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Essay 2: Close Reading Assignment

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Ana Dilan 

ECL 305

Professor Pressman

13 April 2024 

A Tale of Tails: A Close Reading of Melusine and “Monstrosity”

Andre Lebey’s The Romance of the Faery Melusine reveals the role of a monster within literature and within society, which align with the seven theses of Jeffery Jerome Cohen’s Monster Theory. These seven theses stem from observations of modern Western culture and literature, a long ways away from the medieval origins of Melusine’s story, but still ultimately reflect the etymological role of the ‘monster’ as a “reminder,” an “instruction,” or a “warning.” Melusine’s external monstrosity acts as a mirror to Raymondin’s internal monstrosity, as his discovery of his wife’s true form as a half-woman, half-serpent is also a discovery of his true form as an insecure and doubting man. In this way, both Melusine and Raymondin become monsters, fulfilling their roles as reminders of their deepest desires and their greatest fears. The Romance of the Faery Melusine, in turn, challenges the dynamic between the hero and the monster and how blurred the lines between these roles are. 

The first thesis of monster theory that Cohen presents is that the monster’s body is a cultural body. The monster “incorporates [the] fear, desire, anxiety, and fantasy” of the culture that created it. (Cohen, 4) When we are introduced to Raymondin, the “hero” of the story, he is essentially a murderer awaiting trial, running through the woods riddled with guilt after inadvertently killing his uncle while out on a hunt. As he makes his way through the forest, he comes across an enchanting fountain and it is there where he first encounters Melusine. The form she takes on is that of a woman so beautiful, Raymondin questions if he’s in another world. (Lebey, 24) Not only is Melusine beautiful, but she also comes with the reassurance that she is as “faithful a Christian” as Raymondin is and that, as someone “next to God,” she can bring him great fortune. (Lebey, 25) This spells well for the young Raymondin, as her power to grant him greatness and the commonality of their Christian faith mean that she would make a wonderful wife to have at his side. Here, the monster not only shows friendship and camaraderie with the hero, but the hero expresses romantic desire for the monster. The hero has no need to antagonize the monster, nor does he wish to on the grounds that the monster shares the same Christian values as his. The monster, in turn, bears no ill will towards the hero because she finds him and his intentions pure, deciding to place her trust in him and his word in the same way that he trusts in her promise to clear his name and bring him greatness. For the medieval, predominantly-Christian audience hearing this story, they too would find no need to fear Melusine, despite her otherworldly nature and her uncanny abilities of reading mind and granting riches. Her magical abilities, though grounds to accuse her of sorcery and conspiracy with the Devil for the inquiry of those powers, are immediately nullified by her Christian faith. In fact, her faith and abilities combined would only make her more desirable and sympathetic, as her powers are aligned with God rather than the Devil. Melusine’s identity as a self-proclaimed Christian woman reflects the faith and its tenets that were valued at the time of the story’s telling; in identifying as such, Melusine garners the sympathy and trust of Raymondin and the medieval audience taking in this tale. 

The second thesis of Cohen’s Monster Theory is that “the monster always escapes.” (Cohen, 4) The monster’s “escape,” according to Cohen, is not an act of defeat, but rather an act of recuperation and restoration, as “each reappearance and its analysis [of the monster] is still bound in a double act of construction and restitution.” (Cohen, 5-6) The monster always escapes and leaves something of itself behind, but hidden in their act of absconding is the promise that they will return in another shape and form. The change in the monster’s form reflects the change in time within the culture of its creator, as Cohen posits that monster theory must follow the:

“…strings of cultural moments, connected by a logic that always threatens to shift; invigorated by […] the impossibility of achieving…the desired ‘fall or death, the stopping’ of its gigantic subject, monstrous interpretation is as much process as epiphany, a work that must content itself with fragments (footprints, bones, talismans, teeth, etc.)…” (Cohen, 6) 

In Melusine, after lamenting Raymondin’s broken promise and the cruelty of fate, Melusine transforms into a winged serpent, “about fifteen feet long,” and flies away from her family, her castle, and the riches she granted to her husband, leaving nothing of her but her footprint on the windowsill from where she took off. (Lebey, 144) Before she leaves, Melusine makes Raymondin promise that although she would never take the form of a woman again, she would still watch over their two younger children and make sure that they are raised well. (Lebey, 143) Like in Cohen’s thesis, Melusine leaves the life she built as a human woman and is now forced to live out her days as an immortal winged serpent, never to return to the form that Raymondin fell in love with and never to attain a human soul with which she can die and join God. This departure is not a result of Melusine’s fear at her true form being discovered, but rather Raymondin’s betrayal of her trust in him. Earlier in the story, Melusine asked Raymondin to “‘swear by all the sacraments [he] hold[s] holy as a Christian that on each Saturday, [he]…must never…try to see try to see [her] in any way whatever, nor seek to know where [she is].’” (Lebey, 27) By attaching the Christian virtue of honesty to this promise, as it is one of the Ten Commandments to never lie, Melusine not only shows her knowledge of the Christian church’s catechism but also understands just how serious violating this promise is for her. To break a promise made in the name of God, for a medieval audience, is a perverse sin–one that Raymondin has committed by doubting his wife and breaking the promise that marked their union in the first place. It is the sin of doubt and dishonesty that makes Raymondin the cause of Melusine’s departure. 

Monster Theory’s third thesis is that “the monster is the harbinger of category crisis.” (Cohen, 6) The reason for the monster always escaping, according to Cohen, is because “it refuses easy categorization.” (Cohen, 6) The existence of monsters as a sort of “third-kind,”  creature that is neither human nor animal, acts as a defiance of the perceived laws of nature or any preconceived notion of logic, blurring the lines between opposing binaries. Because they are not easily categorized, monsters inherently question how its cultural creator organizes knowledge and information of the world around them and opens up the discussion of what makes something good or bad, right or wrong, normal or abnormal. The opening of these discussions and the blurring of these lines erases the knowledge upon which the creator’s culture and society is built, inspiring fear of the crumbling norm for its participants and rage at the monster for even daring to exist as a question towards those norms. The reveal of Melusine’s true form as a woman with a serpent’s tail sends Raymondin into a category crisis: 

“He [sic] said nothing, but thought apart to himself: ‘And so she accepts, just like a woman, that which is but should never be! …Ah Siren!…or woman? What does it matter? Women do not know, know nothing of what we call Honour!’” (Lebey, 138) 

Here, Raymondin falls prey to the misogynistic thought of the Church, which posited women as liars, temptresses, and secondary beings in opposition to men. How could his wife not tell him the truth of her true form? Could it be that Melusine’s serpentine tail, an attribute of the creature that tempted Eve into bringing sin into the world, combined with the weak nature of women like her caused her to tell nothing but lies to her own husband? In retaliation, Raymondin becomes more monstrous than heroic, verbally abusing his wife by calling her a “false serpent” and cursing at even his own children, saying that “none of those who have come from [her] cursed womb know how to come to a good end, because of the sign of reprobation with which [she] [sic] marked them by her sins.” (Lebey, 139). He forgets that it was he who promised Melusine that he would never seek her out on Saturday nor to doubt her commitment to him. He allows the eyes of society to overtake his own and to see not his good and faithful wife who brought him and their family prosperity, but a monster who made its home in his and lied by omission of its monstrous nature. 

The fourth and fifth theses of Monster Theory respectively state that the monster “dwells at the gates of difference” (Cohen, 7) and “polices the borders of the possible.” (Cohen, 12) These two theses do not just dwell on the physical attributes of the monster that make it a monster, but also its position in a culture as a foreigner, the Other. More often than not, monsters in literature tend to have otherworldly origins. Whether their origins are from across the sea to the sea itself, from Mars to the next galaxy over, from the other side of the universe to a completely different, alternate universe, the literature that tells their tales make it abundantly clear that we must be wary of what did not come from our backyard. That these foreigners seek nothing but to disrupt the peace and order of our home for their own gain. That it is the foreigners’ presence that upsets the power structures and hierarchies erected for the care and safety of all that is good and familiar. That it is their foreignness that makes them monsters. There is, however, one caveat that makes the monster less monstrous: the fetishization and the exploitation of the Other. Melusine’s pretty and powerful presence in Raymondin’s life brings about nothing but prosperity, as they are able to “[form] relations and friendships all over the East,” (Cohen, 119) form an alliance with “the descendants of [sic] Obeid Allah, the Mahdi, who founded the Fatimid Dynasty,” (Cohen, 120) as well as establish enough trade with other countries to be able to decorate their castle with gold, mosaics, and Islamic writings. (Cohen, 120) It is because of Melusine’s otherworldly (and admittedly, foreign) influence that Raymondin is able to make these connections with foreign lands and help his town and family flourish into prosperity. The descriptions of their displays of wealth act as an advertisement, an invitation to its medieval audience to broaden business and cultural horizons outside of Europe. The foreigner and the unknown are terrifying, yes, until money is involved. The Other is only accepted as far as what it can offer, what it brings to the table. Though capitalism had yet to exist at the time of Melusine’s telling, the grounds for a person’s use, or their capital, was already taking root through what they traded along trade routes. The exchange of vows between Melusine and Raymondin can be seen as a marriage proposal, which in turn can also be seen as a business contract, as many marriages essentially were during that time period: Melusine’s privacy for Raymondin’s prosperous future. As long as each side keeps their promise, Melusine fulfills her role as his beautiful and powerful Christian wife and Raymondin fulfills his role as a knight presiding over a prosperous city. If that is the case, then Raymondin’s betrayal can then be seen as a breach of contract, ultimately severing the ties between the foreign and the familiar, the monster and the man. 

Monster Theory’s sixth thesis states: “Fear of the monster is really a kind of desire.” (Cohen, 16) Although the monster can be seen as revolting, there is an undeniable aspect to them that is also revolutionary. The monster’s fluid state of being between the familiar and unfamiliar attracts just as much as it reviles. Its fluidity and inability to be boxed into one category can be seen as a freedom from societal constraint, allowing the consumer the feeling of liberation through fascination of the monster: 

“This simultaneous repulsion and attraction at the core of the monster’s composition accounts greatly for its continued cultural popularity, for the fact that the monster seldom can be contained in a simple, binary dialectic (thesis, antithesis, …no synthesis). We distrust and loathe the monster at the same time we envy its freedom, perhaps its sublime despair.” (Cohen, 17)  

We see this paradox of attraction and repulsion best through the discovery scene, where Raymondin breaches the tower and room where Melusine spends her Saturdays. Raymondin seeks to know why Melusine asks to spend her Saturdays alone because of the seed of her infidelity planted in his head by his brother. When Raymondin catches a glimpse of Melusine’s true form, he goes through a dizzying train of thought, oscillating between the fear of discovery and death and the desire to take another look:

“The memory of his oath and of all his preceding life forgotten, he slid, fascinated, toward the unknown source of his misfortune and loss…But hardly had he seen than he closed his eyes again, retreating so as not to be seen himself, and in an impossible light, to dream of what he had never seen before, ever. A vision that he carried within him eternally until the end of his days…But before he died, he wanted to see it again.” (Lebey, 124)

Raymondin forgets that the reason he and Melusine are married is because of his promise to never seek her out and try to see her on Saturdays. (Lebey, 27) Melusine’s request for a single day of freedom is immediately held into suspicion by Raymondin because of her nonhuman nature. Monsters do not adhere to human norms, after all. According to him, what would a monster wife know about fidelity and faithfulness to her husband? What kind of spirits is she conspiring with alone without any supervision? It is strange to Raymondin that his wife would desire any amount of time to herself, rather than attending to her children or even to her husband. Even if Raymondin is warned twice about what he must do to keep Melusine as his wife till the end of his days, he ignores these warnings by looking twice at Melusine’s true form: just once to see the monster, then twice to confirm that the monster he is beholding is truly his wife. 

Finally, the seventh thesis of Monster Theory is that “the monster stands at the threshold…of becoming.” (Cohen, 20) The role of a monster is to “ask [sic] how we perceive the world, and how we have misrepresented what we have attempted to place. They ask us to reevaluate our cultural assumptions…our perceptions of difference, our tolerance toward its expression.” (Cohen, 20) Raymondin learns about the dangers of intolerance and mistrust towards the monster the hard way. When Melusine sees that Raymondin sees her in her true form, she does not even see the pure-hearted man she fell in love with at the fountain, “that he who had been Raymondin had ceased to exist,” “glaring at her with a look of hatred.” (Lebey, 138) The discovery scene also becomes a transformation scene not just for Melusine, but for Raymondin as well; he just “becomes” a “monster” of a different kind. His jealousy, mistrust, and insecurity cause him to intrude on his wife in a vulnerable state of nakedness and transition, perverting the image of him as a steadfast knight by turning him into something much more perverse. By becoming a monster, Raymondin becomes a cautionary tale himself. Whether it be for insecure men who would rather break promises at the suspicion of their significant others’ broken promises or as warning for those who fetishize and idealize their partners rather than appreciate them as a whole, the audience will undoubtedly find that the line between hero and villain is just as arbitrary as the line between monster and man. 

Works Cited 

Cohen, Jeffrey Jerome, and Jeffrey Jerome Cohen. “Monster Culture (Seven Theses).” University of Minnesota Press, 1996, pp. 3–25. Reading Culture, http://www.jstor.org.libproxy.sdsu.edu/stable/10.5749/j.ctttsq4d.4. Accessed 13 Apr. 2024. 

Lebey, André. The Romance of the Faery Melusine. Translated by Gareth Knight, Skylight, 2011. 

Revised Midterm Close Reading

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Thavanh Pais

ECL 305

31 March 2024

The Romance of the Faery Melusine

‘The Faery at the Fountain’

In ‘The Romance of the Faery Melusine,’ the story revolves around a critical encounter between Melusine and Raymond as he visits a hidden fountain. This passage not only progresses the plot, but it also goes into deeper themes and character dynamics, providing insight into the complexity of the supernatural world and its relationship to human affairs.  In Chapter 3, titled ‘The Faery at the Fountain,’ the depiction of Raymond’s reiterated promise to Melusine symbolizes the delicate balance between trust and curiosity, highlighting the theme of secrecy within their relationship. Through Raymond’s oath to refrain from prying into Melusine’s mysterious absences, the text subtly explores the vulnerability inherent in maintaining secrets, particularly in the context of their intermingling human and supernatural realms. This pivotal moment not only underscores the consequences of transgression but also delves into the intricate dynamics of trust and curiosity within the relationship between Raymond and Melusine.

At the core of the scenario is Raymond’s solemn oath to Melusine, in which he promises, “On my life, I swear that never on that evening or that night will I do anything that might be to your detriment, and that I will, in all goodwill and honor, seek to know nothing about your absence.” This declaration, filled with intensity and gravity, demonstrates the delicate balance of trust and inquiry in their relationship. The repetition of terms like “on my life” and “in all goodwill and honor” emphasize Raymond’s sincerity and seriousness, as well as his deep concern for Melusine. However, it is critical to understand Melusine’s motivations for requesting Raymond’s commitment, as her request is based on her own vulnerabilities. Melusine seeks isolation to reconcile her dual existence and confront the intricacies of her magical nature. Her desire for Raymond’s commitment protects her autonomy and gives her the opportunity to retire into seclusion when necessary, without fear of interference or criticism.

Furthermore, Raymond’s promise not to inquire into Melusine’s absences highlights the idea of secrecy that pervades their encounters. Raymond’s decision to keep his promise sets off a series of events that would eventually change the course of their relationship and the lives of people around them. His commitment to resist the temptation to unravel Melusine’s mysteries underscores the value of integrity and self-control, highlighting the transformative power of moral decisions in shaping one’s destiny. 

Melusine’s reaction to Raymond’s pledge reveals the complexities of her personality as well as the mental struggle she experiences as a result of her magical background. While Melusine appreciates Raymond’s promise to keep her secrets, she is painfully aware of the dangers of disclosing her true identity. The exchange between Raymond and Melusine at the fountain is a microcosm of the larger themes woven throughout the story, capturing the tension between intimacy and autonomy and illuminating the complexities of navigating interpersonal relationships in a world fraught with secrecy and uncertainty. A thorough assessment of their contact reveals the nuances of trust and curiosity, as well as the great emotional resonance of their bond. The fountain is loaded with symbolic importance as a place of encounter and revelation, and emerges as a focal point for exploring the complexities of human connection and the transformative power of love.

Her request for Raymond’s promise could be interpreted as a means of creating a safe space for introspection and self-discovery, away from the pressures and distractions of the outside world. Melusine’s need for seclusion may be related to her desire for independence and self-reliance. Melusine, despite her emotional connection to Raymond and desire to engage in a relationship with him, is likely to value her independence and autonomy as a siren Her request for Raymond’s pledge allows her to assert her boundaries and autonomy in their relationship, ensuring that she has control over her own time and space.

In conclusion, “The Romance of the Faery Melusine” weaves a captivating narrative that explores a variety of themes and character dynamics, with the pivotal encounter between Melusine and Raymond at the hidden fountain in Chapter 3 standing out as the centerpiece. This scene not only progresses the plot but also explores deeper topics, including the difficult balance between trust and curiosity, as well as the theme of concealment in their relationship. Raymond’s solemn commitment to keep from inquiring into Melusine’s strange absences emphasizes the implications of transgression and digs into the complex dynamics of trust and curiosity between them. Equally important is Melusine’s appeal for Raymond’s pledge, which reflects her yearning for autonomy and independence. Her need for isolation is clear, as she seeks a safe haven for introspection and self-discovery away from the constraints and judgments of the outside world. The discussion between them by the fountain captures the tension between intimacy and autonomy, providing a powerful depiction of the complexity of negotiating human relationships in the midst of concealment and ambiguity.

“The Great Old Hunter” and Evil Nature

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Humanity’s connection to the natural world has always been complicated. On the one hand, people make significant efforts to protect and regenerate natural ecosystems and resources. On the other hand, several of humankind’s advances toward technological progress and solidifying its spot on top of the food chain have resulted in the displacement and extinction of hundreds of species throughout humankind’s comparatively brief rule over Earth. It may seem that a steady population increase and a strong dependence on an industrialized lifestyle are the primary reasons humans have had such a negative influence on the environment. Still, it might be more significant than that. In a chapter of The Romance of the Faery Melusine titled “The Great Old Hunter,” a depiction of man’s ideals implies that humanity’s connection with nature is influenced by a desire to demonstrate supremacy.

The story points out that, in the time of the Great Hunter, Aimery, humans and nature lived close together. The chapter describes nature as a sort of hidden threat, stating, “In hamlets and villages wild animals in their lairs could watch unseen all that went on around human dwellings” (Lebey and Knight 11). The wording in this sentence gives off the impression that humanity was surrounded by nature in an almost malevolent way. This notion of impending violence is further supported by the next sentence, “Foxes and wolves knew just when to raid” (Lebey and Knight 11). In this section of the story, humans feel more like the wildlife, while animals seem to be the hunters. It shows us that humans were fearful of their bestial neighbors. In describing the aftermath of one of these canine raids, the author makes a direct reference to the Devil, writing, “A strange wild smell, something like sulphur, hung in the frozen air, stinging the nostrils, as in a room where a fire, smoking before going out, has left a scorched smell like He of the cloven hoof” (Lebey and Knight 11). Cloven hooves are found in animals like sheep, deer, and goats. The personal pronoun “He” infers that these cloven hooves belong to a human, as any other reference to nature is met with the pronouns “they,” “them,” and “it”. All this suggests that this simile is an easily understood comparison between nature and the Devil. This just further proves that humanity was scared of nature, and it helps justify their rationale for hunting.

The forest itself is described as “…stretched beyond, menacing and dangerous, full of the unknown, concealing the surprising and the supernatural” (Lebey and Knight 11). Describing the forest as “stretched beyond” gives the audience a good idea of how surrounded early humans felt. The word “beyond” suggests that the forest’s reach had no visible end. It’s hard not to imagine a raft in the middle of an endless ocean. Both the hypothetical raft and the aforementioned hamlets and villages are stranded, encircled by a not-so-obvious danger. The audience knows that the forest is dangerous because the first two paragraphs describe the animals who come from the woods to terrorize people – but also because the text uses the words “menacing and dangerous” to personify the woods. Writing that the forest is “full of the unknown” is important, as the word “unknown” will be repeated later in the text to explain what drives Man to be brave. To say that the forest conceals “the supernatural” indicates that not only is nature frightening to humankind, but it is almost incomprehensible – it doesn’t follow humanity’s rules; therefore, it is mystical and fantastical.

The story then shows us that humanity is able to defeat these evils – the story says, “…evil reigned only if heroes failed to confront its dangers” (Lebey and Knight 12). This sentence reveals a lot of information to the audience about humanity’s values. Saying that “evil reigned” strengthens the prior implications of mankind’s stranded identity. To reign over something is to predominantly rule something. The idea of nature (AKA evil) predominantly ruling over the world is an alien concept to modern humans, as the tables seemingly turned millennia ago. The text continues, stating, “It seemed that the one existed to give rise to the other,” (Lebey and Knight 12). The nonspecific nature of this sentence fragment is purposeful. Its obvious implication is that evil exists to make humans stronger, but it also implies that the existence of humans makes the surrounding evil more powerful. This one fragment opens up the possibility of an infinite cycle where humanity and nature progressively become more and more impactful on each other. With melting ice caps and other adverse effects of climate change, it’s safe to say that this relationship between man and the natural world is still in effect. The sentence ends by saying, “for humans do not show their mettle if left to themselves.” (Lebey and Knight 12). A rough translation into simpler terms would be that humans do not show their tenacity if there is no evil to brave against. 

The word “unknown” returns in the sentence, “In those days men identified with things that could lead them further into the unknown;” (Lebey and Knight 12). The last time the word “unknown” was used, it described the “menacing and dangerous” essence of the forest. Using a phrase as vague as “the unknown” in this sentence works great; it describes that humanity has an instinctual fascination with things it does not understand, as well as further exploring humanity’s association with forests and nature in particular. The story continues with, “they sought in all directions the extension of their physical and spiritual power” (Lebey and Knight 12). It seems humans have always been determined to take over everything, as demonstrated by the phrase “in all directions.” The sentence mentions both physical and spiritual power, and this is like saying violence and understanding. The order in the wording is crucial to understanding the implicit attitude humans have towards the unknown – destroy first, understand later. Since nature is akin to evil in this story, it would be fair to think that these early humans would try to defeat nature before they try to observe and reason with it.

All this is not to say that Man never tried to understand nature; in the next paragraph, the narrator says, “Man developed without dissociating or abstracting himself from the world,” (Lebey and Knight 12). When one dissociates or abstracts oneself, one removes oneself from one’s own existence and lets go of any attachments that are associated with one’s sense of identity. This remark demonstrates to the audience that whatever information that humans have accumulated about nature has been done so on a level that is ultimately trivial. If one wants to have a complete understanding of anything, one must put oneself in that thing’s position and make an effort to see the world from the perspective of that thing. In the absence of the dissociation and abstraction processes, no attempt is made to fully understand anything. 

Finally, the narrator discusses hunting, saying, “Hunting, so different from our own… maintained the extension of human power” (Lebey and Knight 12). To get better at killing something, one must learn its behaviors and use them to one’s advantage. This is the “spiritual” power mentioned before. Through hunting, people can demonstrate their spiritual power through the act of tracking and the use of animal calls. The kill itself is the obvious demonstration of the physical power humans crave. This sentence paints hunting as a necessary activity for humans to partake in to maintain balance in the natural world – but it seems like hunting is necessary to keep human beings secure in themselves, which is a lot less valiant than the former.

In conclusion, “The Great Old Hunter” illuminates the intricate dance between humanity and the natural world, revealing a timeless struggle for supremacy. The text suggests that humans understand nature as evil, but humanity’s view of the wild seems to be a lot more positive in the contemporary era. If the ideals presented by the text were widespread, then this could explain why humans still tend to negatively impact the natural world. But it’s important to remember that the relationship between Man and nature is complex and changes over time. Stories from the past like this one teach about how people thought and felt in earlier times, but they also make us consider how humans think and act now when it comes to the environment. In order to try to solve the environmental problems of today, it’s important to understand how complicated our relationship with nature is and work toward a peaceful union that respects both humans and the environment. Understanding where we fit in the environment as a whole is important, should we want to face the difficulties of the future with knowledge and kindness.

Close Reading Assignment-Sedna the Sea Goddess

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The Legend of Sedna the Sea Goddess is a story told all throughout the Arctic region, where it experiences new interpretations, names, and details depending on the region. The Inuit tale is an origin and creation tale that details the story of a young girl and the trials she faces in her young life. The story follows, Sedna, who is promises herself into a potential loving marriage; she later discovers that her husband is a bird dressed up as a man and that he cannot fulfill the promises he had previously made, causing her to flee with her father. When fleeing, her father murders her husband out of anger, to which the husband´s friends seek revenge against Sedna and her father in response. During their escape on the boat, the friends who are also half human-half birds, fly above their boat and viciously cause a storm to kill her and her father. Sedna´s father throws her off the boat in hopes that they will stop but they do not. Sedna clings onto the boatside for her life after being thrown overboard, yet her father cuts off her fingers one by one to prevent himself from drowning as well. She sinks to the bottom of the sea where the segments of her fingers turning into sea mammals, and she becomes the Sea Goddess, who has the power to control these animals and their abundance to man. The specific scene of Senda’s fingers being cut off joint-by-joint by her father is a pivotal scene that may be interpreted to represent the trauma she experiences as a transformational experience of her soul and strength to persevere. There is both a literal detachment through her father cutting off her fingers and her figurative detachment from family, comfort, and social constraints. Spurring from her fingers are marine animals, which exhibits Sedna´s strength against her life that was holding her back from her soul´s transformation. For Sedna to experience her true soul in the form of a goddess, it was necessary for her to both figuratively and literary detach from her past constraints. Through the close examination of the cutting of the fingers scene, it is evident that transformational growth is only possible if one detaches from past trauma/ties. Whether the detachment is forcible or voluntary, individuals must disconnect and dissociate from their constraints in the form of comfort, family, societal ideals, etc. to experience a full transformation of the soul and body. 

First and foremost it is important to understand the content of the story and understand the initial traumas that Sedna´s growth spurs from. Sedna is a defiant girl who leads herself by her self-determined laws, which is communicated directly in the story where it states, ¨She liked the comfort of her parent’s home and refused to marry.” While she is defiant of the idea of marriage, she does so for the betterment of her people and family, which later on benefits no one involved. This is the traditional suffering that she experiences in the form of the societal expectations of being a woman and a woman’s role to marry. It is clear that Sedna is a woman of choice and leads her life intending to make independent choices, although she is not given the opportunity to choose when it comes to the boat scene. Following the idea of trauma, a key part of the boat scene is Sedna’s father and that it is him who throws her overboard into the icy water to prevent his boat from filling with water. It is no mistake that the boat is her father´s boat and that she is physically cut from the side, after grasping on to save her life. The father´s boat serves as a representation of her family as a whole and he is the sole controller of her fate, just as he was in her life. Typically fathers are modeled as a family´s protector, dedicating themselves to the safekeeping of their family’s life; yet the situation is entirely upside down in this scenario. Her father is the perpetrator and betrays her just as her husband does, causing a strong traumatic experience between Sedna and her father. All the trust is lost in their relationship as she is sacrificed to the ocean at the hands of her father who is supposed to be the one man who dedicates himself to her protection. This is a literal and figurative detachment that is forced upon her by her father´s choices, as he sentences her to death and attempts to prevent her from being able to swim to the surface. There is a strong importance in the fact that he does not simply push her off, but chooses to individually cut each one of her fingers off,  ¨one joint at a time.¨ This action would inflict the most physical and emotional pain to her body and mind cruelling detaching her from this familial and societal trauma in a literal and figurative sense. Although only after these forms of dissociation and her body sinking to the very bottom, is Sedna able to fully transform herself. The cutting of her fingers prevents her from reaching back to grab onto the boat or in a figurative sense her past comfort abilities, she is unable to save herself and is forced to the very bottom of the ocean to transform herself. It is important that after this action Sedna ¨sank to the bottom of the ocean ̈ and established hesr new self and home on the ¨ocean floor.¨ Sedna is forcibly pushed into the detachment that allows her to grow, as she is sent to the deepest part of the ocean where she is required to think in the deepest of thoughts. She is not only mentally at her lowest point but she is physically at the lowest point on Earth, due to the deep trauma she experienced in her life. As for society, people often fear deep thought and detachment from a comfortable life, but in Sedna’s case, the choice is not for hers to make. She is only able to experience her highest potential as a Sea goddess once she is released from the torment and trauma that held her back. The cutting of the fingers scene holds importance through its presence in the text, through its situation, length, etc. Observing not only the content but also the presentation of the content is key to understanding how the story follows the argument that literal and figurative detachment is a fearful necessity. The word fearful is key in this statement, as detachment is a fearful concept and people are often extremely uncomfortable when they are forcibly removed from the comfort of their lives. The only details the reader is given about the scene are a mere eleven words long, ¨ the father cut her fingers off, one joint at a time.¨ This length is intentional and provides the reader with little to no details on the exact scene before it progresses to the next scene in the story. The story avoids the uncomfortable but is a story entirely about embracing and pushing back against being uncomfortable and pressured. The shortness of the scene allows the reader to apply their own imagination and perspective to the scene, making the lesson/story more personable to the reader and the reader´s experiences. Details and complexity can act as limiting factors to creativity, which is a huge factor in this story to understand its deeper meanings. This short scene is also situated in the center, not the beginning and not the ending of the story. It is perfectly in the center with exactly four paragraphs above and three below, making this scene the most central part of the text. This is the main climax and placing it in the middle allows for there to be a background to her life and the future of her life after her psychological and physical transformation. Her story does not have a happy ending and this scene is not intended to be anything less than pain and torture. In Inuit culture death is viewed as rebirth and the transformation of the soul, which is the exact experience of Sedna in her story of transformation. She becomes the Sea Goddess, and is no longer controlled in life, and rather is turned into the controller of animals and man. Sedna is no longer a woman who must rely on people for comfort, rather people rely on her to obtain life and sustenance. The specific scene of Senda’s fingers being cut off by her trusting father is a pivotal scene that causes this drastic change from having to rely on people to being relied on. This transformation stems from her literal and figurative detachment from her past traumas, which gives Sedna the strength to experience transcendence. To experience her soul´s transformation, she needed to dissociate from her past constraints. Although Sedna’s disconnection was not voluntary it was important in her journey of detaching from her former constraints in the form of comfort, family, societal ideals, etc., and was necessary for her to experience a full transformation of the soul and body. 

Close Reading Assignment

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Emmanuel Alvarez

Jessica Pressman

ECL 305:Literature in the Environment

3 March 2024

The Little Mermaid

The tale, “The Little Mermaid,” by Hans Christian Andersen delves deeply into topics that are fundamental to the human experience, going beyond the simple fiction of its setting. In contrast to conventional mythological representations, Hans Christian Andersen’s portrayal of the Little Mermaid presents a figure whose connections, experiences, and feelings provide important insights into the nature of mankind itself. This essay will argue that Hans Christian Andersen’s depiction of mermaids offers a new perspective on the notion that they resemble humans more than we previously thought. Through an examination of the Little Mermaid’s curiosity, psychological depth, and familial connections, it is clear that Hans Christian Andersen has not only written a tale about a mermaid but has also considered what it means to be human, thus bridging the gap between entities from two seemingly separate worlds.

Curiosity is one of the most remarkable human qualities that Hans Christian Andersen gives the Little Mermaid. The Little Mermaid is shown as being enthralled with the land above the water from the very beginning of the story. She is not just interested in learning about the realm of people; she truly wants to know and comprehend things, and it is conveyed in the word choice used to display her curiosity, “What struck her as most beautiful was that the flowers of the earth should shed perfumes, which they do not below the sea; that the forests were green, and that the fishes amongst the trees should sing so loud and so exquisitely that it must be a treat to hear them” (Anderson, page 109). The need to explore, comprehend the unknown, and look for answers to the mysteries that surround us is a quality that is essential to the human spirit. Humans frequently pursue knowledge and make sacrifices in its name, and Hans Christian Andersen’s portrayal of the Little Mermaid’s desire to explore the human world and her readiness to pay for this knowledge is a reflection of this. Not yet being able to go above the water till she is fifteen, the Little Mermaid throughout the whole story, “Longed after all these things, just because she could not approach them” (Anderson, page 111). But, the Little Mermaid’s curiosity is not a passive trait, rather it is what pushes The Little Mermaid to venture into the dangerous unknown and leave the comforts of the known. This fascination reveals a basic quality of the human spirit: the will to discover new things, develop personally, and fully understand our role in the universe. For the Little Mermaid, whose interest with the human world is entwined with a deeper desire for an immortal soul and the eternal love she believes it would bring her, Hans Christian Andersen raises this curiosity to a matter of existential consequence. This examination of curiosity as a blessing and a curse strikes a deep connection with the human condition, bringing to light our own battles with the drive that lead to both success and failure in humans’ everyday lives. This new interpretation from Hans Christian Anderson casts mermaids with traits of one of the deepest human desires, the need for knowledge, challenging the idea that they are otherworldly beings separated from human experience.

The curiosity that defines Andersen’s Little Mermaid is not the only aspect of her personality. Rather, she is a complex individual with a rich psychological interior that is characterized by a variety of experiences and feelings. Her journey is one of love, sacrifice, pain, and ultimately, transcendence; and the Little Mermaid’s struggle is foreshadowed in the begging when Anderson conveys “When the sisters rose up arm-in-arm through the water, the youngest would stand alone, looking after them, and felt ready to cry; only mermaids have no tears, and therefore suffer all the more” (Anderson, page 113). Readers can relate to and feel the desire, misery, and unselfish love of the Little Mermaid because of the psychological depth with which Hans Christian Andersen imbues the character. The exploration of her unfulfilled romantic feelings for the prince and her choice to give up her voice in order to stay in his company highlights the complexity of human emotions and relationships, thus further blurring the line between mermaids and humans. Perhaps the most moving aspect of Hans Christian Andersen’s examination of the Little Mermaid’s innermost thoughts is her ability to love and sacrifice, her love for the prince is a complicated, all-consuming passion that drives her to make unfathomable sacrifices rather than a straightforward, fantasy like infatuation. She lost her voice, a symbol of identity and power, but she gained a human body instead, demonstrating the depth of her emotions and the extent of her willingness to sacrifice for love. This story thread examines the transformational power of love and how it can both inspire enormous sacrifice and cause immense misery. Andersen does not shy away from the darker aspects of the Little Mermaid’s journey, presenting her love and sacrifice as a path to understanding and growth, even in the face of unreciprocated feelings and ultimate loss. After all in order for her to become human and be able to present herself to the prince she had to understand all the suffering she would have to endure in exchange for human legs, “I will prepare you a potion; and you must swim ashore with it to-morrow before sunrise, and then sit down and drink it. Your tail will then disappear, and shrivel up into what human beings call neat legs. But mind, it will hurt you as much as if a sharp sword were thrust through you … You will never be able to dive down into the water to your sisters or return to your father’s palace” (Anderson, page 121-122). The Little Mermaid is displayed as an individual with the ability to feel deeply felt emotions, which is in line with human nature, and less of a menacing and non-human creature like a siren by diving into her personal life and sharing the hardships she faces. 

The Little Mermaid’s bond with her family is another aspect of Hans Christian Andersen’s story that demonstrates the humanity of the Little Mermaid. The Little Mermaid’s decisions are greatly impacted by her love and concern for her family throughout the entire story. Her interactions with her grandma, father, and sisters show a network of relationships based on understanding, compassion, and caring for one another. Her relationship with her family is just like humans have as well and we can as well relate to some of these interactions, “There was nothing she delighted in so much as to hear about the upper world. She was always asking her grandmother to tell her all she knew about ships, towns, people, and animals … At length she could resist no longer, and opened her heart to one of her sisters, from whom all the others immediately learned her secret” (Anderson, page 109 and 116). With something so simple as sharing that connection with her grandmother, similar to our grandparents telling us stories as kids, or sharing secrets with her sisters like little girls often do; Anderson further emphasizes the similarities between the Little Mermaid and humans. The Little Mermaid’s plot revolves around her familial ties, which impact her decisions and determine her fate. Because familial affection and obligation are universal and profoundly rooted in human communities, Andersen’s emphasis on family highlights this fact. Through depicting the Little Mermaid’s family’s significance, Hans Christian Andersen implies that humankind’s potential for love, devotion, and sacrifice within the framework of a family is not exclusive to humans, but rather is a universal quality that can bridge the gap between the idea of mermaids and humans being of completely different worlds. 

In “The Little Mermaid,” Hans Christian Andersen creates a story that breaks down barriers between the supernatural and the natural, the human and the non-human. Andersen sheds additional light on the idea that mermaids and all other beings are more like humans than we may have previously thought by depicting the Little Mermaid’s curiosity, psychological depth, and familial ties. Despite taking place in a magical underwater kingdom, this story explores the core themes of human nature, reflecting our desires, our struggles, and our capacity for love.  Hans Christian Andersen’s Little Mermaid is not just a creature of the sea; she is a mirror reflecting the complexities, the beauty, and the pain of being human. 

Works Cited

Anderson, Hans Christian. “The Little Mermaid.” The Penguin Book of Mermaids, edited by 

Christina Bacchilega and Marie Alohalani Brown, Penguin Books, 2019, pp 109-122.