved for patients suffering from mental illnesses. Hence, the place is not located in central London. It is outside the city. In the Victorian times, people did not want to live with the ones suffering from the mental illnesses and these patients were seen as “the other”. They were generally locked up in asylums like this one and were kept away from the sight of the society. Dr. Seward’s asylum becomes a meeting place for the characters in the novel. Mina and Jonathan move here and others join them to make plans against Dracula.

- 238 -

It’s Your Turn!

7

• Which of the places in the novel represent/s Dracula’s power? Why?

• Why does Dracula escape from London although he owns estates in the city? Which one of the Dracula’s estates bring more Gothic atmosphere to the novel?

• What kind of an effect does the mental asylum create for the development of the plot? Why do you think all the characters meet there to make plans? What is the strategic importance of the asylum for their plans?

IMPORTANT QUOTES

There are many important quotes in the novel which can make the analysis of the novel easier. These quotes are also important to understand the actions and natures of the characters. For instance, there are no diary entries or personal records of the Count; hence, his quotes recorded by the others are very important to understand the reality behind his actions. For instance, when Jonathan first encounters the Count, he says “Welcome to my house! Enter freely and of your own free will!” This shows that one needs to enter his house on his own free will. Later on van Helsing says that Dracula cannot attack anyone unless he is invited to. When Jonathan boasts the Count on his speaking perfect English, The Count says in Chapter II: “Well, I know that, did I move and speak in your London, none there are who would not know me for a stranger. That is not enough for me. Here I am noble. I am a Boyar. The common people know me, and I am master. But a stranger in a strange land, he is no one. Men know him not, and to know not is to care not for. I am content if I am like the rest, so that no man stops if he sees me, or pauses in his speaking if he hears my words, ‘Ha, ha! A stranger!’ I have been so long master that I would be master still, or at least that none other should be master of me.”

His intentions are revealed through his words. He does not want to be seen as a stranger and he wants to be accepted in the society. So, he will do whatever necessary to achieve his ends. When Jonathan meets the weird sisters in the castle, the descriptions of their behavior gives certain clues about how they can be dangerous. In Chapter III Jonathan writes in his diary: “I was afraid to raise my eyelids, but looked out and saw perfectly under the lashes. The girl went on her knees, and bent over me, simply gloating. There was a deliberate voluptuousness which was both thrilling and repulsive, and as she arched her neck, she actually licked her lips like an animal. . . . Lower and lower went her head as the lips went below the range of my mouth and chin and seemed about to fasten on my throat. . . . I closed my eyes in a languorous ecstasy and waited-waited with beating heart.” - 239 -

It is evident that the women are difficult to resist. The women in this scene are not like the ones Jonathan meets in England. They are sexually very expressive and attractive. Jonathan waits since he cannot actively fight against them. Their attractiveness puts him in a vulnerable position. Some quotations of the other characters are also important to analyze them. Lucy tells a lot about the role of women in the Victorian society for instance when she writes to Mina in Chapter V: “A woman ought to tell her husband everything. Don’t you think so, dear? And I must be fair. Men like women, certainly their wives, to be quite as fair as they are. And women, I am afraid, are not always quite as fair as they should be.”

The women in London are dutiful to their beloved ones, submissive to the males and are praised for their chastity. Mina and Lucy are representatives of the ideal Victorian woman and it is evident from the quotation above. This quotation is in stark contrast with the one about the weird women’s visit to Jonathan at the castle. The differences between two groups of women are more visible in these quotations. The Gothic atmosphere created in the novel is more visible in some quotes. The dark atmosphere in Dracula’s castle is moved to England where the other characters live. The scene (Chapter VIII) in which Dracula attacks Lucy probably for the first time creates a Gothic atmosphere and shows how Dracula preys upon his victims. “There was a bright full moon, with heavy black, driving clouds, which threw the whole scene into a fleeting diorama of light and shade as they sailed across. For a moment or two I could see nothing, as the shadow of a cloud obscured St. Mary’s Church and all around it. Then as the cloud passed I could see the ruins of the abbey coming into view, and as the edge of a narrow band of light as sharp as a sword-cut moved along, the church and churchyard became gradually visible. Whatever my expectation was, it was not disappointed, for there, on our favourite seat, the silver light of the moon struck a half-reclining figure, snowy white. The coming of the cloud was too quick for me to see much, for shadow shut down on light almost immediately, but it seemed to me as though something dark stood behind the seat where the white figure shone, and bent over it. What it was, whether man or beast, I could not tell.”

The atmosphere created in this scene displays that Dracula haunts at night and creates mist to hide himself. The clouds and shadows prevent Mina to see what exactly is happening to Lucy. Mina cannot be sure whether she saw a figure or not. Dracula always creates uncertainty for the others, as they cannot be sure whether they dreamed, hallucinated or just slept. The following quotation from Chapter XXIV is also worth noticing since it tells a lot about the use of religion in the novel. Although the characters are guided by rational thinking and science in modern England, it is their faith that actually guides and encourages them. Van Helsing thinks they have a very important mission against the evil. He likens their purpose of killing Dracula to Christ’s struggle against the evil. - 240 -

“Thus are we ministers of God’s own wish: that the world, and men for whom His Son die, will not be given over to monsters, whose very existence would defame Him. He has allowed us to redeem one soul already, and we go out as the old knights of the Cross to redeem more. Like them we shall travel toward sunrise; and like them, if we fall, we fall in good cause.” It’s Your Turn!

8

• What are the quotations you underlined while reading the novel? Why did you underline those lines? What is the significance of the lines you underlined? •

If you are to find an important quotation for each of the characters what would it be? Why?

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Self-Test

1. What does Van Helsing do to save Lucy? a. b. c. d.

give her mental treatment take her to the hospital transfuse blood forbid her to leave the house

2. Who puts stake into Lucy’s heart? a. b. c. d.

Van Helsing Quincey Morris Dr. Seward Arthur Holmwood

3. Where does Dracula rest when he is away from his home? a. b. c. d.

Earth boxes Wooden coffin Cushion bed Tombs in graveyard

4. Where does Renfield live?

a. At Carfax b. In a house at Piccadilly c. In mental asylum d. In Lucy’s house at Whitby

5. Whom does Renfield call as his master? a. Van Helsing b. Dracula c. Dr. Seward d. Jonathan Harker

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Key to Self-Test 1. C

2.D

3. A

4. C

5. B

Literature Alive

Dracula is filmed many times and there are o lot of books and movies inspired by the vampire theme. In the 20th century, the vampire literature is diverged into many genres such as science fiction, crime and fantasy. What do you think are the similarities and differences between Dracula and other representatives of the vampire literature?

The earliest descriptions and tales of vampires are present in the beginnings of the 19th century before Dracula is written. The following is from the epic poem The Giaour (1813) by Lord Byron: But first, on earth as vampire sent,

Thy corpse shall from its tomb be rent: Then ghastly haunt thy native place, And suck the blood of all thy race;

There from thy daughter, sister, wife, At midnight drain the stream of life;

Yet loathe the banquet which perforce Must feed thy livid living corpse: Thy victims ere they yet expire

Shall know the demon for their sire, As cursing thee, thou cursing them,

Thy flowers are withered on the stem.

Is the description above about the vampires similar to that of Dracula? Which one do you think is more effective? Why?

In the 20th century, vampires appear in the literature very often. One of the famous authors writing examples of vampire literature is Anne Rice. Her best seller novel Interview with the Vampire is now classic. Although we are not introduced to the feelings and thoughts of the vampires in Dracula, Interview with the Vampire is centered on how vampires live, act and feel. Here is a passage from the book. One of the vampires talks about how he feels as: - 243 -

“I wanted love and goodness in this which is living death,’ I said. ‘It was impossible from the beginning, because you cannot have love and goodness when you do what you know to be evil, what you know to be wrong. You can only have the desperate confusion and longing and the chasing of phantom goodness in its human form. I knew the real answer to my quest before I ever reached Paris. I knew it when I first took a human life to feed my craving. It was my death. And yet I would not accept it, could not accept it, because like all creatures I don’t wish to die! And so I sought for other vampires, for God, for the devil, for a hundred things under a hundred names. And it was all the same, all evil. And all wrong. Because no one could in any guise convince me of what I myself knew to be true, that I was damned in my own mind and soul.”

What kind of an effect does this techniques create? Does such expressions make vampires more human? If by any chance the characters in Dracula find a diary entry written by the Count, how would it look like? What do you think he would write in it?

Bibliography

Carter, M. L. (1988). Dracula: The Vampire and the Critics. Ann Arbor, Michigan: UMI Research Press.

Farson, D. (1975). The Man Who Wrote Dracula: A Biography of Bram Stoker. New York: St. Martin’s Press. Fisher, R.L. (1988). Introduction. Dracula. New York: Tom Doherty Association Book. Hindle, M. (1993). Introduction. Dracula. Penguin Classics.

Leatherdale, C. (1985). Dracula: The Novel and the Legend. Wellingborough, Northamptonshire: Aquarian Press.

Punter, D. (1980). The Literature of Terror: A History of Gothic Fictions from 1765 to the Present Day. London: Longman.

Rice, A. (1997). Interview with the Vampire. New York: Random House Publishing Group.

SparkNotes Editors. (2003). SparkNote on Dracula. Retrieved March 21, 2012, from http://www.sparknotes.com/lit/dracula. Stoker, B. (1908). The Censorship of Fiction. Nineteenth Century and After. Stoker, B. (1993) Dracula. Penguin Classics.

Twitchell, J. B. (1981). The Living Dead: The Vampire in Romantic Literature. North Carolina: Duke University Press.

http://www.goodreads.com/quotes/show/355668

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