“He became the humble, oppressed under-dog that he was by birth, afraid of everything, creeping slowly up, in a curiously hesitant, cringing movement”.
Anand, Mulk Raj. Untouchable. New York: Penguin Group, 2014. 42. Print.
In this moment, you see Bakha’s self doubt of his social class and work. Long years of demeaning and menial work have paid the price on him, leaving physical and emotional burdens. The emotional burden is still present, the self-doubt he always had about climbing up higher. He obviously displays hesitance from years of emotional pains.
“Then Jewel is enclosed by a glittering maze of hooves as by an illusion of wings; among them, beneath the upreared chest, he moves with the flashing limberness of a snake. For an instant before the jerk comes onto his arms he sees his whole body earth-free, horizontal, whipping snake-limber, until he finds the horse’s nostrils and touches earth again” (12).
The narrator does not provide an emotional description of Jewel’s reaction to the horse standing up. The narrator is in awe of Jewel’s composed demeanor and competence working with the horse.
“Watch yourself,” Cash says.
“I’m on it now,” Jewel says. “You can come ahead now.”
Cash takes the reins and lowers the team carefully and skillfully into the
I felt the current take us and I knew we were on the ford by that reason,
since it was only by means of that slipping contact that we could tell that we
were in motion at all. What had once been a -flat surface was now a succession
of troughs and hillocks lifting and falling about us, shoving at us, teasing at
us with light lazy touches in the vain instants of solidity underfoot. Cash
looked back at me, and then I knew that we were gone. But I did not realise the
reason for the rope until I saw the log. It surged up out of the water and
stood for an instant upright upon that surging and heaving desolation like
Christ. Get out and let the current take you down to the bend, Cash said. You
can make it all right. No, I said, I’d get just as wet that way as this
The log appears suddenly between two hills, as if it had rocketed suddenly
from the bottom of the river (147-48).
Faulkner, William. As I Lay Dying. New York: The Modern Library, 2000. Print.
The italicized excerpt from one of Darl’s chapters changes tense in the middle of scene in which the wagon turns over into the water, a scene that is progressing in the story, shifting from present tense narrative with direct-reported discourse, to past tense narrative and indirect discourse, and then back to present tense and direct-reported discourse. This peculiar moment seems as though it was placed into the story a-chronologically in order to supplement the story in a later edition, as though at the time of the experience, Darl could not possibly have comprehended his surroundings enough to fully tell the story, highlighting the problems that can occur when narrative attempts to convey experience.
“In tender hearted natures, those that mostly never feel strong passion, suffering often comes to make them harder. When these do not know in themselves what it is to suffer, suffering is then very awful to them and they badly want to help everyone who ever has to suffer, and they have a deep reverence for anybody who knows really how to always suffer. But when it comes to them to really suffer, they soon begin to lose their fear and tenderness and wonder. ”
Stein, Gertrude. “Melanctha.” Three Lives. Dover Publications, New York. 1994. p 110. Print.
This passage is interesting because everyone suffers at one point in life. Some may have suffered in some sort of way all their lives and to some, it is a fairly new concept. Through suffering, people become stronger and they get passionate. However, what effect will that have on people who were never passionate to begin with? For those, they lose a part of themselves and it kills them to even bear with their pain. This experience still play a big part in molding a person to better themselves and develop even the smallest passion for something.