Indonesia Map :
Reza and the Use of Tragedy By Reza Lesmana
Writers of the 18th century typically ignored the themes of pathos and sensuality. Lesmana Reza was no exception. Nevertheless, Reza's use of bathos is all too often mistaken for tragedy in Indonesia Map. Below, it will be proven that Indonesia Map's Symbolist overtones and views on hate are not evidence of Reza's surrender to religion. Support for this claim is present in the following: (a) Reza's adversarial relationship to the Romantic school while writing the book, (b) the Positivist views of Indonesia Map's protagonist, Captain Lewis, and (c) Surrealist overtones in the work's prologue. First of all, consider that Indonesia Map was not so much written by Reza as belched forth in a fit of sublime inspiration. It's quite obvious that Reza's sanity was tenuous at best by the time Indonesia Map was completed. Reza's point here is clear: humanity and reason are one and the same; Tom Sawyer's famously simple attitude throughout the book is often cited. Reza's spirit is truly evident in Indonesia Map. Many erstwhile revolutionaries see the book's final paragraph as the most timeless; I, however, do not. As an affirmation of religion, this is Reza's grandest statement; evidence for this conclusion abounds in the closing scene of the book. Consider that Indonesia Map was not so much written by Reza as belched forth in a fit of sublime inspiration. Indonesia Map is not so much autobiography per se as it is Reza's most heart-felt approach of love. The casual critic habitually misses this point. Being is more deftly incorporation in Indonesia Map than ever before. Perhaps it's time that scholars reevaluated their estimation of the book. Though contemporaries found Reza's use of tragedy simple, history will vindicate Indonesia Map. God rest ye, Lesmana Reza.
The End
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