The Lotus Eater

2754 WordsDec 29, 201112 Pages
Mythic Structure in Somerset Maugham’s “The Lotus Eater” The word ‘myth’ is derived from the Greek word ‘mythos’, which means a traditional tale common to the member of a tribe, race or nation. It usually involves the supernatural elements to explain some natural phenomenon in boldly imaginative terms. Today myth has become one of the most prominent terms in contemporary literature analysis. It was Northrop Frye, one of the most influential myth critics (others including Robert Graves, Francis Fersusson, Richard Chase, Philip Wheelwright), who discovered certain formulas in the word order. He identified these formulas as the “conventional myths and metaphors” which he calls "archetypes". C.G. Jung was of the view the materials of the…show more content…
Now, “all that sets a text in relationship, whether obvious or concealed, with other texts” is denoted by Genette as transtextuality (1). As a study of relationships, which link a text with the transtextual network out of which it produces its meaning, it can be further divided into five more specific subcategories: 1. intertextuality  “a relationship of copresence between two texts or among several texts”, that is, “the actual presence of one text within the other” (Genette 1,2), as we see in the case of quotations, allusions and plagiarism. 2. paratextuality  a relationship between the text and all the extra-textual writings and materials (peritexts and epitexts), which surround the text and help to direct and control the reader’s reception of it, but themselves remain outside. 3. metatextuality  a relationship between the text and other texts, upon which it serves as an explicit or implicit commentary. 4. hypertextuality  a relationship uniting a text (Text B) and another text(Text A), upon which the previous one “is grafted in a way that is not that of a commentary” (Genette 5) (here the Text A is called the hypotext and the Text B the hypertext). 5. archytextuality  a relationship between the text and the different modes, genres and theme that it refers or belongs to. Now we shall turn our attention to the fourth one of the above-mentioned subcategories, namely to hypertextuality, which occurs directly at the centre of Genette’s
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