Rider Haggard’s King Solomon’s Mines and Forester’s A Passage to India In British imperial fiction, physical setting or landscape commonly plays a prominent role in the central thematic subject. In these works, landscape goes beyond an objective description of nature and setting to represent “a way of seeing- a way in which some Europeans have represented to themselves and others the world about them and their relationships with it, and through which they have commented on social relations” (Cosgrove xiv). By investigating the ways in which writers of colonial ficition, such as H. Rider Haggard and E.M. Forester, have used landscape, we see that landscape represents a historically and culturally specific way of experiencing the world. In Rider Haggard’s King Solomon’s Mines, the landscape is gendered to show the colonizer’s ability to dominate over native territory. However, while the scenario of the male colonizer conquering a feminized landscape reinforces a legitimizing myth of colonization, it is later overturned by Forester’s A Passage to India. In this novel, the landscape takes on a complex, multifaceted role, articulating the ambivalence of cross-cultural relationships and exposing the fragility of colonial rule. In contrast to King Solomon’s Mines, A Passage to India uses landscape as a tool to expose the problematic nature of colonial interaction that might have easily been left obscured and unacknowledged. We can read the landscape as a type of secondary narrator in A Passage to India that articulates the novel’s imperial ideology. The African landscape of King Solomon’s Mines is clearly feminized. The treasure map shows that the geography of the travelers’ route takes the shape of a female bod... ... middle of paper ... ...d the sky said, ‘No, not there’” (Forester 362). We would expect that the structures of colonial rule, such as the jail and the Guest House, would symbolically pull Aziz and Fielding apart. The presence of nature, the earth, the horses, the birds, with the sky itself dictating that they cannot now be friends is a deeper form of rejection to the notion of cross-cultural relationships. The only hope we are left with is the sky’s qualification of the “no”: not yet… not there. Works Cited Cosgrove, Denis. Social Formation and Symbolic Landscape. Madison, Wisconsin: University of Wisconsin Press, 1998. Forester, E.M. A Passage to India. London: Harcourt, 1924. Ridger Haggard, J. King Solomon’s Mines, ed. Gerald Monsman. Ontario: Broadview Press, 2002. Suleri, Sara. The Rhetoric of British India. Chicago: University of Chicago Press, 1992.
In N. Scott Momaday’s and D. Brown’s separate passages, they describe different views on the landscapes in Oklahoma. Momaday’s purpose is to reveal that in the midst of harsh surroundings, reverence can be found within.. Brown’s purpose is to explain how the relationship of nature is destroyed over time. Momaday creates not only a harsh tone, but also a spiritual one in order to reveal to the reader that the landscapes unforgivable qualities hide its sense of awe; while Brown adopts a mourningful tone in order to convey the landscape’s hopelessness and despair.
“In the darkness the fields / defend themselves with fences / in vain: / everything / is getting in” (Atwood, 28-33). The man in Margaret Atwood’s poem “Progressive Insanities of a Pioneer” is in a situation similar to the stranger in Douglas LePan’s poem “A Country Without a Mythology.” The man in Atwood’s poem as well as the stranger in LePan’s poem are both unsure of where they are. In “Progressive Insanities of a Pioneer” the man tries to separate himself from his environment; however, in “A Country Without a Mythology” the stranger tries to adapt himself to his environment. By analyzing the content, structure, and meaning of “A Country Without a Mythology” the reader will understand that if the stranger openly accepts his surroundings he will then be able to answer the question that grieves him: “where is he?”
All in all, the treatment of the American Indian during the expansion westward was cruel and harsh. Thus, A Century of Dishonor conveys the truth about the frontier more so than the frontier thesis. Additionally, the common beliefs about the old west are founded in lies and deception. The despair that comes with knowing that people will continue to believe in these false ideas is epitomized by Terrell’s statement, “Perhaps nothing will ever penetrate the haze of puerile romance with which writers unfaithful to their profession and to themselves have surrounded the westerner who made a living in the saddle” (Terrell 182).
The places in which we live are an integral and inescapable aspect of who we are, as they largely determine culture, community, and determine the outlook that one has on the rest of the world. In the American South, physical and cultural geography has played a particularly important role in the historical and modern contexts of racial relations. The dynamic between enslaved peoples and the natural landscape is a complex one that offers innumerable interpretations, but inarguably serves as a marker of the wounds created by institutional racism and human enslavement. In her collection of poems entitled Native Guard, Natasha Trethewey utilizes external features of the natural environment in the South in order to communicate the repressed grief, both personal and collective, which can arise as a result of inflicted systemic violence. Through comparing part one of Native Guard, which focuses on
The setting for this novel was a constantly shifting one. Taking place during what seems to be the Late Industrial Revolution and the high of the British Empire, the era is portrayed amongst influential Englishmen, the value of the pound, the presence of steamers, railroads, ferries, and a European globe.
It may be discerned from the quotes displayed above that Rushdie, a writer not renowned for suffering fools gladly, accords Kipling some epistemological superiority. Yet when examining images of race and blood in Kipling, the critic turns most frequently to Kim, and I contend that the short stories of Plain Tales from the Hills have been undeservedly neglected in favour of the longer novel. This brief essay examines issues of alterity, going native, empire and blood in Plain Tales from the Hills.
Bhabha, Homi. "From 'Of Mimicry and Man: The Ambivalence of Colonial Discourse' in the Location of Culture, pp. 85-92." Stanford Presidential Lectures and Symposia
Pratt, Mary Louise. “Narrating the anti-conquest”. Imperial Eyes. Travel Writing and Transculturation. London and New York: Routledge. p.38 – p.68.
Sharpe, Jenny. “A Passage to India by E.M. Forster.” Contemporary Literary Criticism. Ed. James P Draper, Jennifer Brostrom, and Jennifer Gariepy. Vol. 77. Detroit: Gale, 1993. 253-57. Rpt. of “The Unspeakable Limits of Rape: Colonial Violence and Counter-Insurgency.” Genders 10 (1991): 25-46. Literature Criticism Online. Web. 4 Mar. 2011. .
It is the goal of the author in this book to convey the cultural and historical importance of captivity overseas. Even more so than that, I believe the author goes even further by claiming that; regardless of the various forms and locations around the world that captivity took place it still hold a special place in the history of the British Empire between 1600 and 1850. In order to truly understand the impact the British Empire had on the world and vice versa. One must explore the cultural interactions between the British colonists with the foreign lands they were forcing themselves upon. As the author puts very simply, the cultural interaction of taking captives in this era was not a linear process. Those Britons who came to the colonies slaving out other cultures for their benefit one day, may find themselves calling another culture master the next. This history of the British Empire is a history of social futility. Because, despite its small size this collection of English, Welsh, Scottish, and
Waïl S. Hassan,(2003). Gender (and) Imperialism: Structures of Masculinity in Tayeb Salih's Season of Migration to the North. Sage publications. Retrieved from jmm.sagepub.com at University of Balamand.Dec, 2013. dio: 10.1177/1097184X02238529.
“The only people for whom we can even begin to imagine properly human, individual, existences are the literate and the consequential, the wazirs and the sultans, the chroniclers, and the priests—the people who had the power to inscribe themselves physically upon time” (Ghosh 17). History is written by the victorious, influential and powerful; however, history has forgotten the people whose voices were seized, those who were illiterate and ineloquent, and most importantly those who were oppressed by the institution of casted societies. Because history does not document those voices, it is the duty to the anthropologist, the historiographer, the philosopher as well as scholars in other fields of studies to dig for those lost people in the forgotten realm of time. In In An Antique Land, the footnotes of letters reveal critical information for the main character, which thematically expresses that under the surface of history is something more than the world can fathom.
Postcolonial authors use their literature and poetry to solidify, through criticism and celebration, an emerging national identity, which they have taken on the responsibility of representing. Surely, the reevaluation of national identity is an eventual and essential result of a country gaining independence from a colonial power, or a country emerging from a fledgling settler colony. However, to claim to be representative of that entire identity is a huge undertaking for an author trying to convey a postcolonial message. Each nation, province, island, state, neighborhood and individual is its own unique amalgamation of history, culture, language and tradition. Only by understanding and embracing the idea of cultural hybridity when attempting to explore the concept of national identity can any one individual, or nation, truly hope to understand or communicate the lasting effects of the colonial process.
Another cultural misunderstanding happens in the same passage between Ronny and Dr. Aziz. Aziz gives Fielding ...
V. S. Naipaul, the mouthpiece of displacement and rootlessness is one of the most significant contemporary English Novelists. Of Indian descent, born in Trinidad, and educated in England, Naipaul has been placed as a rootless nomad in the cultural world, always on a voyage to find his identity. The expatriate sensibility of Naipaul haunts him throughout his fiction and other works, he becomes spokesman of emigrants. He delineates the Indian immigrant’s dilemma, his problems and plights in a fast-changing world. In his works one can find the agony of an exile; the pangs of a man in search of meaning and identity: a dare-devil who has tried to explore myths and see through fantasies. Out of his dilemma is born a rich body of writings which has enriched diasporic literature and the English language.