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DEATH, 3: Lastly, both authors present death as a liberating force for…
DEATH
prevalence of female power in deaths of aggressors, presents justice
Rasheed
Laila's fantasy of escaping to 'a small house on the edge of a town they'd never heard of' establishes the forthcoming consequences Mariam will face as a murderer
Hosseini criticises the patriarchal society which will instantly condemn Mariam without considering her motive behind her actions
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Alec
Tess retaliates to her ongoing oppression and abuse by her superior male by stabbing Alec in the chest.
the ultimate moment of female empowerment and a true representation of how relentless abuse can lead to female empowerment/retaliation
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'a gigantic ace of hearts' evokes ideas of gambling and fate, linking to the suggested divine power in Tess' death, foreshadowing how she is now fated to die as a result
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euphoric, even delusional, after killing Alec, but devastated after Prince's death ('thinking from the strangeness of her manner that she was in some delirium')
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pivotal point in characters' lives, psychological impact
Nana
exposes Mariam to the social and cultural divide between her and her half-siblings, and in a wider respect her as a harami and social conventions
Mariam feels responsible for her death, and her guilt guides her behaviour and fuels her desire to remain isolated
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"It wasn't your fault, my girl" (43, 6)
(felt that Mariam was becoming too close to Jalil, a figure of status and conventionality/respectability)
"Everything I endured for you! How dare you! How dare you abandon me like this, you treacherous little harami!"
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Prince
spurs Tess to seek aid from the D'Urbervillles, setting the events of the novel into motion
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his death occurs after Tess dreams of ancient knights, having just heard the news that her family is aristocratic
Prince is pierced by a forward-jutting piece of metal, reminiscent of a wound from a medieval joust
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"Examining the mesh of her own life ... her shrouded knightly ancestry" (32, IV)
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a liberating force for women, can free them from their plight (both life and death)
Tess
ch 41: Tess killing the dying pheasants puts them out of their suffering at the hands of 'bloodthirsty' men, drawing parallels to Tess' 'agony' at the hands of men
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Mariam
references to religion and fate: 'He has made the sun and the moon subservient; each one runs on to an assigned term'
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'a legitimate end to a life of illegitimate beginnings': balanced sentence = necessary and 'right' for her to die
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despite her life's hardships, she appreciates what she was given and 'could not help but wish for more of it'
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start: death is something to be feared, end: a release of suffering
contrasting portrayal of Nana and Mariam's deaths: 'it was not regret any longer but a sensation of abundant peace that washed over her' vs 'Nana dangling at the end of it'
reflective tone of Nana's death vs grounded, present tense of Mariam's imminent death
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3: Lastly, both authors present death as a liberating force for women and suggest that it has the power to free them from their suffering. Both authors also evoke a sense of grounded peace and acceptance in the deaths of their female characters
'she broke the necks of as many as she could find' (279, XLII/XLI)
'like the note of some gigantic one-stringed harp' (392, LVIII)
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'lying on the altar' (393, LVIII)
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'it was not regret any longer but a sensation of abundant peace that washed over her' vs 'Nana dangling at the end of it'
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- Pivotal point in characters' lives (Nana and Prince)
- Death is a liberating force for women
- Comparison of how at start, death is something so terrifying and negative but by the end it is seen as a release- highlights extent of female suffering
- Women cannot survive on own, leads Nana to commit suicide, and Tess to contemplate it
- Prevalence of female power in murder of aggressor
- Only liberated from plight through death
2: Both authors also convey the prevalence of female characters in the deaths of their aggressors to comment on the limited sense of justice for women. Both acts are also presented as originating from places of protection and self-sacrifice
'a gigantic ace of hearts' (382, LVII)
'A pitiful white smile lit her face as she spoke' (384, LVII)
'this was the first time that she was deciding the course of her own life' (341, 45)
escaping to 'a small house on the edge of a town they'd never heard of' (345, 46)
'before she saw fingers clawing at Rasheed's face' (338, 45)
leaning 'back in her chair', glancing 'casually over the ceiling' (382, LVI)
1: Both authors present death as causing a pivotal moment in a character's life and having an evident psychological impact. Both authors also suggest the sudden shift into adulthood for characters like Tess and Mariam due to the deaths of Prince and Nana.
'she could hear so clearly now the insincerity that had always lurked beneath, the hollow, false assurances' (6, 38)
"It wasn't your fault, my girl" (6, 43)
"which do we live on--a splendid one or a blighted one?" "A blighted one" (31, IV)
"Examining the mesh of her own life ... her shrouded knightly ancestry" (32, IV)
'The pointed shaft of the cart had entered the breast of the unhappy Prince like a sword' (33, IV)