The Pasha’s Concubine (1926) is the story of a young girl who catches the eye of a Turkish army officer and is summoned to his house.
A story of strength versus innocence and mercy versus power.
She appeals to him because of her extreme youth – she is not quite sixteen and the reason he gives for finding this stage attractive establishes one of the themes of the story: “This is the right moment in her life. She was separated from her family, frightened, alone, dependent entirely on him. From time to time she seemed to him like a little animal, which, driven against a cliff, stared at him wide-eyed and trembling.” The woman’s vulnerability acts as a provocation, a magnet drawing the stronger element by logic of its own.
In the story the concubine herself are woven two further tales of victimisation of women, so that together they form a complete statement of the plight of woman as an innocent victim. The theme of the pursuit of a wild animal is developed in the subsidiary account of the rape of a ten-year-old, lured out of town by two youths with a promise of sugar. And in the household where Mara ends her days one of the women has a violent husband who has beaten her regularly since their wedding night.
The story of Mara the concubine is developed, as is that of Mustafa Magyar, in such a way as to make them not only vivid individuals in specific circumstances, but also in a way archetypal.
The story of Mara the concubine is developed, as is that of Mustafa Magyar, in such a way as to make them not only vivid individuals in specific circumstances, but also in a way archetypal.
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