IndexIntroductionPurple Hibiscus: Setting and SymbolismConclusionIntroductionThe novel Purple Hibiscus by Chimamanda Adichie, set in postcolonial Nigeria during the civil war in the late 1960s , is a coming-of-age novel that focuses heavily on family relationships and religious and cultural ideals. The passage describing Kambili and Jaja's first meal at their aunt's house in Nsukka provides a stark contrast to the oppressive atmosphere of Enugu due to her father's violent nature. The freedom and vibrancy of Aunt Ifeoma's family, despite financial limitations, disconcerts Kambili, removing restrictions on her life and exposing her to radically different values ​​and beliefs. Adichie foreshadows Kambili's character development through the immense contrast between her home and the open, loving environment of the Nsukka family. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original EssayPurple Hibiscus: Setting and SymbolismAdichie emphasizes the symbolic setting in this passage to powerfully convey the disparity in attitudes of Kambili's and Aunt Ifeoma's families. The wealth gap is addressed frequently, highlighting that greater material satisfaction is not as beneficial as the spiritually nourishing environment of Nsukka. Adichie uses natural imagery as she describes the dining table in the second paragraph of the excerpt, mentioning “wood cracking in dry weather” and the simile of “the outermost layer shedding, like a moulting cricket, brown slices shedding curled from the surface." The reference to natural cycles indicates Auntie Ifeoma's progressive attitudes; his encouragement of the natural expansion of perspectives and social skills. This is in direct contrast to Kambili's naïve voice, which is evident in the parallel syntax present in most of her narration. However, the image of the “moulting cricket” suggests that in this context Kambili will undergo a significant change, maturing and perhaps gaining a different view of her family relationships and her Christian zeal. This notion is reinforced by the image of “curling brown slices” which implies nourishment and has a sort of aesthetic quality. The vivid description of the setting also juxtaposes the disorder of Aunt Ifeoma's house with the order of Kambili's house in Enugu, reflecting the different values ​​emphasized in the two families. Adichie repeats the word “mismatched” twice as she describes the furniture, reflecting the slightly more chaotic atmosphere of her home. The resulting freedom and carefreeness overwhelms Kambili to a certain extent, and Adichie also uses the adjective "mismatched" to imply that Kambili feels out of place and insecure about the concept of freedom from perfectionism and oppression. Adichie again notes the lower income when she mentions "half a thigh" on Kambili's plate, and suggests that the family's enthusiastic appreciation, conveyed through constant dialogue and exclamation points as in "Chicken and sodas!", compensates for their material limits. Their apparent ability to enjoy life despite its constant inconveniences and chaos is a major theme running through the novel, and parallels the much more sinister duality of Kambili's life, where she continues to strive to meet her father's expectations despite submitting to the lasting psychological effects of his violent nature. Kambili's emotional response to the strikingly different setting of Aunt Ifeoma's house conveyed by Adichie gives us an idea of ​​the change that begins to stir in her during her visit to Nsukka.At first, she appears rather passive, for example when Adichie writes that she "followed Amaka into the kitchen and saw her slicing and frying...", using active verbs only to describe Amaka. As the meal begins, Kambili feels increasingly uncomfortable, mentioning that she was "trying to concentrate, trying to get her food down," the anadiplosis implying her intense insecurity in the face of her cousins' freedom of speech. This turmoil signals the internal conflict that Kambili will face when she is exposed to the lifestyle at her aunt's home, which could result in a more independent and confident personality. Kambili is clearly amazed by the constant flow of conversations between her cousins ​​and aunt; Adichie writes, “Laughter floated above my head,” using the verb to indicate the uninhibited fun that Kambili is not a part of, but longs for. The metaphor also suggests that simply by breathing this laughter, by existing in this environment, Kambili is gradually imbued with the happiness that surrounds her. The noise seems almost tangible to her, creating a surprising contrast with the motif of silence that seems to envelop her in anticipation. Adichie reiterates the freedom and spontaneity in the home, continuing the paragraph with “Words pouring out from everyone,” using the verb's blunt and unpretentious connotations to once again emphasize the messier yet more intimate environment of her aunt's house Hypheoma. The use of parallel syntax in “often not seeking or getting any answers” ​​captures the cousins' contribution to the family dynamic through the simple act of sharing a stream of consciousness. They seem to maintain balance, strengthening family unity and intimacy. Kambili believes that speech is aimless and, as she proudly states, “at home we have always spoken with a purpose”; this is very ironic, however, since we know the superficial compliments given to please dad during meals. His apprehension about this type of unrestrained dialogue highlights his severely limited social interaction, which is clearly likely to improve during his time among his talkative relatives. In a way, Kambili's internal conflict mirrors the beginning of the Age of Enlightenment, when the Western world emerged from a stagnant historical period due to the repression of Christianity. Adichie insinuates that as far as Kambili and Jaja are concerned, the characters' simple verbal commitment is an integral catalyst for Kambili's independence and perhaps a firmer stance in the family conflict. The characterization of Aunt Ifeoma and her children is an important element that influences Kambili's perceptions and opinions. aspirations. Aunt Ifeoma's statement that “today we will treat Kambili and Jaja as guests, but from tomorrow they will be part of the family and join the work…” incorporates a rapid change in the time frame and reflects her frank and welcoming nature. Adichie raises the possibility that, thanks to Nsukka's open and loving atmosphere, Kambili will experience more of a family spirit with her aunt than with her own family in Enugu. The sarcasm with which Aunt Ifeoma says to Kambili: “We don't say mass in the name of grace like your father does” underlines her rejection of the rules that father imposes on his family; Kambili is introduced for the first time to thoughts and values ​​that are starkly opposed to those of her father. His pronounced silence accentuates the impact of Amaka, Obiora and Chima's constant use of dialogue, much of which is punctuated by exclamation points. For example, when Chima says, “'Mom! I want the chicken leg,'” Adichie demonstrates the ease with which even the smallest child can express himself. Kambili's heartbreaking shyness and independence, illustrated by her lack of dialogue, is in stark relief, and the powerful presence of her cousins.