This Resource is for students in Year 12 studying ‘Go, Went, Gone’ in the Victorian VCE Mainstream English Curriculum

Genre

‘Go, Went, Gone’ is a novel told in the 3^rd person limited point of view and centred on the protagonist Richard’s perspective.  However, at times the narrative does alter perspective shifting to 2 of the refugees’ stories, for example Chapter 13 is from Apollo’s perspective and Chapter 27 from Awad’s perspective.  Erpenbeck uses these brief moments of perspective shift to allow the reader access to thoughts they would not otherwise see.  The work is fiction but the issues in the novel are based in reality regarding the refugee crisis and the German and European response.  The novel draws also on real laws, regulations and events making is grounded in fact and the stories of the men Richard interviews even more powerful.

Structure

The novel has a fairly linear structure, beginning, middle and end with 55 chapters but includes different layers, conversations, Richard’s own thoughts and various events that are important to the refugee’s lives and moments on Richard’s own life journey.  The text also references laws and regulations surrounding the refugees along with other intertextual references, direct quotes and allusions.

The Importance of the Verb ‘To Go’ in the Title

The novel takes its title from the German irregular verb ‘to go’ and its various tense forms ‘gehen, ging, gegangen’ is literally translated to ‘go, went, gone’.  The words ‘to go’ are repeated in several places in the novel.  The phrase ‘Where can a person go when he doesn’t know where to go?’ is repeated on two pages 266 & 267 highlighting the complex issue of where do the refugees go when no country wants them to stay.  The German language is also symbolic of a new life and new possibilities for the refugees but the barrier of not understanding is also problematic when they cannot interpret the complex laws that govern their rights to live and work in Germany.

Libyan Civil War in 2011

‘Go, Went, Gone’ was published in Germany in 2015 at the height of the ‘immigration crisis’.  What was framed as a crisis for European states such as Germany, Italy, Greece, The Netherlands, Denmark and France, among others, was in fact a humanitarian catastrophe affecting some of the world’s poorest nations and resulting in the mass migration of these populations from zones of political instability and violence.  As in the case of Libya, largely caused by direct NATO assault on the existing state.  In 2011 forces loyal to Colonel Gaddafi in Libya clashed with foreign forces trying to remove him from power that escalated into a full-blown civil war where more than one million people fled the country.  Black Africans were being targeted by rebel forces as they tried to flee and were subjected to atrocious violations of their human rights.

Seeking Asylum in Europe

The distance between Tripoli, in Libya, and the Italian island of Lampedusa is only 300 kilometres, but the journey over rough seas, in poorly provisioned, barely seaworthy boats, is a harsh one.  Refugees fleeing Libya often paid smugglers for the journey but many died in transit or are drowned when the ships are wrecked by storms and rough seas before ever reaching land.  Of the few that survive the journey, the process of seeking refuge and asylum is far from easy.  Erpenbeck’s readers will immediately recognise the charged political setting of the novel.  Refugees seeking asylum are kept in a state of permanent uncertainty as to their rights to even apply for asylum, a situation that Erpenbeck examines as a cruel contemporary denial of human rights.

Laws and Regulations on Asylum Seekers

The novel refers to laws and regulations that govern the movement and settlement of migrants across Europe.  The one Richard studies in ‘Go, Went, Gone’ is ‘Dublin II’ that is based on the assumption all EU member states provide refugees with similar levels of protection.  However, the reality is more complex with each country interpreting the regulations in ways that suit their needs and is unfair to the asylum seekers.  Detained in countries like Germany in the novel the refugees are not permitted to work while their papers on asylum are being processed.

The Text from Richard’s Perspective

As Richard, a recently retired classics professor, contemplates what appears to be his own diminishing and solitary future, he encounters a group of men whose collective futures are exceedingly more precarious.  In ‘Go, Went, Gone’, Jenny Erpenbeck dramatises this fateful encounter between an otherwise unremarkable character and the poignantly rendered African refugees.  Richard is an individual who also happens to personify, through his career and academic specialisation, the deeply inscribed values of European civilisation, its classical humanist culture of thought, literature and philosophy – quite a contrast to this very different group of men who have arrived in Germany from outside Europe’s borders, from outside Europe’s cultural identity.

Characters
Richard – protagonist, retired professor of philology becomes interested in the refugee men’s issues. His life journey changes perspective to become their friend & the shared human experience of empathy for their plight.	Detlef & Sylvia – close friends of Richard, share history of Richard’s wife’s death & offer him a sounding board for his feelings towards the refugees.	Jorg & Monika – friends of Richard’s whose attitudes towards the refugees show a lack of empathy and make jokes about Richard’s relationship with them.
Rashid – Richard calls the Olympian/the thunderbolt-hurler.  Lost his children on the voyage from Africa.  Was a metalworker and is frustrated at his inability to work.	Apollo – Richard names him after the Greek God.  He is a Tuareg man from the desert.	Osarobo – Richard teaches him piano at his home and he is convinced Europeans think black men are criminals.
Karon – first seen by Richard sweeping and his actions seem futile without hope.  Richard buys Karon’s family land in Ghana.	Awad – Richard calls Tristan.  His father was killed by Gaddafi’s men & Awad fled on a boat for Europe.	Rufu – a silent and brooding figure that later Richard finds out was prescribed tranquilisers but after his tooth was filled, he came back to full health.

Themes
Immigration & the refugee crisis	Changing perspectives	The meaning of life
Freedom & confinement	Importance of the past	Barriers & borders
Accommodation	Empathy	Storytelling
Privilege & identity	Movement of displaced people	Legacy of European humanism
Lost futures and German past	GDR & The Berlin Wall	Laws & regulations on refugees Dublin II

Symbols
The dead man in the lake	Language barriers & learning German language ‘go, went, gone’	Music & piano
Bodies of water	Borders	The ‘iron law’

All Resources created by englishtutorlessons.com.au Online Tutoring using Zoom for Mainstream English Students in the Victorian VCE Curriculum

This Resource is for Year 12 students studying Gabriel Garcia Marquez ‘Chronicle of a Death Foretold’ in the VCE Victorian Curriculum Unit 3 AOS1 Reading and Responding to Texts.

Author

Gabriel García Márquez

Year Published

1981

Type

Novella

Genre

Surrealistic Fiction – magic realist style – as the overwhelming number of accidents, misunderstandings, misinterpretations, contradictions, and confused memories seem to completely undermine reason and human understanding regarding how events unfold in the real world.

Perspective and Narrator

Chronicle of a Death Foretold is told from the perspective of an unnamed narrator, allegedly the author, who pieces together a journalistic narrative of a past event. The story as related by the characters is told in the third person by the narrator, who also uses the first person to describe his own involvement in the story.

Tense

Chronicle of a Death Foretold is told in the past tense.

About the Title

The title Chronicle of a Death Foretold states that the novella is a chronicle, which narrates events in chronological order. However, the author uses the label chronicle with verbal irony (when what is meant is different from what is said), because the events in the story are not revealed in chronological order. Further, the title reveals that the story’s deathis foretold or known in advance—and this death occurs at the very beginning of the novella. So, this too, undermines the real-life, journalistic pretence of the author. In short, the title contrasts with the nonlinear and somewhat mysterious and inexplicable nature of the events in the narrative.

Chronicle of a Death Foretold Character Analysis

Narrator

The narrator lived in the town as a boy, and his mother, sisters, and brother still reside there. He returns to the town decades after Santiago’s murder to find out exactly what happened. He is now working as a journalist, and he uses his skills as an interviewer and investigator to try to tease out the facts about what happened at that fateful time and why.

Santiago Nasar

Santiago is an open-hearted, good-natured, and innately innocent young man. Angela Vicario names him—falsely—as the man who violated her prior to her marriage. The macho code of honour makes him the target of the vengeful Vicario brothers, who seek him out to murder him. For inexplicable reasons Santiago does not learn of the murderous twins’ plan until it is too late, and they hack him to pieces at his front door.

Angela Vicario

Angela is a young, pretty girl of marriageable age whose family keeps a close eye on her to protect her honour. However, inside she is a free spirit who chafes at her family’s overprotection. After she lies about Santiago and the tragedy plays itself out, she lives on her own, guided only by her free will and her love for Bayardo. Angela never divulges with whom she had sex with before her marriage.

Pablo Vicario

Pablo Vicario is the twin brother of Pedro and older brother to Angela. He is a hog-butcher and a hot-headed macho Latino male who is hell-bent on finding Santiago and avenging the honour of his sister, Angela, who supposedly was violated by Santiago before her marriage. It is Pablo who forces his twin, Pedro, to pursue the murder of Santiago even after Pedro feels events have satisfied his lust for revenge.

Pedro Vicario

Pedro Vicario is Pablo’s twin brother and works with him as a hog butcher. Pedro eventually becomes less intent than his brother on finding and murdering Santiago. However, he lets Pablo force him to help with the killing. He is far more affected by the murder and afterward goes off to join the military, where he disappears and is never heard from again.

Plácida Linero

Plácida is an upper-class woman who lives with her son Santiago and servants in a large house on the town plaza. Despite the intention of several townspeople to warn her of the threat to her son, she never learns of the murder plot before it is carried out. It is by chance that Plácida aids in the murder when she bolts the front door as Santiago rushes toward it to escape the Vicario brothers.

Bayardo San Román

Bayardo comes from a rich and high-status military family. He is supremely self-confident and lavish in planning his wedding celebration and in buying Angela the house of her dreams. His confidence is crushed by the scandal surrounding Angela and the termination of their marriage. He nearly dies from his alcoholism. Decades later he is still bitter and closemouthed about the terrible events that occurred during and after his wedding to Angela.

Chronicle of a Death Foretold Plot Summary

Epigraph from Portuguese Playwright Gil Vincente about Falconry & Finding Love

The book opens with an epigraph about falconry: “The pursuit of love is like falconry.” Here, finding love is represented as a form of predation in which the raptor, or the seeker of love, snares a love object almost at random and then kills it. Finding love is likened to a blood sport in which the beloved is a victim of inevitable violence. The quote sets the stage for the fury and violence that love engenders in the novella. It is also likely a critique of the cultural norm of vengeance killing, a custom that must be taught to the men who carry it out, perhaps in the same way captive falcons are trained to hunt on the wing.

People who own falcons train the birds to hunt and then enjoy a rather grisly spectacle. When the falcon is released, its owner watches as it soars upward searching for a bird it can snare in its talons. (This horrific scene mimics the death of Santiago.) The relevance to the novella is clear: Angela seems to pick Santiago’s name out of thin air, the same way a falcon catches a bird in flight. It is his random, strange, and meaningless fate to be murdered just as it is the fate of the falcon’s prey to be the one bird the predator grabs. There are references to falconry, and its lethal arbitrariness, in several places in the novella.

Chapter 1

Santiago Nasar has been murdered. He had gotten up early to go and see the bishop who was arriving on a boat that morning. The day before there had been a large and lavish public wedding celebration in honour of the marriage of Angela Vicario to Bayardo San Roman. Unbeknownst to Santiago, Bayardo had dragged his wife back to her parents’ home the night before because he discovered she was not a virgin. When her twin brothers demanded to know who had deflowered her, Angela said it was Santiago. Her brothers Pedro Vicario and Pablo Vicario swear to murder Santiago as revenge for dishonouring their sister.

The narrator, who grew up in this town, has returned 27 years later as a professional investigative journalist to uncover the truth about why and how Santiago was murdered. Unfortunately, most townspeople have confused memories of what happened. Still, the narrator is determined to unearth the reason that although most of the people in the town knew of the Vicario brothers’ plot to murder Santiago, no one warned him or did anything to stop the killing.

Chapter 2

Bayardo is handsome and rich. He arrived in town in August to look for a bride. The moment he sees Angela Vicario walking with her mother, he falls in love with her. The couple gets married in February. Bayardo’s wedding feast is the most lavish and expensive the town has ever seen.

Angela does not want to marry Bayardo because she does not love him, but because she had a strict upbringing, she must do what her parents tell her to do—and they want her to marry Bayardo. When Bayardo brings her home after discovering her dishonour, Angela’s mother beats her. When the townspeople find out about her dishonour, they are amazed. Angela has always been closely controlled by her mother. How had she found a way to have sex with a man before her wedding?

The narrator, his brother, his friend, and Santiago spend the entire night of the celebration together. Santiago is delightful and carefree. The narrator is certain it could not have been Santiago who had sex with Angela. She must have lied when she named him.

Chapter 3

The Vicario brothers, who are twins, must avenge the lost honour of their sister. They go to the pig butchery where they work and get two long slaughtering knives. They go to the meat market to sharpen their knives, and they boast to all the butchers there that they are going to kill Santiago Nasar. Then they go hunting for him. They roam the town looking for Santiago, and along the way, they tell everyone they meet about the murder they are about to commit. No one in town takes them seriously, so no one bothers to warn Santiago, his mother, or anyone else who might prevent the crime. People think the twins are either too drunk to be taken seriously or that they are just bluffing.

While the Vicario twins hunt Santiago, he, the narrator, his brother, and his friend go up to the newlyweds’ house to serenade the couple. They are unaware that Bayardo is alone in the house, having already returned his bride to her family.

The Vicario twins finally wait for Santiago to return home. They sit in the milk shop, which is across the street from Santiago’s house, and plan to attack Santiago when he returns. They tell each person who comes into the milk shop of their murderous plan. Again, no one takes them seriously or does anything to prevent it. The owner of the shop tells a beggar woman to go to warn Santiago’s mother, but it is not known if she gets the message.

Chapter 4

The Vicario brothers have killed Santiago Nasar with their butcher knives, nearly hacking him to pieces. He dies in front of his home. The mayor orders the town priest to conduct an immediate autopsy, as the body reeks in the heat. The botched autopsy leaves Santiago’s body even more mutilated. The priest concludes that Santiago died of seven fatal stab wounds.

The Vicario brothers turn themselves in to the church. They show no remorse because they feel an honour killing is not a sin. The priest, like most other men in town, seems to agree. Because of an unwarranted fear of reprisal by the town’s Arab community, however, the Vicario brothers are moved to a jail some distance away. Angela Vicario, her mother, and the rest of her family also move out of town, fearful (needlessly) of Arab revenge.

Decades later when the journalist narrator comes to investigate the crime, he tries to interview Bayardo, who refuses to discuss the incident. The narrator locates Angela Vicario living on her own in a distant town, and she agrees to speak with him. She discusses many details of the event but will not say who had sex with her before her wedding day. She tells the narrator that, since the incident so many years earlier, she has fallen in love with Bayardo. She has written him frequent letters for many years, even though he never answers her.

Chapter 5

The people of the town are obsessed by the murder that took place so many years ago. They want to understand how and why it happened—why no one warned Santiago—but they can make no sense out of the senseless accidents and wrong choices that failed to save him.

A few weeks after the murder, a magistrate shows up in town to investigate. He, too, is bewildered by what happened. He cannot understand how everyone in town knew the murder was about to take place but no one warned Santiago or did anything to stop the crime.

The narrator goes on to describe the mischances, misunderstandings, miscommunications, unlucky choices, coincidences, and accidents that seem to have made a whole host of townspeople unable or unwilling to warn Santiago to save him. Perhaps they could not believe he would really be murdered, but it is his fate to be murdered. His fate is foretold when Angela names him and in the inaction of those who know about the killing but do nothing. Santiago meets his fate at his front door where the Vicario brothers butcher him.

THEMES
honour & gender machismo & marianismo	revenge	expectations on women and men & purity of women
dishonour	fairness	sanctity & Christ
deception	supernatural	fate & chance
sacrifice	choice	memory & confusion
death & murder	truth & false truth	complicity & guilt
authority	loyalty	moral compass
SYMBOLS
falconry & birds	the bishop	natural world
the river	flowers real & artificial	dreams
magic surrealism	animals	the cult of death linked to Christ’s crucifixion
smells	the weather	flying
Biblical references	knives

All Resources created by englishtutorlessons.com.au Online Tutoring using Zoom for Mainstream English Students in the Victorian Curriculum

This Resource is for Year 12 students studying Sophocles ‘Oedipus the King’ in the VCE Victorian Curriculum for Unit 3 AOS1 Reading and Responding to Texts.

Author

Sophocles leading dramatist in Greek classical period 500-323 BC

Year Performed

430 BC at the festival of Dionysia

Type & Genre

Greek tragedy play – like an ancient murder mystery

Perspective

Greek audience came to watch the play to learn about life through what happens to Oedipus and his fate

Title

In the original Greek, Sophocles’ play was entitled ‘Oidipous Tyrannos’; once the play was translated to Latin, it became ‘Oedipus Rex’, and then in English, ‘Oedipus the King’. The original title aptly included the term ‘tyrannos’, meaning a king with no legitimate claim to the throne, a nod to Oedipus’ belief that he is not descended from Cadmus’ lineage.

Structure of a Greek Tragedy

Peripeteia = A tragedy must have some kind of reversal of fortune – the fall of the tragic hero – Oedipus experiences a peripeteia after the Messenger from Corinth sets off the chain of events that leads to his destruction.

Anagnorisis = The recognition scene when the tragic hero becomes aware of their reversal. Oedipus anagnorisis occurs when he realises that he is the lost son of Laius and Jocasta.

Hamartia = Known as the tragic flaw where heroes have a frailty or make some kind of error that leads to their downfall.

Catharsis = The goal is to create catharsis in the audience to evoke both horror and pity.

Brief Overview of ‘Oedipus the King’

‘Oedipus the King’ written by Sophocles for the Great Dionysia celebration, is a Greek tragedy that is read like a kind of ancient murder mystery. The play is regarded as a classic example of the ‘tragedy of fate’. The hero of the play is his own destroyer, he is the detective who tracks down and identifies the criminal, who turns out to be himself. It is the story of a great but flawed man, doomed to perform the most heinous crimes, despite doing everything he thinks he can to prevent the hideous web that fate has spun for him. The play tells the story of Oedipus, ruler of Thebes who discovers on a terrible day that he is the lost son of the previous king, his father Laius, and his wife Jocasta. This leads to a chain of tragic events that is unveiled as Oedipus unwittingly killed his father (parricide – murder of a parent by a child) and married his mother (incest – sexual relationship of son with mother). Written over 2000 years ago, suggests that fate is determined and the gods have active roles in people’s lives. These ideas were commonly accepted in Sophocles time but are not widely accepted now. Oedipus gradual realisation of his fate, and of the terrible crimes he has unknowingly committed, might be considered impossible or implausible to modern society. However, in the world of ancient Greece, it is possible to see Oedipus determined quest to uncover the truth for the sake of his city Thebes and his deep remorse for the errors of his past, as very recognisable and sympathetic qualities. The action of the play occurs many years after the horrible events, on the fateful day when the truth behind them comes to light.

Timeline of Events Oedipus the King

Lines	Events
1-85	The priest, talking with Oedipus, tells him Thebes is under a curse and the city needs his help again.
86-150	Creon learns from Apollo that the curse on Thebes resulted from King Laius’ murder. The city must banish the murderer to lift the curse.
151-215	The Chorus calls on various Olympians to aid Thebes.
216-275	Oedipus asks the Thebans to help him find and expel Laius’ murderer. He avidly begins an all-out manhunt.
276-379	The blind priest Tiresias has information about the plague, which he refuses to divulge. After much prodding from Oedipus, Tiresias claims that Oedipus is the source of the curse.
380-461	Oedipus alleges that Creon and Tiresias are conspiring against him. Tiresias tells Oedipus to learn the truth about his parents and then forecasts Oedipus’ downfall.
462-531	Creon, talking with the Chorus, denies the charges of collusion with Tiresias.
532-633	Oedipus threatens to execute or deport Creon. Creon maintains his innocence and advises Oedipus to consult Apollo.
634-678	Oedipus’ wife, Jocasta, and the Chorus defend Creon and convince Oedipus not to kill or banish him.
679-725	Oedipus explains Tiresias’ prophecy to Jocasta; Jocasta counters that not all of Apollo’s vision come true and cites King Laius as an example.
726-770	Jocasta recounts Laius’ murder. Oedipus has the first suspicions that he may have killed Laius.
771-863	Oedipus tells about the group of travellers he murdered. Oedipus demands to see the lone survivor of the group to confirm if he indeed killed Laius.
864-910	Chorus calls on the gods for help.
911-974	A messenger tells Oedipus that the King of Corinth is dead and that Oedipus is to assume the throne. Oedipus refuses to return, for fear of fulfilling Apollo’s prophecy that Oedipus would sleep with his mother.
975-1076	Messenger tells Oedipus that he is not, in fact, the son of Polybus (the dead King of Corinth): A herdsman rescued Oedipus, after he was exposed as an infant, and turned the baby Oedipus over to the messenger himself. Jocasta becomes convinced that Oedipus murdered Laius.
1077-1185	Oedipus brings in the herdsman who rescued him as a child. Oedipus squeezes the information out of the herdsman and realizes that he is the son of Laius and Jocasta, killed his father (Laius) and slept with his mother (Jocasta).
1186-1297	Long lament by the Chorus. A second messenger reports Jocasta’s suicide.
1298-1422	Oedipus blinds himself. Oedipus claims he will suffer more by blinding himself than by suicide.
1423-1475	Oedipus asks Creon to banish him from Thebes and administer rites to Jocasta.
1476-1515	Oedipus laments for his daughters, Antigone and Ismene.
1516-1530	Conclusion. Chorus indicates that Oedipus will continue to live after the tragedy’s ending.

Brief Character Analysis

Oedipus

At the beginning of the play, the eponymous character believes himself to be the son of Polybus and Merope, the King and Queen of Corinth. Oedipus had been granted the throne of Thebes because of his ingenuity in defeating the Sphinx, who had cursed Thebes and was terrorising its citizens. An additional part of Oedipus’ reward was marriage to Jocasta, the widowed wife of the former king, Laius. Unbeknownst to Oedipus, he has married his biological mother, having previously murdered Laius on a road far outside Thebes, not realising that Laius was the King of Thebes, nor that Laius was his biological father.

Most aspects of his character revolve around the question: to what extent is Oedipus guilty of the fate that befalls him? He has a wide range of personality traits both positive – bravery & cunning. But he also has negative traits – hubris (pride), foolish, naïve, hot tempered, authoritarian, paranoid, lacks insight into his faults, denies the truth. By the end of the play his traits have changed to be more humble even though blinded he sees the truth more clearly.

Jocasta

Oedipus’ wife (and unknowingly his mother) does not enter the play until the conflict between Oedipus and Creon is well underway. She is immediately presented to the audience as a confident woman and one whom the people respect. As Queen of Thebes she was married to King Laius and is the mother of Oedipus whom she had abandoned on Mount Cithaeron when he was three days old. She becomes the unwitting wife of her own son not long after the death of her husband and bears Oedipus 4 children – 2 sons Eteocles and Polyneices and 2 daughters Antigone and Ismene.

Aspects of her character revolve around the question: how could a mother abandon her own newborn child? She appears a jaded person haunted by fate and her past. The audience and the Chorus share sympathy with her horror of realising the terrible outcome of her past and the consequences of marrying her own son. At the end of the play Jocasta suicides because she cannot live with herself, but also because, as a woman, she cannot live within society.

Creon

Creon is Jocasta’s brother and at the start of the play Oedipus brother-in-law but also his uncle. Creon is respected by the people of Thebes and is initially regarded by Oedipus as a loyal and trusted friend. Despite their relationship souring, and Oedipus even viewing Creon as the antagonist at times, he is in fact the hero of this tale. He shares Oedipus’ desire to save Thebes from destruction and is equally determined to search for the truth behind the oracle.

Positive aspects of his character are held up by Sophocles as the man we should aspire to be: steadfast without stubbornness, confident without arrogance. He even bears the quality most commonly regarded as being essential for a good king: he does not want to be one. Where Oedipus is aggressive and headstrong, Creon is reasoned, temperate, cautious and content with his position of not being king with all the worries.

Tiresias

The character of Tiresias, whose name literally means ‘portent’, was included in many Ancient Greek myths and tragedies. He is revered by the Thebans, who refer to him as ‘Lord Tiresias’ and claim he ‘sees with the eyes of Lord Apollo’ [323]. Despite the esteem in which he is held by the Chorus, Tiresias’ role in Oedipus the King is a tragic one. He unwillingly comes to Thebes at Oedipus’ behest, and endeavours to conceal his knowledge, because he knows ‘the truth is only pain to him who sees’ [360]. He is threatened and taunted by Oedipus, who not only is ignorant of the knowledge Tiresias holds, but also unaware of the kindness Tiresias attempts to show Oedipus in bearing the burden of being the one in whom ‘the truth lives … [in] him alone’ [339].

The Priest

The Priest of Thebes plays an important role within his community, as well as in this play, as it is his treatment of Oedipus that sets the tone for Sophocles’ interpretation of the mythological character of Oedipus. While Oedipus presents himself as a god among men when he questions why the Chorus is ‘pray[ing] to the gods’ when he will ‘grant [their] prayers’ [245], the Priest identifies Oedipus as the ‘first of men’ [41], and he has already clearly stated that Oedipus ‘cannot equal the gods’ [39]. The Priest’s distinction between the gods and men (even the ‘first of men’) challenges Oedipus to step back from his hubris, however, Oedipus responds to the Priest’s words with excessive references to himself and all he feels and all he has done.

While the Priest’s role seems to be that of a grounding agent, persistently reminding Oedipus of his status, and that even in Oedipus’ greatest triumph ‘a god was with [him]’ [48], there are inconsistencies that feed into Oedipus’ sense of grandeur and blur the line between respect for a king and worship of a god.

The Chorus

As a standard in Greek drama the Chorus have a double identity – one within the plot and one outside of it. The Chorus in the plot identity is as a group of Theban citizens to fulfill duties of answering questions about characters and events and as an intermediary between characters. The outside the plot role is to comment on social, religious and historical meaning of the unfolding action of the play.

THEMES
fate versus free will & prophecy	wisdom	blindness figurative versus literal
choice & freedom	cost of ignorance & value of knowledge	morality & the good life
truth	power & tyranny as ruler	hubris (pride)
banishment & exile	identity	family
determination	self-discovery

SYMBOLS & METAPHORS
truths & half truths	blindness	eyes & vision
hearing & listening	nautical	light & dark
swollen ankles & feet	the cross roads	the oracle

All Resources created by englishtutorlessons.com.au Online Tutoring using Zoom for Mainstream English Students in the Victorian Curriculum

This Resource is for Year 12 students studying Tessa Hadley’s ‘Bad Dreams and Other Stories’ in the VCE Victorian Curriculum for Unit 3 AOS1 Reading and Responding to Texts.

Introduction

Tessa Hadley is a British writer of 6 novels and 2 short story collections.  Her 10 narratives in ‘Bad Dreams and Other Stories’ are realist in style and set in England between the early 20^th century and the present day.  They typically examine the experiences of women, often in terms of the psychological ramifications of family relationships, sexual encounters, or seemingly innocuous events.  The stories turn things upside down into new thresholds that are crossed, pushing character’s feelings of safety into another new perspective on the problem.

Transformation

Many stories deal with transformation and the need for her characters to process new experiences with sometimes seismic shifts of understanding and memory that can occur in a lifetime.  The reader asks if the retelling of the event or relationship helps to clarify how one feels, or does it layer one’s experiences with a new perspective, recasting the memory, changing the plots points?

Experiences

The stories speak deeply to the experience of change and loss and misery dealt to women who care for themselves, for other people, or for abstract principles like love or justice.  While some situations might be considered ‘everyday’ these experiences are shown to be significantly formative, shaping identities or facilitating transitions from innocence to experience. While gaining experience can be revelatory, it can also be fraught with danger and in some stories the characters are punished for their desire to have that particular experience.

What is important is the uncovering of secrets in the revelatory experiences. When secrets are revealed their impact can be shocking as well as enlightening.

Bad Dreams Story Collection
An Abduction p.1-29 3rd person omniscient Jane Allsop protagonist	The Stain p.31-55 3rd person omniscient Marina protagonist	Deeds Not Words p.57-65 3rd person limited Edith Carew protagonist
One Saturday Morning p.67-86 3rd person limited Carrie protagonist	Experience p.87-111 1st person Laura protagonist	Bad Dreams p.113-126 Shifting 3rd person limited Unnamed young girl protagonist
Flight p.127-152 3rd person limited Claire protagonist	Under the Sign of the Moon p.153-182 3rd person limited Greta protagonist	Her Share of Sorrow p.183-194 3rd person omniscient Ruby protagonist
Silk Brocade p.195-215 Shifting 3rd person limited Ann Gallagher protagonist

Themes from Stories
Transformation of a person	Transformation of clothes or specific items	Memory & remembrance
Dreams	Change	Social status & social change
Relationships between families & couples	Growth & development of children & naivety	Empathy, sympathy & tenderness
Death, loss & misery & disability	Tragedy & atonement	Love, forbidden love & sexual encounters
Identities & crisis of identity	Wry humour	Epiphany & perception
Delusions & disappointment	Self-improvement	Re-telling of an event
Hope & hopelessness of life	Happiness in the moment or event	Secrets and their revelations

All Resources created by englishtutorlessons.com.au Online Tutoring using Zoom for Mainstream English Students in the Victorian Curriculum