Dwellings, body, home, and city relationships

Dwellings: Body, Home, City.

The dictionary defines the term 'dwelling' as a building or place of shelter to live in, a place of residence, or home. Although the dictionary defines 'dwelling' as a shelter or a home, this definition can reflect a myriad of interpretations. Throughout our lives, our education and values are shaped by family and society; furthermore, it is in the safety of our home that we are taught how to behave and interact in society. In this sense, at the metaphorical level, 'dwelling' can refer both to the rules and traditions of a home, i.e. A small societal cell, and to the laws of society as a whole. As a literary theme, 'dwellings' can be interpreted as the mechanisms of either home or civilization which influence the characters. Also, it is important to note that writers have always tackled this subtle interaction between man and his surroundings, be it formal or informal because the dynamics of this relationship have mirrored both the history of humanity and that of the individual. For instance, we can turn to Plato's "Apology" and "Crito," two of his most famous dialogues to observe the connection between Socrates' beliefs and how this system of belief is reflected in Athenian society. Also, in Joseph Conrad's "Heart of Darkness" the theme of 'dwellings' reflects the darker side of humanity, its thirst for financial gain and lack of respect for human dignity. Lastly, in Achebe's "Things Fall Apart," the protagonist is faced with the prospect and reality of change. The tension about whether change should be privileged over tradition often involves questions of personal status. Thesis: Plato's "Apology" and "Crito," Joseph Conrad's "Heart of Darkness" and Chinua Achebe's "Things Fall Apart" each tackle the theme of 'dwellings.' This paper strives to demonstrate that in each of these four writings, the moral standpoint of the protagonist comes in opposition with the viewpoints of those around him, and this generates an internal conflict between what he feels is right and what he is presented with. What these three protagonists have in common is an unwillingness to compromise their morality and values even in the darkest hour.

In "Crito" the theme of 'dwelling' refers to the rules of Athens which condemn Socrates to an unjust death. Plato describes Socrates as a seventy-year-old philosopher who believes in the laws of Athens and chooses to die for an ideal. When he is charged with debasement of Athens' religion and asked to stop practicing philosophy in return for his freedom, he does not even consider accepting the deal replying that it is his duty to God to find the truth. In his view, philosophy is the essence of life, the element of cohesion that improves the soul above all other things. In fact, Socrates is more worried about the effect of his death on his fellow Athenians that about the punishment itself. As he sees himself as a public servant which keeps Athenian conscience awake, Socrates proclaims through his death that respect for the law supersedes the self. From this perspective, in "Crito" Socrates reasserts his duty to Athens, and his belief that his contract with the city cannot be breached. Moreover, by dying for this ideal, Socrates reinforces a system that survives to this day in the Western world. Socrates dies believing in the just nature of the system, and not of the people who make it up: "I cannot abandon the principles which I used to hold in the past simply because this accident has happened to me." He believes that by obeying his death sentence, Athens' fledgling system of law will be strengthened and the will of God will be done as he tells his friend Crito who puts forth the option of escape: ". . . give it up, Crito, and let us follow this course, since God points out the way."

The prospect of escaping from prison does not represent a solution because the most important virtue of Athenian government is the rule of law. Socrates invokes the voice of the constitution which preaches that "integrity, institutions and laws are the most precious possessions of mankind." In this sense, he prefers to die as a martyr for a cause he believes in even if his sentence is profoundly unjust. By betraying these laws, he would have to betray his own conscience which dictates him to obey the laws even when unjustly invoked: "Do you imagine that a city can continue to exist and not be turned upside down, if the legal judgments which are pronounced in it have no force but are nullified and destroyed by private persons?"

Plato also tackles this theme in "Apology." In fact, probably the central argument in Plato's "Apology" is that one should never betray one's philosophy for any reason, even when his life is at stake: "I will not yield to any man contrary to what is right, for fear of death, even if I should die at once for not yielding." Death should not deter a philosopher from looking for the truth and sharing it with others. Moreover, in abandoning his principles and giving up philosophy in order to regain his freedom, Socrates would abandon the very moral principle which guided him in his life. He knows he has done nothing wrong, and refuses commit an injustice in order to correct another injustice: "Since I am convinced that I wrong no one, I am not likely to wrong myself."

As far as the theme of 'dwellings' in "Apology," it is crucial to note that Socrates shows respect for the law throughout his trial. From this historical point-of-view, his gesture gains mythical proportions because at the time, Athens was struggling politically with crooked government officials. Socrates believes in order to be a good citizen and fulfill his duty towards Athens he needs to hold the laws in high regard. This is where the conflict arises: Socrates is dedicated to his philosophy but also believes in the laws of Athens, and he believes that justice should be blind and should not favor anyone, not even him: "It is not the purpose of a juryman's office to give justice as a favor to whoever seems good to him, but to judge according to law, and this he has sworn to do." Despite the opposition of the majority, he does not compromise any of his beliefs which brings about his persecution. Socrates is interested in the pursuit of knowledge and envisions himself as a public serviceman who genuinely cares most for the human soul. From this point-of-view, the failure of justice was on the part of those who could not understand or accept him, but the justice system in itself needs to be respected and obeyed even when used unjustly.

Joseph Conrad's "Heart of Darkness" explores the myth behind colonization while tackling the motif of darkness on three levels. This motif is inextricably linked to the theme of 'dwellings' as darkness is a state of mind above all else. Colonists are cruel, dark human beings who pursue wealth and have no respect for the value of human dignity. In this sense, darkness is explored from three points-of-view: first of all, there is the darkness that Marlow, the protagonist encounters in the Congo wilderness -- a form of darkness that translates to purity. Secondly, there is the darkness of the Europeans' cruelty towards the natives in their lust for ivory. Thirdly, there is the unfathomable darkness within every human being, a side that drives humans to commit acts of unspeakable cruelty towards their fellowmen. In fact, Conrad talks about the inherent evil that is latent in all human being and is only masked by civilization: ". . . even apart from the very natural aversion I had to beat that shadow." (Conrad 142).

The cruelty and squalor of imperial enterprise contrasts sharply with the impassive and majestic jungle that surrounds the white man's settlements, making them appear to be tiny islands amidst a vast darkness. This opposition between nature and the settlements of the colonists mirrors the dichotomy between the pure and unspoiled side of humanity, represented by the local population and the nature of Africa, and the greedy colonists who place the obsession with ivory at the center of their system of values: "It was reckless without hardihood, greedy without audacity, and cruel without courage" (Conrad 102). In fact, the men who work for the Company describe what they do as "trade," and their treatment of native Africans is part of a benevolent project of "civilization." Africans become for Marlow a mere backdrop, a human screen against which he can play out his philosophical and existential struggles. Their existence and their exoticism enable his self-contemplation while this kind of dehumanization is harder to identify than colonial violence or open racism.