The Role Of Setting In Emphasizing Character Changes In Purple Hibiscus

Table of Contents

An opening

Purple Hibiscus symbolism and setting

In conclusion,

An opening

Chimamanda is the author of Purple Hibiscus. The story takes place in post-colonial Nigeria during Civil War, in the late 1960s. This novel is a bildungsroman. Kambili, Jaja and their Aunt’s first meal at Nsukka’s house is a striking contrast to Enugu’s oppressive atmosphere. Kambili’s surprise at the vibrancy and freedom of Aunty Ifeoma despite her financial constraints is due to her being exposed to radical new values and beliefs. Adichie hints at Kambili’s growth through the stark contrast between Kambili’s home and Nsukka’s loving, open environment.

Purple Hibiscus – Setting and symbolismAdichie uses the symbolic setting to communicate the inequalities in the attitudes of the families of Aunty Ifeoma and Kambili in this passage. This is a frequent theme that Adichie addresses, emphasizing the fact that wealth does not equal spiritual satisfaction. Adichie uses natural imagery in describing the dining area in the second paragraph. Adichie mentions that “wood cracks in dry climate” and then refers to “the outermost level was shedding like a cricket, brown strips curling up from it’s surface”. This is an indication of Aunty Ifeoma’s progressive outlook; her encouragement to natural expansion in outlook and social skill. This contrasts sharply with Kambili’s inept voice. However, the “molting” cricket image suggests that Kambili is likely to undergo significant change. This idea is further reinforced by the image “brown slices curling upward” which suggests nourishment. Adichie repeatedly uses the word “mismatched”, twice in her description of the furniture. This is to reflect the chaotic environment in her home. Kambili is overcome by the resultant freedom and lightheartedness. Adichie uses the adjective “mismatched”, which reflects Kambili’s insecure relationship with the freedom from oppression or perfectionism. Adichie again points out Kambili has a lower income and mentions Kambili has half a drumstick. Adichie suggests that Kambili feels overwhelmed by her family’s love and appreciation. The novel’s main theme is their apparent ability to enjoy life despite its many drawbacks, chaos, which parallels Kambili’s more sinister duality, in which she continues to try to please her father, despite the psychological and emotional effects that he has on her.

Kambili’s reaction to Aunty Ifeoma’s new home, which Adichie conveys to us, gives us insight into how she reacts to it. Adichie says that Kambili appears to be passive initially, describing her as “following Amaka back into the cooking area and watching her cut and fry …”,” using active verbs. Kambili is becoming more uncomfortable as she eats. She mentions that she tried to concentrate and eat the food, but feels increasingly uneasy. The anadiplosis suggests her insecurity when faced with her cousins’ free speech. Kambili is likely to feel more confident and independent as a result of this tumult. Kambili clearly is astonished by the constant stream of conversation between her aunt and cousins. Adichie wrote, “Laughter floated above my head”, using this verb to describe the uninhibited joy Kambili longs for, but is not part of. Kambili can also be influenced by the happiness in this environment by simply breathing in the laughter and being present. She finds the noise almost tangible and it is strikingly different from the silence that seemed to surround her before.

Adichie reaffirms the family’s freedom and spontaneity, and continues the paragraph with “Words spurted out of everyone”, using the unassuming connotations and abruptness of the verb to highlight the more chaotic but intimate surroundings at Aunty Ifeoma’s house. Parallel syntax is used to capture the cousins’ contribution to the family dynamic. They seem to have a sense of equilibrium which helps strengthen the family’s unity. Kambili feels her speech lacks meaning. She says proudly that “we always talked with a reason back home”. We are also familiar with the superficial compliments Papa made during mealtime. Kambili’s aversion to such unrestrained dialog exposes her limited social interaction. This will likely be improved as she spends more time with her talkative family members. Kambili’s inner conflict is a reflection of the dawning of the age for enlightenment. It marks the end of an era of stagnation in history, which was caused by the repressions of Christianity. Adichie says that Kambili is independent and takes a stronger stand in family conflicts because of Kambili’s mere verbal engagement.

Kambili’s views and aspirations are affected by how Aunty Ifeoma is described. Aunty Ifeoma said that Kambili and Jaja will be treated like guests today but that they will become family members and participate in the …” work tomorrow. This is a fast change in time, and it reflects her friendly, straightforward nature. Adichie suggests that Kambili might experience more of a family atmosphere with her aunt at Nsukka because of the warm and welcoming environment. Kambili is introduced to ideas and values by her aunt, Aunty Ifeoma. Her exaggerated silence emphasizes the effect of Amaka, Obiora, and Chima’s constant dialogue, which is often punctuated by exclamation marks. Chima’s “Mommy!” expression is a good example. Adichie, on the other hand, demonstrates how even the youngest children can express themselves. Kambili is a shrewd and independent woman. The lack of dialogue in her speech and the strong presence of her cousins in the binary opposition seem to be a sign of Kambili’s growing confidence. Amaka, Obiora and their speech are paired up with actions. For example, Obiora pushes at his glasses in order to speak. This demonstrates their closeness not only verbally, it is also evident through their body language. This reveals her insecurity and discomfort in this lively setting. She also enviously states that her cousins have these same qualities. Adichie helps Kambili become self-realized and mature. Kambili’s cousins talk is continuous and fast-paced. This demonstrates their social competence and energy. Kambili’s admiration for this ability is a sign of her character development.

Kambili finally feels at peace with her own life. Her laughter reflects her happiness and her confidence that everything will turn out alright. The Achike family is celebrating a new beginning and a new life by planting orange trees. Jaja planting purple flower hibiscus symbolizes his freedom and the possibility of him growing. Kambili recalls the happy memories of her ixora plants. It reminds Kambili of the simple joys that life has to offer. The hope of a fresh start is represented by the “new rainfalls” symbol. This family finally has freedom and can live without fear.

ConclusionAdichie’s comparison of Papa’s and Aunty Ifeomas’ different outlooks prepares her for the gradual changes occurring in the main adolescent protagonists. The striking differences between Aunty Ifeoma’s and Kambili’s perspectives contributes to Kambili’s inability to speak for herself and question her father’s destructive dominance. Adichie speaks out against the oppressive environment Papa creates for Kambili. He is a religious fanatic who has a terrible effect on their inquisitive and social skills. The microcosms of the families reflect the postcolonial Nigerian situation. They show the oppressive government and the spread of dissent, which can lead to a conflict that could result in significant changes.