La Guma uses third-person narration, a progressive plot structure and powerful language devices to craft together five symbolic characters who journey through a lemon orchard, a microcosm of South Africa during the 1960s, on a cold night. Structurally, La Guma has arranged his story into paragraphs that correspond to particular stages within a progressive plot. He begins it first by introducing the characters and establishing the setting, and then he creates a conflict between the protagonist and antagonist, this initiates the rising action, as one tries to out maneuver the other, and then closes in suspense. The plot itself progresses like a journey “The men were walking through an orchard of lemons…” although the overall purpose of it is …show more content…
Its images play a fundamental role in creating the atmosphere of the story. Night is a setting for crisis and it is not surprising that the first image we encounter is that of the moon, which is associated with hunting and madness. The moon mimics human nature, as it hides behind clouds which are compared to “suspended streamers of dirty cotton wool in the sky” as if afraid to witness what is about to transpire. The use of contrast shows how a cloud which should be white and pure is soiled by racism. La Guma chooses the word ‘dirty’ for its ambiguity as it can mean both unclean and immoral. The alliterating words impress the image of the dirty clouds upon our minds and the repetition of the sibilant “s” suggests a snake-like quality, implying slyness and …show more content…
The expressions are colloquial “Is it not so” and the sentences are short in order to build suspense, as they are layered one after the other. The author uses tags; “the leader said” to help us keep up with the action, who is speaking and the manner in which the words are delivered as in the man “spoke with forced casualness”. He uses dialogue to highlight the vernacular. The Dutch slang the white men use like “kaffir”, and “hotnot”, reveals their race which is never explicitly mentioned. The undertones of their words express hate. Further, the dialect reinforces the theme of the story, this is clearly a story about racism. Dialect also reveals class. The white men who are shown to be superior to the colored man are actually members of the rural class hence their crude language. They describe him with an oxymoron “educated bushman” which does them an injustice by revealing their hypocritical natures. The author shows how each of the characters reacts to one another when the minor character complains about the cold “It’s cold” and his grievance which is seen as a weakness, is met with “sarcasm” exposing the leader’s coldness. Satirically, the man “not warmly dressed” does not whine about the cold. The reader comes to notice that strength and weakness are a recurring motif within the
According to Hinrichsen, when the narrator spends time with a wealthy white millionaire who is pedagogic as he “provides a type of instruction in cosmopolitan culture and white upper-class ways” (183). As a result of these lessons, which include taking the narrator to Paris and buying him high quality clothes, the Ex-Colored Man saw himself as being an equal to the millionaire (Hinrichsen 183). However, similar to the narrator’s formal education experience, his time with the narrator is still plagued by plantation language and ideas. Hinrichsen points to the millionaire’s frequent use of “my boy” and his frequent “loaning” of the Ex-Colored Man to his friends as examples of “mastery and ownership” (182). Thus, unlike her first supporting point, Hinrichsen illustrates how the narrative of being was created by the narrator.
The implied violence Olds uses shows the different characterization between black and white and how individuals conclude thoughts and feelings about race. Sharon Olds pessimistic tone establishes how she feels sitting across from a colored man who has "the casual cold
To the narrator, having a black and white parent made him “incapable of functioning” in the heavily segregated southern society (Andrews 40). He said he didn’t want to be black because he didn’t want to be associated with “people that could with impunity be treated worse than animals”, but he also didn’t want to be white because it was the white people who abandoned him (Andrew 40). Throughout his adult life, the narrator fights a battle between “raceless personal comfort and race conscious service” (Smith 418). Adding to the narrator’s problems, when he is traveling with his millionaire friend, he sees his father at an opera house with his wife and his daughter. The narrator expresses his feelings of “desolate loneliness” in the situation by saying that he had to “restrain himself from screaming to the audience that in their midst is ‘a real tragedy’(98)”
The metaphoric language is used to compare the blacks and the whites trying to live
He says that his father’s way of handling African Americans was a way of the past and that people didn't do that anymore. This gives the views of the generation, and how they often viewed racism towards African Americans. All these views from white citizens give the reader a second side to see and a way to understand how people felt about the racial tensions of that time and what contributed to
The way Wilson utilizes the language of the characters and their dialect enhances the experience overall and contributes greatly to the emotional depth and complexity of the play. In terms of dialect, the characters speak in a dialect different from the dialect of people of modern day. When writing the dialogue for the characters in his play the author August Wilson had the characters speak in a dialect typically spoken by African Americans in 1950s Pittsburgh. The author gave the characters that specific dialect because it was the dialect he had commonly heard spoken by people he was surrounded by in his youth. Wilson once said that he began his plays by a writing “line of dialogue to get the characters talking.”
By doing this, the reader calls to attention subordinate nature of the inhabitants to the authority of the Borderlands. Moreover, readers can see the effects that the Borderlands has on the individual clearly listed below the first line. This scheme creates a cause-effect pair allowing for one to view these effects as a clear result of the Borderlands condition. In addition to this, the author makes use of enjambment to offer contrasting ideas that simultaneously exist within the mind of the inhabitants. As one can see in the first stanza, the inhabitants “are neither bispana india negra española / ni gabacha, eres mestiza, mulata, half-breed” (2-3).
Almost anywhere he goes, there are echoes of the word “nigger”. He sees how he is treated as being totally dependent on the color of his skin. As a white man he is left alone by other white people and black people avoid him out of fear. As a black man, he is offered help by other black people, but whites are very cautious of his presence. While under the disguise of a black man he is constantly in danger, being followed by white people while alone at night.
In the novel Jasper Jones the protagonist Charlie is faced with racial aggravation towards his friend Jeffery and his family. As the story progresses, even though they seem small at the time, these racial stereotypes have cruel and unfounded aggravation. Silvey uses a range of language techniques to emphasise how unjustified the racial aggravation is. Jeffery is considered a racial outsider by the villagers and this is evident by the way they treat him.
He takes a risk that could either pay off mightily or possibly send him to his death. The Man is lead to a yukon territory that is extremely cold. He is isolated from all people and only has a dog making the journey with him. It is clear that the temperature becomes the man's enemy, “Fifty degrees below zero meant 80 degrees of frost. Such facts told him that it was cold and uncomfortable, and that was all.
My feet have been so cracked with the frost, that the pen with which I am writing might be laid in the gashes'' (23). Here, Douglass utilizes imagery to describe the cold
Beneath the literal brutal violence the narrator is forced into is an overwhelmingly obvious display of severe racism. It is a figurative violence between the rich and powerful whites and the struggling oppressed blacks. The violence is
Throughout the novel “ Black boy ”Richard Wright uses short dialogue to describes tense and fearful moments in his childhood. In Wright’s younger days life was not easy for for him he lived constant fear of death and that no doubt created some tense moments in his life. The first time that death was introduced into young Richard rights life was with the untimely death of his uncle ,“ ‘Mr Hoskins … he done been shot. Done been shot by a white man’ “( 54).Wright’s uncle has been shot ,he’s been shot by a white man. The way Wright embedded the word “ white ” in the quote indicates that there was some kind of resentment or fear towards the white men.
Everyone has their demons. The Dark Romantic Movement brought that evil into literature in an enticing and spine-chilling way. “The Pit and the Pendulum”, by Edgar Allan Poe, is emblematic of this movement. Poe’s expert use of literary elements and techniques creates a feeling of terror and fear. Three of the strongest elements present are the use of first person narration, imagery, and symbolism.
The Victims of White Supremacy: The play gives a clear account of military brutality by straying into the lives of five conscripts, their commanding officer, and an anonymous “Black Actor.” This is clear and evident in the fact that their commanding officer, Bombardier, violently reacts towards the conscripts for displaying a lack interest in the war i.e. Andrew Campbell is violently attacked for stating that he does not believe in the war. On this note, Bombardier’s brute language and aggressive nature serves to supplement the propaganda that was fed to the