ENGLISH TEXT SUMMARY NOTES

PAIRED COMPARISONS

Invictus / Ransom

Text guide by: Melanie Hayek, Scott Langan & Odette Colbert

Invictus / Ransom 2

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Contents TEXT 1 - Invictus

DIRECTOR NOTES .............................................................................................................................................. 6

HISTORICAL CONTEXT ..................................................................................................................................... 7

APARTHEID ...................................................................................................................................................... 7

NELSON MANDELA ........................................................................................................................................ 7

FRANCOIS PIENAAR AND THE SPRINGBOKS .......................................................................................... 9

GENRE ................................................................................................................................................................. 11

STRUCTURE ....................................................................................................................................................... 11

Chronology ........................................................................................................................................................ 11

News Flashes ..................................................................................................................................................... 11

STYLE .................................................................................................................................................................. 12

Point of view ..................................................................................................................................................... 12

Values ................................................................................................................................................................ 12

Symbols and Motifs .............................................................................................................................................. 13

The Springboks ................................................................................................................................................. 13

„Colour Blind‟ and „9000 Days of Destiny‟ ...................................................................................................... 13

„NkosiSikelei‟ .................................................................................................................................................... 13

„Invictus‟ ........................................................................................................................................................... 13

The Springbok Jersey ........................................................................................................................................ 13

SETTING AND PLOT SUMMARY ................................................................................................................... 14

CHARACTER PROFILES ................................................................................................................................... 15

Major Characters ............................................................................................................................................... 15

Minor Characters ............................................................................................................................................... 16

Themes .................................................................................................................................................................. 18

National Unity ................................................................................................................................................... 18

Racism ............................................................................................................................................................... 19

Inspiration .......................................................................................................................................................... 19

Forgiveness ........................................................................................................................................................ 21

Important Quotations ............................................................................................................................................ 22

TEXT 2 - Ransom

AUTHOR NOTES ................................................................................................................................................ 25

HISTORICAL CONTEXT ................................................................................................................................... 26

GENRE ................................................................................................................................................................. 28

Audience ............................................................................................................................................................ 28

STRUCTURE ....................................................................................................................................................... 29

STYLE .................................................................................................................................................................. 30

Symbols ............................................................................................................................................................. 32

SETTINGS ........................................................................................................................................................... 34

PLOT SUMMARY ............................................................................................................................................... 35

CHARACTER PROFILES ................................................................................................................................... 40

Protagonists and Antagonists ............................................................................................................................ 40

Construction of Character ................................................................................................................................. 40

Major Characters ............................................................................................................................................... 41

Minor Characters ............................................................................................................................................... 44

THEMES AND ISSUES ...................................................................................................................................... 49

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Honour through Battle: The Hero ..................................................................................................................... 49

Paternal (and Maternal) Love ............................................................................................................................ 50

Grief and Grieving ............................................................................................................................................ 50

Talk: Communication through Action .............................................................................................................. 51

Fate and Chance: Visions and Visitations ........................................................................................................ 52

IMPORTANT QUOTATIONS ............................................................................................................................ 54

COMPARATIVE TEXT ANALYSIS: IDEAS, ISSUES and THEMES ............................................................ 60

Learning intentions ............................................................................................................................................ 60

The difference between Unit 2 and Unit 4: ....................................................................................................... 60

Student must: ..................................................................................................................................................... 60

Student Assessed Coursework .......................................................................................................................... 61

Common Themes: Invictus and Ransom .............................................................................................................. 61

Changing Identity .............................................................................................................................................. 61

Leadership ......................................................................................................................................................... 64

Revenge and Forgiveness .................................................................................................................................. 66

Comparing Genre ................................................................................................................................................. 68

Approaches to the Essay ....................................................................................................................................... 69

How to go about it? ........................................................................................................................................... 69

Where do I start? ............................................................................................................................................... 70

What will I be marked on? ................................................................................................................................ 70

Ways to compare: .............................................................................................................................................. 70

Tip: .................................................................................................................................................................... 70

How do I construct my analysis essay? ............................................................................................................. 71

Essay Questions .................................................................................................................................................... 71

FINAL EXAMINATION ADVICE ..................................................................................................................... 74

REFERENCES ..................................................................................................................................................... 76

References Used ................................................................................................................................................ 76

References for Students ..................................................................................................................................... 76

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TEXT 1

Invictus

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DIRECTOR NOTES

Clint Eastwood, a celebrated director with more than thirty films in his repertoire, first made his name as a film

and TV actor and is best known for his roles in „spaghetti westerns‟ (low budget westerns made in Europe with

Italian directors); on his return to America he starred as the off-beat and moody policeman Dirty Harry which

made him a household name. Other famous roles include Philo Beddoe with his orang-utan sidekick in Every

Which Way But Loose and its sequel Any Which Way You Can. He was born in San Francisco in 1930 and

pursued acting from the time he left school at 19.

Eastwood‟s first foray into directing began with Bird in 1988 about the life of acclaimed bop saxophonist

Charlie Parker. He went on to gain two Oscars for directing Unforgiven in 1992 and Million Dollar Baby in

2004. Other well-known films of Eastwood‟s are: The Bridges of Madison County in 1995 and Mystic River in

2003, Letter from Iwo Jima in 2006, Gran Torino in 2008, Invictus in 2009 and Jersey Boys in 2015.

Eastwood was drawn to the Nelson Mandela‟s story because of his admiration for Mandela as a person and for

the creative way he sought to unify a country that could well have been on the verge of civil war by using rugby

as an avenue to bring people together. Eastwood was also inspired by John Carlin‟s 2008 book, Playing the

Enemy: Nelson Mandela and the Game That Made the Nation.. Both Eastwood and Carlin focus on how

Mandela used what had been the divisive sport of rugby and the national Springbok team to unit post-apartheid

South Africa.

Invictus can be considered historical fiction. It is based on events that occurred after Nelson Mandela was

released from prison in 1990. He was then elected President of South Africa in 1994, during the first election

where both blacks and whites were allowed to vote. The film format compresses this four year time period in

order to focus on the impact of Mandela‟s decision to utilise the game of rugby as a tool to bring about his

vision of a „Rainbow Nation‟. Director Clint Eastwood has also taken some liberties with the facts. For

example, in the film, Nelson Mandela gives Francois Pienaar a copy of the poem „Invictus‟, whilst in reality, he

gave Pienaar an extract from Theodore Roosevelt‟s, „The Man in the Arena‟ speech from 1910. While some

documentary footage and re-enactments of news reports are shown, the instability, high crime rate and other

social problems of the time period are somewhat glossed over. There is no doubt however that Mandela‟s

renunciation of violence and his personal determination that anger over the crimes of the past, including his

27 years as a political prisoner, should not motivate future laws and actions changed the course o f history in

South Africa and this is very clearly illustrated in the film.

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HISTORICAL CONTEXT

It is important that students understand the historical context of this film in order to grasp fully the importance

of the events depicted. Therefore, we will consider some of these concepts below.

APARTHEID

Apartheid was a policy in South Africa which began after the 1948 general election, and which restricted the

rights of black people. Laws were put in place to ensure that white people‟s rights and luxuries were protected

and black people were unable to interfere in this. All members of the population were required to be classified

according to race, and it was this classification that determined their rights. Public areas, services, vehicles,

schools, shops, and all facilities were segregated by race, and non-white members of society were not

provided with equal facilities and opportunities. In 1953, a law was passed which allowed for a separate

educational system to be developed for blacks. Instead of receiving a standard education, black people were to

be trained to prepare them for menial jobs. It was claimed that black people were not allowed to take jobs of

higher status and, therefore, did not need the same level of education as white people. Black people were unable

to own land and were often displaced without notice, because the area where their homes were situated had

been re-allocated as a white area.

In 1952, a peaceful resistance to apartheid was initiated by the African National Congress (the ANC). They

began breaking laws that they believed were wrong. For example, black people would sit on benches marked

for use by white people only. Another example of peaceful protesting was when black people stayed out in the

city after a curfew that had been set for them. Not surprisingly, the authorities did not like these rebellions and

banned the ANC. The ban was not lifted until 1990 by President Frederick Willem de Klerk, who assisted

Nelson Mandela in ending apartheid.

Apartheid caused much heartache and many deaths. Many countries were horrified to see the terrible treatment

that the black residents of South Africa were subjected to, so much so that South Africa was expelled from the

United Nations. They were not reinstated as a part of the UN until apartheid officially ended in 1994.

NELSON MANDELA

Nelson Mandela was born on July 18, 1918, and died on December 5, 2013. He was the first black president of

South Africa and helped to end apartheid. He was awarded the Nobel Peace Prize for his efforts. Mandela

became involved in the anti-apartheid movement and joined the ANC in 1942. He led many peaceful, non-

violent protests against the South African government‟s racist policies and joined forces with Oliver Tambo to

found a law firm, providing cheap, or even free, representation to blacks. In 1956, Mandela and many others

were arrested and charged with treason for their activities in the ANC. These charges were unsuccessful and

they were all acquitted. The ANC began to lose momentum and support due to another group, the Africanists,

who believed that the non-violent protests were ineffective. Eventually, Mandela began to lose faith in the

pacifist method of protest and began to consider the merits of an armed approach. As a result he co-founded

MK, an armed branch of the ANC, which used war tactics and sabotage in an attempt to end apartheid. In 1952

the government passed a law, which saw all African males over 16 being made to carry a „reference book‟

outlining all their personal details and employment history. The ANC led a series of protests and marches

against this system. The government declared a state of emergency in 1960 and the ANC was declared illegal.

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In 1961 Mandela led a workers‟ strike and was unsuccessfully persecuted for treason. In 1961, disheartened by

the lack of social change, he formed the militant group Umkhonto we Sizwe and led a campaign against the

white rule. He was subsequently arrested in 1962 and sentenced to five years imprisonment. One year later,

Mandela and some other ANC leaders were brought to trial again for sabotage and other offences and sentenced

to life in prison. In his defence at his trial Mandela gave his famous „I Am Prepared to Die Speech‟ in which he

stated:

During my lifetime I have dedicated my life to

this struggle of the African people. I have fought

against white domination, and I have fought

against black domination. I have cherished the

ideal of a democratic and free society in which all

persons will live together in harmony and with

equal opportunities. It is an ideal for which I hope

to live for and to see realised. But, My Lord, if it

needs be, it is an ideal for which I am prepared to

die.

— Nelson Mandela, at the conclusion of his ‘I Am

Prepared To Die Speech 20/04/64‘

He remained in prison on Robben Island for 18 of his 27 years in prison. The care he received there was

rudimentary, due to his race. Despite these handicaps, Mandela managed to earn a law degree by studying via

distance education at the University of London.

Mandela stuck to his principles even when offered release in return for renunciation of armed struggles. The

government experienced increasing pressure to release him, but this did not occur until Frederik Willem de

Klerk became president of South Africa and announced Mandela‟s release on February 11, 1990. Mandela was

elected president of the ANC in 1991, and worked at negotiating for black people to be allowed to vote.

Balancing these negotiations and addressing the ensuing political pressure created by demonstrations and armed

resistance supported the ANC‟s efforts to end racist laws in South Africa. In recognition for their work towards

abolishing apartheid, Mandela and President de Klerk were jointly awarded the Nobel Peace Prize. Mandela

was then elected the country‟s first black president, in South Africa‟s first multiracial elections in 1994.

Mandela used sports to support reconciliation between the blacks and whites of South Africa. This is the main

focus of the film, „Invictus. He worked to encourage black Africans to embrace the hated white Springbok team

which improved enough to win the Rugby World Cup.

Mandela retired from politics in 1999, but continued to work to improve racial and social problems in South

Africa. He also took some time to publish a number of books about his life. These include: No Easy Walk to

Freedom, Nelson Mandela: The Struggle is my Life, and Nelson Mandela‘s Favourite African Folktales.

Mandela died on December 5, 2013, at the age of 95 in his home in Johannesburg. He is acknowledged

worldwide as a symbol for peace due to his role in ending apartheid.

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FRANCOIS PIENAAR AND THE SPRINGBOKS

Francois Pienaar was the captain of the Springboks, South Africa‟s white rugby team. Most black people hated

the Springboks because they were a symbol of apartheid. Nelson Mandela understood the importance of

supporting the Springboks despite black hatred and strong desire to be rid of them. The newspaper article

below, published on The Guardian website in 2013, gives more insight into Francois Pienaar:

Francois Pienaar: 'When the whistle blew, South Africa changed forever' Francois Pienaar, captain of the 1995 Rugby World Cup winners, recalls how Nelson Mandela used sport to heal a nation.

Pienaar receives the 1995 Rugby World Cup from Mandela: 'During those six weeks what happened was incredible.' Photograph: Philip Littleton/AFP/Getty Images

David Smith in Johannesburg

Sunday 8 December 2013 17.00 AEDT Last modified on Thursday 22 May 2014 20.00 AEST

Among certain white communities in apartheid South Africa, it was taken for granted that Nelson Mandela was

a terrorist who must remain behind bars. That was drummed into the young François Pienaar, who would one

day welcome Mandela to his wedding and name him as godfather to his two sons.

The men came together when Pienaar captained South Africa to victory at the 1995 Rugby World Cup. When

the blond Afrikaner shook hands with the black freedom fighter turned president, they instantly forged one of

the country's defining images of racial unity.

"François here is the symbol of reconciliation," said Ahmed Kathrada, a fellow prisoner of Mandela on Robben

Island, when he shared a platform with Pienaar at the One Young World summit in Johannesburg last October.

In an interview with the Observer, Pienaar recalled the hardline white attitudes that shaped his childhood. "In

my little world, I grew up in an Afrikaner community, went to an Afrikaner school, spoke only Afrikaans.

Children were seen and not heard and you believed the publicity of the day," he said. "Obviously the press told

Invictus / Ransom 10

the stories that the ruling party of the day in particular wanted to be told.

"I remember when I heard Nelson Mandela's name mentioned at barbecues or dinner parties, the words

'terrorist' or 'bad man' was an umbilical cord almost to his name. As a young kid I wish I'd had questions about

it, but I never did. I just thought that guy's maybe not a good guy, because sadly we didn't engage with our

parents.

"You didn't ask questions like why black kids don't go to school with you, why is it just all white? That's how

you grew up, which is very wrong and very sad. I wish I'd had the courage of conviction to ask questions, but I

didn't. It's about exposure."

It was only when Pienaar went to university on a sports scholarship that he found himself exposed to different

cultures, speaking English and having debates about politics and the country's future. "We'd just gone through

1985, a very dark year in South Africa's history, so it was topical at university. There were talks and rumours

about Mr Mandela being released and white South Africans in particular feared the worst.

"Many were very conservative South Africans who were stocking up on food, thinking it's going to be

Armageddon, civil warfare. I can understand that, not that I agreed with it. They feared that if this man who had

been put in jail for 27 years, and was not handled particularly well as a prisoner, comes out, he's going to be

slightly peeved.

"What he says the nation will do. So if Mr Mandela came out of prison and said, 'Listen, this is wrong, we're

taking over the country now by force,' it would have been civil warfare. Then he came out and he didn't. The

conservative people were, 'We're just waiting for this to happen'. It never happened."

Mandela's release and the fall of apartheid meant an end to international sanctions and sporting boycotts. A year

after the first multiracial democratic election in 1994, the country hosted the Rugby World Cup, traditionally an

Afrikaner sport that saw black people cheering for the opposition. But Mandela understood the importance of

surprise and the grand gesture. He resisted pressure to scrap the springbok, the team's despised emblem, and

rallied the nation around the players.

"During those six weeks what happened in this country was incredible," Pienaar said. "I'm still gobsmacked

when I think back to the profound change that happened. We started obviously with a great leader with a

fantastic vision who realised that sport is important for the Afrikaner white community and to earn their respect

and trust.

"But on the other side I have such a respect for what he had to go through in the African National Congress

because the springbok was a symbol of apartheid. The majority of South Africans never supported the

Springboks, so to ask them to support them for the first time was a massive ask.

"Through the course of those six weeks, because he asked them and we came to the party in terms of playing

good rugby and building a nice momentum towards the final, things happened in South Africa that were just

magical."

For the final there were 63,000 people in the stadium and 62,000 were white. With a stroke of PR genius,

Mandela appeared in the green-and-gold Springbok jersey and cap: "It's well documented that Mr Mandela

walked out into Ellis Park in front of a predominantly white crowd, very much an Afrikaner crowd, wearing a

springbok on his heart and how they shouted, 'Nelson, Nelson, Nelson!' because what he'd promised he

Invictus / Ransom 11

delivered. And when the final whistle blew this country changed forever. It's incomprehensible."

The events became the subject of a book and film, Invictus, starring Matt Damon and Morgan Freeman and

directed by Clint Eastwood. Pienaar and Mandela became close over the years until ill health forced the latter to

withdraw from public life. Last week came the sad but inevitable news of his demise.

"It's a time for celebration, celebrating what he did and what he stood for, and also time for reflection and

mourning obviously," Pienaar said.

"But hopefully it will be tears of joy that South Africa has been so blessed to have a man who put us on a very

important road, and just hope the leaders following him will not only use his name for effect but because they

truly believe in what he stood for, and build on that."

GENRE

Reading and Comparing requires you to analyse two different text types by discussing how the texts are

constructed and how differences in the way texts are constructed impacts on theme. Invictus is a film which

requires you to listen to dialogue and note the impact of verbal interactions on characters, situations and events

You should also take into account how graphics impact upon your understanding and overall impression in

comparison to the written word in the second text, Ransom.

STRUCTURE The structure of the film refers to the way it is put together. This movie could be loosely defined as historical

fiction. Although based on a true story and using many elements of real events, there are elements that have

been changed, added or subtracted in order to fill in gaps or to add interest or inspiration to the story.

Chronology

Invictus is mostly chronological but there are significant gaps in time portrayed. These gaps are often explained

using media headlines to give the information needed to fill these gaps.

News Flashes

The director has used news flashes from the media to give the audience information that would not easily be

revealed through the narrative alone. For example, newspaper headlines and snippets of TV news programs are

used to give the audience the background information they need prior to watching the film, including news of

Mandela‟s release and subsequent election as president. News flashes are also used to show the time that passes

between his release and the election.

Invictus / Ransom 12

While the film focuses on Mandela‟s activities and involvement with the Springboks, the news flashes

acknowledge that Mandela is also conducting many other presidential duties. These include addressing people

at many different events, travelling and undertaking the many other public tasks necessary to his job. Use of

this technique helps to portray how busy Mandela is and avoids the perception that Mandela‟s spends most of

his time focusing on rugby, while allowing the film to focus on the specific events central to the story.

News flashes are also used to show the varying attitudes in the community towards a range of topics. For

example, there are a number of instances throughout the film where reports on the Springboks are used.

Topsport reports on the Springboks, at first describing them as „unprepared and arrogant‟, and Mandela is

shown later in an interview discussing his newfound love of the Springboks.

STYLE

Point of view

Invictus is told from the position of a third person omniscient narrator. It is narrated from a position where all

events and characters can be seen and is not told from the perspective of any single character. We see evidence

of this when the focus changes from what Mandela is doing to what is happening in Pienaar‟s life to scenes of

the crowd at the rugby. The focus constantly changes and the audience is privy to what is going on in a number

of characters‟ lives, even when they are all in different places and events are seemingly unconnected.

Values

Using an omniscient narrator can make it appear that the director is impartial. This is generally not the case,

however. Directors make very conscious choices about what is to be shown in a film and how it is to be shown.

In Invictus, both Mandela and Pienaar are shown in a very positive light. The director has focused on the

positive aspects of their characters and the good that they did in society. He has not explored any negative traits

of character in any detail, although he has portrayed them as human, acknowledging Pienaar‟s upbringing in a

racist white household and Mandela‟s problems with his family.

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Symbols and Motifs

Invictus contains a number of symbols and motifs.

The Springboks Initially a symbol of apartheid itself, the Springboks eventually became a symbol of national unity. The

perception of the colours and anthem of the Springboks was originally such a powerful symbol of apartheid that

the black people of South Africa wanted to abolish these reminders of the oppressive past. Mandela, however,

pushed them to keep the motifs and see them as a symbol of national unity.

‘Colour Blind’ and ‘9000 Days of Destiny’

The song, „Colour Blind‟ is part of the soundtrack for the film and is played at key moments. It is played when

Mandela lands in his helicopter on the field during a Springboks training session. It was at this training session

that Mandela spoke to the team personally in order to motivate and inspire them. This was also where he first

gave Pienaar a copy of the poem „Invictus‟. The song is also played at the end of the movie and during the

closing credits, after the Springboks win the World Cup and the crowd celebrates together, as one nation. „9000

Days‟ the film‟s theme song represents Mandela‟s time in incarceration.

‘NkosiSikelei’ Francois Pienaar finds inspiration in songs and tries to use the new South African anthem „NkosiSikeleiiAfrika‟

(God Bless Africa) to motivate his team on the way to a match. The white players complain and say they view

it as a „terrorist song‟ and that they can‟t „pronounce the words‟. They are also unhappy about losing their old

Afrikaner anthem „Die Stem van SuidAfrika‟ (The Call of South Africa). However, in the rugby final against

New Zealand the Springboks not only sing the new anthem, but use it as a weapon against the Haka.

‘Invictus’ The poem, „Invictus‟ was used as a source of inspiration and survival. It recurs throughout the film. It is used as

a voice-over when Pienaar is imagining Mandela in prison, as a symbol of his will to survive and carry on. It is

powerful enough to help him stand when all he wanted “was to lie down” (46:46) It is also used to highlight

Pienaar‟s awe of Mandela and his ability to forgive, something which inspired Pienaar to aspire to greatness.

„Invictus‟ is also referred to when Mandela visits the Springboks at training and he gives a copy of the poem to

Pienaar in an envelope, telling him, „This has helped me throughout the years. I hope it helps you.‟ The film

also ends with the words of the poem displayed on the screen.

The Springbok Jersey Mandela wears a long-sleeve green rugby jersey untucked and buttoned right up to the top, a style all of his

own at the 1995 Rugby World Cup Final. It is a pivotal moment, which shows his support for the Springboks

and their 65,000 white supporters. It is defining moment for South Africa, which highlights its transformation

from apartheid to multi-racial democracy

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SETTING AND PLOT SUMMARY

Invictus begins in the time period of the first few days of Mandela‟s presidency in 1994, a tumultuous time rife

with racial disharmony, social upheaval, crime and violence. Apartheid had been abolished, but the nation still

remained divided with many questioning Mandela‟s ability to run the divided country. Old racial hatreds and

preconceptions were still fresh in people‟s minds. Understandably, many black South Africans felt bitterness

towards their former oppressors and many Afrikaners wondered what Mandela‟s next political step would be.

Mandela‟s first task was to unite his Afrikaner parliamentary office staff and his white and black security teams

led by Etienne Feyder and Jason Tshabalala. He is shown as successful in solving their minor issues. However,

his most pressing task is to unify the nation.

However, it is when Mandela enlists the help of Francois Pienaar the captain of the Springboks in his

endeavours to win the Rugby World Cup and to unite ruby fans that his vision for a new South Africa is

brought to the fore. Prior to their first meeting, Mandela attends a South Africa versus England rugby match

and notices that while the white Afrikaners support the Springboks, the black spectators are supporting

England. The reasoning for this is that the Springboks or „boks‟ still represent to them their former colonial

rulers and are, thus, a symbol of Apartheid. On the other hand, rugby is a source of pride and of huge cultural

significance to the Afrikaners and a strong part of their national identity. Mandela realises that sport could

prove to be the right medium to gain the support of both the white Afrikaners and the black South Africans

sport could prove to be the right medium. In uniting rugby fans he could in turn bring about a feeling of

national pride, ease racial tensions and bring about his vision of „A Rainbow Nation‟.

Along the way, however, Mandela faces stiff opposition from the ANC and even his own family. The ANC

wish to get rid of the Springbok rugby jersey and emblem; they hold a meeting to put this into action. They vote

on this and it looks likely to go ahead until Mandela walks into the meeting and urges them to reconsider. This

decision to retain the Springboks as they are is the deciding factor in Mandela managing to unify his broken

country and ease escalating tensions. Within his own family circle it is seen that there are tensions too; there is

an emotional distance between Mandela and his daughter Zindzi and her attitude to him appears to be an

antagonistic one. She makes no secret of the fact she disapproves of Mandela shaking Pienaar‟s hand. To her it

is still the hand of the oppressor.

The Springboks go on to win their round matches and, ultimately, the final against New Zealand at Ellis Park

Stadium. Mandela succeeds in his vision to unite the post-apartheid South Africa.

Invictus / Ransom 15

CHARACTER PROFILES Major Characters

Nelson Mandela (Morgan Freeman)

Nelson Mandela is the central character in the film Invictus. Based upon the real Nelson Mandela, first black

president of South Africa and symbol of freedom, peace and human rights, Mandela not only fought to end the

apartheid in South Africa, but was elected the first black president in the first multiracial democratic elections

in South Africa. Many Afrikaners considered him a terrorist, as depicted in the news flashes showing his

release and by the white coach in the first scene telling his team that „this is the day our country went to the

dogs.‟ Over time, however, Mandela went on to become highly respected by both the white and black

communities and was able to influence his people to join together and create a South African identity, rather

than two separate communities: whites or blacks.

Mandela is presented as both inspired and inspiring in the film. He was not afraid to risk his popularity in

favour of doing what he perceives to be the right thing. „The day I am afraid to do that is the day I am no longer

fit to lead,‟ he tells his personal assistant Brenda, when she tells him that he is risking his political power by

pushing for the sports council to reinstate the Springboks. He pushed people to greatness and described his

leadership style as leading „by example‟. This is demonstrated when Mandela first saw his pay cheques and

decided that he was paid too much, so decided to donate one third of his pay to charity each month. In doing

this, he hoped to inspire other politicians to also give more to those in need.

Despite being held up as a figure to be respected and revered, Mandela‟s humanity is also shown. When asked

about his family, Mandela chooses to forgo his walk and instead returns to his home. Jason explains that

Mandela should not be asked about his family as he is „a man with a man‟s problems.‟ The scene with his

daughter, Zindzi, depicts the strained relationship he had with her and his estrangement from his wife. It can

also be seen that Zindzi strongly disapproved of Mandela‟s dreams of equality and unity. She seemed more

interested in revenge than unity, expressing her unhappiness at seeing her father shake hands with his

oppressors. When Mandela offered Zindzi a bracelet he had found to give back to his ex-wife, she told him that

if it was not taken in the first place then it was meant to be thrown away. She returns the bracelet to him.

Mandela did not force his daughter to conform to his views but it was clear that he was unhappy about the state

of their relationship.

Francois Pienaar (Matt Damon)

From a family holding to traditional values and racist ideals, Francois Pienaar is depicted as surprisingly open-

minded and accepting. He was the captain of the Springboks, a rugby team with few prospects, which

eventually rose to greatness. He was kept on as captain despite their losing streak and the belief that they could

not succeed.

When he was invited to tea with Nelson Mandela, Pienaar was extremely nervous, wondering what the

president might want with him. He was surprised when he met Mandela, particularly by his humility and

humanity. He was also surprised when Mandela asked about his ankle and when he told Pienaar that his job

was difficult. They discussed leadership and, like Mandela, Pienaar declared that he also aimed to lead „by

example‟. He explained to Mandela how he tried to inspire his team before games with appropriate songs, and

Invictus / Ransom 16

the two discussed the importance of inspirational words.

Pienaar pushed his team to greatness by asking them to do things they did not want to do. He explained to team

members that they were more than just a rugby team. Despite the team‟s belief that the words might have been

coming from above rather than from him, Pienaar pushed on and told them that he would not ask for changes.

He could see what Mandela was trying to do and respected his goals. Pienaar was willing to work for unity and

to assist in improving his country even when other members of his team did not understand what he was trying

to achieve. He took them on a trip to Robben Island where Mandela had been imprisoned and they all

completed a tour of the prison. This trip had a profound impact on Pienaar; he tried to imagine Mandela there,

in the tiny cell and working in the yard. He was amazed that Mandela could spend so long there and still come

out and forgive those who had imprisoned him.

Pienaar‟s acceptance of racial equality was demonstrated when he presented his family with four tickets to the

World Cup: one for Nerine, one for his mother, one for his father and one for the black maid, Eunice. By this

stage, even his father had come to a form of acceptance and smiled over at Eunice.

Pienaar had a strong sense of purpose and this helped him to make decisions based on what he believed was

right and would be best for his country.

Minor Characters

Jason Tshabalala (Tony Kgoroge)

Jason Tshabalala was the head of Mandela‟s security team. He was committed to Mandela and was diligent in

keeping him safe. He was exasperated by Mandela‟s relaxed manner when out in public. For example, Mandela

walked at the same time each morning and Jason believed that this made him an easy target for anyone wishing

to do him harm. He was also frustrated when Mandela went into the crowd at the rugby.

Jason asked for more men to assist with the bodyguard duties as he did not believe that his team were sufficient

to prevent problems. He was extremely upset when Mandela hired a white team to help him. He was distrustful

of white people and did not want work with them or trust them to protect his revered Madiba. He conceded

when Mandela told him he had to work with the white men and that „reconciliation starts here‟, although he

was not happy about it. By the end of the film, Jason had accepted the idea of a „rainbow nation‟.

Brenda Mazibuko (Adjoa Andoh)

Brenda Mazibuko was Mandela‟s personal assistant. She was very honest with Mandela and did not hesitate to

speak up if she believed he was making a bad decision. For example, when Mandela found out that the sports

council were planning on getting rid of the Springboks, Brenda disagreed with Mandela‟s plan to stop them.

She thought that it would be politically damaging for him to do so and, even after he succeeded, was openly

disapproving of the risks he took. Despite this, Brenda was a loyal member of Mandela‟s staff.

Invictus / Ransom 17

The white bodyguards

The white bodyguards were symbolic of the first step towards a „rainbow nation‟. Mandela chose them

deliberately because he believed that his bodyguards represented him directly, and he wanted the public to see

him with both black and white people. The white bodyguards were highly trained and qualified and never

showed any emotion or opinion about their work.

The black bodyguards

The black bodyguards were all extremely distrustful of the whites and were extremely upset when forced to

work with them. Jason explained to them that they had no choice and the relationships developed between the

two teams very slowly.

Zindzi Mandela (Bonnie Henna)

Zindzi Mandela was Mandela‟s daughter. Their relationship was obviously strained and Zindzi was very

disapproving of Mandela‟s easy acceptance and forgiveness of the white population.

Mrs Pienaar (Penny Downie)

Mrs Pienaar, Francois Pienaar‟s mother, appeared to be supportive of his career and even of his relationship

with Mandela. She accepted the responsibility of taking Eunice to the rugby with them when Pienaar gave them

tickets.

Nerine (Maguerite Wheatley)

Nerine was Pienaar‟s wife. She was also supportive and encouraging of his career and of his relationship with

Mandela. She appeared to be fairly open-minded and accepted the new direction South Africa was travelling in.

Mr Pienaar (Patrick Lyster)

Mr Pienaar was Francois Pienaar‟s father. He was racist like many of his generation and considered Mandela a

terrorist. He was threatened by the new level of equality developing in South Africa, telling his son that he felt

„sorry for you‟ because the blacks would take all the jobs and leave the whites out in the cold. By the end of the

film, Mr Pienaar seemed more accepting of the new South Africa.

Eunice (SibongileNojila)

Eunice was a black maid who worked for the Pienaar family. She was fairly bold, asking Pienaar to speak to

Mandela about the problems with buses. She was very happy when Pienaar included her in the family trip to the

rugby match.

Chester Williams (McNeil Hendricks)

Chester was the only black player in the Springboks. He was loved by the black children when the team

participated in running clinics with them. The children were primarily interested in him as they did not like the

Springboks or what they represented. Having Chester there made it possible for the children to get to like the

Springboks as he represented a way for the children to interact with the team.

Invictus / Ransom 18

Themes

Invictus explores a number of different themes that are relevant not only to the fall of apartheid in South Africa

and the social climate of the time, but also to everyday life. Here we explore some of the themes that are crucial

to the study of Invictus

National Unity

South Africa was a divided country, with white oppression of the blacks being the social norm prior to

Mandela‟s release. When he was released, many white people still considered Mandela to be a terrorist and

were upset that he had been set free. This is demonstrated in the film when, in the opening scenes, the coach of

the white children tells them to “Remember this day boys. This is the day our country went to the dogs”. When

Pienaar‟s father sees the news on TV, he turns to his son and says, “They‟re gonna drive us to the sea.”

Mandela faced many challenges in attempting to unify his country. He was fighting against an ingrained

culture, a belief system that had been maintained over many years. Mandela knew that he needed to unite the

citizens of South Africa, allowing the blacks and the whites to come together as South Africans, as one people.

To do this he used the Springboks, the rugby team who were hated by the blacks but loved by the whites.

After Mandela‟s inauguration, talk began of eliminating the apartheid flag, its colours and anthem. The

Springboks were a symbol of apartheid to most blacks so there was also talk of removing them. They were not

doing well, which made the replacement of the team appear to be an even easier task. Mandela, however, had

other ideas. He believed that the blacks were wrong and that it was his job to show them this. He knew that

removing the Springboks would damage the potential to get the white South Africans on side. If Mandela took

away the well-loved, iconic team, he would likely “…lose them. We prove that we are what they feared we

would be. We have to be better than that.” He wanted to show the white people of South Africa generosity, in

the hope that all would join together as a nation, as South Africans.

Mandela approached the captain of the Springboks, Francois Pienaar. He initiated a relationship by inviting

Pienaar over for tea. Pienaar, from a family who considered Mandela a terrorist, was nervous about the

meeting. He was surprised to discover that Mandela was not an intimidating man and wanted only to inspire

Pienaar to continue improving his team. Upon leaving, Pienaar was unsure about what it was exactly that

Mandela wanted. “I think he wants us to win the World Cup” he told his girlfriend. The relationship with

Mandela helped to give Pienaar the confidence and motivation he needed, to push his team to greatness.

Asking the Springboks to visit black communities and play rugby with the children was the first step in

endearing the rugby team to the black people. Having Chester Williams on the team helped, as he was the only

black player. The children responded to Williams immediately and by the end of the session, the children had

accepted the whole team. The Springboks travelled and worked with many black South African children,

mostly on unmaintained and unmanicured fields. These experiences gave the players as well as those watching

these events on TV, a greater understanding of the marginal conditions that the black community coped with

every day.

Over time, all South Africans came to love the Springboks. Mandela‟s success is summed up at the end of the

film when the Springboks win the Rugby World Cup. At the final whistle, members of the crowd turn to one

another and hug, jumping in excitement. It is this scene that demonstrates that some things transcend colour. In

Invictus / Ransom 19

this moment, it seems that South Africa truly could become “the rainbow nation” with the inhabitants feeling a

strong sense of national pride and identity, inclusive of all.

The development of national unity in the film was only achieved through a common goal, which brought

people together and transcended their differences.

Racism

Apartheid was a regime which institutionalised and legalised racism. It completely oppressed blacks by legal

means, giving them no means of defending themselves or fighting for their rights. Indeed, if a black person in

South Africa did fight too hard for their rights, they could be imprisoned, as Mandela was for 27 years.

Throughout the film, Mandela refers to his time on „the island‟ and how he survived there.

The apartheid regime stripped blacks of their right to vote, of their ability to hold any high-paying jobs, of their

right to access goods and services, even of their right to sit on a park bench of their choice. They were treated

like second-class citizens and were not considered to belong to the country that they called home. It took many

years of fighting before apartheid was finally abolished but the racist outlook of the people took much more

time to change.

Many white people were not ready to accept black leadership and were afraid that the black majority would

take everything from them. The black people were also hesitant to accept the whites who had oppressed them

all those years. Each felt threatened by the other and unable, as a result, to achieve mutual acceptance.

Mandela‟s dream is of reconciliation and of creating a „rainbow nation‟. The notion is first discussed when

Mandela‟s head of security, Jason, approaches Mandela to explain his dissatisfaction about the white SSA men

who are part of the security team. Mandela tells Jason that, “When people see me in public they see my

bodyguards. You represent me directly. The rainbow nation starts here. Reconciliation starts here.” Jason has

no choice but to comply with Mandela‟s directives, although he and his men do not trust the white bodyguards.

Over time we see trust developing between black and white bodyguards and this parallels the support that is

developing for the Springboks. Ultimately, the racial divide between the blacks and whites narrows as the

Springboks become more successful in achieving sporting success.

Racism is shown to be a destructive force in Invictus, making it impossible for a nation to develop a sense of

national unity or community. Until racism is broken down, the negative forces make it impossible for all to live

together in peace, harmony and acceptance.

Inspiration

Inspiration plays a big role in the film. Not only do the Springboks need the inspiration to succeed, the

community needs the inspiration to accept them and come together. Mandela discusses the importance of

inspiration in his drive to survive his years in prison. He also aims to be an inspiration to his people, leading by

example.

The greatest symbol of inspiration in the film is the poem „Invictus‟, by the English poet William Ernest

Henley, after which the film is named:

Invictus / Ransom 20

Out of the night that covers me,

Black as the pit from pole to pole,

I thank whatever gods may be

for my unconquerable soul.

In the fell clutch of circumstance

I have not winced nor cried aloud.

Under the bludgeonings of chance

my head is bloody, but unbowed.

Beyond this place of wrath and tears

Looms but the Horror of the shade,

and yet the menace of the years

Finds and shall find me unafraid.

It matters not how strait the gate,

How charged with punishments the scroll,

I am the master of my fate,

I am the captain of my soul.

These words are repeated a number of times throughout the film. Mandela hands Pienaar an envelope

containing the poem during a visit to a training session. “This has helped me throughout the years I hope it help

you” he tells Pienaar. The words were a source of survival for Mandela when he was incarcerated on Robben

Island. When the team visited the island, the poem was repeated as a voice-over while Pienaar imagined

Mandela living in a tiny cell and working in the yard. Pienaar was inspired by Mandela, particularly by the fact

that he spent “thirty years in a tiny cell and [came] out ready to forgive the people who put [him] there” and this

helped Pienaar to push his team to victory. The words of the poem are shown at the end of the film after the

Springboks win the Rugby World Cup.

Mandela aimed to be an honourable role model to all. He wanted to show his people that he was worthy to lead

and that he had the country and the people‟s best interests at heart. After looking at his pay slip, Mandela

announced that he believed his pay was too high and he would donate one third of his salary each month to

charity. He hoped to inspire his countrymen to be the best they could be. Mandela discussed this concept with

Pienaar over afternoon tea. “How do you inspire your team to their best?” Mandela asked.

“By example”, Pienaar replied, gaining Mandela‟s approval. They discussed inspirational words, songs and

poems; the power of these is evident in the film.

Pienaar did lead by example and did not allow the negativity of others or social pressure to deter him. For

example, when asked to run clinics with children, the Springboks were unhappy, saying that they didn‟t have

time and that their workload was too high. Pienaar informed the team that he would not try to get out of

contributing their time and energy. “We‟ve become more than just a rugby team” he said. When Pienaar asked

his team members to learn the country‟s new anthem and sing it, they refused. They argued that they could not

pronounce the words, nor could they understand them. Pienaar told them that he would not force anyone but

said, “It means „God bless Africa‟” as he walked out of the dressing room. At the next game, we see the team

singing the new anthem proudly. Pienaar had become the role model, the inspiration that Mandela was hoping

he would.

Overall, the idea of inspiration is central to the film. The film demonstrates how people can be inspired to be

Invictus / Ransom 21

better than they ever imagined, and can surpass the expectations that they and others have, leading them to

grow and develop into better versions of themselves.

Forgiveness

“Forgiveness liberates the soul. It removes fear. That is why it is such a powerful weapon”, Mandela tells

Jason when he complains about working with white men. Forgiveness is an important concept in Invictus.

Without it, the nation would not be able to come together and move past the time of apartheid. Mandela himself

is the greatest symbol of forgiveness, having forgiven those who imprisoned him for 27 years and taking on the

role of benevolent leader. He did not take the opportunity for “petty revenge”, instead attempting to show

generosity and strength of character, whilst refusing to do anything to unnecessarily upset the white

community.

Over time, through their love of the Springboks, the blacks and the whites moved towards forgiveness. When

Pienaar gives his family tickets to the game, including one for Eunice, their black maid, his parents smile and

acknowledge her. In the beginning, Pienaar‟s racist father would not have considered this behaviour acceptable.

This is a strong symbol of how far society has come through a common love of their national rugby team,

further displayed when the two races put aside their difference to celebrate the success of the Springboks. In the

scene that depicts the Springboks‟ win in the World Cup, we see blacks and whites hugging and smiling at each

other. Even the black and white bodyguards smile at each other without grudge for the first time. After the

match, blacks and whites celebrate in the streets together; walking together, their excitement mingling, to create

the „rainbow nation‟ that Mandela dreamed of.

Forgiveness was necessary for the black and white communities to develop a sense of belonging to the new

South Africa. They needed to let go of their old ideals, grudges and the insecurities raised by the new laws. The

blacks needed to forgive the whites for the oppression and injustices they had suffered at their hands, while the

whites needed to accept the blacks as their equals without fear of retribution. Mandela‟s success using the

Springboks to bring his people together was simply a first step, and it is evident in the film that, although this

move certainly helped many individuals take the first step towards reconciliation, much more would be needed

to complete this process.

Invictus / Ransom 22

Important Quotations

It is that terrorist, Mandela. They let him out. Remember this day, boys. This is the day our country went

to the dogs.

Mr Mandela, a free man taking his first steps into a new South Africa. This is the moment the world has

been waiting for.

South Africa appears to be on the verge of a civil war.

Take your knives and your guns and your pangas and throw them into the sea.

For the first time, they are free to cast their vote alongside whites.

Never, never and never again shall it be that this beautiful land will experience the oppression of one by

another and suffer the indignity of being the skunk of the world.

He can win an election but can he run a country?

…balancing black aspirations and white fear.

They‘re gonna take our jobs and they‘re gonna drive us into the sea.

He wants the satisfaction of firing us himself.

But if you are packing up because you fear that your language or the colour of your skin or who you

worked for before disqualifies you from working here, I am here to tell you: have no such fear.

When people see me in public they see my bodyguards. You represent me directly. The rainbow nation

starts here. Reconciliation starts here.

Forgiveness liberates the soul. It removes fear. That is why it is such a powerful weapon.

We have a lot of promises to keep.

All of the whites are cheering for the Springboks. All of the blacks are cheering for England.

… For them Springbok still represents apartheid.

The day I am afraid to do that is the day I am no longer fit to lead.

Our enemy is no longer the Afrikaner. They are our fellow South Africans, our partners in democracy.

And they treasure Springbok rugby. If we take that away, we lose them. We prove that we are what they

feared we would be. We have to be better than that.

This is the time to build our nation using every single brick available to us.

I have a very large family. Forty two million.

Invictus / Ransom 23

He‘s not a saint, OK? He‘s a man, with a man‘s problems.

To him, no one‘s invisible.

I‘ve always thought to lead by example, sir.

We need inspiration, Francois. Because in order to build our nation we must all exceed our own

expectations.

Okes, we‘ve become more than just a rugby team, and we might as well get used to it.

If I cannot change when circumstances demand it, how can I expect others to?

This country is hungry for greatness.

I was thinking about how you spend thirty years in a tiny cell and come out ready to forgive the people

who put you there.

I don‘t think I‘ve ever seen so many flags in one stadium.

Do you hear? Listen to your country!

But you couldn‘t have done it without the amazing support of 63,000 South Africans here today.

We didn‘t have the support of 60,000 South Africans. We had the support of 43 million South Africans.

I want to thank you for what you have done for our country.

No, Mr. President, thank you for what you have done for our country.

I thank whatever gods may be/ For my unconquerable soul/ I am the master of my fate/ I am the captain

of my soul.

Invictus / Ransom 24

TEXT 2

Ransom

Invictus / Ransom 25

AUTHOR NOTES

Note: All page numbers provided throughout this piece are taken from: Malouf, David. Ransom. Random

House, Australia 2009 (2010 Edition).

David Malouf is one of Australia‟s most celebrated and awarded writers. David George Joseph Malouf was

born in Brisbane, Queensland, in 1934. He undertook his secondary education at Brisbane Grammar

School between the years of 1947 - 1950. He then attended the University of Queensland from 1951 –

1954. He graduated with a Bachelor of Arts with Honours in English. He was then employed as a lecturer

at the University of Queensland until 1957. From 1962 - 1968 he was employed as a teacher at St.

Anselm's College in England. He then moved back to Australia to take up a lecturing position at the

University of Sydney from 1968 - 1977. He currently lives in Australia.

He has won numerous Awards, including the Australian Literature Society gold medal in 1974 and 1983. He

has also won: the Grace Leven prize in 1975, the James Cook award in the same year, an Australia Council

fellowship in 1978, the New South Wales Premier's prize for fiction in 1979, The Age Book of the Year

award in 1982, the Commonwealth prize for fiction in 1991, the Prix Femina Étranger in 1991, the Miles

Franklin award also in 1991, and the New South Wales award for fiction. He also won the Los Angeles

Times Fiction prize and the International IMPAC Dublin Literary award in 1993. On top of these literary

awards, he also received an Order of Australia in 1987 for his work as a writer and an intellectual.

Malouf writes in many forms. He has published novels, short stories, plays, and poetry, contributed writing as

an editor and produced academic treatises and theses. He also writes libretti for opera. He was invited to

deliver the Boyer lectures for the Australian Broadcasting Commission in 1998. Each year the ABC board

invites a prominent Australian or group of Australians to present six radio lectures expressing their thoughts on

major social, cultural, scientific or political issues; these are the Boyer lectures. That David Malouf was chosen

to present these lectures is testament to his status as an iconic Australian whose body of work has done much to

help Australians come to know themselves as individuals within a contemporary national identity.

Invictus / Ransom 26

HISTORICAL CONTEXT

The focus of Malouf's novel is a small section of Homer's Iliad, the epic poem that tracks the ten year war

between the city of Troy (or Ilios) and the combined Greek city states. In the novel, Troy's King Priam travels

to the enemy Greek encampment to beg the warrior Achilles to release the body of Hector. Hector is Priam‟s

son, whom Achilles killed in revenge for the death of his friend, Patroclus.

Achilles is the warrior son of a water nymph and a human. Priam, himself partly descended from the gods, casts

off his majesty and approaches his enemy as a man wanting to ransom the body of his son, in order to give him

an honourable burial.

The narrative in Ransom is focussed on the events of this one day.

The Iliad is an epic poem in dactylic hexameters, traditionally attributed to Homer. This excerpt, from the key

passages which Malouf focuses on for his narrative, gives a sense of the emotional power in this part of the

epic:

As when some cruel spite has befallen a man that he should have killed someone in his own country,

and he must fly to a great man's protection in a land of strangers, and all marvel who see him, even so

did Achilles marvel as he beheld Priam. The others looked one to another and marvelled also, but Priam

besought Achilles saying, "Think of your father, O Achilles like unto the gods, who is such even as I

am, on the sad threshold of old age. It may be that those who dwell near him harass him, and there is

none to keep war and ruin from him. Yet when he hears of you being still alive, he is glad, and his days

are full of hope that he shall see his dear son come home to him from Troy; but I, wretched man that I

am, had the bravest in all Troy for my sons, and there is not one of them left. I had fifty sons when the

Achaeans came here; nineteen of them were from a single womb, and the others were borne to me by

the women of my household. The greater part of them has fierce Mars laid low, and Hector, him who

was alone left, him who was the guardian of the city and ourselves, him have you lately slain; therefore

I am now come to the ships of the Achaeans to ransom his body from you with a great ransom. Fear, O

Achilles, the wrath of heaven; think on your own father and have compassion upon me, who am the

more pitiable, for I have steeled myself as no man yet has ever steeled himself before me, and have

raised to my lips the hand of him who slew my son."

Thus spoke Priam, and the heart of Achilles yearned as he bethought him of his father. He took the old man's

hand and moved him gently away. The two wept bitterly - Priam, as he lay at Achilles' feet, weeping for

Hector, and Achilles now for his father and now for Patroclus, till the house was filled with their lamentation.

But when Achilles was now sated with grief and had unburdened the bitterness of his sorrow, he left his seat

and raised the old man by the hand, in pity for his white hair and beard; then he said, "Unhappy man, you have

indeed been greatly daring; how could you venture to come alone to the ships of the Achaeans, and enter the

presence of him who has slain so many of your brave sons? You must have iron courage: sit now upon this seat,

Invictus / Ransom 27

and for all our grief we will hide our sorrows in our hearts, for weeping will not avail us. 1

Placed near the conclusion of the Iliad, Priam‟s ransoming of his son evokes empathy regarding his own father

from Achilles, as well as respect for the old king‟s courage.

So, why did Malouf choose the Iliad, and this particular part of the tale to represent as a novel? His earlier

works helped build the Australian identity, focussing as they do on different cultural stereotypes and norms. In

his earlier novels, using the power of fictional narrative, Malouf allows for a reassessment of Australia‟s

heritage through characterisation. In Ransom, his focus is more universal. Here, he creates empathy for the

emotional dilemmas of paternity. He presents various characters - ranging from the heroic, in Achilles, to the

aging king, in Priam, to the humble and common Somax - and connects them, each to the other, through their

shared roles as fathers. Malouf‟s narrative also contrasts these paternal perspectives to those held by women.

Briefly, but importantly, Hecuba, Priam‟s wife, admonishes her husband, showing him that his grief for his son

Hector is kingly, whereas, hers is that of a mother, of all mothers. This provides Priam‟s first glimpse of what

it must be like to be a man, not a king, and what it will be like for him to grieve honestly for a son. Malouf uses

his novel to illustrate that such emotions, and the paradox of what it is to be mortal - the reality of love, and life,

juxtaposed with the realities of war, killing and death – reside in us all.

Interestingly, Malouf accounts for his interest in the Iliad merely as that of a storyteller.2 He speaks of his

connection to this tale springing from his childhood reminiscence of a tale told to him of war, in 1943, when

Australia too was involved in a protracted, world-wide conflict. He speaks of the story of the Iliad also coming

to him again in 1973, through writing a poem which draws a comparison between the ancient tale and the

Vietnam War. Finally, he speaks of coming back to this „unfinished tale‟ thirty years on from that, when he

decided to take up the story of these characters, as a novelist, in Ransom. His personal context is now that of a

contemporary Australian, albeit one with vast experience. He has written this novel for now, for the people he

sees around him, and also for those whom the growing global community has brought to his doorstep. Perhaps

he has also written it because of his affinity with Priam, an aging king, whose role demanded he hide for so

long behind ceremony and pretence? Ultimately, whatever his own reasons, he has written Ransom for all

people, because it deals with such universal themes.

1 The Internet. The Classics Archive: The Iliad, by Homer, written 800 B.C.E. Translated by Samuel Butler.

http://classics.mit.edu/Homer/iliad.24.xxiv.html as accessed on 27th May 2010. 2 David Malouf, Ransom. Random House, Australia, 2009 (2010 edition cited). Afterword; a note of sources, pp. 221-224.

Invictus / Ransom 28

GENRE

Ransom is a short novel. It is a retelling of a specific story which is found in the Iliad, a text from the 8th

Century B.C. The Iliad is fiction, even though some of the events recounted could have transpired as part of

Ancient Greek history. Ransom is also fiction. The genre of Ransom is difficult to categorise as Malouf

borrows and mixes elements from the storytelling found in ballads or epic poetry (such as Beowulf or the Iliad),

well-crafted historical fiction (Leo Tolstoy‟s War and Peace), and even low fantasy.3 What results is a lyrical,

descriptive novel which uses human senses and emotions to claw the narrative back from speculative, ethereal

musing to the realities of life which surround us.

Audience

Malouf gives lyric beauty to an old tale in his novel. Males may well respond to the „boyish‟ attraction which

is offered by the wartime setting. They are likely to find reading of ancient heroes and a time long past, when

events were of such a scale that they have become folklore, part of our mythology, history and cultural

understanding, exciting. The mature reader will see past this initial excitement and will respond to the

vulnerability of the characters. Fathers, and to a lesser extent mothers, will see many of their own fears

resonating through different characters. Even if most parents cannot, (thankfully) sympathise directly with the

grief felt by the main characters, they will be able to empathise, and hope that the fear which is manifest in the

thought of losing a child never happens to them. All readers had, have, are, or will be parents. Adult readers

will comprehend this and thus find connection with the emotional narrative of the novel.

Responsive readers will also delight in the language used by Malouf to tell his tale. Using the best features of

literary storytelling, Malouf focuses on a bare minimum of scenes but takes his time to blend character

reflection with almost poetic descriptions of setting. Such writing is lyrical in places, guided by character

development, not plot, and consequently, like all good stories, is an emotive journey, not one which only

rewards with a good ending.

3 A parallel to low fantasy is apparent in Malouf’s use of mythology, in that certain characters are the embodiments of gods and other

immortals that use magic, but the setting is still in the primary world of earth and its ancient history.

Invictus / Ransom 29

STRUCTURE

Ransom is a novel in five parts. These parts are not named, rather numbered. The plot of the novel is generated

from the perspective of characters that are pivotal to the narrative. The narrative voice uses a limited

omniscience to describe both the physical and mental state of each main character.

Throughout the novel there is very little dialogue used to drive the narrative forward, rather it is driven by the

internal reflection of the main characters as they consider the past and the future direction which their lives may

take. Malouf orientates his readers to the background and history of his characters via their thoughts. This

introspection does move the narrative forward, but at a controlled pace. This, in turn, allows for description of

setting to complement the thoughts and mood of each character as they contemplate their actions, as well as the

wider significance of the events within which they are embroiled.

There is also no real antagonist in the narrative. Malouf deliberately gives the reader legitimate reasons to feel

empathy toward Achilles, even though his defiling of Hector‟s body is an affront to everyone, including the

gods. In this narrative, the gods - although they remain hidden from the minor characters - are depicted as

proactive and interventionist. In effect, their actions only serve to assist Priam to meet with Achilles, and for

him to have something left of Hector‟s body to reclaim, even after it is dragged behind Achilles‟ chariot for

eleven consecutive days.

Chapter One focuses on Achilles eleven days after his slaying of the Trojan hero Hector. The protagonist in

this chapter is presented as a fallen hero; a man at odds with himself due to his suffering grief and guilt because

of the slaying of his best friend at the hands of the Trojan prince, Hector. This chapter functions as part of the

orientation of the novel.

In Chapter Two, the focus shifts to Priam, the king of Troy, who has a dream or vision which involves going to

Achilles, as a man, not a king, to ransom the body of his son, Hector. The juxtaposition of Achilles‟ personality

with Priam‟s is well achieved. Both are presented as being significantly changed in the aftermath of Hector‟s

death. This chapter also functions as part of the orientation.

Chapter Three is composed of Priam and the carter Somax making their way to the Greek camp. They are

joined in this journey by the god Hermes4, „the slayer of giants‟, who is to be their guide. This chapter

functions as the complication in the narrative.

In Chapter Four, Priam and Achilles meet. Achilles agrees to return Hector‟s body to Priam. In sharing in

Priam‟s grief Achilles, finally, comes back to himself. This chapter functions as the novel‟s climax.

Chapter Five, the final chapter, is the resolution. Each of the main characters has their stories intertwined to

conclude the novel. Somax and Priam, thinking of their respective homecomings; Achilles and his son,

4 Hermes is the god of shepherds, land travel, merchants, weights and measures, oratory, literature, athletics and thieves, and is

known for his cunning and shrewdness. Being the herald (messenger of the gods), it was his duty to guide the souls of the dead down to the underworld. He was also closely connected with bringing dreams to mortals. ‘Hermes’ by Ron Leadbetter. Encyclopedia Mythica. http://www.pantheon.org/articles/h/hermes.html. (As accessed on 14.6.2010)

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Neoptolemus, who avenges Achilles by slaying Priam; even the fate of Troy, are all given to the readers.

Again, Malouf uses character reflection to conclude the story.

He takes the narrative out of the hands of the kings and heroes, and gives it back to Somax.

Somax is the one who survives long past the destruction of Troy. It is he who gets to bounce many grand-

children on his knees, and who gets to speak of his adventure over a drink to anyone who will listen. The twist

in this conclusion is that later generations forget the details of history, and assume that Somax is just the

borrower of someone else‟s story. This twist is ironic and indicates Malouf‟s awareness of his own relationship

to Somax: an aging storyteller who has borrowed from an ancient, classic tale the inspiration to tell one of his

own.

STYLE

The voice used by Malouf in Ransom is that of an omniscient narrator. The story is told in the third person.

This being said, Malouf‟s use of introspection, where each character‟s thoughts form the core of the narrative,

gives an intimacy to his writing. This intimacy draws the reader in so that they feel they are sharing in the

thoughts of the character; thus, the novel reads almost as a series of first person accounts and reflections from

different characters‟ perspectives.

Malouf uses sentence length to generate a lyrical rhythm in his prose, especially in the opening chapter. The

pattern of his writing also changes to suit each character. This gives each character a unique voice. Malouf

achieves this through combining structural elements, such as sentence length and the ordering and eventual

overlapping of each character‟s story, with subtly distinctive syntax, and individual lexicons. The character of

Achilles for instance, has a more lyrical speech pattern, as suited to his status as a hero. He also tends to think

poetically, in a sense, almost philosophically, about his life and situation. He reflects on and questions his

values, and his right to be called a hero. He is also depicted as still being connected to the world of the gods.

This gives a depth to his thoughts, a spirituality which on first impression is surprising in a warrior, but Malouf

is careful to construct Achilles so that this spirituality is explained - given that Achilles has continually faced

the reality of life or death for the last nine years.

Priam is depicted differently. His voice is initially constructed to present a more limited set of experiences. As

with Achilles, Priam has had to deal with the stress of war lying on his doorstep, with all its destruction, waste

and death, but unlike Achilles, he has been involved from afar. Despite his age, he has not had the need to think

deeply about his personal response to these stresses. Effectively, he has been hidden or sheltered behind his

role as king of the Trojans. Protocol has provided his response to every situation. He has also let others do the

talking for him. It has been his job to keep up appearances; to present as an aloof, regal presence, which

portrays strength and surety by creating the illusion that he is somehow more than just a man. Consequently,

with the death of his son Hector, and the vision he has which prompts him to discard protocol and do something

„new‟, Malouf portrays Priam as being ironically aware of his own inexperience. As such, Priam‟s

voice/thoughts are generated from his minute observations of nature; his new-found interest in small things.

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For the first time, almost like a child, he takes an interest in the personal stories and the natural life which

surrounds him. He finds a genuine interest and affection for Somax. He also finds the ability to sympathise

with Achilles, the murderer of his son. In this respect, although his phrasing and manner are at odds with his

thoughts, Malouf has deliberately constructed this dichotomy so that his style of writing complements this

character‟s preoccupations, juxtaposed with his physical situation. Somax is presented using a different style of

writing again. He too keeps thoughts to himself, but he is portrayed as being more used to speaking – and,

more specifically, telling stories. Malouf‟s style of writing when presenting Somax‟ perspective becomes more

balanced in its combination of thoughts manifesting themselves as physical actions. Somax‟ character rubs his

nose when troubled or uncomfortable. This mannerism has a calming effect on Somax (and also on Priam and

Achilles because of its natural unpretentiousness). It is a mannerism which describes the character as much as

do his thoughts. Such descriptive focus indicates the differences in social class between the characters.

Achilles and Priam rarely lose control of themselves; they are above such human reactions. It is as if their

every move is calculated to portray the image which they want their audience to believe. Somax has no such

pretension. He has no need for theatrics or pomp. Again, Malouf uses his style of writing to complement each

character‟s unique perspective. This also allows the reader to compare characters. The mastery displayed by

Malouf – the control he has over his art – becomes truly apparent when the reader realises that he has actually

used these different styles to communicate just how similar these main characters are. In spite of their

differences, they are able to complete the ransom of Hector‟s body, because underneath each character lies a

common humanity.

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Symbols

A symbol is a person, place, or thing, which comes to represent an abstract idea or concept. It is anything in

creative writing which stands for something beyond its literal self or its specific function/role. There are many

symbols used by Malouf. This literary device helps construct the poetic quality of his writing.

The natural elements are used by Malouf as symbols in Ransom. The novel begins with Achilles tasting the

wind, but this is a physical property of the wind at the sea‟s edge. It is not a symbol, even though it does play

its part in connecting Achilles to his mother5.

The first symbol is the earth. Achilles is a warrior, but also a farmer. He knows that he will literally return to

the earth, either to work it when his war is over, or to be buried in it when he dies. The earth also serves as a

connection to the world of mankind – the world of his father and all mortals.

The other natural symbol is that of the sea. This is his mother‟s element; his mother‟s world, which until the

age of five or six, he was still able to escape to so that he could be with his mother for short periods of time. Water, in all

its forms is symbolic of a broader meaning. Malouf develops the metaphor of water to allow Achilles to comprehend and

accept the relationship he has with his mother. Water holds a reflection, an image, but it is shifting and insubstantial. It

‘holds nothing and itself cannot be held’. This quality of water becomes the relationship which Achilles has with his

goddess mother. He can call to her, listen for her, glimpse her, but he can no longer hold her or speak to her, like he

could as a young child.

The sea also represents distance for Achilles, which in turn becomes related to his concept of time. He imagines his

father, and his son across the waters and knows that they are changing, growing. The sea at once keeps him apart from

those that he loves, but also serves to carry his son to him, belatedly, to avenge his death. Distance, time, and their

physical representation as the sea, prompt Achilles’ prophetic understanding of his impending death. He knows that the

sea will keep Neoptolemus from him. He knows that he will not get to see his son grown to be a man. This element

consequently evokes pathos in Achilles, as well as a sense of fatalism. The sea is his representative of his mother, and so

also forms a part of him, yet it is something which he was removed from as a child, a direct connection to an element or

the gods which he is now denied. Nevertheless, he has accepted this denial, this absence of his mother, and the distance

that it has placed between him and his loved ones. He has chosen the life of a warrior, and a mortal, so knows that it is

now a part of his lot that he cannot overcome such truths as distance and time, which are embodied by the sea.

5 Thetis is a gentle sea goddess. She is one of the Nereids, the fifty daughters of Nereus, goddesses of the sea. She is also called the

silver footed goddess of the sea. Achilles, her son, was the most handsome, capable and worthy of all the heroes that participated in the Trojan War. He was born in Farsala in southern Thessaly (Central Greece) as the son of Peleus, the King of Pithia in Thessaly, and the silver footed sea goddess Thetis. Achilles' mother Thetis was strongly attached to her son and when he was born, she attempted to make him immortal by dipping him in the sacred waters of the river Styx. However, she did not quite achieve what she had hoped for... while she was keeping him inside the waters, she had to hold by one heel, leaving a vulnerable spot on Achilles' body. This weakness turned out to be crucial for Achilles, since he was killed during the Trojan War by an arrow that hit exactly that spot. The expression "Achilles heel" remains until today, describing a small, but important weakness of a human being. Greek – Gods.Info. Gods and Goddesses of Ancient Greece. http://www.greek-gods.info/greek-heroes/achilles/ (as accessed 17.6.2010.)

Invictus / Ransom 33

The donkey Beauty is another symbol. Since the death of Somax‟ son, which Beauty inadvertently caused,

Somax‟ grief seems to have imbued this donkey with preternatural intelligence. Even the god Hermes notes

that there is something special about Beauty, although Malouf does not delineate just what makes her so

memorable. What is explained is that Somax adores this donkey. He is fond of both his donkeys, but it is

Beauty whom he believes catches the eye of Priam‟s sons when they come looking for a carter to hire, not

himself. Somax believes that she is special. It is this aspect of Beauty which becomes symbolic. She is

memorable, special, unique, has something that other donkeys do not. This could be the look of intelligence in

her eyes. It could be the gloss in her coat. It could be that Somax loves her, when he should hate her.

Whatever the reason, Beauty, in Malouf‟s narrative is as memorable to the people who listen to Somax‟ stories

as any of the kings and heroes he speaks about. In this respect, she symbolises the common, natural elements

of a story which an audience finds just as interesting and memorable as the protagonists. It is as if the donkey

celebrates the necessary details which all good story-tellers know to include. She symbolises that even plain

beasts can become things of worth, and more importantly, instruments of fate and chance.

Idaeus, the name of the royal page, is also significant. The name is symbolic of the office or duties performed

by the person who holds this title. When Priam considers Idaeus, it is not as an individual, rather, as an

extension of the role he performs as king. Idaeus allows for the king to remain silent. He speaks for him. This

allows Priam to remain the image of composure, aloofness – royalty. In this sense, Idaeus becomes the voice of

the king, but in no way influences or has input into what he is saying. Protocol, or the king, gives Idaeus voice.

This is why, when Priam renames Somax „Idaeus‟ the name serves as a symbol – a symbol for change – where

anonymity develops into an individual. Somax has no understanding of protocol. He also speaks his thoughts

to Priam. He aids and speaks to him not as a servant or page, but essentially as one person to another. Somax

is still reverential and respectful of Priam, but he does not put his own identity aside in service of his king. The

original Idaeus does.

There is also significance in Priam‟s name. Priam was first named Podarces, son of Laomedon, who was the

King of Troy. When the hero Heracles sacked Troy and killed his father and brothers, he was saved by being

hidden among the rabble of slave children, whom Heracles intended to sell off for profit. He is rescued by his

sister, Hesione. Heracles planned to give Hesione to his companion in arms Telamon, and decided to give her

one thing that she wished for as a present. She uses this gift given to her by their conqueror, Heracles, to save

her brother. Telamon then carries her away to Salamis in Greece, taking Podarces, now Priam, with them. This

is how Priam gained his name - from the hero Heracles, who had so recently slain his father and slaughtered so

many of his royal family. Priam means „bought‟ or, ironically, „ransomed‟. Malouf puts forward another

interpretation of “Priam” in his narrative. He causes Heracles to declare that “Priam” means „the price paid‟.

Invictus / Ransom 34

SETTINGS

In fiction, setting is the time, place, social environment and wider context where the story takes place.

Essentially, the setting is the physical world of the story. Malouf is true to the Iliad, in placing his story or

narrative around the Trojan War and the fall of Troy. Many scholars believe the Trojan War, retold in the Iliad,

is based on an historical Greek expedition against the city of Ilium, which occurred sometime around 1190 BC.

Regardless of the historical debate surrounding the existence of Troy, Malouf places his novel inside the city of

Troy, in the land between the walls of the city and the coast, and in the Greek military camp, set up in front of

the Greek ships, sometime in the Late Bronze Age.

Settings will be discussed in a subjective order of significance. Such an order is subjective because depending

on the focus of analysis, different settings become more important.

The royal palace in Troy is described as an esoteric place by Malouf, known to only the royal family and their

servants. It exists as a world within a world. When the real world enters the palace, it is in the form of the

people of Troy partitioning Priam for judgment or law. When the royal family leaves the palace, they are seen

as soldier heroes, such as Hector, or as a class of society removed from the mundane of everyday existence.

Malouf‟s descriptions of the palace help the reader understand the rights and privileges of the ruling class. The

first duty of those that reside in the palace; the extended royal family and their servants, is to serve Priam, their

king. While it is not a place completely lacking in personality, the palace is described as being ordered, clean,

meticulously presented. It is, in effect, a metaphor for the Trojan king. Human, intimate, passionate things,

such as procreation do happen in the palace, but Malouf describes these as fleeting moments, hidden behind

closed doors and white curtains. Ultimately, the palace is where protocol dictates the dynamics of any

discussion. Human interaction is ordered, just like the tiles on the floor.

The palace setting can be contrasted with Malouf‟s descriptions of the rest of Troy. Between the palace and the

city walls lies a bustling, life-filled metropolis. Rooftops and courtyards host gardens full of produce. The

people of Troy go about their daily lives, still finding time to cheer on their sons, fathers, and heroes as they

march off to war each day – and to celebrate or feel grief depending on the state of their return. Here, life is

described in detail, in its miniature, with kitchen gardens, a fig tree, pomegranates, a clump of herbs, where

snails „hang like raindrops from every stalk‟. It is the city where Somax the carter, a plain workman, in his

homespun robes and broken sandals, comes to the market place each day hoping to be hired. This is the

essential life of Troy, which the Trojans; the royal family and those born to the city, are charged to protect.

Between the walls of Troy and the coast, lies a distance of a few kilometres. This is the landscape which Priam

and Somax roll through in their cart. It is comprised of a white, winding road which leads through open farm

land, crosses a river, bypasses the remains of hamlets and farms and contains shallow ravines hidden within the

rise and fall of the land as it slopes down to the coast. This landscape is where Priam begins to rediscover the

range of his senses. It is where he begins to properly observe the world around him. The most significant

setting in this landscape is the river where Somax and Priam stop for an evening meal and to wait out dusk.

Here, Priam bathes his feet in the stream, enjoying the simple pleasure of cool running water on his skin.

Invictus / Ransom 35

This is where he notices the small fish, which are curious yet also completely unconcerned about whose feet

they are inspecting: to them the king‟s feet are no different to any other innocuous object which happens into

their part of the stream. This observation amuses Priam, and helps him remember that he is a man playing the

role of king, not vice versa. This knowledge confirms his belief in his mission to ransom Hector. It also

confirms the angle or plea which he is planning to present to Achilles – that of father to father, man to man.

PLOT SUMMARY

I

The first chapter of the narrative focuses on the Greek hero Achilles. Descriptions of setting complement and

shed light on Achilles‟ mood. Similarly, the events of the natural world, as felt and seen by Achilles, are

described to build his philosophy; Achilles‟ approach to life and living in the mind of the reader. That Malouf

begins his narrative with Achilles is poignant and necessary.

The reader is introduced first to Achilles reflecting on himself as a boy removed from his goddess mother. His

reminiscence leads him to think of his father and to his life as a farmer. The maternal relationship he has is

presented as intangible, removed, yet because it is a part of the spiritual world; it is also still part of him. His

paternal relationship is almost its contrary: solid, earthy, practical. It is a relationship filled with reciprocal

love, and for Achilles‟ part, open adoration for his strong, noble father.

The reader is positioned to admire and also to be in awe of this hero. That this happens at the novel‟s beginning

or orientation is important, as Malouf wants Achilles treatment of the body of Hector later in this same chapter

to shock readers with its barbarity; a barbarity which is in stark contrast to the hero who so touchingly still

listens for his mother, who so openly wants to return to his father, who regrets the nine years of war which have

kept him from Neoptolemus, his son who so deeply feels the death of his friend, Patroclus.

II

The focus of this chapter is the king of the besieged city of Troy, Priam. This chapter begins with a close,

observant description of the city, with Malouf describing it as an ordered, functioning, practical place, where

nature still goes about its business of growing and striving for life, as do the people. Priam is introduced by the

pronoun „he‟. This narrative‟s distance hints at the momentous „new‟ idea that Priam is about to receive,

inspired by a visitation from a goddess. While the rest of the palace sleeps, Priam „comes to attention‟. In this

dream-like state he sees what he is to do; rescue the body of his son Hector, via a simple cart ride, an open plea

to Achilles, and a huge ransom. He believes he has to take a „Chance.‟

The next event in the chapter is Priam informing his wife, Hecuba of his plan to rescue Hector‟s body. This

moving conversation provides a maternal contrast to the paternal viewpoint presented through Priam‟s

character. It also allows for Priam to re-tell his story of how he came to be rescued – to be restored back to

Invictus / Ransom 36

himself, the king, when he was just a boy. He tells of the slaughter of his family, and how to avoid being

butchered he was disguised as a commoner, a street urchin, and thrust amongst the group of city orphans who

had been spared the sacking of Troy only so they could be sold as slaves. For these brief few hours, Podarces,

son of Laomedon, King of Troy, becomes one of a rabble of slave children. He is rescued by his sister,

Hesione, who uses a gift given to her on a whim by their captive, Heracles, to save her brother. And this is how

Priam got his name, from the hero Heracles, who had so recently slayed his father and slaughtered so many of

his royal family: Priam, „the price paid‟, the gift given to Hesione, which she used to buy her brother „back

from the dead‟.

Priam relates this story because chance could have gone against him then and kept him ordinary. It could have

left him as Podarces, the slave. Instead, it rescued him and set him back on his throne, albeit many years later.

The royal court is then gathered and the reader gets to meet Priam‟s remaining children and extended family.

In the face of his family‟s protest, and despite royal protocol, he maintains his conviction. His vision or dream

which he remembers woke him during the night is to be the course of action which he will to take to ransom

Hector‟s body. The remainder of this chapter sees his ire grow as his family try and subvert his intentions, but,

eventually his royal commands are obeyed and a cart and driver are hired to carry Priam and the ransom to the

Greek camp. The cart comes complete with two donkeys and Somax, an experienced, humble carter-for-hire

who is uncomfortable, yet observant in the unexpected presence of royalty. He even has the self-assurance to

feel affronted when Priam names him „Idaeus,‟ the royal herald, out of custom. Eventually, after due ceremony

and prayer, the strange procession of royal Trojans and their simply adorned and unusually transported king,

makes its way to the gates of Troy. A curious crowd gathers as they make their way through the city, not

unlike the crowds that had been gathering daily, before the death of Hector, to cheer their heroes; their sons and

fathers, the army of Troy, off to war. The difference is, this procession is new, and the crowd do not know

what to make of it. As the gates are reached and the royal family turns to walk back to the palace, the crowd

too, disperse. Only the humble cart, two donkeys, Somax (or Idaeus in the mind of the king) Priam and the

huge ransom roll on into the countryside.

III

This chapter begins with the perspective of the carter, Somax, who is grappling with the proprieties of being in

the company of a king. Priam and Somax sit out the coming of dark beside a stream. Here, Priam discovers the

humble pleasure of bathing his feet in a running river. He also comes to consider Somax, and finds his „simple

modesty and good will‟ not at all „objectionable‟. Somax offers to share his food with Priam, and eventually

tantalises him into eating, despite Priam initially not feeling hunger. It is Somax‟ description of the way the

food was prepared by his daughter-in-law, which touches Priam with its beauty. Again, Priam marvels at the

situation his audacity has placed him in. He also gains heart from the company of Somax, a man whose

experiences are vastly different from his own. Priam acknowledges to himself that in this world, outside of the

walls of Troy, Somax is much better equipped in relation to life than he is, despite their differing status. Out

here, Priam discovers, everything is „just itself‟.

Invigorated by his new sense of things, Priam inquires about Somax‟ family. When Somax recounts the

tragedy of losing three sons and four daughters, of whom only two of the boys reaching adulthood, Priam

Invictus / Ransom 37

questions the depth of his grief for his own dead sons. He counts his sons, and cannot be sure of their number,

„two or three more than fifty? Two or three less?‟ Priam realises that he had been spared some of the grief

associated with losing a son because of the sheer number of his offspring, and also because as a king, he had

not been responsible for any of the chores which bind a father to a son. When comparing his grief to Somax‟

he counts himself lucky.

On dark they returned to the wagon, to find a slim youth in a winged bonnet waiting their return. He

boisterously announces himself to be their escort and names himself Orchilus, one of lord Achilles‟ men.

Somax is at once suspicious but Priam is bemused as much as he is wary. There is something about this young

Myrmidon which confuses him. After an eventful fording of the river, where the cart nearly turns and risks

drowning them all, the three strange companions continue toward the Greek camp. On the other side of the

river, Orchilus reveals he is more than what he first appeared. He inquires after Somax‟ daughter-in-law‟s

limp, and promptly tells Priam that Somax is in fact a bit of a rogue. Rather than be truly angry at this

information being given to Priam, something inside of Somax cautions restraint. Feeling that all is not right he

tells Priam, who, confirms this feeling by naming Orchilus as the god Hermes. His true identity revealed,

Hermes clarifies that he was sent, but not by Achilles, who does not know of their coming. It is inferred that he

was sent by the gods so that Priam can get his chance to plead for the return of his son Hector‟s body. Hermes

also informs Somax that his grand-daughter has recovered from her fever. This is the one thing that has been

playing on Somax‟ mind since taking on this carting job. Hermes also calls Priam „father‟, which, along with

the steadfast company of Somax, gives the old king strength to continue with his bold plan.

It is Hermes who lifts the bar on the gates to the Greek camp, allowing the wagon to roll on through. Stunned

into inaction, the captain and his guards on duty at the gate stand „as if spellbound‟ as a wagon, drawn by two

black mules, carrying two old men, rolls past them. It is only after the gates have closed behind this cart and

the heavy pine trunk, which barred the gate, has mysteriously dropped back into place that they find voice for

their consternation, and begin to question what it is that they have seen.

IV

Achilles sits brooding at his own small dining table, reflecting on the resentment he feels for his new attendant,

Automedon. It was Automedon who was at Patroclus‟ side when he was slain. It was Automedon who

defended Patroclus‟ body from the Trojan jackals, before seeing Patroclus‟ vision dim and his spirit leave him.

It should have been Achilles at Patroclus‟ side when he fell. It should have been Achilles, wearing his own

armour in battle against Hector, not his friend, who out of shame for Achilles‟ petulance keeping him from the

field, had fought in his stead. Automedon‟s presence is „both a reminder and a rebuke‟ to Achilles, who knew

he should have been there himself.

His other close companion is Alcimus, a youth whose strength and overabundance of animal nature reminds

Achilles of himself little more than a season ago. Achilles finds the brashness in this young man endearing.

Then, a lyre begins to be played, and the music melts Achilles‟ will. It changes his perceptions of himself and

takes him back to a more fluid time, when he was more open to the gods, in the realm of his mother. In this

heightened state, he sees a figure and immediately hopes it to be the shade or spirit of Patroclus. His mood

Invictus / Ransom 38

changes to disappointment, then to sorrow, as he realises that the figure moving toward him through the smoke

of the room is old. It is nine years since he last saw his father, Peleus. Moved to weeping at the presumed

changes which time has wrought since he last saw him, Achilles falls to one knee and reaches for the old man‟s

hand. Alcimus and Automedon too have seen this stranger walk to them through the crowded tent. They leap

to Achilles‟ side with their swords drawn, ready to strike. The old man falters, and then stops.

At a sign from Achilles, Alcimus and Automedon reluctantly sheath their weapons. Priam, standing now

before a kneeling Achilles, who in his own dream had seen himself kneeling, announces himself, „I am Priam,

King of Troy,‟ he says simply. „I have come to you, Achilles, just as you see me, just as I am, to ask you, man

to man, as a father, for the body of my son. To ransom and bring him home.‟ What then transpires ends with

Priam finally on his knees, reaching out to Achilles, but not in pleading, as Achilles presumes, but rather in

fellow-feeling. Priam‟s words, asking Achilles to remember his own son, and father, and then to remind him of

his mortality, strike Achilles to the core. In a surreal vision, he feels his own cold death. Achilles then sees

Priam being slaughtered by Neoptolemus, his own son, in order to avenge his death. This is too much for

Achilles, who begs Priam to say no more. He agrees to Priam‟s ransom. Both of them are weeping; Achilles

from the horror of the vision which he has concerning his mortal demise, and Priam for the horror which he

sees on Achilles‟ face. It is Achilles‟ hand which steadies Priam back to his feet.

During the ensuing meal Achilles and Priam agree to an eleven day truce. In this time, Hector will be sent on

his way, as is fitting for a Trojan Prince. And the two men find an intimacy, despite their differences. Always

present is Achilles‟ latent power, as the killer of men, yet they talk only of peace. Later in the night, as the

women prepare Hector‟s body to be received by his father, Achilles visits the hut in which this chore is being

carried out. He is out of place here. He also recognises that he too will finish his life here, as it was begun, in

the caring hands of women. And it is at this moment that he finds himself, the true Achilles.

The next morning, the body of Hector is carried to the cart. Priam and Somax are escorted to the gates of the

Greek camp by Achilles and his two squires. In their moment of parting, Achilles speaks; „Call on me, Priam,‟

he says lightly, „when the walls of Troy are falling around you, and I will come to your aid.‟ ...

„And if, when I call, you are already among the shades?‟ ...

„Then alas for you, Priam, I will not come.‟

So, Achilles and Priam part, with the knowledge that both have of their own deaths. At a word from Somax,

the cart jolts on out of the Greek camp.

Invictus / Ransom 39

V

Chapter five concludes the narrative. The physical events portrayed in the chapter are simple – Priam and

Somax cart the body of Hector back to Troy. They stop only once, a suitable distance from both the Greek

camp and the walls of Troy, for Priam to climb down from the cart to view the body of his son. Somax

understands his grief, which is without words, but not without sounds. He and his wife had made the same

sounds as Priam when they had sat through the long night beside the broken body of their eldest son. Priam‟s

grief changes into a strange triumph as he spies the lone figure of his wife, waiting for their return on the walls

of Troy. Somax‟ thoughts lift when he thinks of returning to his home to be greeted by his beloved grand-

daughter.

Achilles also has his story finished, through his son, who is on the voyage to his father‟s side even as Hector‟s

body rolls back into Troy. Neoptolemus avenges Achilles, but not in the way he envisaged, as a hero slaying a

king. Through Neoptolemus‟ eyes we see an enraged son hacking Priam to death after he trips when attempting

to flee.

He feels shame at the ugly, clumsy nature of his vengeance, knowing that it is beneath the actions of a true

hero, and also no compensation for the vague, nine year old memories of his father, with which the war against

Priam had left him. This shame, despite his actions not being witnessed, he will carry with him for the rest of

his days. It is not easy being the son of Achilles.

Malouf then directs his story back to Somax. Somax is the only main character who survives to have grand-

children. He is also the true story-teller of all the characters. The others are heroes or royalty; they have stories

told about them. The ironic twist to the novel‟s conclusion is that the longer Somax lives, the less his story is

believed. Future generations forget the past and assume that Somax has borrowed his story from others. The

irony of this, something not lost on Malouf, is that he too has borrowed from someone else‟s story in order to

tell one of his own.

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CHARACTER PROFILES

Protagonists and Antagonists

A narrative may have main characters that are set against each other in some kind of conflict; the one forcing

the conflict is the antagonist, the other is the protagonist. The antagonist may often be on the side of evil

whereas the protagonist is on the good side. Malouf deliberately dissolves the traditional boundaries between

protagonists and antagonists, showing instead the shared compassion of humanity. Warriors are set against

diplomats and kings, but this style of characterisation is in keeping with the heroic, humanist understanding of

human nature, where there is no absolute division between good and bad, right and wrong, rather each character

has the potential for each, and must continually battle to control their baser urges.

Construction of Character

Malouf deliberately cultivates pathos for his characters. By Malouf‟s changing the perspective of the narrative

to focus on each of the main characters in turn, the reader is positioned to understand the motivations and

actions of each one. One of the strengths of Malouf‟s writing in the novel is that he presents his characters

without bias. Each of the main characters is described using a fairly similar number of words. Even the minor

characters are fleshed out so that each main character can be seen to have support, in the form of practical

service, and emotional counsel.

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Major Characters

Achilles

Status:

He is a Greek hero and renowned warrior.

Circumstances:

He has come to Troy to assist Agamemnon6. He has chosen the life of a warrior. He strives to be honourable

but guilt and the need for vengeance lead to him defiling the body of Hector. He is aware this action offends

the gods.

Personality:

Essentially, he is confident; a leader, proud, energetic, and dynamic but the exuberance of youth has left him

since he killed Hector.

World View:

He is a hero. He reveres the simple life of a farmer/soldier but knows that he has grown larger than this life

over the nine years of the Trojan War and that there will be no returning to it.

Motivations:

He is searching for a way to assuage his guilt. Instead of feeling avenged and satisfied after killing Hector, he

still feels guilt over his friend Patroclus‟ slaying. He wants forgiveness from Patroclus, but he is dead. He also

wants to have his actions regain the respect and esteem of his men but cannot put his grief aside in order to

achieve this.

Behaviour:

He loathes his rage after killing Hector, yet does not let it abate. He begins to lose self-respect. He is grieving.

Only after showing respect for Priam and honouring his request does he feel free of the guilt he has attached to

himself over the nature of Patroclus‟ death.

Development:

He does regain his sense of self-worth by returning Hector‟s body to Priam. Achilles discovers that he will not

grow old. He learns he will not survive the war against Troy.

6 During the siege of Troy, Agamemnon offended the greatest of the Greek warriors, Achilles, when he took the girl Briseis from him.

Encyclopedia Mythica. ‘Agamemnon’, by James Hunter. http://www.pantheon.org/articles/a/agamemnon.html (accessed 22.6.2010)

Invictus / Ransom 42

Priam

Status:

A Trojan, the King of Troy. He is elderly. He has ruled Troy for more than fifty years.

Circumstances:

He is beset by grief for the death of his son Hector, and also for the impending doom of his people. Troy has

been at war with the combined Greek cities for the last nine years.

Personality:

His personality is hidden behind his role as king. He is magnanimous, just, wise and steadfast.

World View:

Essentially, he is fatalistic regarding his own life, but also regarding the fate of his city and its people.

Motivations:

He is motivated to retrieve the body of his son Hector, a hero of Troy: to do what any father would do in his

situation.

Behaviour:

He is frail; consequently, his behaviour is measured. He displays courage by following through with his

conviction to ransom his son‟s body.

Development:

He finds his own voice – the ability to speak for himself as a father, and as a man. He learns to be observant,

and becomes sensitive to the world around him.

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Somax

Status:

He is a common carter; a plain workman. He is middle-aged; at least in his forties.

Circumstances:

He comes to the Trojan market place each day hoping to be hired so that he can provide for his daughter-in-law

and granddaughter. He owns a cart and two donkeys. He lives in a village, somewhere a small distance from

the city of Troy.

Personality:

He is earthy; practical, ethical and stoical. He is endowed with common sense, gained from his life experience.

He is passionate about his donkeys and his remaining family. He shows great emotional strength in dealing

with the loss of his wife and children.

World View:

He finds enjoyment in the things he has without becoming incapacitated by the family that he has lost. He feels

grief but practicality demands that he keep working. He has the ability to enjoy the simple things.

Motivations:

He works to provide for his family.

Behaviour:

He is robust and a capable carter. He is respectful of others if they have not offended him. He is prepared to

speak his mind if he is uncomfortable with a situation. He is honest when he displays his emotions. He talks a

lot to help settle himself when nervous and also because he likes a good story.

Development:

Through his service, he earns the respect of both Priam and Achilles. A case can also be made that he earns the

respect of the gods, who heal his grand-daughter. Despite his low socio-economic status, his open, practical

honesty is obvious to those whom he meets. He is rewarded with longevity and a large family, possibly

because he does not once think selfishly of receiving a reward, other than that of his fee for hire.

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Minor Characters

Hecuba

Status:

She is Priam‟s favourite and most respected wife. She is the most influential and oldest wife of Priam.

Circumstances:

The other wives, princes (Priam still has other living sons) and princesses look to her guidance. She is mother

to nineteen of Priam‟s children. She is Hector‟s mother.

Personality:

She is a caring mother. She is also determined. She is protective of Priam.

World View:

Her world view is that of a royal mother, who understands the duty of her children is first to serve their king,

then to be her offspring. She also represents the caring, respectful and resourceful wife.

Motivations:

She loves Priam and her extended family. She advises Priam to stay safe.

Behaviour:

She tries to talk Priam out of his plan. When she cannot achieve this, she influences her family to also try to

persuade Priam to give up the notion of ransoming Hector‟s body.

Development:

She resigns herself to wait for Priam‟s return, looking for him from the walls of Troy.

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Hermes

Status:

The messenger of the gods and a son of Zeus. He is the patron of athletes, thieves, and trade.

Circumstances:

He appears to Priam and Somax and offers to guide them to the Greek hero, Achilles. Initially, he names

himself Orchilus, one of lord Achilles‟ men, and takes on the appearance of a beautiful Greek youth.

Personality:

Who can fathom the personality of a god? He is quirky, self-absorbed, boisterous, pretentious, arrogant and

powerful.

World View:

He fills his many roles with a particular style, linked closely to his chosen persona and attire; a dandified youth

with beautiful hair, a splendid cap (perhaps it had wings?) and sandals to allow him to be „fleet of foot‟, as he is

known for his speed. Sandals are light and sturdy.

Motivations:

To help Priam‟s taken chance be successful. To restore order to the world of men: to break the stalemate which

Achilles has with the gods - induced through Achilles‟ stubborn refusal to honour Hector‟s body.

Behaviour:

He displays bluster, confidence, arrogance, and competence in equal measure.

Development:

He can only be seen by Priam and Somax. Achilles can sense his presence. After completing his main task he

does not intervene, or influence the conversation between Priam and Achilles.

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Automedon

Status:

Achilles‟ squire and body guard. He is Achilles‟ chief attendant, the driver of his chariot and his close body-

servant. He is a Myrmidon. He is young.

Circumstances:

It was Automedon who defended Patroclus‟ body from the Trojan jackals and got to hear his last words and

breath and see his life leave him. Achilles is resentful of Automedon.

Personality:

He is loyal. He is also reserved and serious in his duties.

World View:

He is disciplined and loyal to Achilles. He is dedicated to serving Achilles.

Motivations:

To serve and protect Achilles.

Behaviour:

He is quiet and reserved. He is attentive to Achilles.

Development:

He duteously stays poised to serve Achilles, even when his dedication and presence become annoying.

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Alcimus

Status:

Achilles‟ personal squire and body guard. He is a Myrmidon. He is just a boy.

Circumstances:

He is younger than Automedon but no less dutiful to Achilles.

Personality:

He is brash and has an appealing natural animalism.

World View:

He fights and plays hard, with youthful exuberance.

Motivations:

To serve and protect Achilles

Behaviour:

He is raw and powerful in his service of Achilles. He is quick to reach for his sword to protect Achilles‟. He

also does what he is told to do by either Achilles or Automedon (who is his senior).

Development:

He dutifully serves Achilles even when Achilles is not himself.

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Deiphobus

Status:

One of Priam‟s sons, he is young and hardy.

Circumstances:

He lives with Priam in the palace, and has shown suitable grief over the death of Hector, but has otherwise done

nothing else about it.

Personality:

He is the most smooth-mannered and eloquent of Priam‟s sons.

World View:

Royal, privileged.

Motivations:

To prevent his father from attempting to ransom Hector‟s body. To protect his father‟s life, reputation and

image as king.

Behaviour:

He proves himself a strong orator. He presents plausible reasons why Priam should not leave the city.

Development:

His advice and pleas are not heeded by Priam.

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THEMES AND ISSUES

All texts raise themes. They are the issues, messages and insights into life that the narrative wishes to address

and which give the narrative its purpose. However, there can also be issues and messages suggested by a

narrative that readers may devise for themselves. There may be major themes, those that are very important to

the narrative, and minor themes, those that are less important. Themes may be presented directly or indirectly.

A list of possible themes would be almost endless, and a single narrative will address only a few. Themes often

involve the nature of some kind of conflict, which may be intra-personal, inter-personal, intra-national, inter-

national, passive and/or active, and have traumatic effects and moral implications and outcomes.

Honour through Battle: The Hero

Malouf‟s novel is full of and about heroes. In the Iliad, a hero was any soldier who fought for either side in the

Trojan War. In mythology and legend, a man or woman, often of divine ancestry, who is endowed with great

courage and strength, celebrated for his or her bold exploits, and who is favoured by the gods, is a hero. More

modern interpretations speak of a hero as somebody who commits an act of remarkable bravery or who has

shown an admirable quality such as great courage or strength of character. “Hero” has also come to mean

somebody who is admired for outstanding qualities or achievements. In Ransom, readers are given the Greek

hero Achilles as the archetypal hero. Typically, as is the fashion in Greek Mythology, he is not completely

noble or virtuous. He fights as much for himself; for personal fame and glory, as he does for any love he feels

for his king or Greece. In typically fickle fashion, Achilles withdraws from the front lines of the Trojan War

because of a personal quarrel with the leader of the Greek army over a slave girl. This petulant act ultimately

leads to Patroclus, through shame and embarrassment for his beloved friend and leader, donning Achilles‟

armour and going off to fight in his stead. This deception was reluctantly agreed to by Achilles. By pretending

to be Achilles, Patroclus thought that he was restoring Achilles‟ honour in the eyes of the other Myrmidons. By

joining the battle he was also able to rally the beset Greek soldiers. This is why, when Patroclus was killed,

Achilles felt guilty and responsible for his friend‟s death.

The Trojan hero Hector is also part of the narrative, as is Patroclus, even though both of these warriors are

dead; killed mere days before the novel is set. Malouf uses the fate of Hector and Patroclus as the impetus for

the twenty-four hours over which the action of the novel transpires. These dead heroes also generate the intra-

personal conflict suffered by Achilles. Their deaths lead Achilles to question why it is that he is still alive, or,

more accurately, what it means to be still alive when others are dead. He also draws comparison between

himself and Hector, eventually realising a shared brotherhood with a fellow warrior and hero. Achilles

acknowledges that although a foe, Hector was honourable in life, and therefore should be honoured in death.

Hector had the courage to fight for his people, not just for himself. He also had the courage to face Achilles in

personal combat, even after the gods had prophesised that he, Hector, would be defeated and killed. With these

Invictus / Ransom 50

qualities Achilles could empathise; such courage and conviction was to be admired.

Paternal (and Maternal) Love

As previously stated, at the heart of the narrative, played out through Priam‟s plea to Achilles, is the discourse

which surrounds the relationship between parents and their children - more specifically, fathers and sons. The

most universal theme explored in the novel is the paternal connections shared between characters. This type of

relationship (as well as the maternal relationship) is explored most thoroughly. It is in this particular story,

presented so briefly in the Iliad, that Malouf has found a narrative which explores intimately, poignantly and

simply the love which exists between parents and their children: between fathers and sons.

Malouf‟s main characters, in Priam and Achilles, communicate the strength inherent in this kind of relationship.

Fathers, such as Priam, will try something new and take a chance for their children. They will also risk their

lives for their children (in this instance, even taking the risk when their child is already dead). Children will

also risk all to both defend and avenge their parents.

The novel also explores the strength of the love between parents and their offspring, even when traditional

forms of this love do not exist. Achilles is removed from his mother, who is a goddess, yet still feels connected

and needing of her. Priam and Hecuba offer a distant kind of love to their numerous children, as is shown by

Priam not even being sure of the number of children he has actually sired; the role of king has prevented him

from getting to know his children personally, yet he still loves them. Somax is also presented as a father figure

to both his stepdaughter and granddaughter. The novel presents each of these different types of parent-child

relationships, and proposes that each variation offers an equivalent opportunity for a powerful bond – a bond

Malouf posits as a universal and special type of love.

Grief and Grieving

Grief is the common emotional connection shared between the main characters. Priam has slept fitfully since

Hector‟s death, which may account for his vision or dream. It is his grief for his son, as well as the more

subliminal grief he is anticipating for his people which is preventing his rest. Achilles also cannot rest as he

once did. He has also lost his appetite. Grief is also making him resentful of Automedon. He is subdued and

depressed. Somax still grieves for his children and wife, although he has had more time to come to accept their

deaths, so he is therefore further into the grieving process than Achilles or Priam.

Grief allows these three characters to enter into dialogue; each can empathise with the others‟ emotional pain.

They see in each other a shared humanity because of their grief. In this sense, this emotion is the catalyst for

the events which transpire, as well as being the facilitator of the relationships which are forged between these

three men. Priam, Somax and Achilles could not be more disparate. They are diametrically opposed in almost

Invictus / Ransom 51

every way: class status, physical prowess, age, culture, and race. But theirs is an unusual dichotomy, because

for all their differences, they still find things to admire, as well as to sympathise with in each other. They form

a bizarre triage of grief. There is the numbing grief of a father who has lost a favourite son. There is the raw

grief of a man who has lost his best and oldest friend. There is the aching grief of a father who has outlived all

his children and his wife.

Malouf asks the reader to consider whose grief is the stronger? Which of these main characters has the most

right to grieve? The answer to these questions is subjective, depending perhaps on which of the main

characters each reader most readily identifies with. Yet, it is an essential theme for, in striving to find an

answer, readers will confirm the validity of Malouf‟s narrative. By setting the novel in an ancient time and by

utilising characters so removed from contemporary models, readers are positioned to acknowledge that

emotions such as grief are universal. Just as grief unites such diverse characters in this novel, emotions form

an essential part of everyone, despite race, class or religion. Ultimately, even though the emotion explored so

comprehensively in this novel is grief, a feeling which is associated with many of the negative aspects of what

it is to be a sensitive human being, it is shown that even this negative emotion can temporarily halt a war, and

can bring enemies together on common ground. This illustrates the power and importance of all human

emotions. Humanity shares the ability to feel emotions. They are what should be today's common ground, in

all relationships, whether those relationships are personal, political or diplomatic.

Talk: Communication through Action

Another important difference between the main characters is the way they use speech to communicate. Talking

as a form of communication is an action; it is a verb. It is something that people do. The complexity of talking,

and why it is a theme in Ransom, is that in the modern world it has also come to be an abstract noun. In

contemporary society, when people are „talking‟, or need to „talk‟ to discuss an issue, it is understood that they

wish to engage in meaningful conversation, with either one or all parties to the conversation having an

underlying motivations, which also forms an important part of the discussion. Such „talking‟ has a context.

Such „talking‟ has a purpose. What is different about Malouf‟s portrayal of speech or dialogue in the novel is

that each of the main characters chooses to speak for completely different reasons and purposes.

Priam speaks rarely, as he is a king. The only time he engages in personal talk is when he is with his wife, in

the privacy of their chamber. Even the discussion he has with his family, when he tells them of his plan to

rescue Hector, is controlled. This reticence regarding speech is only put aside with difficulty - firstly, when

Priam engages Somax in conversation (although even here Priam quickly reverts to being the listener) and

secondly, when he converses with Achilles after his emotional plea for Hector‟s body.

Achilles speaks to give orders. Through Achilles‟ internal reflection, Malouf informs the reader that Achilles

was not always like this. When Patroclus was alive, he was vibrant, charismatic, and confident. It is only after

he feels the guilt of Patroclus‟ death has lifted that he can begin to use speech effectively again. Ironically, it is

Priam, not any of his Myrmidons, who gets to know this changed Achilles first, through the conversation they

share after Hector‟s ransom.

Invictus / Ransom 52

Of the three main characters, Somax is the one who is most accustomed to talking. He uses speech to

communicate his thoughts of that moment, or ideas which have come to him from his immediate context. He

listens and answers questions. He speaks honestly about his past. He enjoys telling stories in order to entertain.

He does not speak with an agenda or purpose which is hidden.

What allows these diverse characters to communicate successfully is not their ability as orators, rather it is their

shared experiences. It is when they are doing things together that they are able to speak of events and thoughts

which spring from their emotions. As such, Malouf gives his main male characters attributes regarding speech

which are part of the modern Australian male stereotype. These men do not speak directly of their emotions.

They do not sit down to „talk‟. They do things together. They share experiences. They share sympathy and

form a mutual respect. This is when they express themselves as individuals, not as their roles or as protocol

dictates. This is when they engage in honest dialogue, not rhetoric.

Fate and Chance: Visions and Visitations

Greek mythology is not a religion, rather a collection of stories which were either written or compiled by the

Ancient Greeks. Malouf‟s Ransom, introduces the modern concept of „taking a chance‟ or of „doing something

new‟ in order to achieve a goal. The Ancient Greeks, and the Trojans, are presented as having a close

connection to their gods (Achilles and Priam are both descended from gods) in this novel. They are also

presented as being closely connected to the spirit world; a world which the gods inhabit, and also one which

they control. Mortals pass into this spirit world when they die. The unique thing about Greek mythology is the

amount of influence which humans are actually given in relation to their gods and the world which these gods

inhabit. The gods do interact with humans. They are in fact dependant on human worship and ritual for their

power. So, even though the gods are powerful, they are also tied closely to their followers. This means, that if

events in the real world are threatening the order of the spirit world, they will intervene. It is just such an event

that Malouf depicts in this novel. The way Achilles denied Hector a burial and also how he treated his body

offended the gods. Achilles‟ actions also defied the gods; hence they took an active role in helping this to be

resolved.

Firstly, the gods visited Priam, and suggested in a dream that he take a chance and try something new.

Secondly, Hermes assisted Priam so that he could speak with Achilles. These interventions are crucial. Malouf

makes it clear that without divine intervention, Priam would not have made it to Achilles. But, Malouf is also

careful to keep the intervention of the gods limited to these two tasks. It is Priam who takes matters into his

own hands to ransom Hector‟s body. It is he who decides to ignore all protocol and to try something new. It is

also Somax and his donkeys which pull Priam and the cart out of the river when the cart threatens to tip.

Hermes, even though present, does not intervene, rather, the god allows men to handle this situation. In the

same way, the gods allow Priam and Achilles to handle their situation as men. It is not armies, or lightning

bolts from the heavens which give Priam back Hector. It is his emotional plea to Achilles, as one father to

another, one man to another, which achieves his purpose. And, it is just such accomplishments by men which

the gods admire and reward.

Invictus / Ransom 53

The rewards Malouf presents as interventions from the gods come in two forms; the metaphysical and the

physical. The gods did preserve Hector‟s body. This is a physical intervention. Hermes also raised the gates

of the Greek camp and cast a glamour over the guards so that the cart could roll through unopposed. He also

plays a harp as a subterfuge to allow for Achilles to be in the mood to receive Priam, and also to allow for

Priam to make his way to him through the crowded tent. Furthermore, the gods cure Somax‟ granddaughter of

her fever. These are essentially physical interventions. The gods also play a role through the metaphysical

visions which characters believe to be divine messages. Priam „dreams‟ how he will rescue his son‟s body.

Achilles also sees the truth of his own death and the resulting vengeance of his son on Priam as a blinding

vision just after they meet. These are metaphysical interventions or visions. It is through both of these methods

that Malouf is able to construct a by-play which runs throughout his novel between the plans and meddling of

the gods, which are often in conflict/contrast with the will and actions of man. When both are in collusion, the

world is normal and the gods remain at a distance but when things go awry, the gods intervene. Malouf posits

that both fate and chance are matters for the gods. And, because men and gods are so entwined, both groups

get to play their part in this narrative.

Invictus / Ransom 54

IMPORTANT QUOTATIONS

Chapter 1

Achilles:

„He sees my indifference to the fate of these Greeks as a stain to my honour, Achilles told himself, and

to his own.‟ (p. 16)

“If all this touches you so deeply, Patroclus,” he had flashed out, “you go and save the Greeks.” (p. 17)

„“Just a little longer, Patroclus,” he whispers. “Can you hear me? Soon, now. Soon.”

But first, he had Patroclus‟ killer to deal with, in a last encounter out there under the walls of Troy.‟ (p.

21)

„He is as fouled with dust as the thing – bloody and unrecognisable – that he trails from his axle-bar.‟

(p. 34)

„His runner spirit has deserted him.‟ (p. 35)

„He is waiting for the break. For something to appear that will break the spell that is on him, the self-

consuming rage that drives him and wastes his spirit in despair.‟ (p. 35)

„Meanwhile, day after day, he rages, shames himself, calls silently on a spirit that does not answer, and

sleeps‟. (p. 36)

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Chapter 2

Priam

„The grief that racks him is not only for his son Hector. It is also for a kingdom ravaged and threatened

with extinction.‟ (p. 40)

„Priam comes to attention. He knows from long experience what is expected of him. Stays ready but

still‟. (p. 41)

„For all his reverence – he might say as a necessary part of it – he is wary in his dealings with the gods,

who do not always act openly, or so he has discovered. He treads lightly in their presence.‟ (p. 42)

He is obliged, in his role as king, to think of the king‟s sacred body, this brief six feet of earth he moves

and breathes in – aches and sneezes and all – as at once a body like any other and an abstract of the

lands he represents, their living map‟. (p. 43)

“Not a mockery, my friend, but the way things are. Not the way they must be, but the way they have

turned out. In a world that is also subject to chance.”

“Chance?”‟ (p. 46) (Goddess Iris, who links the gods to humanity)

„Yes, yes, he thinks, all this I know is unprecedented.

But so is his plan. (p. 49)

“There are things,” he says, almost under his breath, “that once we have touched them, once they have

touched us, we can never throw off, however much we scrub away at ourselves, however high the gods

set us.” (p. 69)

„Yes, yes, Priam thinks, that is all very well, but what have you done more than the rest? Beat your

breast, fouled your hair with earth, wept a little. You are young and hardy. Even an old man like me

can do that much.‟ (p. 83)

„Priam meanwhile has been regarding this rough-looking fellow who is to be the sole companion of his

journey and is confirmed once again in the rightness of his project. The carter resembles so completely

the figure in his dream.‟ (p. 96)

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Somax

„In the tavern where he goes to enjoy a little company, to hear a joke or two and to escape in light-

headedness the harshness of his life, he talks so warmly and so often of his little mule that he is teased

for it with all sorts of coarse but joking suggestions; and it is true, he is a little in love with the creature.‟

(p. 94)

„Likes the look of me, does he? Well there‟s something! He thinks of what his cronies at the tavern

will have to say of this.‟ (p. 96)

Chapter 3

Priam

„He was a rough fellow, this companion he had chosen, with no notion, so far as he could see, of what

was proper, but he did know his way about, and there was so much simple modesty and good-will in the

man, and so much tact in the way he made his suggestions, that Priam found nothing objectionable in

him.‟ (p. 117)

„He observed with amusement that they found the royal feet every bit as disappointing and without

interest as the driver‟s.‟ (p. 117)

„But out here, he discovered, everything was just itself. That was what seemed new.‟ (p. 124)

„Most surprising of all was the way the fellow let his tongue run on, with no fear at all, it seemed, of

being taken for a mere rattle or chatterer.‟ (p. 125)

„In his own world a man spoke only to give shape to a decision he had come to, or to lay out an

argument for or against. (p. 126)

„And he looked at the old fellow who had revealed these things to him with growing respect.‟ (p. 128)

„The fellow was just too good to be true.‟ (referring to Orchilus/Hermes) (p. 146)

Invictus / Ransom 57

„The landscape they were entering was one of utter devastation‟. (p. 135)

„He took comfort as well from the title the god had just given him… father...‟ (p. 161)

Somax

„Very tactfully, his heart softened by fellow -feeling, since he too was a father, he allowed himself the

deception of pretending he had misheard.‟ (p. 113)

„He‟s like a child, he thought, a bit on the slow side. Or a man who‟s gone wandering in his sleep and

doesn‟t know where he is or how he got there.‟ (p. 115)

“But the truth is, we don‟t just lie down and die, do we, sir? We go on. For all our losses. But I‟d‟ve

been walking around, strong as I am, with a broken heart. My heart would have broken – it‟s near broke

already. My wife, rest her spirit, gave me three sons, and four daughters, and you know, sir, not one of

them is still living.” (p. 131-132)

Chapter 4

Achilles

„The fact is, he resents Automedon. His presence is both a reminder and a rebuke.‟ (p. 169)

„Father?‟ (p. 174)

„The man is a stranger. Noble, yes, even in his plain robe, but not at all like Peleus. What tricks the

heart can play! ... and he continues now to feel tenderly vulnerable to all those emotions in him that

belong to the sacred bond.‟ (p. 174)

„Ice ribs him round with an iron grip. It is the coldness of that distant star that is the body‟s isolation in

death.‟ (p. 185)

„Something in him has freed itself and fallen away. A need, an obligation.‟ (p. 189)

Invictus / Ransom 58

„What he feels in himself as a perfect order of body, heart, occasion, is the enactment under the stars, in

the very breath of the gods, of the true Achilles, the one he has come all this way to find.‟ (p. 190)

„Unheroic thoughts.‟ (p. 193)

Invictus / Ransom 59

COMPARATIVE TEXT ANALYSIS

FOR

Invictus / Ransom

Invictus / Ransom 60

COMPARATIVE TEXT ANALYSIS: IDEAS, ISSUES and THEMES

Learning intentions

• Explore how comparing texts can provide a deeper understanding of ideas, issues and themes

• Investigate how the reader‟s understanding of one text is broadened and deepened when considered in

relation to another text

• Explore how features of texts, including structures, conventions and language are conveyed in these

texts

• Convey ideas, issues and themes that reflect and explore the world and human experiences, including

historical and social contexts.

The difference between Unit 2 and Unit 4:

Unit 2:

How do authors convey ideas, issues and themes?

How do similarities and differences between texts create new meaning?

How does the comparison enrich meaning and understanding?

Unit 4: A detailed comparison:

Look at how the texts interplay with each other and respond to them

What meaningful connections can be made between the texts?

Student must:

Identify how texts are similar and how they are different

Know both texts really well

Treat both texts equally

Know what to compare

Consider ways that textual features impact on meaning

Know how to write a written comparison that shows enriched understanding

Be able to sustain a coherent clear argument

Use the language of comparison

Make clear and discerning choices about what to put in and leave out

Invictus / Ransom 61

Student Assessed Coursework

Worth 60 marks in Unit 4

Suggested written response length: 900 – 1200 words

Common Themes: Invictus and Ransom

* Please note you have to compare similarities and differences, these theme notes simply look at commonalities

Changing Identity

“If I cannot change when circumstances demand it, how can I expect others to?” Mandela

”I thank whatever gods may be / For my unconquerable soul. / I am the master of my fate / I am the captain of

my soul” Mandela quoting “Invictus”

„Let me tell you why. On Robben Island, in Pollsmoor Prison, all of my jailers were Afrikaners. For 27 years, I

studied them. I learned their language; read their books, their poetry. I had to know my enemy before I could

prevail against him‟ Mandela

„We have to be better than that. We have to surprise them with compassion, with restraint, and generosity‟

Mandela

„I was thinking about how you spend 30 years in a tiny cell, and come out ready to forgive the people who put

you there‟ Pienaar

Brenda Mazibuko: „This rugby, as a political calculation...‟

Nelson Mandela: „It is a HUMAN calculation‟

„Forgiveness liberates the soul. It removes fear. That is why it is such a powerful weapon.‟

„Times change, we need to change as well‟ Pienaar

Category Invictus Ransom

Theme: central idea

we examine

Change Change

Idea: Concept What benefits does

having the courage

to change bring?

What benefits does

having the courage

to change bring?

Issue: Something in

dispute

Are the sacrifices

made worth it?

Are the sacrifices

made worth it?

Invictus / Ransom 62

„It seems to me that there might be another way of naming what we call fortune…or the whim of the gods.

Which offers a kind of opening. The opportunity to act for ourselves. To try something that might force events

onto a different course‟ Priam

„ Not the way things must be, but the way things have turned out. In a world that is only subject to chance.‟ Iris

to Priam

„But what seems foolish is just sensible sometimes. The fact it has never been done, that it is novel,

unthinkable- except that I have thought of it-is just what makes me believe it should be attempted. It is possible

because it is not possible. And because it is simple. Why do we always think the simple thing is beneath us?‟

Priam

„The chance to break free of the obligation of always being the hero… to take on the lighter of bond of being

simply a man. Perhaps that is the real gift I have to bring him. Perhaps that is the ransom‟ Priam

„But I am also a father. Mightn‟t it be time to expose myself at last to what is merely human? To learn a little of

what might be, and what it is to bear it as others do?‟ Priam

Both Invictus and Ransom show that identity is fluid, both Mandela and Priam are at turning points in their

lives and face challenges to their sense of identity. They take a new path on the journey of life, leaving the old

behind and embracing the new. This is not without difficulty; when one is seen one way, it is hard to change

that perception and have others understand one‟s motives.

In the film Invictus many had expected Mandela to come out of prison after 27 years and seek revenge; indeed,

many in South Africa feared they were on the brink of a civil war with Mandela‟s rise to power. For many

Afrikaners he was someone they had seen as a terrorist and for black South Africans he was someone who had

given up a huge portion of his life to fight for their rights. Mandela had to quell „white fears‟ and satisfy „black

aspirations‟.

The black South Africans are initially sceptical of Mandela‟s desire to unite the white and black communities in

a common goal for a new South Africa. The black South Africans would rather support any team other than the

„boks‟ and wish to get rid of the Springbok jersey and emblem as to them these are still a symbol of the old

regime: Apartheid. A young black South African Sipho declines to wear the Springbok jersey as he fears he

will be beaten for wearing something that has such strong negative connotations in his culture. The ANC vote

to abolish the Springbok jersey and emblem until Mandela steps into the meeting and appeals to them - despite

the vote to get rid of the jersey being unanimous - to follow his vision. Mandela also acts to quell the petty

disputes between his black and white bodyguards by reminding them „When people see me in public they see

my bodyguards. You represent me directly. The rainbow nation starts here.‟ Reconciliation starts here‟. His

dream for a new future involves forgiveness, alleviating the fear and not alienating those he wishes to unite

together as one. The idea of using rugby as a medium to unify the nation involves each culture adopting

elements of the other in order to bring about a shared sense of identity; a national identity.

Invictus / Ransom 63

Mandela faced no easy feat in unifying his nation and bringing about his vision of a „Rainbow Nation‟. In

order to transform his nation and bring about a sense of national identity, he had to alter his own identity. He

had to change from the political activist he was to someone who engaged in more peaceful means to bring

about change. Having spent 27 years in Robben Island he had cultivated his dream of a new South Africa by

studying his Afrikaner guards, learning their language and reading their literature. He also realised that times

had changed and that, in order to go forward, he had to inspire those around him to change also „Our enemy is

no longer the Afrikaner. They are our fellow South Africans, our partners in democracy‟. The change in his

own individual identity was strongly linked with his vision for a new national identity and sense of unity.

Mandela when asked about his family states “I have a large family 42 million‟.

It must be noted however that there are more challenges to Mandela‟s identity; his identity as father to his own

children is less successful than his sense of national identity. For the black South Africans he is „father of the

nation‟, but for Zindzi his daughter who has grown into adulthood without him in her life, the time for fatherly

love and affection has passed. The black South Africans see Mandela as a father figure, who will lead them out

of the despair they have endured under white rule as can be seen in the film by his black bodyguards referring

to him with the traditional greeting “I see you father‟. He appeals to Zindzi as he appeals to the rest of the

population, „You criticise without understanding. You seek only to address your own personal feelings. That is

selfish thinking, Zindzi. It does not serve the nation‟. However she appears unwilling to change her feelings and

the sense of identity she has formed having been robbed of her father by the Afrikaners for 27 years and

embrace Mandela‟s vision. Mandela manages to form a strong sense of identity as father of the nation, but

struggles with his own daughter.

Priam‟s new identity is also challenged by his subjects, who have become used to seeing him in his clearly

defined role as king. Priam immerses himself in a personal journey for meaning. Inspired by his vision of Iris

the messenger of the gods, Priam decides to present himself as the man he is, rather than his public perception

as a royal figure to try to appeal to Achilles‟ good nature and reason with him to reclaim the body of his son,

Hector. Priam has only considered himself as a father in the symbolic sense and has always kept a „kingly

distance from the human‟. His reasoning for his change of heart is that it is „the chance to break free of the

obligation of always being the hero… to take on the lighter of bond of being simply a man. Perhaps that is the

real gift I have to bring him. Perhaps that is the ransom‟. His vision is not shared by his family and courtiers

who fear that that it is beneath him and an insult to undertake a mission in such a lowly way. They also fear for

his life. However Priam‟s mind is made up, „“But what seems foolish is just sensible sometimes. The fact it has

never been done, that it is novel, unthinkable- except that I have thought of it-is just what makes me believe it

should be attempted. It is possible because it is not possible. And because it is simple. Why do we always think

the simple thing is beneath us?”

Somax too is challenged to alter his identity so that he may fulfil his role as a dutiful subject of the King. He is

reluctant to discard „the life he has lived all these years‟ and accept the new identity put upon him. Somax is

also troubled by being at least temporarily renamed Idaeus; this new unfamiliar name strips him of his former

identity. He secretly notes his unhappiness with this appointment, since he is „Somax, not Idaeus.‟ The name

„Somax‟ is associated with many significant events in his life including his marriage and family. Somax‟s

confidence and pride in his identity is starkly contrasted with Priam‟s pursuit for an identity transformation.

Invictus / Ransom 64

Somax also plays a role in Priam‟s journey from king to man, as he helps Priam learn about his human side. It

is in their conversations that revolve around the “unnecessary” and that have no “point or use” that Priam

discovers what it is to be a “man” and “mortal‟. Somax tells him about ordinary things that Priam has never

thought of, including the ingredients and preparation of food, and shares with him his personal sorrow at the

loss of a child. That Somax finds it in himself to forgive his mule Beauty after the death of his beloved son

becomes one of Priam‟s most critical lessons and helps him achieve success as a “man remade‟.

Leadership

‗Our country will be the shining light in the world‘ Mandela

‗You elected me your leader. Let me lead you now‘

‗Well, that is right. That is exactly right. But how do we get them to be better then they think they CAN be? That

is very difficult, I find. Inspiration, perhaps. How do we inspire ourselves to greatness when nothing less will

do? How do we inspire everyone around us? I sometimes think it is by using the work of others‘. Mandela

‗I know. All of the things they denied us. But this is no time to celebrate petty revenge. This is the time to build

our nation using every single brick available to us – even if that brick comes wrapped in green and gold‘

Mandela

‗Our enemy is no longer the Afrikaner. They are our fellow South Africans, our partners in democracy. And

they treasure Springbok rugby. If we take that away, we lose them. We prove that we are what they feared we

would be. We have to be better than that‘ Mandela

Brenda Mazibuko: ‗you‘re risking your political capital, you're risking your future as our leader.‘

Nelson Mandela: ‗The day I am afraid to do that is the day I am no longer fit to lead.‘

‗We need inspiration Francois. Because in order to build our nation we must exceed our own expectations.‘

Mandela

‗Never, never and never again shall it be that this beautiful land will experience the oppression of one by

another and suffer the indignity of being the skunk of the world.‘ Mandela

‗Brothers, sisters, comrades, I am here because I believe you have made a decision with insufficient

information and foresight. I am aware of your earlier vote. I am aware that it was unanimous.‘ Mandela

‘I believe that the thing that is needed to cut this knot we are all tied in is something that has never been done

or thought of. Something impossible, something new‘ Priam

Invictus / Ransom 65

‗I have played my part, and tried to let nothing peep out of the real man inside me‘ Priam

‗You have done this because you are still thinking in the old way. I told you, I tried to tell you, that my vision

was of something new. Now is time to listen.‘ Priam

Both Priam and Mandela are able to sway the majority of their people to their way of thinking and therefore

inspire them to align their thoughts and beliefs with a broader principle. As outlined in the previous section on

identity, Mandela made decisions which went against the grain of popular thought. His ability to lead the nation

is questioned by the Afrikaners, we see this by the newspaper headline questioning his legitimacy to lead, „He

can win an election, but can he run a country?‟ His decision to shake the hand of Francois Pienaar is questioned

by his daughter who still views the white Afrikaners as her former oppressors. Also the black South Africans

initially fail to understand his reasoning for retaining the Springboks and drumming up support for them in the

Rugby World Cup. Brenda Mazibuko puzzled by his move states, „You‟re risking your political capital, you‟re

risking your future as our leader.‟ To which Mandela replies. „The day I am afraid to do that is the day I am no

longer fit to lead‟. Mandela establishes his personable and inclusive style of leadership early on through his

actions as well as his words.

While Priam may change „inwardly‟ and come to know something of how it is to be an ordinary man while on

his quest to reclaim the body of his son Hector, his style of leadership is far from conciliatory; he is used to

giving orders and expecting them to be followed. At the meeting of his family, councillors and advisors the old

man‟s scheme seems preposterous. This scheme challenges their very notion of who their father is and who

their king is. Priam however remains resolute in his decision, so much so he flies into a rage when he is

presented with his royal chariot and horses and reminds his subjects, „You have done this because you are still

thinking in the old way. I told you, I tried to tell you, that my vision was of something new. Now is time to

listen.’ Unlike Mandela, however , Priam, while successful in attaining his primary goal, ultimately sees his

kingdom destroyed and is killed by Achilles‟ son.

Priam and Mandela are strongly affected by what has happened to them in the past. Both of them known what it

is to have lost everything and to be powerless. Mandela‟s 27 years as a political prisoner incarcerated by the

Afrikaner Apartheid regime on Robben Island have had an immeasurable impact upon him and appear to have

determined his fate. He comes to realise that, despite his imprisonment, he is still in control of how he chooses

to react and act towards situations in his life as reflected by the lines of his favourite poem „I thank whatever

gods may be / For my unconquerable soul. / I am the master of my fate / I am the captain of my soul.” Inspired

by these words he establishes a style of leadership that is reconciliatory and seeks to unify the nation. Priam

reveals his past to Hecuba, showing a deeply human side beneath the image cultivated as a powerful ruler. It

does not change his style of leadership as such, but along with the inspiration from his vision of Iris encourages

him to continue on his quest to retrieve the body of his son by appealing to Achilles as a father, as „merely

human.‟

Invictus / Ransom 66

Revenge and Forgiveness

‗Let me tell you why. On Robben Island, in Pollsmoor Prison, all of my jailers were Afrikaners. For 27 years, I

studied them. I learned their language, read their books, their poetry. I had to know my enemy before I could

prevail against him‘ Mandela

‗Our enemy is no longer the Afrikaner. They are our fellow South Africans, our partners in democracy‘

Mandela

‗We have to be better than that. We have to surprise them with compassion, with restraint, and generosity‘

Mandela

‗I know. All of the things they denied us. But this is no time to celebrate petty revenge. This is the time to build

our nation using every single brick available to us – even if that brick comes wrapped in green and gold‘

Mandela

‗I was thinking about how you spend 30 years in a tiny cell, and come out ready to forgive the people who put

you there.‘ Francois Pienaar

‗Forgiveness liberates the soul. It removes fear. That is why it is such a powerful weapon‘ Mandela

―... Entreats the killer of his son, with whatever small dignity is left him‖ Ransom

―The chance to break free of the obligation of being always the hero… to take on the lighter of bond of simply

being a man. Perhaps that is the real gift I have to bring him. Perhaps that is the ransom‖ Priam

Both Invictus and Ransom acknowledge that seeking revenge is not always the answer, that such retribution

rarely results in a lasting solution for those concerned. Though Achilles avenges the death of his foster-brother

Patroclus by slaying Hector and then desecrating his body, this does not satisfy him or assuage his sorrow. His

desire for vengeance, „the self-consuming rage that drives shim and wastes his spirit in despair‟ is not satiated.

So deep is his sorrow he „eats almost nothing…but feels obliged to out of consideration of his men‟. Priam‟s

quest to reclaim the body of his son is not, however, met with another episode of violent retribution from

Achilles, but instead stirs something within him. Achilles at first mistaking him for his own father and later

seeing him as the simple man he is, the father consumed with grief for his own son Hector; subsequently

leading Achilles to allow the dignity of the reclamation of Hector‟s body and proper funeral rites. There is a

temporary truce and sense of empathy between Achilles and Priam.

Somax plays a role in helping Priam „break the knot‟ and in understanding the power of forgiveness. He relays

to Priam how he has lost his son the previous Spring and how his favourite mule Beauty had a part to play in

his passing. He speaks of how his first thought, upon finding his son‟s body amongst the reeds, was to strike

Invictus / Ransom 67

her but instead he simply embraced her. He says „ but what would have been the good of that? That would not

have brought him back‟. This simple acknowledgement of the futility of revenge emboldens Priam‟s desire for

a peaceful resolution to the pain he is feeling for the death of his son at the hands of Achilles.

As mentioned previously, Mandela learnt the power of forgiveness and the futility of revenge during his

incarceration and emerged with a new vision for his beloved South Africa. He is resolute in his view that,

“Forgiveness liberates the soul. It removes fear. That is why it is such a powerful weapon” While he wants to

bring his people out of the darkness and despair brought about by … years of Apartheid, he does not wish to do

so by alienating the Afrikaners and inciting violence amongst the black South Africans. Tensions are high as

can be seen by the black supporters rooting for any team other than the Springboks and the ANC‟s initial

decision to get rid of the Springbok names, jersey and emblem altogether. Instead of giving in to this feeling of

the need to seek retribution, Mandela instead seeks to forgive his oppressors and move forward in the spirit of

reconciliation.

Mandela advises against vengeance, instead imploring his people to share his vision by stating „: We have to

be better than that. We have to surprise them with compassion, with restraint, and generosity.‟ He convinces

Jason that harbouring any resentment for the Afrikaners (still the majority in banking and government) will

only make the working environment unmanageable. He asks Jason to try forgiveness, to understand that it

„removes fear‟. The enemy he states is „no longer the Afrikaner. They are our fellow South Africana, our

partners in democracy.‟

Invictus / Ransom 68

Comparing Genre

Along with comparing themes, characters and setting, looking at text construction is also an expectation of

Reading and Comparing. The comparison of different ways in which texts have been constructed will assist

with understanding of textual features. The use of visual images can shape our view and give added meaning to

events and individuals, which sometimes words upon a page cannot muster.

Example: Print V Multimodal: How graphics impact as opposed to the written word and how these differences

impact on the reader. Fiction V Non-Fiction: Perspectives may be different, language etc.

Areas of note:

The compression of time in film

The interplay of dialogue between characters

The use of media: newspaper, and news footage

Documentary footage of violent protests

Soundtrack „9000 Days of Destiny‟

Sound: Rugby chants, chants of ANC supporters, cell doors closing etc.

Voiceover: Mandela reciting “Invictus” (Springboks‟ tour of Robben island)

Camera shots and angles

Memorable scenes e.g. Mandela in the Springboks‟ jersey on the field at the World Cup Final

Malouf‟s use of vivid imagery to describe scenes

Ransom is told in the third person

Malouf‟s use of introspection: each character‟s thoughts form the core of the narrative, thus giving an

intimacy to his writing

Malouf‟s pattern of writing also changes to suit each character

Invictus / Ransom 69

Approaches to the Essay

Topics may fall into the following categories:

Ideas, themes and issues

Cultural, geographical, historical, social and ideological context of the texts and their writers

Questions about genre that ask you to look at the way the type of text influences how themes and issues

are covered e.g. a play and a novel. The way texts are constructed and the differences in how they are

constructed impacts on theme.

Bear in mind each of these questions asks you to look at the text in a different way and therefore to seek

different information according to each type of question.

How to go about it?

The comparative analysis of the texts does not have to be a 50/50 balance. One text could resonate

really well with you and then you can draw the other in. Could be 60/40. It is essentially all about the

quality of comparison.

Identify connections between ideas, issues, themes and features.

Compare genre

Compare settings and context: cultural, geographical, historical, social and ideological.

Group connections together in your exercise book.

Identify points of comparison.

It is not about specific elements of the plot, but rather related moments.

Invictus / Ransom 70

Where do I start?

Consider focusing on the protagonist, then secondary characters and relationships between all. This could prove

a great starting point for further discussions into ideas, themes and issues.

What will I be marked on?

Construction

Conventions

Language

Metalanguage

Grammar and Spelling

Have you moved seamlessly from one text to another?

Written expression

Ways to compare:

Comparison tables

Venn diagrams

Mindmapping/Brainstorming

Close passage analysis with annotations

Selecting and matching key quotes

Constructing compelling statements about both texts

Stills from films and passages from the book

Tip:

The best advice is to do the texts separately, one after the other and not side-by-side as that would be very

confusing. When making notes this way you just leave a blank page every second page in your workbook for

your second text to fill in later. Then it‟s so much easier to compare the various themes and other features of the

text. However, that is up to your particular school also.

Invictus / Ransom 71

How do I construct my analysis essay?

A) Block comparison: P1: Text 1 P2 Text 2 P3: Txt 1 P4: Text 2 etc.

B) Integrated comparison: Interweave ideas from both texts in each paragraph. More sophisticated.

Tip: what you leave out is as important as what you put in

The types of questions have not been fully decided:

A) It could be a statement about two texts that needs to be explored. e.g. compare the way x…. is presented in

B) A key quote from each text that you will base your comparison on

Note: Sample responses coming out early in 2017

Essay Questions

1. Compare the ways in which Invictus and Ransom highlight the futility of revenge

2. Compare how perceptions of leadership are challenged in Invictus and Ransom

3. Compare the ways in which characters in Invictus and Ransom experience changes in their identity

4. Compare how individual stories of struggle in Invictus and Ransom show humanity rather than heroism

5. Compare Invictus and Ransom, using the following quotations as the basis of your response:

„Times change we need to change as well‟ Invictus

„You have done this because you are still thinking in the old way. I told you, I tried to tell you, that my

vision was of something new. Now, this time listen‟ Ransom

6. Compare Ransom and Invictus, using the following quotations as the basis of your response:

„Words are powerful. They too can be the agents of what is new, of what is conceivable and can be

thought and let loose upon the world‟ Ransom

„Flippin‟ terrorist song. They used to arrest you for singing it‟ Invictus

Invictus / Ransom 72

Analysing A Question

Compare Invictus and Ransom, using the following quotations as the basis of your response:

‘Times change we need to change as well‟ Invictus

„You have done this because you are still thinking in the old way. I told you, I tried to tell you, that my

vision was of something new. Now, this time listen‟ Ransom

Approach:

This type of question asks you to look at both quotations and determine what each means in terms of the

text as well as in a broader context.

You also need to identify connections between the two quotations.

Quotations in terms of the texts

Francois Pienaar urges his team to come together both for the sake of the game and for Mandela‟s

vision of „A Rainbow Nation‟

Priam urges his subjects (including his sons) to listen to what he has expressed to them as he is

exasperated at being presented with the royal chariot and horse, when he asked for a simple mule cart

Similarities:

Both Pienaar and Priam urge their followers to listen and embrace change

Both Pienaar and Priam are on personal journeys of self-discovery

Both Pienaar and Priam come up against resistance to their ideas and reluctance to accept change

In both texts powerful events from the past govern the current population and their attitudes and

dominate the political and cultural landscape

Pienaar, Mandela and Priam demonstrate the power of individual choice and the concept that destiny is

in the control of individuals

Pienaar, Mandela and Priam share a positive attitude to dreams (in the former dreams equalling hopes

and aspirations)

Invictus / Ransom 73

Differences:

The change Pienaar alludes to has a lasting impact, while Priam‟s triumph is temporary and his city of

Troy is eventually to be destroyed

Pienaar uses calm, inclusive and conciliatory language, whereas Priam admonishes his subjects for not

following his vision

Priam believes in destiny, but also makes his own decisions based on the concept of chance, a concept

brought to him in a dream vision from the gods‟ messenger Iris

Pienaar is influenced by Mandela who in turns believes he is in control of his fate and destiny and draws

inspiration from the poem “Invictus”

Invictus / Ransom 74

FINAL EXAMINATION ADVICE

When preparing for the exam it is important to revise both of the texts and comparative essay writing skills.

The Texts

You need to be familiar with all aspects of the texts: the individual stories, the characters, and themes. Make

sure you re-read both texts. Create your own timelines of the experiences of the characters. Revise the themes,

identifying specific details from each text to support your interpretation, including quotes. Create your own

Venn diagrams comparing each of the themes and the characters. You should also revise a series of quotes from

each text that will be useful in supporting your points in the essay. Ensure you know how to spell the characters

and place names correctly: this shows fundamental knowledge of the texts.

Essay Writing

Revise comparative essay writing and paragraph structure. Make sure you have decided whether you will write

a block essay or integrated essay structure. Do not use first person. While the essay question may ask, “Do you

agree?” Present your points confidently and as fact- you do not need to include specific reference to your

personal opinion.

The Exam

It is very important that you get used to writing an essay in 45 minutes, to give you enough time to proofread

and edit your work. During the reading time, read the essay questions for your pair of texts and select which

one you will answer. When working on the question, identify the key words and clarify what the question is

asking you. Plan your points. Always plan your essay before beginning to write. By planning your essay before

beginning to write you are getting your thoughts in order and ensuring that you have relevant points of evidence

to support your opinion. Focus on answering the question, not just summarising the texts. Include relevant

quotes, but make sure they are not too long and that they reinforce your points. Write in pen and write clearly.

Always underline the title of the text, e.g. Ransom. (When hand writing, always underline; when typing,

always italicise). Always refer to the author as Malouf, not David.

Comment on HOW and WHY the novel is written. This will add great depth to your response and show the

examiner your sophisticated understanding of the writer‟s style and purpose.

Analyse the key words in the topic. Brainstorm synonyms to assist your use of varied expression in the

essay. Make connections to major themes.

Do not simply summarise the plot of the novel. You must show the ability to analyse the events and

Invictus / Ransom 75

characters. Some students do not understand the difference between summary and analysis. Summary is

when you simply retell the events of the story. Analysis is when you explain why a character is behaving a

certain way and/or why the novelist was writing the story, e.g. their message. But this must always be done

through EXAMPLE found within the novel or the novel‟s context.

Be specific! Do not be vague or generalise in your answers.

As said in the last dot point, you must show how and why Malouf writes his novel through EXAMPLE.

Choose your examples and argue through them rather than just including quotes because you have to.

Always state exactly what you mean. Do not say things like „what the novel shows…‟ Say specifically

instead „the pathos/sadness that the novel creates…‟

Answer the whole question.

It sounds silly but students often answer only one part of the question or get entirely off topic without

meaning to. Make sure that you plan your arguments (usually through the key examples you will use) and

then follow the topic sentences and link back to the question at the end of each paragraph so you don‟t get

off topic.

Avoid repetition of examples, ideas and expression. Repetition creates the impression of a limited

knowledge of the text and also reflects poor planning and structure.

Avoid including large quotes. Key quotes should be carefully selected, limited in length and linked to the

topic of discussion.

Plan the main ideas in your essay and express them in clear topic sentences at the beginning of each

paragraph.

Ensure spelling is accurate, especially of characters‟ names, in order to show fundamental knowledge of the

text.

Do not use first person “I”. There is no need to introduce ideas in a personal way. Clearly the whole essay

contains what you believe and know.

Invictus / Ransom 76

REFERENCES

References Used

Malouf, David. Ransom. Random House, Australia, 2009 (2010 edition cited).

Encyclopedia Mythica. http://www.pantheon.org/

The Classics Archive: The Iliad, by Homer, written 800 B.C.E. Translated by Samuel Butler.

http://classics.mit.edu/Homer/iliad.24.xxiv.html

Greek – Gods.Info. Gods and Goddesses of Ancient Greece. http://www.greek-gods.info/greek-heroes/achilles/

2013 The Guardian (Australian Edition) https://www.theguardian.com/world/2013/dec/08/nelson-mandela-

francois-pienaar-rugby-world-cup

References for Students

Malouf, David. Ransom. Random House, Australia, 2009 (2010 edition cited).

Contemporary Writers. British Council of the Arts. Biography, David Malouf and Critical Perspective, Dr

James Procter, 2009. http://www.contemporarywriters.com/authors/?p=auth66

Wikipedia, The Free Encyclopaedia. David Malouf. http://en.wikipedia.org/wiki/David_Malouf

Toni Whitmont. Booktopia. Book Review of Ransom.

http://www.booktopia.com.au/ransom/prod9781741668377.html;jsessionid=JVuDq+qBfjxbnUaAEZIiRw__

Kabita Dhara, Readings, Carlton . Readings Bookseller Website. Short Book Review.

http://www.readings.com.au/review/ransom-david-malouf

2013The Guardian (Australian Edition) https://www.theguardian.com/world/2013/dec/08/nelson-mandela-

francois-pienaar-rugby-world-cup