Chapter 47. INTERPRETIVE THESIS Three Student Samples of An Interpretive Thesis (To return to this chapter's information and methods page, click in the right column on the chapter's name.) --- Sample 1: SHORT ROUGH DRAFT USING PSYCHOLOGICAL ATTACHMENT THEORY ON A FAIRY TALE Sample 2: LONGER, DEVELOPED PAPER USING INTERPRETATION OF SYMBOLS IN LORD OF THE FLIES Sample 3: SHORT INTERPRETATION USING ECONOMIC SUPPLY-AND-DEMAND THEORY ON LYSISTRATA     Introduction The samples below are papers by students that demonstrate excellence in writing to literature.  The authors of all sample student papers in this Web site have given their permission in writing to have their work included in this textbook. All samples remain copyrighted by their original authors.  Other than showing it on this website (or a web page printout from this website), none should be used without the explicit permission of the author. Please note that sample papers in this Web site's section do not necessarily meet all requirements an individual literature, arts, or humanities instructor may have: ask your instructor.  In addition, samples are single spaced to save room; however, a proper manuscript given to an instructor normally should be double spaced with margins set at or close to 1" unless another format has been requested. --- SAMPLE ONE -- SHORT ROUGH DRAFT USING PSYCHOLOGICAL ATTACHMENT THEORY ON A FAIRY TALE Eng 2235—Richard Jewell Due Week 6 Copyright by Anonymous   Interpretive Thesis on "The Happy Prince" Introduction In "The Happy Prince" in The Classic Fairy Tales, Norton Critical Edition, edited by Maria Tatar, we follow the evolution of a relationship between a swallow and a statue as they grow closer together. Psychology's "Attachment Theory," used to describe the dynamics of relationships, can be applied to interpret the statue and swallow’s patterns of attraction in "The Happy Prince." Their Relationship Dynamics Based upon the Attachment Theory, the relationship between the statue and the swallow can be categorized as a child-caregiver relationship, with the swallow being the caregiver and the statue being the child. Note that it is the dynamics of the relationship between the two that is similar to the child-caregiver relationship and has nothing to do with actual age. According to the Attachment Theory, as the child begins to predict patterns in his/her caretaker, the relationship will start to develop individual differences that make their relationship different from another relationship. This is seen in "The Happy Prince" as the relationship develops from a hesitant to a more secure relationship as the two characters begin to bond.  The Swallow’s Attachment Pattern Using the Attachment Theory, the swallow’s attachment pattern, as the caregiver, would be categorized as a secure attachment pattern. The swallow responds to the statue in an appropriate and timely manner. This is seen many times in the text as the swallow promptly carries out the tasks that the statue asks him to. For example, the swallow picks the ruby out from the statue’s sword and delivers it a beautiful girl, then returns right away to spend the rest of the night with the statue. Even when the swallow is not sure if he should do what the statue is asking him to, he always carries through with the task.  The Statue’s Attachment Pattern In the beginning of the story, the statue’s attachment pattern is anxious but over the course of the story the pattern becomes more secure. The statue shows the signs of an anxious pattern by being overly clingy to the swallow as well as seeking constant reassurance from him. In "The Happy Prince," the statue continuously begs the swallow to stay the night and this is repeated day after day, which shows how the statue feels like the swallow might leave him at any time. As the statue begins to trust the swallow more, his attachment pattern changes from anxious to secure. In the end of the story, the statue still protests the swallow’s absence but accepts it and is comforted in his return. However, once the swallow dies, the statue can’t bear to live without him and dies as well, reverting back into the anxious pattern.  Conclusion The story of "The Happy Prince" features the relationship between a swallow and a statue as they live their lives together. When analyzing the story with the Attachment Theory, both the swallow and the statue’s attachment patterns become clear as well as their relationship dynamics. --- SAMPLE TWO -- LONGER, DEVELOPED PAPER USING INTERPRETATION OF SYMBOLS IN LORD OF THE FLIES EngL 1011H—Mr. Jewell Paper #2, D-III Due Week 6 Copyright by Jonathan Moore        Lord of the Flies: the Biblical Metaphor by Jonathan Moore         In William Golding’s Lord of the Flies, many religious undertones are present. The most predominant Judeo-Christian and Muslim biblical reference is in the setting, which the author describes as "the imagined but never fully realized place leaping into real life" (12). The isolated, tropical island setting, where a group of choirboys is stranded after their plane crashes, is most certainly a metaphor of the Garden of Eden. This interpretive literary thesis shows that the setting’s physical resemblance, absence of authority, relationship between characters and setting, and degradation of characters are all evidence of this metaphor to the Garden of Eden. Summary         In the story, a group of young choirboys is thrust upon an island after their plane crashes. Without adult supervision, they take it upon themselves to form a social structure of their own. Ralph, the protagonist, is elected chief of the boys and serves as their leader. He constantly strives for productivity and peace among the boys. He is hopeful and optimistic that they will eventually be rescued. However, he is tried and challenged by Jack, the antagonist. Jack strays from the common good of the boys in pursuit of self-serving motives of his own. As the story evolves, the boy’s regress, and chaos transpires. Physical Resemblance         The strongest resemblances between the island setting and the Garden of Eden are the physical features. Both are lush, green and natural environments filled with pristine vegetation. Golding describes the lush landscape of the boys’ island as "a great platform of pink granite thrust up uncompromisingly through forest and terrace and sand and lagoon to make a raised jetty four feet high. The top of this was covered with a thin layer of soil and coarse grass and shaded with young palm trees" (9). This is almost identical with the Good News Bible’s description of how God planted "all kinds of beautiful trees [that] grow there and produce good fruit" (Genesis 2.9).         The abundant provisions needed to sustain life were also present in both places. The abundance was evident in the novel when Golding describes a boy walking through the fruitful landscape. "We walked with an accustomed tread through the acres of fruit trees, where the least energetic could find an easy if unsatisfying meal" (50). The Bible describes the same circumstances when God says to Adam and Eve, "I have proclaimed all kinds of grain and all kinds of fruit for you to eat; but for all the wild animals and for all the birds I have provided grass and leafy plants for food" (Genesis 1.29-30).         Like the Garden of Eden, the tropical island is portrayed as a perfect, Utopian setting upon which nothing could be improved. The mile-long white sand beach and the sun-warmed coral swimming bay of the boys’ island is a perfect match with the lush landscape and refreshing streams of the Garden of Eden. Absence of Authority         The temporary absence of authority is the second proof of this metaphor. Just as Adam and Eve are placed in the garden, the boys are thrust into their paradise, and just as God appears to be absent to Adam and Eve in the garden, no superior figures preside over the boys. Both parties know that they have their superiors, but they think they are temporarily free of them. This is evident in an early discussion between Piggy and Ralph: "'Aren’t there any grownups at all?' Piggy asks.  'I don’t think so,' [Ralph] said this solemnly; but then the delight of a realized ambition overcame him. In the middle of the scar he stood on his head and grinned at the reversed fat boy. 'No grownups'" (6)!  Ralph makes this even more evident later when he says, "This is our island. It’s a good island. Until the grownups come to fetch us we’ll have fun" (30).         In the Bible Adam says to God, "I heard you in the garden; I was afraid and hid from you, because I was naked" (Genesis 3.10). This shows that prior to the meeting, Adam had been acting under the disposition that God was not present in the garden. As it does with Adam and Eve, this absence of authority influences the boys’ behavior. Therefore, it is another proof that the boys’ island is a metaphor for the Garden of Eden. Relationship between Characters and Setting         The way the characters respond to their setting is more proof of the metaphor of the island to the Garden of Eden. In both settings, the characters feel free to be naked. The Bible says, "The man and the woman were both naked, but they were not embarrassed" (Genesis 2.25). Golding parallels the freedom to be naked when he describes one of Ralph’s first actions: "He became conscious of the weight of clothes, kicked his shoes off fiercely and ripped off each stocking with its elastic garter in a single movement. . . . He undid the snake-clasp of his belt, lugged off his shorts and pants, and stood there naked, looking at the dazzling beach and water" (8). Ralph is not embarrassed, just as Adam and Eve are not.         The naming of the surrounding creatures by the characters also is parallel. The Bible describes how God "formed all the animals and all the birds. Then he brought them to the man to see what he would name them, and that is how they all got their names" (Genesis 2.19). The same happens on the boys’ island. Golding describes how, "[the boys] paused and examined the bushes round them curiously. Simon spoke first. ‘Like candles. Candle bushes. Candle buds.’ The bushes were . . . over them. ‘Candle buds’" (26). This is just one instance of the boys placing their own names upon creatures of the island. Degradation of Characters         The final proof that the setting of Lord of the Flies represents the Garden of Eden is in the degradation of the characters. Both characters are placed into their settings with the knowledge of good and evil, and both disobey this knowledge. Adam and Eve do it by eating the forbidden fruit; the boys do it by committing murder.         Both instances of disobedience are linked to a snake. Adam and Eve are tempted by the serpent to eat fruit of the Tree of Life. Likewise in Lord of the Flies, Jack tells the panicked group about a snake-like creature on the island. "If there was a snake we’d hunt it and kill it. We’re going to hunt pigs to get meat for everybody," he says, "And we’ll look for the snake too" (32). The boys decide the snake must be killed.         The presence of the snake does influence their actions. In fact, both the boys and Adam and Eve blame their acts of disobedience on the presence of the snakes. When God asks why Eve ate the fruit of the tree that was forbidden, she replies, "The snake tricked me into eating it" (Genesis 3.13). Likewise, the boys pass off responsibility for Simon’s murder to the snake-like beast, for as they strike, beat, and tear him they chant, "Kill the beast! Cut his throat! Spill his blood! Do him in" (141).         The same root problems are behind the two incidents. Both events are the result of the characters’ own flaws. Perhaps they both have a predetermined disposition to commit their actions, but they are still responsible. It is Adam and Eve’s tendency to fall prey to temptation that makes them sin; it is the boys’ desire to kill that lets them commit murder.         The metaphor is present even after their corruption when both sets of characters are removed from their settings. God comes for Adam and Eve; a grownup retrieves the boys. When God comes for Adam and Eve, they know they have learned a lesson. God says, "Now the man has become like one of us and has knowledge of what is good and bad" (Genesis 3.22). Apparently, the boys learn the same lesson. On the beach in front of the grownup, they all begin to sob and shake. Golding says, "In the middle of them, with filthy body, matted hair, and unwiped nose, Ralph wept for the end of innocence, the darkness of man’s heart" (186). Now he, too, knows the difference between good and evil. Conclusion         In William Golding’s Lord of the Flies, many religious undertones are present. The most predominant Biblical reference is in the setting. The isolated, tropical island setting where the choir of boys is stranded after their plane crashes is most certainly a metaphor of the Garden of Eden. Throughout the novel, the setting’s physical resemblance, absence of authority, relationship between characters and setting, and degradation of characters are all evidence of this metaphor. Golding says that "flower and fruit grew together on the same tree and everywhere was the scent of ripeness" (50). It is not only a description of the island setting but of the Garden of Eden as well. --- SAMPLE THREE -- SHORT INTERPRETATION USING ECONOMIC SUPPLY-AND-DEMAND THEORY ON LYSISTRATA (Source: Lysistrata Online) Introduction Lysistrata, a comedy by Aristophanes, centers on women refusing sex to their husbands as a means to end the Greek war. Through this extraordinary act, the play Lysistrata follows the Economic Law of Supply and Demand. This interpretive literary theory is evident in the men’s demand for sex, the women’s refusal of sex, and the relationships emerging between the men and women of Greece. Reason One: Men’s Demand In economics, the forces that make a market work are supply and demand. Supply and demand determine the quantity of each good that is produced. In general, it is the buyers that determine demand. The men of Lysistrata can be seen as the “buyers” because they are in demand of a “good” that the women can give them. This is evident when Cinesias desires to lie in bed with his wife, Myrrhine, but she refuses. Cinesias exclaims, “. . . Here I stand, stiff with desire!” Additionally, Cinesias proclaims“. . . What I want is to make love!” Cinesias, along with the other men of Greece, are demanding sex, which in this case is the “good” they desire. Reason Two: Women Withholding Supply Since the buyers (men) determine demand (sex), the sellers determine supply. In Lysistrata, the “sellers” are the women because they can supply what the men demand. Typically, supply and demand have an inverse relationship, meaning that as supply goes down, demand goes up. The women withhold their “supply” from the men. This is shown when Lysistrata says, “We (women) must refrain from the male altogether. . . “ This in turn, makes the men’s demand for sex go up. This is shown when all the men come together and Herald states, “The jades have sworn we shall not so much as touch them till we have all agreed to conclude peace.” Magistrate responds to this saying, “Ah! I see now, it's a general conspiracy embracing all Greece. Go back to Sparta and bid them send envoys plenipotentiary to treat for peace.” The men’s demand of sex has increased as the women withhold sex until a treaty for peace is agreed upon. And since the men’s demand for sex has increased by so much, they agree to meet to make peace. Reason three: Relationship between Men and Women With supply and demand, individuals, families, and societies all face trade-offs. In Lysistrata, the men and women also face trade-offs. In return for the men ending the war in Greece, they get to have sex with their wives. Also, in an economic supply and demand market, economies produce socially desirable outcomes because individuals are motivated by their own selfish interests. This characteristic is also evident in Lysistrata. As the men are agreeing to make peace, Magistrate exclaims, “Why, we are all erected; there's no one who is not mad to be mating. What we all want is to be in bed with our wives; how should our allies fail to second our project?” This shows that the men of Greece are motivated to make peace because of their own desires. It also goes to show that a socially desirable outcome will be achieved when all the men selfishly desire the same thing. When Lysistrata declares to the men, “you will exchange oaths and pledges; then each man will go home with his wife,” it is clear that between the trade-offs and individual desires, an outcome was achieved that made everyone happy. Conclusion Despite Lysistrata being focused on ending the war in Greece, the humorous tale has similarities with the Economic Law of Supply and Demand. As the men demand sex, the women withhold their “supply” of sex. This in turn leads to a treaty of peace being formed out of the individual interests and desires of the men and women.  --- Return to top.