All literary works are connected in some way, be it story details, themes, character names, or style. Professors and other literature analysts call this continuing interaction and intertwining of works intertextuality. One example of intertextuality that has helped me in my reading is recognizing character similarities through different works. By recognizing certain situations that characters are involved in, several conclusions can be drawn. Take for instance Harry Potter and Aragorn, two completely dissimilar characters on the surface, yet strangely alike. Both have destinies set for them before they knew themselves; both have to lead diverse groups of people in difficult tasks to accomplish a main goal; both come into close contact with their gravest enemies (Voldemort and Sauron, respectively), both revealing themselves to their enemies and overcoming them in the end. By a younger author-J.K. Rowling- giving her main character traits of another, older author's-J.R.R. Tolkien- main character, she presents familiarity that allows the reader to both embrace the story as an old friend and also find enough new themes to keep the reader interested. By having the new and the old, a reader like me will both be intrigued by the new and comforted by the old, like a favorite book just in a new cover. One of an author's hardest jobs is to keep the reader entertained while pushing the envelope, and character allusions help to accomplish this.
Another example of intertextuality is author's reworking familiar stories into new stories, often with the same characters and situations just altered in clever ways. One of the most popular examples of this treatment to a work is the movie O, Brother Where Art Thou? The movie is a take on Homer's Odyssey, just set in early 1900's Mississippi. The main character is named Ulysses, he is on a quest to reach home before suitors steal his wife, and he is attacked by a very large man with one eye- a cyclops. Same story just cleverly tweaked. By reworking the situations to translate from a Greece-setting to a Mississippi setting, allowing both new comers to enjoy the movie without a knowledge of the Greek epic. As both a reader and a watcher, this reworking helps to accentuate parts of the epic that may have been looked over originally or to enlighten the reader to certain themes they missed the first time. By looking at how all texts are connected, the reader (myself) can understand what I am reading and foster a deeper appreciation for the literary work.
In Chapter 7, Foster discusses the common practice of authors alluding to the Bible in their works, a practice that Foster illustrates with examples such as East of Eden, Pulp Fiction (oddly enough), and Toni Morrison's Beloved. One of the most prominent examples of Biblical allusion in literature that was not mentioned in the chapter occurs in C.S. Lewis' The Chronicles of Narnia. This allusion allows the reader to appreciate the text on a much deeper meaning than just the story itself conveys (which is excellent by the way). In the first book of the Narnia series, The Magician's Nephew, two children, Diggory and Polly, find a door to a strange land, full of animals and people, that they see created before their eyes by a massive lion, Aslan. After the creation- see the allusion?- an evil witch finds the children and attempts to convince them to aid the witch in overthrowing Aslan. The only difference between this tale and the story of creation in the Bible is that Diggory/Adam and Polly/Eve do not help the witch/serpent to counter God's/Aslan's wishes. Now if that is not enough allusion take The Last Battle, in which Narnia is in an uproar over a gorilla parading a donkey wearing a lion skin around as Aslan, causing the residents of Narnia to take sides on their beliefs and either join with the gorilla or become rebels who stay true to Aslan, risking their lives. This parallels nearly perfectly with the book of Revelation, giving the story a mystique and threatening edge that has interested readers for centuries. By alluding to the Bible, Lewis presents stories styled like those we have heard for years since we were young children, but also transformed enough to not be repetitive and keep our interest. These parallels affect our reading by allowing the readers to delve a deeper meaning from a work and to appreciate the author's writing. These parallels help me in reading the books to have a greater understanding of the story, almost like a guide to the story to reference when certain elements twist together and the book seems to be written in Latin. I also feel intelligent when I find the allusions and know how they impact the story.
Saturday, June 25, 2011
Friday, June 17, 2011
A Quest at Once Familiar Yet Different...
In all literature, there is one common occurrence that is older than literature itself, more than likely: the "Quest." Many of the greatest stories of all time are quests- The Odyssey, The Lord of the Rings, Of Mice and Men, and on, and on, and on until we become exhausted from listing so many titles. All quests are not obvious enough to really think of the stories as "quests", but all quests have five basic elements: a quester, a place to go, a stated reason to go there, challenges and trials en route, and a real reason to go there. To prove this concept of how every story can be a quest, I will apply this process to one of the many books I have read recently: The Children of Hurin by J.R.R. Tolkien.
a. The Quester- Turin, son of Hurin, who (as a child) was sent to the Elven country from his home in Dor-lomin to escape the wrath of the Northenlings that were invading after the capture of Hurin by Morgoth; he is young, does not know much about the world other than the world he experienced by his father's side.
b. A place to go- Turin was sent to the elven land of Doriath to plead for mercy and shelter from the elven King Thingol, an ally of Hurin's from previous wars. Turin arrives at Doriath but ends up travelling for a majority of his life all over Middle Earth, in order to discover his true purpose and to find his place in the world.
c. A stated reason to go there- His mother Morwen wanted to protect him from the invading Easterlings and to spare Turin the pain of becoming a slave. Because Hurin was imprisoned at Angband, the lair of Morgoth, Hurin could do nothing to help his family through this time, leaving Morwen to send Turin away to one day return and help free both his father and his home.
d. Challenges and trials- Turin faces hardship not long after arriving in Doriath; he is accepted into the city by King Thingol, and even accepted as Thingol's own son, but many of the elves resent him because they feel that he has not earned the right to bear this title. This starts Turin in a spiral of warfare, misunderstandings, banishment, the unintentional death of comrades and friends, reacceptance as the leader of a group of bandits, conflicts with the feared dragon Glaurung (also destroying his sister and mother in the process), leading a tribe of woodmen into battle, and ultimately ending in his death at his own hand.
e. The real reason to go on the quest- While Hurin was trapped at Angband, Morgoth cursed Hurin and his entire family and line, so they would meet their end while Hurin was helpless to prevent the tragedies from unfolding. Turin's main quest after reaching Doriath was the pursuit of a way out of this curse- running, disguising himself and his name, all to prevent his inevitable doom from falling down around his ears. By always moving, reinventing himself, fighting against the forces of Angband with any group that he came into contact with, Turin hoped to delay or eliminate the curse. Many times he seemed to have done just that when a new tragedy presented itself, destroying what Turin had worked so hard to accomplish. Turin's quest was a never ending affair, a road becoming longer each time he nearly reached the end of it. Turin finally realised this concept at the moment of his greatest despair, deciding to end the journey then and there with his sword.
This quest is just one of many in the hallowed halls of literature and lore, also one of the more straight forward quests. But it is a quest none the less, this one ending in tragedy, not triumph.
a. The Quester- Turin, son of Hurin, who (as a child) was sent to the Elven country from his home in Dor-lomin to escape the wrath of the Northenlings that were invading after the capture of Hurin by Morgoth; he is young, does not know much about the world other than the world he experienced by his father's side.
b. A place to go- Turin was sent to the elven land of Doriath to plead for mercy and shelter from the elven King Thingol, an ally of Hurin's from previous wars. Turin arrives at Doriath but ends up travelling for a majority of his life all over Middle Earth, in order to discover his true purpose and to find his place in the world.
c. A stated reason to go there- His mother Morwen wanted to protect him from the invading Easterlings and to spare Turin the pain of becoming a slave. Because Hurin was imprisoned at Angband, the lair of Morgoth, Hurin could do nothing to help his family through this time, leaving Morwen to send Turin away to one day return and help free both his father and his home.
d. Challenges and trials- Turin faces hardship not long after arriving in Doriath; he is accepted into the city by King Thingol, and even accepted as Thingol's own son, but many of the elves resent him because they feel that he has not earned the right to bear this title. This starts Turin in a spiral of warfare, misunderstandings, banishment, the unintentional death of comrades and friends, reacceptance as the leader of a group of bandits, conflicts with the feared dragon Glaurung (also destroying his sister and mother in the process), leading a tribe of woodmen into battle, and ultimately ending in his death at his own hand.
e. The real reason to go on the quest- While Hurin was trapped at Angband, Morgoth cursed Hurin and his entire family and line, so they would meet their end while Hurin was helpless to prevent the tragedies from unfolding. Turin's main quest after reaching Doriath was the pursuit of a way out of this curse- running, disguising himself and his name, all to prevent his inevitable doom from falling down around his ears. By always moving, reinventing himself, fighting against the forces of Angband with any group that he came into contact with, Turin hoped to delay or eliminate the curse. Many times he seemed to have done just that when a new tragedy presented itself, destroying what Turin had worked so hard to accomplish. Turin's quest was a never ending affair, a road becoming longer each time he nearly reached the end of it. Turin finally realised this concept at the moment of his greatest despair, deciding to end the journey then and there with his sword.
This quest is just one of many in the hallowed halls of literature and lore, also one of the more straight forward quests. But it is a quest none the less, this one ending in tragedy, not triumph.
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