Motifs - death, glory, and freedom
Narrative Point of View - switches halfway, focuses on another female named Juliet D'Orsey. The narrator talks about the intimate relationships between Ross, Harris, Taffler and Barbara.
Tone - very instructional; Robert did this. He was a part of this. He longed for this. You get the idea.
Impression - Robert has grown maturely in the way he deals with loss and death in general. Considering that he is only 19, the reader can see what the effects of the war has on him.
Chapter Two, which starts off on page 75 begins with a plot detail that is historically accurate for their are references to geographical locations, dates, and warfare, such as the deadly chlorine gas which were "burning in the mud" (87). Perhaps what stood out the most so far is that Robert has his first near death experience. A death by drowning in mud. It's from pg 86-87 and it's quite gut-wrenching. He survives, obviously because if not then the story would abruptly come to an end. The motif of mud itself can be expected in this chapter, the first detailed reference to mud is on pg 76. Mud, in my opinion, has a mixed definition. The image of mud itself is harmless, but then it's frightening how it could actually kill you in a similar manner to quicksand. The novel references hundreds of death due to the sinking of mud.
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| The face of a silent, "muddled" killer. |
"Do you think we could walk a little faster? said Levitt. 'No,' said Robert. 'That's the quickest way to get shot. Wait a minute,' he said. 'Watch this.' Robert stopped walking and turned and waved at the German lines. Nothing happened. He waved again. Still nothing. He called out : 'Hallo there!' Still nothing. 'Now,' he said. 'Watch this'. He ran. At once there was a shot." (93) That's very interesting and good to know.
"We're all strange, Robert thought. Everyone is strange in a war I guess. Ordinary is a myth." (101)
"Robert rolled over. He wanted desperately to sleep but his eyes wouldn't close. Sleep is dangerous" (101)
"All he [Robert] wanted was a dream. Escape. But nobody dreams on a battlefield. There isn't any sleep that long. Dreams and distances are the same" (102)
A new narrative point of view is given by Lady Juliet D'Orsey, the sister of Barbara D'Orsey on page 108.
Barbara, according to her sister was a tomboy who was "possessive" to say the least. They had a brother named Clive who was a homosexual and Barbara never got around that fact and always pestered his boyfriends.
Harris is one of Robert's best friend of which he had met during the war. Juliet says in an interview transcript, "You know - I'm guessing at this- but I think Robert was in love with Harris. Somewhat the same way Jamie had been in love with Clive. It may be pedestrian to say so - but the truth is often pedestrian and I think the fact is that extremely physical men like Robert and Jamie and Taffler are often extremely sensitive men as well. They're more apt to be maudlin and sentimental. "Love has no many ways of expressing itself outside of the physical. I certainly don;t want to paint a picture of a lot of poets and athletes lusting after one another's bodies! But love - yes. Robert, though he never said so, loved Harris".
Thoroughly introduces the idea of homosexuality and its presence in men from all backgrounds - poets to football players.
Harris dies, saying Thank you to Robert as his final words for standing with him all the way through his injuries in the hospital through his visits and such. Robert is shocked to find him cremated, and takes his funeral to the sea, where Harris loved to focus on life and its beauty. The ceremony is on page 119. Again, the motif of the sea can be seen here again.
Not much to say about this chapter, very plot and dialogue driven.
Till next time,
Alexander Truong.
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