This simple literary technique generates the movement of plot and points directly to the language.Diction remains simple, yet eloquent in its delivery by the various characters.
This simple literary technique generates the movement of plot and points directly to the language.Diction remains simple, yet eloquent in its delivery by the various characters.Tags: Art Compare And Contrast EssayLiterature Review BooksPro Cloning EssaysDo My Algebra HomeworkGraham Turnbull Essay 2012Paper Proposal Research Write
Subsequently, this is assisted by a brewing rainstorm and, most notably, by the generosity of James Jarvis, who hires an agricultural demonstrator to ready plans for tillage.
Symbolically, Paton realizes Msimangu’s words of hope that only love “has power completely.” The reconstruction of the land becomes a joint venture between Kumalo and James Jarvis, between black and white.
These intercalary chapters serve as Paton’s social criticism of the divisive political and social order in South Africa.
Paton also uses dashes to indicate dialogue, allowing not only for the realistic portrayal of conversation, but also for the rapid dramatic actions among characters.
The opening lines are repeated in chapter 18, which begins book 2.
The melodic description of the land is now in reference to the whites’ partition of South Africa, namely, James Jarvis. The openness and vitality of the land offer a sheer contrast to the depiction contained in book 1.Because James Jarvis and Kumalo reach a shared responsibility for their actions and thoughts as they attempt to understand the loss of their sons, Alan Paton believes that the country of South Africa has hope for restoration of its values and order in its new generation, especially in the sons of Arthur Jarvis and Absalom Kumalo. To depict the land as the central focus of this novel, Paton opens chapter 1 with a poetic reverence for “the fairest valleys of Africa.” Here the connection between land and people becomes evident.Book 1 points to the erosion of the land as the people leave their native soil.James Jarvis’s farm, the finest one of the countryside, “stands high above Ndotsheni.” Paton thus symbolically portrays the destructiveness and divisiveness of apartheid in the ownership of land. Chapter 30 brings to light the drought that covers the land of Ndotsheni.Saddened by the land’s deterioration, Kumalo knows he must find a way to restore its beauty and fertility.As noted previously, the novel’s three sections structurally suggest the two different worlds of Africans and Europeans, then offer a solution and a hope in the third book in the coming together of the two fathers.The safe, calm village life of Kumalo and the farm life of Jarvis parallel the city life in Johannesburg, a city of evil, corruption, and moral inequities for both blacks and whites.This section focuses on the native soil of the blacks, Kumalo in particular.It is difficult to maintain the beauty and fertility of the land when the tribal natives head for the promises of the city. This deterioration is further illustrated in the shantytowns dishearteningly discovered by Kumalo as he enters Johannesburg.Paton allows this parallel to function in two ways: first, to reflect the suffering of each father; second, to show that both Absalom and Arthur fall victim to apartheid.Paralleling, then, is more than just a structural device, but rather a focus on the issue of race relations in South Africa.