An American Sky

It was never this hard before, thought Guillermo De La Rosa as he stretched out his arm, pulling himself out from a muggy tunnel; it was daytime when he reentered the United States—San Diego. He untied the torn, red flannel from about his waist and dusted himself off, and when he got to wiping the sweat from his brow, he began to cry. “I promised you Natalie. I promised you that we would watch the American stars until the day we die,” he whimpered to an empty space beside him. Clutching the shirt to his face, absorbing the tears, he recalled the last time he saw his family: they were all there, standing outside by the patio with distraught, confused faces as the police car rushed out the driveway. The mother of the two little boys stayed by the door, hunched over, screaming into her shaking hands, while the boys ran to the street where they saw their father looking back at them, “Papi! Please! Don’t go!” That was the last time he saw Arturo and Diego—twelve years ago—they were seven and nine years old then. Wiping the last of his tears, he gathered himself and grabbed his backpack, rushing to the city to find his family.

He found himself in an old town where he would play handball with his old friends, all of which were now either in Mexico or no longer played. So, he decided to visit the courts in hopes to see people playing, but found nothing but a spray-painted fence covering unwanted debris. Different variations of “Fuck Trump” covered the entire fence; same words, different style. He was shaking his head with both perplexity of the court being torn down, and with amusement towards the graffiti, when he heard a crowd of young adults yelling what he had just read. Down the street, a Chicanx movement group was protesting the latest Trump executive order. Guillermo didn’t understand why they were shouting profanities aloud while there were children around, and he had an even deeper misunderstanding of what they were protesting. “You’re not with the movement old man?” a young man in a neatly combed hairdo asked Guillermo. “No? Uh. I-I-I don’t know, I’m sorry… My-my-my family…” he anxiously replied. “NO?! Well if you’re not going to fight for our rights then stay out of our way!” the young man shouted. Confused by what had just happened, he walked to a bus stop where he could still hear the faint chanting of the group. He was relieved to discover the bus route had not changed, and neither had the fare. Stepping off the bus, however, felt different; the wind that met him as the doors opened fell heavy on his shoulders. Nearing his old house, he felt his bones quiver, which made it hard for him to keep himself from falling to his knees, but soon enough he found it—with a new red door. At that moment he looked up, and realized the sky was no longer the same.

To Readers (if you exist),

I chose to recreate Washington Irving’s “Rip Van Winkle,” in relation to its theme—or at least what I could take away from it as the theme. There was always this sense of uncertainty with defining anything that I found within the story. Life is constantly changing, as are the times, and I wanted to reflect on that with my own short story. I knew I wanted to recreate Irving’s story because I wanted to relate it back to the situation with immigration in modern day United States, to sort of satirize Trump’s America. Therefore, instead of a blatant attack on the U.S. president, I wanted to use a personal inquiry of my own to push the story forward. I imagined what it would be like if my own father had reentered the United States, what his interactions with others would be like, how he would feel. So, that’s why my story follows an undocumented father that reenters the United States after twelve years to reunite with his family. His encounter with a young man at a protest, for me, was both extremely funny and upsetting through the irony set in place. Here you have a privileged man protesting for the rights of undocumented folk shaming Guillermo for not “being about” a movement, which can be both funny and disturbing in the sense that the young man is being hypocritical. I ended the story with a new red door and a completely different sky—not the “American” one he promised his lover they would share forever, which was meant to symbolize how much the times have changed, and perhaps, how he may never make it back.

–Daniel Lizaola Lopez


The Harp as Poetic Resistance in “The Harp of India”

In Henry Louis Vivian Derozio’s poem, “The Harp of India,” Derozio appropriates the image of the harp to connote the consumption of Indian culture within Britain, similarly to the consumption of Irish culture into the British. For Ireland, the harp is an image which represents cultural, musical, and artistic heritage, and it is a uniting figure for Irish liberation movements contesting against the colonial rule of Britannia. Therefore, one might wonder why Derozio decides to use a typically Irish image to within an Indian context, but, rather, it seems like an image which works well as a poetic device for speaking to colonial power.

Like the poetry of his Irish counterparts, Derozio uses the image of the harp to represent cultural celebration, a reclamation of culture within a society plagued by colonial influence. Derozio represents his harp as a broken instrument: “Unstrung for ever, must thou there remain;/ Thy music once was sweet — who hears it now?” (ll 2-3). If the harp represents national identity and cultural pride, the “harp of India” is busted, unstrung and in need of repair.

Although it is broken, the speaker of the poem indicates a familiarity with the instrument, as the poem reads: “O! many a hand more worth than mine/ Once thy harmonious chords to sweetness gave” (ll. 8-9). Despite the fact that the harp cannot be played, and the speaker of the poem acknowledges their own inadequacy in playing it, there is a similarity between the act of playing the instrument and writing the poem, as both conjure a musical quality: the harp literally the plucking of chords and the poem stringing words together with a rhythmic pattern and linguistic mastery.

Likewise, the poem is itself musical, conjuring the sonnet form to laud the beautiful music of the instrument. Additionally, the speaker notes the “flowers still blooming on the minstrel’s grave,” the undoubtedly given to the skilled master of the harmonious instrument (l. 11). Although the musical minstrel is dead, the poetic minstrel lives on, within the pen of the poet. The last three lines of the poem celebrate the return of the minstrel, this time through the hands of the poet: “Those hands [the minstrel’s] are cold — but if thy notes divine/ May be mortal wakend once again,/ Harp of my country, let me strike the strain!” (ll. 12-14). Derozio, although crying the death of the minstrel (the old guard of Indian culture), shows the bards of language to be the new holder of the torch, a new minstrel by which the people can celebrate their national heritage, their cultural pride, and their rights to national sovereignty.


—Nathaniel Schwass

A Beautiful World of Ethereal Places and Ephemereal Wonders

Their colors are distinct as those of the sun and regularly and obviously blended, though less vivid, fine specimens may be found any night at the foot of the upper Yosemite fall, glowing gloriously amid the gloomy shadows and thundering waters, whenever there is plenty of moonlight and spray.

– John Muir

Dear my fellow venerable peers and aspiring scholars, I present to you a plea.

Awaken your slumbering reverence of nature within. This world that we share asks for our appreciation now more than ever. The strength of a movement is determined by the collection of the will of its individuals. Wordsworth intuitively composed his poetry at a time of boiling industrial forthcoming, but do not hesitate to relate its antiquity to the pertinence it has in a world of modern environmental peril. Wordsworth and Coleridge’s Lyrical Ballads is as contemporary to our present problematic endeavors with Earth as you could possibly imagine. Their words continue to speak for a voiceless mother Earth, the most beautiful of all planets we have ever encountered. As students of the University of California, Merced, we are granted an opportunity to embrace a pioneering spirit that has fueled and characterized the United States of America for centuries. Considering our proximity to the greatest wilderness of them all, Yosemite, we are living embodiments of Frederick Jackson Turner’s Frontier Thesis, which spoke to the roaring passion for Western expansion and human inquisitiveness. Go forth and revel within the temples of awful (awe-inspiring) natural wonder, avoid the temptation and distractions of modernity, as they serve no true purpose to your free-spirited soul.

Wordsworth and Coleridge have me lost in a world of beauty and pain. Romanticism speaks to me like a siren-wailing fire truck calls to a lonesome canine to howl incessantly. I’m enamored by this imaginative prose, delicate as a rose, insinuating thoughts of philosophical scorn, like an unforgiving thorn. I have literally and figuratively lost myself in the forests of the Sierra Nevada, blanketed by chilling darkness, but it was then, that I had ever felt more alive. I was young then, and my eyes scrambled in the twilight in fear of black bears. I know now, that these lovable bears in comparison to fearsome grizzlies of the north or population dwindling from receding landscapes of polar bears, are not to be feared. Fresh mountain wind,  towering sequoias revived me from my past loathsome troubles that lay insidious within my mind for so long. The landscapes of this breathtaking mountain range lay etched in my thoughts even with my eyes closed, and are now ingrained in me for the rest of my existence.

The painting “Buttermere Lake: A Shower”, instills moody thoughts in a gloomy overcast. I initially see a bleak landscape of melancholy, that speaks of a desolate past. The rainbow from the painting reminds me of Lower Yosemite Fall’s moonbows. We are within 2 hours of North America’s tallest waterfall. An exciting thought to contemplate itself. I look within these dark clouds of anguish and uncertainty, however, and I find hope. Just as I once lost my wallet and my keys in Yosemite and panicked for my life, I would eventually calm down and see that they were exactly where I had placed, underneath a pile of my belongings. There is always hope even in death and absolute remorse. Even if you cannot see it, there is always light somewhere within or somewhere far beyond the twilight zone. It is only in darkness that light truly shines. Be courageous in the face of overwhelming odds. Fight on until your last dying breath, and submit to no oppressive force. I reference another poem that carries my sentiments. “Do Not Go Gentle Into That Good Night” – Dylan Thomas

Buttermere Lake, with Part of Cromackwater, Cumberland, a Shower exhibited 1798 by Joseph Mallord William Turner 1775-1851

Joseph William Turner’s painting carries multiple aspects of Romanticism within its frame. It is an encapsulation of the feelings and emotions of The Lyrical Ballads. Expostulation and Reply discusses enjoying nature even if its morals and lessons taught are not as direct as a lecture of philosophy or a laboratory session of science.

"You look round on your Mother Earth,
          As if she for no purpose bore you; 
          As if you were her first-born birth,
          And none had lived before you!"

William is expostulated by Matthew. Why does he seem to mindless observe the world with his mind adrift in solitary rumination?

"Nor less I deem that there are Powers
          Which of themselves our minds impress;
          That we can feed this mind of ours
          In a wise passiveness.

William explains his penchant for wonderful Mother Earth. He feels that he assimilates notions of patience and lessons of wisdom in the stillness of meditation and deep contemplation.

Landscapes like the one Turner paints and the ones that you can come across after hiking to a viewpoint are so powerful, that you can’t help but lay speechless. I recall the times I’ve been such amazing views like Glacier Point and Angel’s Landing, and I sat startled and comforted by the immense grandeur for hours.

I make one last reference to another one of Wordsworth’s poems. I ask that you consider your lifestyle and your attachments to materials, just like Wordsworth attempts to convey the contempt of materialism. A life is meant to be fulfilled with experience, and not meaningless objects.

The world is too much with us; late and soon,
Getting and spending, we lay waste our powers

The World is Too Much With Us

William Wordsworth

Earth day is on April 22. Also, National Park Week is April 15-23. On April 15 and 16 and again on April 22 and 23 you can visit any national park in the country free of charge. As the heavy snowfall from this year’s dramatic winter begins to recede in the Sierra Nevada, I encourage you to take part in experiencing our world within its raw natural boundaries, rather than dwelling within unsatisfying cities. The following link is a website that has been instrumental in my transition from childhood to young adulthood. It has guided me with a knowledgeable content of incredible hikes in Yosemite and also carries a comedic and informative style of prose. Check it out!

One last note. Last winter I explored Zion National Park, and after embarking on a notoriously scary but enjoyable hike, I found a drone sitting atop Angel’s Landing. Flying drones are strictly prohibited in these National Parks, and I felt obligated to find the owner before a ranger confiscated it. I’ve been looking for the owner ever since. After a considerable amount of time debating with myself internally over ethical matters, I decided to examine the footage of nature. I was absolutely blown away, and I feel compelled to share. I hope that everyone has the desire to embark on their own expeditions. I recommend the HD setting for enhanced theatrics.



Thomas Pham

Good deed with Bad Intentions

The cartoon by Robert Cruikshank made in 1826 is anti-slavery, but with a twist. The cartoon sums up how the truth about liberal racism. The Quakers depicted in this image don’t really care about slavery or suffrage of Africans. They’re main focus is profit, abolishing slavery is just something that hides their true intent. This is still true about liberals today. For instance, despite what white liberals have accomplished with Obama, the race problem is still there. Race topics have become taboo and any solutions brought forth to deal with race relations merely sweep the problem under the matt. The image is not pro-slavery, but it is essentially depicting a good deed with bad intentions. I think that what would have made any of these two images more about the actual suffrage of Africans and anti-slavery would have been the depiction of a slave breaking the chains that control him (imperialism). This image, although it was anti-slavery, was still pro-imperialism (ex. Buy only East India Company sugar). If this image depicted solely the slaves and them breaking free from the evils that oppress them than maybe the idea of anti-slavery would have come across.

Olaudah Equiano has a better solution to abolishing slavery than from only buying from East India Company which is depicted in Cruikshank’s cartoon.

“I thought whatever fate had determined must ever come to pass; and therefore, if ever it were my lot to be freed nothing could prevent me, although I should at present see no means or hope to obtain my freedom; on the other hand, if it were my fate not to be freed I never should be so, and all my endeavors for that purpose would be fruitless. In the midst of these thoughts I therefore looked up with prayers anxiously to God for my liberty; and at the same time I used every honest means, and endeavoured all that was possible on my part to obtain it.” (Alternative E Text)

Equiano has a pan-African roots mindset, very simple to that of a Malcom X. In which the individual is in charge of his own destiny. In this image, the Quakers are the focus and voice of the slaves. However, when the slaves rise up and have a voice of their own than that is powerful and that makes imperialists scared. This image exposes liberal racism by implying that by buying from the East India Company you not only feel better for yourself, but help put a stop to slavery. This doesn’t highlight the issue which is why are these people exploiting the slaves to get sugar in the first place.

-Benjamin Montes


Commodifying Humanism: Profit Motive, Capitalism, and Slavery

In Robert Cruishank’s picture entitled “John Bull Taking a Clear View of the Negro Slavery Question!!,” the drawing draws questions and scrutinizes the financial and economic interests of slave emancipators, abolitionists, and slave sympathizers. Personally, I don’t believe this picture belongs in either category, “pro-slavery” or “anti-slavery;” rather, this picture is anti-abolitionist.

Along the left side of the picture, the blue sign reads “Petitions to both Houses of Parliament for removing the duties on East India sugar,” hanging directly above pictures of a cracked whip and abused slaves. Another individual, just left of the center of the picture, is dressed in a Quaker garb, holding a sign that reads “Buy only East India sugar, ’tis sinful to buy any other,” where the man has an invoice from E.I. Sugar.  These two signs , in addition to the invoice, essentially accuse the abolitionists of having vested interests in economic gain. The picture accuses their pure intentions as being a veil for their their true interests, economic compensation for their progressive social movement.

Additionally, the “clear view” highlighted at the bottom of the picture is ironic, given that John Bull is not looking with the clarity of the telescope at the “negroes” in question, but, instead, is hyperfocused on the pictures of slavery’s injustices, rather than the joyous socialization of the slaves on the right side of the picture. This proposes that abolitionists do not want their supporters to see the true nature of slavery, with its happy, dancing captives, but, because of their economic interests, they encourage their supporters to only see the immoral abuse of slaves by malicious slave owners.

This economic argument in the discourse of slavery can also be found in and contrasted with The Interesting Narrative of the Life of Olaudah Equiano, where Equiano argues against the current treatment of slaves with another economic argument. Equiano explains that “neglect certainly… cause[s] a decrease in the births as well as in the lives of the grown negroes” (108). He states that he can “quote many instances… [where] the negroes are treated with lenity and proper care, by which their lives are prolonged, and their masters are profited” (108). These “negroes” were treated so well that their owners “needed no fresh stock of negroes at any time” (108). Concluding his argument, Equiano states that, with the common, brutal mode of slave treatment, “it is no wonder taht the decrease should require 20,000 new negroes annually to fill up the vacant places of the dead” (108). This argument of treating slaves with “lenity” and “proper care” is a purely economical one, not catering to the idea that slaves are lives and, hence, should be treated with the respect that a life is due. Instead, Equiano makes a purely economical appeal to the psychology of his enslaving, rich, and white audience. He is aware that a purely moralistic or humanistic argument would simply not suffice; therefore, he will appeal to their wallets rather than their souls. A furitive master of rhetoric and logic, Equiano realizes that the cost of abolition would, first and foremost, be the loss of free labor, and, hence, he makes an appeal to that horrible, amoralistic side of the “Negro Slavery Question.”

With our modern, 21st century perspective, it would be easy to write-off Equiano as some sort of slavery sympathizer. Yet, we must be conscious of the rhetorical strategies needed to pierce the thick shell of slavery psychology, and, clearly, Equiano tries every rhetorical strategy in his power to do so.


—Nathaniel Schwass

Thomson and the assigned close reading

On page 46 of the Gibbes, Hartley House reading assigned for this week there is a passage taken from a poem by James Thomson of no title and beginning with the phrase “Bear me, Pomona, to thy Citron groves!” (46). This passage is a rather famous one, being cited by Goethe and a number of more recent sources. It is used in the text to relate the narrator’s feeling when in Bengal and to encourage Arabella to visit Bengal (or merely to make her feel jealous or a number of alternate possibilities). The purpose of the inclusion is fairly obvious, the narrator says in reference to the poem that “…poetry, Arabella, is the natural language where all is loveliness, and magnificence, and power exhaustless as infinite,” (46) and that there is an “immensity of [her] subject” (47). This meaning that the poetry is intended to give a sense of the scope to Arabella. In other words, I have provided the specific function of the poem in the text.

Now although we have the specific function since our narrator just told us what it was, the prompt did ask for a close reading, so I think it is worthwhile to go back and do one. In the poem itself there is slight mysticism or personification of various elements of nature (the breeze fanning, the fruit fever-cooling, the berries being in ‘humble station and unboastful worth’, and the ‘pride of vegetable life’). This adds to the mystery of the place being described. There is allusion to Jove (roman god) and Pomona (character in paradise lost), who everyone reading the poem is likely to be familiar with and be able to tie in their understanding. Furthermore there is slant rhyme in some of the couplets coat // jove, wave // shade, etc which is either coincidence or intended to bring attention to those parts of the poem (one is mid-way through and the other is at the end so this is likely). This seems to add to the text a certain amount of mythology (literally) and a more displaced sense of mysticism. Thus we have a close reading done of this poem.

As to why Sofia Goldborne ‘obsessively’ quotes English literary works it appears that the works are used to reinforce ideas within the text in a clean-cut way. In this specific passage I would say it does a good job of adding reinforcement, she describes “its fever-cooling fruit : deep in the night the massy locust sheds quench my hot limbs” (46) as “glowing descriptions of a climate and its characteristics” (46-47) which in turn are applied to Bengal. It doesn’t get much more straightforward in application than that. The choice of words on this question make me think I am being led to say that Goldborne is in some way trussing up her references in an attempt to make it more academic or hard to read but I don’t get that impression at all. Perhaps we should recognize that author’s considered these works as important to their own, or that since the audience should have prior knowledge then they should be able to reference them (references are, of course, a literary tradition going much further back than the 1700s). This paragraph addresses the last two questions of the prompt.

Joshua Jolly

Gulliver’s Ego

Sophia Goldborne begins the story by referencing “the splendor, as it is modestly styled, is of itself, my Arabella, sufficient to turn the soundest European head” (7). Since the beginning her ego has been high and she only continues to inflate her ego by comparing the “modest” presence of Calcutta to that of her home in Europe. She has this constant need to continue writing to Arabella, which is us the readers, and prove to Arabella just how much she has grown as a person in a sophisticated sense. She is becoming stronger and more knowledgeable now that she has left the comfort of her own home to gain experience from the world. Although literature serves the purpose of educating and critiquing society, the way that literature is being used here seems to almost serve the opposite purpose of educating. Her amazement at insistent quotation of English literature makes her believe that she does have some grasp of knowledge and wisdom that goes above the others. She uses such knowledge for others to connect with everything she sees one such reference comes from the moment she steps into a new surroundings. As evident when she says “I beheld so brilliant, so divine a spectacle-am so dazzled , and so captivated, and, like Gulliver in the land of Lilliput, find all objects around me so diminutive and so mean, that I overlook and disregard them at every point” (269). She is ignorant and cannot see past her own existence because she is only thinking about proving to others that she is just a step higher than all those who do not get to live out the experience that she is living. Like Gulliver she is placed in a position of power in which she can describe to the “unfortunate” what she lives through. The English literature makes her ego grow and she starts to blind her from the realism of her situation. The use of Gulliver here draws parallels to a person lost with the crowd but follows because here is no truth to do. The English literature only forces people to take a closer look at Sophia as a person and how truly “broken” she is by believing her superiority over others, when in fact she could be just as ignorant.

-Alexis Blanco

Hidden Meaning Behind Many References

“I am not correct in my quotation.. ‘Tis not to make me jealous, to say my wife is fair, loves company, sings, dances well… most virtuous.”

This quote is from Othello  by Shakespeare but is misquoted by Sophia. The quote comes from act 3 scene 3 of Othello and it’s Othello’s dialogue with Iago who, is plotting Othello’s demise. Shakespeare has this speech delivered after Othello murders Desdemona and Sophia says this after her description of the wedding of an East India Company man. It is true that Gibbes quotes English Literary works left and right throughout the novel, and I chose to focus on this quote because it comes during a critical moment of the wedding of the East India man and when Sophia meets Bramin, who she falls in love with.

This quote sets up Sophia’s discomfort with herself and her growing affection for Bramin. Sophia is also put in the position of Desdemona in the sense that she is falling for a man of another race just as Desdemona had chosen Othello regardless of him being of another race. Bramin would thus be Othello which would mean that if Bramin and Sophia were to marry Sophia might meet the same fate as Desdemona. Later on in the novel Sophia makes the comment that Indian men look older than their age while the English look young well into old age. Many would pass this off as a teenager being worried about appearances and not wanting to grow old; but I find it to be symbolic in the sense that if she marries Doyly she gets to return to Britain and live longer while if she marries Bramin there is potential consequences such as an early death.

I believe Sophia overly quotes English literary works because she thinks it helps get her meaning across. She is writing to her friend in Britain and is trying to convey her point in a way that her friend will understand. She uses the references in the same way kids and adults  use pop cultural references to explain themselves better. I also noticed that Sophia seems to try to make everything simpler to understand for her friend Arabella so it could also be that these references could be used as compare and contrasts to give Arabella a better image of what Sophia is going through and experiencing. The references are there to bridge the gap between both cultures.

I think the selective quotations help us see that those works of literature were the most popular works of that time. They were so well known that she would be able to casually mention it in a letter to her friend and her friend would understand it. It also goes to show that they were in the Enlightenment period because Gibbes is able to use Othello  as a reference for one of the first written interracial marriage.

-Andres Quezada

Sophia the First

Sophia Goldborne finally had a chance at an exciting life when she was able to travel to Calcutta. Girls didn’t have many opportunities in the 18th century to have anything but an ordinary life even though they were given minimal education advances. It is quite evident that in her letters she has a condescending tone towards her supposed friend Arabella and is snarky when relaying her experience. Throughout all her letters there is a myriad of literature allusions and they get a bit tiresome, as she will through them in frequently. But if we look at the formal education young women were allowed to receive in the 18th century, English literature was high on the list as opposed to other subjects like politics. In many of her letters she doesn’t utter anything political or if she does it is just a surface remark, although she is in the midst of political tension in Calcutta at the time, which is odd. Perhaps that is why she fills her letters with literature references because that is all she knows. It can account for a plethora of things, like how many 16-year-old girls probably just aren’t interested in political agendas.

Did these English literary references even add anything to the letters? In discussion class on March 8th we close read an excerpt from Letter II in which Sophia belittles herself to Arabella’s level in order to describe the house. She remarks, “I will begin with the circumstances of my first arrival, and so contrive to temper, though I cannot, like Mr. Apollo, lay aside my rays, that your optics shall be enabled to contemplate, however brilliant, the dazzling objects I gradually open on your view” (7). She mentions Apollo, and formally adds a Mr. in front of his name as if she is on a first name basis with him, just to compare herself that she isn’t as humble as Apollo, even though most Greek gods were chaotic and solved problems emotionally rather than logically. We can’t assume the kind of education Arabella has received but if she is Sophia’s friend we can hope they have the same education, which means Sophia knows Arabella understands her references but must find other ways in order to show that she is superior to Arabella for specific reasons. It shows that although Sophia may be well educated in literature but she might just have nothing else going for her and no other education for her to flounce about. This is why Sophia uses so many references; perhaps she has a limited repertoire of skills to show how high class she is.

— Alison Vining

The High Status of English Literature

Sophia Goldborne references English literary works because England is a symbol of power and high status, and in a way Goldborne feels the same about herself. When she references English literary works she doesn’t just do this to showcase the status of England, but more so of herself. Although, India is a British colony, by referring back to works by Dryden, Milton, Pope and other English authors. Sophia Goldborne is able to separate the two different societies, and she is also able to distinguish herself from her friend Arabella.

“For me the mine a thousand treasures brings;

For me health gushes from a thousand springs;

Seas roll to Wait me, suns to light me rise;

My footstool earth, my canopy the skies” (Gibbes 48).

This quote from Alexander Pope is significant because it lays out how Goldborne sees herself. Goldborne sees herself as the English in India, and how India belongs to them and it’s theirs for the taking. Goldborne is England (power and wealth) and India is everybody else. Goldborne is very egocentric, and this quotes really proves that. Notice how the quote contains ‘me’ which in this case would be Goldborne. Goldborne will have thousands of riches, the seas and sun will bow down to her, and the Earth and skies belong to her, and the world centers around her. “Suns to light me rise” can also refer to the idea that England and English literature has to be superior to all other cultures and nations because that their destiny. To be superior is Goldborne’s destiny.

Goldborne may have chosen English literature because English literature has the ability to give one’s self a sense of superiority, and in a way that showcases how Goldborne wants to be looked as. As someone who is superior and has a high status.