Reasons For the Emergence of the Novel

By: Yaser I. El-Rantisi

The most important gifts of the eighteenth century to English literature are the
periodical essay and the novel, neither of which had any classical precedent. Both of them
were prose forms and eminently suited to the genius of eighteenth-century English men
and women. Soon the whole English literary air was thick with a staggeringly vast number
of novels produced by a host of writers. There are many important reasons for the rise of
the novel such as: democratic movement, classical and realism changes.
First, the democratic movement had an important role in the emergence of the novel.
However, the eighteenth century sounded the death-knell of old English feudalism and,
conversely, broke down numerous barriers standing between various social classes. With
the Glorious Revolution of 1689 started the era of the ascendency of Parliament and the
forging of the democratic spirit. This process of democratisation reached a high water-
mark in the eighteenth century-the century of the coffee-houses which were helping the
process by nurturing and encouraging the spirit of free and frank discussion. Moreover,
the democratic movement emphasized the importance of the life and activities of the
common people. The need was being felt for a new literary form which unlike the
romance and tragedy, for instance should hold a mirror to the life of the common people,
concern itself with their problems, and tell them how to live or live better. The new form
was of course, the novel-a kind of “democratic epic.” Richardson, Fielding, Sterne,
Smollett, and their teeming followers dealt chiefly with the life of commoners. The
heroine of Richardson’s first novel Pamela is the maidservant of that name. If it was not
the first novel in the history of English literature it was at least first to represent
sympathetically the ethos and traditions of low and middle classes. In short, the
democratic movement had a prominent role in the emergence of the novel.
Second, The novel had no classical precedents. In this respect it was quite “different
from most poetic and dramatic forms popular in the eighteenth century. For instance, if a
writer had to write an epic, a pastoral, an ode, or an elegy, he had to look to the classical
models of antiquity and, belong as he did to a neoclassical age, to respect and follow
them. The novel could ignore authority, for no authority existed. Fielding did, in the
intercalary chapters of his novels, talk rather pedantically about the ancients and their
works, but that was just to placate the hostile opinion which an altogether new
literaryibrm was likely to provoke in that ase. The novelist had not to follow but set
a tradition. Thus whereas poetry, in the words of Cazamian, “is the slave of an ancient
forth, which classicism has carried to a high degree of perfection,” the novel is
untrammelled and hence a more eligible medium for such free geniuses as Richardson,
Fielding, Smollett, and Sterne. Since there were no antecedents for the novel among the
ancients and the classical authors, the novel was considered as a frivolous and morally
corrupt genre. And since the novel was nothing but a form of entertainment, it enjoyed
total freedom from classical restraints; such were the reasons for its survival. In summary,
classical restrictions were one of the important reasons for the rise of the novel.
Finally, the eighteenth century was imbued with the spirit of realism, and the
literature of the age is. To a great extent, devoid of the enthusiasm, elemental passion,
mysterious suggestiveness, and heady imaeination which characterised romantic
literature. The man of letters in the eighteenth century, whether he was a poet, a
periodical essayist, or even a dramatist, believed that for the success of his art a rational
appraisal of reality was an essential prerequisite. The novel was another instrument for
the exploration and representation of social reality. All the novelists of the eighteenth
century-and most of their “followers” in the subsequent centuries-were stark realists and
social critics. David Daiches observes in this connexion: “Like the medieval fabliau, also a
product of the urban imagination, the novel tended to realism and contemporaneity in
the sense that it dealt with people living in the social world known to the writer.”
Cazamian avers about the novel: “After having formerly represented allegorical or ideal
visions it tends more and more tcTbecome a picture of life. The middle-class mind would
have this picture real, because it has a firm hold upon reality, and cannot break itself away
from it. Thus realism will come to find its most favourable fields in the novel. Briefly, the
novel will take its place in realism.
To sum up, the emergence of the novel had a prominent impact in the world.
novelists from different countries of the twentieth century carried out various experiences
in creating the novel, its technology and types of plot. Many of them dealt with the social
changes that occurred after the First and Second World Wars.
 Summary in points of old major’s speech.
Yaser I. El-Rantisi

1. Old Major begins his speech saying his own death is coming soon.

2. Old Major encourages the animals to band together and prepare for a rebellion to overthrow
Mankind.

3. Old Major announces that animals' lives are short-lived, laborious, and difficult. Old Major
emphasizes the miserable existence of the animals on the farm and elaborates on their painful
lives.

4. Old Major then mentions that life should not be lived this way and comments on the abundance
of food and resources available. He mentions that the land is also fertile and says that there are
many more animals than humans on the farm and throughout the country.

5. Old Major says that humans are solely responsible for the animals' dire conditions because they
oppress and rob the animals of everything they produce. He comments on the malevolent, greedy
nature of humans and blames their authoritative leadership on the animals' miserable lives.

6. Old Major believes Man is the cause of this bleak existence because Man consumes without
producing anything.

7. Old Major proposes that the only solution to end their oppression is to eliminate man from the
equation and usurp power by rebelling against their tyrannical masters.

8. Old Major then encourages that animals to remain unified and supportive of each other.

9. After this decision Old Major describes a dream he had of a world in which animals are free,
which brings him back to a song from his childhood, "Beasts of England." A key verse includes the
lines, "Soon or late the day is coming,/Tyrant man shall be o'erthrown,/And the fruitful fields of
England/Shall be trod by beasts alone." He teaches the animals this song, and they sing together
until they awaken Mr. Jones, who drunkenly responds by firing his rifle into the night.
 The differences between Snowball and Napoleon
Yaser I. El-Rantisi

Snowball and Napoleon had several different roles in animal farm

leadership. The book is said to be a critic of Stalin’s rule in Russia. The
political satire gives insight into two types of leadership – the democratic
Snowball and the narcissist Napoleon. They were both leaders of the
revolution that happened at the farm in the beginning of the story. Napoleon
is seen as the quite one who spoke rarely and only when absolutely required.
Snowball on the other hand was a charmer and was able to capture the
attention of the crowd with his words. He was full of new ideas to improve
the way of life in the farm. Snowball and Napoleon come out with “Seven
Commandments” for their Animal Farm once the humans are run out. The
most important of these were “all animals are equal” (Orwell, 1945).
Snowball was devoted to the commandments and encouraged the animals to
follow it to the dot. He tries methods to improve the way the animals lived
by starting various clubs and trying to teach the animals to read and write.
Napoleon on the other hand just adopts a few pups and teaches them on
private. No one in the farm knows what he is up to. A very important factor
in their leadership of the farm was that they never agreed with each other.
Whenever, Snowball came out with his elaborate schemes to improve farm
life Napoleon stood against it. However, most of the time Snowball was able
to win over the support of the animals with his charismatic personality and
play with words. He was able to win them over with comforting talk and
some amount of reasoning. He tried to get the animals involved in the
decision making through a voting system and thus had a more participative
approach to running the show. Napoleon on the other hand preferred to
dictate and direct things. He was not good at getting the animals on his side
with his talk. Hence after running Snowball out of the farm with the blood
hounds he had trained and by lying to the animals he establishes himself as
the leader. He uses another pig called Squealer to speak on his behalf and
mislead the animals into believing that everything Snowball did was harmful.
Squealer was also used to tell great tales about Napoleon. Napoleon’s
autocratic style of leadership, with lies and tales leading the show, leaves the
animals confused. However, they carry on with their work more ardently
than ever. He is a narcissist who makes the animals work mainly for his own
benefit.

Dictatorship and Tyranny in Animal Farm

Yaser I. El-Rantisi

Dictatorship and tyranny had a clear effect on the animal farm novel like characters
and their actions. The readers can gain a deeper understanding of the unfair system under
a dictatorship and how different parties in the hierarchy are affected. So, Boxer represents
the loyal and dedicated supporters of the Soviet Union. Orwell describes the horse as an
honest worker, who follows Animalism faithfully without fully understanding its more
intricate details. He lives by Napoleon’s orders (“Napoleon is always right”) and works
himself to exhaustion (“I must work harder”) [p.41], but in turn is slaughtered by the man
he admired. Orwell created Boxer’s character to convey that even the most hardworking
people suffer under a brutal regime, and to demonstrate how people are used for their
skills and talents. He emphasizes how corrupt Stalin is and illustrates what could happen
to those who have blind trust in their dictators. Orwell also displays how dictators do not
view loyalty from workers as something significant enough to reward. Another example is
Benjamin represents the people who were aware of Stalin’s unjust methods and
oppressive policies during the Russian Revolution, but made no resistance to the changes.
Guided by the philosophy that life will always be painful, the donkey is suspicious about
the effectiveness of Animalism. 'When asked whether he was happier now that Mr. Jones
has gone, he would say only "Donkeys live a long time. None of you has ever seen a dead
donkey."' [p.19]. Even though his skepticism proves to be correct, he is powerless and
does nothing about it. Orwell created this character to communicate that even the most
intelligent and well educated people under a dictatorship feel impotent to criticize the
regime. Benjamin also symbolizes the people who passively encourage the rise of the
dictator by not criticizing the regime. Morover, in Animal Farm, the pigs represent the
ruling class and Stalin’s communist supporters. Unlike other animals, they live a life of
luxury and enjoy the benefits of the dictatorship. They elevate themselves to positions of
leadership, and procure privileges to "sleep in a bed" [p.41], and "drink
alcohol" [p.73], even though it is against the Commandments. The hardworking animals
on the other hand are given nothing in return, which emphasizes the inequality and true
hypocrisy of a dictatorship. Orwell portrays the pigs this way to represent how dictators
favor people who are similar to them. In the novel, Napoleon chooses the pigs to be part
of his “inner circle”, merely because he is also a pig himself. In the human world, this
includes sharing the same race, gender or belief, just as Joseph Stalin killed anyone that
opposed his political point of view. In summary, Orwell successfully uses these three
parties to convey the message that there will always be an unfair system under a
dictatorship. He emphasizes the lives and experiences of the different animals to show
how hierarchy is established by the dictator’s personal preferences in real life.

Symbolism in the novel “Old man and the sea”

Yaser I. El-Rantisi
Symbolism is an important aspect in the novel, which used to help their readers better grasp
the believes, thoughts and feelings of the character. There are many examples of symbolism in
The Old Man and the Sea such as: the sea, lions, and the old man and Manolin.

The major simple symbol in the novel is the sea which represents the universe and the old
man's isolation in the universe. Each action of the novel resets on the sea and the life inside it, and
each action of Santiago resets on his love of the sea. In both sea and life, there are a number of
possibilities that lie hidden from the common eye, some are gifts to be treasured and some are
problems to be defeated. If man is lucky enough to discover a treasure, he must fight until death
to get it. If man is unlucky to discover an evil under the surface of the sea, he must fight it bravely
until the end. In the novel, Santiago embarks on a sea journey and have a battel against marlin
(treasure). He struggles strongly to earn the treasure and thin fights the sharks (problems) to solve
it. The struggle defines him as a hero. Ever thought he loses the marlin to the sharks, he has won
the sea battle.

In addition, the novel abounds in the symbols of lions, about what Santiago dreams. Lions
represent strength, control and being a king. When the lions appear in their adult majesty, they
suggest great strength and a sense of brave that leads him toward fulfilling his ambition. More
often than not, the old man dreams of the lions, whenever lions come to his mind, he become
stronger and relaxed. For him, they seem to be in control and inspire him to be confident. The
image of the lions always makes him happy as they are good company, and he loves them as he
loves Manolin. Now Santiago is no longer young, and he lost his family, friends, and strength. He
dreams of the lions at the end of the novel and that represents hope of enteral life.

Another important symbols in the novel are the old man and Manolin. First, the old man: he
represents people who never lose hope and never give up whatever happen to them. He has a
battel not only with the fish but also with the sun, waves, and cold nights. Despite his age, the old
man is willing to go beyond the limits of what is expected from him and put his physical and
mental abilities to a test. The symbolism of pride and achievement are all the key aspects of
Santiago's adventure. Second, Manolin, he is Santiago's young friend who represents hope.
Although Manolin's father prevents him from fishing with Santiago, who is believed to be cursed,
Manolin never forget the old man. He is loyal to him, and he takes he old man as his guide and
example of life. Santiago becomes a Christ symbol like Christ, he is filled with goodness, patience,
and humanity. Manolin here represents the followers of the Christ. In addition, he represents
people who know how to deal with old people and learn from them about life and got experience
from them.
 In brief, the old man and the sea is a novel falls of symbolism features such as: the sea, lions,
the old man and Manolin. Each one of these symbols represents something from the real world. In
whole, the novel represents an important symbol which is "How to achieve your goals".
Hemingway succeeded to convey his massage which is man was most able to prove himself
worthy in isolation, as the old man was able to achieve his goal with no help from anybody.

Didactic elements in The old Man and the Sea

By: Yaser I. El-Rantisi
The Old Man and the Sea is a short novel written by the American author Ernest Hemingway.
One of his most famous works, it tells the story of Santiago, an aging fisherman who struggles with
a giant marlin far out in the Gulf Stream off the coast of Cuba. In this novel, values and lessons can
be learned such as: success, manliness and endurance.

“Que va,” the boy said, “It is what a man must do.” “Success” is all too often assumed to be the
indicator of the value of a man. But success, in and of itself, merely speaks to a particular status
and may have nothing to do with the journey that the man took to get there, or whether or not he
retained his integrity along the way. Among the many aspects of the story, it is the idea of
redefining success and victory that makes The Old Man and the Sea, Ernest Hemingway’s classic
novella, so profound. It is a seemingly simple story: Santiago is an old, experienced fisherman who
hasn’t brought in a catch for months. On the 85th day of this dry spell, he heads far out into the
Gulf of Mexico where he hooks a giant marlin. Unable to pull the fish into his skiff, he holds onto
the line for three days before killing it with a harpoon. After lashing the fish to his boat, Santiago
heads home with his hard-won prize. But along the way, sharks reduce the fish to bones, and the
old man returns to port as he left–empty-handed. A simple story on the surface. Santiago stands
as a symbol of an attitude toward life, and his fight with the mighty marlin offers numerous
lessons to all men.

“A man is not made for defeat.” Santiago has nothing but a broken-down shed and a rickety
skiff with a sail that is “patched with flour sacks” and looks “like the flag of permanent defeat.”
The skin of his gaunt body illustrates his hardships and is marked with deeply-set wrinkles, scars,
and blotches from the punishing sun. And because of his terrible misfortune, he is a pariah in his
small fishing village. But while nearly “everything about Santiago is old,” his eyes remain “the
same color as the sea and are cheerful and undefeated.” Instead of throwing in the towel after 84
days of terrible luck, he sails farther out into the Gulf than he has gone before. A man continues to
do whatever he must do to the best of his ability, no matter what tribulations befall him. While
challenges and setbacks can strip a man of all outward signs of success, still his spirit can remain
undefeated. For it can will a man to never give up and to keep on trying.

Finally, The old man endured a lot of trouble. Whether it’s something as trivial as being cold
or as significant as skirting along the borders of death, a man simply does what must be done,
without self-pity and without complaint. Santiago does not whine about hunger pains or thirst,
nor does he mope about the fishing line that cuts into his hands. Out at sea, far beyond the other
boats, Santiago is presented with the greatest challenge of his life. It comes in the form of an
eighteen-foot marlin and makes for a long, long battle that spans days. Near the edge of his
exhaustion, Santiago’s hand is cut deeply and cramps up “as tight as the gripped claws of an
eagle.” He washes the cut in the salt water and lets it dry and warm in the sun. But the hand
refuses him and he is forced to work with his right hand alone, against the powerful fish that is
two feet longer than his own skiff. Drained, Santiago “settles against the wood” and simply “takes
his suffering as it comes. He is comfortable but suffering, although he does not admit the suffering
at all.”

In short, the novel The Old Man and the Sea is one of the most beautiful novels, because of
the lessons and values that can be applied and learned from in our lives, because it teaches us
how to achieve success, manliness, endurance.

Write one short paragraph on each of the following:

Santiago
Santiago is an impoverished old man who has endured many ordeals, whose best days are
behind him, whose wife has died, and who never had children. For 84 days, he has gone without
catching the fish upon which his meager existence, the community's respect, and his sense of
identity as an accomplished fisherman all depend. As a result, the young man who is like a son to
him (the young man who, since the age of five, has fished with him and learned from him) now
fishes, at the behest of his parents, with another fisherman. However, what makes Santiago
special is that despite a lifetime of hardships that have hurt him (as the morning sun has always
hurt his eyes), he is still a man in charge and an expert who knows the tricks of his fisherman's
craft. His eyes remain young, cheerful, and undefeated. He knows how to rely on the transcendent
power of his own imagination to engender the inspiration and confidence he needs and to keep
alive in himself and others the hope, dreams, faith, absorption, and resolution to transcend
hardship.

The lions
Ernest Hemingway's use of lions in ''The Old Man and the Sea'' has significance and meaning
to the novella's story line. In this lesson, you'll learn more about the lions and what they could
mean to the fisherman. Lions: Kings of the Jungle. A symbol of strength, courage, and domination,
the lion inspires awe and fear as a ferocious hunter and regal figure. In a story about a Cuban
fisherman, lions may seem out of place; but in The Old Man and the Sea, the image of lions playing
on a beach becomes a motif that helps the reader better understand Hemingway's timeless story
of Man and Nature. In The Old Man and the Sea, Santiago, the old man, has a recurring dream
about lions playing on a beach. Hemingway uses the lions as a motif. They have their own
symbolic meaning but also give the reader more information to help untangle the novella's theme
about aging.
 Leadership in Animal Farm
The leaders on the farm - the pigs, were the brains of the farm. The animals let the pigs lead
the farm, thereby placing them into a position of power. This power corrupted them as they
became more and more greedy and their ideology became more and more corrupted. Also, the
pig’s transgressions of the rules of animalism worsen as they grow in power. In chapter 2, when
the 7 commandments were first written down, there was already a slight corruption in the pigs.
The pigs steal the milk and apples and explain it with the lie that these foods have nutrients
essential to pigs. Orwell wants to show that if a leader is always allowed to do whatever he wants.
One example of such an incident is when the pigs steal the milk and apples. Another incident is the
end scene, where there was no way the animals could tell which was pig and which was man.
Also, he uses irony to convey this theme, as can be seen from the milk and apples incident and
also the incident where Squealer takes the sheep somewhere to “re-educate” them when he was
in fact brainwashing them into learning the new. In summary, Leadership on the farm was under
the control of pigs, as it seized all the benefits of the farm and ruled in proportion to it.

Conflict in Animal Farm

The most obvious conflict that they have was with the owner of the Manor Farm, Mr. Jones,
and the other farmers. But this external problem was resolved in the manor with the rebellion of
the other animals led by the Old Major, an old boar. When he passed away, two aspiring young
pigs rose as the leaders in the Manor Farm which they later called as the Animal Farm. Here comes
the external conflict that happened between the two leaders, Napoleon and Snowball. They both
have different personalities and style of leading. Napoleon is more of an iron-fist leader, which can
symbolize the current presidents of the countries such as Putin of the Soviet Union and Duterte of
the Philippines. But what made him different from the mentioned Presidents was his dirty way of
winning the interests of the other animals. Using tactics like false rumors, sabotaging the ideas of
Snowball, and plagiarizing his ideas. Snowball, on the other hand, is a very eloquent speaker who
thinks through every plan. He is an analytical type of leader sort of like a democratic one. He loves
reading books and implementing changes for the betterment of the farm, but was expelled by
Napoleon because of it.  Napoleon and Snowball were each other’s conflict. One would oppose
the other and because of this conflict, the other characters were affected.
Define briefly the following terms :-

(Allegory - allusion - political satire - intertextuality - irony - Didactic novel)

1. Allegory: an allegory is a narrative in which the characters often stand for abstract concepts. An
allegory generally teaches a lesson by means of an interesting story.

2. Allusion: a reference to something in literature, history, mythology, religious texts, etc.,

considered common knowledge.

3. Political satire: is satire that specializes in gaining entertainment from politics; it has also been

used with subversive intent where political speech and dissent are forbidden by a regime, as a
method of advancing political arguments where such arguments are expressly forbidden.

4. Intertextuality: is the shaping of a text's meaning by another text. It is the interconnection

between similar or related works of literature that reflect and influence an audience's
interpretation of the text. Intertextuality is the relation between texts that are inflicted by means
of quotations and allusion.

5. Irony: a contrast between appearance and actuality:

Verbal irony: a writer says one thing, but means something entirely different.

Situational irony: occurs when something happens that is entirely different from what is expected.

Dramatic irony: occurs when the reader knows information that the characters do not.
6. Didactic novel: didactic works often have morals to impart or are written to teach us something
about religion, philosophy, history, or politics. Examples of didactic literature include Aesop's
Fables. (A long narrative work of fiction with some realism it is often in prose form and published
as a single book.

Comment on the following quotations:

A. "The milk had disappeared "

For Orwell, the disappearance of the cows’ milk was the turning point of the book. Orwell wrote in
a letter to a friend: ‘If the other animals had had the sense to put their foot down then, it would
have been all right.’ The pigs reveal to the other animals that they have taught themselves how to
read, and Snowball replaces the inscription “Manor Farm” on the front gate with the words
“Animal Farm.” Snowball and Napoleon, having reduced the principles of Animalism to seven key
commandments, paint these commandments on the side of the big barn. The animals go to gather
the harvest, but the cows, who haven’t been milked in some time, begin lowing loudly. The pigs
milk them, and the animals eye the five pails of milk desirously. Napoleon tells them not to worry
about the milk; he says that it will be “attended to.” Snowball leads the animals to the fields to
begin harvesting. Napoleon lags behind, and when the animals return that evening, the milk has
disappeared.

B. "All animals are equal but some animals are more equal than others.”

The ultimate example of the pigs' systematic abuse of using logic and language to control the
farm. The original principle written by Snowball defines all animais as equal. This final reduction of
the Seven Commandments shows how the leaders are corrupted and ready to do whatever to
protect their privileges. It is possible to misread the word "equal" as a relative term rather than an
absolute one, meaning that there can be different degrees of "equal"-ness. The revised phrase,
however, mentions an "all" but only in order to differentiate a "some" from that "all" and to
specify the uniqueness, the elite nature, and the chosen status of that "some." The pigs clearly
envision themselves as this privileged "some"; under their totalitarian regime, the working
animals exist only to serve the larger glory of the leadership, to provide the rulers with food and
comfort, and to support their luxurious and exclusive lifestyle.

C. “But man is not made for defeat. A man can be destroyed but not defeated.”
In the Old Man and the Sea by Ernst Hemingway, Santiago says, "A man can be destroyed but not
defeated". It simply throws light on the strong determination of a person that never let him to
give up any thing in life irrespective of the count of failures he commit during achievement of his
target. Hemingway had beautifully epitomized these two words Destroyed and Defeated in this
statement which optimizes radical courage of a man. A man can be destroyed, a man can be
killed , a man can be ruined , a man can be wrecked or shattered... it's quite possible at times, a
man can become physically weak or disabled in its certain abilities to perform tasks. But, the
important thing is that even though if this physical destruction exists, that man cannot be
defeated.and by defeat it signifies lose of hope to win...the mental status of a man of not letting
its inner pride falling down..a never giving up attitude and zeal of making goal even in the
toughest of hard time field... In short, Hemingway exemplified the fighting spirit of a man and firm
determination which only leads to success. Destruction is a temporary state of body.while Defeat
is a permanent state of mind..And it is clear that Mind is our boss who is difficult to conquer.

Yaser Ismat El-Rantisi

120180465
‫ياسر عصمت الرنتيسي‬
١٢٠١٨٠٤٦٥
Fri, 15 May