Intertextuality In Michael Ondaatje's The English Patient

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Michael Ondaatje’s novel “The English patient” is a story about four people who stay in a villa during post Second World War and unlikely altered by the war as each character will reveal the mysteries of their individual pasts, and the scars they share. In fact, it offers a storyteller describing an immediate story, as the writer changes the assumption into a doubtful astound, revealing covered parts of character and lifestyle as the novel advances. Moreover, the English patient is considered as a postmodern novel since the text is manipulated to pass on spread identities of different characters through narrative shifts, intertextuality and mini narratives. In other words, The English Patient is huge for the number and extent of the intertextuality which have an extensive variety of the works that supply a larger structure of the novel to those which give a more explanation of topic. For example, Kipling’s Kim, Herodotus’ Gyges and Candaules scene, the last of the Mohicans, Milton’s Paradise Lost, Daphne de Maurer’s Rebecca, and Caravaggio’s painting of David and more. It also opposes sequential request, rotating between display activity in the Italian estate and flashbacks to recollections of a desert sentiment that is bit by bit uncovered. In this essay I will talk about the use of intertextuality throughout the novel as it used to connect with the characters, as a parallel and as a tool in war. First, there is no doubt that the use of intertextuality in the novel

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