This piquant transition taken from ‘possessing the secret of joy’ depicts the painful life of a vulnerable 17 twelvemonth old miss. who is forced to get married a awful adult male much older to her. The author through this girl’s life attractively portrays how fortunes and one’s position in society makes one do things they are unwilling to make. doing them rather suffering. The miss named Uju. has become a victim of a mercenary and superficial universe where the lower category in their despairing effort to get away chronic poorness sometimes travel to such lengths that they agree to merchandise their livelong felicity with money merely to populate a comfy. convenient life. Apart from these subjects. other subjects of the transition are that what precisely is love? Is it what Ujus mother thinks it is or what uju thinks? And it besides highlights the deterministic function of destiny in 1s life. The rubric of the narrative. ‘possessing the secret of joy’ is dry and rather contradictory to the narrative itself. Uju doesn’t find happiness by get marrieding a adult male richer to her. but alternatively she is buried deeper and deeper into desperation at the idea of get marrieding person who is older than her and for whom her love doesn’t exist.
This lucifer nevertheless seems perfect to her female parent as she claims that lone money can acquire joy for her and for her girl. ‘Don’t you want to bask your life? ’ Therefore the secret of possessing joy for Uju and her female parent seem to be in direct contrast. Her female parent thinks that money and wealth is the secret while Uju is convinced that it is love that makes one happy. The reader so wonders at the rubric that does Uju truly possess joy which presently seems like a far-fetched chance for her? Uju is disgusted by the adult male she marries and finds everything about him to be driving. A abhorrent simile is used by the writer to depict how Uju feels. She analogizes his snore to an airplane’s revving engine- loud and irritating. His personality and his visual aspect make him highly repugnant to the reader which makes the reader sympathize with Uju. He was a girl’s worst incubus. but this incubus is what an impotent uju is forced to populate with her full life. It is interesting to observe that Uju refer to her hubby as ‘the man’ non ‘my husband’ .
This suggests the deficiency of love. familiarity. and understanding in their relationship. The word ‘chief’ is besides written in a separate line. Entirely without any description. Proposing that depicting his character would likely take to a waste of words as there is no deepness of personality in him. He is shallow. Making one word sentences besides makes her point rather impactful. Then in an auctorial voice the reader reads his revolting and amusing physical description. The writer uses rebarbative analogies and descriptive similes to depict the cheif. “a adult female on the brink of presenting quadruplets” . hair sparse and white “like wool that had been randomly glued on his caput by a child” and immense lips as if “they were implanted with lead that weighed them down” . In simple words the cheif is obeise. has scattered white hair and a immense drooping mouth” he looks highly unpleasant Through flashbacks. the author shows us the character of the female parent who is portrayed as highly secular and mercenary who merely wants a rich. secure and contented life for her and her girl and her ownself and in this hedonic chase she unconsciously sells her ain girl.
It seems as if the female parent played the most of import function in unifying these people. With the usage of rhetorical inquiries ‘don’t you want to see me in nice apparels? ‘Don’t you want to be a dame? Have a driver? A large house? ’ Uju’s female parent exhorts her ain girl into get marrieding person she doesn’t non love in order to carry through her ain dreams. non gaining that while uju might populate an excessive life physically. but she will be destroyed emotionally. She seems to be enraptured at Uju’s credence to get married Chief. Wordss like ‘whirled’ and ‘ferocity’ explain the euphoric and ecstatic enthusiasm she feels at her ‘new-found wealth’ . This highlights the despair she felt of hooking on to the profusion. unmindful to her daughter’s diadain and sorrow while she gleefully spends her freshly acquired money. Ujus female parent walk-in from one store to another piece through the name of the listed stores like ‘love is unsighted bakery’ and ‘your one halt tiara shop’ the author uses the technique of boding explicating that love is nil but an semblance and her life is now traveling to be a glooming base still as she is get marrieding a adult male every bit atrocious as cheif.
There would be no traveling back from bonds of her loveless matrimony. Uju being a immature miss had dreamed of get marrieding person she was in love with which is why she argues with her female parent ‘but I don’t love him mother. How can i marry person I don’t love? ’’ She hopes that her statement may soften her mother’s bosom toward her but it fails to make so as her female parent remains inexorable. explicating to her that ‘love doesn’t affair. my girl. There are things more of import than love’ the female parent although seems to be coercing her ain sentiment on her. can be seen as the voice of pragmatism. ground and despair. She has already seen the universe and seems to cognize a batch more about it that her girl does. She wants her girl to populate the externally glorious life she has ne’er had. A dejected Uju seems to hold wholly submitted to her cruel and merciless destiny as she starts shouting. Her voice is said by the writer to be ‘weightless’ . ‘floating like a ghost’ merely like her restless. discontented psyche. This emphasises Uju’s religious nature that longs for fulfillment through love and her female parents worldly soul which entirely desires a rich. affluent life.
The author makes it look as if Uju’s words and protests were gone wholly unheard. down the drain. ineffective. Whatever she might hold decided. her determination had already been made for her. She is powerless. and her words are wholly nonmeaningful. She can non do a difference in her ain life. The writer uses the simile that her female parent ‘corroded her assurance like acid on paper’ . This strong harsh simile is sufficient plenty toshow Uju’s helplessnessand how her self-control. her assurance. her dreams and aspirations and her hope of happening perfect love prostrations and disintegrates precisely similar acid corrodes a piece of dead. exanimate paper. She eventually submits to her cruel. unmerciful face and says ‘yes. I will get married cheif. I will get married him. ’ Uju’ wished she could die’ . Its dry that matrimony is stereotyped as the beginning of a new cheerful and loving life for both genders. by the society but this beginning is really the terminal for uju and all that she had of all time dreamt of. Uju who was to be Chief’s doomed married woman wished to ‘disappear.
Vanish. Dissolve’ . This asyndeton used by the writer intensifies the impact of each word for this literary technique efficaciously helps the reader to understand the desperation Uju feels. The tone is decidedly descriptive of the different tempers of the characters and the reader feels in bend sympathetic for uju. angry at her female parent and disgusted by the cheif making an overall intense and dejecting temper in the transition. Uju’s female parent after populating a rough life. becomes blind with the glister and gold. scarifying her really ain girl. This transition depict that this cruel universe merely respects and values people who have money. wholly flinging those who don’t. One can non fault Uju’s female parent for being blinded by the chance of a better. convenient. respectable life. It is true to a certain extent when ujus female parent says ‘poverty is non something to be proud of’ . It is human nature to desire a more dignified and superior life and She after all wants what is best for her girl. but in making so she does non maintain in head her daughter’s felicity which makes the secret plan heart-breaking and distressing.