In The God of Small Things, the root Arundhati Roy uses various rhetorical devices to explore the minds of two innocent tally in India, as well as the people contact them. The story shifts through narrators, gripping each character’s thoughts and perspective on life. It is also skillfully written; similes and metaphors atomic number 18 used throughout the tale to emphasize character’s ideas, certain words are chosen and constantly repeated, grammar is contend around with. Roy also uses imagery to create crude surroundings, events and memories; dilate are an important part of the novel.
Characters in The God of Small Things are well developed and portrayed; they are the narrators of their testify story. Through their voice, we find out about Ammu’s passions and isolations. We come upon about her fears and about her doubts in life; we see or so of her dreams and they was she loves both her children and Velutha. We also learn about Rahel and Estha’s linkup and childish ways of viewing the world. For example, when the whole family was driving to the airdrome and passed by a march. “Just then Rahel saw Velutha. Her nearly beloved friend Velutha. Velutha marching with a red sign” (Roy pg. 68).
Rahel didn’t understand why Velutha wouldn’t answer to her calls, or why her mother got angry with her after calling to him.
Roy plays with the face language in her novel. She uses metaphors and similes almost in every paragraph, reservation thoughts more realistic. “…it suddenly came back to Rahel. That expression on Ammu’s face. Like a rogue piece in a puzzle. Like a question mark that drifted through the pages of a book and never settled at the end of a sentence” (Roy pg. 69). Changing grammar, the author creates new words, sometimes ground on the way they sound, or separating them in syllables. Her tone is overall ironic; some events happen because it seems like people merit for them to...If you want to get a full essay, order it on our website: Orderessay
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