The Mayor of Casterbrige Essay Example

The Mayor of Casterbrige Essay Thomas Hardy wrote the tragic novel The Mayor of Casterbrige (1886), setting it in the fictional town Casterbridge which was based on his childhood town Dorchester. Hardys novel explores the life of a rural hay-trusser, Michael Henchard and his rise and fall in Casterbridge. It was set in 1846, before the Corn Laws, when England was experiencing scientific and technical advancement and new ways of working. In addition, social values were also changing.Hardy is well known for his very pictorial descriptions and was a writer in the realist/naturalist tradition and used real places in Dorchester to describe rural Casterbrige. The functions of Hardys descriptive language creates a vivid picture; illustrates and reflects the personality of the characters concerned; creates a strong sense of atmosphere often using pathetic fallacy and gives a sense of social history.Throughout the novel, Hardy describes many exterior settings such as Casterbridge and its surrounding area including Weydon P riors, The Ring and the market-place. Interior settings include Henchard and Lucettas home and the three public houses, the Kings Arms, the Three Mariners and Peters Finger. What would the modern reader think about the vivid descriptions Hardy creates that contribute greatly to the novel?When Casterbridge is first introduced, it is described as being an isolated old-fashioned agricultural town that was cut off from the outside world.Casterbridge- at that time, recent as it was, untouched by the faintest sprinkle of modernism.There is a great contrast with the surrounding countryside and the town.The mass became gradually dissected by the vision into towers, gables, chimneys and casements.Hardy creates an in-depth account of Casterbridge to engage the reader so they can connect with the town itself where most if not all the action of the novel takes place.The town relies on the agricultural and pastoral people of Casterbridge for its existence and the jobs were linked with the countr yside. Hardy shows this by including a list of occupations in his colourful description,The yeomen, farmers, dairymen, and townsfolk, who came to transact business in these ancient streetsThe prosperous market town reveals to the reader the long-standing tools and objects that used to be used by the townspeople which puts their world into context with the modern world.Scythes, reap-hooks, sheep-shears, bill-hooks, spades, mattocks and hoes, at the ironmongers: bee-hives, butter firkins, churns, milking stools and pailsEven though it is remote from more modernised towns we see it being affected by the Industrial Revolution and Hardy shows the changes by introducing the horse drill.Its arrival created about as much sensation in the corn-market as a flying machine would create at Charing Cross.The townspeople find it strange and technologically advanced because Hardy as the narrator describes uses a comparison to a flying machine which was being invented around that period of time. He also shows how the townspeople are affected as they will lose their jobs due to this new machine. In addition, it shows the contrast between some of the two main characters such as Farfrae and Elizabeth-Jane and their reactions to the new horse drill.It will revolutionise sowing herabout.This illustrates and reflects the personality of the characters concerned. Farfrae is a supporter of the horse drill and this shows he can adapt to change and is more modern. However, Elizabeth-Jane is against the horse drill. She is not used to technology because she comes from a poor background. She is a simple young woman and believes that the agricultural world that Casterbridge belongs to will be lost to a machine.Additionally, another function used by Hardy in his setting descriptions is pathetic fallacy.The river-slow, noiseless and dark- the Schwarzwsser of CasterbridgeHardy makes a connection with the setting and the emotions Henchard is going through at this stage of the novel by using pat hetic fallacy. This is a very effective technique to use when Henchard shows the softer and more vulnerable side of his character.A further exterior setting that Hardy describes in great detail to create a strong sense of atmosphere which gives a sense of social history is The Ring.It looked Roman, bespoke the art of Rome, concealed dead men of Rome.This location is filled with a lot of secrecy, privacy and where some of the key events in the novel take place, when Henchard is reunited with Susan after their long absence and when he meets Lucetta returning from Jersey. The atmosphere of The Ring has a negative impact as this is where violent fights and deaths would take place in Roman times as it used to be used by the gladiators and for public executions. This contributes to the sense of inevitable doom and eventual death of Henchard.As well as the exterior settings that Hardy intensely describes throughout the novel he also includes a range of interior settings such as Lucettas ho me and the three inns Hardy uses to show class divisions within society in Victorian England.The Kings Arms, the gathering place for higher class citizens play an important setting.At the beginning of the novel we meet the wealthy Henchard here, when Susan and Elizabeth-Jane return to find him.The interior of the hotel dining room was spread out before her, with its tables, and glass, and plate, and inmates.Without the vital description of The Kings Arms, the reader would not be able to see the flourished Henchard, from a poor hay-trusser, to a prosperous mayor and hay merchant. Another meeting place for the middle-class townspeople was The Three Mariners.Outside the house they had stood and considered whether even this homely place, though recommended as moderate, might not be too serious in its prices for their light pockets.This is a significant place because this is where the reader sees the respectable Elizabeth-Jane trying to make her way in life and provide for her mother. He nchard and Farfrae also meet here to discuss business plans. In addition this is where Elizabeth-Jane and Farfrae first see each other, with their encountering on the staircase.The gathering place for the lower class people of Casterbridge was Peters Finger.It was centrally situate, as such places should be, and bore about the same social relation to the Three Mariners as the latter bore to the Kings Arms.Key events take place in this public house and this is when Joshua Jopp reveals to the lower-class townspeople of Lucettas and Henchards former affair. This is a turning point in the novel and we see the towns superstitions with the skimmington ride. It was illegal in the past but rebellious townspeople used it to humiliate mainly women who were unfaithful. This shows the superstitious beliefs that people had in those times and how they contributed to the dramatic description of the novel.Lucettas home at High Place Hall illustrates her femininity and exoticness by the description of her dà ¯Ã‚ ¿Ã‚ ½cor and furniture.The room disclosed was prettily furnished as a boudoir or small drawing room, and on a sofa with two cylindrical pillowsAll of her possessions are foreign to the people in Casterbridge because of her Channel Islands background. Hardy includes a description of large windows that look over the bustling market place.They sat adjoining windows of the same room in Lucettas mansion, netting, and looking out upon the market, which formed an animated scene.This shows the distinction between the interior lives of women in the nineteenth century with the mens industrious business lives. Victorian women had no freedom and had to obey men. Women who were not married and remained single were looked upon in disappointed and pity. Their only purpose was to marry, have children, bring them up and look after the family home. Clothing symbolised their wealth which is what Hardy does to show the reader Lucettas fortune left to her by her aunt.Elizabeth saw the gow ns spread out on the bed, one of a deep cherry colour, the other lighter- a glove lying at the end of each sleeve, a bonnet at the top of each neck..Hardy shows Lucettas somewhat dissolute personality by reflecting it with her fashion and the dà ¯Ã‚ ¿Ã‚ ½cor of her home. He also shows that she is not like an everyday Victorian woman as she is not married and has no children. The description builds a personality for one of the main characters and illustrates what women were expected to be like in former years. Hardy shows how Casterbridge is being influenced by outside factors.The young reader may consider The Mayor of Casterbridge to be a long winded novel with endless amounts of description that could be considered to be too excessive. Nevertheless the descriptions contribute to the novel by adding a vivid picture, exemplifying characters personalities, creating a strong sense of atmosphere and using pathetic fallacy and giving a sense of social history. Hardy creates a genuine an d believable world for the characters by setting it in an existing town that he could relate it to. The descriptions in the novel are vital and without it, The Mayor of Casterbridge would be no different to other novels. Hardy is able to create bonds with the reader and the characters in the book by using description to demonstrate their personality, for example Lucettas house and use different settings for different classes of people the three public houses. The exterior settings give the novel an overview of the time period for example the detailed descriptions of Casterbridge, which makes the readers ability to associate with the novel stronger.

The Sarcophagus of Pakal

The Sarcophagus of Pakal In 683 A.D., Pakal, the great King of Palenque who had ruled for almost seventy years, died. Pakals time had been one of great prosperity for his people, who honored him by entombing his body inside the Temple of the Inscriptions, a pyramid that Pakal himself had ordered built specifically to serve as his tomb. Pakal was buried in jade finery including a beautiful death mask, and placed over Pakals tomb was a massive sarcophagus stone, laboriously carved with an image of Pakal himself being reborn as a god. Pakals sarcophagus and its stone top are among the great all-time finds of archaeology. Discovery of Pakals Tomb The Maya city of Palenque had risen to greatness in the seventh century A.D. only to mysteriously go into decline. By 900 A.D. or so the once-mighty city was largely abandoned and the local vegetation began to reclaim the ruins.   In 1949, Mexican archaeologist Alberto Ruz Lhuillier began an investigation at the ruined Maya city, specifically at the Temple of the Inscriptions, one of the more imposing structures in the city. He found a stairway leading deep into the temple and followed it, carefully breaking down walls and removing rocks and debris as he did so. By 1952 he had reached the end of the passageway and found a magnificent tomb, which had been sealed off for more than a thousand years. There are many treasures and important works of art in Pakals tomb, but perhaps the most striking was the massive carved stone which covered Pakals body. The Great Sarcophagus Lid of Pakal Pakals sarcophagus lid is made of single stone. It is rectangular in shape, measuring between 245 and 290 millimeters (roughly 9-11.5 inches) thick in different places. It is 2.2 meters wide by 3.6 meters long (about 7 feet by 12 feet). The massive stone weighs seven tons. There are carvings on the top and sides. The massive stone would never have fit down the stairways from the top of the Temple of the Inscriptions; Pakals tomb was sealed first and then the temple was built around it. When Ruz Lhuillier discovered the tomb, he and his men painstakingly lifted it with four jacks, raising it a little bit at a time while putting small pieces of wood in the gaps to hold it in place. The tomb remained open until late 2010 when the massive lid was painstakingly lowered once again, covering Pakals remains, which had been returned to his tomb in 2009. The carved edges of the sarcophagus lid narrate events from the life of Pakal and those of his royal forebears. The southern side records the date of his birth and the date of his death. The other sides mention several other lords of Palenque and the dates of their deaths. The northern side shows Pakals parents, along with the dates of their deaths. The Sides of the Sarcophagus On the sides and ends of the sarcophagus itself, there are eight fascinating carvings of Pakals ancestors being reborn as trees: this shows that the spirits of departed ancestors continue to nourish their descendants. The depictions of Pakals ancestors and former rulers of Palenque include: Two images of Pakals father, Kan Mo Hix, being reborn as a nance tree.Two images of Pakals mother, Sak Kuk, being reborn as a cacao tree.Pakals great-grandmother, Yohl Iknal, is shown twice, reborn as a zapote tree and an avocado tree.Janahb Pakal I, Pakals grandfather, reborn as a guava treeKan Bahlam I (ruler of Palenque 572-583), reborn as a zapote tree.Kan Joy Chitam I (ruler of Palenque ca. 529-565 A.D.), reborn as an avocado tree.Ahkal Mo Nahb I (ruler of Palenque ca. 501-524 A.D.), reborn as a guava tree. The Top of the Sarcophagus Lid The magnificent artistic carving on the top of the sarcophagus lid is one of the masterpieces of Maya art. It depicts Pakal being reborn. Pakal is on his back, wearing his jewels, headdress, and skirt. Pakal is shown in the center of the cosmos, being reborn into eternal life. He has become one with the god Unen-Kawill, who was associated with maize, fertility, and abundance. He is emerging from a maize seed held by the so-called Earth Monster whose enormous teeth are clearly shown. Pakal is emerging along with the cosmic tree, visible behind him. The tree will carry him to the sky, where the god Itzamnaaj, the Sky Dragon, is awaiting him in the form of a bird and two serpent heads on either side. Importance of Pakals Sarcophagus Pakals Sarcophagus lid is a priceless piece of Maya art and one of the most important archaeological finds of all time. The glyphs on the lid have helped mayanist scholars pinpoint dates, events and familial relationships over a thousand years old. The central image of Pakal being reborn as a god is one of the classic icons of Maya art and has been crucial to understanding how the ancient Maya viewed death and rebirth. It should be noted that other interpretations of Pakals headstone exist. The most notable one, perhaps, is the notion that when viewed from the side (with Pakal roughly upright and facing to the left) it can appear as if he is operating the machinery of some sort. This has led to the Maya Astronaut theory which states that the figure is not necessarily Pakal, but rather a Maya astronaut piloting a spaceship. As entertaining as this theory may be, it has been thoroughly debunked by those historians who have deigned to justify it with any consideration in the first place.   Sources Bernal Romero, Guillermo. Kinich Jahahb Pakal (Resplandente Escudo Ave-Janahb) (603-683 d.C) Arqueologà ­a Mexicana XIX-110 (July-August 2011) 40-45. Guenter, Stanley. The Tomb of K’inich Janaab Pakal: The Temple of the Inscriptions at Palenque Lapida de Pakal, Palenque, Chiapas. Arqueologia Mexicana Edicion Especial 44 (June 2012), 72. Matos Moctezuma, Eduardo. Grandes Hallazgos de la Arqueologà ­a: De la Muerte a la Inmortalidad. Mexico: Tiempo de Memoria Tus Quets, 2013. Schele, Linda, and David Freidel. A Forest of Kings: The Untold Story of the Ancient Maya. New York: William Morrow and Company, 1990.