The Mechanized Theatre of Politics (metaphor)
The following metaphor is used to describe the electoral process in Barwick: "He watched the event quickly clarify, the intent activity was finished, the people redeployed themselves, officials were briefly in conference, and out of the toil of the day, metal boxes and rented tables, pure process without poetry, a kind of theatre emerged, so thick with precedent that it looked instinctual." The "pure process without poetry" highlights the mechanical nature of the event, which emphasizes the lack of spontaneity or artistic beauty. However, it also becomes "a kind of theatre" suggesting that it is a performative aspect to the election. The metaphor captures the dual nature of political events as both routine and spectacle.
The Acoustic Light (metaphor)
The narrator says, "Inside, in the hall: the sound… the impassive rumble of London shrunk to a hum, barely noticed, as if the grey light itself were subtly acoustic." This metaphor captures the subdued atmosphere inside the house compared to the bustling city outside. The "impassive rumble of London shrunk to a hum" indicates the insulation and quiet within the house, which contrasts with the vibrant city noise. The phrase "as if the grey light itself were subtly acoustic" further anthropomorphizes the light giving it a sensory quality that blends with the auditory imagery. This metaphor reflects Nick's internal state as he navigates the familiar yet altered space of the house.
Naughty Lingerie (simile)
Catherine asserts, "It's just make-believe for rich people…It's like naughty lingerie." In this scene, Catherine criticizes rococo art by calling it frivolous and superficial. She suggests that rococo art is designed to be titillating and aesthetically pleasing without deeper substance like provocative undergarments. This simile underscores Catherine's disdain for what she perceives as the art's lack of seriousness and its appeal to surface-level desires. Her comment also reflects her skepticism of the materialistic and superficial aspects of the upper class, to which she belongs but feels alienated.
Child with Tonsillitis (simile)
The following simile captures Wani's indulgence in eating ice cream, which paints a picture of his almost sensuous enjoyment of the dessert. "Wani was rose-lipped, popping in quarter-spoonfuls of ice cream, sucking them from the spoon and letting them slip down in luxurious spasms like a child with tonsillitis." Comparing Wani to "a child with tonsillitis" highlights a sense of vulnerability and a childlike need for comfort. This phrase juxtaposes the luxury and pleasure of the moment with a hint of discomfort or illness. It suggests that beneath his polished and controlled exterior, there might be a vulnerability, which he finds in sensory pleasures like eating ice cream.
Father's Suits (simile)
"Wani's lightweight Italian 'grey', black really, like one of his father's suits but made to hint and flow." In this passage, the comparison of Wani's suit to "one of his father's suits" highlights the influence of his father on his style and identity. However, the suit is also described as being different, which hints at freedom and individuality. This simile captures the tension between the expectations of Wani's family and his expression. The suit represents Wani's attempt to balance these conflicting influences, embodying both his connection to his heritage and his desire to assert his individuality.
