Table of contentsIntroductionPurple Hibiscus: setting and symbolismConclusionIntroductionThe novel Purple Hibiscus by Chimamanda Adichie, set in postcolonial Nigeria during the civil war at the end of the 1960s, is a bildungsroman that focuses heavily on family relationships as well as 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 the abusive nature of her father. The freedom and vibrancy of Aunt Ifeoma's household, despite their financial limitations, disconcerts Kambili, while lifting the restrictions placed on her life and exposing her to radically diverse values ​​and beliefs. Adichie foreshadows the development of Kambili's character through the immense contrast between her own home and the open, loving environment of the Nsukka household. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essayPurple Hibiscus: Setting and SymbolismAdichie emphasizes the symbolic setting of this passage to powerfully convey the disparity in attitudes of Kambili's and Aunt Ifeoma's families. The wealth gap is frequently addressed, emphasizing that greater material satisfaction is not as beneficial as the spiritually nurturing environment of Nsukka. Adichie uses natural imagery to describe the dining table in the second paragraph of the excerpt, mentioning the "wood creaking in dry weather" and the comparison of "the outermost layer peeling away, like a molting cricket, from the brown slices curling from the surface. .” The reference to natural cycles indicates that Aunt Ifeoma’s progressive attitudes; its encouragement of the natural expansion of perspectives and social skills. This is in direct contrast to Kambili's naive voice, evident in the parallel syntax present in much of her narrative. However, the image of the "molting cricket" suggests that in this context, Kambili will experience significant changes, maturing and perhaps gaining a different outlook on her family relationships and Christian zeal. This notion is reinforced by the image of “rolled brown slices” which imply food and have a certain aesthetic quality. The vivid description of the setting also juxtaposes the mess and cleanliness of Aunt Ifeoma's house in Enugu, reflecting the different values ​​put forward in the two families. Adichie repeats the word "mismatched" twice when describing the furniture, reflecting the slightly more chaotic atmosphere of her home. The resulting freedom and lightness overwhelms Kambili to some extent, and Adichie also uses the adjective "inadequate" to imply that Kambili feels out of place and insecure with the concept of freedom from perfectionism and 'oppression. Adichie once again highlights the decline in income when she mentions "half a drumstick" on Kambili's plate, and suggests that the family's enthusiastic appreciation, conveyed by the constant dialogues and exclamation points like in “Chicken and Soda!” ”, compensates for their material limitations. Their apparent ability to enjoy life despite its constant inconveniences and chaos is a major theme that runs through the novel and parallels the much more sinister duality of Kambili's life, where she continues to strive to satisfy the expectations of her father despite his submission to the lasting psychological effects of his abusive nature. Kambili's emotional response to the surprisingly different setting of Aunt Ifeoma's house which is conveyed by Adichie to usgives a glimpse of the change that begins to take place in her during her visit to Nsukka. At first, she comes off as rather passive, such as when Adichie writes that she "followed Amaka into the kitchen and watched her slice and fry...", using only active verbs to describe Amaka. As the meal begins, Kambili feels increasingly uncomfortable, mentioning that she was "trying to concentrate, trying to get the food down", the anadiplosis implying her intense insecurity about free speech. of his cousins. This turmoil signals the inner conflict that Kambili will face when she is exposed to the lifestyle of her aunt's house, which could give her a more independent and confident personality. Kambili is clearly amazed at the constant flow of conversations between her cousins ​​and aunt; Adichie writes, “The laughter floated above my head,” using the verb to indicate the unfettered pleasure that Kambili is not a part of, but yearns for. The metaphor also suggests that by simply breathing this laughter, by existing in this setting, Kambili gradually absorbs the happiness that surrounds her. The noise seems almost tangible to him, creating a stark contrast to the pattern of silence that seemed to envelop him before. Adichie reiterates the freedom and spontaneity of home, continuing the paragraph with “The words spouted from everyone,” using the connotations abrupt and unpretentious. of the verb to once again emphasize the messier and yet more intimate environment of Aunt Ifeoma's house. The use of parallel syntax in "often not looking and getting no answers" captures the cousins' contribution to family dynamics through the simple act of sharing a stream of consciousness. They seem to maintain balance, strengthening family unity and intimacy. Kambili believes that the speech lacks meaning, as she quite proudly mentions: “at home, we have always spoken with a purpose”; However, it is very ironic, because we know the superficial compliments made to please Dad during the meal. His apprehension about this type of frenzied dialogue reveals his very limited social interactions, which are clearly likely to be improved during his stay among his talkative relatives. In a sense, Kambili's inner conflict reflects the beginning of the Age of Enlightenment, when the Western world emerged from a period of stagnation in history due to the repression of Christianity. Adichie insinuates that when it comes to Kambili and Jaja, the characters' simple verbal engagement 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 perceptions and aspirations. Aunt Ifeoma's assertion that "Today we will treat Kambili and Jaja as guests, but from tomorrow they will be part of the family and join in the work..." incorporates a rapid change in calendar and reflects her direct and welcoming nature. Adichie suggests the possibility that because of Nsukka's open and loving atmosphere, Kambili will experience more of a sense of family with her aunt than with her own family in Enugu. The sarcasm with which Aunt Ifeoma tells Kambili: “We do not say mass in the name of grace like your father does” underlines her rejection of the rules that Papa imposes on his family; Kambili is introduced for the first time to thoughts and values ​​distinctly 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 with exclamation points. For example, when Chima says, “'Mom! I want the chicken leg'", Adichie demonstrates.