Area of Study: Belonging * ‘As You Like It’ written by William Shakespeare * ‘Towelhead’ directed by Alan Ball in * ‘The Surfer’ written by Judith Wright | As You Like It | Towelhead | The Surfer | Language Form and Structure | * ‘As You Like It’ is a stage play in the form of a comedy * It also qualifies as a pastoral romance * Shakespeare wrote the lines of the play in both verse and prose | * ‘Towelhead’ is a film | * Poem * 3 stanzas * Free verse | Personal, cultural, historical and social context | * Written during the reign of Elizabeth I and ironically, both Rosalind and Celia would have been played by men * Appealing nature to both lower and higher classes * Used as a model of social critique | * Set in Houston, Texas during the 1990s * Occurred during the Gulf War * Follows the sexual awakening of Jasira (an American-Lebanese girl) | * Set in Australia | Identity
One’s sense of belonging is built upon their exploration of self and the confidence they establish through their own identity. | Identity is explored most obviously with Rosalind’s disguise as Ganymede. This concealment of her true identity allows Rosalind to discover whether Orlando truly loves her. It also allows Rosalind to gain a deeper understanding of herself. This is seen through the use of dramatic irony, this enhances the audience’s connection with the characters and adds to the humour of the play. “Nay, you must call me Rosalind”. Ultimately, it is when her actual identity is exposed that she is capable of loving and being loved by Orlando. | Jasira is essentially undergoing an identity crisis. Her parents are divorced and Jasira struggles to understand the changes that occurring in her body. Jasira struggles to comprehend what is wrong and what is right, and what her role as a daughter and as a woman is. Throughout the film, she is assessed on her beauty, and this superficial analysis of her leads her to misinterpret her worth as a person. However, it is through her relationship with Melina that she is able to unveil her true identity and be herself. | | RelationshipsThe nature of one’s relationships with those around them can determine their sense of belonging. | Oliver and OrlandoOliver and Orlando’s relationship indicate that filial ties do not guarantee one’s sense of familial belonging. This is evident through Oliver’s soliloquy, “I shall see an end of him, for my soul – yet I know not why – hates/ nothing more than he”. However, it is later through Oliver’s transformation and his salvation from the lion in the forest that he realises his love and respect for his brother. This becomes clear through his paradoxical statement, “Twas I, but ‘tis not I”. This conversion of Oliver is essentially what allows the strengthening of their connection to one another.Orlando and AdamOrlando and Adam’s relationship is based upon one another’s loyalty to each other. Even within the Court, Adam displays his affection for Orlando by warning him of his brother’s plans to kill him. This is reflected through the use of metaphorical language, “This house is but a butchery”. Adam is essentially the embodiment of loyalty and it is clear that Orlando and Adam have formed a strong bond, “I will follow thee/ To the last gasp with truth and loyalty”.Rosalind and CeliaRosalind and Celia’s friendship is also bound by loyalty and it is clear these two are inseparable. The court does not nurture their values and therefore by leaving the court they are going “To liberty and not to banishment”. This juxtaposition shows Celia’s absolute devotion to Rosalind and the strength of their relationship, which is maintained throughout the play.Orlando and RosalindThroughout ‘As You Like It’, it is clear that Orlando and Rosalind have an intense connection that prevents either from truly belonging until they have been united. Through the use of hyperbole, “Then, in mine own person, I die”, it is clear that Orlando will die for love and effectively Rosalind too. His love for Rosalind is then reiterated again through the repetition of “And I for Rosalind”, showing his inability to survive without her. | Jasira and Rifat (her father)Jasira’s relationship with her father is strained and very much dependent upon her satisfying her father’s demands. She often feels disconnected and this is a result of Rifat’s own self obsession, which is reflected when Rifat becomes jealous of Thena’s fixation with Jasira, “even when you’re not there you hog all the attention, I don’t know how you do it, but you do”. This is only heightened Jasira and Gail (her mother)Similarly, her relationship with her mother is strained. Gail often blames Jasira for things that are often out of her own control. This is seen when Barry (her mother’s boyfriend) helps shave her pubic hair as “the girls at the pool call [her] Chewbacca”. As a result of Barry’s actions, her mother completely disowns her, sending her to live with her father. Through the use of dialogue it is clear that Gail is jealous of her daughter and refuses to take responsibility, “This whole thing is your fault… the way you walk around with your boobs stuck out, it’s impossible for him not to notice”. Unfortunately, their relationship is never mended.Jasira and Mr VuosoMr Vuoso is a predator that exploits Jasira’s limited life experiences and innocence in an attempt to please his own sexual desires. Unfortunately, Jasira assumes the role of the submissive and is essentially bullied into committing sexual acts that she is uncomfortable with. Mr Vuoso is manipulative and dominating which is witnessed through the use of camera angles to emphasise Jasira’s vulnerability and dialogue, “You know what you’re doing, you know what you do to men. You’re so beautiful”.Jasira and MelinaThe strong bond that Jasira builds with Melina is the only one that is particularly beneficial. Melina essentially acts as Jasira’s surrogate mother in the absence of two decent parents, protecting, loving and caring for her. Melina’s love for Jasira’s is so genuine that “if anything happened to [Jasira], [she] couldn’t forgive [herself]”. | | Acceptance and UnderstandingThrough a greater understanding of our drive for acceptance we can strengthen our sense of belonging. | Through Silvius’ love for Phebe we are exposed to a greater comprehension of the concept of love itself. It is through this exploration that Silvius demonstrates that one cannot understand what love is until they have experienced its detrimental effects. This is seen through the personification of love, “The wounds invisible, that love’s keen arrows make”. Additionally, it is through Silvius’ description of love that Orlando, Phebe and Ganymede realise that it is through their own affection that they will experience an authentic sense of belonging. This is seen through accumulation, “It is to be all made of sighs and tears…/ It is to be all made of faith and service…/ It is to be all made of fantasy, all made of passion, and all made of wishes…” | Throughout ‘Towelhead’ we see Jasira using sex to gain acceptance from those around her, whether it be from Mr Vuoso or Thomas. This is particularly evidence when Jasira asks Thomas if there’s anything that would impress him and he responds with “I know, have sex with me”. However, it is not until she reads the book that Melina gave her that she realises the nature of her relationship with Mr Vuoso. This is emphasised through the close up shot with light falling upon the key text, “Whenever someone forces you to engage in any sexual activity you don’t want to do, they’re breaking the law”. It is during this moment that Jasira understands and shifts from being a victim to being empowered. | | Challenges to Belonging and Choices not to BelongOne’s choice not to belong, can ultimately lead to an individual belonging to one’s self and the larger world rather than those contained within it. | Jacques choses to belong to himself rather than to a community or group, as his values are not shared with those around him. For him to essentially be accepted by those living in the Forest of Arden, he would compromising his own ideas and sense of self to become the non-melancholic individual that would satisfy those around him. However, in the same sense Jacques is the epitome of a stock character conforming to the demands of the pastoral tradition. His characterisation as the “Melancholy ‘Jacques’” is an indication that he is unable to belong to those around him who in some sense ostracise him for his inability to overcome his severe melancholia. | Among a variety of other factors Jasira’s ethnicity is a barrier to her ability to belong. Throughout the film Jasira is called “raghead”, “sand nigga”, “camel jockey” and “diaper head”. This experience is not unique to Jasira, as her father also experiences the effects of racism, “[Mr Vuoso] thinks I love Saddam Hussein. It’s an insult! I’m an American citizen”. In this sense, both Rifat and Jasira are prevented from being accepted by society, but it is this common experience that connects Jasira with her father. | | Place An individual’s environment can determine the authenticity of one’s sense of belonging. | The CourtThe Court is a place fuelled by greed, hate, revenge and the idea of conformity. It is here that relationships are tested, and where most of the characters feel disconnected. Through the development of Orlando and Oliver’s relationship there is a clear connection between the original tension between the brothers and the restored relationship that is witnessed later on in the play. There is a clear correspondence between the varying stages of their relationship and their environment. Likewise, it is through Duke Senior’s juxtaposing of the Forest of Arden with the Court that it becomes clear that the Court has a detrimental affect on the character’s sense of belonging, “Hath not old custom made this life more sweet than that of painted pomp?/ Are not these woods more free from peril than the envious court?”. The Forest of ArdenUnlike the court, the Forest of Arden nurtures one’s sense of belonging by providing a place of safety and security. It is here that relationships between individuals are repaired and able to blossom, most evidently between the brothers. Additionally, this environment encourages a harmony and love that would have been impossible within the court. It is clear through Duke Senior’s description of the forest that Arden is completely different to the disorder of the Court, “Find tongues in trees, books in the running brooks,/ sermons in stones, and good in everything”. It is apparent that the Forest of Arden fosters a greater sense of belonging. | HomeUnlike most individuals, Jasira’s home does not provide a sense of safety and security. It is here that Jasira is most vulnerable and where Mr Vuoso takes advantage of Jasira’s naivity and sexually abuses her. However, Mr Vuoso also attempts to convince Jasira that he would’ve never “done that thing if [he] knew [Jasira] was still a virgin”. Mr Vuoso consistently refuses to take responsibility for his actions, often shifting the blame onto Jasira. Throughout most of the scenes located in Jasira’s home the music creates a senses of tensions through its increased volume, tempo and incessant drumming.Melina’s HomeUnlike her own home, Melina’s home offers a protective environment where Jasira is safe and loved. It is here that Melina disciplines Zach for calling Jasira a “towelhead”, demonstrating to Jasira that she always welcome and never judged by her ethnicity in her home. Even after she is kicked out by her father for having a copy of Mr Vuoso’s Palace (like Playboy) magazine, Melina continually emphasises that her home is a place of acceptance and that it doesn’t matter how any of those magazines make her feel, “it’s private”. | The changing nature of the sea as it progresses from the light of the day to the darkness of the evening.During the dayThroughout the first stanza of ‘The Surfer’, the sea is depicted as welcoming, a place where the surfer can be himself and truly belong. This is seen when the surfer “thrust his joy against the weight of the sea”. Additionally, this is seen through the use of simile, “the gulls went wheeling in air as he in water, with delight”. This use of simile emphasises the physical connection he has with the ocean.During the sunsetUnlike during the day, as soon as “the sun goes down”, the persona urges the surfer to “turn home/ as the last leaf of gold vanishes from the sea curve”. Through the use of personification and simile, the persona indicates that the beach is his home whilst the sun is setting, “take the big roller’s should, speed and serve; come to the long beach home like a gull diving”.During the eveningIn the final stanza it is clear that the sea is no longer this friendly and welcoming place that was originally conceived in the first stanza, now the sea is like the “grey-wolf… snarling”. Judith Wright describes the landscape as uninviting and hash, “cold twilight winds splits the waves’ hair and shows the bones they worry in their wolf-teeth”. Just like a grey wolf with its food, the sea “crouches on sand, fawning and mouthing… and again snatches its broken toys”. Clearly, this is not the place where the surfer belongs at night. | Events | | First Menstrual ExperienceJasira’s first period is tortuous when she is forced to go shopping for sanitary items with her father. His clear lack of understanding is obvious as soon as he ask Jasira, “Would you describe your situation as light, medium or heavy?”. Additionally, when directed to a more comfortable brand by a shop assistant he demonstrates to Jasira that his money is more important to him than her comfort, “ah right, but those are twice expensive”. This idea is then further emphasised when he makes it clear to Jasira that she’s “not getting tampons… tampons are for married ladies”. It is in this moment that Jasira feels isolated and alone, as her father doesn’t grasp the nature of this humiliating situation. | | Society, groups, community and the larger worldDespite one’s exclusion from their community or group, it is clear that an individual will always belong to the larger world and the human race. | Although Jacques refuses to belong to those living within the Forest of Arden and accepts his life as a hermit, Jacques essentially belongs to the larger world. This is apparent in his “All the world’s a stage” speech, which indicates that he has happily removed himself from society and those around him, but like everyone else he has a specific role to play. This is also seen in the epilogue when the actor who is playing Rosalind connects with the audience human to human in order to bring home the ideas of belonging formed in the play, “It is not the fashion to see the lady the epilogue”. | | |

Module A: Comparative Study of Texts and Context * ‘The Great Gatsby’ by F. Scott Fitzgerald * ‘Sonnets from the Portuguese’ by Elizabeth Barrett-Browning

| ‘The Great Gatsby’ | ‘Sonnets from the Portuguese’ | Language Form and Structure | * Fictitious novel * Language techniques such as setting, characterisation, humour, imagery, dialogue, aural techniques, conflict, tone, symbolism, and narrative person are all the devices the author uses to represent his ideas * First person narration * Chronological | * Petrarchan sonnet form (14 rhythmic line poem) * Defined form and set rhyming scheme abba abba cdcdcd * Broken up into an octet and sestet * Octet is arranged into two quatrains where the first introduces the topic and the second expands upon it * The sestet then revisits the subject and the final three round off the poem * Used iambic pentameter which is composed of ten syllables with every second syllable being stressed: de-DUM, de-DUM, de-DUM, de-DUM, de-DUM | Context | F. Scott Fitzgerald * Born in 1896 just before the turn of the century * He was born into an Irish-Catholic middle class family where his mother spoiled him despite the family struggling * He went to good schools and attended Princeton University * After failing university he enlisted just before WWI ended * Fitzgerald had two great loves; Ginerva King and Zelda Sayre * Ginerva King rejected him due to his lack of wealth and status * Similarly, Zelda also initially rejected him but then later married him in 1920 * Moved around frequently and the pair became famous for their hard partying an unique lifestyle * Fitzgerald became a symbol for the Jazz Age * It is said his relationship with Ginerva King was the inspiration for Daisy in ‘The Great Gatsby’ | Elizabeth Barrett-Browning * Born in 1806 and the eldest of twelve children * Barrett-Browning was educated at home, benefiting from her brothers’ tutors * By 14 years old her health was suffering and doctors began treating her with morphine * At 15 years old she had a mishap while saddling a pony which resulted in a spinal injury * Barrett-Browning was very religious and active in her church * Her life took another downturn when her brother died in a sailing accident * She then spent the next 5 years of her life as a reclusive, virtually bedridden individual in her room * She published ‘Poems’ in 1844 * Apparently Robert Browning was thrilled with her ‘Poems’ and wrote to her making it clear that he was also personally interested in her * Despite protests he would not give up his admiration and came to meet her, allowing courtship to begin * They exchanged hundreds of letters and it was during this time that Elizabeth wrote ‘Sonnets from the Portuguese’ * At 37 years old she secretly married Browning as her father didn’t approve of any of his children marrying * For this reason, her father disowned Elizabeth and never talked to her again after her marriage * After their wedding, Browning took Elizabeth to Italy where she was rejuvenated and regained strength * At 43 years old she gave birth to their son, Robert Barrett-Browning | | America in the 1920s * America was undergoing a time of inordinate growth and wealth post-WWI * Much of the wealth was created on the stock market, which fed off the growing economy * This wealth was then spent on pleasure and the parties and hedonism that Fitzgerald illustrates in his novel * It was a very selfish, self-centred time where people indulged themselves * The period was referred to as “the roaring twenties” or the “jazz age” and these names reflected the way people in the upper classes lived * There were clear disparities between new money and old money, as new money was created through crime * Crime boomed because of the Prohibition * The Prohibition was a law that banned the manufacture and sale of alcohol, which created bootleggers who produced and sold alcohol illegally * This time was also a period of unrestrained materialism where consumer goods were the mark of a person and things including people became expendable * Money became everything but old money was seemingly more refined than new money * It was an age of richness and glamour * The American Dream that anyone could make it was still alive as was the illusion that there was wealth laying and waiting for any entrepreneur * It was also a time of great social change and women were now able to vote and began to assert themselves more than before * Young women were referred to as ‘flappers’ and wanted a great social life and to go partying * This period ended with the Stock Market Crash of 1929 which heralded the beginning of the Great Depression | The Victorian Era * It was an era of unparalleled power for the British Empire * The Industrial Revolution brought great leaps in technology, industrialisation, engineering, the development of the rail system and the first electric lights in London during this time * The period is generally seen as a time of peace, prosperity and colonisation, all underpinned by the economic changes * During this period one of the focuses was on the role of women and the limited legal rights of women * In Victorian England, women were seen as pure and untainted * Married women had the same rights as other women and the only job available was teaching until reform opened up in the medical profession * For women it was more acceptable to be seen as the ‘Household General’ who held everything together for the family * The opposite of this was the prostitute or ‘fallen woman’ who was regarded as the bottom rung of society * The era included a strict set of moral standards which were often applied hypocritically * By the time of Queen Victoria, the interplay between high cultured morals and low vulgarity was thoroughly embedded in British culture * Sex was neither spoken of or written about * Majority of the population lived in squalor and financial security could be achieved by marrying ‘well’ * The law regarded a married couple as one person and the husband was responsible for his wife * She was supposed to obey him and he had a right to demand * Any income or personal property that the wife brought into the marriage was the right of the husband * It was accepted that the husband might be unfaithful, however, this was not regarded as infidelity, whereas any infidelity on the part of the wife was unforgiveable | Ideas of Love | Love is represented as idealised, material and somewhat unconditional * Idealised love is seen through Gatsby’s obsession with Daisy and it through their previous relationship that Gatsby has transformed his memory of her into an image of perfection that is unattainable * Through the reoccurring motif of clocks we are exposed to the idea that Gatsby is living in the past just like the “defunct mantelpiece clock” * This defunct clock representing Daisy’s inability to embody this romanticised and idealised image that Gatsby conceived * Additionally, Daisy’s love for Gatsby can also be identified as idealised as she claims to love Gatsby, but is really in love with the feeling of being loved * An increased number of the relationships within ‘The Great Gatsby’ are based upon material love * Myrtle loves Tom because of the life he represents and the happiness she gains from the material things he buys her * But Myrtle’s materialism affects her marriage, as she can’t stand Wilson because he’s poor and in her eyes a failure * Her reaction to the idea that he “borrowed somebody’s best suit” for their wedding shows that her feelings of love are strongly connected to wealth and this is emphasised through the analogical comparison of Wilson to vermin, “I thought he was a gentleman… I thought he knew something about breeding, but he wasn’t fit to lick my shoe” * To a certain degree, Tom and Daisy’s relationship is held together by material love (particularly wealth and class) * Their marriage makes them more respectable in society, and they need each other to help get what they want in life * Through out last images of Daisy and Tom before Gatsby’s death, it is clear that they are both deeply consumer by their own self-importance and entirely dependent upon one another, “They weren’t happy… and yet they weren’t unhappy… anybody would have said they were conspiring together” * Unconditional love is also represented, however, this idea of unconditional love is out of necessity rather than out of the honesty of their love * This is seen with both Wilson and Myrtle and Tom and Daisy * When Wilson discovers Myrtle’s affair with Tom, he is ultimately devastated but still completely in love with her * Her death affects him to the point where he starts to act “sort of crazy” and is consumed by the notion of avenging her death * Despite both of Tom and Daisy’ extra-marital affairs, their relationship still has elements that seem unconditional * Through the use of dialogue it is clear that both Daisy and Tom are willing to forgive one another for their infidelities, “Once in a while I go off on a spree… but I always come back, and in my heart I love her all the time” | Love is seen as powerful, genuine and pure, spiritual and something that transcends time * The power of love is first witnessed in Sonnet I, where EBB uses direct speech to state that it is “Not Death, but Love” that now welcomes her in this world * Similarly, we see through the personification of spring in Sonnet XXI that the power of love is like spring in the sense that it provides a new life and awakening which parallels her own experiences (i.e. her health has improved, she feels “alive”), “comes the sweet spring in all her green” * Most importantly in Sonnet XLIII we see through the repetition of “I love thee” how powerful RB’s love has bee on her life, it is clear that it has transformed her and this is also evident contextually * Love is also seen as genuine and pure, not based on the superficial and materialism seen in ‘The Great Gatsby’ * In Sonnet XIV, EBB suggests that ephemeral love results from love based on superficial means, “for these things in themselves, Beloved, may be changed, or change for thee” * She also believes that love cannot be based upon appearance and this is emphasised through the repetition of “Love me for love’s sake” * In Sonnet XXVIII we are exposed to the purity of RB’s love for Elizabeth in the excess of letters that she holds in her “tremulous hands” * It is clear that their love is so honest that EBB’s “words have ill availed…” * Similarly, through her direct quotation of RB, we realise that their love is mutual and genuine, “I am thine” * Most importantly, we see EBB and RB’s relationship as spiritual and transcending time itself * In Sonnet XLIII we see this progression from the beginning of their relationship to her exclamation that their love will exist even after death * It is through this religious allusion that this is evident, “if God choose, I shall but love thee better after death” * However, this is constrasted in Sonnet XXII when EBB questions, “What bitter wrong, can the earth do to us, that we should not be contented” * This contrasted question almost implies that perhaps love isn’t transcendent and that we have to make the most of the time we have on Earth * In Sonnet XXVIII it is clear that god is very important and that his was the one that allowed their relationship and love to blossom * It also suggests that God has the power to repent all sins and that it was his choice that EBB rebel against her father, “I sank and quailed as if God’s future thundered on my past” | Ideas of Religion | * None of the characters within the novel are particularly religious, with all of them lacking clear religious morals * Characters often rely on things other than religion to guide their actions e.g. Nick follows his father’s advice/idolises Gatsby and Gatsby is guided by the American Dream * Only Wilson explicitly mentions God, yet he doesn’t belong to a church, he only calls upon God when he needs him * Through the use of dialogue it is clear that Wilson see God as a vengeful presence that will punish Myrtle for her infidelity, “God knows what you’ve been doing, everything you’ve been doing. You may fool me, but you can’t fool God!” * Tom uses religion to help pursue his adulterous relationship with Myrtle; “It’s really his wife that’s keeping them apart. She’s a Catholic, and they don’t believe in divorce” * Throughout ‘The Great Gatsby’ it is clear that religion has been replaced by consumerism and hedonism (pursuit of pleasure) * This is clear through the use of symbolism, as it becomes apparent that the eyes of TJ Eckleburg reflect Wilson’s version of God, “Michaelis saw with a shock that he was looking at the eyes of Doctor TJ Eckleburg” * Consumerism promises that material objects will make you happy and give your life more meaning * However, material possessions don’t make people happy, and it is through the novel’s symbolic use of cars that it is these desirable consumer goods that inevitably cause death and destruction * Gatsby is also seen as a religious figure for Nick, “He was a son of God” * The American Dream of creating a land of opportunity, a perfect world where anything is possible, echoes the nature of the Garden of Eden * Ironically, a woman is also responsible for the downfall of both Adam and Gatsby | * Spirituality is seen as the foundations of relationships, the highest power and is a very important value of the era * It is clear that God has an incredible amount of influence on EBB and that God is powerful and makes decisions for his disciples, and this is evident in Sonnet XLIII through spiritual allusion, “and, if God choose” * Similarly, it is also clear that her love for RB is even greater than her love of God and religion, “I love thee with a love I seemed to lose with my lost saints” * We also find that EBB relates their relationship to that of angle and souls * In Sonnet XXII, EBB makes a spiritual allusion to emphasise that her and Robert are moving together to become angels, reinforcing the idea that their love is spiritual, “When our two souls stand up erect and strong” * Once again, in Sonnet XXVIII we see that God is extremely powerful and the highest value i.e. more important than her relationship with her father, “God’s future thundered on my past” | Ideas of Morality | * Morality is explored through the corruption of the American Dream and the lack of honesty displayed by most characters * Gatsby is seen as the epitome of the American dream as he strives for success not only through material possession and wealth but through love * We see this when Nick shouts to Gatsby that “they’re a rotten crowd… you’re worth the whole damn bunch put together” * However, it seems that the American Dream has been corrupted through the strict social hierarchy (e.g. old vs. new money) * Through the symbolism of the green light it is clear that Gatsby cannot attain his dream and that Daisy is just out of his reach, “He stretched out his arms toward… a green light, minute and far away” * This symbolism paired with the use of time expresses Gatsby’s inability to move on from the past, “So we beat on, boats against the current, borne back ceaselessly into the past” * We are also exposed to the failures of the American Dream through Gatsby’s death and funeral, where no one turns up to pay their respects, “But it wasn’t any use, nobody came” * Similarly, morality is explored through the character’s lack of honesty * Ironically, Nick believes that he is “one of the few honest people that [he has] ever known” * However, lack of honesty is explored through the novel through infidelity, Jordan’s cheating in sport and bootlegging * Through the use of dialogue, Tom’s affair with Myrtle is exposed to Nick, “Tom’s got a woman in New York” * We also see the unsportsmanlike behaviour that Jordan uses to win her golf championship, however, it seems that this attitude is applicable to most aspects of her life, “she was incurably dishonest” * Through Tom and Daisy’s characterisation, it is clear that these two people are notorious for their inability to think about anyone but themselves, and they evidently act immorally in order to achieve what they want, “they were careless people, Tom and Daisy – they smashed up things and creatures and then retreated back into their money” | * Most of EBB’s ideas of morality and honesty are explored through the purity of her love (refer to above) * However, it is also explored through her personal context * During this time, EBB was experiencing a great dilemma about whether to leave her father and marry RB * This moral dilemma is clear in Sonnet XXI where she is “greeted by a doubtful spirit” * Again this questioning of what is right is emphasised by EBB’s excessive use of pauses to highlight her trouble choosing | Ideas of Gender | * The role of women is subverted through ‘The Great Gatsby’, however, it is apparent there is still some sense of conformity to the social standards of the 1920s society * Despite this, we see a development in female independence and the adoption of some acceptance of sexuality * Daisy is a classic example of a woman attempting to gain independence as a woman, but just like the rest of society we see that she struggles to achieve this * Unintentionally she reveals to Nick that she hopes her daughter will “be a fool – that’s the best thing a girl can be in this world, a beautiful little fool” * However, she also subverts the gender expectations of her time through her adulterous relationship with Gatsby * Similarly, Myrtle Wilson also embraces her sexuality * Even in her death Myrtle is still seen as an icon of her robust sexuality, “her left breast was swinging loose like a flap” * Additionally, it seems that dishonesty and women go hand in hand, “dishonesty in a woman is a thing you never blame deeply” | * The role of women is subverted through EBB’s challenge of courtly love and her employment of the Petrarchan sonnet form which was male dominated at the time | Ideas of Hope | * Gatsby is seen as the epitome of home (as discussed above in regards to the American dream) | * Love brings hope and is very powerful in transforming lives (discussed above in Ideas of Love) | Ideas of Mortality | * Death is seen as final and is both physical and symbolic e.g. the death of Gatsby’s dream * Use of pathetic fallacy to emphasise these ideas of death and to foreshadow imminent events, “So we drove on toward death through the cooling twilight” | * Death is not final in the ‘Sonnets from the Portuguese’, and death is seen as entry into another life, “through love’s eternity” |
Module B: Critical Study of Texts (Nonfiction: Speeches) * ‘Spotty-Handed Villainesses’ by Margaret Atwood * ‘Funeral Service of the Unknown Australian Soldier’ by Paul Keating * ‘An Australian History for Us All’ by Noel Pearson * ‘Keynote Address at the Beijing World Conference on Women’ by Aung San Suu Kyi * ‘Faith, Hope and Reconciliation’ by Faith Bandler * ‘It is Still Winter at Home’ by William Deane * ‘Speech to the Israeli Knesset’ by Anwar Sadat

| ‘Spotty-Handed Villainesses’Margaret Atwood | Context and audience | * Margaret Atwood was born in 1939 in Ottawa Canada * Canadian feminist writer * Speech made during the third wave of feminism where a critical look at feminism was necessary in 1994 * During this time there was a clash between extreme feminists and counter feminists – questions of what feminism meant, and the changing role of men and women * Speech was given at various events including the American Bookseller Convention and other women’s luncheons * Audience: well educated and intellectual readers of fiction who will respond to the literary illusions made throughout her speech, mainly middle-aged and female * Reception: Educated and relevant augment, however, she was condemned by some feminists as ‘selling out the cause’ | Purpose and ideas | * Evaluate the progress of the women’s movement through its reflection in fiction * For women in literature to be socially realistic and not polarise morality * Link literary problems to the changing gender expectations * Villainous women reflect the dichotomy of reality * The speech continues to be relatable even today as all audiences interact with the fictional world that Atwood considers * Challenges, raises issues, entertains and inspires * Establishes notion that it Is acceptable to portray women from both perspectives (as good/virtuous and evil) | Values | * Equality * Unity | Techniques | Atwood uses conversational tone and personal anecdote to engage with her audience, “I should probably have said” and “when my daughter was five”. She also employs the reoccurring motif of “eternal breakfast” to explain the role of fiction in charting the progress of gender equality. Use of hypophora, “When bad women get into literature… what… do we need them for?” is used to question the audiences own beliefs and provoke thought to draw the audience to a certain issue. Additionally, through her use of statistics such as “the average jail sentence in the US for men who kill their wives is 4 years, but for women who kill their husbands – no matter what the provocation – it’s 20” to gain an effective response through the use of shocking evidence. This is then again seen in her conclusion where she quotes Rebecca West, a British feminist, to add credibility to her argument and successfully drive home the message, “Ladies of Great Britain… we have not enough evil in us”. Through her colloquial use of language, humorous and witty tone and inclusive language Atwood creates a familiar arena for intellectual engagement, “flogging a few dead horses”. | Links to other speeches | * Aung San Suu Kyi’s ‘Keynote Address at the Beijing World Conference on Women’ * Similar ideas i.e. feminism * Different in that Atwood looks at the role of women in literature and Aung San Suu Kyi looks at the nurturing qualities of women |

| ‘Funeral Service of the Unknown Australian Soldier’Paul Keating | Context and audience | * Paul Keating was prime minister for nearly 2 years and pushed for a Republic and reconciliation with Indigenous Australians * At the time society was in the middle of a reconciliation debate * Speech delivered during a funeral ceremony – as a poignant and powerful symbol of all Australians who died serving our nation * Speech made in 1993 on Remembrance Day (November 11th) * 75th Anniversary of the Armistice * Audience: politicians, soldiers/war heroes, families and relative of martyrs, officials and members of the media * Reception: well received as it struck a patriotic chord | Purpose and ideas | * To commemorate the armistice and the loss of life * Promote unity through national remembrance and inspire patriotism * Political speech, embodying the qualities and values of soldiers * It presents Australian identity and the concept of unity * Dual purpose of being both a eulogy to commemorate the men and women who served for Australia * Also had a political agenda of presenting and forging a new identity for Australia under Keating’s leadership with the demonstration of the values embedded within the ANZAC legend * Role of Keating in paying homage and reverence indicated diplomatic recognition of their sacrifice, our heritage and our cultural forebears | Values | * Mateship * Resilience * Honour * Peace * Unity | Techniques | Keating employs the use of asyndeton, “mad, brutal, awful struggle” to emphasise the futility of war and it’s brutal realities (emotive language/negative imagery). Repetition of terrible, “Waste of life was so terrible” and through the use of metaphor, “sowed the seeds of a second even more terrible war” that his perception of war is not glorified but emphasises the detrimental nature of war and the need for peace. However, Keating also honours the sacrifice of those within the war, “out of the war came a lesson which transcended the horror and tragedy and the inexcusably folly. It was a lesson about ordinary people – and that lesson was that they were not ordinary”. Through this idea that the ordinary could achieve something extraordinary and truly heroic, there is an elevation of their actions enhancing the revisionist perception of personal victory, courage and ingenuity. Keating is also inclusive of both men and women in his acknowledgement of their role in establishing a greater sense of national identity, “taught us to endure hardship, to show courage, to be bold as well as resilient, to believe in ourselves and to stick together”. Patriotism and commemoration are inexorably linked and emotionally combines democratic ideals of “courage and ingenuity in adversity” with the “free and independent spirits” for which Australia are renowned for. Additionally by giving soldiers human attributes increases the tragedy of their deaths, “We have lost more than 100000 lives, and with them all their love of this country and all their hope and energy”. Similarly, the use of accumulation in statistics highlights the anonymity of the Unknown Soldier and emphasises the audience’s sympathy and compassion for this unknown man, “He was one of 45000 Australians who died on the Western Front… one of 416000 Australians who volunteered for service in the First World War… one of the 324000 Australians who served overseas in that war… one of 60000 Australians who died on foreign soil”. Additionally, through the use of anaphora, the anonymity of the soldier is emphasised, “we do not know…” and it is this lack of information that makes him a suitable talisman for peace. Anonymity becomes a mark of respect for those named or not who have sacrificed their lives. | Links to other speeches | * Noel Pearson’s “An Australian History for Us All” * Sir William Deane’s “It’s Still Winter At Home” * Similar ideas i.e. unity and national identity |

| ‘An Australian History for Us All’Noel Pearson | Context and audience | * Speech delivered in 1996 * Noel Pearson was a high profile indigenous activist * The 1990s were a contentious time due to the debate surrounding land rights * White colonial Australian’s actions against the Aboriginal population of Australia * Audience: given to an educated audience at the Chancellor’s Club Dinner at the University of Western Sydney * Reception: Highly contentious and unsupported by the conservative government of the time but the ideas would come in to play later | Purpose and ideas | * Promotes open discussion about the complexity of the past rather than any promotion of notions of guilt * Encourage intellectual rather than political debate * Shed historical light on the real nature of Aboriginal relations with European settlers * Call for “moral leadership” on the issue * Argues not for guilt of the individual but a national response to the issue | Values | * Equality * Honesty * Intelligence * Unity * National Intelligence | Techniques | Through Pearson’s use of sarcasm it is clear that Pearson does not agree with the actions of Howard’s government in terms of the reconciliation progress between white and Aboriginal Australians, “If John Howard wants to properly comprehend a balanced and perhaps even conservative critique on how we might deal with our history, he might care to read Robert Hughes rather than the opinion polls”. Additionally, Pearson makes allusion to the events of WWII and the treatment of Jews to strengthen his argument, “It would be inappropriate for us to say to Jewish people today, ‘the treatment of your people has been terrible, but perhaps we should not be consumed by it, maybe it is time to now look forward”. His argument is also strengthened through his reference to the ‘Native Title Legislation’ performed under the leadership of John Howard, “The amendments to the Native Title Legislation that are proposed by John Howard’s government amount to a derogation and a diminution of the entitlements that Indigenous people have under the common law…”. This is further supported by his reference to experts to legitimise his claims, “Justices Deane and Gaudron said…”. He also attempts to engage his audience through rhetorical questions, “how do we explain the past to our children?”. Through his use of emotive language, “a legacy of unutterable shame” he evokes his audience’s sense of compassion and desire and support for reconciliation. | Links to other speeches | * Paul Keating’s “Funeral Service of the Unknown Australian Soldier” * Sir William Deane’s “It’s Still Winter At Home” * Similar ideas i.e. unity and national identity * Faith Bandler’s ‘Faith, Hope and Reconciliation’ * Similar ideas i.e. equality and reconciliation |

| ‘Keynote Address at the Beijing World Conference on Women’Aung San Suu Kyi | Context and audience | * Delivered in 1995 * Aung San Suu Kyi was under house arrest for her democratic, anti-government actions * She was also an activist in Burma and she was the daughter of the assassinated national independence leader, General Aung San * This speech was delivered at the same time the military re-established control over Burma * While under house arrest, she was awarded the Nobel Peace Prize for her efforts to bring democracy to Burma * This speech was given via video conference * Audience: Burmese government and population, delegates from NGOs around the world which attended the Beijing World Conference on Women * Reception: Well received as the speaker was an icon for non-violent political change | Purpose and ideas | * Emphasises the need for “lasting peace” and “genuine tolerance” * Argues for female equality through inclusion * Calls for freedom and peace and female solidarity * Include her audience into her ideological battle for “human rights and democracy” * Address an international audience to share ideas and experiences as part of a global movement to improve the lives and status of women * Emphasises the importance of choosing dialogue over violence, exchanging ideas rather than bullets, and she notes that no woman has ever been responsible for starting a war * Promotion of women in political affairs * To inform and challenge the role of women in society | Values | * Equality * Unity | Techniques | Aung San Suu Kyi’s use of inclusive language serves to create a unifying link between the speaker and her audience, “enable us” and “unite us all in our splendid diversity”. Additionally, her use of metaphor, “mould their own destiny” empowers her audience and the wider world, particularly, women to make a change. Her use of expert’s detail legitimises her speech, “UN year of tolerance”. Similarly, the use of traditional proverb shows the outdated ideologies of her own culture, “the dawn rises only when the rooster crows” and this juxtaposed with the maternal and animal imagery that is used to describe the role of women in establishing peace, “tender as mothers nursing their newly born”. Aung San Suu Kyi also uses the feminist rhetoric to show solidarity, “our sisters everywhere” and concludes with a message of empowerment. This empowerment is emphasised through a use of pauses and inclusive language, “ – common hope that unites us –“ and “From our own limbs, we came together…”. Additionally, she uses the metaphor “shackles of prejudice and intolerance” along with language with positive connotations such as “great”, “joyful” and “productive” to evoke the audience’s desire to get involved. | Links to other speeches | * Margaret Atwood’s ‘Spotty-Handed Villainesses’ * Similar ideas i.e. feminism/role of women in society * Different in that Atwood looks at the role of women in literature and Aung San Suu Kyi looks at the nurturing qualities of women |

| ‘Faith, Hope and Reconciliation’ Faith Bandler | Context and audience | * Delivered in 1999 * Faith Bandler was a civil rights activist who has campaigned against social and political inequality and Aboriginal injustice and disadvantage * Turn of the millennium was a time for reflection and also a time where talk back jockeys were “lined up against them” * Audience: Young people at the Talkin’ Up Reconciliation Conference * Reception: Well received as it encouraged young people to continue to fight | Purpose and ideas | * Desire to give her opinion on Aboriginal history and present Aboriginal issues * Promote reconciliation | Values | * Equality * Honesty * Peace * Unity | Techniques | Faith Bandler engages with her audience through sight imagery and metaphors to represent the ignorance of us to Indigenous culture, “blindness to other peoples’ way of life”. She consolidates and adds credibility to her argument by referencing legislation, “In 1975, the Racial Discrimination Act was introduced”. However, she also engages her audience on a personal level through anecdotes and conversational tone, “my learning was rather hard and slow”. Most importantly, she leaves her audience with a rhetorical question, “If not now, when? If not us, who?”. Through this use of rhetorical question, she convinces her audience that it is time to make a change, and that this change must come from us. | Links to other speeches | * Noel Pearson’s ‘An Australian History for Us All’ * Similar ideas i.e. equality and reconciliation |

| ‘It is Still Winter at Home’ William Deane | Context and audience | * Delivered in 1999 after the deaths of 14 young Australians who perished in a canyoning tragedy * This was considered one of the worst tragedies to occur overseas and affect young Australians outside of the theatre of war * Of the 99 people canyoning, 21 lost their lives * Audience: Friend and family of the victims and deceased as well as authoritative figures of the five nations: Switzerland, United Kingdom, South Africa, New Zealand and Australia * Reception: Well received by citizens and the media due to its dignified and supportive nature | Purpose and ideas | * To “mourn” and pray on “behalf of Australia” * To thank those involved in the rescue attempts * To pay respects to the deceased and their families | Values | * Unity * Patriotism * Respect * National Identity | Techniques | William Deane employs a variety of techniques including inclusive and emotive language such as “we pray” and “profound tragedy” to engage his audience and create a sombre tone. Throughout his speech he make biblical references to show the need for spiritual comfort as it is a unifying force in the face of tragedy, “May they all rest with God”. Additionally, through his use of accumulation, “the spirit of adventure, the joy of living, the exuberance and the delight of youth”, Deane emphasises the sadness of losing so many young people with such promising lives ahead of themselves. This is then further highlighted when he juxtaposes these ideas of loss and sorrow of losing these young people with a sense of vitality and joy of life, “delight of youth” . Similarly, Deane uses seasonal imagery to encourage our sense of national identity and patriotism, “It is still winter at home” and “But the golden wattles are coming into bloom”. Likewise, this reference to wattle coming into bloom highlights this idea of rebirth. Throughout the speech, William Deane makes allusions to ‘The Soldier’ by Rupert Brooke to emphasise the collective loss and unity that this tragedy has caused, “It is to suggest that a little part of Switzerland has become, and will always be, to some extent, part of Australia”. Furthermore, this idea of collective loss and unity is emphasised by his references to John Donne, “No man is an island”, “death diminishes” and “involved by man kind”. | Links to other speeches | * Paul Keating’s ‘Funeral Service of the Unknown Soldier’ * Similar ideas i.e. unity and national identity |

| ‘Speech to the Israeli Knesset’ Anwar Sadat | Context and audience | * Delivered in 1977 * Anwar Sadat was the president of Egypt and assassinated in 1981 * Anwar Sadat was the first Arab leader to visit a Jewish state and recognise it’s existence despite advice from other Arab nations, it was unprecedented to go into an ‘enemy territory’ * Anwar Sadat was responsible for the war on Israel which ended in a stalemate * He became the voice for political negotiation and was awarded the Nobel Peace Prize * In 1977 he informed the Egyptian Parliament of his visit to Israel to pursue a ‘peace dividend’ * Speech given in response to an invitation by Israel’s Prime Minister * Sadat was a visionary and was determined for changes * Audience: the Knesset (Israeli Parliament) and was broadcasted around the world * Reception: Hailed by political commentators as ‘historic’ and initiated a spate of decision making as each nation seized the chance for normal relations, some radical Palestinians denounced the act as traitorous, however, Sadat was assassinated by Muslim militants and this peace mission was cited as one of the reasons | Purpose and ideas | * To knock down the ‘psychological war’ between Israel and Egypt * Begin a quest for a practical solution to break the cycle of conflict * Broker of a crucial peace * Challenge and address the hostile audience of the Knesset Parliament * Tribute to the culture and history of the audience and a gesture as an Arab leader * Bring around change – achieve peace through diplomatic solution and achieved through the Camp David peace agreement signed in 1978 | Values | * Peace * Equality * Unity | Techniques | Anwar Sadat clearly states his purpose to engage his audience through his direct address; “ I come to you today on solid ground, to shape a new life, to establish peace”. He also emphasises that this is not just diplomatic, but an overwhelming sense of sincerity, “allow me to address my call from this rostrum to the people of Israel… with true and sincere words to every man, woman and child in Israel”. Throughout his speech, Sadat employs inclusive terms to help create a groundswell of support, “all and every man on earth” and “we are advocates of justice and peacemakers”. He also makes several biblical allusions, and this is particularly emphasised through the structuring of his speech as he begins with, “peace and the mercy of God Almighty be upon you and may peace be for us all, God willing”, and concludes with an excerpt from the Koran. This demonstrates not only the circular nature of the speech by the role of religion in fostering peaceful methods. These peaceful methods are then highlighted again through his reference to Gandhi, “the apostle for peace”. Sadat also uses the extended metaphor of a wall/barrier to explore the division between Arabs and Israelis, and this is further emphasised through anaphora, “It was a wall of a continuously inflammable and escalating psychological warfare. It was a wall of fear of the force… It was a wall of propaganda…”. This use of metaphorical imagery is also seen with “open and closed doors” which evoke the need for openness from closed mindedness, “I decided to come to you with an open mind and an open heart”. Most importantly, it is through the repetition of the rhetorical question “How can we achieve a durable peace based on justice?” and “How can we reach this conclusion which would lead us to permanent peace based on justice?” that his audience is forced to consider the issues he has presented. | Links to other speeches | * Faith Bandler’s ‘Faith, Hope and Reconciliation’ * Aung San Suu Kyi’s ‘Keynote Address at the Beijing World Conference on Women’ * Similar ideas i.e. peace, equality and unity * Need for peaceful means |

Module C: Representation and Text – History and Memory * ‘The Queen’ directed by Stephen Frears * ‘O Captain! My Captain!’ written by Walt Whitman * ‘Guernica’ painted by Pablo Picasso

| ‘The Queen’ | ‘O Captain! My Captain!’ | ‘Guernica’ | Interplay of History and Memory * History is fact * Memory is emotional * Memory is used to manipulate audiences | History is shaped through the interplay of one’s personal experiences and their collective memory. It is through this relationship that our knowledge and understanding of historical events and personalities are strengthened. Stephen Frears’ ‘The Queen’ explores the monarchy crisis after Diana’s death. History can be superficial without the integration of memory, therefore by intertwining both history and memory you essentially create a multidimensional story. Memory also has a significant role in humanising history and those involved. | Walt Whitman employs a combination of both personal and collective memory to enhance the historical events and personalities that he describes. Through the persona’s own connection and our collective memory of Lincoln our knowledge of his impact and legacy is enhanced. | Pablo Picasso uses the work of George Steer’s experiences with his own imagination to encapsulate the events of the bombing of Guernica. Picasso’s ‘Guernica’ depicts the suffering of individuals and animals, along with the destruction of buildings, violence and absolute chaos. | Historical Context | * The reaction of the Royal Family to Diana’s death caused resentment and outcry * Their rigid adherence to protocol, their concern to care for Diana’s grieving sons, and initial decision not to return to London was interpreted by some as a lack of compassion and they were heavily criticised for their actions | * Walt Whitman lived through the American Civil War and the experienced both the division and unification of the United States * Whitman wanted to end slavery and was therefore a great admirer of Lincoln because of his political standpoint on universal equality * Abraham Lincoln was assassinated in 1865 and was the 16th President of the United States * The American Civil War was a war fought between the Confederate States of America (the South) and the Union (the North) | * Guernica, Spain was bombed during the Spanish Civil War in 1937 by the Condor Legion of Nazi Germany’s Luftwaffe * According to official Basque figures, 1654 civilians were killed * In January 1937, Picasso was commissioned by the Spanish Republican government to create a large mural for the Spanish display at the 1937 World’s Fair in Paris * After reading George Steer’s eyewitness account he abandoned his initial project and started sketching a series of preliminary drawings of Guernica | Form | * Film * Cyclical Narrative * The Queen and PM Blair meet at Buckingham at the beginning and the end * Framing device serves to track the journey of the Queen | * Elegiac poem written in the memory of Abraham Lincoln. * Written in 3 stanzas | * Oil Painting * 3.5m x 7.8m and grey, black and white | Techniques | * The use of setting encapsulates the personal memory of associated with Balmoral and the public nature and collective memory of London, in particular Buckingham Palace and 10 Downing Street * Through her setting at Balmoral that the Queen is able to reveal her innermost thoughts and feelings, which are effectively a manipulation of the director’s own impression of the royal family and his desire to challenge the audience’s opinion of the Queen * We’re also given 2 radically different representations of Diana, one created by the public and the other by the Queen and the Royal Family * Through the use of archival footage, the montage of both public and private photos of Diana and the song ‘Heaven must be missing an angel’, it is clear that Diana was remember as a loving and devoted mother, “the Princess of people’s hearts” and an unfortunate victim of the royal family * However, this image is then juxtaposed through the use of dialogue, “she was a nice girl. Then.” The emphasis that Phillip places on the ‘then’ implies his lack of sympathy for the public’s opinion * The Queen is represented in two ways (characterisation), one a reflection of the collective memory; stoic, powerful and conservative which is emphasised in the opening scene, where the Queen is shown wearing the full ceremonial dress and having her portrait painted. This depiction of the Queen is an allusion to the idea that the Queen is merely a symbol of authority and regalia, and a product of one’s personal interpretation rather than a human that is constructed by both individual and collective memory alongside history. The very nature of the portrait also reinforces the Queen’s power and adherence to tradition, and this is highlight through the close up shot which pains from the Queen’s shows to her crown * However, through the Queen’s confronting dilemma of deciding between protocol and precedent, and modernisation, we are exposed to this vulnerable portrayal of the Queen, a reflection of individual memory * Her confusion is clear and emphasised through her conversation with Blair; “I chose to keep my feelings to myself as I foolishly believed that was what the people wanted”. Through Frears’ use of high angle shots and costume e.g. the Queen see in her dressing gown and hot water bottle, we witness the effect of the public on the Queen’s ability to remain this stoic figure * Montages of actual media footage (includes Diana’s charity work and the Vox populi – the voice of the people) serves to relay the historical narrative in an unbiased and engaging way * Mise-en-scene adds to the ‘normalcy’ of the Queen when she is illustrated as she sits in bed in her pyjamas just like one of her own ‘subjects’ * The Queen’s reaction to Diana’s interview, “maybe we are partly to blame” demonstrates the Queen’s growing insight in Diana’s plight * The reoccurring motif of the stag is a metaphor and indicator of the personal changes in the Queen and Diana’s victimisation * It is through her intimate moment alone with the stag that we see the Queen as a human, with emotion and the ability to be truly vulnerable, however, this is purely an imaginative creation of the director, but it gains its meaning from the historical context | * Use of extended metaphor glorifies Lincoln as the captain of the ship (representing the US) and its “fearful trip” that “weather’d every rack” (the Civil war) * Essentially it is through this use of extended metaphor it is clear that “the prize we sought is won” and that slavery has been abolished * Through the use of alliteration, “the flag is flung” and the use of accumulation in the second stanza, “for you the bugle trills, for you bouquets… for you they call…” the glorification of Lincoln is further highlighted * However, by the final stanza, Whitman adopts a sombre tone and compares the persona’s own “mournful tread” to the elation of those waiting along the shore to celebrate the success of their dead captain, “Exult, O shores, and ring, O bells” * Whitman also depicts Lincoln in this dual role of father and captain, “dear father” and “O Captain! My Captain!” * Through the use of apostrophe (directly addressing the captain himself) and the repetition of “my” throughout the poem, a clear connection is seen between the persona and Lincoln * This repetition is also seen with “fallen cold and dead” to emphasise that Lincoln is now deceased, however, it is clear that the persona is not willing to acknowledge this, “It is some dream” * This is further highlighted with the use of darker imagery and rhyme, “his lips are pale and still” and “he has no pulse nor will” | * The painting is monochromatic, creating a sombre mood and expressing pain and chaos * The two dominant figures within the painting are the bull and the horse, both national images of Spain * The image itself is an expression of Picasso’s abhorrence to the “military caste which has sunk Spain in an ocean of pain and death” * The focal image within the painting is the falling horse who has a large gaping wound is a representation of the people of Guernica helplessly dying a senseless death * The flaming buildings and crumbling walls in the background reflect the destruction of Guernica and the destructive powers of civil war * The newspaper print used in the painting is an indication of how Picasso learnt of the massacre * Additionally, the broken sword near the bottom of the painting symbolises the defeat of the people at the hand of their tormentors |