The lyrical richness of 'The English Patient'
Dilshan Boange
The English Patient marked the arrival of Michael Ondaatje as a
literary figure to be etched in the international stratosphere of
literature whose work soon became part of discussions related to both
mass readerships as well as scholarly discourse. Thus Sri Lanka too
marked some presence amongst the eminence of Mann Booker prize winners.
And the celebrated author's works have become the focus of literati
and academia alike over the years, with many perspectives being provided
by eruditions on both the subject content/focus of his novels, as well
as praise for his craft of novel writing. Ondaatje's poetry and prose
have been widely praised as 'lyrical' and his work as a novelist have
been acclaimed as marked by this trait.
Broader audiences
The English Patient is arguably the work for which Ondaatje is best
known amongst the broader audiences of modern literature. The work has
been praised as intensely poetic and rich in its lyricism by many
critics and reviewers. However it is rarely that one would find amongst
the bodies/collections of existing academic works an in-depth analysis
to identify and expound the elements which would form the lyricism in
The English Patient, and thereby present a study of Ondaatje's craft as
a writer of lyrical prose.
The Libyan Desert (24 degree North, 25 degrees East) is located
in the northern and eastern part of the Sahara Desert covering
an area of approximately 1,100,000 square kilometres |
This article does not purport to be an exhaustive analysis of the
lyricism in The English Patient, but a cameo which would outline some of
the textual elements in the novel which evoke lyrical quality in its
text.
To begin with one may ask as to what exactly is 'Lyricism'? And what
does it mean to say that a poem or prose is 'lyrical'? Etymologically
speaking the origin of the word 'Lyricism' is rooted in relation to the
'lyre', the stringed musical instrument which was played by the ancient
Greeks to accompany song and recitation.
The word 'lyricism' is meant to incorporate at its core the quality
and nature of 'emotions' that were evoked by the playing of the lyre.
One of the traits of lyricism is said to be 'songfulness',
understandably as it was in the context of song and music that the lyre
and its function exists.
But the term has come to represent and incorporate much within the
scope of its use and application.
Lyricism is seen as a term which represents a schema of 'tenants'
that act within a broad stream of qualities such as sensuality,
musicality and elusiveness.
It is often said that lyricism presents a quality of 'elusiveness'
that the very quality of it is 'intangible' and hard to pin down. But it
has progressed into literary discourse as a term which presents a form
of 'poetic quality'.
And within this form of poetic-ness one may find the earlier
mentioned tenants- sensuality, elusiveness, musicality.
How does Ondaatje evoke these tenants of lyricism in The English
Patient? The tenants of sensuality and elusiveness can be seen as evoked
in the text of the novel through schematic imagery/ metaphor use which
would present sensual and elusive images through the course of the
narrative.
Direct reference
When one reads the book with attention to what prominent imagery
patterns keep recurring in the text in the form of metaphors, similes
and also direct reference, the word 'skin' unfolds as device which the
writer appears to employ to evoke a sensual quality in the text.
The word 'skin' as Ondaatje employs it performs a subtle function of
drawing attention to the image of the human body, which is a prominent
thematic focus in the novel.
Devising a simile or metaphor out of the image of the human body in
connection with features and traits of nature and geography and
structuring them in recurring patterns in the novel is a significant
characteristic which Ondaatje has crafted with much fineness. The
comparison of the image of the human body with an aspect or feature of
nature is a technique which is found in certain renaissance poetry.
French poet Pierre de Ronsard may be noted for this as cited in the
academic essay "Rural Lyricism": A Renaissance Mutation of the Pastoral
by H.M Richmond (1964). This evinces that Ondaatje's novel carries
certain approaches that resonate with imagery schema in poetry.
This may be seen as one of the means by which Ondaatje infuses the
quality of sensuality to the text of The English Patient.
The North African desert is very significant to the novel as the
setting in which a large part of the story takes place.
The quality of elusiveness can be seen as evoked in the novel through
the image and descriptions of the desert which becomes a thematic
element in the story.
Elusive
The invalid protagonist Almasy who is known as "the English patient"
recounts and describes his desert explorations with vivid detail and
romances the desert landscape in his narratives.
The character of the English patient calls the desert "a piece of
cloth carried by winds, never held down by stones, and given a hundred
shifting names", and with such descriptivism it is very potently created
in to an image which cannot be helped but seem elusive.
He further calls it "a place of faith" where they disappeared to. The
image of the North African desert is presented as a mystical place
through the words of Almasy who was on a quest to map the Libyan desert
in the years leading up to the Second World War.
The cartographic work that Almasy and his colleagues were involved in
also focuses on discovering a place called Zerzura which is called 'The
lost Oasis'.
And of Zerzura, Almasy recounts the myths and legends that he had
come across which posits the image of this lost oasis as a place
shrouded in mystery and very much elusive.
An example is the following passage from a monologue of Almasy-
"There was a time when map makers named the places they travelled
through with the names of lovers rather than their own.
Someone seen bathing in a desert caravan, holding up muslin with one
arm in front of her. Some old Arab poet's woman, whose white-dove
shoulders made him describe an oasis with her name. The skin bucket
spreads water over her, she wraps herself in the cloth, and the old
scribe turns from her to describe Zerzura." [p.140-141]
This description very explicitly shows how the speaker romances the
desert landscape with sensual imagery and a noteworthy feature of the
above extract is that the last sentence is in the simple present tense,
which will be the next focus area of this discussion.
'Lyric tense'
George T. Wright (1974) in his scholarly essay "The Lyric Present:
Simple Present Verbs in English Poems" identifies the use of simple
present and present progressive verbs as traits very prominent in the
verse of romantic poets. Wright calls it the 'lyric tense' which
characterises the verse of many notable poets such as Keats and Yeats.
What is interesting to note is that one of the signature characteristics
that would very well mark the form of the textual and narrative
structure of The English Patient is Ondaatje's use of the simple present
and present progressive.
The very opening line of the novel is written in simple present verb
tense-"She stands up in the garden where she has been working and looks
into the distance".
The novel is interwoven with both present and past tense and this
adds to the richness of the 'texture' of the novel which shows many
significant textural features that evoke lyrical quality in the text.
One may ask, how the 'lyrical tense' relates to the 'tenants' of
lyricism discussed at the outset of this article? The explanation is
that the devices which evoke lyricism in The English Patient are not
contained only within the scheme of qualities such as sensuality,
musicality, elusiveness.
The diverse devices that Ondaatje has crafted in to the prose of his
novel engender lyrical quality in the text from the basis of being
elements that would be found in certain forms of poetry. It is the use
of this variety of devices that make the texture of the novel as
intensely rich in lyricism.
In some sense it may be called as very much akin to the form of a
poem when considering how certain parts of it may present an almost
verse like flow, especially when narrated in simple present and present
progressive verb form. Thus the lyric tense provides an enhancement of
the poetic nature of the textual body of The English Patient.
As a novel The English Patient is a prose narrative, and there
appears no room for dispute on that fundamental factor. Yet it is
interesting to note that Ondaatje has incorporated verse and extracts of
song lyrics in the body of prose for which appear as various purposes.
Significance
A number of extracts from the lyrics of jazz songs are found in the
course of the novel's narrative, such as- "Manhattan" by Lorenz Hart and
Richard Rodgers, "I'll be seeing you" by Sammy Fain and Irvin Kahal, to
name just two. Page 144 of the novel contains an eleven line extract
from John Milton's epic "Paradise Lost" which could be viewed as having
significance of a contextual nature to resonate with the novel's
thematic framework.
These are only a few of the non-prose components incorporated into
the novel's prose body, and the textual-structure of The English Patient
is notably built with such features which may perform different
functions in the course of the narrative.
However the focus here would not be on the plot-function they may or
may not perform in the narrative but how such textural devices, may be
understood as lyrical elements within the text. 'Musicality' as
mentioned earlier is a tenant of lyricism. And one could argue that
Ondaatje's incorporation of lyrics extracts from jazz songs would add a
sense of musicality to the body of the text, and thereby evoke a quality
of lyricism.
Lyrical texture
The use of Milton in the novel from a textural point of view may be
argued as a device for embellishment that enriches the lyrical texture
of the novel.
The presence of classical poetry could certainly enhance the feeling
of lyricism that the reader encounters when reading the novel.
The discussion presented in this article is neither an extensive
analysis nor by any means a conclusive one when dealing with a subject
focus of this magnitude.
The lyricism crafted in The English Patient is clearly demonstrative
of how Michael Ondaatje whose roots in the sphere of creative writing
are in poetry has successfully extended his prowess as a composer of
verse in to the art of novel writing. And thus he presents a form of
rich lyricism which undoubtedly holds a unique place in the genre of the
novel. |