The Snow and Wild Pomegranates
In the opening scene of the novel, Gjorg waits on a ridge in order to kill Zef. Using vivid language, Kadaré describes “the patches of the half-thawed snow towards the wild pomegranates scattered through the brush-covered space on both sides of the road” (7). Gjorg then imagines that “those patches of snow and those wild pomegranates...seemed to have been waiting since midday to see what he would do” (8). This image–of snow and pomegranates–evidences the end of winter and the onset of spring. At the same time, the redness of the pomegranates juxtaposed against the whiteness of the snow symbolizes the blood that will soon be spilled when Gjorg kills Zef. Here, Kadaré places the purity of the snow in relation to the image of blood and vengeance, a theme that occurs throughout the novel.
The Waterfall
On the day that his bessa expires, Gjorg hears “a muffled rumbling that alternatively swelled and sank” in the distance (205). Walking on, he discovers that the sound is from a waterfall, one “different from all those he had ever seen” (206). Kadaré describes how “without throwing up foam or spurting, it flowed evenly along a dark-green rock, like thick massed tresses” (206). Staring at the waterfall, Gjorg immediately thinks of Diana’s hair. This image of the waterfall evidences the incredible natural beauty of the novel’s setting–a beauty that exists in stark contrast to the violence of the blood feuds. As well, it was revealed earlier in the novel that waterfalls are protected by a special bessa, which means that Gjorg could not be killed near the waterfall. By leaving the waterfall to find Diana, Gjorg essentially accepts his own death.
Gjorg's Paleness
Throughout the novel, Gjorg is described as being “pale as wax” (51). When Diana and Bessian see him, they both agree that he is “dreadfully pale” (110). Normally, having color in one’s face is a sign of vitality and wellness. Conversely, Gjorg’s paleness evidences his stress and sorrow. In a sense, such paleness likens him to a ghost, which further foreshadows his impending death.
The Mountains of Northern Albania
One of the most beautiful aspects of the novel is Kadaré’s description of the mountains of northern Albania. In one scene, Gjorg sees a “line of mountains veiled in mist, and through the veil he thought he saw the pale reflection, multiplied as if in a mirage, of a single mountain rather than a range of real peaks differing in height” (25). By focusing on the mountainous setting, Kadaré suggests that the people of the High Plateau are separated from the rest of the world not only by their culture but also by their geography. As well, his description of the mist and fog heightens the sense of mystery and mysticism. In a way, the culture of the High Plateau is itself shrouded in a kind of mist.
