Seraglio’ centers on a fundamental enigma: the complexities of any spouse and wife’s marriage. The barrier that they experience between them is further emphasized through being from two different cultures, which is portrayed as almost being from two different worlds, close but not coming in contact with, like two continents, each using its own traditions and history, between which there is absolutely no bridge. ‘ It really is evident that Swift pieces this barrier right away as his interesting choice of title identifies a room where the women are kept secluded from the men.

The narration is in first person singular which is enhanced by the primary protagonist – the partner. The exotic setting up which the personas are indulged in, contrasts deeply with the dark happenings that contain the taken place in their lives; the husband’s affair, his wife’s miscarriage, the misfortune of not having the ability to have children in the future and the ways that they try to mentally break free from these woes. Cosmic irony is common in Swift’s work as his characters are hardly ever happy, and when they are, the sensation is nearly alien to them.

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Seraglio’ seems to defy the common story framework as there is absolutely no answer to the predicaments the individuals face. The partner as a set persona means he does not have any function other than to provide us with the narrative, which pays to to us as visitors when interpreting the requirements of the storyline.

Swift’s preservation of brands and aspect of the heroes lives evokes further attention in the reader, proposing a desire to have us to find out more on the characters. Compared, if we take a look at swift himself, the Telegraph states No contemporary publisher is such a closed down publication’, indicating that his heroes may be mirroring himself. As opposed to the lack at length of the personas, Swift is quite descriptive when illustrating the town, possibly to engage the reader’s attention further into the story.

When it involves the husband’s personal life such as his current matrimony, he makes more use of narrative passages, departing the reader to dig in further for clues about the few. It is as though Swift uses these narrative passages as a device for the writer to piece certain things collectively, including the sensitivity of the couple’s romance and the feelings associated.

In A Family Man’, Pritchett narrates in third person whilst introducing to us the key protagonist Berenice, a female who is involved in a piquant’ affair with William Cork. We sense that it’s on the verge of being found out when Florence (Mrs. Cork) enters the story, a large ponderous woman’ who immediately grips the reader’s attention because of this presentation of her. Originally, the audience is attracted to her size, but later it is who she is really that maintains us attracted to her further. Pritchett also injects interest into the history when explaining how one persona is towards the other, in this case, Berenice with Florence as the audience is stepping into her shoes and experiencing what she feels and how she reacts. The writer uses her as a tool to assist us in interpreting this, as we are located only in her shoes. Pritchett makes this easier for all of us even as we read of Berenice’s persona from a third person limited perspective.

The tension is soon created when Florence shows herself to be Mrs. Cork, the better half of William Cork, and continues to mount throughout the story as we observe the two heroes react with each other. Pritchett presents to us both women reaching for the first time, initially humble towards each other but eventually confrontational, Is that what he has been stuffing you up with? I know what you and he are up to. ‘

Florence is indefinite about the affair, nevertheless the reader knows completely well that it occurred, indicating elements of remarkable irony within the storyline. However, we could also left at night up to Florence is as it pertains to knowing the precise details of the affair (for example when it started out), creating further suspense and unknown.

Berenice is a strong character, in that she sits to Florence and changes her history to get around the difficult situation she detects herself in. We see another part to her, especially as Pritchett state governments in the beginning, She have been brought up by Quakers and thought it wrong to inform or react a lay. ‘ This affirmation completely contradicts what she will later, developing a complex in her character. She encounters issue and transforms because of this of computer.

On the other palm, Florence will serve as a flat personality as there are no multidimensional attributes in her personality. Also, she is readily recognized as the adulterer’s wife, making her a stock figure. Evidently, Prichett may have positioned her there to draw out the multidimensional features in Benerice.

The other chiseled character in the story is Mrs. Brewster, who’s participation in the book is nominal, but her importance is fantastic. It really is through her words that people view (for the first time) another view on Benerice.

After thinking Benerice would have learnt her lesson in regard to nearly getting found by Mrs. Cork, Benerice visits another few and we see components of a flirty dynamics through Mrs. Brewster’s view of her, She ought to get hitchedI wish she wouldn’t swoosh her locks around like this. ‘ Through this ironic ending, Pritchett is nearly alluding to a possible recurrence of another affair with a wedded man (Mrs. Brewster’s spouse?), which reveals the audience with a whole new group of events to anticipate.

The Prophets Scalp’ portrays a family group from the valley of Kashmir who are shattered by way of a strand of the Muslim prophet Mohammed’s mane. This history is full of overtones, regarding the effects of religion on others, and the way in which corruption is associated with money. Finally, Rushdie highlights two strong forces within our culture: money and religious beliefs, and exactly how they conflict with each other. In the long run, the wild hair itself raises this aspect through the way it affects each personality; the materialistic Hashim & family and Sheikh Sin the thief who craves jewels, who all perish eventually.

The beginning of the storyplot is filled up with overtones of faith and money, that happen to be emphasized from the start once we learn that Hashim is a money-lender’ and not a godly man. ‘ From the beginning we are informed that Hashim sees value in nothing at all else but money. Also, on learning about the religious trinket, Hashim immediately feels of North american millionaires who buy stolen paintings and conceal them away’, which may suggest one of is own thought operations of wanting to sell the phial in future.

Hashim is a active personality and Rushdie shows extreme contrasts and complexities in his character: the protagonist starts off as an atheist then transforms into (what he thinks) a deeply spiritual specific (even though he continues to beat others and has sinned to his wife), imposing tight religious functions onto his family. His persona also becomes dislikeable to the audience following the effects of the Prophets locks. On discovering the find, he does not do the honorable thing of going back it to the glow. The reader desires this even as we learnt initially that he arranged great store by living honorably in the world’, however, his actions weren’t honorable and resemble that of a thief.

In compare to Hashim, Atta is a flat character in that he does not experience any change throughout the course of the storyline. Rushdie may have used him as a device to improve the story as he’s at one point involved with removing the religious trinket from the home, and also represents the family’s riches in the beginning picture. He also wakes up Hashim in the long run, causing a series of unfortunate events to unfold.

Huma is one of the key protagonists alongside her father, who also increases the storyline (perhaps more than Atta) as she introduces Sheikh Sin to the problem. She evokes pathos in the audience, and we can empathize with her more than Atta, as she is victimized by her daddy for no reason, whereas in the beginning Atta lands himself in trouble when buying a thief, which the audience may interpret as foolish tendencies.

Other round character types include Sheikh Sin and his better half. She actually is a round identity as she evokes desire for the reader when it comes to how she received her vision when her hubby was wiped out.

Rushdie’s use of symbolism is considerable throughout the storyplot. I believe the spiritual trinket may symbolize the two elements of corruption involved in our society, folded into one. The phial has a monetary value whilst the head of hair contains great spiritual value. To achieve the prophet’s hair is selfish and wrong, but the value of the phial is greatly desired by all, possibly symbolizing that these two elements aren’t compatible with each other. Fiona Richards from the College or university of Leeds also suggests, It illustrates the extent to which the icon’s meaning is determined by the context where it is positioned, and its capability to subvert and destabilize the limits placed after its interpretation by such a framing. ‘

Rushdie also prepares the audience with the series of situations that are to occur, the glassy contentment of that house hold, of this life of porcelain delicacy and alabaster sensibilities, was to be shattered beyond all hope of repair’, indulging the reader’s interest further.

Rushdie also induces social personal references through his use of words from the Kashmiri terms, such as kukri cutlery’ and shikara. ‘ Thus giving the audience an insight in to the culture by revealing to us different Kashmiri words. He is slightly expanding our knowledge of the Kashmiri culture here.

The Prophets Hair’ ends ironically, as the religious trinket products poor Sheikh Sin’s partner and impaired children but destroys the prosperous Hashim and his family. In the end, it only worked for many who truly needed it.

Weldon’s ‘Weekend’ presents the habitual and normality of a typical middle class family, and the stresses that the key protagonist Martha faces. Weldon, who’s a feminist also issues classic feminism here.

The storyline is illustrated from an omniscient viewpoint, as Martha and sometimes Martin’s thoughts are unveiled to the reader. The writer portrays Martha as a perfect, devoted and hard-working better half, but her work are unappreciated by her dominating spouse Martin, who she tries hard to please but (sometimes) gets stern looks from him. As the storyline follows, it is noticeable that Martha’s daily struggle of being the perfect mom to her kids, keeping life structured and maintaining Martin’s satisfaction has had an effect on her behalf mind state, to a degree that her thoughts have been tormented by fear and paranoia, You don’t want his secretary providing a enthusiasm you neglected to develop. Do you?’ The occurrence of Katie (Collin’s new partner after Janet) could also cause Martha’s paranoia as she signifies what Martin could have after Martha. In her desperation to please Martin, Martha also changes her thoughts and ways to complement that of Martins, No such thing as a major accident. Injuries are Freudian slips: they are really wilful, bad tempered things. ‘ Though it appears as Martha is speaking, this is actually something Martin may have conditioned her to think. Her own thoughts have transformed to indicate Martins.

The story contains heavy styles of gender stereotype and gender inequality. Weldon alludes to this when discussing the vehicles; Martin has a posh sports activities car’ whilst Martha drives an old estate car’. Also, the reader can observe that Martin will do the manly’ jobs such as driving a car and lighting the open fire, whereas Martha cooks and cleans. Predominately, Martin is the dominant force in the story and Martha is the supplementary force, who’s threatened.

Martha is also associated with further negative connotations, such as complaining too much, being paranoid and dreary, and at times slow. This could represent the modern attitudes of housewives as they don’t work but stay at home all day. This idea is further emphasized when we see components of quoted dialogue from Martin. He mainly talks in imperatives to her, You shouldn’t have bought it so ripe, Martha’ Be honest now!’This creates tension in the reader as one may get tired of reading demand after demand. This also allows us to see the restlessness Martha may feel.

Martha contrasts to Katie, who’s childlike in stature and also in manner, as Martha cannot trust her in your kitchen. She can even be considered being more impartial than Katie, as Katie is in [her] middle thirties with almost nothing to her name, neither hubby, nor children, nor property. ‘ However, in the storyline it is nearly as if Martha seems threatened by Katie because Martin areas that she is enjoyable’ and wonderful’ and has restored Collin’s junior.

Weldon cleverly reveals to the reader Collin and Janet’s previous romantic relationship to symbolize what could occur if Martin was not content with Martha; he may find someone like Katie who is more extrovert and relaxed, and who could bring out the young ones’ in him. We learn that Janet was also dull and quieter than her spouse’ equally Martha is.

The ending can be viewed as either being pessimistic or optimistic. Could it be that Jenny has motherhood, matrimony and companionship to anticipate? Or are these the things that she’ll find hard to accept? In the end, Weldon leaves the audience to assume their own opinions.

The storyline of Philomela is advised in first person narrative, and it is Philomela’s sister Procne who narrates the storyplot. This contradicts the reader’s goals as the title is Philomela’, so first, we expect the storyplot to be from from her viewpoint.

Procne narrates in a cold and firm firmness throughout the storyplot, which creates more pathos with no extra details being needed to create this mood.

The audience cannot help but notice evaluations with Ovid’s tale of Philomela as it is a more specific version, providing a more elaborate consideration of Philomela’s suffering. Alternatively Tennant has cleverly condensed her version of the storyline, leaving the audience to conjure up thoughts in what might have occurred themselves.

On eradicating her son, the audience can still empathise with Procne when she claims, Years and years will pass, and these minutes will still be longer than them all. Every hour will consist out of these. ‘ Although she maintains an unemotional tone during this picture, Tennant still informs the audience that this tragedy won’t escape her head, interesting our sympathies with her.

Tennant’s use of symbolism is shown through the wild birds in the story, I moped, like the wild birds my children recreate when they go out for a walk. ‘ Procne associates herself with these birds, and this connection may allude to the ladies of that time who weren’t allowed to speak out, who didn’t have a words.

The absence of Philomela has led the grief-stricken Procne to isolate herself, and it is the audio of birds this is the only thing which will keep her content, It was summer, and wild birds were performing in the thicket of olives. ‘ This could perhaps forshadow the events that are that occurs, as the parrots will be the only thing which give her hope and also stand for the voiceless women, specifically Philomela who will give her the power to avenge later.

Procne becomes from a grief-stricken sister to a murderer and an avenger. These complexities in her identity cause her to be always a dynamic one. Philomela is also a active personality as she encounters discord and is transformed because of it. She also introduces and increases the story. She evokes the anger and hostility needed towards her man in order to carry out the revenge, She come to my aspect and got my hand so I could grow with new strength. ‘

On the other hands, Tereus is a set figure because he has no other function other than to serve as a villain in the story, who offers to use Philomela to Thrace but then rapes her.

Isyth is a set character as he has no major participation in the story apart from being served over a plate to his daddy and used as part of revenge.

Procne constantly represents Philomela’s physical features, I watched her all the time- for indicators of joy, or discontent, or simply to see what her eye would tell me. ‘ Her eye which speak their own words provide the audience with an insight into how she feels, as this is actually the only way we can understand her.



Bradbury, Malcom (1988), The Penguin E book of Modern Uk Short Testimonies, Penguin Books

Internet Sources

Malcom, David (2003), Understanding Graham Swift [Online] College or university of SC

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Richards, Fiona The Desecrated Shrine: Movable Symbols and Literary Irreverence in Salman Rushdie’s The Prophet’s Scalp’ [Online] University of Leeds http://www. soas. ac. uk/soaslit/issue2/RICHARDS. PDF

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http://www. cheathouse. com/essay/essay_view. php?p_essay_id=103107#ixzz0gmm2K9D7http://www. cheathouse. com/essay/essay_view. php?p_essay_id=103107

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