Category: Invictus

The poem “Invictus” by William E. Henley, and the novel Anthem by Ayn Rand, both have frequent themes that examine the significance of selfness. Each of the themes that these toils have to offer will be examined throughout the pilcrow of this attempt. The characters in both arts of literature face prosecution for what they expect in our adventurous hard decree and extremely bent.

One of the common themes between Rand’s strange and Henley’s poems is that both of the main resolutions of these items are possessed to be nothing less than what they were made to be, which is unconquerable. A quote from Anthem that verifies this theme is, “They (the Golden one) front straighten into our (Equality 7-2521’s) view and they held our head high and they atone: “the unconquered.”(p.56). From this quote, the Golden one tries to believe that Equality 7-2521 can achieve anything he wants to. Within the poem “Invictus”, the origin seems to have gone through a similar seer that Equality 7-2521 had. A quote from “Invictus” extricates, “Under the bludgeoning of opportunity My head is bloody but unbowed.”.From this examination, I suppose that the natural abuse is more of a metaphor, for the emotive damage that each one of these men courses through. Since this poem mostly reasons about the informant’s ordeals to gain freedom, I believe that the author is maxim how uncivil, hard-hearted, and discriminate they can be, especially when it comes to things as precious as openness. The last instrument that we will be finished between Anthem and “Invictus”, is that both of the protagonists of these businesses believe, and know that they are the ones who restrain their lives and no one else. To protect my theme with evidence, an extract from Anthem estate, “I am. I think. I will. My hand…my Life…my cloud of their needs…my forest…the earth of mine.” (p.94). This extract from the novel is describing how Equality 7-2521 recognizes who he is, and what he controls. For so extended he had to think of his brothers, not himself. This discloses that he is the owner of his own heart and that nothing can hinder him from being his own one. To further back up my text, “Invictus” repeat, “I am the master of my doom: I am the captain of my soul.” From this extract alone, I can pluck that the author of this contignation is the governor of his own ruin, and what happens to him.

Facing prosecution, being hard-willed and determined, and being gallant are just some of the resemblant traits between both of these characters. The protagonists could have been absolved when the times gotta clammy; however, they fixed daring and decided. They even course to the termination and got injured physically and emotionally, but they still did not back down. There are not many communities probably these in today’s companionship, but those who are preference this could also be known as unconquered.

Works Cited

1. Henley, William. Invictus. Poetry Foundation, 2016.
2. Rand, Ayn. Anthem. Penguin Group, 1995.

Many characters in the historical fiction ‘Ransom’ by David Malouf and the 2009 film ‘Invictus’ directed by Clint Eastwood portray forgiveness and reconciliation through their actions and attitude. ‘Invictus’ highlights the determination of wanting to unite a “rainbow nation” whereas, ‘Ransom’ shows how the act of reconciliation unites two long-time enemies. Through these acts of reconciliation both writer and director demonstrate the impact of forgiveness in bringing people closer together. Additionally, both texts illustrate the impact division has on an individual and on their relationships, with misery and sorrow being a common denominator in the emotions reflecting the actions of characters such as Zindzi and Achilles. ‘Invictus’ depicts that a failure to reconcile results in the ruin of relationships. Whereas, ‘Ransom’ differentiates, showing the comfort and love a relationship can give when forgiveness takes place instead of resentment. Overall, Malouf and Eastwood, demonstrate the idea of reconciliation as a gradual process, and yet highly rewarding. The act of reconciliation, in both texts, varies amongst individuals and the way the author has portrayed it.

Malouf’s, ‘Ransom’ and Eastwood’s, ‘Invictus’ both capture the act of reconciliation, through the protagonists displaying acts of compassion which ultimately overcomes the vengeful atmosphere that exists in both texts, thereby, exhibiting the capability forgiveness has to unite people. Clint Eastwood reveals the power of forgiveness through the ambitious black South African leader, Nelson Mandela, who forgave his oppressors to move forward in the spirit of “reconciliation”, in order to achieve a “rainbow nation”. The opening scenes of ‘Invictus’ contrasts the government’s legal segregation system of apartheid and the racism that exists in the country against Mandela’s public release from prison and subsequent journey to presidency. By incorporating it in a stylized montage, and including documentary footage that highlights the violence and hatred towards Mandela, viewers are provided with a personal context of Mandela, allowing his stance of reconciliation to have a greater impact as it depicts his merciful and kind-hearted nature.

Mandela uses Rugby, a common love for both races, as the catalyst to reform relationships between the white and black South African community, to achieve reconciliation for the hurt the apartheid brought as he believes it will ‘liberate the soul’.

On the other hand, Somax’s storying telling, a technique used by both Eastwood and Malouf to share messages, enables Priam to understand reconciliation and the power that it holds, thereby being influenced to forgive Achilles.

Being a novel, Malouf uses a lyrical choice of expression to depict Priam stripping himself of his “ceremonial figurehead” to become “at last what is merely human” with the help of a “common man” named Somax. This provides Priam the ability to level with Achilles ‘father to father’ and beg, on ‘his knees’ for his son’s body. Like in Invictus, the words ‘I forgive you are never stated in ‘Ransom’, demonstrating that both Eastwood and Malouf, as reflected in their works, heavily believe in forgiveness and reconciliation as an action rather than a statement said, therefore, they use actions to intertwine the conflicting parties in each text.

In both texts, ‘Invictus’ and ‘Ransom’, reconciliation is demonstrated as a gradual process that is influenced by a higher authoritative power. To that effect, the act of forgiving someone takes time in both texts. Through Mandela’s influence, Jason is able to forgive the white Special Branch officers for their acts of violence against them during the anti-apartheid movement. Jason and his team “represent [Mandela] directly”. Therefore, they need to forgive and accept the Special Branch officers so that a “rainbow nation” is able to develop to achieve Mandela’s goal, unity. Like the character of Jason, Achilles also struggles to forgive and let go of the pain and grief caused by the death of his adopted brother, who he had “deep affection for”. Not wanting to forgive Hector and his family, leads to Achilles trailing Hector’s body in the “dust” for eleven days. His actions of vengeance do not bring satisfaction to Achilles’ desires, it leaves him feeling “torment[ed]” and empty as he believes he is partially responsible for Patroclus’ death. Malouf symbolically illustrates Achilles’ feelings of despair demonstrating the impact not reconciling with others and oneself has on an individual. Priam being imagery of Achilles’ father, Peleus, represents the effect a highly respected individual can have on another, resulting in Priam’s journey to the Greek camp in search of reconciliation. Reconciliation is portrayed by Achilles symbolically as “something inside him [frees] itself”. Peace is symbolized by offering Priam to “eat something together” and to “call on [him]” when in need. Malouf’s clearest expression of forgiveness is shown as Achilles regards Hector’s body for the last time where he acknowledges that “their part in the long war is at an end”. This underlines his forgiveness for the murder of his adopted brother, leading to the two cities becoming allies. Their forgiveness brings reconciliation and allows each other’s city to be safer. Likewise, reconciliation brings a smile to his face of Jason in ‘Invictus’ when in the presence of the special branch officers who he has befriended. This allows both teams to work together effectively and in unity, and like in ‘Ransom’, protect other lives and their own legacy.

The film ‘Invictus’ and the novel ‘Ransom’ demonstrate the power forgiveness has to bring together citizens of conflicting races, nations, and ideologies. This was demonstrated by the two characters in the texts, Nelson Mandela and Priam, who have the authoritative title to influence their nation. Being great influences, Mandela and Priam motivated others to forgive through their words and actions. As reconciliation is a gradual process for some, Jason progressively learned to forgive the special branched officers through the constant interaction of Mandela’s bodyguards. Due to Priam’s resemblance to Achilles’ father, Achilles too learned to forgive Priam, not only by this perception but also by Priam’s actions and determination to ransom his son’s body. The idea of reconciliation was not always demonstrated in ‘Invictus’, thereby relationships were ruined. Zindzi and her mother’s refusal to reconcile with the Afrikaners lead to a family being broken and melancholy to be experienced. Ultimately, the idea of reconciliation is demonstrated by David Malouf and Clint Eastwood in a similar way, through actions. Although the act itself is applied and performed in various ways.

David Malouf’s text Ransom and Clint Eastwood’s film Invictus, portray the idea of Fate and Freewill in which life is predetermined with the idea of controlling events through self-determination. Invictus concerns itself with the aftermath of an inhumane Apartheid and the role of an influential personal Mandela who demurs surrendering to fate while uniting a furcated nation. In comparison, Malouf’s Homeric adaption of the Iliad as a reimagination through his novel Ransom explores the extent to which life is determined and pre-established by the gods. The novel and film are both set in a significantly different time period wherein Troy faces obliteration by the Greeks, while South Africa faces a major division of the nation through the racial discrimination that has risen from the horrendous injustices of the apartheid era. Both the novel and film preach the significance of going above and beyond general “human expectations’ discretionary while acting independently as efficacious in challenging set customs and traditions.

In most Greek mythology and literature, fate appears to be an ultimate and inescapable force. Malouf’s Ransom goes beyond the narrative of Homer’s Iliad to discuss the concept of fate through the character of Achilles. At the outset of the novel, Malouf’s carefully constructed character, Achilles displays an irredeemable and unforgiving attitude. Achilles is faced with a predetermined duality within himself as the “fighter” and the “farmer.” His divine “warrior spirit” competes with a farmer whose “the earth is his element.” Malouf depicts Achilles under the “obligation of being always the hero” until he encounters grief upon the death of his half-brother, “soulmate” and “companion” Patroclus. In his greed for revenge, Achilles not only murders Hector but mercilessly drags his body around the walls of Troy. Achilles’ men, the Myrmidons observe the unusual treatment of Hector’s body as Achilles desecrates his body which opposes the ritual burial rites and traditions. The Greek norm of attributing misfortunes to fate is evident when the Myrmidons explain the vigorous actions of Achilles by claiming he is “mad” and “some rough-haired god has darkened his mind”. The idea of fate as an inescapable, predeterminate force is explored through the character of Achilles as his grief is attributed to a ‘darker agency’ that is beyond worldly or human control. Despite being a son of a goddess, Achilles is engulfed by a “self-consuming rage” and hopes for “something to appear that will break the spell” on him. Therefore, Achilles also relies on an external force to save him from the barbaric menace that “enfolds” him. Ransom discusses the concept of fate as an unexplainable force responsible for events beyond perceived human control.

Predicated upon the crisis of the past, Eastwood’s Invictus explores the concept of fate as one’s destiny is only fixed in the presence of inaction. In the early 90s, South Africa was on the brink of a civil war due to the immoral apartheid between the Afrikaners and the blacks. Eastwood portrays this clearly at the outset of the film where a single road separates two playgrounds, one in which Afrikaners are playing rugby and the blacks play soccer in the other. Adopting a wide shot, Eastwood illustrates Afrikaners being provided with proper uniforms, sports gear, and a grassy field to play on. A stark contrast is presented on the other side of the road where African children play soccer in a shanty polluted area while wearing shabby clothes. This idea of segregation highlights the inhumane effects of apartheid between the blacks and whites in Invictus. Eastwood elucidates that it is the true nature of humans to adhere to their respective social groups that consist of similar ideas and values while denigrating the opposing groups. Such nature of humans is, therefore, the by-product of these predetermined conditions of South Africa which were a challenge to Nelson Mandela who had the duty to balance “black aspirations” with “white fears.”

In Ransom, Malouf illustrates the power words can have in fostering empathy in others to challenge the pre-arranged fate. More specifically, the narrative offers Ransom’s characters what Priam calls a “crack in the door” through which they can access other people’s worlds. To be specific, the idea of utilizing words to challenge fate is explored by the Characters of Priam and Achilles. For Instance, Priam tearfully pleads with Achilles to take pity on a father bereft of his son and return Hector’s body. Through adopting words Priam Invokes the memory of Achilles’ own father, Peleus. He begs Achilles to pity him, by saying ‘I have endured what no one on earth has ever done before – I put my lips to the hands of the man who killed my son.’ When Priam presents his “story” to Achilles, he imagines himself as an old man, and thus experiences a version of himself that will never exist in reality. Therefore Achilles can only know himself as an old man through the empathy and imaginative connection created by words. In this way, words intersect with the theme of free will as it forces an individual to witness a “new” and “unexpected” outlook of the world while helping them experience a newfound perspective. Malouf elucidates the role of words as influential in Achilles’ personal development towards achieving self-determination. Additionally, Malouf delineates to his readers by stating words are “powerful” as they can be the “agents of what is new” which suggests he is drawing parallels between the idea of words, free will, and change.

In the early 90s, South Africa was on the verge of a civil war. Utilizing words, Nelson Mandela inspired the nation to ‘exceed’ their own ‘expectations’ by refusing to surrender to their predetermined fate. South Africa’s dreadful economic conditions, as well as the segregation of its people, burdened the herculean role of Nelson Mandela as a President. However, for Mandela, an anti-apartheid revolutionary, the primary concern was to unite its people by adopting sports as a symbol of reconciliation. To do this, Mandela invites Pienaar on his social engineering journey as a father figurehead who inspires Pienaar to “stop” the “cycle of fear” between the Afrikaners and Africans before it destroys them. Francois Pienaar the captain plays a significant role in leading the Springboks’ team as he encourages a positive change in the attitudes and performance of the team. The two men discuss their “philosophy” on leadership. Mandela’s philosophy of leadership is to inspire others not only to be their best but to become even “better than they think they could be”. He believed this could be done by gaining “inspiration” from the “work of others”.The South African national anthem “Nkosi Sikelel’l Afruka” has an immense role in overcoming racial segregation between the blacks and the whites as it appeals to their individual sense of patriotism. To be specific this is demonstrated when Pienaar asks his team to “learn the song” as they cannot “just mouth the words”. Eastwood cleverly portrays one of the team members claiming ‘it’s their song, not ours’ with the new South African Flag in the background. This is intended to maneuver the audience to ponder over how the “rainbow nation’’ was not internalized by the South African nation, especially since the Afrikaners expected a fearful inversion of apartheid. Thus Invictus almost demeans the idea of fate as the characters predominantly change the course of events themselves, implying humans have full capacity to make choices especially if they have the right guidance and inspiration. Additionally, through the course of events Eastwood demonstrates that Francois realizes a significant change in his outlook on life as he now shares Mandela’s vision about the importance of adopting words to motivate and inspire others.

‘Invictus’ is a poem which focuses on the human spirit and its ability to overcome adversity. It is a rallying cry for those who find themselves in dark and trying situations, who have to dig deep and fight for their lives. The poet certainly knew hard times and needed all his strength to battle against disease.

Born in Gloucester, England in 1849, he was diagnosed with tubercular arthritis at the age of 12 and went through years of pain and discomfort.

W.E. Henley wrote ‘Invictus’ some years later whilst in hospital undergoing treatment for tuberculosis of the bones, specifically those in his left leg, which had to be amputated from the knee down. He was still only a young man at this time.

He managed to save his right leg by refusing surgery and seeking an alternative form of treatment from a Scottish doctor, James Lister.

It was during his time in Edinburgh that Henley met the writer Robert Louis Stevenson. They became friends and corresponded on a regular basis. Stevenson later admitted that he had based his character Long John Silver—from the book Treasure Island—on Henley, he having a wooden leg, a strong rasping voice and a forceful personality.

• ‘Invictus’ does contain passion and defiance and it is easy to see just why so many use the powerful lines to drum up courage and to shed light into the darker corners when all else fails.
• Written in 1875 and published in 1888, it retains its original power and conviction, the simple rhyme scheme tightening the lines and making them memorable.

Henley’s personal experience on the operating table and in a hospital bed, facing possible death, certainly helped him create one of the most popular poems in the English language.

The imagery is strong. It is night time, the dark covers everything in black. The night then becomes a symbol of hopelessness, a depressive medium in which the soul is lost. The future cannot be seen.

This is similar in feeling to the idea of St John of the Cross, the Spanish mystic, writing in the 16th century of ‘the dark night of the soul’, where the human spirit has lost its normal confident, self-assured status.

Although the poem doesn’t explicitly mention Christianity, there is a sense that this opening line is rooted in religiousness. The speaker is coming out of a period of total darkness, a hell.

The second line reinforces the first—the black pit suggesting that this was a deep depression, a spiritual darkness covering the whole world, the world being that of the speaker.

And lines three and four acknowledge that help was given somewhere, somehow, perhaps by a deity or deities, not by any named god or specific creator. The speaker implies that their unconquerable soul is a gift from a godly realm. It’s not quite prayer but it is grateful thanks.

There is an interesting start to this second quatrain—fell clutch is delicious wording for the reader’s tongue and basically means cruel grasp, the speaker stating clearly that despite being tightly held, in an awful situation, they didn’t once give in or show signs of weakness.

Note how the speaker is at first subject to the negative but then responds in positive fashion, a repeated theme throughout the poem.

The speaker looks into the future, taking into account all the anger and pain associated with life on earth, and particularly in places such as hospitals. The ‘Horror of the shade’ could be some hellish place of dark where depression lies, a menacing thought.

Again, the reader is advised that there will be no capitulation, no giving in. In fact, the speaker has been unafraid throughout the ordeal, which has lasted years, and will continue to show a brave face.

The message is underlined—the speaker has a clear intention, to survive against all the odds.

The climax to the poem contains an allusion to the christian bible, New Testament Matthew (7:13/14) where Jesus says ‘Strait is the gate and narrow is the way, which leadeth unto life, and few there be that find it’.

What is the speaker suggesting when the words It matters not how are placed in front of strait the gate?

This is the gate that leads to the heavenly life. Conversely, the second line is an inference to the depths of hell—the punishments being the sins written down during a lifetime.

• The speaker is affirming that, whether a person believes in heaven and hell or not, the plain fact is that the individual is in charge, is in control of their own fate. Henley experienced pain and distress for many years—the poem is rooted in the awful circumstances he found himself in when a boy and a young man.

More importantly, the poem’s message is universal in its appeal. It says quite emphatically that, it doesn’t matter who you are, believer or not, you can overcome dark times by being brave and never losing faith in your own soul’s strength.

Little wonder that many famous and many unknown people over the years have used the inspiration of this poem to help them face personal trials and tribulations.