🌹The Rose & Skull ☠️
Response 1A
Topic. ❧ Make a point about the first and the last paragraphs of 1.3 (Part 1, Chapter 3) — that is, from “The first time Pyle met Phuong” to “One of our attachés” and from “Then came the turn” to “This isn’t a bit suitable for her.” Compare the paragraphs in light of something specific (such as the use of space or imagery, relationships), and/or show how the paragraphs relate to the intervening paragraphs of 1.3 or to the chapters around them. I suggest that you think about the six categories of literary analysis (space or setting, time or chronology, character, relationship, theme, and style) and use one of these categories to help you focus in on an aspect that bears analysis.
I’ve posted responses that differ from each other, and I’ve included responses that have debatable assertions. If you see something you disagree with, try to use it to strengthen your own argument. One of the most effective strategies when it comes to arguing your own case is to bring in other cases. The following type of sentence can be quite effective: While it might be true that…, this ignores the context in which … . It’s better to deal with strong counter-arguments than to avoid them. If you don’t deal with them, your reader may think about them after you’ve made your argument, at which point you don’t have the opportunity to show why the counter-argument isn’t effective. It’s better to pre-empt counter-arguments by facing them directly and to show why your argument subsumes, overrides, or supersedes them.
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The Controlling American. The two paragraphs straddling the contents of 1.3 in The Quiet American establish a stark contrast between Fowler, who enjoys and feels at home in Vietnam, and Pyle, who is uncomfortable there yet wants to be in control. Both paragraphs begin with Fowler’s romantic description of Vietnam’s people, surroundings, and activities and bluntly end with Pyle extending an invitation to his table, where he can be in charge, or trying to control Phuong’s exposure to her own culture. This contrast of character foreshadows the book’s final conflict and is consistent with Greene’s view of the United States’ involvement in Vietnam.
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The setting of the first and last paragraph of chapter 3 of the quiet American is indicative of the type of character Pyle is. The open airy setting in the first paragraph reflects what Fowler first thinks of Pyle and what he is trying to portray on the outside which is a sense of innocence and youth. The not so sure of himself or why he is here. Where as the last paragraph reflects that there’s something more to this man. That there’s something more to him and that not everything is as it seems. He is not so innocent and that under different circumstances the different colours of a person’s life/personality come out and air shown. This is especially highlighted in the fact that in the first paragraph they were watching the women looking one way and bicycling away and then in the last paragraph the female impersonators pop up in a completely different way. And this is exactly how Pyle is in both paragraphs, first as the shy tentative character then as the more forceful decisive man.
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Irony of Innocence. Innocence in the characters of Pyle and Phuong is emphasized by Fowler. Fowler’s initial impressions caricaturizes innocence. They are described as virgins when met by Fowler. Both men idealize Phuong’s innocence because they do not understand her outside her limited vocabulary. Both men know Phuong has gone to bed with Fowler, and yet Pyle exclaims “this bit isn’t suitable for her”. Innocence is deadly, and falling in love seems harmless, until the love is lost. Fowler initially wanted to protect Pyle, however; all three characters experience the irony of innocence. Just as there is no God, there is no innocence.
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Graham Greene uses the setting of the Continental in the early evening in contrast with the late evening to reveal the insecurity that underlies Pyle’s idealism. In the early evening, the Continental imitates all that is familiar to Pyle, he is comfortable yet his naivete is apparent in his over-formality. Later in the evening, the environment becomes foreign to Pyle, the female impersonators pose a threat to his traditional values about what is appropriate for a woman to see. Pyle was sent to Vietnam to impose Western ideas, but he is insecure in his ability to do his job.
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One Fine Orange, rather than 20 Fake Melons. The first paragraph is characterized by a romantic and innocent atmosphere, whereas the second paragraph is characterized by a lewd atmosphere, which leads to Pyle’s distinctly different attitudes. The lit candles and French song playing in the background construct a typical romantic environment in the first paragraph. In addition, the girls in the white skill trousers bicycling and the orange juice Phuong is drinking are the symbols of innocence. However, the female impersonators with provocative dresses swaying their hips indicate a lewd atmosphere. Resultingly, Pyle’s “blushing” in the first paragraph cools off in the second paragraph.
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The Development of Innocence. These two paragraphs in The Quiet American develop the innocence of Pyle’s character. Greene explores this innocence as he describes the way in which Pyle meets women “as though he hadn’t seen one before”. This not only shows Pyle’s innocence but begins to unravel the narrator’s judgement of this innocence. Greene then continues this development by concluding the section with Pyle insisting on leaving the Continental. His words say that it is because they are in the company of a woman, when in reality his uncomfort with the situation is what prompts the leave.
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Colourful Characters. Greene uses colours to represent characters. Phoung is associated with the purity of “the white silk trousers” worn by the girls, but she stands out from them like the brightness of her “orange juice”. In the second paragraph, the female impersonators are described with a “bit of blue about (their) chin(s)”, to highlight contrasts of femininity between them and Phoung. The colours connect to the rest of this chapter as Fowler describes the “green-eyeshade” of Vigot. Fowler is not given a colour until his passion is exposed like the red “blood on his shoes”.
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Flashbacks. The chronological order of events in The Quiet American is nonlinear. The book starts with the death of Pyle and then jumps around to show the history of the characters in the novel. In chapter 3, part 1, Greene has jumped back to when Pyle first met Phuong in the bar. Phuong and Fowler were at the Continental having a quiet evening, Pyle showed up and their evening became not so quiet anymore. In the flashback, Greene has used both the first and last paragraphs to show the reader the history between Phuong, Fowler, and Pyle.
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Pyle's Questionable Chivalry. In paragraph one, Pyle seems to be hesitant to meet as he is described to be shy; when around women specifically, perhaps showing that he is easily attracted to women and unsure what to do. Paragraph two would support this as it appears Pyle wishes to protect Phuong from the hyper sexuality of the dancers. This could also however be perhaps a tell of his own sexuality and a lack of experience or comfort in that scenario and using Phuong as a scapegoat.
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The introduction and concluding paragraphs of chapter 3 of “The Quiet American” contrasts the type of relationship Pyle and Phoung share when they first meet and the role that Fowler plays in this connection. The first few sentences emphasize Pyle’s interest in Phoung. Though shy, he invites the two of them to the table, hoping for more opportunities to get to know her. In the last paragraph, this indirectness becomes more confident and Pyle knows what is best for Phuong. In both paragraphs, Fowler plays a role of being less engaged- an unusual position for someone in a romantic relationship.
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Dead Romance. Fowler's minimal efforts with his relationship with Phuong magnifies Pyle’s reliability as a man for Phuong. Fowler seems to be comfortable in his relationship with Phuong that he can “sit in silence, content to be (with Phuong)”. He even allows Pyle to dance with her, while he simply watches her dance. In contrast, Pyle makes efforts to entertain Phuong, by dancing with her. Pyle’s also more aware of Phuong’s comfortability, especially when the troupe of female impersonators comes in. While Fowler observes the impersonators and suggests that they’re “as desirable as most of the European women in Saigon”, Pyle protests to leave the Continental, insisting it isn’t suitable for Phuong. This shows that Pyle is more attentive of Phuong than Fowler is, and perhaps more suitable for Phuong.
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Infatuation. The opening paragraph uses romantic scenery to introduce the relationship between Pyle and Phuong. The setting is calm, with “candles ... lit on the stalls” against an “early evening”. Pyle is primarily enamored by Phuong, as “he had a way of staring hard at a girl”. Contrastingly, the last paragraph shifts into an eventful scene with women impersonators garnering the attention of officers, and Pyle’s “sudden violence” of a protest in leaving. In both scenes, Pyle is infatuated with Phuong, first looking at her while blushing, and lastly protecting her from something that he believes “‘isn’t suitable for her’”.
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The first and the last paragraphs of Part 1, Chapter 3 of The Quiet American have different imagery based on sincereness and fakeness. Regarding sincereness, the first paragraph has girls in white pants bicycling down the street, and this gives the impression of regular local girls. Similarly, when Pyle gives Phuong a hard stare followed by blushing, that shows he is more shy and introverted. Regarding fakeness, the last paragraph has female impersonators with fake husky voices, fake breasts, and fake jewelry. Similarly, the air force officers who gave the women impersonators a whistle that did not show serious interest.
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The Closer You Get, The Less You See. In the beginning, Pyle acknowledges the presence of Phuong clearly and distinguishes himself from Fowler’s group. The section focuses on characters and their feelings, indicating attitudes toward each other. However, the last paragraph focuses on surroundings, the writer stepping back, creating a broader view from a distance. Before the last section, Fowler describes Phuong in the third person because “she seemed invisible like peace.” In the end, Pyle refers to Phuong as “her” as if she were not there, just as Fowler. Pyle has become closer and directly engaging with Phuong, unlike how he calls her indirectly “your lady” earlier.
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The Idealistic American. Pyle addressed Thomas and Phuong as ‘Fowler’ and ‘her’ in the last paragraph, which is in stark contrast to ‘you and your lady’ from the initial introduction. While the designation of Thomas can be seen as being frank, the use of ‘her’ in the context seemed to be an objectification of Phuong. Pyle’s attitude towards Phuong went from a friend’s partner to a damsel in distress, awaiting his salvation, is fitting to his character of an idealist from America imposing a democratic ideology into Vietnam.
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In the first paragraph of chapter 3, we are placed in a scene of romance. Having the sun setting and having candles being lit in the side streets changes the atmosphere from daytime to evening. Normally the time when a date would be starting. We can see symbolism in the way the author uses dancing. On page 51 we can see Fowler recalling a moment watching Phuong dance for the first time freely and having nothing to hold back to. We also see Fowler comment on his own dancing alongside Pyle, but differences between the two are substantial as Pyle does not care that he’s a bad dancer as he’s not as conscious as Fowler is. This can reference how they act in relationships. As Pyle is seen throwing himself toward Phuong and Fowler cannot as his has commitments back at home.
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The two paragraphs bookend the chapter as almost opposites as far as imagery. The first paints an image of beauty. A calm evening sunset of candle-lit streets where nightlife was just getting started. The author is building the scene; helping the reader envision the setting. Readers are led to picture a somewhat idyllic situation. In the later paragraph, when the evening turns to night, the author, shifts their language, and the scene shifts too. The scene becomes less seemingly ideal as cross-dressing men debut. These descriptions help the reader gain a better understanding of the scene and guides readers to think certain ways while reading.
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The Line Between Innocence and Ignorance. In Chapter 2 of ‘TQA’, Fowler tells the Attache that Pyle was too innocent and too ignorant, leading to his death. The first paragraph of Chapter 3 represents a harmless type of innocence, showing an endearingly blushing Pyle. In the last paragraph, his ignorance is more apparent; Pyle is unable to navigate safely through a brothel due to his innocence-fueled outrage, and yet he blames Phuong’s innocence (though she likely has more sexual experience) for leaving. The transition from innocence to ignorance is represented by the change in scenery; from a peaceful, candle-lit cafe to a sleazy, dim brothel.
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