Deconstruction is a philosophical approach and a critical theory initiated by French philosopher Jacques Derrida. Deconstruction enhances readers’ ability to analyze literature critically and fosters creativity in their interpretations and perspectives. The central premise of deconstruction is that meaning is not dependable since the language used to convey meaning is also not dependable. Therefore, the text should be reviewed and analyzed while dissecting any piece of literature. Deconstruction, often used for analysis, has a complex connotation. Derrida contends that Deconstruction is not a method but a more precise approach to understanding literature (Sahu et al., 2021). Derrida defined deconstruction as publicly and systematically studying communication that uses traditional resources to critique it. Deconstruction analysis can be utilized to evaluate Linda Pastan’s poem “Ethics.”
In the poem “Ethics,” Pastan leads the reader through an awkward discussion on a philosophical subject that is highly morally difficult. “If there were a fire in a museum, which would you save, a Rembrandt painting or an old woman who hadn’t many years left anyhow?”(Lynn, 2017). Answering the question is difficult because of Pastan’s use of dangling modifiers in the sixth line with “years remaining nonetheless” and his focus on the “Rembrandt picture” in the fourth line. The clever form of mind control highlights the significance of one choice while downplaying the other. Even though it is evident that human life is more valuable than a painting from an ethical standpoint, Pastan seems to suggest that the painting choice is superior to the old woman. Pastan’s suggestion can strain the reader with what seems like a straightforward query.
The learners’ reactions to the ethical problem were depicted by their agitation on uncomfortable seats or indifference towards images and old age, creating an unpleasant memory similar to the discomfort of the hard seats. The poem’s first stanza introduces the learners’ ideals and shows that the subject is hardly relevant to them. Pastan’s recollections of the classroom and her instructor’s criticism of her avoidance of responsibility are recounted with a disdainful inflection. The speaker’s teacher stated that whoever answers the question is responsible for what happens to both the older woman and the painting. Referring to such responsibilities illustrates the way resistance functions within the poetry. Pastan’s vocabulary in the poetry changes from simple expressions like “anyhow” at the beginning to more complex usage of punctuation and syntax as the poem progresses (Lynn, 2017). The final stanza portrays the issue as challenging to address, regardless of the age difference.
Pastan mentions the fall season in “Ethics.” This fall, in an actual museum, I stand
before an honest Rembrandt, old woman, or nearly so, myself” (Lynn, 2017). Pastan’s selection of the season suggests a transition from childhood to maturity since October signifies the shift from summer to winter. The young learners could not understand the ethical issue, the strength of old age, the concept of death, or the beauty of great art. Pastan employs vivid imagery to portray the two choices: the elderly woman and the Rembrandt painting. The provided options are considered elements within the poem’s structure representing specific contrasts or conflicts, such as art vs nature. There is a tension in the poem between art and life. The reader is presented with both options, creating difficulty in choosing between the two outcomes. “Sometimes, the lady borrowed my grandmother’s visage.” The presentation lets the reader perceive their grandmother and understand they would never contemplate terminating the relationship. Trade an artwork for an elderly woman’s life. Pastan aims to enhance the reader’s appreciation for art by emphasizing description and minimizing the focus on graphic imagery.
Deconstruction Theory can also analyze all components and argue that the ethical issue has been revealed by acknowledging the need to address the question and the problem’s existence, which is enough to dismantle the poetic structure. Structuralism aims to create a conceptual framework. Languages consist of elements that, when merged, make significance. Grammar rules vary among languages, and deconstruction highlights these differences rather than similarities in language structure (Halák, 2022).
Deconstruction both derives from and questions the system it analyzes. Derrida argues that this is consistently and paradoxically focused on a group of beliefs that centralize and stabilize significance. Derrida argues that standard terms referring to basic principles imply a fixed origin or first cause, which limits and distorts the evolution of meaning. Derrida labels this “tendency” as logocentrism (Sahu et al., 2021).
The poem’s conclusion is the most revealing, stating that the deconstruction theory’s fundamental ideas are now beyond young people’s comprehension. Initially the main focus of the poem, Pastan later acknowledges that the ethical dilemma revolves around the true nature of these items in life. She formerly considered this question a responsibility in her life but now finds it vulgar (Lynn, 2017). A poem about ethics was the perfect choice for the literary theory of deconstruction as its founder, Jacques Derrida, stated that deconstruction is a philosophy rather than an academic theory paradigm.
References
Halák, J. (2022). Gesturing in Language: Merleau-Ponty and Mukařovský at the Phenomenological Limits of Structuralism. Journal of the British Society for Phenomenology, 53(4), 415–439. https://doi.org/10.1080/00071773.2022.2076136
Lynn, S. (2017). Texts and contexts: writing about literature with critical theory. ISBN: 9780321945624. Pearson.
Sahu, S., Sarangi, H., & Mallik, P. S. (2021). A Deconstructive Analysis of Derrida’s Philosophy. Shanlax International Journal of Arts, Science and Humanities, 9(1), 98–107. https://doi.org/10.34293/sijash.v9i1.4097
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