Flann O'Brien, Dickens and Joyce: Form, Identity and Colonial Influences
All quotations from The Third Policeman are taken from the 1993 Flamingo Modern Classic edition.
In this essay I intend to examine Flann O'Brien's The Third Policeman in the context of the time of its writing, 1940, its relation to certain English novelistic traditions and also the broader Irish literary tradition in which it belongs.
Seamus Deane refers to Ireland as a "Strange Country" and indeed O'Brien's own narrator recalls the words of his father:
" . . . he would mention Parnell with the customers and say that Ireland was a queer country." (7)
Such a concurrence indicates to a degree the peculiar nature of the Irish situation with regard to theoretical post-colonial models.
There is a temptation to see all Irish work since the revival in terms of decolonization. Cahalan, in The Irish Novel, traces the tendency of Irish writers such as Swift, Edgeworth and Maturin to employ fantastic elements and non-realism in direct opposition to English colonial models and in affirmation of certain Irish traditions. Mercier, in The Irish Comic Tradition, points also to the presence of exaggeration, absurdity and scatological detail in Gaelic heroic cycles and poetry.
In Flann O'Brien, Bakhtin, and Menippean Satire, M. Keith Booker begins by saying;
"It has now become commonplace to think of Flann O'Brien along with James Joyce and Samuel Beckett as the three great Irish fiction writers...
Mary Shelley’s “Frankenstein” is about Victor Frankenstein’s excessive knowledge in the sciences and his refusal to accept his own creation. Frankenstein starts with a healthy curiosity in the sciences that eventually turns into an unhealthy obsession he can no longer control. He undergoes a drastic transformation because of making experiments that eventually result in his biggest one yet; the monster. Shelley applies the themes: the danger of too much knowledge, ambition, monstrosity, isolation, and Nature vs. Nurture throughout the novel with the characterization of the monster and Frankenstein.
Included within the anthology The Penguin Book of Irish Fiction,1[1] are the works of great Irish authors written from around three hundred years ago, until as recently as the last decade. Since one might expect to find in an anthology such as this only expressions and interpretations of Irish or European places, events or peoples, some included material could be quite surprising in its contrasting content. One such inclusion comes from the novel Black Robe,2[2] by Irish-born author Brian Moore. Leaving Ireland as a young man afforded Moore a chance to see a great deal of the world and in reflection afforded him a great diversity of setting and theme in his writings. And while his Black Robe may express little of Ireland itself, it expresses much of Moore in his exploration into evolving concepts of morality, faith, righteousness and the ever-changing human heart.
Peripheral vision is used amongst every species ranging from a deep-sea marine animal to a bird flying hundreds of feet above the ground. However, each species’ vision differs to some degree and also differentiates within the species itself. This can be due to various types of eye conditions.
From the beginning of the book the readers emotions are manipulated by the descriptions of the deadly and cold landscape surrounding the ship that Frankenstein is saved by. Ice falls and cold sea pours in. This freezing landscape's purpose is to cause the reader to sense the disappearance of hope and pouring in of the cold and chilling lack of emotion brought on by depression. The captain is depressed because he belie...
What is the role and purpose of the many eyes found on the box jellyfish Tripedalia cystophora?
In James Joyce’s Dubliners, the theme of escape tends to be a trend when characters are faced with critical decisions. Joyce’s novel presents a bleak and dark view of Ireland; his intentions by writing this novel are to illustrate people’s reasons to flee Ireland. In the stories “Eveline, “Counterparts”, and the “Dead”, characters are faced with autonomous decisions that shape their lives. This forlorn world casts a gloomy shadow over the characters of these stories. These stories are connected by their similar portrayal of Ireland. They clearly represent Joyce’s views on people’s discontent with Ireland.
A collection of short stories published in 1907, Dubliners, by James Joyce, revolves around the everyday lives of ordinary citizens in Dublin, Ireland (Freidrich 166). According to Joyce himself, his intention was to "write a chapter of the moral history of [his] country and [he] chose Dublin for the scene because the city seemed to [b]e the centre of paralysis" (Friedrich 166). True to his goal, each of the fifteen stories are tales of disappointment, darkness, captivity, frustration, and flaw. The book is divided into four sections: childhood, adolescence, maturity, and public life (Levin 159). The structure of the book shows that gradually, citizens become trapped in Dublin society (Stone 140). The stories portray Joyce's feeling that Dublin is the epitome of paralysis and all of the citizens are victims (Levin 159). Although each story from Dubliners is a unique and separate depiction, they all have similarities with each other. In addition, because the first three stories -- The Sisters, An Encounter, and Araby parallel each other in many ways, they can be seen as a set in and of themselves. The purpose of this essay is to explore one particular similarity in order to prove that the childhood stories can be seen as specific section of Dubliners. By examining the characters of Father Flynn in The Sisters, Father Butler in An Encounter, and Mangan's sister in Araby, I will demonstrate that the idea of being held captive by religion is felt by the protagonist of each story. In this paper, I argue that because religion played such a significant role in the lives of the middle class, it was something that many citizens felt was suffocating and from which it was impossible to get away. Each of the three childhood stories uses religion to keep the protagonist captive. In The Sisters, Father Flynn plays an important role in making the narrator feel like a prisoner. Mr. Cotter's comment that "… a young lad [should] run about and play with young lads of his own age…" suggests that the narrator has spent a great deal of time with the priest. Even in death, the boy can not free himself from the presence of Father Flynn (Stone 169) as is illustrated in the following passage: "But the grey face still followed me. It murmured; and I understood that it desired to confess something.
Mary Shelley’s world renowned book, “Frankenstein”, is a narrative of how Victor Frankenstein, a brilliant chemist, succeeds in creating a living being. Although Frankenstein’s creation is benevolent to begin with, he soon turns murderous after being mistreated by humans. His anger turns towards Frankenstein, as he was the one who brought him into the world that shuns him. The Monster then spends the rest of the story trying to make his creator’s life as miserable as his own. This novel is an excellent example of the Gothic Romantic style of literature, as it features some core Gothic Romantic elements such as remote and desolate settings, a metonymy of gloom and horror, and women in distress.
In Mary Shelley’s romantic novel Frankenstein Or The Modern Prometheus, she conveys many of the themes of the romantic period such as the romantic view of nature. Her novel follows the life of Victor Frankenstein as he develops an interest in natural physiology which gives him the inspiration to create the monster. The monsters creation affects many of the characters, and creates misery and grave consequences. Throughout Shelley’s novel many of the character’s ignorance, foolishness, or overconfidence blinds them from the harsh reality of the world.
Land, M.F.1965. Image formation by a concave reflector in the eye of the scallop, Pecten maximus. J. Physiol. (Lond.) 179: 138 153.
Ronsley, Joseph, ed., Myth and Reality in Irish Literature, Wilfrid Laurier University Press, Canada, 1977
Although this R3 was a bit gross, I found it interesting and it made it easier for me to understand different parts of the eye. I think the main purpose of this R3 was to use hands on experience to make it easier for us to label parts of the eye on a diagram. One of the first observations I made when I saw the eye was how much bigger a cow’s eye is than a human’s. After I saw how big the cornea looked, I was surprised with how much meat surrounded the eye that I would have to cut off. Then I had to decide where and how I was going to cut off the excess.
and grandmother. Corinne Wesh, my sister, was born in 1981. She graduated from University of Pennsylvania in 2004. She has two kids and is currently a stay-at-home mom,...
McCann et al. Belfast: Institute of Irish Studies, 1994, 95-109).
-Presented a paper before the Royal Society in which he attributed the accommodation of the eye to its muscular structure