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Post by loribeany on Apr 2, 2011 12:40:13 GMT
'When bad men combine, the good must associate; else they will fall, one by one, an unpitied sacrifice in a contemptible struggle.'
Self sacrifice is defined as ‘the giving up of one’s own benefit; especially giving up one’s life, for the good of others.’ The concept of sacrifice as a whole has always been one which has evoked interest, predominantly in literature, 'from the primary comprehension of a sacrifice as a higher crucial force to the romantic attempt to attribute to the sacrifice the meaning of a heroic act.' Three such novels which display the theme of self sacrifice through their protagonists are ‘A Tale Of Two Cities’, ‘The Scarlet Pimpernel’ and ‘One Flew Over The Cuckoo’s Nest.’
'A Tale of Two Cities' by Charles Dickens, focuses on the interlinking relationship of sacrifice and redemption in human nature during the throes of the French Revolution. Dickens’ protagonist, Sydney Carton, views his life as worthless as he feels he has missed out on the good in life. This therefore leads many to believe that when his one and only reason for existence is threatened, self sacrifice is the only inevitable conclusion. It can be said that 'Carton becomes a Christ-like figure, a selfless martyr whose death enables the happiness of his beloved and ensures his own immortality.'
In contrast, Baroness Orczy's 'The Scarlet Pimpernel' sees a romanticised version of self sacrifice in which the protagonist, Sir Percy Blakeney, under his assumed role of The Scarlet Pimpernel faces the threat of his own death in order to rescue the innocent French aristocrats from their fate at the ‘foot of the guillotine.’
Lastly, 'One Flew Over The Cuckoo's Nest', written by Ken Kesey also portrays the theme of self sacrifice through the protagonist, RP McMurphy who volunteers to be admitted to the psychiatric hospital in order to avoid the prison work camp. Much like Carton, McMurphy holds the role as a Christ-like figure, helping the patients from the moment he arrives. His ultimate sacrifice inspires many of the oppressed patients to regain their confidence and live their own lives.
Therefore it is clear that throughout the three previously mentioned texts, self sacrifice is a predominant theme which has been skilfully developed and portrayed.
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Post by loribeany on Apr 2, 2011 12:59:18 GMT
The development of setting in a novel effectively encompasses not only the physical world, but also seeks to highlight the author’s comments on society alike. Arguably, it is through setting that authors can explore how surroundings can impact upon human nature.
Dickens’ use of setting skilfully portrays the declining state of society throughout 18th century Paris and London in ‘A Tale Of Two Cities.’ A time of great unrest in both cities, Dickens portrays the socially unsettled hubs of civilisation as homes to compassionless beings who care only about themselves. The choice of major cities for the setting reflects the cold, impersonal nature of society and also the loneliness people can feel even in the busiest of places. The detached nature of these larger cities and alienation of individuals leads to a reluctance to accept the concept of self sacrifice, this is shown in England where the rapid growth in population causes its inhabitants to become inward looking, selfish and nationalistic:
‘In England, there was scarcely an amount of order and protection to justify much national boasting.’
Although it can be seen that England is represented as being the novel’s ‘safe haven’ as it is not in the throes of revolution, it is still far from being a utopia. Dickens highlights the immorality of London by portraying the court room as a symbol of moral turpitude.
At the trial of Charles Darnay, a man who was mistakenly arrested, a crowd of drunks and delinquents gather to see the condemned man sentenced to death, as if the courtroom proceedings were a spectator sport. This shows the idea of schadenfreude - taking pleasure in the suffering of others - which is present throughout England. This, combined with the clear lack of compassion and the insular nature of many individuals proves that despite the blatant miscarriage of justice, no one is willing to sacrifice themselves to save another. As this scene demonstrates, there is not much difference in the way people from London conduct themselves compared to their Parisian counterparts.
It is clear that France is also suffering from deterioration in its social structure, due to the steadfast desire for retribution on the part of the lower classes. This national decline is highlighted by Dickens:
‘France, less favoured on the whole as to matters spiritual than her sister of the shield and trident, rolled with exceeding smoothness downhill.’
Dickens uses the French Tribunals to mirror that of the court in London, however, the trials in France are far more radical. Hundreds of, largely innocent, French aristocrats are brought to trial and sentenced to death every day as revenge for their wealth and status. Dickens makes clear that the jurors are often drunk and occasionally do not even pay attention to the proceedings even though they are in control of other peoples’ lives. The lack of authoritative support combined with the bloodthirsty nature of the ‘audience’ at the trials convey the deteriorating state of society highlighting the predominant sense of self and reluctance for self sacrifice. In blending the two cities and their problems together, focussing on a small number of protagonists and their lives, Dickens conveys the personal and emotional aspect of the French Revolution. It is shown that even in times of adversity, society can hold an entirely selfish nature with the desire for self-preservation at the centre of this.
In contrast, Orczy’s depiction of England in ‘The Scarlet Pimpernel’ is that of a welcoming haven for the escaped French aristocrats, offering hospitality and warmth:
‘‘Welcome! Welcome to Old England!’ Said Lord Antony, effusively, as he came eagerly forward with both hands outstretched towards the newcomers.’
The use of Mr Jellyband’s pub, ‘The Fisherman’s Rest’, reflects the friendly nature of England that Orczy is portraying. ‘The Fisherman’s Rest’ is said to be constantly ‘bustling’- filled with laughter and a friendly atmosphere. Although it is a small place, it is warm and welcoming towards the aristocrats and the people are shown to be less prejudiced than the French, their accepting nature and willingness to help differing greatly from the bloodthirsty nature of the Parisians. The pub is seen as a symbolic halfway point for the French aristocrats between the throes of the Revolution in France and the utopia of England.
France is shown as a completely different entity to England. Orczy appears to plunge the reader into the air of the Revolution, clearly showing the diminishing state of society. The reader is first introduced to France and its people as:
‘A surging, seething crowd of beings that are human only in name, for to the eye and ear they seem naught but savage creatures, animated by vile passions and by the lust of vengeance and of hate.’
This crowd gathers at the West Barricade in Paris to watch as aristocrats are slaughtered at the guillotine, condemned as ‘traitors’ to France. The French lower classes are shown to turn the escape attempts of the aristocrats into a spectator sport. They gather at the gates of the city to watch the daily attempts to evade Sergeant Bibo, who in the past had ‘great success’ in preventing aristocrats from escaping, highlighting the bloodthirsty nature of the masses portrayed by Orczy, whose sympathies clearly lie with the aristocrats.
Much like the previous texts, throughout ‘One Flew Over The Cuckoo’s Nest’ the setting reflects the oppression Kesey sees in modern society. The psychiatric hospital represents physical and metaphorical emasculation - it is not about curing people, it is about the manipulation of the weak until they are forced to conform. The hospital is depicted as a viewing platform for visitors. The true cold nature of the hospital is hidden to the outsiders and a warm façade is adopted, showing how helpless the patients really are as no one truly knows what is going on:
‘‘What a cheery atmosphere, don’t you agree?’ He’ll bustle around the school teachers, who are bunched together for safety, clapping his hands together.’
The reality of the inner workings of the hospital under Nurse Ratched’s rule contrasts considerably to what is portrayed to outsiders. The patients live in constant fear of the mental and physical abuse distributed by Nurse Ratched and her aides, who were chosen for their compassionless personalities:
‘But when you shave before breakfast like she has me do some mornings - six thirty in the morning in a room all white walls and white basins and long tube lights in the ceiling making sure there aren’t any shadows, and faces all round you trapped screaming behind mirrors.’
This shows the repression of the patients as Nurse Ratched rids the ward of colour in order to maintain her clinical and oppressive rule.
The hospital represents society at large and its views towards minority groups. Kesey effectively portrays the emotional turmoil and the feeling of helplessness faced by many in our modern society which he believes attempts to break down those who are already suffering. The setting is also seen as the source of Nurse Ratched’s power. Her ability to keep the ‘outside world’ from her ward enables her to use the close quarters to keep her patients downtrodden, almost pitting them against each other, offering rewards for telling the secrets of other patients. All this serves to further enforce her rule. The hospital is a small world of regulations, routine and discipline under the unrelenting rule of a dictator figure. On a deeper level, the use of a psychiatric hospital for the setting depicts Kesey’s ideas on a modern society.
Overall, it is clear that the use of setting in a novel can add another dimension and skilfully portray wider ideas of the world and how the consideration of time and place can impact upon a novel’s characters and civilisation as a whole as people are forced to react in their given stimulus. Dickens’ use of setting shows the darker side of society in a time of great adversity and the disruptive effect immense changes can have on a country‘s social standing. In contrast, Orczy presents England as a beacon of hope in dark times, however also highlights the deteriorating state of society not all that far away in Paris. Kesey reflects his views on society at large by setting the novel in a psychiatric hospital run by a dictator figure preaching oppression to the already downtrodden patients.
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Post by loribeany on Apr 2, 2011 13:21:48 GMT
Akin to the use of setting, the destructive nature of society and the importance of freedom are shown as imperative factors in each of the three novels. Each novel portrays their characters as yearning for freedom from oppression, however, the freedom they are seeking is not always possible as the destructive nature of society prevents them from reaching their desires.
In ‘A Tale Of Two Cities,’ the class distinctions mean society is heavily segregated - the lower class condemned to the dirty, disease ridden streets whilst the rich continue to prosper, caring only about themselves. This mercenary attitude of the rich is particularly apparent where the Marquis Evremonde runs over and kills a poor boy, showing no regret. He immediately treats the death of the boy as an annoyance:
‘‘It is extraordinary to me’, said he, ‘that you people cannot take care of yourselves and your children. One or the other of you is for ever in the way. How do I know what injury you have done to my horses?’
The ostentatious quality of the rich is clearly highlighted in the way they conduct themselves through their disregard of compassion. During the cataclysm of the Revolution, the rich attained a level of wealth never before seen and Dickens skilfully portrays the way in which this wealth is exploited through the description of the wealthy:
‘Yes. It took four men, all four ablaze with gorgeous decoration, and the chief of them unable to exist with fewer than two gold watches in his pocket, emulative of the noble and chaste fashion set by Monseigneur, to conduct the happy chocolate to Monseigneur’s lips.’
Dickens writes in a tone thick with sarcasm at Monseigneur's attitude and ineffectiveness and seeks to exploit the selfish nature shown by the aristocracy in France. This also highlights that whilst the rich are expressing their wealth through their lavish lifestyles, on the other side of the spectrum, the poor struggle to survive:
‘The women were a sight to chill the boldest. From such household occupations as their bare poverty yielded, from their children from their aged and their sick crouching, on the bare ground, famished and naked.’
This is highly indicative of the self centred nature of many in times of adversity as instead of helping those who truly need it, the wealthy seem to care only about themselves. Sydney Carton is shown to be a character desperately seeking freedom from his mundane existence where he feels he is a credit to no one. This is seen through the characterisation of Carton as an alcoholic and insolent attorney. His love for Lucie Manette gives him temporary freedom as his love for her gives him faith that his life is worth living. However, he soon realises his love for her is unrequited. Instead, he decides to devote his life to making her happy, even if this means making the ultimate sacrifice and forfeiting his own life, proving he has grown as a character and has gained his own personal freedom. It can be seen that the French aristocrats are also seeking their own form of refuge from the guillotine, however the bloodthirsty nature of society and the lack of a sense of community forbids them to escape as no one will risk their own safety to help another.
Comparable to the French in ‘A Tale Of Two Cities’, the French in ‘The Scarlet Pimpernel,’ are portrayed as a society desperate for retribution at any cost, resulting in rebellion and revolution as the lower class seek to eradicate the entire upper class, sending them all to the guillotine in revenge for their wealth:
‘And daily, hourly, the hideous instrument of torture claimed its many victims - old men, young women, tiny children, even until the day it would demand the head of a King and a beautiful young Queen.’
This shows that station in life offered no protection from the vengeance of the lower classes, from the smallest child to the head of state. However, in England, the people are determined to help the aristocracy escape the uprising and social turmoil of the Revolution. In contrast to ‘A Tale Of Two Cities,’ the Scarlet Pimpernel and his followers are devoted to doing the right thing, risking their own lives to help the innocent French aristocrats escape to freedom and a safe haven in the form of England:
‘And this band of young Englishmen had, to her own knowledge, bearded the implacable and bloodthirsty tribunal of the Revolution, within the very walls of Paris itself, and had snatched away condemned victims, almost from the very foot of the guillotine.’
As a result of their bravery, the Pimpernel and his followers are held in high regard by the aristocracy as when all else seemed lost for them, The Pimpernel was willing to risk his own safety to help them.
In ‘One Flew Over The Cuckoo’s Nest,’ the hospital represents all that is evil in society and the clinical oppression often faced by minority groups. Kesey sees society as a matriarchal dictatorship where the repression of natural desires leads people to lash out. By means of clinical oppression, society destroys the natural impulses of others. The hospital represents society at large and its views towards minorities. Kesey sees society as a destructive force, forcing people to conform to what is viewed as ‘normal’:
‘Yes. This is what I know. The ward is a factory for the combine. It’s for fixing up mistakes made in the neighbours and in the schools and in the churches, the hospital is. When a completed product goes back into society, all fixed up, good as new, better than new sometimes, it brings joy to the Big Nurse’s heart.’
The expression of freedom is seen as a key component to sanity as ‘it is certain that if there is no free will there can be no morality.’ Kesey explores how the repression of this freedom and human desire destroys natural impulses. Kesey focuses on the patients’ inability to laugh. The patients seem shocked to hear McMurphy laughing as they are not used to any expression of freedom:
‘But the rest are even scared to open up and laugh. You know, that’s the first thing that got me about this place, that there wasn’t anybody laughing. I haven’t heard a real laugh since I came through that door, do you know that? Man, when you lose your laugh you lose your footing.’
The patients of the psychiatric hospital are shown to seek freedom from Nurse Ratched’s rule, however, exposure to her oppression for such a long time left them weak, downtrodden and unable to stand up for themselves. McMurphy’s loud and vibrant nature provides the perfect foil for Nurse Ratched’s bitter personality. He inspires the patients to want freedom, as shown in his attempt to smash the window to escape. Although everyone, including McMurphy, knows he cannot break it, he still tries, showing the patients that they will not get anywhere unless they try.
Overall, each author clearly depicts the view that society is largely a destructive force, destroying the freedom and natural impulses of many. Each protagonist is seen to value freedom and seek it, particularly in times of adversity. Sydney Carton in ‘A Tale Of Two Cities’ is shown to seek freedom from his life as he feels there is nothing worth living for after he realises his love for Lucie Manette is unrequited. The French aristocrats in ‘The Scarlet Pimpernel’ seek freedom in the form of England from certain death at the guillotine. Similar to the French in both ‘A Tale Of Two Cities’ and ‘The Scarlet Pimpernel’, the psychiatric ward patients to seek freedom from oppression throughout ‘One Flew Over The Cuckoo’s Nest.’
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Post by loribeany on Apr 2, 2011 13:23:08 GMT
Arguably, it is typical in literary works for a protagonist to embark on a journey of self discovery with the aim of growing as a character. This journey is highlighted by Joseph Campbell who begins the stages with the hero’s call to adventure and ends with their eventual resurrection. The protagonists of these three novels are all shown to undertake this journey, proving them to be characters of compassion, philanthropy and ones who are ultimately willing to sacrifice themselves.
In ‘A Tale of Two Cities’, Sydney Carton is portrayed as an insolent, alcoholic underachiever who has hitherto ‘done nothing good or serviceable to be remembered by.’ He feels his misspent life has forced him to fall short of chances presented to him which may have proved to better him as a character. On first meeting Charles Darnay, Carton’s morally superior counterpart, he states:
‘I am a disappointed drudge, sir. I care for no man on earth and no man on earth cares for me.’
This shows the hopeless nature of his existence and his pessimistic beliefs as he feels his life is an extreme waste. This also offers an explanation as to why Carton drinks to excess as he feels he is caught in the disappointing course of his once promising life. This is evident from the statement:
‘I am not old, but my young way was never the way to age.’
However, Carton is seen to make a profound transformation, prompted by his love for Lucie Manette, into a selfless character. It is clear Carton’s own moral salvation stems, therefore, from the ‘rugged air of fidelity’ with which Lucie provides him. Carton professes his love for Lucie, his only reason for living:
‘For you, and any dear to you, I would do anything. I would embrace any sacrifice for you and those dear to you…think now and then that there is a man who would give his life, to keep a life you love beside you.’
This foreshadows the end of the novel where Carton makes the ultimate sacrifice so as Lucie can continue living. Although he is aware his love for her is unrequited, she has offered him something more important as she was the only one who believed he was a good person and therefore gave his life meaning. He could therefore go to his death with the satisfaction of a final act of benevolence :
‘It is a far, far better thing that I do, than I have ever done; it is a far, far greater rest that I go to than I have ever known.’
As Carton goes to the guillotine, the narrator states he is envisioning an idyllic Paris ‘rising from the abyss’ where he sees ‘the evil of this time and of the previous time of which this is the natural birth, gradually making expiation for itself and wearing out.’ This connotes the idea that just as the violence of the revolution gives way to the birth of a new society, the sacrifice of Carton’s life precedes his redemption. His final act of self sacrifice for the one he loves serves to cleanse him of his sins and complete his role of a Christ-like figure:
‘As ‘best’ surpasses ‘good’ so Carton surpasses himself in Paris. And he does it so spectacularly that neither the deed nor the doer can possibly remain ‘nameless, unremembered.’’
Throughout Baroness Orczy’s ‘The Scarlet Pimpernel’, the Pimpernel constantly risks his own safety to protect others. He uses his other identity, that of ‘the sleepiest, dullest, most British Britisher’ Sir Percy Blakeney, to protect his work as the Pimpernel. However, his role as Percy, the dull, slow witted Englishman, means he does not have the full respect of his wife, Lady Blakeney, ‘the cleverest woman in Europe.’
‘Blakeney was really too stupid to notice the ridicule with which his wife covered him.’
It is also stated, ‘in his beautiful house at Richmond he played second fiddle to his clever wife.’ His guise as Sir Percy Blakeney provides the perfect coverage for the Pimpernel, however his façade means he is perpetually seen as ‘inane’.
‘It was nearly a year ago now that Sir Percy Blakeney…had astonished fashionable society in London and Bath by bringing home…a beautiful, fascinating, clever French wife.’
The idea that people were surprised he could ‘secure a brilliant matrimonial prize’ may be a reason why Percy does not hold his wife’s full respect and suggests he sacrifices not only his safety as the Pimpernel but his respect as Sir Percy. However, at the turning point in the novel when Lady Blakeney discovers Sir Percy’s true identity, she begins to show true respect for him.
‘As the death of a brave man, through the hand of a woman who loved him, and worshipped him, and who would gladly have died for his sake.’
Lady Blakeney realises Percy is risking his life everyday for people he does not know -
‘She had suddenly found that this enigmatic personality whom she had worshipped, and the man who loved her so passionately, were one and the same.’
-and therefore begins to respect him fully, after realising The Pimpernel, who is held in high regard by many, is actually her husband, she can see his admirable qualities.
Throughout ‘One Flew Over The Cuckoo’s Nest’, the protagonist RP McMurphy is seen as a Christ-like figure who is willing to sacrifice himself in order to save the other patients. McMurphy is willingly an inpatient at the psychiatric hospital and from the moment he arrives, begins teaching the repressed patients, helping them to regain their confidence and in time, the ability to see that they do not need to be in the hospital. McMurphy makes the patients realise that it is possible for them to think for themselves, therefore resulting in the destruction of the system and of the ‘Big Nurse’s’ oppressive regime. However, it is the qualities that gain McMurphy respect and make him who he is that ultimately result in his tragic downfall. Kesey strongly suggests that the patients are in this ward due to the pressures put on them by society to conform and that their madness does not originate with them, rather has been caused by others. McMurphy is introduced as a foil to Nurse Ratched and her attempt to dehumanise her patients. When he first arrives he begins to challenge the system of the ward. A symbolic example of his rebellion against oppression is his attempt to lift the control panel. Both he and the patients know this is an unachievable feat, but he makes the point he tried, something the other men would not think to do, proving society has robbed the men of the natural impulse to endeavour. McMurphy’s free spirit is another one of his rebellious characteristics which challenges Nurse Ratched’s oppressive ways. He helps the patients regain some control over their lives by teaching them how to laugh again:
‘You have to laugh at the things that hurt you just to keep yourself in balance, just to keep the world from running you plumb crazy.’
Therefore it is clear that McMurphy’s free nature is what keeps him sane and his attempt to teach the others how to laugh portrays his willingness to help those in need, showing him to be a Christ-like figure. The decisive occurrence in which McMurphy is portrayed as such is in his attack of Nurse Ratched, consequently leading him to receive a lobotomy. Although he knew his offensive behaviour would lead him there, he was willing to sacrifice himself to save the others. Bromden can no longer accept seeing the usually loud and vibrant McMurphy as a vegetable and so feels forced to euthanize him:
‘He wouldn’t have let something like that sit in the day room…so the Big Nurse could use it as an example of what can happen if you buck the system. I was sure of that.’
This self sacrifice breaks the oppression of the hospital and empowers many patients, giving them the confidence needed to discharge themselves. McMurphy is seen as the saviour of the novel as he is responsible for enlightening the patients through teaching them how to regain their individuality.
Therefore it can be seen that the journey each of these protagonists embark on contribute highly to the reader’s understanding of both the novel and the concept of self sacrifice as a whole. Carton’s sacrifice, and ultimate redemption, can be seen as his final act as a saviour figure, resulting in happiness for those he had left behind. Sir Percy Blakeney clearly does not have the respect of his wife, however upon her realisation of his alter-ego, The Scarlet Pimpernel, their relationship begins to redefine itself for the better as she begins to see his admirable qualities. McMurphy’s attempts to enlighten the patients prove him to be a Christ-like figure as his ultimate sacrifice of self results in the breaking of Nurse Ratched’s clinical, oppressive rule.
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Post by loribeany on Apr 2, 2011 13:31:29 GMT
I just went up to Jedi Master! ;D
To conclude, it is therefore evident that the concept of sacrifice in literature has been skilfully portrayed and developed throughout the three novels ‘A Tale of Two Cities’, ‘The Scarlet Pimpernel’ and ‘One Flew Over The Cuckoo’s Nest.’ Charles Dickens’ protagonist, Sydney Carton portrays the idea of a wasted life and also shows the interlinking relationship between the sacrifice of a person and their ultimate redemption. At the outset of the novel, Carton is a character who values nothing and no one, however, is redeemed by his selfless act of martyrdom and is ‘made illustrious’ through his single act of good amid an atmosphere of palpable horror. In contrast, Baroness Orczy presents a romanticised version of self sacrifice in ‘The Scarlet Pimpernel’. Her protagonist risks his safety in order to rescue the innocent, however due to his guise as the ‘bumbling’ Sir Percy Blakeney, he sacrifices the respect of his intelligent wife. However, as their journeys intertwine and she discovers his true identity, she realises he is constantly risking his safety and facing the threat of death in order to save the innocent. Lastly, throughout Ken Kesey’s ‘One Flew Over The Cuckoo’s Nest’, the oppressive nature of society at large is examined along with the Christ like nature of protagonist RP McMurphy. He is a voluntary patient at the psychiatric hospital and appears to be there to teach the other patients how to regain their confidence and their control over their own lives. His ultimate sacrifice is his final act as a Christ like figure which consequently inspires many of the oppressed patients to check themselves out of the hospital. Throughout the three novels, each protagonist is seen as a selfless figure, willing to sacrifice their own safety in order to protect others. Both Carton and McMurphy are Christ-like figures whose ultimate sacrifices result in the greater good for those they left behind, whereas, although The Pimpernel does not forfeit his life, he is risking it for others everyday. Therefore it is evident that sacrifice is a principled idea which is prominent not only throughout the three novels but also in literature as a whole.
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Post by loribeany on Apr 7, 2011 10:23:17 GMT
The development of setting in a novel effectively encompasses not only the physical world, but also seeks to highlight the author’s comments on society alike. Arguably, it is through setting that authors can explore how surroundings can impact upon human nature.
Dickens’ use of setting portrays the declining state of society throughout 18th century Paris and London in ‘A Tale Of Two Cities.’ A time of great unrest in both cities, Dickens portrays the socially unsettled hubs of civilisation as homes to compassionless beings. The use of major cities reflects the cold, impersonal nature of society and also the loneliness people can feel even in the busiest of places. The detached nature of these larger cities and alienation of individuals leads to a reluctance to accept the concept of self sacrifice, this is shown in England where the rapid growth in population causes its inhabitants to become inward looking, selfish and nationalistic:
‘In England, there was scarcely an amount of order and protection to justify much national boasting.’
Although it can be seen that England is represented as being the novel’s ‘safe haven’ as it is not in the throes of revolution, it is still far from being a utopia. The courtroom symbolises the immorality of London and its moral turpitude.
At the trial of Charles Darnay, a crowd of drunks and delinquents gather to see the condemned man sentenced to death, as if the courtroom proceedings were a spectator sport. This shows the idea of schadenfreude - taking pleasure in the suffering of others - which is present throughout England. This, combined with the clear lack of compassion and the insular nature of many individuals proves that despite the blatant miscarriage of justice, no one is willing to sacrifice themselves to save another. As this scene demonstrates, there is little difference in the way people from London conduct themselves compared to their Parisian counterparts.
It is clear that France is also suffering from deterioration in its social structure, due to the steadfast desire for retribution on the part of the lower classes. This national decline is highlighted by Dickens:
‘France, less favoured on the whole as to matters spiritual than her sister of the shield and trident, rolled with exceeding smoothness downhill.’
Dickens uses the French Tribunals to mirror that of the court in London, however, the trials in France are far more radical. Hundreds of, largely innocent, French aristocrats are brought to trial and sentenced to death every day as revenge for their wealth and status. Dickens makes clear that the jurors are often drunk and occasionally do not even pay attention to the proceedings even though they are in control of other peoples’ lives. The lack of authoritative support combined with the bloodthirsty nature of the ‘audience’ at the trials convey the deteriorating state of society highlighting the predominant sense of self and reluctance for self sacrifice.
In blending the two cities and their problems, focussing on a small number of protagonists and their lives, Dickens conveys the personal and emotional aspect of the French Revolution. It is shown, that even in times of adversity, society can hold an entirely selfish nature with a desire for self-preservation.
In contrast, Orczy’s depiction of England in ‘The Scarlet Pimpernel’ is that of a welcoming haven for the escaped French aristocrats, offering hospitality and warmth:
‘‘Welcome! Welcome to Old England!’ Said Lord Antony, effusively, as he came eagerly forward with both hands outstretched towards the newcomers.’
The use of Mr Jellyband’s pub, ‘The Fisherman’s Rest’, reflects the friendly nature of England. ‘The Fisherman’s Rest’ is said to be constantly ‘bustling’ and filled with laughter. Although it is a small place, it is warm and welcoming towards the aristocrats and the people are shown to be less prejudiced than the French, their accepting nature and willingness to help differing greatly from the bloodthirsty nature of the Parisians. The pub is a symbolic halfway point for the French aristocrats between the throes of the Revolution and the utopia of England.
France is shown as a completely different entity to England. Orczy appears to plunge the reader into the air of the Revolution, clearly showing the diminishing state of society. The reader is first introduced to France and its people as:
‘A surging, seething crowd of beings that are human only in name, for to the eye and ear they seem naught but savage creatures, animated by vile passions and by the lust of vengeance and of hate.’
This crowd gathers at the West Barricade in Paris to watch as aristocrats are slaughtered at the guillotine, condemned as ‘traitors’ to France. The French lower classes are shown to turn the escape attempts of the aristocrats into a spectator sport. They gather at the gates of the city to watch the daily attempts to evade Sergeant Bibo, who in the past had ‘great success’ in preventing aristocrats from escaping, highlighting the bloodthirsty nature of the masses portrayed by Orczy.
Much like the previous texts, throughout ‘One Flew Over The Cuckoo’s Nest’ the setting reflects the oppression Kesey sees in modern society. The psychiatric hospital represents physical and metaphorical emasculation - it is not about curing people, it is about the manipulation of the weak until they are forced to conform. The hospital is depicted as a viewing platform for visitors. The true cold nature of the hospital is hidden to the outsiders and a warm façade is adopted, showing how helpless the patients really are:
‘‘What a cheery atmosphere, don’t you agree?’ He’ll bustle around the school teachers, who are bunched together for safety, clapping his hands together.’
The reality of the inner workings of the hospital, under Nurse Ratched’s rule, contrasts to what is portrayed to outsiders. The patients live in constant fear of the mental and physical abuse distributed by Nurse Ratched and her aides:
‘But when you shave before breakfast like she has me do some mornings - six thirty in the morning in a room all white walls and white basins and long tube lights in the ceiling making sure there aren’t any shadows, and faces all round you trapped screaming behind mirrors.’
This shows the repression of the patients as Nurse Ratched rids the ward of colour in order to maintain her clinical and oppressive rule.
The hospital represents society at large and its views towards minority groups. Kesey effectively portrays the emotional turmoil and the feeling of helplessness faced by many in our modern society which he believes attempts to break down those who are already suffering. The setting is also a source of Nurse Ratched’s power. Her ability to keep the ‘outside world’ from her ward enables her to use the close quarters to keep her patients downtrodden, almost pitting them against each other, offering rewards for telling the secrets of other patients. All this serves to further enforce her rule.
The hospital is a small world of regulations, routine and discipline under the unrelenting rule of a dictator figure. On a deeper level, the use of a psychiatric hospital for the setting depicts Kesey’s ideas on a modern society.
Overall, it is clear that the use of setting in a novel adds another dimension and portrays wider ideas of the world and how the consideration of time and place can impact upon a novel’s characters and civilisation as a whole.
Dickens’ use of setting shows the darker side of society in a time of great adversity and the disruptive effect immense changes can have on a country‘s social standing. In contrast, Orczy presents England as a beacon of hope in dark times, however also highlights the deteriorating state of society not all that far away in Paris. Kesey reflects his views on society at large by setting the novel in a psychiatric hospital run by a dictator figure preaching oppression to the already downtrodden patients.
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Post by loribeany on Apr 7, 2011 10:32:24 GMT
Akin to the use of setting, the destructive nature of society and the importance of freedom are shown as imperative factors in each of the three novels. Each novel portrays their characters as yearning for freedom from oppression; however, the freedom they are seeking is not always possible as the destructive nature of society prevents them from reaching their desires.
In ‘A Tale Of Two Cities,’ the class distinctions mean society is heavily segregated - the lower class condemned to the dirty, disease ridden streets whilst the rich continue to prosper, caring only about themselves. This mercenary attitude of the rich is particularly apparent where the Marquis Evremonde runs over and kills a poor boy, showing no regret. He immediately treats the death of the boy as an annoyance:
‘‘It is extraordinary to me’, said he, ‘that you people cannot take care of yourselves and your children. One or the other of you is for ever in the way. How do I know what injury you have done to my horses?’
The ostentatious quality of the rich is highlighted in the way they conduct themselves through their disregard of compassion. During the cataclysm of the Revolution, the rich attained a level of wealth never before seen and Dickens portrays the way in which this wealth is exploited through the description of the wealthy:
‘Yes. It took four men, all four ablaze with gorgeous decoration, and the chief of them unable to exist with fewer than two gold watches in his pocket.’
Dickens writes in a tone thick with sarcasm at Monseigneur's attitude and ineffectiveness and seeks to exploit the selfish nature shown by the aristocracy in France. This also highlights that whilst the rich are expressing their wealth through their lavish lifestyles, on the other side of the spectrum, the poor struggle to survive:
‘The women were a sight to chill the boldest. From such household occupations as their bare poverty yielded, from their children from their aged and their sick crouching, on the bare ground.’
This is indicative of the self centred nature of many in times of adversity as instead of helping those who truly need it, the wealthy only care about themselves.
Sydney Carton is shown to be a character desperately seeking freedom from his mundane existence. This is seen through the characterisation of Carton as an alcoholic and insolent attorney. His love for Lucie Manette gives him temporary freedom as his love for her gives him faith that his life is worth living. However, he soon realises his love for her is unrequited. Instead, he decides to devote his life to making her happy, even if this means making the ultimate sacrifice and forfeiting his own life, proving he has grown as a character and has gained his own personal freedom.
It can be seen that the French aristocrats are also seeking their own form of refuge from the guillotine, however the bloodthirsty nature of society and the lack of a sense of community forbids them to escape as no one will risk their own safety to help another.
Comparable to the French in ‘A Tale Of Two Cities’, the French in ‘The Scarlet Pimpernel,’ are portrayed as a society desperate for retribution at any cost, resulting in rebellion and revolution as the lower class seek to eradicate the entire upper class, sending them all to the guillotine in revenge for their wealth:
‘And daily, hourly, the hideous instrument of torture claimed its many victims - old men, young women, tiny children, even until the day it would demand the head of a King and a beautiful young Queen.’
This shows that station in life offered no protection from the vengeance of the lower classes, from the smallest child to the head of state.
However, in England, the people are determined to help the aristocracy escape the uprising and social turmoil of the Revolution. In contrast to ‘A Tale Of Two Cities,’ the Scarlet Pimpernel and his followers are devoted to doing the right thing, risking their own lives to help the innocent French aristocrats escape to freedom and a safe haven in the form of England:
‘And this band of young Englishmen had, to her own knowledge, bearded the implacable and bloodthirsty tribunal of the Revolution, within the very walls of Paris itself, and had snatched away condemned victims, almost from the very foot of the guillotine.’
As a result of their bravery, the Pimpernel and his followers are held in high regard by the aristocracy as when all else seemed lost for them, The Pimpernel was willing to risk his own safety to help them.
In ‘One Flew Over The Cuckoo’s Nest,’ the hospital represents all that is evil in society and the clinical oppression often faced by minority groups. Kesey sees society as a matriarchal dictatorship where the repression of natural desires leads people to lash out. Kesey sees society as a destructive force, forcing people to conform to what is viewed as ‘normal’:
‘When a completed product goes back into society, all fixed up, good as new, better than new sometimes, it brings joy to the Big Nurse’s heart.’
The expression of freedom is a key component to sanity as ‘it is certain that if there is no free will there can be no morality.’ Kesey explores how the repression of this freedom and human desire destroys natural impulses. Kesey focuses on the patients’ inability to laugh. The patients seem shocked to hear McMurphy laughing as they are not used to any expression of freedom:
‘I haven’t heard a real laugh since I came through that door, do you know that? Man, when you lose your laugh you lose your footing.’
The patients of the psychiatric hospital seek freedom from Nurse Ratched’s rule, however, exposure to her oppression has left them weak, and downtrodden. McMurphy’s loud and vibrant nature provides the perfect foil for Nurse Ratched’s bitter personality. He inspires the patients to want freedom, as shown in his attempt to smash the window to escape. Although everyone, including McMurphy, knows he cannot break it, he still tries, showing the patients that they will not get anywhere unless they try.
Overall, each author clearly depicts the view that society is largely a destructive force, destroying the freedom and natural impulses of many. Each protagonist is seen to value freedom and seek it, particularly in times of adversity.
Sydney Carton in ‘A Tale Of Two Cities’ is shown to seek freedom from his life as he feels there is nothing worth living for after he realises his love for Lucie Manette is unrequited. The French aristocrats in ‘The Scarlet Pimpernel’ seek freedom in the form of England from certain death at the guillotine. Similar to the French in both ‘A Tale Of Two Cities’ and ‘The Scarlet Pimpernel’, the psychiatric ward patients to seek freedom from oppression throughout ‘One Flew Over The Cuckoo’s Nest.’
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Post by loribeany on Apr 7, 2011 10:43:22 GMT
Arguably, it is typical in literary works for a protagonist to embark on a journey of self discovery. This journey is highlighted by Joseph Campbell who begins the stages with the hero’s call to adventure and ends with their eventual resurrection. The protagonists of these three novels are all shown to undertake this journey, proving them to be characters of compassion, philanthropy and ones who are ultimately willing to sacrifice themselves.
In ‘A Tale of Two Cities’, Sydney Carton is characterised as insolent, an alcoholic and underachiever who has hitherto ‘done nothing good or serviceable to be remembered by.’ His misspent life has forced him to fall short of chances presented to him which may have proved to better him as a character. On first meeting Charles Darnay, he states:
‘I am a disappointed drudge, sir. I care for no man on earth and no man on earth cares for me.’
This shows the hopeless nature of his existence and his pessimistic beliefs as he feels his life is worthless. This also offers an explanation as to why Carton drinks to excess as he feels he is caught in the disappointing course of his once promising life. This is evident from the statement:
‘I am not old, but my young way was never the way to age.’
However, Carton is shown to make a profound transformation, prompted by his love for Lucie Manette. It is clear Carton’s own moral salvation stems, therefore, from the ‘rugged air of fidelity’ with which Lucie provides him. Carton professes his love for Lucie, his only reason for living:
‘For you, and any dear to you, I would do anything. I would embrace any sacrifice for you and those dear to you..’
This foreshadows the end of the novel where Carton makes the ultimate sacrifice so as Lucie can continue living. Although he is aware his love for her is unrequited, she has offered him something more important as she was the only one who believed he was a good person and therefore gave his life meaning. He could therefore go to his death with the satisfaction of a final act of benevolence :
‘It is a far, far better thing that I do, than I have ever done.’
As Carton goes to the guillotine, the narrator states he is envisioning an idyllic Paris ‘rising from the abyss’ where he sees ‘the evil of this time and of the previous time of which this is the natural birth, gradually making expiation for itself and wearing out.’ This connotes the idea that just as the violence of the revolution gives way to the birth of a new society, the sacrifice of Carton’s life precedes his redemption. His final act of self sacrifice for the one he loves serves to cleanse him of his sins and complete his role of a Christ-like figure:
‘As ‘best’ surpasses ‘good’ so Carton surpasses himself in Paris. And he does it so that neither the deed nor the doer can possibly remain ‘nameless, unremembered.’’
Throughout Baroness Orczy’s ‘The Scarlet Pimpernel’, the Pimpernel continually risks his own safety to protect others. He uses his other identity, that of ‘the sleepiest, dullest, most British Britisher’ Sir Percy Blakeney, to protect his work as the Pimpernel. However, his role as Percy means he does not have the full respect of his wife, Lady Blakeney:
‘Blakeney was really too stupid to notice the ridicule with which his wife covered him.’
It is also stated, ‘in his beautiful house at Richmond he played second fiddle to his clever wife.’ His guise as Sir Percy Blakeney provides the perfect coverage for the Pimpernel, however his façade means he is perpetually seen as ‘inane’.
‘It was nearly a year ago now that Sir Percy Blakeney…had astonished fashionable society in London and Bath by bringing home…a beautiful, fascinating, clever French wife.’
The idea that people were surprised he could ‘secure a brilliant matrimonial prize’ is the reason why Percy does not hold his wife’s full respect and suggests he sacrifices not only his safety as the Pimpernel but his respect as Sir Percy.
However, when Lady Blakeney discovers Sir Percy’s true identity, she begins to show true respect for him:
‘As the death of a brave man, through the hand of a woman who loved him, and worshipped him, and who would gladly have died for his sake.’
Lady Blakeney realises Percy is risking his life everyday for people he does not know -
‘She had suddenly found that this enigmatic personality whom she had worshipped, and the man who loved her so passionately, were one and the same.’
-and therefore begins to respect him fully, after realising The Pimpernel, is actually her husband, she can see his admirable qualities.
Throughout ‘One Flew Over The Cuckoo’s Nest’, the protagonist RP McMurphy is seen as a Christ-like figure who is willing to sacrifice himself in order to save the other patients. McMurphy is willingly an inpatient at the psychiatric hospital and from the moment he arrives, begins teaching the repressed patients, helping them to regain their confidence and in time, the ability to see that they do not need to be in the hospital. McMurphy makes the patients realise that it is possible for them to think for themselves, therefore resulting in the destruction of the system and of the ‘Big Nurse’s’ oppressive regime. However, it is the qualities that gain McMurphy respect and make him who he is that ultimately result in his tragic downfall.
Kesey suggests that the patients are in this ward due to the pressures put on them by society to conform and that their madness does not originate with them.
McMurphy is introduced as a foil to Nurse Ratched and her attempt to dehumanise her patients. When he first arrives he begins to challenge the system of the ward. A symbolic example of his rebellion is his attempt to lift the control panel. Both he and the patients know this is an unachievable feat, but he makes the point he tried, something the other men would not think to do, proving society has robbed the men of the natural impulse to endeavour. The decisive occurrence in which McMurphy is portrayed as such is in his attack of Nurse Ratched, consequently leading him to receive a lobotomy. Although he knew his offensive behaviour would lead him there, he was willing to sacrifice himself to save the others. Bromden can no longer accept seeing the usually loud and vibrant McMurphy as a vegetable and so feels forced to euthanize him:
‘He wouldn’t have let something like that sit in the day room…so the Big Nurse could use it as an example of what can happen if you buck the system. I was sure of that.’
This self sacrifice breaks the oppression of the hospital and empowers many patients, giving them the confidence needed to discharge themselves. McMurphy is seen as a saviour as he is responsible for enlightening the patients through teaching them how to regain their individuality.
Therefore it can be seen that the journey each of these protagonists embark on contribute highly to the reader’s understanding of both the novel and the concept of self sacrifice as a whole. Carton’s sacrifice, and ultimate redemption, can be seen as his final act as a saviour figure, resulting in happiness for those he had left behind. Sir Percy Blakeney clearly does not have the respect of his wife, however upon her realisation of his alter-ego, The Scarlet Pimpernel, their relationship begins to redefine itself for the better as she begins to see his admirable qualities. McMurphy’s attempts to enlighten the patients prove him to be a Christ-like figure as his ultimate sacrifice of self results in the breaking of Nurse Ratched’s clinical, oppressive rule.
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