The Courtship of Mr Lyon

A few notations on Mr Lyon.. (even though we haven't finished it yet).

Immediately 3^rd person narrative – different to the bloody chamber.

‘Lyon’- similar to ‘lion’ – suggests he is going to be violent and beast-like, similar to the Marquis. However the ‘courtship’ suggests he will be the one doing the wooing.

The girl is presented initially to be a very innocent character, similarly to the Bloody chamber. Her ‘inner light’ with skin all of ‘snow’ indicates she is pure and ‘lovely’. She is also doing ‘chores’, something we often see within the traditional female role in fairy tales.

Her thoughts interrupt the narrative – we are giving an insight in to her feelings, “father said he would be home before nightfall”.

We see paternal love – “I hope he’ll be safe”.

She is a seemingly good virtuous girl.

We are introduced to another useless paternal figure (in contrast to the powerful maternal figure in the Bloody Chamber).

We are disconnected from the outside world and suspension of the reader’s disbelief is emphasised – “barred all within it from the world outside the walled, wintry garden”. The magic which surrounds the setting suspends our disbelief (out of reality anything is possible). “Where all the laws of the world her knew need not necessarily apply” further distancing from reality. “Suspension of reality” enforces this idea further. “Drink me” and “eat me” remind the reader of ‘Alice in Wonderland’ and we are aware that Alice comes across this situation once she is down the rabbit whole, once she is in another world – reminds us that we are in a special place in the story and rules of reality are suspended.

There is personification present. “The crystals of the chandelier tinkled a little, as if emitting a pleased chuckle”, “door of the cloak-room opened of it’s own accord”, we get the idea that the house is alive, that it is humanlike.

Slight indications of the ‘male gaze’ however it seems corrupted. “With a strange kind of wonder” – The beast is captivated by the girl, suggests an inverted male gaze, her eyes pierce him, he is affected by her.

He also seems in awe of her. “Master his shyness” and “hesitantly” in the way he acts around her suggests this. He has no confidence and she seems more in control.

Direct contrast to the bloody chamber in terms of the scene with the library. “French fairy tales about white cats” – the imagery is completely innocent and opposite to what the reader was subject to in the Bloody Chamber.

ESSAY IN CASE I FORGET MEMORY STICK

Carter’s intent was to ‘extract the latent content from the traditional stories and use that as the beginnings of new stories’ when writing the Bloody Chamber. What ‘latent content’ can be found in the bloody chamber and how does Carter use that in her story? 1 HOUR

During the course of this essay I am hoping to look at what latent content has been used in Carter’s short story; the Bloody Chamber in reference to traditional stories. I am also hoping to explore why she uses this, whilst also challenging the traditional latent content within her story.

There is an immediate sense of latent content when the idea of a journey and of separation which is emphasised on the first page. “The train that bore me through the night” describes her travelling away from “Paris, away from girlhood” and the separation from her mother; “I ceased to be her daughter in becoming his wife”. This is a recurring theme throughout traditional stories whereby the daughter is usually separated from her caregiver; however there is an immediate challenge. An element of choice is highlighted by her mother, asking her if she is “sure” she “loves him?” The depiction of choice humanitises her situation, adding a modern twist. She is not forced to move away as traditional fairy tales often depict, allowing an instant challenge to the amount of latent content. Arguably Carter may do this to absorb the reader deeper in to the story, whereby with the use of the modern twist they can share a deeper understanding towards the main character, or Carter may do this in order to challenge the traditional morals and to incorporate her ideals and beliefs in to her writing based on her opinions on marriage and choice.

The idea of female ownership is also a theme present within the Bloody chamber which links to the latent content of traditional stories. It is seemingly obvious that the female narrator in the Bloody chamber is a very passive character, she is objectified by the Marquis in ‘becoming his wife’, ‘away from white’, ‘away from girlhood’, driving her away from purity. There are also suggestions of female repression within Carter’s writing. The Marquis controls and defers the sexual gratification until they reach the castle and objects such as the ring and the choker are arguably identify his power and control over her. She is ‘horseflesh’ and ‘cuts on a slab’, surveyed by his ‘carnival avarice’, which links back to Mulvey and the idea of sexual repression and objectifying the women as the objects of male desire. It is obvious that the love between the narrator and the marquis is reduced to hunger suggested by ‘cuts on a slab’ which holds negative connotations of meat and violence as their love is reduced to a physical appetite. The marquis also gains power by taking her virginity, the one thing that attracted him to her is now gone and she is left unclean. The mirrors multiply the power he has over her, he can see her from many different angles and can objectify her deeper. Carter may do this in order to exaggerate the theme of female virtue and repression that we see as an ongoing undertone within traditional stories, which all hold key ideas surrounding the ownership of women.

However there is another interpretation which contradicts this idea. The narrator is not completely ignorant; she holds understanding and displays this through the graphic imagery her narrations hold and through the horniness she suggests she feels. ‘Like a split fig’ provokes images of a sexual and sensual nature, illustrating her understanding and comfortable nature towards sex. Not only this but she is able to ‘sense corruption’ within herself, suggesting she acknowledges and understands what is becoming of her. This could suggest that Carter does this in order to make her seem like she is not innocent, contradicting the idea of female ownership in relation to latent content within traditional fairy tales.

The mother, the female matriarch of the story is also a direct contrasting idea to what we would normally find in a traditional story. The mother is seemingly the most active character in the story, she is strong and powerful, ‘eagle’ like, animalistic-ally courageous and overpowering. She is an abnormal female figure, she has ‘outfaced a junkful of Chinese pirates’ and ‘shot a man eating tiger’, all this which holds imagery which we would normally associate with the male hero of a traditional story, creating the illusion that the mother is equal to men, equally powerful, equally capable. Carter may do this in order to reflect women’s fight for justice and equality and the struggle for female independence. She may also do this in order to contradict the idea that women in the Bloody Chamber are not without freedom and identity, as the mother holds the idea of choice and power and equality to men.

Another strong contradiction is that of the piano tuner and his passive role as the male hero. In traditional stories the heroic male is the recurring saviour, he is strapping and selfless. However in the Bloody Chamber the piano tuner, the narrator’s ‘lover’ is blind, which holds connotations of weakness and does not play a remote part in the saviour of his lover. This content does not reflect that of a traditional story in fact quite the opposite. Carter may do this in order to represent the good and the evil within her strong depiction of male roles. However she could arguably do it to make the motherly role which Carter seemingly admires, seem ever stronger, as it depicts her as wise and knowledgeable because she was right in questioning her daughter marrying the Marquis.

Over all I would argue that there is latent content used within the Bloody Chamber that reflects the same themes that reside in tradition stories. However I would also argue that Carter uses a number of different elements such as the characters within her plot, which depict the nature of traditional stories very differently, for example the passive nature of female roles.

OH HAIIII

everyone :)

Women in the BC

Women in the bloody chamber –

The biggest and most direct contrast of the female characters in the Bloody chamber is the one between the narrator and her mother.

The contrast is immediate, emerging noticeably within the first few pages of the short story. The narrator in the beginning is seen as pure – “away from white”, “away from girlhood” and is seemingly very innocent; “my young girls pointed breasts”. She is also objectified not only by her mother but also by the Marquis when she feels she has “ceased to be her child, in becoming his wife”, suggesting she is being objectified, she is passive and without independence.

In large contrast her mother is seen to be not passive, but extremely active. She is a powerful figure and role model, a character which would be un-expected due to the context of production in which men were dominant. The narrator describes her mother; “my eagle featured, indomitable mother”, the use of the animalistic imagery connotes strength and the use of the eagle symbolises her mother’s vigour and courage. She then goes on to say “her mother had outfaced a jungle of Chinese pirates, nursed a village through a visitation of the plague, shot a man eating tiger with her own hand and all before she was as old as I?” She is an accomplished, brave character, and not only has she contradicted every assumption of women of that time, she is surrounded by this idea of accomplishment and individuality, one which the narrator voices in a such a way that we believe she is almost jealous, at disbelief, and is aware she is mightily dissimilar to her mother. Her mother also contradicts society’s norms and values, by emphasising the idea of choice, one which women would not usually captivate. “Are you sure you want to marry him”, depicts the choice she presents to her child and as the reader we know that she is wise, as we are aware of the fate that awaits the narrator, one which the mother has almost predicted.

There is also a noticeable contrast in the way both these characters approach the idea of death in the final scene of the story. The narrator accepts that she is going to die, and passively follows the Marquis’ instructions without hesitation, bathing and dressing herself accurately to his demands; “already almost lifeless, cold at heart, I descended the spiral staircase to the music room”. Not only does she accept her fate but she makes no attempt whatsoever in to escaping it. However at this moment in time her curagious mother is heroically racing towards the castle on horseback, and image which we would normally associate with a prince or a king savior. She takes immediate action in saving her daughter and shooting the Marquis straight in the forehead. “A single, irreproachable bullet”, the idea of one attempt, one chance. Her mother is portrayed as a hero, as a magnificent, efficient and strong, superlative figure.

Male characters in the B.C

In the Bloody chamber we are subjected to the two very different male characters, each character having a very different symbolic representation in terms of the repression of women.

The marquis is suggestively portrayed as the dominant character, he is the active one in the relationship and is in constant control of the female narrator, which she is not oblivious to herself. It is the male Marquis who is controlling and deferring the sexual gratification until they reach his castle. The ring and the choker are physical evidence of the control he has over her, given as ‘gifts’ to his bride. She is objectified; she was no longer ‘HER’ daughter, in becoming ‘HIS’ wife. This illustrates her passive nature and her lack of independence.

She is a beautiful young bride yet she is also ‘horseflesh’ and ‘cuts on a slab’, surveyed by his ‘carnal avarice’. Linking back to Mulvey and her theory of female sexual repression and objectifying the women as male desire, it is obvious that the female narrator is the object of hunger and love is reduced to an extreme desire without feelings, just a simple physical appetite.

He belittles her like she was a child, ‘he doubted...for a chuckle, I would be quite so interested in his share certificates even though they were worth infinitely more’. He depicts what she should be interested in and what she shouldn’t be, he decides what she values more, paper or jewels.

He also holds the power of taking her virginity. He takes her purity away and in doing so gains even more power over her, she is now left un clean. She has lost the most precious gift of all, the thing that most attracted the male marquis to her, which makes her more vulnerable in their relationship.

The idea of the mirrors, multiply the power of the marquis. He can see her from many different angles; he can objectify her even more thoroughly.

In contrast the piano tuner, the other male character, is depicted as a more passive male role. The most significant factor which allows us to see this is he is blind. He does not possess the ability to see her, objectify her and repress her. Instead with regards to the female narrator, she seems to be in control. Instead, she judges him, noting he is ‘satisfactory’. He asks her permission, that one day he might get to listen to her play the piano. The fact that the male character is actually asking for permission from a women directly contrasts the idea of Male dominance and male power over their gaze.

Visual Pleasure and Narrative cinema

Visual Pleasure and

Narrative cinema

Visual pleasure and narrative cinema

A theory based on Laura Mulvey (a professor of film and media studies) A Feminist.

One of the first major essays that helped shift the orientation of film theory towards a psychoanalytic framework – She based her theory on that of Freud’s, Lacan’s.

She was a feminist that argued that in Hollywood cinema, they inevitably put the spectator in a masculine subject position and the woman on screen as the object of desire.

Mulvey suggests that there were two distinct modes of the male gaze of this era: "voyeuristic" (i.e. seeing women as 'whores') and "fetishistic" (i.e. seeing women as 'madonnas').

(Links in with the Madonna whore complex)

She argued that the only way in which to be rid of the Hollywood system was to radically challenge and re-shape the strategies of film making with alternative feminist methods.

Visual Pleasure and Narrative cinema

Visual pleasure and narrative cinema

A theory based on Laura Mulvey (a professor of film and media studies) A Feminist.

One of the first major essays that helped shift the orientation of film theory towards a psychoanalytic framework – She based her theory on that of Freud’s, Lacan’s.

She was a feminist that argued that in Hollywood cinema, they inevitably put the spectator in a masculine subject position and the woman on screen as the object of desire.

Mulvey suggests that there were two distinct modes of the male gaze of this era: "voyeuristic" (i.e. seeing women as 'whores') and "fetishistic" (i.e. seeing women as 'madonnas').

(Links in with the Madonna whore complex)

She argued that the only way in which to be rid of the Hollywood system was to radically challenge and re-shape the strategies of film making with alternative feminist methods.

Female Eunuch

Feminism during the first pages of ‘The Bloody Chamber’...

The initial introduction to The Bloody Chamber is one of vivid sexual imagery, one which is repressed beneath a variety of alternate meanings, all of which connote sex. The female narrator uses phrases such as “tender”, “ecstasy”, “great pistons”, “thrusting”, “bore me”, all which provoke highly erotic imagery. However the hidden meanings which contain this imagery suggests the idea of the female eunuch, the repression of women’s sexuality and the controversial arguments surrounding it.

There is also reference to the women narrator being merely an object, a female character which to fulfil her role in society, moving from “her child” to “his wife”. She appears to be owned, voided of all freedom and simply a possession. This could relate to further feminist arguments which debate over the true identity of women, and the fight for equal freedom.

However her mother appears to contradict this passive role of the women figure. She emphasises the idea of choice; “Are you sure you want to marry him”, which contradicts the idea that she doesn’t have any freedom or identity. Her mother also appears to be highly powerful, an abnormal female figure. She was described as being “eagle features”, eagles connote great strength and ability and the narrator quotes “Mother had outfaced a junkful of Chinese pirates” and “shot a man eating tiger” all of which holds imagery that we would normally associate with a man, thus creating the illusion that she is equal to men, equally powerful and equally capable. This could imply that the mother’s character reflects women’s fight for justice and equality and the struggle for independence.

Strong feministic views can also be seen arguably in the male figure, in the phrase “that face lay underneath this mask”. This phrase suggests the male figure is ‘faceless’, we as the reader can interpret him, put any face on him we like, therefore he can represent all men. This could suggest that this man is a negative portrayal of the species of man.

Introductions..

“Dracula’s liar lies in that place between waking and sleeping” – Consider Dracula’s relationship with sleep and consciousness.

The idea of sleep is a commonly recurring theme throughout Bram Stokers Dracula. It becomes seemingly obvious throughout the novel that Dracula holds a certain control over his victims, one which is put up on them during a merging state of reality and dreams, which suggests that Dracula’s lair, his domain, remains within the element he is most powerful. However it could also be argued that Dracula is also most vulnerable in his time of sleep, where he appears to be beyond the place of dreams, hanging in the balance of death, which in turn suggests otherwise. Jonathon Harker is the first character to be subjected to these bizarre events and the merging of a dreamy state and reality...

To what extent do you agree with the view that Dracula is a novel with xenophobia at its heart?

I forgot what xenophobia means so looked it up and it said this – “an intense fear or dislike of foreign people, their customs and culture, or foreign things” so please note that my introduction was based on that particular understanding of the word.)

Dracula is arguably a novel with xenophobia living at its heart. Not only does Bram Stoker introduce the reader to a un-recognised species, a long side it comes a completely different way of life which contradicts all of societies norms and values of the Victorian era in which it was written...

Dracula serves as a warning against the movement away from superstition to a wholly scientific culture. Consider the place of superstition and science in Dracula in light of this comment.

Dracula was written during the Victorian era; a time where the idea of technology was filled with optimism, a time for scientific discovery and a time of change. The inner cities provided less and less influence from the Church and the Church’s power was more prominent in rural areas rather than industrial. Religion was being undermined by theorists such as Charles Darwin and his natural selection theories which began to uproot people’s belief systems. However during the novel, Dracula seems to corrupt the idea of technology...

“In Dracula the men are set pieces, void of any personality that does not support their purpose, to pursue the evil and to protect the women” – Consider the role of men in light of this comment.

In Dracula the male characters are seemingly there to fulfil a certain role, without any traits which support their purpose, only to fight the evil and protect the women. In light of the context of production it could be argued that the role of men reflect the way in which Bram Stoker saw the roles of the ‘normal’ man, during the Victorian era. Men were expected to bring in the money, the ‘bread winner’ of the household, they did manual work and protected their wives and family, whilst the women stayed home with the children, cooked and cleaned and fulfilled her role as the passive one within the relationship. In Dracula Jonathon Harker immediately supports this, leaving Mina his wife to travel in light of his job to the home of Count Dracula...

Features of Fairytales

Feature number one – Morals

Many fairytales arguably have a moral undertone. For example you could conclude with observation, that in Cinderella, she would have been useless even with her beauty and character without her godmother, perhaps reflecting the importance of social connections?

Beauty and the Beast – she gets everything that she could have ever dreamed of because she loved someone for who they were, not their appearance. Suggests vanity is a negative trait. Etc. - Also it could be a moral undertone in the sense that honesty and cleverness is often rewarded, characters are often put to the test and as a result they are depicted as good or evil. Suggesting what is right and what is wrong.

Feature 2 - Feature number two – Beauty. The idea of vanity being represented in Beauty and the Beast is contradicted by the common theme of beauty, shown in almost every single fairytale that comes to mind. Ariel, Beauty and the beast, snow white, little red riding hood, Cinderella, Rapunzel, Rumplestiltskin etc. It is arguable that fairy tales reinforce the stereotypical perceptions of women,

and undermine them in their accomplishments. Perhaps this was a good thing in terms of the context of production, when women weren’t meant to work? Maybe it is trying to drill this in to little girls heads so that their role in society is shaped and defined through the undermining of women in fairytales? (They also seem to always be very thin - doesn't send out a very good message.)

Characters are created seemingly to fulfil their roles. They often do not possess names but their job in society, their position, who they are to the main character. “Miller”, “king”, “Evil sisters”, “Beauty”, Could be just to simplify the idea to the children reading it, they may not be able to remember all the characters names and what they do/who they are. Could be symbolic of society and social standing, comparisons are easy to make “the miller”- “the king”.

dreams

The idea of dreams and the merging of reality is a commonly recurring theme throughout Dracula. The character of Jonathon Harker is first to be subjected to this merging of reality and dream like state. On page 41 regarding his encounter with Dracula’s wives he recalls “I suppose I must have fallen asleep...what followed was startlingly real”. This emphasises Jonathon losing touch of what is real and what is fantasy, illustrating the confusion surrounding his lifelike encounters. The character that is most commonly subject to this bizarre illusion is Lucy Westenra. Lucy’s sleepwalking habits demonstrate her everyday life composure with that of a dream like state of mind, one which she is obviously not in control of, demonstrated by her sleepwalking attire. When on the cliff with Mina, Lucy recalls an encounter in a ‘dream like state’, noted by Mina, quoting “His red eyes again they are just the same”. The mixture between the past and the present and the presence of Dracula causing this confusion within her state of mind, almost like a trance, again illustrating the recurring theme of losing control to dreams, and the joining of reality and fantasy. Mina also provokes dream like imagery when trying to run to Lucy, she remarks that her feet are ‘like led’, similarly to what we feel when we try to run in our dreams and holds illusion connotations.

Throughout this idea we notice that Dracula has the ability to corrupt his victims minds, and causes them to fall in to a trance in which he takes advantage of them, and encourages them to act to his demands. On page 104 Mina remarks in regards to Lucy, “and saw that she was in a half dreamy state”, it is obvious that the mysterious ‘dark figure’, Dracula, has provoked this behaviour within Lucy, which strongly links to the nigh time, his domain, in which he is most powerful, which is arguably why he always strikes in the nightime (other than he can’t go out in the daylight). He also controls his victims accordingly, on page 176, Mina quotes “The moment she became conscious, she pressed the garlic flowers close to her...Whenever she got in to that lethargic state she put the flowers from her”, suggesting that Dracula is in control of her actions. Dracula also arguably acknowledges this idea of the night, danger and dreams, just not in an explicit manor. On page 36 he says to Jonathon “Do not sleep in any other parts of the castle... Be warned”. Dracula acknowledges that Harker is vulnerable in the castle during the night, and in turn may encourage him or the reader to believe that with the nigh time comes the recurring theme of dreams and danger, and susceptibility to evil.

It is also noticeable that most of the characters actually have trouble sleeping, and it has a knock on affect on others. Lucy in particular, “I tried to go to sleep but could not, there comes to me the old fear of sleep.” Suggests she is aware how vulnerable she is in the night time also. Due to Dracula keeping him up all night talking, and his creepy encounter with the wives and wolves and such, Harker also has trouble sleeping and becomes nocturnal. He says that his is in ‘nocturnal existence”, and influence which Dracula has on him. Dracula’s affect on Lucy in the night in turn provokes Mina to lose sleep of keeping her safe, and also the other characters who keep guard over Lucy in the night.

Notes on Chapter 8 and recurring themes

There is an immediate sense of characterisation in chapter 8 with regards to Mina. Her character connotes a strong sense of innocence, when she remarks “I am so happy” and also the way in which she often uses words such as ‘sweet’ to describe people and places, for example Lucy when she’s sleeping, and the Inn. She also uses the phrase “bless them” which could arguably illustrate a very forgiving temperament to her character. When fearing what has happened to Lucy Mina remarks “A vague overmasking fear...obscures all detail”, a reluctance to express her fear of what may have happened to Lucy such as rape, emphasises Mina’s innocence. Mina also refuses to show even her feet in public and resorts to covering them with mud on the walk home in case they should encounter anyone. Lucy is described to have ‘the obedience of a child’, making her seem very vulnerable.

However we go from a sense of innocence to that of fear. Note also that the fearful setting is almost always darkness, Dracula’s domain, creating a more ominous atmosphere. There is also the church setting which could imply marital imagery. This along with the descriptions of Lucy as a ‘white figure’, suggests a wedding dress and purity (pure – being a virgin – sex before marriage is when you are seen as un clean). The ruined abbey could implicate some sort of corrupted marriage ceremony, Dracula; the man in black, as the groom. --- This then links also to Lucy’s later state when she is laid in bed ‘heavily breathing’ and she moans. This could imply that she is recovering from a sexual act as she expresses that of being in exertion. There is also “A drop of blood on her night dress” which could link to her being ‘de-virginised’, as one would often be on their honeymoon - Supports the idea of the heavy marital imagery in chapter 8.

There is arguable sexual imagery. Some consider the exchange of the bodily fluids to be very sexual creating an undertone within the chapter. Could argue that cliff tops are a romantic setting, she is also only wearing a nightdress which for that time would have been frowned upon and very abnormal behaviour. The idea of her being in a dream like state throughout this exchange of bodily fluids may also relate to the idea of corruption within innocent characters such as Lucy and Mina and possibly erotic dreams and fantasy.

Narrative irony is very strong within this chapter along with idea of reality being merged with dreams. When looking at Lucy’s bleeding throat Mina notes a “piercing of the throat”, yet naively believe it was her who caused the wound. We know as the reader that Lucy has been victimised by Dracula. ‘A dark seated figure’ which the reader knows to be Dracula seems to have a power over Lucy, whereby he can control her state of reality. He seems to provoke a dream like state within his victims, which also links to his domain of the night. As Lucy is in this state she remarks, “His red eyes again, they are just the same”, narrative irony as we know it is Dracula, yet Mina believes it is the way the sun is reflecting of the figures eyes, also the recurring theme of the merging of her state of mind with her previous dreams and the present. There is also the idea of Mina describing her ‘feet being like led’ which suggests her reality merging with a dream like state, as it is similar to when you try to run in a dream but cannot move.

Goth notes

Gothic literature is marked by characteristic place settings and personality types that strive to lead to a sense of horror or despair.
Gothic atmosphere
Lovecraft claims ‘An appropriate atmosphere is absolutely essential to the Gothic mode’.

Building settings- A typical gothic story is set in and around a caste, graveyard, cave, convent, monastery, church, cathedral, chapel or dungeon. The building possesses the occupants or holds them in bondage – Marshall Tymn. The idea of a secluded place is an ongoing theme.
Natural settings- Secluded places in general, mountain ranges, wild forests etc.
Architectural paraphernalia such as towers, trapdoors, mysterious corridors, rust, hinges, creaking, tunnels, dim lights, flickering candles, burial vaults, suits of armour, prophecies, ghosts, chains, portraits, fluttering bats, storms, lightning and fast billowing winds all serve towards trapping their helpless victims and creating a gothic atmosphere. They add to the aura of terror and mystery that define a gothic genre.
Gothic notes
There is often an intermingling of terror and beauty. ( as seen with Dracula’s wives ) and this is often a common theme when it comes to vampires.

Erm.. our lesson.. on erm metaphors

If Dracula was a flower, he would be a red rose. Sharp imagery, pricks the skin, the deep colour red representing his thirst for blood.

If Dracula was an item of stationary he would be a whole punch. Whole punches hold penetrative imagery similar to Dracula.

:)

A load of dodge on Victorian Morality, Religion and description.

Notations on Victorian Morality, Religion and Description.

Victorian Morality – A set of values linked with sexual restraint, low tolerance of crime and social ethics – Dracula links well with the ideas of sexual restraint, for example when Harker restrains himself away from the sexual temptations from Dracula’s wives. Dracula, arguably a sexual predator – (linking back to the ideas of Freud), the exchange of bodily fluids (blood in Dracula’s case), the idea of penetration from one personal to another (from the fangs).

Tolerance of crime – The lack of tolerance the team has to allow Dracula to commit such crimes. The idea that they all work together in order to bring Dracula down, putting their own lives at risk.

The idea of British society clashing with Dracula’s culture in Transylvania - (with the suggestion of lower class gypsies etc. Being used) During the Victorian morality there is the idea of dignity and restraint in Victorian society, but underneath there is the contrast of child labour and prostitution. This links to Dracula and his hierarchy nature as a ‘Count’, but his underlying animalistic temperament.

Religion morality – The idea that the Church’s power was more prominent in rural areas rather than industrial ones. Linking to Dracula, the inner city provided less danger from the church (out of fear of crosses and being hunted etc), the inner city may be a safe environment for him. Dracula may also favour it due to the larger population. (If he kills someone they are more likely to go un-missed, targets are easier, more choice, more places to hide etc.)

There is also further emphasis on the ‘crisis of faith’ – Religion being undermined by Charles Darwin’s natural selection theory, uprooting people’s belief systems. Stoker could arguably be combating this – As Dracula’s downfall is due to people belief, however this could be ironic as he is writing a fictional novel consisting of vampires and strong elements of the supernatural.

Description - The idea of ‘proper’ reference use in Literature. The sexual restraint theme again emerges. We must use the word ‘limb’ as opposed to ‘leg’. (However arguably contradicted by Queen Victoria’s erotic artistic collections and her indulgence in eroticism exchanged with her husband. Seems to be a facade. Links once again to Dracula – his dignified character on the outside, very formal and controlled. Demonstrated through his use of formal language, “Enter freely and of your own will”. Yet his animalistic qualities are beneath this.

The idea of homosexuality in Britain being considered as a sin in religion. This could be linked to the idea of un restrained sexuality in Dracula – as Dracula feeds on men as well as women, links to the idea of a man penetrating a man.

?

I am a vampire

How Dracula is presented in chapter 3

Dracula, from the very beginning is undoubtedly seen in a very disturbing light, illustrated from Harker’s immediate attention paid to his appearance. He is dressed head to toe in ‘black’ would could illustrate a dark element to his character, the colour black is also associated with the idea of death, mourning and the gothic. He radiates the idea of the supernatural from the moment Harker notices his strength, “I could not help but notice his prestigious strength...like a steel vice that could have crushed mine if it had chosen”, not only does this emphasise the idea of the Count’s abnormal strength but also arguably foreshadows his evil nature when Harker notices how Dracula could “crush” him if he had chosen to. We must also note that the idea of a man of Dracula’s age accompanied with mighty strength he seems to posses also emphasises his abnormal qualities. Harker also remarks “More like the hand of a dead than a living man”, provoking suspicions towards the reader, also associated with the idea of vampires, teamed with the teeth and the ‘aquiline features’ and his pale complexion, all contribute to the idea of the supernatural and a strong resemblance to that of a vampire.

Harker describes him as having very marked ‘physiognomy’. This would imply that the reader can judge Dracula’s temperament and character through the following descriptions of his facial features. Harker describes Dracula as having very animalistic features, such as ‘bushy hair that curled in its own profusion’ accompanied with ‘particularly sharp white teeth that protruded over the lip’ and ‘extremely pointed ears’, this animalistic imagery could arguably provoke a sense of danger within Dracula’s inner nature, and perhaps a unpredictable state of mind as well as representing the idea of a threat. His eyebrows make him appear very foreign, as Harker notes ‘Eyebrows were very massive’. This could emphasise his abnormality, depicting him as different from everybody else. His ‘Heavy moustache’ also complies with the idea of him being of a foreign nature. His mouth is described as being ‘fixed and rather cruel looking’, suggesting he holds sadistic features and also emits a strong demonic nature. Overall, I think it’s fair to say, DRACULA IS OBVIOUSLY AN EVIL VAMPIRE.

Im not a psychologist

And I don't know anything about dreams!!!
Sorry :s

How does Stoker help us to suspend our disbelief in chapter one of Dracula?

How does stoker help us to suspend disbelief in chapter one of Dracula?

The novel commences in a non-fictional tone, taking the format of a typical journal. This particular format is often associated with an individual’s reality and truth of their day to day activities, creating the illusion of reality directly through the configuration Stoker uses. Not only is it a journal, it is also technical and specific as demonstrated on page one, “Munich at 8.35 p.m on the 1^st of May”, which in addition emphasises the illusion of reality. There is further emphasis on every life during Jonathon Harker’s daily description, in which he describes his environment and journey specifically along with the meals he ate and his enjoyment, “ I had for dinner, or rather supper, a chicken done up some way with red peppers”. These are experiences to which the reader can relate to, creating the appearance of verisimilitude, accompanied with existing places which are brought in to context such as “London”, “the British museum” and “Transylvania”. The fact that the reader cannot deny that these places exist creates a factual illusion of authenticity which inevitably suspends the disbelief arguably appears towards the end of chapter one.

Harker’s disbelief is also used in order to suspend our disbelief. He uses the phrase “I read that every know superstition”, which allows the reader to not to believe its unbelievable. Even when fear is introduced by the wariness of those surrounding him, Harker’s attitude is somewhat comforting to the reader and allows further disbelief to be applied when he himself uses the expression “very ridiculous”, on page five. He allows the reader the opportunity to disregard the abnormal behaviour existing around him in order for us to continue suspending our doubt.

However we must note that the journal format may not be all together reliable, as we are entrusted only with the re-counted events that Jonathon Harker experiences. The reader may be wary of exaggeration and miss-told experiences, as well as memory loss and his tired state of mind from all his travels, which may influence what he interprets to be real.

Enter Dracula, and begin..

A few key notations on vampires

Vampires are known to be mythological creatures. They are associated with drinking the blood of humans in order to subsist, and are similarly associated with the fangs to which they use to drink the blood from the neck of their victims. Vampires are also associated with mystery, evil, supernatural abilities (such as super human strength and heightened sense of smell and hearing, super speed and super human agility.)

It is claimed by Brian Frost that the ‘belief’ in vampires and such like may date back to even pre historic times. The most well known tale on vampires is Bram Stoker’s ‘Dracula’ – Although now it may be twilight, you never know.

How Faustus can be seen as a Gothic text

How Faustus can be seen as a gothic text.

First when approaching this question it would make sense to assess Faustus as a gothic protagonist. We expect a tragic hero to have a high status. Faustus beginning with ‘base of stock’ has seemingly created his personal hierarchy. He is now ‘graced with doctor’s name’ and he dines alongside ‘noblemen’. The gothic protagonist must also possess the standard hero qualities we as an audience aspect, such as a hubris and a dramatic downfall. This is also usually linked with a fixation of some kind, in Faustus’ case; magic. It could be argued that his obsession with magic and his thirst for power endeavours him to conjure Mephistopheles and indulge in necromancy, in order to try and become omnipotent, however the selling of his soul inevitably ends up with him being dragged in to the realm of hell, as promised, by Mephistopheles and Lucifer. We expect our gothic protagonist to have a sinister element or as others may argue a slight touch of evil, which Faustus portrays in his joy at creating havoc amongst the pope and his men and with torturing the Old man, as seen on page 179, ‘they menace the old man’. His obsession with magic and his strive for control also illustrates this. However a gothic protagonist is also usually associated with some form of intimidating appearance, which is where Faustus is lacking. However Faustus is noticeably set up as a typically dodgy, gothic protagonist in the beginning of the novel, where he begins by talking in third person, “Settle thy studies, Faustus, and begin.” His irrational, objective and analytical personality set up the ongoing slope towards his tragic downfall.

A concept of the demonic which is largely featured throughout Faustus is religion. Interestingly the belief that Satan is in Hell has its roots in Christian literature rather than in the bible. The Bible states that he still roams heaven and Earth. This would relate to Mephistopheles, and the way he walks amongst Faustus and the humans on the Earth, and describes heaven as being all around, page 147, ‘Why, this is hell, nor am I out of it’. Faustus has also studied religion and has excelled in it, but rejects developing it further, and refers to ‘Jerome’, the founder figure of the bible who translated the bible in to Latin and joined it all together. Faustus rejects the study of God, arguably mocking it with his breezy tone and his quote ‘che sera sera’. This could take emphasis off the importance of religion as Faustus seems not to value it, which could also make it less intimidating towards the audience making it less of a tragic text. However religion is an ongoing theme throughout, with many references to God, when the Old man see’s Angels, the features of Lucifer and all the devils are religion themes, and the idea of heaven and hell teamed with Faustus’ damnation. However Marlow himself has been accused of being an Atheist, and if this is true then it casts a great deal of doubt on his in his ability to moralize from a Christian stance.

Gothic texts also usually include supernatural elements. White and black magic is featured within Faustus. Black magic is seen by some to be the practice of an evil practice which uses nature but with the invocation of demons, which is the magic which Marlowe uses in his great work Faustus. The use of necromancy on it’s own reveals a crucial element of the supernatural on it’s own, accompanied by the devils, angels and magical practices such as turning invisible, all of which are featured in Faustus, surrounding him, making the novel seem highly dramatic and supporting the Gothic genre.

Another element of the Gothic is it’s ability to induce fear upon the audience. Hell is largely used in order to do this. When Faustus see’s Lucifer for the first time he quotes on page 159, ‘who art thou that look’st so terrible?’ The idea of a negative and surprising appearance is intimidating to the audience, as it is normally associated with the gothic protagonist and is very threatening. Mephistopheles also reacts to hell with a very daunting attitude. On page 147 he says ‘tormented with ten thousand hells’, the quote ‘ten thousand hells’ holds great emphasis on the suffering Mephistopheles associates with hell, making the idea seem unapproachable to the audience and very frightening. However Faustus and his nonchalant attitude towards hell contradict this fear, which is usually displayed in gothic texts. He believes ‘hell’s a fable’ and disregards Mephistopheles ongoing warnings. Although the audience may see Faustus as naive his upmost ignorance towards hell slightly deflates the intense fear surrounding the idea of hell.

Another element which undermines Faustus as a gothic text is the use of the clown like characters’ Robin and Raef. Their lack of fear and utter unawareness radiates a sense of implausibility and security for the audience. When turned in to animals they Robin reacts with ‘Thy head will never be out of the pottage pot’, on page 167. Raef similarly reactes with ‘And I must be a dog’. Their careless attitudes and lack of intelligence provide comedy, an aspect which is not traditionally associated with the gothic genre. Similarly Faustus displays a clown like aspect to his personality unexpectedly. His mockery of the pope and his childish behaviour also have an impact on how serious the audience may then take the play, undermining the fear factor and arguably demoting the gothic aspect of the text.

However another supporting theme in Faustus is the negative portrayal that lies within sides of human nature, a theme which is commonly associated with gothic literature. In Othello we see him as a hero, a strong, devoted, loyal and powerful leader, however the evil side is brought out in his jealous nature which leads to his sinful murderous acts. Faustus displays negative human traits such as arrogance and his hunger for power. Although his motivation may be seen in a positive light he seeks no good with his ambitions, only to gain omnipotence. His power thirsty side is shown on page 141, when Faustus remarks ‘All things that move between the quiet poles shall be at my command’ and ‘of power, of honour, of omnipotence’. This attitude is a common theme associated with the typical evil character, and a modern audience would immediately associate this with iconic characters from films that strive to ‘take over the world’.

Overall Marlowe’s Faustus contains many recurring themes, all of which support the idea that it can be seen as a Gothic text, in particular the idea of the supernatural and the ongoing references to religion and all things associated with it such as hell and God. There are however certain things which could arguably lighten the mood, but mainly Faustus is seen as a sinful tale, portrayed in a gothic light.

WHAT IS OUR HALF TERM WORK??

ANYONE? thankies

from today's lesson I can conclude

That I cannot write a decent essay in the exam time unless I put in a serious amount of practice,

and my writing gets worse and worse with every sentence.

Joy.

DO BLOGS OR I CANT COMMENT ON THEM!

Please :)

White magic vs Black magic

I think the most interesting point from my section is what black magic is seen as from different point of views etc. - Looking at it in more detail.

It states in the Faustus notes that “Black magic also used nature but included the invocation of demons. This was the magic that Dr. Faustus used in Marlowe’s great work. Black magic, or witchcraft, implied the use of supernatural powers for a wicked purpose.”

In more detail black magic is the belief of practices of magic that draws on assumed malevolent powers. This type of magic is summoned when wishing to kill, steal, injure, cause misfortune or destruction, or for a personal gain without regard to harmful consequences to others.

‘black magic’ the term is usually used by those who do not approve of its uses.

Some argue that ‘black magic’ doesn’t necessarily have malevolent intentions all the time, as some consider it to have beneficial aspects, (For example killing deceases or pests.)

In fiction black magic quite frequently will be identified with evil, such as J.K.Rowling’s Harry Potter, which reference to the ‘study of the dark arts’ etc.

act 4 notes

The Emperor links back to ac t 1 – we see that Faustus is taking orders from the Emperor, yet in act 1 but he quoted “Nor can they raise the wind or rend the clouds; “ – he wanted to be better than them, to be ‘god like’ so we now again see that Faustus will not succeed in his ambitions.

The structure is a little odd. It begins with the Emperor talking in prose but quickly changes. Perhaps reflecting how the Emperor is talking to him, in a more personal manner to begin with? More intimate?

The knight enters. A seemingly sceptical character – “I’faith, that’s just nothing at all”

Faustus then conjures up FAKE spirits. More emphasis on his inability to achieve his goals.

Mephistopheles has an unexpected humane response to the horse courser. “I pray you, let him have him”, the word ‘pray’ also has religious connotations which is quite contradictory as Mephistopheles is a devil?

More slap stick when the leg is pulled off. “Oh my leg, my leg! Help!”

QUITE A BORING SCENE REALLY

Act 4 - chorus notes

The chorus

The chorus begins in past tense – this could be to show that a large amount of time has passed, which emphasises Faustus’ time running out (as he only has 24 years on Earth)

We get the idea that Faustus has actually gained something from his indulgence in to magic. “such learned skill” and “they admired and wondered his wit”. This makes Faustus seem a lot more eligible than act 3, when he was compared to mere clowns and demoted to playing childish tricks. The chorus then changes to present tense “Now in his fame spread forth in every land”, implying Faustus is now very well known. “Faustus is feasted ‘mongst his noblemen”, noblemen are people who have high status, this could link back to the gothic as he is seemingly creating his high status from ‘base of stock’, is seems he is ascending the ladder surrounded amongst noblemen with high ranking. Could possibly be a threat to the hierarchy? Is he now more of a tragic hero? Is he setting himself up for a fall? He is now more of a gothic character.l

part 2

Faustus responds to this in a very cynical manner, dismissing the idea of hell, “Come I think hell is just a fable.” This could come across as naive, as Faustus is being told this by a devil himself, so not to believe him when he claims it is where he is from is arguably arrogant. Faustus thinks he knows better than a devil. However, the arrival of Lucifer seemingly turns Faustus’ atheist perspective upside down. Faustus remarks “That sight will be pleasing unto me as paradise was to Adam the first day of his creation”. This appears to be an extended oxymoron and offers sadistic features to Faustus’ personality. The fact that he will find hell as pleasing as heaven was to Adam seems very masochistic in reference to Mephistopheles and his first hand experience of hell, and his painful descriptions which emphasise the negativity that comes with it. The protestant audience would have be very opinionated on hell at the time, whereas Faustus’ opinion seems to fluctuate constantly, suggesting he has very little idea of what hell is like, and is very arrogant as to disregard the outlook of Mephistopheles. He also quotes “This word ‘damnation’ terrifies not me, For I confound hell in Elysium”. He seems to hold the view that hell is merely the happy abode of the dead, the ‘elysium’ of classical literature. This courage shown here is not the bravado of the ignorant, but the recklessness of his over educated mind, which is a characteristic Faustus portrays throughout.
Overall Marlowe presents hell in a contradictory manner, and makes it very difficult for a reader from the modern day to decide upon what hell resounds of. The fact that Faustus and Mephistopheles contradict themselves never mind each other also makes it more difficult.

How does Marlowe present the ideas of hell in Dr Faustus?

In doctor Faustus the representation of hell is shown to the audience through the contrasting opinions of Faustus and Mephistopheles. Mephistopheles presents hell from the perspective of someone who has been there himself. Faustus asks ‘Where are you damned?’ to which Mephistopheles replies ‘In hell’, suggesting his first hand experience so his opinion could be valid, however the audience is aware that he is a devil, and devils hold untrustworthy traits and usually resort to trickery. Mephistopheles introduces hell to Faustus in a very negative way. He makes it seem frightening and evil when he remarks, “Where we are tortured and remain forever”. Mephistopheles is a devil, so we assume that he is fearless and invincible, as a devil is seen as a supernatural being, yet the fact that he appears to fear hell creates an overwhelming sense of fear and a more intimidating outlook on hell for the audience. Mephistopheles explains that he is ‘damned’, suggesting eternal torture and pain. However he remains elusive as to the location of hell. He remarks, ‘now in hell’ and ‘Why, this is hell, nor am I out of it...In being deprived of everlasting bliss”. This suggests that Mephistopheles is always in hell, because he is always deprived of eternal bliss. Yet the location of hell still remains quite unclear, as his answer resides around his own situation and isn’t very specific. Mephistopheles also remarks “Hell hath no limits... for where we are is hell”. Here he suggests that Hell is not a physical setting, but more of one that engulfs all that are damned. He says “and where hell is, we must ever be”, suggesting he is damned for eternity in hell, connoting a sense of entrapment and representing impending pain and suffering. This makes hell seem immoral and fearful.

However he contradicts himself later on when he remarks that hell is, “anywhere under the heavens”, insinuating that hell does have a limit, and suggesting that limit is anywhere but heaven, implying that it is Earth that he resides in hell. It seems as if the conditions of being damned involve a big element of the deprivation of eternal bliss. Mephistopheles portrays hell as everything but heaven, with remarks such as “deprived of everlasting bliss”.

Faustus notes act 3 scene 1

I note first of all that act 3 is a very disappointing scene in light of Faustus and his expectations.

The act begins with blank verse, which usually connotes high status, a sense of being noble and intelligence. Faustus still sounds controlled and proper.

It then becomes apparent that Faustus is becoming more dependant on Mephistopheles. “But tell me now, what resting place is this?” It seems that Faustus is being taken wherever Mephistopheles wants to go, so he is not in control. “Conducted me within the walls of Rome?” This also indicates that Faustus is not in control. He doesn’t appear to know where he is, which implies he is quite vulnerable, whereas Mephistopheles is taking charge.

Mephistopheles lowers the tone by speaking in prose. “Faustus, I have. And because we will be un provided, I have taken up his holiness’ privy chamber for our use.” He is losing the high ideal of what Faustus wants to do. This also seems to be a big ant-climax, for Faustus in particular. Instead of seeing all the wonderful things he was hoping to see and visit, he is visiting the pope to have a laugh.

Then Faustus plays about with the pope in his chamber, in a childish manner. Everytime the pope goes to eat something or drink something, Faustus steels it away. (this would be very amusing for the protestant audience as they don’t like the pope, on stage it is seemingly devils playing with devils, as they nickname the pope)

We now begin to get the feeling that Faustus dream is not going to be fulfilled. Not only had the scene had a huge anti-climax on visiting all these wonderful places, but we don’t actually get the feeling that Faustus has any sort of control on whether he gets to or not, which is quite worrying.

Everything that Faustus wanted to achieve has been taken down to a slapstick level. Faustus wanted to move the river Rhine, now it is simply “maine fall into Rhine”, he wanted to control everything between the north and south poles, now he is simply mocking the pope? We also see a childish behaviour in Faustus which we would not expect to see. “How? Bell, book, and candle, candle, book, and bell?” His use of childish mockery emphasises his sudden change in character and status. It also shows how Mephistopheles has managed to lower Faustus’ ambitions to mere games.

Faustus, a tragic hero?

His hubris- Could be his ambition & his pride. (similar to the tale of Iccarus, who flew too close to the sun because he pushed it too far) "All things that move between the quiet poles shall be at my command".

His hubris could also be his arrogance - "Too servile and illiberal for me", He rejects well thought of professions, as well as rejecting influential huge names such as Aristotle, Galen, Justinian and Jerome. In doing so he pushes himself in to a trap..?

He has creates his own high status. It begins with 'his parents base of stock', which implies a very basic standard of living, but Faustus has created his own heir achy, 'graced with doctors name'.

Something tragic has happened to him, not only has he lost his soul, but he is being denied salvation, which is seemingly quite tragic. Mephistopheles has deprived him of heaven, and to the religious audience this would seem increasingly bad.

Little Devil

The Devil (Greek: διάβολος or diávolos = 'slanderer' or 'accuser'^[1]) is believed in certain religions and cultures to be a powerful, supernatural entity that is the personification of evil and the enemy of God and humankind. The Devil is commonly associated with heretics, infidels, and other unbelievers. The Abrahamic religions have variously regarded the Devil as a rebellious fallen angel or demon that tempts humans to sin or commitevil deeds. Others regard the Devil as an allegory that represents a crisis of faith, individualism, free will, wisdom and enlightenment.

In mainstream Christianity, God and the Devil are usually portrayed as fighting over the souls of humans, with the Devil seeking to lure people away from God and into Hell. The Devil commands a force of evil angels, commonly known as demons.^[2] The Hebrew Bible (or Old Testament) describes the Adversary (Ha-satan) as an angel who instigates tests upon humankind.^[3][4] Many other religions have a trickster or tempter figure that is similar to the Devil. Modern conceptions of the Devil include the concept that it symbolizes humans' own lower nature or sinfulness.

mr francis

it will no longer let me blog

Opening pages to Dr Faustus - 'Enter Faustus in his study'

'Settle thy studies Faustus and begin' - 'Settle thy studies', implies that Faustus is trying to rationalise what he wants to do, what he wants to study.

The fact that he is talking in 3rd person shows he's trying to view himself objectively and be rational, offering a pensive element to his character, also suggesting he's quite analytical.

Faustus begins by considering Astronomy but rejects it, despite admitting to enjoying the work of Aristotle, he asks himself 'Is to dispute well logic's cheifest end?' Is it just to win arguments? Is the miracle just being able to argue? He dismisses this subject, confident he can argue well.

He then considers medicine. He refers to Galen, an influential Greek physician. The biggest authority of medicine in the middle ages, yet he rejects being a doctor, saying you can achieve so much but at the end of the day you cannot bring some one back to life, you are still only a man. 'Yet art thou still but Faustus'.

He then moves on to Law, referring to the work of Justinian, another founder of thought associated with the profession. He rejects this though, as he seems to think it is nothing worth doing. 'His study fits a mercenary drudge'. So he rejects law for being servile.

(NOTE AT THIS POINT THAT IT SEEMS HE IS BEING VERY NEGATIVE, YET HE IS TALKING IN 3RD PERSON, SUGGESTING HE IS BEING RATIONAL ABOUT HIS DECISION AND WITHOUT PREJUDICE)

He then moves on to consider religion, using this time the influential name 'Jerome', the one who translated the bible into Latin and put it all together.

He goes on to say that if we say we haven't sinned, we are deceiving ourselves therefore we die, however if we sin, we die, there is an inevitability. He rejects the study of God, believing it is below him, and almost mocks it when he says 'che sera sera'.

He then turns to magic. 'He picks up a book of magic'.

'Of power, of honour, of omnipotence' - This links to expectations of our gothic protagonist. The power hungry and high status elements which also tie in with the sadistic features.

He wants everything at his command, 'All things that move between the quiet poles Shall be at my command'.

(ALSO NOTE THAT FAUSTUS IS ON STAGE, IN FRONT OF AN AUDIENCE, AND A RELIGIOUS ONE FOR THAT TIME.)

so it seems he is being massively Blasphemous, Marlow is depicting Faustus as a bad character to the audience.

Protagonist&Prologue - Dr Faustus

What we expect from our gothic protagonist:

A touch of evil, sinister traits,

A high ranking, a title, high social status/class

quite often male

Have an element of mystery, and of the supernatural, unknown elements,

Intimidating appearance, often beast-like, commonly linked to animals (in the way they talk for example growling.)

PROLOGUE

Begins with the phrase 'not' - negative first word.

The next 5 lines imply that the following novel will not revolve around love, fighting, action etc. They will simply revolve around Faustus 'fortunes, good or bad.'

It tells us Faustus' parents were 'base of stock', implying he grew up with a very basic standard of living - which contradicts the expectations of gothic protagonist.

It informs us of Faustus' intelligence, it says 'Of riper years to Wittenberg he went', Wittenburg being the highest ranking place to study in Germany. Also 'graced with doctor's name'.

'So soon he profits in divinity' - He does extremely well in the study of God. (which later contradicts what he says in the first chapter in his study, when he rejects the study of religion)

It then implies he gets too big for his boots, 'His waxen wings did mount above his reach', which is in reference to the tale of Icarus, who flew too close to the sun with his wings and they melted and they fell.

'falling to a devilish exercise' - the devils trick

'necromancy' - calling upon the dead

and then it seems 'sweet as magic is to him' - he turns to magic.

MAUS - Character representation notes

Characters

· The Jews are represented by Mice

· Germans are represented by Cats

· Polish are represented by pigs

· Americans are represented by dogs

· French are represented by frogs

· Swedish are represented by reindeer

· British are represented by fish

· Roma (gypsies) are represented by gypsy moths

It could be argued that the Jews are portrayed as Mice in a satirical fashion, to depict the Nazi’s portrayal of Jews as vermin. However there’s also the fact that Spiegelman’s girlfriend seemingly chose the ‘mouse’ character to depict her.

With the exception of the Americans (dogs), the animal characters are all drawn alike. For instance, most of the Jewish mice resemble each other regardless of sex or age. Clothing and other details are used in order to tell them apart: Spiegelman himself, for instance, is always wearing a white shirt and a black sleeveless over shirt; his French wife, Françoise (herself portrayed as a mouse, because she converted to Judaism), wears a striped t-shirt. When travelling clandestinely in Nazi-occupied areas, the Jews wear pig masks to disguise themselves.

Spiegelman explained that he chose pigs to represent the Polish because of their resemblance to American cartoon characters such as miss piggy and porky pig, as many times in Maus, the Poles are very selfish and don’t want anything to do with the Jews.

The use of animals may also be used in order to detach the reader from reality. This may have been done to appeal to a younger generation of readers, despite it being a story of survival and death during the Holocaust. But instead of fully detaching the reader from the book, Spiegelman shows a human aspect by illustrating how his father tells his story and by showing the emotions and relationships of the characters throughout.