Using the Heart: The Symbolism of Individual Change in Bessie Head's Maru
Notice bibliographique
Résumé
Bessie Head's commentary in Maru (1971) is delivered at the personal level, though it purports a solution to the racism suffered by the Masarwa The novel traces the symbolic change of Dilepe village (Botswana) and, by extension, of Africa, effected by a single Masarwa woman who can read and write. The young Margaret Cadmore enters the scene with the expectation of day helping her people. (1) She is shy. She has an awkward manner. She is not personable. This has led some critics to misunderstand Head's vision and call it a failed one. Huma Ibrahim, for instance, believes that Margaret Cadmore remains the perfect victim of racism and sexism throughout th[e] novel. (2) For Ibrahim, Margaret is only the passive recipient of good will: surely the nexus of Masarwa struggle is not to accept charity but to enter consciously into the new definition of a nation. (3) It is true Margaret never enters the national discourse of racism as a political leader or even makes her purpose known. But Head has the unassuming Margaret single-handedly change the course of community's history. Head realizes racism, no matter what its origin, is perpetuated by individuals, and individuals can decide to reject any measure runs counter to what they consider right. There is many a travesty, after all, to which the human race could subscribe for its economic viability (feeding our bad students to the better ones, for instance) but our humanity prevents us from considering. In Dilepe village, where wealth is hoarded and resources distributed inefficiently, racism has created a subordinate caste, the Masarwa, to carry the burden of this inefficiency. But this is not humane. Head seems to suggest in Maru human beings are capable of racism because over time their hearts have come to live separately from themselves. Just as Moleka, a main character, has taken his heart out of his body and hidden it in some secret place (26), these people, without hearts to guide them, can believe ideas without considering their inhuman implications. If one could reunite head with heart in these people, perhaps promoting racism would seem as unreasonable as eating students. Maru is the story of racism being overcome in this way, at an individual level, related symbolically by a quartet of characters: the men, Moleka and Maru, and the women, Margaret and Dikeledi. I shall show before Margaret appears in Dilepe, Moleka and Maru represent two parts of a single individual. Moleka represents the self without the heart and Maru represents the missing heart. Through a well-developed metaphor in the text, we come to think of Moleka as a sun, powerful on its own, and as a thunderstorm, but one needs a cloud from which to draw rain. The cloud is Maru, who represents the heart Moleka lacks. If Moleka had a cloud, a heart, of his own, he would be complete--he could combine sunshine with rainfall and produce a rainbow. Early in the story, during Moleka's first interaction with Margaret, Moleka gains a heart for the first time by falling in love with her. Maru, noticing himself displaced in Moleka's life, acts as a jealous lover and does all he can to ruin Moleka's new connection to Margaret. But as Maru finds out, Margaret has not replaced Maru as Moleka's heart, but given Moleka a heart of his own. Finding himself tragically useless, Maru begins to dream of escaping from the society for which he has always felt contempt. He recognizes Margaret, who despite falling in love with Moleka keeps herself away from him, as a soul mate. Margaret and Maru, not in love but both suffering because of their love for Moleka, escape together, to a setting rife with imagery alluding to Moleka. Moleka's love for Margaret is, in the end, transferred to Dikeledi, or at least the text gives us every hope it will be: after he marries Dikeledi, and after Maru marries and disappears with Margaret, Moleka laughed and laughed. …
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Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
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