Summer Solstice
Summer Solstice

Summer Solstice

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  • Pages: 4 (1676 words)
  • Published: October 12, 2017
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Nick Joaquin’s “Summer Solstice” is one of the many intoxicating narratives he’s made. It could hold been attributed to the author’s province of head while composing his narratives. He portions this sort of manner with Edgar Allan Poe and Ernest Hemingway. They love to imbibe and compose. I love to imbibe and drink… milk. I wish I am still a kid to bask it for free where merely my call is my ticket to acquiring it. This possibly the ground why I still have this magnetic attractive force to chests. I must acknowledge. I’m non in the place to transport out a unfavorable judgment of a master’s work. Who am I anyhow? A master’s work is a master’s work. But as human existences. it is in our nature to knock. We even knock the expressions of our fellow worlds whom God masterfully created. I am non excused from such nature. so. coupled with the duty from the instructor. I will declare that I don’t like the narrative. It merely lacks the erotism of a Harold Robbins. The lone short narrative I love that is barren of any erotism is Rappaccinni’s Daughter by Hawthorne. It is romantic. Summer solstice is the clip of the twelvemonth in the Northern Hemisphere when the midday Sun appears to be farthermost North. It is a sacred juncture for the Druids of England. It was even insisted by scientists to hold caused the hard-on of the celebrated prehistoric memorial in Salisbury. England. the Stonehenge.

Nick Joaquin’s short narrative version of the natural phenomenon does non incite any

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hard-on of some kind. It is dissatisfactory. I suspect that he could hold made some hard-ons. given the manner he used and hinted in depicting the feminineness or masculinity of his topics. However. he didn’t. For what? For delicadesa? I was confused until it dawned on me that he could hold done that intentionally. He did that to victimize his audience into reading farther by hanging their outlooks in suspended imaginativenesss. He successfully outraged the secular emotions of human ardor but resisted from fulfilling them. He could hold done what I needed to read. but he didn’t. It is “bitin” . And that’s the secret. To keep your audience by their natural inherent aptitudes for your ain advantage is Freudian. A hocus-pocus or thaumaturgy that can merely be juggled and pulled off. if you are a maestro of the trade. No admiration. the Palanca juries succumbed the same manner into giving out their items. Now. to measure the narrative. the secret plan was engineered to be like a film secret plan during his clip. It can be observed that he employed capitalized words to propose passages.

As a great fan of classical films. some of which dates to the clip of Master Joaquin. there is a dramatic resemblance to the manner the films were made during that clip to his “Summer Solstice” . Movies during the station war epoch do demo the audience the name of each scene before continuing. Such method of interrupting the proceedings helps the incognizant few. and the slow 1s like me to dissect his point o

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position or what the narrative is all about in installment footing. It slightly helps the funny or the duty-bound reader like our category for this affair to rewind the contents of the narrative encapsulated within the passage and read it farther merely to hold some meager appreciation of what is go oning. There are six scenes or passages I have observed upon reading. The first. after the rubric. established the epoch or clip when the narrative happened. Introduction of props like horse-drawn passenger cars surely does non picture the present but leads the reader to the yesteryear. The chief character Dona Lupeng was introduced as a conservative female parent of three male childs and populating a classy life style with retainers.

This suggests statutory pride that you would non anticipate her or. with her hubby Don Paeng to mix with the people outside their societal kingdom. Don Paeng and Entoy. the driver were non as rollickingly introduced by the writer than the Dona or Amada. Another of import ingredient was the nearing juncture of St. John’s festival. This accentuates the narrative with acquaintance from the local readers. The 2nd scene commenced by the capitalized entry of “BUT HOW CAN THEY…” established the quandary of Dona Lupeng of her outstanding wonder of how the norm is being disturbed by the nearing festival of St. John. A male frequenter saint should be venerated. but the antonym is go oning where adult females are empowered to hold messianic enterprises of bring forthing natural phenomenon for the planting season. Guido was introduced in this peculiar scene. A assorted character. he added substance to how adult females are empowered and farther suggested such feeling to Dona Lupeng with his romantic feeling of adult females. I am reminded by the Cartoon Network’s Johnny Bravo. In contrast to the first scene where the writer somewhat advocated muliebrity more than its popular opposite number. This scene established a puff of a more male ambiance.

The writer employed titillating descriptions of his performing artists. Surgical in item therefore eliciting. but non plenty. This scene besides introduced Dona Lupeng’s revolting aura when she resisted the direction of her husband’s order to sit down. The 3rd scene inaugurated at the grandfather’s topographic point. There was a societal assemblage attended largely by household members. This scene evidenced the intent of why the character of Guido was conceived. He was inoculated in the narrative to provide the quandary in Dona Lupeng. It happened in their rambling minutes in this scene. Women harmonizing to this European educated Don Juan are meant to be adored and handled with attention like some China wares. to be placed on a base and to be worshipped. This strengthened the political positions of Lupeng with respect to gender issues. Femininity is similarly every bit powerful as maleness. The extract of the women’s rightist thought that one is non born but instead becomes a adult female attitude was easy being ravenously digested. Guido was unnatural comparative to the times and position of his being when patriarchate was the popular motion in society. Don Paeng noticed this abnormalcy.

The 4th scene marks the consummation

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