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Roald DahlA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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Henry Sugar is a wealthy man in his forties. He has an inflated sense of his own appearance and personality. He and his friends, who are also wealthy, devote themselves to their own pleasure and to increasing their already expansive fortunes. One rainy day, while staying with a friend in London, Henry is bored and begins looking around his friend’s library. He comes across a slim volume—a handwritten account by Dr. John F. Cartwright on a man named Imhrat Khan whom Cartwright claims can see without his eyes. The story shifts into Dr. Cartwright’s voice as Henry begins to read.
Cartwright, a surgeon at Bombay General Hospital, meets Imhrat Khan one day when the man enters the hospital and asks the doctors to cover his eyes as thoroughly as possible. Khan explains that he has the unique ability to see without using his eyes. Cartwright covers Khan’s eyes and asks him to tell how many fingers Cartwright’s colleague is holding up. Khan repeatedly announces the correct number. Cartwright and his colleague thoroughly cover Khan’s eyes, sealing them first with dough and then wrapping Khan’s entire head with thick cotton wool. When the doctors finish, Khan steps off the operating table and walks out of the hospital with ease. Khan then walks into the busy street and climbs atop a bicycle with a sign for spectators to see him perform miracles at The Royal Palace Hall that evening.
That evening, Cartwright attends the event and enjoys watching Khan’s various tricks. At one point, Khan—his head still bandaged—shoots a tin can off the head of a young boy. After the show, Cartwright visits Khan in his dressing room and asks if he can write an article on the performer for the British Medical Journal. Realizing that the publicity will help support his career, Khan agrees. He tells Cartwright that he was born in Akhnur in 1904. His family was poor, and young Khan was mesmerized with the idea of becoming a conjurer. He traveled 200 miles to visit a performer he met, but he was disappointed to find that this conjurer knew no real magic. Khan searched for a yogi instructor and traveled to seek out a man he had heard was a true magician. He found a yogi who taught him exercises to help him focus his conscious mind through meditation.
Khan noticed that his abilities were growing, and he decided to concentrate his attention on seeing without his eyes. From ages 17 to 24, Khan practiced meditation by staring at a candle. Suddenly, he began to notice that when he closed his eyes, he could still see the candle burning. Khan developed his skills over time, soon using his inner sight to perform card tricks for money.
After interviewing Khan, Cartwright can think of little else than the man who sees without his eyes. When he returns to visit Khan the next day, he learns that Khan has died in his sleep. Cartwright’s report is dated: December 1934.
After reading Cartwright’s account, Henry Sugar wonders if he can develop the same ability to support his gambling addiction. He quickly begins practicing Khan’s meditation with the candle. Henry practices every day and is surprised at how quickly his abilities advance. After 10 months, Henry sees an object with his eyes closed. He continues to practice until he is ready to try his hand at casinos. He uses blackjack to advance his wealth, but he finds that he now has little interest in making money. Back in his apartment, Henry looks at the money with distaste and decides to throw it off the balcony to the pedestrians below. A police officer suggests Henry give the money to an orphanage rather than chucking it off the balcony, and Henry realizes that he could use his power to benefit others. For seven years, Henry amasses 50 million pounds which he uses to build orphanages in Europe. After his death, his accounts hold 144 million pounds.
Dahl uses an embedded narrative (or a story within a story) structure to weave together multiple plots and provide a dynamic arc for his character. A classical example of an embedded narrative is Hamlet which utilizes a play within the play. In Dahl’s story, Henry Sugar’s life functions as the frame. He discovers a slim volume handwritten by Cartwright in his friend’s library. This allows the reader to experience Imhrat Khan’s story in exactly the same way Henry does.
In the story, Cartwright is a static character—like many of Dahl’s narrators, he is a functional device used to advance the plot. Cartwright encounters Khan, amazed by his unique ability to see without his eyes, and assists by bandaging up the man’s eyes, watching his show at the circus, and carefully recording Khan’s story. He is merely an observer—a vehicle to deliver the story to Henry and catalyze his transformation. Dahl utilizes Imhrat Khan, the only character of color in the story, as similar tool—a flat, yet mystical character without any interiority or human emotion, reflecting Dahl’s now well-documented racism and the historical and political context within which the story was written. Like Cartwright, Imhrat Khan exists only to serve Henry Sugar, the British character framing Khan’s narrative.
Unlike Cartwright, Henry is a dynamic character who undergoes a full transformation over the course of the story. He decides that to learn to practice the same techniques described by Cartwright and use this new skill to amass wealth at gambling. However, he finds that his meditative practice alters how he sees at the world, shifting his priorities and inspiring him to break away from his community of friends, all of whom are wealthy and self-involved. The candle in the story symbolizes his enlightenment, reflecting a classic association of light with knowledge. Each day, Henry practices looking at the candle until soon he begins to develop the same senses that Khan did. He realizes he has a special ability when his powers develop faster than Khan’s. This daily practice forces him to confront the world in a new way and recognize that there is more to life than money.
Henry switches from a life of avarice to a life motivated by benevolence after engaging in meditation, centering his arc on the opposing forces of Greed and Generosity. Only when he tosses the money from his window and watches the crowd below is Henry cognizant of his own privilege, realizing how different his experiences are from the experiences of others. The knowledge empowers him to truly help people with less privilege than he. He finds more satisfaction in this type of work than he ever did when living a life in service to greed. In “The Mildenhall Treasure,” Ford never underwent such a transformation, remaining completely devoted to his own greed, and living unhappily despite having the treasure he wanted. In this way, Henry becomes the anti-thesis of Ford. He experiences the same feelings of disappointment and discontentment the first time he uses his new ability to win at gambling: “He was a puzzled man. He couldn’t understand why he felt so little excitement about his tremendous success” (153). Yet, unlike Ford, Henry experiences The Transformative Power of Magic and takes action to change his moral character and circumstances. When he begin to give the fortune away, he experiences a joy that keeps him coming back for more.
By Roald Dahl