Findley’s unique style and excellent use of diction create an atmosphere which is intense and exciting. Through Robert’s struggle with the mud and internal conflict, Timothy Findley is able to emphasize the endeavours of war which is not talked about nor known about. Desperation expressed by Robert is done so with cleverly displayed syntax and organizational skills. Findley’s diction heightens the anguish and panic experienced by Robert. A feeling of despair and distress is established by Robert’s attempt to free himself from the adamant and obstinate mud.
The thought hich runs through his mind immediately entering the mud is, “Dear Jesus – [I am] going to drown. ” Through such passages, Findley introduces sort of a “hopeless struggle” which compounds enthusiasm of the scene. In addition, the tone is brought about by Robert’s contiguous thoughts “Don’t [die], he kept thinking; don’t. ” When Robert helplessly attempts to cry out for help, but finds his voice is caught in his throat, the atmosphere becomes much like a deafened silence found in war movies; his surroundings become slow moving as the silence envelopes his awareness. Now imagery.
Timothy Findley successfully creates vivid images hrough the use of many descriptive words and sentence fragments to add effect and increase the reader’s awareness of what Robert is going through. “The mud spread wider over his thighs. It began to make a sucking noise at the back of his legs. The fog came down like a muffler over his face. ” The fog and the mud are both obvious and yet the most brazen images of the passage; both images play a negative role in enervating Robert’s ability to see or move. Tone and attitude are established through the negative imagery; “The back of [Robert’s] head went all the way down and into the slush.
In and out and in and out. With his buttocks clenched and his knees… He began to realize his knees were spreading wider and wider and his groin began to shudder. Warm. ” Arguably, the imagery creates a sort of sexual energy or aura for the reader. However, the overall effect of the passage constructs a debilitated struggle experienced by Robert. In essence, the limited omniscient point of view allows the reader to feel Robert’s panic and other emotions effectively. “[Robert] could see his knees. He began to pull at his legs with his hands. Nothing happened. Absolutely nothing.
The reader is able to feel Robert’s distress while still having a broad view of the entire scene. Both the reader and Robert experience a sudden sense of hope, followed by vulnerability. Failure. In addition, “[Robert’s] gloves were filled with mud and nothing would hold to them. ” However, through his desperation, “he tore them off and locked his hands behind his right knee. ” The reader encounters a jolt of hope, but at the same time, continues to feel Robert’s endless battle with the tormenting mud. The limited omniscient narration shows a chance of survival for Robert; a ray of hope.
Ultimately, the reader, too, feels a sigh of relief as Robert slowly gains control of the mud. Findley’s organization aids in demonstrating Robert’s torture in the mud. It carries the reader from Robert simply getting lost through to his reluctant escape. It begins with the setting and a vivid description of the harsh conditions in which soldiers must face daily. Later on, the climax is when Robert tries to forcefully “force his pelvis forward and up” out of the mud. A brief denouement is achieved when Robert’s knees “[spread] wider and wider and his groin began to shudder.
The passage allows for a short pause and settling of the plot to build suspense. Following is a second climax when “[Robert] tore [his gloves] off and locked his hands behind his right knee. ” The resolution which proceeds adds a note of relief to the reader as “[Robert’s] leg began to move. ” Slowly after that, he is able to free the rest of his body until “he was free. ” The final moments of the passage while Robert gradually frees himself allow the reader to truly feel his desire to escape. His desperation. Finally, to complete the circle of these literary devices, we have yntax.
Findley employs his syntax in an able and alert manner. The author’s syntax clearly emulates Robert’s definite battle. The dashes used throughout the passage – and throughout the novel – create the effect of an extended thought or action. “He began to push again and to lift – thrusting his pelvis upward harder and harder – faster and faster against the mud. ” A pattern of sentence fragments also maintains a tone which is urgent and short; the thoughts and actions are brief and to the point. Robert has to think quickly and make his decisions and actions precise to void drowning into the brown death.
His thoughts continue to be momentary and monotonous. “I don’t want to drown, he though. Please don’t drown. ” Findley then continues to use short thoughts and sentences to effectively show Robert’s torrid effort to survive. Ultimately, this passage is a physical and external representation that imitates Robert’s internal conflict with himself. Robert must face the fact that his sister has died and although he not to blame, he continues to feel guilty for not being able to save Rowena. To save his promise; the promise which he made, claiming he would stay with her orever.
He struggles with the fact that he had let her down and was not able to save her from her demise even though he was her “protector. ” Other struggles in which he faces are the raging war between the nations. The atmosphere of the war is a constant depressing factor – especially for a young teenager such as Robert. In addition, the reality of the world such as homosexuality and death is another obstruction which faces Robert. In the passage, all of these things inner conflicts are represented by the physical and tiring battle with the mud; a fight with mud to remain sane.