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Use of symbolism in a thousand splendid suns
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In Khaled Hosseini’s A Thousand Splendid Suns the protagonist, Mariam’s father, Jalil, uses gifts, false compassion, and lies into deceiving his daughter into believing that he loves her unconditionally just as much as he loves his other children resulting in Mariam feeling betrayed and unloved throughout her adulthood.
Jalil is a wealthy movie theater owner in the small town of Kabul who is a well known figure of the village and lives in a large house with his three wives who have given him many children. Mariam is one of his children however she was born into the world as a harami, a bastard child, so she lives with her outcasted mother at the edge of the village in a Kolba. Jalil visits Mariam every week, when he visits he pretends to care deeply for her due to his own pity and guilt
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Jalil regretted giving Mariam away when she was fifteen after she had just lost her mother. At the time he felt like it was the only thing he could do in order to protect himself from a public shunning. When Mariam sees Jalil’s true colors she feels betrayed, angered and hurt for not accepting her as his own. Mariam had idolized him but after her arranged marriage with Rasheed she was so beyond hurt that she never forgave him for the way she treated her. Jalil showed up at Mariam’s house years after to try and apologize for everything that he had done but she treated him the way he had treated her years back and refused to see him. Hosseini brings to light that a reputation can make a person but it can also break a person, someone who is so consumed with it could end up losing everything but by that time it is too late to apologize for the things that they have done and the people they have
For her 15th birthday, Mariam asked Jalil if he could take her to his cinema to watch Pinocchio. She also asked if Jalil could bring her brothers and sisters so she could meet them. Both Nana and Jalil thought it wasn’t a good idea, but Mariam insisted on going, so Jalil said he would send someone to pick her up. Mariam did not like this idea and said that she wanted to be picked up by Jalil. Jalil reluctantly agreed. Later that day, Mariam gets the backlash and hate from her mother from her decision: “Of all the daughters I could have had, why did God give me an ungrateful one like you? …How dare you abandon me like this, you treacherous little harami!” Mariam wakes up the next day, disappointed and fed up since Jalil did not come to pick her up. She heads out to town to find Jalil herself. She makes it to his house when a chauffeur tells Mariam that Jalil was “away on urgent business.” She slept outside of his house and was awoken by the chauffeur, telling her that he would take her home. Mariam snatches away from the chauffeur’s grip and turns around towards the house, to see Jalil in an upstairs window. It was then that Mariam figured out that all she was to Jalil was a disgrace. Jalil had always been careful with the information he told Mariam. He may have loved her, but only on his own terms. Once Mariam realizes that her father allowed her to sleep on the street rather than bring her into his
The concept of standing up for one’s self plays a key theme in the novel, Wanting Mor. The novel unfolds with an illustration of Jameela, as a timorous, obedient girl, influenced by her religious beliefs. As it states in the novel, “ ‘Don’t tell me what I am! I’ll tell you!’…My face is hot. How could I have been so careless? So disrespectful. Maybe I’m tired too” (Rukhsana 29). These statements are followed after the death of Mor and how Jameela’s father, Baba, reacts to the situation by demeaning everything including his own daughter. Jameela tries to soothe her father in the attempt to make her father relaxed by informing him he is simply fatigued. In spite of this, her father believes this to be offensive as he needs to be mollified by her young daughter, which results into Jameela believing the cause was of her own. She is also depicted as diffident because she abides to anyone regardless of her own feelings and emotions. This is illustrated through chapters’ three to nine, which begins with Baba telling Jameela that they are leaving their village to go to the picturesque city known as Kabul, regardless of Jameela’s consideration in the process. Afterwards, Jameela labours away with the multiple Khalaas, respectable term for o...
The concept of standing up for one’s self plays a key theme in the novel, Wanting Mor. The novel unfolds with an illustration of Jameela, as a timorous, obedient girl, influenced by her religious beliefs. As it states in the novel, “ ‘Don’t tell me what I am! I’ll tell you!’…My face is hot. How could I have been so careless? So disrespectful. Maybe I’m tired too” (Rukhsana 29). These statements are followed after the death of Mor and how Jameela’s father, Baba, reacts to the situation by demeaning everything including his own daughter. Jameela tries to soothe her father in the attempt to make her father relaxed by informing him he is simply fatigued. In spite of this, her father believes this to be offensive as he needs to be mollified by her young daughter, which results into Jameela believing the cause was of her own. She is also depicted as diffident because she abides to anyone regardless of her own feelings and emotions. This is illustrated through chapters’ three to nine, which begins with Baba telling Jameela that they are leaving their village to go to the picturesque city known as Kabul, regardless of Jameela’s consideration in the process. Afterwards, Jameela labours away with the multiple Khalaas, respectable term for o...
From start to finish, one could see how much Mariam values Laila, Aziza, and their friendship. The first example is when Mariam vows to help Laila while they are in the hospital for Laila’s unborn child: “I’ll get you seen, Laila jo. I promise” (287). This simple promise is a deep portrayal of Mariam’s desire to help Laila find a doctor and deliver her baby. Additionally, one can see Mariam’s love for Laila when she protects her from Rasheed’s grip of death, “‘Rasheed.’ He looked up. Mariam swung. She hit him across the temple. The blow knocked him off Laila” (348). Rasheed was going to kill Laila, but Mariam steps in and knocks him off of her with a shovel to save her life. Mariam forms a tight-knit bond with Laila, and when Hosseini includes their relationship, one can see how Mariam values Laila enough to kill another man. The author also describes their relationship after Mariam and Laila discuss plans for leaving: “When they do, they’ll find you as guilty as me. Tariq too. I won’t have the two of you living on the run like fugitives.” … “Laila crawled to her and again put her head on Mariam’s lap. She remembered all the afternoons they’d spent together, braiding each other’s hair, Mariam listening patiently to her random thoughts and ordinary stories with an air of gratitude, with the expression of a person to whom a unique and coveted privilege had been extended” (358). The love Mariam has for
In the novel, A Thousand Splendid Suns, by Khaled Hosseini, the characters Mariam and Nana, though very different, are similar in that they are both victims, illustrating how people can be considered victims for many different reasons.
In Cormac McCarthy's 2006 play, The Sunset Limited, McCarthy gives the reader very vague information about the setting and surroundings of the conversation that is occurring throughout the entire work. In the opening stage directions, an essential prop to the play is the "door [is] fitted with a bizarre collection of locks and bars" (3). The image of the locks is referenced a multitude of times within the duration of the play, as the two men, Black and White, sit at a table and debate the ways of the world. This conversation stems from Black saving White from committing suicide the previous morning and ineffectively tries to keep White from leaving to end his life. Throughout The Sunset Limited, the locks and bars of the door represent the overarching
This quote displays a theme in the novel as Mariam gets older. Jalil moves the burden of Mariam onto Nana, and Rasheed blames Mariam for things that go wrong from there.
Mariam’s strength is immediately tested from birth and throughout her whole childhood. She has been through a lot more than other children of her age, and one of those challenges is the hope for acceptance. She is looked at as an illegitimate child by her parents, and they say there’s no need to attend school. We learn right away what the word “harami” means when Nana uses that to describe her own daughter. She says, “You are a clumsy little harami. This is my reward for everything I’ve endured. An heirloom-breaking, clumsy little harami” (Hosseini 4). Nana especially pushed Mariam away from pursuing her goals. She said there was no need for education and men always find a way to blame it on a woman. This pushed Mariam away from her mom and closer to Jalil, but he refuses to acknowledge her and his wives look at her with cold stares of disgust. Mariam only feels loved by Jalil through all of this, mainly because he brings her things and shows her some love. She asks him to do something with her outside of the kolboa and he first agrees, but never brings her because of his fear with his wives and the structures of Afghan culture that frown upon it. He starts to act as if she was a burden to him and Mariam’s hope for acceptance is crushed. She realizes the truth, especially once she reaches adulthood. In Afghanistan, marriage is not all about love for eachother, it is about traditional role...
Oftentimes, in the public, people have to be “normal” to be successful and accepted. Author William Saroyan believes that society steers people to be conform and fit in, but he disagrees. In the short story “Gaston,” Saroyan shows that carving a unique path can turn out to be erroneous. Through symbolism and contrast, Saroyan conveys the theme that society does not always accept people’s differences.
The first of Castel’s dreams occurs while Maria is away at the estancia and ends up illustrating his chaotic emotions and confused adoration for her. Castel is in a weakened state and is frantically awaiting Maria’s return. He envisions being within a dark house which he feels he had “known and infinitely desired”(88) since his youth. He feels comforted in this residence because it is something definite, understood, and established. Castel lacks these feelings of stability in his life because he devoutly subscribes to the existentialist thought; he believes that mortality is a narrow passageway which is uncertain and has no point to it other than to purely exist. When he enters the dim household, he is mysteriously lead by “old memories” (88). These recollections imply a thematic undertone since existentialists believe that nothing precedes life be...
Both Laila, the lucky girl with breathtaking beauty, whose luck suddenly vanishes, and Mariam, the unlucky and illegitimate daughter, whose luck goes from bad to terribly worse, become dynamic and complex characters. This transformation is brought about by the gradual revealing of Hosseini’s motivation. In fact, Hoesseini is evidently motivated to reveal the truth, and let the emotional and physical realities of Afghani women’s lives be known to the
War ravaged the land and tore people apart emotionally and physically. One recurrence that came about during the war was the raping and “ruining” of women. To be ruined meant that a woman was raped and/or tortured so severely that she would no longer be capable of having sex. In a culture that values the fertility of its women, this lead to the breakdown of many communities. A perfect example of this breakdown would be in the case of Salima and Fortune. Salima was taken into the bush and raped for 5 months and when she returned home her husband, Fortune, turned her away. This violence committed against Salima caused her to be forced from her community, and it also forced her to take up work at Mama Nadi’s. Here she has to endure a change of identity in order to do the work required of her and to come to terms with her past. At the end of the play, Salima dies and states the haunting words; “You will not fight your battles on my body anymore”(94). These last words sum up just how intrusive the war has become in the lives of everyone in its path and also represents a clear shift in Salima as an individual. Instead of the woman who just wanted her husband back at the end of the play, we are left to contemplate a
In All Summer in a Day Ray Bradbury uses assonance and symbolism to show that the children need to rest from going through the hard times. Some of the author´s crafts that show that involve the jungle and its relationship with the rain. Also the rain itself shows how the children are afflicted and are in need of rest.
When Jafar was young he lived in a small house in eastern florida. He lived with his dad, hank and is younger sister. His mom left when he was young but his dad always seemed too take care of them as much as was he was capable of. His dad loved them dearly but he had a lot of his own problems. He was an alcoholic working for minimum wage as a construction worker, so funds were usually tight. Jafar didn't care that his dad didn't make much money, he was just glad he had his dad and his little sister marcy. But his dad was really the lucky one as his dad usually said “I need u guys more than you need me”.
Jaz is faced with the difficulty of her mom (anna) being extremely ill when she is diagnosed with cancer, because of her mom being ill she didn’t get time to spend with her mom. Her mom got better and decided to go to the countryside for ...