handmaid's tale

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Dystopian literature was the key element to Margaret Atwood’s novel ‘The Handmaids Tale’. The novel itself is a fictive masterpiece in which an imaginary place called ‘Gilead’ in the United States was considered as a ‘nightmare world’.

Atwood defines the Commander in the novel in an idiosyncratic way so that he is significant in the text. The presentation of him gives the sense of ideology of why Gilead was lead to be an unpleasant surrounding and how women were oppressed just to control the declining birth rate caused by the environmental pollution. Commander’s importance is the main theme to explore and how Margaret Atwood presents him for the purpose in ‘The Handmaids Tale’.

The commander himself lacks bland description when Offred first mentions him. This apparently shows that normal men in power can be a threat if this power is not controlled. He has a powerful authority figure in the household ‘but to refuse him could be worse. There’s no doubt about who hold’s the real power’. If Offred doesn’t meet him in the study like he asked, there will be dire consequences; she might be declared as ‘Unwoman’ and sent off to the colonies. She has to obey all his commands just to be on the safe end.

The adjective Atwood uses to describe him was his ‘grey’ hair allowing the reader to know he is of old age. He is presented as an old-fashioned gentleman on his own territory since he is the eldest and has the male power. This image does begin to break down during the novel as Atwood reveals that he was the founder of the Gilead system ‘the problem wasnt only with the women, he says. The main problem was with the men. There was nothing for them anymore’. That was his explanation for all the distress that women suffered and for everything they had lost. He is the immediate agent for Offreds oppression and he holds the responsibility for the totalitarian society. This feature is a necessary convention of dystopian literature as the regime controls everything from liberty to rights.




His strong image soon loosens when Offred meets him in his study and her first impression of him was almost likeable. He was not cruel and he seemed to be a prisoner of Gilead himself just like the women. He wanted genuine companionship and human contact. His acts of rebellion portray this attempt as he asked Offred for a meaningful kiss ‘Not like that’ ‘As if you meant it’. He behaves in a shy, courtly fashion around Offred, which doesn’t resemble the male power figure. He shows his tender side and his emotions unfold. He explains he’s wistful disappointed at the coldness of Offreds kiss showing his desperation for something worthwhile. It’s a parody of a conventional affair. This reveals that Gilead itself is fundamentally flawed and even those who are supposed to benefit are frustrated by it.

Atwood signifies the commander in specific way in contrast to Offred’s life. His affair with Offred is similar to Offred’s affair with Luke before they got married. Offreds past is becoming visible again in an unusual form and circumstance. Even though he is having an affair with Offred he does not understand Offreds problems and how she is coping with the rules and regulations of the regime, which he created. He laughs at Offreds admission that Handmaids put butter on their hands ‘that’s very clever. Butter. He laughed’. Their ingenuity pleases him and doesn’t realise that their lives are under constant scrutiny. He doesn’t emphasise their humiliation by being treated as ‘prize pigs’ and only being considered for their reproductive organs. Only they matter, the rest of the body is a ‘cloud’ transparent, barely visible. This can suggest that the commander is selfish, inconsiderate and self-interested since he has no true sympathy or affinity for Offred. He is trapped in traditional patriarchal assumptions by allowing exploitation of women despite his apparent gallantry towards Offred. He only wants to use her for his pleasure, which he lost himself.

Atwood reinforces him in an adequate way so that he compartmentalises his life. His marriage to Serena Joy is one section that is incomplete because they lack kinship of children. He still works as an enforcer of the rules of the totalitarian state. His role towards the Handmaids are on another basis and he manages to keep all his different sectors distinct from one another and treats them separately even thought they are linked to one another.

Atwood reveals the commander’s acts of kindness by allocating Offred with hand lotion and magazines ‘I have a present for you’ ‘it was a magazine, a women’s magazine’ shows Atwood’s intention to imply that Gilead is the result of both men and women’s decision. His desire at Jezebels, a brothel shows his hypocrisy and his actions were against the religious beliefs. The Gilead he established, the rules he formed he did not accompany showing his contumacy.

In conclusion Margaret Atwood presents the Commander in a precise way mainly showing him being in an unpleasant situation and there is no escapism. His own plan, the birth of Gilead restricts him from the luxuries of a woman that would please his desires hence that is impossible to overcome. His power, authority and high status are meaningless because of him being depressed, lacking friendship and feeling lonely. He posses an ethical problem for women and for himself and his unhappiness leads to him being a prisoner of Gilead’s structure as anyone else. Gilead subjugates both men and women but the Commander has no true understanding of the plight of women and how they are tyrannized. Therefore Margaret illustrates the Commander as a powerful male hence weak and loveless in his own unfortunate circumstances.



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Hypnotic Melody in "Echo"

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Known to early-0th century historians as a prominent Victorian feminist, Christina Rossetti actually lived a quiet, conservative life that was greatly affected by her staunch adherence to the doctrines of the Evangelical branch of the Church of England. Two separate engagements to be married were broken due to religious differences. Rossetti was not able to overcome these disagreements with any potential spouse; she was never married and lived as a recluse for the last fifteen years of her life. Perhaps because of these obstacles in the path of her romantic life, a major theme demonstrated in Rossetti’s poems is the longing for true, lasting love. From an early age, she also suffered from several severe health problems, including a mysterious disease, which was diagnosed sometimes as angina and sometimes as tuberculosis. She was eventually to die of cancer at age 64. It is possible to speculate that because of her health problems, Rossetti constantly felt that her death was impending. This would explain the preoccupation she seems to have had with death and its potentials; in fact, she wrote several poems from the standpoint of someone already passed into the realm of the dead. “Echo” draws on both familiar themes of death and lost love. The elements of style prevalent in the poem are invaluable in conveying the dreamlike tone of the poem.

The first stanza begins with an invitation to the lover to return at night, in the form of a reverie. The stanza begins explicitly, “Come to me in the silence of the night;” (1) and repeats the request “come” at the beginning of each of lines one to three, and line five. The immediate and clear entrance of repetition provides a commanding introduction to the poem’s melodic tone. This instance, however, is the sole occurrence of repetition in the poem until the idea of death is introduced in the second stanza.

Another element of style introduced in the first stanza and continued throughout the poem is the prominence of assonance. Although not featured as heavily in the first stanza as in the last two, the effect of alliteration is unquestionable and significant. Among the most noticeable instances of assonance are the repetition of the “o” sounds in “O memory, hope, love of finished years.” (6), and the interlinked “o”, “i”, and “e” sounds in “That opening, letting in, lets out no more” (1). These occurrences serve the crucial purpose of linking their respective words, allowing the poem to become a fluid, collective piece. The profound effect of assonance in the first stanza of “Echo” becomes clear when one considers the alternatives. If, for example, Rossetti had chosen close synonyms in the place of several key words, the feel of the poem would have been quite different. “O memory, hope, love of finished years.” (6) might become “O remembrance, faith, desire for finished years.” While the meanings of the individual words are extremely similar, the tones evoked by the two lines are completely different. The altered line is choppy and does not flow at all. The original, however, is an entirely different story; the linked vowels create a smooth, streamlined, and indeed dreamlike mood.

One more component adding to the melodial quality of the poem is the distinct form. There are three stanzas; each stanza is composed of a quatrain with alternating rhyming lines (in other words, pattern ABAB) followed by a couplet. Rossetti constructed this piece in iambic meter of alternating lengths. In general, each stanza follows a pattern of three lines of iambic pentameter followed by one line of iambic trimeter. A line of iambic dimeter follows the line of iambic trimeter, and each stanza is concluded with a final line of iambic pentameter.




This pattern, however, is slightly varied in the second stanza. Instead of the pattern just discussed, both the second and sixth lines of the stanza (lines eight and twelve) contain an extra unstressed syllable, creating a feminine ending and departing from the overall masculine trend of the piece. Lines eight and twelve both introduce a rather somber aspect of the poem. Their reunion should have occurred in Paradise, says the speaker in line eight, implying that the two are destined for different afterlives. Not only are the lovers separated by their current situation, but apparently they will never be reunited, even in Heaven. Interestingly, Rossetti seemed to live her mortal life in such a way as to avoid this plight; extremely devout in her Anglicanism, she rejected two fianc�s because they were not “Christian” enough. The twelfth line creates a vivid and distressing image of one lover waiting inside the gates of Paradise, waiting for her loved one to enter; however, she can not exit to find him on earth. Both these lines illustrate the permanence of the lovers’ plights, and the departure from the overall iambic meter of the poem helps to accent this permanence.

The temporary modification of the meter is not the only change that occurs in the second stanza. A noticeable increase in the amount of repetition throughout the poem also begins in the seventh line. “Oh dream how sweet, too sweet, too bitter sweet,” (7) says the speaker; while the words of the first stanza are melodious and pleasant, this is the first indication that the “dream” of reuniting with her lover is impossible. The repetition of “sweet” alerts the reader to the poet’s hopelessness. While “sweet” carries positive connotations, “too sweet” holds a warning that something must be amiss; “too bitter sweet” provides an assessment of the dream that is definitely negative, although the reason is at this point unknown. It is difficult to miss the prominent use of repetition in the first line of the second stanza, and this use makes it also difficult to miss the change in attitude.

The repetition re-introduced here continues and gradually increases throughout the last part of the poem, ending with three lines entirely dominated by repetition. Rossetti writes “Pulse for pulse, breath for breath Speak low, lean low, As long ago, my love, how long ago” (16-18). The reiteration of “pulse”, “breath”, “low”, and “long ago” punctuates the lines; they seem to create a lasting image of the permanence of the lovers’ plight. The four phrases are repeated methodically, rhythmically, and utterly sadly. The repetition conveys an image of a person in a trance, whether it is the trance of sleep or that of death. While heartbroken by the turn of events that has befallen them, the speaker makes no effort to convey hope in the future. She knows that there is as little chance of reunion as she believes there is of changing the laws of Heaven and Hell.

Written in 1854, after her first broken engagement but before her second, Rossetti writes “Echo” in the form of a dream of a lost lover. Most notably, she makes use of a strict rhyme scheme, assonance, and iambic meter to create a lulling, melodic rhythm reminiscent of the persuasive dreams that are had every night, countless times across the world, by romantics dreaming that their former lover has returned. It is after the second stanza begins, however, that a heavy pattern of repetition becomes more obvious and the poem begins to take on a more sinister import. The reader recognizes that the speaker of the poem is not an average dreamer, but rather a departed woman longing for her former lover, who remains among the living. While the sounds of the alliteration and assonance that are prevalent throughout the poem contribute a sensual, dreamlike quality to the poem, the appearance of significant repetition in the second two stanzas punctuates and explicates the poem’s morose undertones.

References

“Christina Rossetti An Overview” http//www.victorianweb.org/authors/crossetti/crov.html

“The Dead Woman Talks Back Christina Rossetti’s Ironic Intonation of the Dead Fair Maiden” http//www.victorianweb.org/authors/crossetti/gpl1.html G.P. Landow.

“Love as an Influence on Christina Rossetti” http//www.victorianweb.org/authors/crossetti/rossetti.html. From The Romantic Imagination, C. M. Bowra. December 18.

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George Orwell

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A Comparison between Orwells Concerns and methods of making his points with Swifts

A Comparison between Orwells concerns and methods of making his points with Swifts

Eric Arthur Blair, now more commonly known as George Orwell was born in India in 10, and his father was an official in the Indian Civil Service. Throughout Orwells childhood he felt a deep sense of isolation, a factor to later influence his writing. In 111 he was sent to a boarding school on the Sussex coast where he was distinguished by his poverty and intellectual brilliance.

He grew up a morose, eccentric boy and in 15, wrote of his miseries in an autobiographical essay, Such, Such Were The Joys.




Orwell won scholarships to Winchester and Eton. He chose Eton and stayed from 117 to 11, and during this time published his first writing in college periodicals. Despite being offered a scholarship to University, Orwell became an Imperial servant at Burma in 1, serving in a number of countries.Yet he had a desire to become a writer, and when he realized how much the Burmese were ruled by the British against their will, he felt increasingly ashamed of his role. He later recalled his experiences and reactions to Imperial rule in his novel, Burmese Days and in two autobiographical sketches, Shooting an Elephant and A Hanging.

In 17, Orwell retired his post and left Burma, choosing to live among the poor, outcast people of Europe. He resided for some time within the slums of England and France. These experiences were conveyed in, Down and Out in London and Paris where he voiced his concerns for those worst off in society.

Orwells politics as a socialist writer became progressively more anti-Communist and also patriotic. After his failing to enlist in World War II, due to grounds of ill health, Orwell joined the Home Guard and increased his journalistic output. He became the literary editor of the Tribune and as did Swift, contributed articles to many papers.

Orwell had a family life, and after the death of his first wife in 145, married Sonia Brownwell and moved to a Scottish Hebridean island also with his sister and adopted son. However, in 150 his health had gradually declined and Orwell died of tuberculosis a few days before hoping to visit Switzerland to improve his health.

Orwells first popular success Animal Farm was published in 145. It conveys political tyranny and its effects on a society. As the title suggests the novel is set on a farm, detailing the farm animals struggle with the farms manager to achieve an equitable, sharing and harmonious community. Orwells motivation lay within his life experiences and influences, as did Swifts. The two novelists had each experienced different forms of power and regime, yet both were able to express and convey the flaws of these authorities in different styles.

Today, Swifts novel would be unbelievable in the context that he wrote it. However, by using this approach, he managed to avoid political retribution. Orwell in comparison, expressed his views, but in an unbelievable style to add interest and amusement. I write it because there is some lie I want to expose, some fact to which I want to draw attention, and my initial concern is to get a hearing. But I could not do the work of writing a book, or even a long magazine article, if it were not also an aesthetic experience.

As with Gullivers Travels, Animal Farm can be read on different levels. It is subtitled a fairy story, drawing the readers attention to the artificial aspects, yet we know it is not a fairy story as there is no happy ending. The reader, by being drawn in has to look closer, exploring and interpreting the true intentions of Orwells writing. Orwell uses animals to make serious moral points. Another example of this is Aesops Fables where the characters do not behave naturally or realistically but are symbolic of certain human attitudes and ideas.

Although Orwell satirizes dictatorship and individuals abuse of power in general, there are many points the novel makes that correspond with the Soviet Union and events following the fall of the Tsar in 117. A few examples of this include many of Marxs ideas lying within Majors speech, the failed attempts to create an equal society, the disagreements between Stalin and Trotsky that correspond with the animals Napoleon and Snowball, and the increase of Stalins, and therefore Napoleons power, in the use of terror and propaganda in becoming a dictator.

Swift satirizes human nature in general, but of individuals putting him and his friends down rather than the society around him, perhaps creating more of a personal retribution in his writing.

Orwell struggled throughout the majority of his life and received conflict at the hands of power, whereas Swift generally had a more comfortable upbringing receiving hardships at the beginning, yet with personal disagreements throughout. Orwell and Swift both satirize the abuse of power and suggest the moral of human nature, that Utopias are not possible due to the flaws that will always be found and created by individuals.

Orwell once said, Totalitarianism has abolished freedom of thought to an extent unheard of in any previous age. He believed this idea was achieved by forbidding freedom of thought or action but also by telling the people exactly what to think.

This is demonstrated in Animal Farm right from the start where Majors statement, whatever goes upon two legs is an enemy has been condensed to four legs good two legs bad in order that the unintelligent sheep could understand the principals of Animalism. This simplification caused its loss of meaning, and later has appalling implications, when used to drown out or prevent uproar and revolt. This parodies the less intelligent masses of the Soviet Union and the disregard of attention to these peoples understandings of events.

There are indications that the proposed utopia will never materialise. The animals society is not an equal one as three pigs are seen immediately taking the best positions in the barn. Some animals are protective to others, whilst others seem intent on fighting amongst themselves. The irony of the first chapter is clear in that it establishes through Majors speech an idealistic vision of the future in contrast of the suffering under Jones. The eventual progress of Animal Farm shows that as the pigs distort Majors ideas, they alter and corrupt the principles of Animalism

The element of realism is introduced by the first actions of the dogs, directly after Majors speech where they attack the rats. This openly contradicts what Major has just stated. The rats represent the majority of the rural peasants whom the revolutionaries tried to shape to their views. Orwell suggests here that human behaviour is essentially selfish and ruthless. Swift made the same point when Gulliver discovered how the court were planning to blind and starve him slowly to death.

In Animal Farm the equality Major emphasized so much is jeopardised by the pigs greater intelligence, with their superior knowledge it was natural that they should assume leadership. By becoming the farms administrators, the pigs avoided physical work. Orwell suggests here that there is not equality, labour not being equivalent to brainwork.

Napoleons rise to power begins from his nature, a large, rather fierce-looking Berkshire boar, the only Berkshire on the farm, not much of a talker, but with a reputation for getting his own way. This description implies power through aggression, which is exactly what happens. When Napoleons dictatorship is threatened by Snowball from the animals preference to his idea of the windmill, he is chased out of the farm by the nine dogs. Napoleon, who generally represents Stalin, saw Snowball, representing Trotskys strategies, and his attempts to educate the other animals, as a threat. He understood that if he kept the animals unintelligent, they would be easier to control for his own benefit, rather than the farms.

It is clear these are his intentions from the start, privately rearing the nine puppies. The nine dogs represent the secret police that silenced, many by death, any rebellious individuals. Their presence in the novel adds a sense of fear and darkness that symbolises corruption, while their actual contribution, is by fighting in the battle of the windmill, and even this is beneficial to Napoleons leadership.

Boxer, the hardest working animal on the farm, who is universally respected represents the lower class, hard working society of Russia, without him the farm would not succeed. His two maxims, I will work harder and Napoleon is always right are both results of his experiences at the hands of dictatorship and limits his thought. There is again no thought given to his feelings or emotions, and even his retirement is exploited to the advantage of the pigs.

The pigs use of language makes the suffering of the animals sound acceptable. This is the use of propaganda. Squealers use of this is crucial to Napoleons success in convincing the animals of Napoleons fitness of power and validity for the apparent sacrifices made. Many words and even whole speeches are not fully understood by the animals, and they are not questioned, due to the convincing act Squealer puts on. The threat of the nine dogs, their own vain hope that things are okay, and that their faith in their leaders, prevents them seeing themselves being systematically betrayed.

Propaganda was used throughout the Russian revolution and this is the point Orwell is making, that the shameless use of it has conflicting effects.

Humour is used in both novels to similar effect. In Gullivers Travels, toilet humour is used throughout, to ease myself with making water; which I very plentifully did. This is rare in any writing but Swift continually refers to it, which is quite shocking to the reader. Swift describes his actions with the same tone and format that he uses throughout the story, thereby creating the ironic humour. Orwell similarly applies humour but with greater subtlety, with some difficulty (for it is not easy for a pig to balance on a ladder) Snowball climbed up. Here the reader can imagine the event Orwell has described, which creates the humour. The idea of including humour teaches the reader to study other ideas, specifically the satirical aspect.

Both Orwell and Swift wrote about politics. The treatment they received at the hands of those in power influenced their writing. As Orwell once said, Every line of serious work that I have written since 16 has been written, directly or indirectly, against totalitarianism and for democratic Socialism.

Orwell suggested that language had to try, as far as possible to reflect the truth of an issue. In his writing style, thoughtless language and complex writing was avoided, and straightforward wording used. This technique was used in the hope of not misleading the reader and helped make the message as clear as possible. There is the satirical parody here of the contrast of how political writing is often distorted and purposely relays false meanings. Swift was not able to do this with the same impact. This was probably due to the fact, that by making his point too obvious, he would endanger himself from the people he was satirising, this creates a sense of irony.

The main point that both these novels compare on is the great irony in the general outline of each story. Gullivers Travels tell us of the supposedly successful, civilised people of Lilliput. Gulliver exposed them as corrupt, disloyal and animal-likes individuals. Animal Farm however, tells us of these apparent, well-meaning and thoughtful animals that are exposed as having careless, slovenly and corrupt human characteristics.

Despite several hundred years separating the two authors, there are many similarities and contrasts between Gullivers Travels and Animal Farm. The novels were both very successful and were appreciated by a wide audience.

On a personal level I found, Gullivers Travels and Animal Farm equally appealing. I was surprised to find how subtle techniques, use of language and the general style, left me to interpret the writers intentions. Both novels are exceptional and have inspired me to find and explore similar styles of work.



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How can war be prevented?

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Nowadays, when we hear the word “ war “, we first imaged a lot of terrible consequences such as famine, death and so on. However, someone seem not understand thoroughly with the pain of others. They are not hesitating to make wars (a major armed conflict between nations or between organized groups within a thousand or more people are killed) to satisfy their ambitions.

When you hear the world “war”, you first though may be of armies form tow opposing nations clashing with each other. How ever, this definition doesn’t best describe present-day wars, which are more likely to be Civil Wars or wars of terrorism.

In attempting to prevent war, pacifists must achieve four principal goals. A climate of feeling favorable to peace must be established; the potential causes of conflict, inherent in such factors as economic competition, the quest for power, and fear of foreign domination, must be eliminated or minimized; means for the settlement of disputes must be provided, as in mediation, arbitration, and trial procedures; and, finally, ways must be found to ensure observance of the settlements that are made. Several distinctive approaches to achieving these goals have been advanced.

The U.S. government also began a war on terrorism targeting both terrorist organizations and governments that supported them. Their first action was to lead a military operation with an international coalition into Afghanistan. There, they worked to eliminate al-Qaeda, the terrorist organization responsible for the September 11 attacks, and to topple the Taliban regime, the government that had given refuge and support to al-Qaeda. By 00, the Taliban regime had fallen, and al-Qaeda members had scattered. The United States pledged to continue its fight against terrorism throughout the world.




When the United States is not involved in war, Americans tend to think that the era is one of relative peace. Yet at any point in time, the world experiences a large number of armed conflicts, including both wars and minor armed conflicts. A war is defined as a major armed conflict between nations or between organized groups within a nation in which 1,000 or more people are killed (Renner 17). Minor armed conflicts may involve the same kind of weapon and fighting, but they result in fewer deaths. In the year 000, wars or minor armed conflicts occurred in 4 nations in Asia, Africa, and South America, and resulted in seven million deaths (most of them civilians) (Renner 001).

As you see, a precarious balance exists between natural resources and the growing demand for energy. This means that conservation of natural resources throughout the world is essential; but there is a contradiction between this need and the willingness of people to engage in war, for war always involves a certain amount of environmental destruction. Increasing sophistication in weaponry and increasing power of destructiveness have made wars more disastrous for the land

Marxists also argue that war has an economic basis. The Marxist view is that war is a chechanism for maintaining inequalities in a struggle for control of raw materials and markets. The inequalities are necessary because capitalism requires an ever-expanding market it endures. Warfare is one way to ensure that a nation will have control over adequate resources and an expanding market. Consequently. war is an inevitable outcome of capitalism.

Social structural and social psychological factors help bring about war, terrorist, and activities and motivate people to support them. Economic factors are involved in wars and terrorism. Military spending is highly profitable to some industries, and people who profit from such spending tend to exercise considerable power in the government. Severe economic inequality between racial, ethnic, or religious groups within nations can give rise civil war or terrorism.

In conclusion, my nation, a country that spent too many wars, so I now how risk war bring to civilian. It is easy for our to live in terrible environments. Therefore, war and terrorism are very dangerous for human, so we must prevent it as much as possible.

SOURCE

1. Microsoft Encarta 00, key word “WAR”.

. “Social problem and The quality of life” book.



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