This week's blog is based off of an essay I read today, "The Transcendent Power of Triangular Fiction." I find it very interesting in that it argues that "...fiction should work on at least three levels of interpretation: The personal, the conceptual, and the philosophical. In other words, the shape of the core of great works of fiction must be triangular — it must be emotional, cerebral, and sublime" (Obioma).
As you are reading this essay, think about Crime and Punishment or even one other text we have read this year. Does this idea apply? Make your argument in your post citing the essay and your chosen text. Additionally when you post, please explain if you agree with this idea and back up your ideas with your reasoning.
I believe this idea strongly applies to Crime and Punishment. The novel contains the personal, conceptual and philosophical components that live in a triangular work of fiction. First, we see the personal and emotional connections the characters have with us, the readers. While the characters in the novel are in a drastically different time period and encounter circumstances far from our ordinary lives, we are still able to relate to their thoughts and actions. For example, Raskolnikov’s relationship with Sonya. We all have befriended that one person who brings out the best in us. They become a guiding force within our lives, aiding in the growth and improvement of ourselves. Sonya pushed Raskolnikov in the right direction of truth and confession -- the direction that stabilized his sanity. “‘Stand up! Go at once, this minute, stand at the crossroads, bow down, first kiss the earth which you have defiled and then bow down to all the world and say to the men aloud, ‘I am a murderer!’ Then God will send you life again’” (5.4.399). Sonya is his support system and changed him for the better. Personally, I was able to connect to this as many people in my life have had this impact on me. This is just one example of an emotional connection, which in favor is just one third of the triangular fiction.
ReplyDeleteNext is the conceptual and cerebral component that applies to Crime and Punishment, which also intertwines with the philosophical component that completes the triangle. We discussed the three philosophical ideas of existentialism, nihilism, and utilitarianism during our Jigsaw project in addition to both literary criticisms that highlight the philosophy of the text. Raskolnikov brings up his theories of man, heavily rooted in the idea of existentialism: “Ordinary men to live in submission, have no right to transgress the law, because, don’t you see, they are ordinary. But extraordinary men have a right to commit any crime and to transgress the law in any way, just because they are extraordinary” (3.5.205). This idea of rising above the law is relevant to the free will of an existentialist. However, Raskolnikov eventually succumbs to Christian religion, becoming an “existential failure” in the eyes of A.D. Nuttall in “Crime and Punishment: Christianity and Existentialism”. On the flip side, Svidrigailov is an existential success since he achieves the full grasp of free will. This contrast inspires the reader to reflect upon their own lives, intelligence, and thoughts. These philosophical ideas contribute to both the sublime and cerebral parts of the triangle.
Chigozie Obioma explains how “...the works of fiction that achieve transcendence are those works that lend themselves to this multi-layered interpretation.” Crime and Punishment is open to multiple interpretations, supported by the layered breakdown above as this text covers all three parts of triangular fiction. I agree with this idea due to the importance of layers in literature, depth in a piece, and the personal connection to the reader.
Crime and Punishment constantly came into my head while reading this article. The idea of triangular fiction fits so well with Dostoevsky's writing style, and really applies to how he layers his characters, especially Raskolnikov. Obioma writes, “This is because the ‘divvying up’ into fractions or parts that eventually become one and whole often works to more than one level of interpretation. The works of fiction that achieve transcendence are those works that lend themselves to this multi-layered interpretation.” I found this quote so interesting in the fact that we have been reading literary criticisms all week, all giving different layers of interpretation regarding philosophy and religion. Obioma talks about the three layers of fiction being personal, conceptual, and philosophical; Raskolnikov ‘s fictional character is the part in particular that has those three layers. The personal level is Raskolnikov caring for his mother, sister, and eventually Sonia; him not wanting Dunia to marry Luzhin is just one example of how we as readers see the human side of him. Cerebral is another part, which I think is seen with the help of the narrator. The points in which Raskolnikov is within his paranoia helps readers to understand his thinking and emotions at that point. Dostoevsky writes, “Then a strange idea entered his head; that, perhaps, all his clothes were covered with blood, that perhaps, there were a great many stains, but that he did not see them, did not notice them because his perceptions were failing…” (2.1.74). This amount of paranoia helps to further the fiction of the novel as well as to further Rask as a character. The last part is of course the most prevalent: philosophy. My group for jigsaw was focused on this element, in which Dostoevsky includes Existentialism, Utilitarianism, and Nihilism. This philosophical part of the novel is why it is so well known today, and is how Dostoevsky is able to further the motives and reasoning behind Raskolnikov and his murders. Dostoevsky writes, ““Ordinary men to live in submission, have no right to transgress the law, because, don’t you see, they are ordinary. But extraordinary men have a right to commit any crime and to transgress the law in any way, just because they are extraordinary” (3.5.205). This commentary of extraordinary man is just one of the ways that Dostoevsky’s writing plays into the triangular fiction. When talking about Edgar Allen Poe, Obioma explains, “Poe provides in that seminal essay that he had hoped to achieve this by seeking to “contemplate” the “beautiful,” a literary esotericism reached only by focusing on the effect of that which inspires beauty, and not the commodity of the beautiful itself.” To me, this screamed Dostoevsky in the fact that he does not focus on the crime, but he does focus on the motives, reasons, and the effect that crime has on the characters. For all of these reasons, I am positive that Crime and Punishment greatly applies to the idea of Triangular Fiction.
ReplyDeleteI think that this text applies to Crime and Punishment because of all the layers are seen within the novel. The article argues that a piece of writing should have all these different bits and pieces that work together and create an a deeper meaning. “This is because the “divvying up” into fractions or parts that eventually become one and whole often works to more than one level of interpretation” (Obioma). When first reading Crime and Punishment, I would not have been able to connect those, but now, especially after reading the articles regarding space, existentialism, and carnivalism, I see how it applies. I see now how the use of space has become triangular. Raskolnikov's home is said to be, “...more like a cupboard than a room” (Dostoyevsky 1. 1.2). His is always seen in tight and cramped spaces, and this could just be the imagery chosen by Dostoyevsky. But when you examine what this means for the text as a whole, we see that it demonstrates how he emotionally feels trapped because of his crime, and the internal struggle to be an extraordinary man. This us of space, is a classic way to convey the triangular style of text. “The triangular writer then is he who projects meaning relentlessly yet systematically to the reader, and in the process of which readers glimpse something else” (Obioma). Dostoyevsky continuously places Raskolnikov in these tight situations to present us with a more philosophical view of the reading.
ReplyDeleteI agree with this idea, because it makes a piece more interesting to read. The purpose of this idea is to give depth to the writing. Sure, when you first read it, the blue door may just be a blue door. But if the author has successfully written it in a triangular style, you will eventually see that it means so much more. You can start to understand the text more once you realize what the author is really saying. Small details can help tie a whole piece together, and can even provide insight into philosophical questions or emotional times in your life. The idea of fiction being triangular is on that creates great writing with even more meaning.
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ReplyDeleteChigozie Obioma does an amazing job outlining what it means to write fiction and also on the levels that it affects people. He outlines the importance of connecting to all readers on levels not just as an individual but as a member of mankind. Crime and Punishment focuses on Obioma’s idea of “triangular fiction” through the characters and situations created by Dostoevsky. Conflict seen in characters such as Raskolnikov connect with people who are unsure of their positions in life and can find meaning in their stories. He can be seen struggling as he contemplates the Sonia and his opinion her and the reasoning behind the murder he has committed, "’I did not bow down to you [Sonia], I bowed down to all the suffering of humanity,’ he said wildly and walked away to the window” (4.4.99). Raskolnikov himself is still contemplating the reasons behind his actions. But as Obioma states, Crime and Punishment as fiction, must also connect to readers on a cerebral and sublime level. He describes writing as “an act of turning out that which is in,” meaning that many ideas and concepts must be dissected through literature to be fully understood. Dostoevsky does this by commenting on existentialism as well as religion and its functions in society. We can see how greatly these two factors affect Raskolnikov during the novel and how in turn, it can affect humanity as well. In class we discussed the uses of magic in literature and how in one sense it was praised in series like The Lord of the Rings, which was filled with biblical references, but then disrespected in the Harry Potter Series when magic is used in non-religious ways. Crime and Punishment works to make these connections while also proposing its own philosophical ideas as well. Dostoevsky adventures into the world of nihilism and existentialism and works not to define it to readers, but rather to inspire readers to interpret their meanings individually.
ReplyDeleteI deeply agree with this outlook on fiction, as it is the duty of the writer to evoke change or clarification of thought through written word. The author must not force their own views upon others, for as Obioma says, “The writer within the story has died by the time the story is being published, and thus cannot change or touch anything in the manuscript. He cannot answer for anything that has been said, nor make restitution for anything that may require restitution.” So it is then the duty and power of the author to create change through words, and the only way words can fulfill that role is through connections on the triangular level.
Chigozie Obioma’s understanding of literature exemplifies the layers that books have in connecting not only with the individual but with society as a whole. Crime and Punishment is the perfect representation of this triangular perception of literature since it touches on the personal, conceptual, and philosophical levels all at the same time. It allows readers to connect with characters, especially Raskolnikov, but also learn about how those characters and the text as a whole speak to ideas like existentialism, utilitarianism, nihilism, and carnivalization. The readers get to see the internal struggle that is tumbling through Raskolnikov’s mind and many of us can relate to that ambiguity in thought as well. For example, Dostoyevsky states, “"Surely it isn't beginning already! Surely it isn't my punishment coming upon me? It is!" (2.1.17). Although Raskolnikov justifies his decision to murder Alyona, he is afraid of the guilt as his punishment. This starts to stray his mind into thinking about if he should have murdered her or not and what if something went wrong. Even though, the readers aren’t murderers, we still understand the struggle of our mind jumping around in making a decision. In the essays it says, “ They see a man standing on the top of a cliff about to descend to his death, but they also see a cause — perhaps a nation’s communist past — standing there, about to plunge to its end” to tie in to the philosophical side to it (Obioma). To interpret the philosophy behind the literal meaning, you need to dig deeper and look for symbols. In Crime and Punishment, Raskolnikov presents the idea of utilitarianism with his reason for murdering Alyona, but Porfiry Petrovich shows the contrasting philosophy of existentialism through the way he deals with Raskolnikov. As part of the conceptual level, overall the book is aesthetically pleasing with its constantly moving plot that drives the philosophy and personal connections as well. It is from the author’s perspective and Dostoyevsky pulls in his experiences like his prison time in Serbia to influence his writing and introduces these philosophical ideas.
ReplyDeleteI absolutely agree with the idea of “triangular” fiction because it satisfies both the author and the reader in a way. The author puts his or her own experiences to initiate their response to philosophical ideas through characters. However, the readers have the opportunity to interpret those ideas within the text conceptually and philosophically. In AP Literature, we always aim to peel back the layers in the text in order to find a common theme or idea present. That is exactly what the triangular fiction does to affect a reader emotionally, cerebrally, and sublimely in order to go right down to the core. Those points in the triangle are the different layers that connect to a larger idea available to readers and what the author intended.
Crime and punishment could be the poster child for the concept of multiple layers in fictional works. Obioma describes readers’ reactions to a character in Morrison’s The Bluest Eyes, “We know such a child has existed, and probably still does, and we cringe at the futility and even folly of such a desire”. Here we are shown how we analyze and see the text in a “emotional, cerebral, and sublime” manner. Cerebrally we know that the desire of children to match a mold is real, emotionally we hate to see kids feeling left out or hurt, and the whole story is made sublime in our minds by the foolish reality of the situation. In Crime and Punishment our struggle is multiplied as we see these criteria applying to the plethora of complex characters such as Raskolnikov, Svidrigailov, Dounia, and Sonya. Raskolnikov’s philosophy is the cognitive aspect of his character. Yet his belief that, “This trivial talk in a tavern had an immense influence on him in his later action; as though there had really been in it something preordained” contradicts our emotional and rational inclinations toward his actions and causes is to think more deeply about his philosophy rather than just blow it off and neglect its impact on his character. The contributions of Svidrigailov and his unique ability to even analyze his own actions in the style that Obioma describes, along with the contributions of Dounia’s purely emotional responses to life accent the tendencies of Raskolnikov and drive the reader deeper into the philosophy and reasoning behind the actions of Raskolnikov as well as Dostoyevsky.
ReplyDeleteIn Chigozie Obioma’s “The Transcendent Power of Triangular Fiction”, Obioma pulls apart fictional literature into the three most important levels of interpretation that he believes it should work on in order to achieve transcendence: personal (emotional), conceptual (cerebral), and philosophical (sublime). Whilst reading this essay, I was moved by each word that described this idea of “triangular fiction” and instantaneously connected each layer to “Invisible Man” by Ralph Ellison. Obioma states that the first level, the emotional, is where the reader connects with the story on a personal level. This is evident in “Invisible Man” through the Invisible Man’s ongoing quest to discover who he truly is in the face of external influences telling him who he should be. The Invisible Man says, “my problem was that I always tried to go in everyone’s way but my own. I have also been called one thing and then another while no one really wished to hear what I called myself. So after years of trying to adopt the opinions of others I finally rebelled. I am an invisible man” (Ellison 573). Trying to discover your identity in the world is a process that everyone goes experiences as we age. Furthermore, everyone can relate to struggling to make that discovery whilst external factors aspire to sway that discovery in one way or another. Whether that is religion telling you what to believe in, or society telling you to act or look a certain way, this idea of self-discovery is something that everyone can relate to in their own lives. The second and third levels that Obioma details in his essay seem to travel hand-in-hand throughout “Invisible Man”. The second level is the cerebral level, which describes the synchrony of vision that readers are able to achieve through the conceptual nature of the literary work. The third level is the sublime level, which is the level where the author formulates and presents philosophical statements. Obioma says, “ They see a man standing on the top of a cliff about to descend to his death, but they also see a cause — perhaps a nation’s communist past — standing there, about to plunge to its end” (Obioma). In other words, the author expresses his or her literary truth through seemingly minute actions, and, in this way, it is the responsibility of the reader to interpret these actions to extract the underlying commentary of the author. I have experienced this many times throughout “Invisible Man”, but there are two distinct occurrences that will forever stay with me. The one I will share takes place at Optic White, a paint company. In chapter ten of the novel, Kimbro describes the bright, white Optic paint as the best in the industry; however, it only succeeds with the assistance of black chemicals, in which case it then proceeds to cover up every trace of the black substance that assisted it. At the surface, this seems to solely be the action of mixing chemicals together; however, this action represents much more than that. This, along with the fact that every white worker we meet at the plant is placed on higher levels of the plant, yet the only African American worker we meet is placed in the basement, exposes the dehumanizing societal and institutional prejudice that African Americans experience. The corrupt American workforce solely permits and supports white workers to be placed at the top of the workforce and make the most wages; however, these workers solely succeed as a result of the pivotal work that African American workers perform, yet African American workers are covered up along with their identities, rendering them invisible to everyone.
ReplyDeleteIn addition, the concept presented here, invisibility, is vital to the novel because it is what adds depth and meaning to the narrator and the way individuals treat him. In the same way that the black chemicals become invisible in the white paint, African Americans became invisible to white society due to their predetermined roles in society. This seemingly negligible action allows the reader to dive into prejudice and invisibility to truly discover the author’s interpretation on how it affects individuals and how it manifests within society.
DeleteI completely agree with this idea of “triangular fiction” because each of these layers, the emotional, cerebral, and the sublime, help the reader to experience literature in a powerful, exhilarating way. The emotional layer allows us to connect to literature through our shared human experiences, which is one of the most important layers in my opinion. If we cannot connect to a piece, it becomes difficult to analyze, and it’s meaning and authenticity decreases in value. The next layers, cerebral and sublime, are what makes literature pleasurable by adding depth to it. Literary work that performs solely at the surface isn’t interesting; it’s flat. It becomes boring and inanimate because the reader has very little to do. But, when we have to begin tearing apart the syntax, language, characters, setting, and actions to determine what the author is trying to tell us, the words begin to come alive, and we are truly able to take a seat across the author to listen and learn from them. We are able to walk alongside the Underground Man as he shoves the police officer and watch Raskolnikov faint at the police station when whispers about Alyona and her sister arise. We begin to see the characters for who they truly are and what they represent, and we gain knowledge about our existence and surroundings that open the door to the discussion about what our purpose is and why the world works in the way that it does. These layers allow literature to perform in a captivating, unfathomable way and allows it to remain unmatched by any other art form.
After reading this article, I can confidently say that Triangular Fiction applies to Dostoyevsky’s Crime and Punishment. I can relate the three concepts, “emotional, cerebral, and sublime” (Obioma), to characteristic of the novel. First, as readers, learning that Sonia has no choice but to sell her body to provide for her family because of her father’s alcoholism, causes us to have empathy towards Sonia. Sonia has a great faith in God, but still commits this sin because she and her family have no other option; “ ...my daughter Sofya Semyonovna has been forced to take a yellow ticket…” (1.2.23). From this sympathy we feel, Dostoyevsky connected to us by writing to provoke emotion from the readers. This also applies cerebrally because in real life we know that there are some people who just have disapproved or undesired jobs not because they enjoy what they are doing, but because they need any kind of money that they can make. In a way, we understand the struggles of Sonia being a prostitute and the majority of the families in the novel being poor. Also, Sonia’s role in the story gives the novel a “sublime” feeling of inspiration. Sonia is a prostitute, but is still very close to God and urges Raskolnikov to confess to his sins. After taking Sonia’s advice and confessing to world of his crimes “he knelt down in the middle of the square, bowed down to the earth, and kissed that filthy earth with bliss and rapture.” (6.8.27). This is inspiring because it shows even a person with a troubled past can be saved and that God is always on your side if you have faith.
ReplyDeleteI agree that these are key components to a Triangular Fiction because there is so much going on in the story to give it a deeper meaning. Using emotion and an inspirational story line achieves that feeling of “ intense and pure elevation of the soul.” (Obioma).
I believe the idea of triangular fiction fits well with Crime and Punishment. The three levels are defined as personal (emotional), conceptual (cerebral), and philosophical (sublime). All of these levels without a doubt can be found within Crime and Punishment. As far as emotions go in the novel, Sonya comes to my mind first. She prostitutes herself as a way of making money for herself and for her family. This kind of job is not one that fits her personality, and is not something she wants to do, but she does it for the sake of her family. Marmeladov discussing Sonya’s prostitution makes readers feel sorry for her: “She did not utter a word, she did not even look at her, she simply picked up our big green drap de dames shawl...put it over her head and face and lay down on the bed with her face to the wall; and her little shoulders and her body kept shuddering… (1.2.17). The concepts of the different levels of people in society (mainly focused on the poor) and poverty are prominent in Crime and Punishment. “He was crushed by poverty, but the anxieties of his position had of late ceased to weigh upon him” (1.1.3). Although this particular quote is focused on Raskolnikov, it can definitely be applied to other people’s situations as well. Media will sometimes tell us that having money and/or being rich can make a person lose sight of who they are, but being poor can do the exact same thing. Though someone with a job such as being a prostitute may not go out and decide to kill an old pawnbroker, they may find themselves so consumed with trying to make money anyway they can and completely lose sight of who they once were. The third idea of Obioma’s triangular fiction is philosophical or sublime. Again, Sonya comes to my mind first. Through her prostitution and all she encounters in a job like that, she maintains a strong religious faith no matter what. She also impacts Raskolnikov with her religious beliefs. Raskolnikov says, “I bowed down to all the suffering of humanity” (4.4.68). This is symbolic of praying. There are more people and examples throughout the novel that fit the three characteristics of triangular fiction, however I feel the three examples I have used help to demonstrate how Crime and Punishment is a good example of this.
ReplyDeleteAfter reading Brave New World, the transcendency of the work can be seen clearly 80 years after its original publication. “Well, why is this?” I wondered, perplexed by Aldous Huxley’s seemingly ESP-like powers regarding the future of our society. But after reading Chigozie Obioma’s article on the Fiction Triad, it seems that Huxley’s psychic powers may be no more than the Long Island Medium’s. Huxley simply followed a path that is similar to that of horoscopes; he tapped into what made humans human and created a novel that the reader could envision happening, and thus was able to entrap us in his literature. He used elements stated in the triad, and by doing so, he has secured his work as a “classic” that can be related to for generations to come.
ReplyDeleteThe Personal Aspect
Huxley takes allows the audience to connect personally through the traits in his characters. We have all been Bernard at one point in our lives; desiring more than we have, wishing we were someone else, and hoping that we could exchange the physical aspects that we have been given for new ones. Similarly, we have also all been Helmholtz; taking for granted the riches that we have and having too much of something to the point where it is meaningless. Obioma says, “we cannot deny its unvarnished humanness,” and the “humanness” in Huxley’s characters allows us to make connections to even the darker sides of our emotions. With subtlety, Huxley crafts his characters to act like humans by having faults, such as when “Bernard hypocritically agreed, wishing, as he spoke the words, that he could has as many girls as Helmholtz did, and with as little trouble,” (Huxley 68). By connecting not only with the characters’ admirable traits, but with the bad as well, the emotional aspect of the novel can withstand the test of time because humanity itself will always have its ups and its downs.
The Cognitive Aspect - The Reasoning Behind Their Actions
Throughout the novel, every character's action has a reasoning behind it, which transcends into their choice making. As Obioma mentioned about the man plunging to his death, the readers can “also see a cause — perhaps a nation’s communist past — standing there, about to plunge to its end,” (1). This additional lens applied to the text can help to engulf the reader in the novel, putting them in the place of the character. When a reader is thinking like the character, they can map out how they would react in the certain situations, and in return, pieces of the characters are embedded in their personality and thoughts. A book that is deemed as a “classic” does not just end with an intriguing story, it works its way into the framework of the reader and stays with them for life. Many times in the novel I would find myself questioning how I would react. “Would I stay content with my oppressive government if I was happy? Would I revolt and risk losing my contentment?” Thoughts like these and many others frequented my mind and pieces of Bernard and John the Savage will stay with me throughout my own journey in life, which helps to prove the validity behind Brave New World and fiction being transcendent works.
The Philosophical Aspect
DeleteIn the end we see overarching themes in Brave New World that lead the reader to question not only their own reality, but the path that society could take. The philosophical lens that the novel uses to show what our society could turn into proves, again, that the triad in central in transcendent pieces of fiction. Obioma says that these novels “make profound philosophical statements while carrying through with strong, engaging plots,” and with Brave New World, the communist themes and totalitarian government help to accelerate the plot, as well as the reader’s connection to the real world. This idea of centralizing a philosophical question to gain both the interest and the connection with a reader helps to make the novel relatable at any point in time.
In the end, I believe that the triad is an effective way of showing how fiction is transcendent. However, I believe that the triad is only a tool used to achieve a bigger goal that is stronger than the other pieces by themselves. Fiction allows the reader to escape reality, but in turn, brings truth to the world, and that is what makes it transcend time.
I agree that Chigozie Obioma’s argument on triangular fiction consisting of “the personal, the conceptual, and the philosophical” gives a novel a stronger transcendence. I love that she makes a point of emphasizing the three multiple layers of a text that give it more meaning and I think it is important as a reader to constantly be on the lookout for these aspects of a novel in order to better my understanding as well as appreciation for the book I am reading. One thing Obioma wrote that resonated with me was, “For, in their works, that which is personal is at the same time a philosophy, and at the same time a conceptual/artistic conceit” simply due to the fact that it points out the idea that everything in each novel of triangular fiction has three different sides to it, and each side adds more depth to the novel and its overall message.
ReplyDeleteWith that being said, I wholeheartedly believe that Crime and Punishment by Fyodor Dostoyevsky is a prime example of the triangular fiction discussed by Obioma in her article. Obioma writes, “The triangular writer then is he who projects meaning relentlessly yet systematically to the reader, and in the process of which readers glimpse something else. And then, something else” which is something seen throughout the entirety of Crime and Punishment, most prominently through the character Raskolnikov. As the novel progresses new sides of Raskolnikov are presented to the reader, each having something to do with either the personal, the conceptual, or the philosophical. Raskolnikov’s relationship with Sonia is a prime example of how his character shows the reader the three sides of triangular fiction, the first side of which is revealed when Raskolnikov gives Sonia his money after her father dies. A conceptual side of Raskolnikov is shown through his relationship with Sonia when he reveals his thinking when he killed Alyona and Lizaveta and states, “I was not so hungry … I certainly did want to help my mother, but … that’s not the real thing either.… Don’t torture me, Sonia.” (4. 5. 89). His philosophical personality is also portrayed through his interactions with Sonia, one of these moments being when he went to her and she convinced him to confess to the murders he had committed.
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ReplyDeleteI agree with Obioma's ideas, for what matters to men must be more than the author's personal work. A great novel, a great work of any art, must ascend to those sublime and cerebral heights which are the reasons why we, as human beings with minds and more, need the arts.
ReplyDeleteObioma's ideas may certainly be applied to such a text as Shakespeare's Hamlet. The play transcends the merely personal and has become an essential text in understanding the nature of revenge, the feelings of the son towards the Step-Father, the fine line between reality and artifice.
Hamlet's distrust of his mother(his overall distrust of women in general), his need to serve a purpose in revenge, and the evils, including his own demise, reaped by his revenge, may serve as an ultimate illustration of the nature of violence. Violence begets violence, King once said. What does Hamlet's violence achieve other than violence and death. His acting mad, teeming with his rejection of Ophelia and killing of her father, brings about her death. Violence brings more than the deaths of those he wishes dead, but the overall destruction of his life and those he loves.
Not only has the work provided psychological insight, yet the language, with it's metre, it's paradoxes, it's wit and wisdom, has proven sublime, for many may recite it's words with regards to a variety of life's trials and whatsoever else anyone can term such things.What is Hamlet's dialogue but a mirroring labyrinth of his own conflicting ideas, his theatrics and his living, his confused thoughts and merits. The death of Ophelia, many times painted, may serve as an eternal symbol of youth and beauty destroyed by the cruelty of chance and the quests of others."These become philosophical images on which these writers have constructed the personal stories of individual characters. On these things and on the vested characters, these triangular writers make profound philosophical statements while carrying through with strong, engaging plots."That is the achievement of a work such as Hamlet. Aesthetically brilliant, with a moving storyline, it's scenes have gone on to serve as a commentary on the psychology of man (as have King Lear, Othello, and Macbeth), a fine example of drama and poetry, and much more.
In this way, Hamlet may be a fine example of Triangular fiction. It is more than a story, more than art, more than it's philosophy. All the aforementioned work in collaboration, and there by transcend each the other.
Fyodor Dostoevsky’s Crime and Punishment can blend perfectly with Obioma’s idea of triangular fiction and its power. On a personal level, I’m sure most of us can remember a time when we were willing to throw someone under a bus for our own gain, whether we want to admit that or not. Raskolnikov takes this utilitarian idea and magnifies it to a murderous level. He justifies Alyona’s murder through the fact that she has harmed others, including himself, and he sees mere coincidence as an invitation: “This trivial talk in a tavern had an immense influence on him in his later action; as though there had really been in it something preordained, some guiding hint…” (1.6.22). Although the natural feeling towards Raskolnikov and his forced justification is disgust, the reader can understand his attempt to create meaning behind his actions. On a conceptual level, the actions Dostoevsky writes for Raskolnikov reveal much about the story’s purpose underneath the words. Raskolnikov kills Alyona by swinging down on her with an axe. This downward motion is symbolic of the objectification of Raskolnikov’s victim. Raskolnikov uses his aggression towards Alyona to raise himself above her, or rather to lower her below him: “As she was so short, the blow fell on the very top of her skull” (1.7.22). Raskolnikov swings down on Alyona to confirm his dominance above her. On a philosophical level, Dostoevsky confirms the mindset of a criminal. The inner workings of Raskolnikov demonstrate the distorted mind of a murderer. The self-righteousness, the justification, and the eventual guilt of Raskolnikov’s thinking reveal themselves: “‘There is, if you recollect, a suggestion that there are certain persons who can… that is, not precisely are able to, but have a perfect right to commit breaches of morality and crimes, and that the law is not for them’” (3.5.95). Raskolnikov utilizes both existentialism and utilitarianism to carry out his action. He believes that it is his right and duty to rid St Petersburg of Alyona, even at the possible expense of his humanity.
ReplyDeleteDostoevsky definitely, as Obioma puts it, “endures himself in turn that which is interior inside out for the readers to see”. Dostoevsky was able to see the thoughts of an arrogant criminal and make them visible to everyone. It is this reflecting ability of Crime and Punishment that makes the writing immortal and transcendent.
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DeleteMrs Perrrrrinnnnn :(
DeletePascal's Triangle is v importante
DeleteCrime and Punishment is a prime example of transcendental fiction in the fact that over a hundred years after its publication, people are still reading it and connecting it to their own lives, situations, and the world around them. And I agree that truly good fiction that can withstand time must be relatable on multiple levels, and have the potential for varied interpretation regardless of the reader. If American teenagers in 2017 can read a novel set in nineteenth century Russia and relate to it, I think it's fair to say that such a novel has outstretched its limbs beyond the "esoteric wall of mystery and metaphysics," (Obioma). While I can't personally "relate" to an axe murderer or a prostitute, I can relate to the philosophies which they contribute to the novel. I've never had to sell my body for the well-being of my family, but I can empathize with Sonia's humanness, her desperation and her voluntary self-exploitation. I can't relate to being a religious prostitute, but I can relate to the idea that just because someone has to do something that may not be appealing or has a negative stigma surrounding it, doesn't mean they are irredeemable.
ReplyDeleteWell, what a mindbender we have here. When I think applying that message to a text, I can connect it to A Clockwork Orange. I feel like it goes above the bare content of the text, and I’m always surprised when people tell me it’s not that good (which also makes me sad), because it poses a philosophical thought that allows us to challenge internal beliefs. The personal concept brought out in the text is that we sympathize with Alex, which is completely bizarre, considering he’s a murderer and rapist, and an overall very terrible person, at least in the beginning of the novel. But soon, we begin to see him as a person, which connects to us, and we begin to become empathetic and see how Burgess aims for our soul. We feel sorry for Alex when he begins to feel ill from the Ludovico technique: “I had like pains all over and felt I could sick up and at the same time not sick up, and I began to feel like in distress” (Burgess 116). Through his torture, we begin to see the philosophical element intertwined with the content. We read what is there on the page and we see a cycle emerging within the text, where each part begins the same way, almost systematically. Obioma then argues, “Writing, then, is an act of turning out that which is in. The triangular writer then is he who projects meaning relentlessly yet systematically to the reader, and in the process of which readers glimpse something else.” And in this cycle, we begin to see the philosophy and hints of existentialism and nihilism, much like how Waiting for Godot is a circular plot, encompassing the same idea in both acts. We question if this life is a systematic process, and what determines how life should go? Is Alex perhaps a good person, and the government a villain? Government force strips Alex of his free will, and the philosophy that is in question is whether or not it is appropriate to strip someone of their power of choice in order to protect the good of society. Dr. Brodsky comments on this in depth, and how he loses the will to become evil. He claims, “Our subject is impelled towards evil. The intention to act violently is accompanied by strong feelings of physical distress. To counter these the subject has to switch t a diametrically opposed attitude” (Burgess 140). The use of systematic and strategic devices is what calls their methods into question, and we begin to see that the text also uses a structure to deliver its message. Many people read this book for the content, and they only get the surface, not the effect. Sometimes things aren’t written to have a straightforward message, but to make us think. I enjoyed this section of the Triangular reading, talking about contemplating beauty, which is “a literary esotericism reached only by focusing on the effect of that which inspires beauty, and not the commodity of the beautiful itself” (Obioma). And that’s what I think is the main point of any substantial writing: to make us think and focus on meaning, emotions, and how our writing (and art) impacts us.
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