The History of Rasselas, Prince of Abissinia

“‘I fly from pleasure,’ said the Prince, ‘because pleasure has ceased to please: I am lonely because I am miserable, and am unwilling to cloud with my presence the happiness of others.’”

The repetition of “I am” is an example of anaphora, or the repetition of an opening word or phrase. This repetition underscores Rasselas’s introspection and self-awareness and accentuates the cyclical nature of his despair, where the pursuit of pleasure and the experience of misery reinforce each other. The metaphor of “cloud with my presence” conveys how his misery taints the happiness of others, suggesting an inescapable, pervasive gloom.

“You are here in full possession of all the Emperor of Abyssinia can bestow; here is neither labour to be endured nor danger to be dreaded, yet here is all that labour or danger can procure or purchase. Look round and tell me which of your wants is without supply: if you want nothing, how are you unhappy?”

Rhetorical questions reflect on the paradox of discontent amid abundance. The contrast between “neither labour to be endured nor danger to be dreaded” and “all that labour or danger can procure or purchase” emphasizes the irony of having everything yet feeling unfulfilled. Also present is the repetition of “here is” and the rhetorical question, “if you want nothing, how are you unhappy?” Both highlight the contradiction inherent in human desire and satisfaction.

“‘Nothing,’ replied the artist, ‘will ever be attempted if all possible objections must be first overcome.’”

In suggesting the impossibility of achieving anything if one insists on resolving every conceivable objection beforehand, the artist highlights the necessity of action despite potential hindrances. This develops The Critique of Utopian Thinking by suggesting that insistence on perfection can impede practical improvement.

“Subordination supposes power on one part and subjection on the other; and if power be in the hands of men it will sometimes be abused.”

The quote employs alliteration and dichotomy to contrast power and subjection, illustrating the inherent imbalance in hierarchical relationships. The assertion that power will sometimes be abused is an example of the text’s didactic element, as it asserts a purportedly universal truth about the nature of authority and its potential for misuse.

“Whatever be the reason, it is commonly observed that the early writers are in possession of nature, and their followers of art; that the first excel in strength and invention, and the latter in elegance and refinement.”

The author uses juxtaposition to compare the qualities of early writers with their successors. The contrast between “nature” and “art,” as well as between “strength and invention” and “elegance and refinement,” underscores the evolution of literary styles and the shifting focus from raw creativity to polished artistry. The parallel structure in “the first excel in strength and invention, and the latter in elegance and refinement” emphasizes this progression, highlighting the distinct yet complementary contributions of different generations of writers.

“To a poet nothing can be useless. Whatever is beautiful and whatever is dreadful must be familiar to his imagination; he must be conversant with all that is awfully vast or elegantly little.”

Antithesis emphasizes the poet’s need to encompass the full spectrum of human experience. The juxtaposition of “beautiful” and “dreadful” and “awfully vast” and “elegantly little” highlights the poet’s ability to find value and inspiration in contrasting elements, suggesting a comprehensive and inclusive creative vision.

“‘Do not disturb your mind,’ said Imlac, ‘with other hopes or fears than reason may suggest; if you are pleased with the prognostics of good, you will be terrified likewise with tokens of evil, and your whole life will be a prey to superstition.’”

The parallelism of “prognostics of good” versus “tokens of evil”—and their correspondence to “hopes” and “fears,” respectively—creates symmetry, Stylistically, this underscores the importance of reason over superstition, warning against the emotional extremes that can arise from irrational beliefs. The metaphor “your whole life will be a prey to superstition” conveys the idea of being consumed by irrational fears.

“‘Very few,’ said the poet, ‘live by choice. Every man is placed in the present condition by causes which acted without his foresight, and with which he did not always willingly cooperate, and therefore you will rarely meet one who does not think the lot of his neighbour better than his own.’”

This passage highlights the conflict between individual agency and external influences, developing the theme of The Role of Personal Freedom in Achieving Fulfillment. The statement also emphasizes the disconnect between perception and reality—specifically, that people often believe others are better off despite their own lack of control over circumstances. Additionally, paradox lies in the idea that although everyone experiences lives shaped by external factors, many still believe others have more control or better circumstances.

“He compared reason to the sun, of which the light is constant, uniform, and lasting; and fancy to a meteor, of bright but transitory lustre, irregular in its motion and delusive in its direction.”

A metaphor illustrates the contrasting qualities of reason and fancy. The sun, representing reason, is depicted as a stable and enduring source of light, signifying clarity and reliability. In contrast, the meteor symbolizes fancy, characterized by its fleeting brilliance and erratic movement, suggesting unpredictability and deception. This metaphor advocates for the superiority of reason over imagination in providing consistent and dependable guidance.

“Other men may amuse themselves with subtle definitions or intricate ratiocination. Let them learn to be wise by easier means: let them observe the hind of the forest and the linnet of the grove: let them consider the life of animals, whose motions are regulated by instinct; they obey their guide, and are happy. Let us therefore at length cease to dispute, and learn to live.”

Anaphora is evident in the repeated phrase “let them,” which emphasizes the call to action. The parallelism between “the hind of the forest” and “the linnet of the grove” underscores the simplicity and natural wisdom found in observing all kinds of animals. The comparison between human intellectual pursuits and the instinctual lives of animals suggests a preference for a more natural, instinctual way of living, advocating for simplicity and contentment over complex reasoning and argumentation.

“Perhaps command and authority may be the supreme blessings, as they afford the most opportunities of doing good; or perhaps what this world can give may be found in the modest habitations of middle fortune—too low for great designs, and too high for penury and distress.”

The quote uses antithesis to juxtapose the extremes of command and authority with modest middle fortune. The balanced structure in “too low for great designs, and too high for penury and distress” contrasts ambition and poverty, highlighting the virtues of a moderate, balanced life. Overall, the passage’s contrasts underscore its uncertainty about where true contentment lies.

“‘What are we now to think of the prerogatives of power?’ said Rasselas to his sister: ‘Is it without efficacy to good, or is the subordinate degree only dangerous, and the supreme safe and glorious? Is the Sultan the only happy man in his dominions, or is the Sultan himself subject to the torments of suspicion and the dread of enemies?’”

Rhetorical questions emphasize the uncertainties and complexities of power. The questions challenge the assumption that power equates to happiness or safety, suggesting that even the most powerful individuals may be plagued by fear and suspicion.

“Their grief, however, like their joy, was transient; everything floated in their mind unconnected with the past or future, so that one desire easily gave way to another, as a second stone, cast into the water, effaces and confounds the circles of the first.”

The quote uses simile to compare the fleeting nature of emotions to the ephemeral ripples caused by stones in water. The imagery of “everything floated in their mind unconnected with the past or future” evokes a state of constant change and instability where desires and feelings are temporary and easily replaced. The transitory nature of emotions is one reason why the novel cautions against viewing happiness as something one can attain.

“‘What then is to be done?’ said Rasselas. ‘The more we inquire the less we can resolve. Surely he is most likely to please himself that has no other inclination to regard.’”

A paradox highlights the frustration of seeking answers and finding only more questions, underscoring the complexity and ambiguity inherent in the search for understanding. The assertion “he is most likely to please himself that has no other inclination to regard” suggests that true contentment may come from focusing solely on one’s own desires rather than external influences or obligations.

“‘Your narrative,’ says he, ‘throws yet a darker gloom upon the prospects of futurity. The predictions of Imlac were but faint sketches of the evils painted by Nekayah. I have been lately convinced that quiet is not the daughter of grandeur or of power; that her presence is not to be bought by wealth nor enforced by conquest.’”

The metaphor “quiet is not the daughter of grandeur or of power” personifies quiet as a familial relation, highlighting that tranquility cannot come from status or authority. The contrast between “faint sketches” and “evils painted by Nekayah” employs a visual metaphor to underscore the increasing seriousness of the narrative.

“We will not endeavour to modify the motions of the elements or to fix the destiny of kingdoms. It is our business to consider what beings like us may perform, each labouring for his own happiness by promoting within his circle, however narrow, the happiness of others.”

The quote contrasts grand, unattainable goals with more practical, achievable actions. The juxtaposition between “modify the motions of the elements” and “fix the destiny of kingdoms” versus “promoting within his circle” underscores the importance of focusing on personal and immediate efforts to cultivate happiness. The passage takes a didactic tone, advocating for individual responsibility in contributing to communal well-being.

“There are a thousand familiar disputes which reason never can decide; questions that elude investigation and make logic ridiculous; cases where something must be done, and where little can be said. Consider the state of mankind, and inquire how few can be supposed to act upon any occasions, whether small or great, with all the reasons of action present to their minds.”

The enumeration of “a thousand familiar disputes,” “questions that elude investigation,” and “cases where something must be done” emphasizes the multitude and complexity of issues beyond the reach of reason and logic. Many human actions are driven by factors not fully understood or articulated, which highlights the limitations of rationality in guiding or even assessing behavior.

“‘It seems to me,’ said Imlac, ‘that while you are making the Choice of Life you neglect to live. You wander about a single city, which, however large and diversified, can now afford few novelties, and forget that you are in a country famous among the earliest monarchies for the power and wisdom of its inhabitants—a country where the sciences first dawned that illuminate the world, and beyond which the arts cannot be traced of civil society or domestic life.’”

Imlac uses juxtaposition to contrast the act of choosing with the act of living. The phrase “while you are making the Choice of Life you neglect to live” highlights the irony of becoming so consumed with decisions about life that one fails to experience it. The juxtaposition of “a single city” with “a country” underscores the missed opportunities and broader perspectives neglected in favor of narrow exploration.

“Ignorance, when it is voluntary, is criminal; and he may properly be charged with evil who refused to learn how he might prevent it.”

The statement frames ignorance as a voluntary action, attributing moral responsibility to the individual who chooses not to learn. The use of legalistic language (“criminal,” “charged,” etc.) emphasizes the ethical obligation to seek knowledge and prevent harm.

“‘The state of a mind oppressed with a sudden calamity,’ said Imlac, ‘is like that of the fabulous inhabitants of the new-created earth, who, when the first night came upon them, supposed that day would never return. When the clouds of sorrow gather over us, we see nothing beyond them, nor can imagine how they will be dispelled; yet a new day succeeded to the night, and sorrow is never long without a dawn of ease.’”

The simile comparing the experience of calamity to people experiencing night for the first time illustrates the overwhelming and disorienting nature of sudden sorrow. The metaphor of “clouds of sorrow” emphasizes the heaviness and obscurity of grief, while “a new day succeeded to the night” and “sorrow is never long without a dawn of ease” use natural cycles to symbolize hope and renewal, suggesting that even the darkest moments are temporary and will eventually give way to relief and clarity.

“‘Such,’ said Imlac, ‘are the effects of visionary schemes: when we first form them, we know them to be absurd, but familiarise them by degrees, and in time lose sight of their folly.’”

Imlac suggests that repeated exposure leads to a loss of critical perspective. The phrase “lose sight of their folly” metaphorically illustrates how continued familiarity can obscure the initial awareness of absurdity.

“‘Praise,’ said the sage with a sigh, ‘is to an old man an empty sound. I have neither mother to be delighted with the reputation of her son, nor wife to partake the honours of her husband. I have outlived my friends and my rivals. Nothing is now of much importance; for I cannot extend my interest beyond myself.’”

This passage highlights the sage’s disillusionment. The melancholy tone is established through the enumeration of lost relationships—mother, wife, friends, and rivals—emphasizing isolation and the diminishing significance of external validation.

“My mind is burdened with no heavy crime, and therefore I compose myself to tranquillity; endeavour to abstract my thoughts from hopes and cares which, though reason knows them to be vain, still try to keep their old possession of the heart; expect, with serene humility, that hour which nature cannot long delay; and hope to possess in a better state that happiness which here I could not find, and that virtue which here I have not attained.”

The contrast between the calm acceptance of mortality and the vain hopes and cares reflects the internal struggle between reason and emotion. The metaphor of emotions trying to “keep their old possession of the heart” personifies them as persistent intruders, illustrating the difficulty of achieving emotional detachment.