Small World, Part 2

1. In this section of the text, Arthur Kingfisher (Lodge's rendition of the Fisher King) is introduced. How is he different or similar to Chretien's rendition? How does the character's presentation differ?

Chretien's description of the Fisher King is "a handsome nobleman with greying hair seated upon a bed" (Chretien, 419); he is sure to imply an older but wise and poised gentleman. Conversely, Lodge presents Arthur in his signature form- facing the flaws upfront and unabashedly. He is first found lying spread-eagle and naked on his bed (a notably much less dignified position to be in). His body is imperfect and aged, but handsome nonetheless. He is being attended to by an Asian woman, and it is noted that he is impotent (Lodge, 93). While the Fisher King's introduction is enigmatic but stately, Arthur's introduction is confusing and slightly graphic. The Fisher King's handicap is accepted and almost respected by Perceval (and the wound was acquired in battle (Chretien, 424)), while the reader may feel slightly taken aback or bothered by Arthur's impotence. (Though it can be inferred by the reader that the Fisher King's wound represents impotence, Chretien is still far more reserved in his presentation of the handicap.) Overall, the Fisher King is presented in a far more dignified manner than Arthur is, in line with all of Lodge's blunt and candid treatment of each character's "real" downfalls and less desirable characteristics. The Fisher King's treatment by Perceval is refined; Arthur's treatment by Lodge is candid and unforgiving. While Perceval must focus on the mystery of the Grail, the reader must wonder about Arthur's impotence. I believe that, in the same way the Fisher King's injuries are a result of the out-of-control violence of knighthood, Arthur's impotence is a result of attacks and stress within the out-of-control competitive world of literary academics. (I think it is noteworthy that impotence is considered by many to be a primarily psychological rather than a physical condition, and I believe that will factor into our understanding of the character).

2. In this section of the text we encounter a sudden sweeping-in of a whole new group of characters. Why does Lodge do this? How is it similar to Chretien's story?

Lodge's swift introduction of more than ten new characters could be seen as a summary of the collection of characters from Perceval's story. Each literary professional from each different region or country may represent all of the knights from different countries that Perceval/Persse encounters, and must befriend or defeat, on his quest. This sudden divergence from Persse's story is similar to Chretien's sudden interruption of Perceval's story in order to focus on Gawain's travels. Just as Chretien only returns to Perceval's story momentarily, Lodge only jumps back to Persse for a second, but does end the section with his situation. Unlike Chretien, who presents new characters to the reader the same way they are abruptly met with by Perceval, Lodge introduces each character in full detail before Persse even knows of them. This correlates with Lodge's writing style, which involves presenting a situation in full depth, without adjusting or polishing his characters in order to glorify them for the reader (in fact, he appears to do the opposite, making sure to bring out their flaws immediately). Most, if not all, of these characters are introduced as being lonely or depressed (or both): Rudyard Parkinson and Akira Sakazaki both live alone, Morris Zapp's and Philip Swallow's marriages are both dead, Howard Ringbaum and Michel Tardieu are both shown unsure in their relationships; and the list goes on. Lodge is clearly comfortable with depicting the more realistic, and often darker, side of life.