The authors Andre Malraux and Duong Thu Huong both use the juxtaposition of scenes that are distinctive, but at the same time linked, to provide commentary on a specific theme and to develop certain characters. In both novels, the characters contemplate their suffering and death. The two scenes juxtaposed by Duong in Memories of a Pure Spring use metaphors to deeply examine Hung's suffering. Through these two scenes that Duong also reveals to the reader a deeper understanding of Hung. She is able to implicitly illustrate the man Hung has become and foreshadow his future suffering.
[...] In this realization, Hung is transformed, he becomes lost in the sea and in it he is a different man. The Hung who sits at home is dead, but this man by the sea can hear music; nowhere else will he ever be satisfied. From this point on, Hung is a distorted figure. Yet, it is from these juxtaposed scenes that the reader receives a deeper understanding of Hung and why he is such a conflicted man throughout the rest of the novel. In the novels Memories [...]
[...] Duong also uses metaphors and the juxtaposition of scenes in Memories of a Pure Spring to create a better understanding of a character and his suffering. Hung is now living what is supposed to be a great life under new lights,” but for Hung all there is in that life is his suffering. He proclaims that under new lights' will bring profits to the others, and losses to (Duong 95). In this scene, Hung attempts to write a new music composition, but he is unable to make the first note, which he describes as being first brick in an edifice: It made way for the rest. [...]
[...] The first is Hemmelrich's strong desire to be in Ch'en's place and to risk his life for the revolution. Hemmelrich contemplates his suffering and how death could bring meaning to his life. He declares that death” is only dignity he could ever posses” (188). In this way, Hemmelrich ennobles the idea of death making it seem almost heroic. The second point is implied through Hemmelrich's acknowledgement that he can not be like Ch'en because it would mean deserting his family. [...]
[...] Since it is difficult for some to understand how Ch'en can find meaning of life” through death, Malraux juxtaposes a scene with different characters discussing the same theme to implicitly rationalize Ch'en's belief. In this scene, Malraux uses the painter, Kama, and his views about painting as a metaphor for Ch'en and his contemplation of death. Kama declares that he were no longer to paint, it would seem to him that he had become blind. And more than blind: alone” (197). [...]
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