Hello, Wuthering Heights and A Thousand Splendid Suns again. This post is on forgiveness, which really doesn’t look or sound like a word after multiple use.
A Thousand Splendid Suns uses a lot of metaphors to show forgiveness, the main one being in American films. Pinocchio is used to develop Mariam and Jalil’s relationship. The film acts as a subtle plot point and can be seen as a metaphor for Mariam’s growth through the novel. You could easily miss the first reference to Pinocchio in Part One. Mariam begs Jalil to take her to a movie on her birthday to see Pinocchio, a “special type of film” (a.k.a. a cartoon) that was completely new to the country. Jalil’s refusal to take her to the movie – despite the fact that he owns the movie theatre – emphasises how he doesn’t fully accept Mariam as a daughter.
We next come in contact with Pinocchio at the close of the novel, after Mariam’s death. Laila has received Mariam’s inheritance, but she “does not understand” when she pops in the cassette tape that was included and Pinocchio comes on the screen. Of course, we the readers know how powerful that gesture is. Jalil is asking for forgiveness from Mariam and trying to rebuild the childhood that he helped destroy.
Within the world of Wuthering Heights, forgiveness is rather more difficult to find as there is little mention of it. Cathy shows it to the undeserving Linton, and Nelly’s orthodox Christian views remind her to be tolerant to various characters. The most obvious and important forgiveness is that between Cathy and Hareton, who learn to overcome their arguments and angry words. Brontë appears to demonstrate that only this is able to provide a promisingly stable relationship. However, even this is slightly undermined by the ambiguity of the novel’s final sentence.
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