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BEGE-108

Reading the Novel

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Answer all questions.

1. Write short notes on any two:

(i) Origins of the English Novel.

SOLUTION Of the two ancestors of the novel - the epic is the order form. An epic is a long narrative poem about the
deeds of brave warriors and heroes who are 'larger than life'. The epic poem has a heroic story to narrate and
incorporates within it the myth, the legend, folk tales as well as history. Epic poems deal with the history of a country/a
clan. In the western tradition there are two types of epics.

A) Primary
B) Secondary

Primary epics by and large belong to the oral tradition whereas secondary or literary epics belong to the written form of
literature. Homer's Iliad and the Odyssey, Beowulf and Gilgamesh are important examples of the primary epic, while
Virgil's Aeneid and Milton's Paradise Lost are fine illustrations of the literary epic. In India we have the Ramayana and
the Mahabharata as well as Kalidasa's Avigansh Shakuntalam and Meghdoot, which are counted among the classics of
world literatures. The epic tradition has come down to us in a very unique manner. For instance, in the last hundred
years or so, the cinema has been the favoured media for narratives on an epic scale. Novels such as, Herman Melville's
Moby Dick (1851)' Tolystoy's War and Peace (1865 - 72), Anna Karenina (1 875 - 76) and James Joyce's Finnegans Wake
(1 93 9) have all been made into films.

The romance was a literary form that was popular in medieval times. In the 13h Century a romance was an adventure
story usually of love or chivalry, and it was written in verse. It must be remembered that the romance is primarily a
European form, and about characters that live in a courtly world. The word romance itself is suggestive of the elements
of fantasy, improbability and extravaganza, as well as love, adventure and the marvelous and it was written in verse.
However, over time it came to be written in prose. During medieval times there were three cycles –

a) The matter of Britain that dealt with the stories of the Legend of King Arthur and his Knights of the Round Table.
b) The matter of Rome that told the stories of Alexander the Great, the Trojan wars and the House of Thebes.
c) The matter of France that narrated the tales of the bravery and chivalry of King Charlemagne and his Knights.

Most of you may be aware of the novel The History of Tom Jones, the Foundling by Henry Fielding. This 18' century
novel is written in the picaresque tradition with a 'picaro' or rogue for a hero/protagonist and the novel deals with his
escapades. So essentially what I am trying to tell you is that the novel had three predecessors:

a) The Epic
b) The Romance and
c) The Picaresque Narrative

(ii) Types of characters.

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SOLUTION

There are several ways of classifying characters but ultimately it boils down to Forster's classification of Flat and Round
characters that are easily and readily distinguishable and identifiable. Let us deal with flat characters first .

Flat Characters are usually built around a single idea or quality. They are often presented rather cursorily in a single
phrase or sentence and so does not go beyond a mere outline. They derive from a sense of collective identity from the
type or group (social or literary) to which she/ he belongs. So, words, deeds and attitudes are dismissed as quirks of the
class. And finally, flat characters are two- dimensional and so do not undergo change in the course of a novel.

Round characters on the other hand are a combination of several ideas or qualities. They are sketched in detail rather
painstakingly and may require an extensive treatment. They do not derive from any group. They have a distinct sense of
personal identity and are often responsible for their words, deeds and attitudes. And lastly, round characters are three-
dimensional and have the power to surprise us through an unexpected (though not totally improbable) act of
transformation.

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(iii) Plot and types of plots.

SOLUTION Do yourself

(iv) Form and content in a novel.

SOLUTION Do yourself

2. How would you analyse the two parallel plots that exist in the structure of A Tale of Two Cities?

SOLUTION

A TALE OF TWO CITIES: LITERARY ANALYSIS

PLOT STRUCTURE ANALYSIS

The immense popularity of A Tale of Two Cities lies in Dickens’ ability to simultaneously and graphically structure the
revolution in France with the development of characters like Dr. Manette, Lucie, Darnay, Madame Defarge, Sydney
Carton, and Miss Pross. Dickens realistically depicts the revolution and keeps the historic events in the forefront; the
major events of the plot are made to coincide with the historical events, such as the fall of the Bastille, the killing of
Foulon, and the Reign of Terror.

The fact that this novel was serialized explains the method of narration. Suspense and mystery appear at regular
intervals throughout the novel in order to retain the interest of the reader between installments. The novel is divided
into three books entitled "Recalled to Life," "The Golden Thread," and "The Track of the Storm." It covers approximately
eighteen years from 1775-1793. Dickens must masterfully weave the plot to hold the story together over such a long
period of time.

Book One begins in London and has as its starting point the discovery that Dr. Manette is alive. Lucie travels to Paris to
meet her father for the first time and bring him back to London. Her plan is to nurse him back to health and happiness.
In Paris, Dickens depicts the growing restlessness among the revolutionaries, with scenes such as the broken wine cask.
There is also an introduction to most of the main characters, including father, daughter, Mr. Lorry, and Mr. and Mrs.
Defarge.

In Book Two the plot is divided between London and Paris. There is hardly any action in the first half of Book Two, for it
is largely devoted to vivid descriptions. The trial of Darnay in London is significant because it foreshadows his later trials
and brings all the major characters together for the first time in the novel. From Book Two forward, all of them -- Mr.
Lorry, Sydney Carton, Dr. Manette, Lucie and Darnay -- are going to find that their destinies are intertwined. When the
scene shifts to Paris later in Book Two, the plot gains momentum. The death of the child in the street and the revelation
that Darnay is the nephew of the Marquis are important plot advancements. The murder of the Marquis is the climax of
this section of the novel and indicates the inevitability of the revolution. The action then returns to London where
Darnay, Mr. Stryver, and Carton are all suitors for Lucie's hand. The incidents of Roger Cly's funeral and Jerry Cruncher's

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domestic life, though seemingly irrelevant, are vital to the advancement of the plot. Back in Paris, Gaspard's hanging and
the storming of the Bastille rush the plot forward.

In Book Three, the plot takes a dramatic turn with Darnay's return to Paris. Though it covers a period of almost one and
half years, the momentum and suspense are maintained with Darnay's imprisonment, his release with Dr. Manette’s
help, and his subsequent re-imprisonment due to the clever machinations of Madame Defarge. The second trial is the
turning point of this section, for the letter that Dr. Manette had concealed in his cell is produced as main evidence to
condemn Darnay. It looks hopeless for Darnay, until Sydney Carton decides to sacrifice his life to save Lucie’s husband
and ensure her happiness. The final climax is reached when Madame Defarge meets her untimely death, ensuring the
safety and happiness of the Darnays at long last.

In order to hold this long and complex novel, spread over many years, together, Dickens’ uses a variety of techniques.
He intertwines the lives of all of the characters in an ingenious way. Defarge was a servant to Dr. Manette, who is Lucie’s
father. Darnay, who is an Evremonde, falls in love with Lucie and marries her, in spite of the fact that Dr. Manette wants
revenge on the Evremondes, who are responsible for his unjust imprisonment. Sydney Carton is also in love with Lucie
and pledges to do anything necessary to ensure her happiness. When the revolution breaks out in France, Darnay
returns to his homeland to help one of the Evremonde servants. When he is arrested and imprisoned, largely due to the
efforts of the revolutionary Defarges, Dr. Manette and Lucie rush to his aid. Dr. Manette uses his influence with the
patriots in France to have his son-in-law freed. Madame Defarge, however, is determined to have all the Evremondes
executed, since the family is responsible for the deaths of her brother and sister. She has Darnay re-arrested and plots to
kill Lucie and her daughter as well. Dr. Manette is unable to save his son-in-law the second time, so Sydney Carton steps
forward to make good his promise. He sacrifices his life to free Darnay and ensure Lucie’s happiness. Madame Defarge,
hoping to find a reason to arrest Lucie, goes to her lodging and struggles with Miss Pross, Lucie’s nurse. In the scuffle,
Madame Defarge’s gun discharges and kills her instantly. With all loose ends solved, Dickens can allow Lucie and Darnay
to return to Paris and live in peace and happiness.

Dickens’ also uses repetition to hold the plot together. Darnay must endure three trials during the course of the novel,
each more demanding and for increasingly more serious charges against him. Madame Defarge is repeatedly seen
throughout the Parisian scenes. She is always knitting, as are many of the other female revolutionaries. The garret room
that housed Dr. Manette is repeatedly seen in the book, for Defarge often does his revolutionary plotting and planning
there. Dr. Manette suffers relapses throughout the book and returns to his cobbler’s bench. Sydney Carton saves Darnay
two different times, even though the young nobleman does not value the “worthless” lawyer. Jerry Cruncher and
Tellson’s Bank weave in and out of the novel, both in London and in Paris. Most importantly, the theme of resurrection
is repeatedly seen, with the rescue from death of Dr. Manette, Darnay, and others; even Sydney Carton is resurrected by
his noble sacrifice. Such repetitions marvelously stitch the complicated plot into a whole fabric.

Despite the broad space of time, the dual locations, and the many flashbacks, the plot advances in a somewhat bell-
shaped curve. The opening book is largely introductory in nature and expository in style, describing the setting,
foreshadowing the trouble in France, developing the personalities of the major characters, and introducing the
framework of the plot. In Book Two, the plot rushes forward in rapidly rising action, with the revolution reaching the
crescendo of the storming of the Bastille. Many sub-plots and minor climaxes occur during the rising action, including
Darnay’s release from prison on two different occasions and under two divergent circumstances. Even though he is a
free man thanks to the noble sacrifice of Sydney Carton, Darnay has still not obtained safety for his wife, his child, and

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himself; and as long as Madame Defarge is alive, their existence will be endangered. The plot then reaches its ultimate
climax when she is accidentally killed, allow the Darnays to return to London. After Madame Defarge’s untimely death,
there is brief falling action as Lucie and Darnay resettle their lives in London. To conclude the novel, Dickens reveals that
the Darnays have a son who they proudly name after Sydney Carton. In the end, the novel is much like the beginning - in
a quiet domestic setting in London; the plot has come full circle.

3. Comment on the universality of Achebe’s Things Fall Apart.

SOLUTION Confronted with a global conscious filled with hazy, negative conception of the African reality, appalled with
such one sided works as Heart of Darkness and Mr. Johnson, Chinua Achebe determined in 1958 to "inform the outside
world about Ibo cultural traditions". One can appreciate then, Achebe 's inclusion of universal themes and concepts in is
novel as a means of bridging the cultural gap with his audience and reiterating that Africans are in the end, human, just as
members of any other race. Woven throughout the text of Things Fall Apart are universal themes in the form of images,
concepts, and situations. Some may hold that the novel is not a universal one, sighting inexplicable, foreign practices
Achebe includes in the book without completely explaining them, (e.g Unoka 's approach to his debtor, the unspoken laws
of apology/ the kola nut), if he meant to give the novel a universal appeal, why did he include strange practices particular
to Igbo culture? One must not forget that one intent of Achebe was to present Igbo culture through more objective eyes,
and also through native eyes as had yet to be successfully done. By leaving the reader to draw logical conclusions of their
own with these matters, he also succeeds in challenging his reader to examine such idiosyncrasies of his own culture, as is
demonstrated in the discussion between the chief and original missionary Mr. Brown in which Achebe juxtaposes wooden
idols and masked gods with the holy trinity. The success of Things Fall Apart can be attributed to the strategies Achebe
employs in his story telling. Achebe succeeds in maintain the his goal- accurate representation of Ibo life, while presenting
the information in a manner relatable to those not native to the culture. He also manages, in the process, to highlight
some of the reasons behind the collapse of African cultures and helps us .

4. Do you think Sunlight on A Broken Column brings out the significance of the social change that had come about in
then.

SOLUTION Sunlight On A Broken Column was early on classified as a 'period' piece. A period piece is a novel or a film
that captures the atmosphere of a particular period. This description is also true of the novel, because it tells us in detail
about the lifestyle, customs, relationships, kinship patterns, household organisations, purda traditions of aristocratic
Muslim families. It also tells us about the changes which western education was instrumental in bringing in their lives as
well as the manner in which women undergo a transformation after marriage and travel. Zahra is one example and Sita
is another. Moving outside the Muslim family, it also comments on the interpersonal relationships across religion as
through the cluster of Baba Jan's friends and Laila's college friends, across class as the young girls are friendly with
Saliman and Nandi, and across wealth as we see when Ameer's social standing or Asad's status cease to matter

The novel works through several historical situations:

 The freedom struggle, the Gandhian impact on the students, the resentment against the British rule symbolised
by the Viceroy's visit and the agitation against him.
 There is also an awareness of the power struggle and the conflict of interests of the moneyed class, the
taluqdars and landlords and the interests of the common man. The Congress's proposal of bringng in land
reforms is not acceptable to the wealthy landowners.

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 The whole procedure of nominations, campaigning and elections is also described. The elections divide loyalties,
and friends and even families. Saleem canvasses for Begum Waheed rather than for his own father. World War
1 is used as a backdrop. Ameer joins the army, is taken prisoner and finally dies while trying to escape

5. Would you agree that the Kate Chopin’s Awakening was far ahead of its time? Discuss with suitable examples.

SOLUTION .

CONTEXTUALISING THE AWAKENING

The Awakening by Kate Chopin is the story of Edna Pontellier, a twenty eight year old Creole woman living in New
Orleans. It is about her awakening to sexual consciousness, her discovery and assertion of this new 'self through
rebellion against conventional roles of being wife and mother and the consequences thereof. The novel is about self-
expression and a woman's right to be herself, and to be an individual.

Edna is locked in a typical marriage to Leonce Pontellier, a marriage of convenience made when she is very young, not
made with love or romance though he is a good man and a caring husband. Her romantic urgings and physical longings
have at this stage hardly been articulated and certainly not satisfied. The family goes to Grand Isle for the summer
where she meets and spends a lot of time with Robert Lebrun, an unattached young bachelor, talking, swimming, being
together (and of course the Creole husband is never jealous, but you will find out more about this in the section on
Creole background). Before they know it both Edna and Robert begin to feel an attraction for each other and an
intensity of emotion they perceive as unusual, unmanageable and somewhat threatening in the context of their lives
and conventional reality. This emotion is passionate and all consuming, leaving no room for thought or sensible action.
Robert realises the impossibility of the situation, and not knowing how to deal with it, flees to Mexico to 'make money'
(we will discuss if he is an escapist, a coward or an honourable man, or all of the above). Once he's gone, the truth
confronts Edna with further starkness and clarity. The summer, just like the flirtation, has come to an end and Edna and
her family return to their posh home on Esplanade Street, in the city. But things can never be the same for Edna as she is
a changed person, as a result of her encounter with Robert and her new self.

This new Edna is a painter. She does not care about her wifely responsibilities or about keeping up appearances by
observing the customs. This new Edna refuses to stay home on Tuesdays to receive her callers, as her husband expects
her to, but goes out just because she prefers to do so. Her husband complains about her lack of supervision of the
servants, and he leaves in the middle of a badly cooked dinner to go out to the club to eat. She becomes careless and
disinterested with regard to domestic affairs, letting everything on the home front slide as it is no longer of any
significance to her. Her family by now is meaningless and distant for her, her desire to fiercely possess her identity and
be her own person being now her primary focus. She wants to feel a sense of being financially independent, not
answerable to anybody for her actions, in other words, completely autonomous. She refuses to go for her sister's
wedding and has no thoughts about propriety or 'what the world will say' with regard to any of her actions. Mr

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Pontellier worries about his wife's health and her strange behaviour, consulting the doctor about both. Although she
appears to be in robust health a disconnect has happened which gives the appearance that she's not quite all there.

Mr Pontellier leaves town on account of business, for a long period, and she refuses to accompany him. The
grandmother takes the children away and she (Edna Pontellier) stays back alone in the house, perfectly happy to paint
and do her own thing. During this time she also regularly visits Mademoiselle Reisz, a pianist of exceptional talent but
also a strange character that few people like and whose acquaintance she had made during the summer at Grand Isle.
Robert Lebrun writes on a regular basis to Mme Reisz, seeking information about Edna, letters that she shares with
Edna. The letters suggest that he is in love with her, something Mrne Reisz reiterates too. Mme Reisz's music evokes in
Edna the nostalgic times spent with Robert while it also makes Edna remain in a state of perpetual anticipation and
physical longing. She is alone and in the right frame of mind and body for a man of the world, a seducer such as, Alcee
Arobin to come along and make her his prize. She is still very much in love with Robert but he is not there and her sexual
consciousness has been awakened. Besides, she hardly cares about her actions because of her frustration at not being
able to possess Robert. All this while Edna and Alcee Arobin become more and more physically intimate with each other,
he visiting her regularly as she lives alone in the 'pigeon-house.' This is a much smaller house that she has moved into
round the comer from her husband's posh, expensive and much bigger house on Esplanade Street. Her reasons for
moving, which she plans and implements during her husband's absence, are to have a place of her own that she can feel
she can independently deal with financially so, she can be an individual in her own right rather than being only Leonce
Pontellier's wife. Of course her husband disapproves, most bothered as he is about 'what people will say.' He saves face
too, keeping up appearances by immediately putting up the big house for major repairs and renovations, thereby
justifying Edna's move and trying to prevent the gossip mills from running. Before she moves into the 'pigeon-house' she
throws a party for a small, select group of friends. This is an important event in the novel and we will discuss it in some
detail later.

BIOGRAPHICAL APPROACH TO THE A WAKENING

The biographical approach to reading a novel is when we read about the writer's own life in order to know her/his
personal story so that we get some clues and insights into understanding the novel better. Just as it is important to
know about the society, culture and politics of the time when the novel was Contextualising Kate written and published
it helps to know about the family background, views C hopin's: The Awakening and beliefs of the writer. It would be
interesting to know what Chopin's.'real' life was like, was she 'independent' and can we draw parallels between Edna
Pontellier and the writer? What was Chopin's marriage like? The themes that The Awakening deals with are
contemporary, feminist and were hardly addressed in her time by other writers. What in her own life gave her the
experience and the abilities to discuss them so freely and successfully? The answer to some of these questions is what
'biographical criticism' is about. This information will help us make better sense of the events that take place in the text.
In the next section we shall take a look at the early life and background of Kate 0' Flaherty or Kate Chopin as she was
later known as.

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KATE CHOPIN: EARLY LIFE AND BACKGROUND

Kate 0' Flaherty was born in St Louis in 1850 and she was one of five children, but she was the only one who survived
beyond the age of twenty five. Her father died when she was very young, and although she had been sent away to
boarding school when she was about five, later she lived at home surrounded by only women, all single and fiercely
independent, all widows, her mother, grandmother, great-grandmother. She was taught French and Music and was a
distinguished student winning medals and awards. Even in her youth she was cynical, writing in her diary, 'I dance with
people I despise; amuse myself with men whose only talent is in their feet.' She was desperate to spend more time with
'my dear reading and writing that I love so well.' In 1870 she married Oscar Chopin, the 'right man.' They shared similar
values and tastes and had a special kinship of the kind that Edna, in the novel, does not find with her husband. (The
portrayal of the Edna-Leonce Pontellier marriage, according to Chopin's biographer Emily Toth, has similarities with that
of her parents, who too shared no common interests or spontaneous warmth). During their European honeymoon, Kate
Chopin was an emancipated woman, drinking, smoking publicly, walking alone, both she and her husband skipping
church. During her New Orleans years, 1870-1879, she took long walks and streetcar rides alone, exploring the city and
enjoying her own company. Notice what Edna says in chap 36, 'I always feel sorry for women who don't like to walk;
they miss so much-so many rare glimpses of life; and we women learn so little of life on the whole.

Kate Chopin was also constantly pregnant- and therefore not to be seen in public. Forced to
stay indoors except for Grand Isle vacations, Kate became a, talented mimic, hen observer
and even more a social critic. Daniel S Rankin, "Kate Chopin and Her Creole Stories"
Philadelphia: University of Pennsylvania Press, 1932, p.82

Oscar Chopin died suddenly in 1882 and she ran his store and plantation for a year. A married man whom she
encouraged pursued her, but by 1884 she returned to St Louis to live with her mother. (Edna too goes to Adele, the
'mother-woman,' leaving Robert). When Kate's mother died the following year, and she had to be singly responsible in
bringing up her six children, she turned to writing. Her first published story, "Wiser than a God" (1889), is about a
woman who becomes a great artistic success, but only after her mother's death. Kate Chopin was immediately
successful as a writer, had connections with writers, journalists, and literary figures. She was invited to give a reading at
the Wednesday Club, the most prestigious intellectual women's club in St Louis. She remained, throughout her life,
unconventional and emancipated, cherishing her freedom and her solitude, obvious from her decision not to marry
again but devote her life to what she loved best, her writing. Like Edna, she was 'the regal woman, the one who rules,
who looks on, who stands alone.' Having discussed the life of Kate Chopin briefly, let us look at the Creole background
next .

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END A PONTELLIER AND KATE CHOPIN

1 Kate Chopin

Chopin came from a traditional Southern family, her father being a religious Irishman. Although her education was
geared to teaching virtues of duty and submissiveness, her upbringing by her great-grandmother who was forward
thinking, unconventional and independent had much to do with the kind of personality and thinking Chopin developed.
This duality in Chopin's life and in her 'self,' making a conventional marriage, following the expectations of society, went
together with a fierce independence of spirit and a flouting of established norms (like exploring the city on her own,
smoking in public, having an affair, not remarrying).

2 Edna Pontellier

The writer comments about Edna: 'a certain light was beginning to dawn dimly within her, - the light which, showing the
way, forbids it.' This new sensation confuses her, moving her to dreams and thoughtlessness and tears. For the first time
in her life she begins to perceive herself positioned in the universe as a human being who has a relationship with the
world around and within her. The narrative comment on such a realisation is that it was like a weight of wisdom that all
women might not have the privilege of receiving. So far she has lived, and most women might do so for their entire lives,
according to the rules and conventional norms of society and she is now discontented with this situation. She begins to
feel the need to look for a 'self that goes beyond her role as a wife and mother and this realisation is confusing,
disturbing and destabilizing for her.

Edna recalls and shares with her friend her memories of her childhood days when she walked in the green meadows,
aimless and unthinking, just following an impulse. She says too that it was a similar state of mind, idle, uncertain and
unguided, that she felt herself to be in now. Her early experiences of being passionately infatuated by a 'dignified and
sad-eyed cavalry officer,' somewhat attracted by another young gentleman who used to visit a lady on a neighboring
plantation, and then finally as a young lady going through the climax of emotion for the great tragedian, a well-known
Shakespearean actor (note given later), are described by the narrator. Without meaning to, and even without realising
it, Edna finds herself being talkative and sharing the events of her past with Adele, resting her head on her friend's
shoulder, their faces turned to the sea. She felt 'flushed,' 'intoxicated,' by this unfamiliar mood of her own which,
'muddled her like wine, or like a first breath of freedom.

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