Captain Corelli's Mandolin: The Relationship Between Dr Iannis & Pelagia by Lila Bird on Prezi
There the elderly Dr. Iannis and his beautiful daughter, Pelagia, enjoy an . her remaining at home denote passivity or ambivalence about their relationship?. Pelagia's assessment of Mandras as not being very serious begins to expose the cracks in their relationship for the reader, as neither one is. Like Corelli, Dr Iannis is relatively comfortable with the relationship between his daughter and the captain. He does not reprimand Pelagia for her relationship.
She thinks of how magnificent Mandras's backside is and is glad that nobody can read her thoughts.
- Captain Corelli's Mandolin - Diary entries by Pelagia and Mandras.
- Corelli’s Mandolin Reader’s Guide
She reasons, though, that all women are like this--when the men are at the kapheneia, the women talk about the men's penises. Pelagia thinks it's stupid that women have to carry water when men are stronger, and feels ready to kill her father for denying her a dowry.
Captain Corelli’s Mandolin : dreamdust
He believes it's obscene to treat women like property, but Pelagia thinks she can't possibly go to Mandras's house with only clothes and her goat.
Pelagia shows here that she places a great deal of importance on tradition, even if it doesn't necessarily elevate her position as a woman.
As far as she's concerned, a dowry will actually make her more powerful in her married home, not less. This situation does show, however, that Dr. Iannis has a great dal of power over Pelagia, even if he doesn't abuse it like Stamatis abuses his power over his wife.
Active Themes When Mandras rows out of the harbor, he sings a song to call the dolphins. He wonders what people will say about Dr.
Iannis not providing a dowry. Mandras thinks that he likes Pelagia, but he can't be himself around her: He believes women aren't interested in politics.
Character analysis of Mandras.
Mandras thinks that he won't be a real man until he's done something important, and this is why he wants the war to come so he can prove himself. He is unable to be angry with Pelagia, even though in her confused state about what she feels for him, she tries to hurt and aggravate him in every way she can.
Like Corelli, Dr Iannis is relatively comfortable with the relationship between his daughter and the captain. He does not reprimand Pelagia for her relationship with Corelli as he admits that their love could be real.
However, with some concern for Mandras, he reminds Pelagia that she is betrothed to him. He knows her too well for her to have any secrets from him. Pelagia herself is basically good to everyone she meets. Pelagia lives to the end of the novel, surviving the war and an earthquake. During the wartime, she and her father socialise with Italian and German soldiers. Do they succeed as three-dimensional characters as well?
Does de Bernieres confront these problems in the way he writes his own historical novel?Mandras/Patrick/Pelagia.
What narrative techniques does he employ in telling his story? Why, then, does he offer this apology?
Are myth and history significantly differentiated by de Bernieres? Did Pelagia believe that Corelli died during the war? If not, why does she not leave Cephallonia and try to find him? Does her remaining at home denote passivity or ambivalence about their relationship?
Changes in social mores might not have manifested themselves as dramatically on Cephallonia during the postwar years as they did in more cosmopolitan areas, but they were in fact radical and profound.
How does everyday life on Cephallonia reflect these changes? What role, if any, did the earthquake play in changing the island, and in the shift in generations? Does de Bernieres imply that the changes are for the better, or for the worse?
Or, perhaps, that in essence life has not changed very much at all? Does the happy ending conform with the plot and spirit of the entire novel, or does it represent a shift into a more fantastic, less realistic mode?
Among the Cephallonians, what modern manifestations do we find of Apollo, Aphrodite, Penelope, Odysseus, Hercules, and other mythological figures? What message about time and change does de Bernieres convey through these parallels? What significance can you ascribe to particular names, such as Pelagia, Mandras, Hector, Corelli, Weber? Which themes in the poem are explored in the novel itself?
Is the kind of idealism glorified by Brooke finally meaningless, as many of his contemporaries, physically and emotionally crushed by World War I, came to find it?