Write a short note on the charaterization in the solid mansela
Answers
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Solid Mandala is divided evenly between Arthur and Waldo Brown. The first and last sections of the four-part novel, narrated from an omniscient third-person point of view, describe events before and after the climactic moment in the Brown brothers’ lives. The two middle sections are narrated from each brother’s point of view; both recount in quite different ways the story of their lives up to the fateful climax of their relationship.
Arthur and Waldo Brown, fraternal twins, are born in Australia to parents transplanted from England. George and Anne Brown preserve some grandiose ideas about life, and so Waldo and Arthur grow up in the un-noteworthy suburb of Sarsaparilla in an atherwise average house made unusual because of its incongruous classical pediment in front. Arthur is the strong, sturdy son who is slow but also sensitive and kindly. Waldo, by contrast, is physically weaker than Arthur but clever enough to become a dry, unemotional librarian. As they mature, it becomes clear that Arthur considers himself Waldo’s protector, while superior Waldo resents having to admit to his dull-witted dill of a brother.
As the story begins, the brothers are both retired old men who live together in their original childhood home, take their scruffy dogs for daily walks, and spend the rest of their time bickering. The two have always been viewed as eccentric by their neighbors, although, as Waldo tries to make abundantly clear, it is Arthur who gives them the bad reputation. Waldo’s reminiscence about their combined past reveals him to be an unsympathetic character: bookish, prudish, and egotistic. He considers Arthur his duty, his responsibility.
Answer:
Explanation:
Because Patrick White develops a distinctive, individual voice for each brother, both emerge as memorable characters, although Arthur Brown is an especially compelling creation. The style of the two middle sections varies according to which brother narrates: Arthur’s chapters are more impressionistic and poetic, while Waldo’s are more straightforward and prosaic. Whereas the prevailing tone of Waldo’s version is one of anger and resentment, Arthur’s story is warm and generous. Waldo presents dry recollections because he filters everything through his intellect: Arthur’s memories, by contrast, are visceral as well as emotional and imaginative. Both styles are realistic in method in the sense that the brothers, their dogs, and their house are evoked in all of their shabby, unlovely detail, but the narrative also relies heavily on symbols such as the mandala as well as on the allegorical implications of twins.
Arthur, the more appealing brother, is a modern version of the noble primitive or God’s fool. Patrick White invokes the stereotype in order to satirize provincial Australian values; because Arthur is good, humble, and incapable of hypocrisy, he stands out as eccentric, even inferior. Except for Dulcie and Mrs. Pouter, both atypical Australian women, the suburban populace (represented by the appropriately named Mrs. Dun) regards Arthur with distaste and fear. Suburbia’s values are entirely materialistic and do not permit acceptance of any.
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