Pigeons+at+Daybreak

Pigeons at Daybreak The title of the story is a reference to a major symbol in the story, the pigeons (see "symbols") and the reference to daybreak is to that at the end of the story. This motif conveys a feeling of comfort and relief, as well as evoking a sense of serenity and tranquility, both of which are immediately and starkly contrasted by the Basu's irascibility at the beginning of the story.
 * //__Title:__//**

The main vehicle used to convey the themes is not, as is common, the plot – it is in fact, the character development of Mr. Basu, which is indicated by changes in his tone of voice and internal dialogue. ("One of his worst afflictions, Mr Basu thought, was not to be able to read the newspaper himself. To have them read to him by his wife" [i]) Okay. But the plot is also significant, and usually theme is developed by a combination of many aspects. Imprisonment and freedom, especially the perception of the two, is the central theme of the story. Peripheral themes include that of a sense of protection and that of vulnerability, What about them? with the former referring to the "protection" that Basu feels when he is within his house, protected from his neighbors and the outside world and the latter referring to the sensation of being exposed and vulnerable while on the terrace. Basu is portrayed as irritable, ungrateful and fragile in the beginning and is extremely alarmed at the idea of having to sleep on the roof at the beginning, missing his stuffy room with a rickety electric fan __with its artificial wind.__ Isn't it the heat that causes him the most dismay? Basu is in effect, willingly limiting himself to a prison, due to his fears of sleeping exposed on the terrace, a deviation from the familiar. __Protection from the noises and his violent neighbors are also a reason for his self-imprisonment.__ What about the neighbors? He has very difficult relationships with them? His disposition is symbolized by the caged parrot__, which is similar to his situation, both losing the ability to live with freedom__. Good point. How is this parallel created? A real and physical prison – albeit more than slightly exaggerated by Basu – is his asthma. [|Click here] to continue. During the transition from sleeping in his room to sleeping on the terrace, Basu complains incessantly and the description from his point of view is that it is "as airless as the room below". Highlighting the __struggle for him to relish freedom once without his usual comforts, and that his body is already toned to a much more consolating and delicate environment. The frailness of his body and ineptness of his mind also causes him and his wife much misery, such as the lack of greasing of the fan and his inability to read a newspaper.__ Oops? Is his body the prison? At daybreak, __Basu__ __feels the cool breeze from a nearby river__, giving him a sense of freedom and lifts his spirits. It's also cooler. The mood and tone is connected with the author's viewpoint of what? and the character who takes center stage at the moment. It is implied that there is forthcoming release and that Basu has come to accept his state and perhaps, his death. He is calm and speaks gently to his wife, indicating an acceptance of his present state – location, illness and all. As the book hints of his death ("flat and still, gazing up, his mouth hanging open" [ii]) and acceptance of it, pigeons are once again seen. While the pigeons were first evoked in a flashback of his grandson, the pigeons seen during his death are not entirely related to the first incident except that the pigeons are an indication of beauty and happiness of the moment, thus indicating that the author views it as a release, a happy occasion, with Basu's spirit leaving with the pigeons which he so loves. The juxtaposition here is that of death and happiness__, where death is generally perceived as an tragic event, yet from the story it relates to freedom and happiness.__ Last part of this sentence a bit unclear. The comparison between Basu's desire and struggle for life and fear of death at the beginning __with__ his acceptance and welcoming __of__ it by the end of the story resonates with the themes of perception of reality What about it? and the probing of the nature of freedom and imprisonment. The author reveals her position on whether she views the exposed freedom __I don't really get it either I'm afraid__ ? and Basu's death positively or negatively via the contrasting of the pigeons and the fans. The pigeons are used as a symbol of happiness and freedom and are associated with the terrace. They are likened to "so many silk and ivory fans" and are contrasted against the incessantly ticking fan in the bedroom. __This creates a sort of comparison between finding solace in artificial material and that of natural things.__ Interesting, but needs to be discussed in more detail. There is also, an "unexpected reversal of role between husband and wife… at the end of the short story, the wife becomes desperate and urgent in her duty to care for her husband, [yet] the husband becomes calm and content."[iii] __I don't really know what this proves though...h__ Show? Signficance?
 * //__Themes__//**

Actually, I quite like having themes first. Maybe it is a model we should all follow.

The narration is mostly in the 3rd person omniscient, has a largely neutral tone and focuses mostly on the husband, Basu – a lot of lexical real estate__--> descirption__ ??? is given towards detailing his thoughts and feelings. The 3rd person narrative is chosen instead of a first person narrative because it can be omniscient, allowing for exploration of internal monologues, thoughts and feelings of //every// character rather than simply the character who narrates it. The thoughts shown are portrayed and assumed to be true due to the implied fact that the narrator is omniscient, thus giving the author's philosophical ideas to be transmitted subtly and without being written off as a particular character's viewpoint. Character portrayal is also affected, especially in the case of Mr. Basu. The reader is given an objective perspective, thus accentuating his character development**//; if the author had chosen a first person narration, the character development would either go forward in jolts and jerks (which would be undesirable, disruptive to overall flow and unconvincing I have known many first person narratives that flow very well--not a very convincing claim ) or be subtle and gradual (which would be counter intuitive to bringing out the theme).--> delete?//**
 * //__Point of view:__//**

Basu is the protagonist and is portrayed as an irritable and paranoid How so? person at the beginning of the story. He constantly complains about his wife, house and asthma, perceiving himself as fragile and thus, qualifies for extensive and intensive care. __Dread from the heat and prospect of a day without fan is emphasized when he initiates his asthma solely on fear.__ As the plot progresses, Basu is the central element which is developed, he is the author's vehicle for bringing out the themes mentioned above. For a detailed description of his character development, please refer to "Themes". Basu tends to overreact at small setbacks[iv], perhaps even betraying a sense of inferiority, asserting itself aggressively. __For example, overreaction is seen when he nearly "tipped out of his chair" when he heard her wife say "blue bulls", and prefers to criticize his wife then the editor rather than his own ineptness.__ What evidence do you have of this? His aggression is not portrayed as intimidating, but rather as unreasonable and as an effect of his helplessness. The author juxtaposes Basu's snappy and demanding attitude with his wife's calm and nonplussed demeanor; she even snaps back – not defensively, as it would be if she were intimidated, but rather in annoyance: "'Alright, I'll stop reading, if you rather…,' she threatened him"[v] You probably need to finish this quotation. Otima is the longsuffering and loyal wife of Basu. She is also portrayed as a having the disposition of the archetypical housewife, being interested in the trivial and sensational news and doing the household chores. She plays the role of the Basu's caretaker. She is the main supporting character. Significance to the work? Bulu is one of the Basus' next door neighbor and is described as "burly", "good-natured", uneducated and "half-witted". He is Mr. Basu's diametric opposite and used in the story as a contrast against Mr. Basu. Other neighbors?
 * //__Main characters:__//**
 * Mr. Basu**
 * Otima**
 * Bulu**


 * //__Symbols:__//**
 * Birds** are a symbol for the state of Mr. Basu. The two types of birds used by the author are the caged parrot and the pigeons.
 * The caged parrot** represents the state of Basu when he is in his living room, drawing attention to his ungrateful attitude towards what he has, just as the parrot refused Mr. Basu's offered chilies. It is significant in that the Basu offered the chilies, showing that Basu had the actual ability to enjoy them, but didn't do so – he was in effect refusing himself his own fortunes. It is also significant that the parrot is caged, giving a visual metaphor for his captivity. Nice.
 * The pigeons** represent Basu's desire for happiness and freedom. Whenever pigeons are mentioned the tone is always that of tranquility; Prove it, then. furthermore, pigeons are linked to Basu's cherished memories such as taking his daughter's son, Nikhil to see the pigeons. They are linked, in essence, to Basu's self.


 * Lights** are used as metaphors in the story. Carim saw them as "two different kinds of light in the story, the livid glow of the city lights compared to the pure pallor of the morning light…The language used to describe the 'livid glow of artificial lights' have a harsh and disturbing connotation. While the description of the 'delicate and sweet' morning light reflect a serene and relaxing mood" It is more likely that the lights symbolize the harshness of Basu's life and self-imprisonment and the freedom and serenity of his death. I like the way you've incorporated different opinions here. Nicely integrated. =)

The story is set during the height of the oppressive summer and in Darya Ganj (in Delhi), near the Jumna River; more specifically, it centers around the Basus' house and terrace. Function? Try to move to interpretation. The different places Basu goes to also symbolize the different situations he is in. The only two places __the story__ visits __are__ ??? his bedroom and his terrace. Both places contrast each other greatly about the psychological conditions of him,. Good points, but expression needs some work. All of those link back to the author's main theme; sense of protection against that of vulnerability and self imprisonment against that of freedom. __For example, his bed in the living room is in sharp contrast with the net in the hammock, which "cut into him".__ __What about them?__ I like the comparison of his being like a fish struggling to breathe--especially in relation to the 'net' of the bed. Want to look at that and include it?
 * //__Setting__//**
 * Mr. Basu's bedroom** is his place of comfort with its ceiling fan and comfortable bed. It brings him security and protection from outside noises and hostilities. However, this represents a sort of self-imprisonment, as he is cut off from the outside world and unintentionally sacrifices his freedom for comfort. Interesting.
 * The terrace** is in acute contrast with his bedroom's comfort, as not only is it exposed to the hot summer air, it also lacks any fans with only a string bed "that the strings cut into him, that he could not turn on that wobbling net in which he was caught like some dying fish." This sort of "freedom" is firstly taken resentfully by Basu, who constantly complains about his discomforts from his surroundings. However, he later prefers the terrace to the bedroom because of the scenery and the coolness of the morning air.

The tone of the narrator is largely neutral, in that the narrator does not give direct commentary via choice of descriptive words. The tone of the piece in general is developed via tone of the characters and their interaction. The tone of Mr. Basu changes as he develops from tense to relieved. Otima's tone is steadfastly one of sighing longsuffering and resignation to her role as Basu's caretaker. Good points, but you probably need to prove them...
 * //__Tone__//**

The author makes extensive use of descriptions of the characters' internal thoughts and some symbolism to express her themes. She also makes use of brief but vivid descriptions to enhance the atmosphere or to imply the condition of Mr. Basu. "For example, when the electricity stopped, 'Basu saw the sky as absolutely impenetrable, shrouded with summer dust, and it seemed as airless as the room below.' This imagery creates a sense of suffering, a cramped and uncomfortable atmosphere."[vii]
 * //__Style__//**

At the beginning of the story, the story had this fiercely intolerant mood. This is signified by the annoyance of Basu as he waits for his wife to read him the news. It is emphasized since his wife constantly finds something distracting her from reading it. When she finally does, she constantly gives her opinions on the titles she comes across, and all the while Basu is waiting impatiently. The color of the sky is described as "fire, roasted red" color, which reinforces Basu's feelings of irritation by the color of the sky. ? After the protagonist realizes that he has to endure a night without electricity, he is encumbered by constant worries that he cannot survive throughout the night. This gives the story a rather worrisome ? and stressful mood, and also portrays the difficulty of breathing from asthma, intensifying the horrible prospect Basu is yet to encounter. Nevertheless, his wife does her best to help and support him, and brings him to the terrace. He then stares at the sky, which is "absolutely impenetrable, shrouded with summer dust, and seemed as airless as the room below."x giving the reader of a sense of captivity and suffering of the protagonist. At the end, Basu catches a glimpse of the rising sun, where an overwhelming wave of calmness and peacefulness is overcome to him, expression as he feels the cool breathe ? of morning air and perceives the serene portrait of the "soft, deep blue" daybreak, lit by the reflections of the pigeons. The vivid description of his surroundings implies that Basu's frustration has dissipated and is finally content. xi
 * //__Mood__//**

//**__Structure__**// The beginning of the story is used simply to build up the plot of the story and to reflect the different characteristics of both of the characters. It begins in the bedroom of Basu, and the story progress until he is forced to go onto his terrace, which he hadn't gone to for a long time. It is at this time that the reader is presented with two flashbacks from Basu and his wife, one which explains the reason for them not sleeping to the terrace --> It is at the end when the story reaches its climax, which is also the end of suffering for Basu, where he meets his freedom and presumably death. The freedom of his soul is symbolized by the flight of the pigeons penetrating the dome of the sky, and into the soft, deep, blue morning sky. Whether he dies or not is a bit ambiguous. Perhaps we can consider both possibilities.

Words which conjure up fiery imagery and burning sensations abound within the story. 'Otima "flared up", and upon regaining control over here tone of voice, like a suffocated fire, "immediately subsided". Recall the news article about the husband and mother-in-law setting fire to the wife's body, the last article that she reads to him. Chillies, which Mr. Basu tries to feed to the parrot, also incur memories of a fiery, spicy taste… At the ending we discover a complete reversal in the kind of imagery presented. Otima first offers to bring Mr. Basu some iced water. With the coming of dawn along comes a breeze, "as cool and fresh as water". Water and ice are often seen as the antithesis to fire, as water douses fire. Just like water, the breeze seems to dissolve Mr. Basu's internal frustrations, relaxing the overall tone.'[viii]While Carim, who is quoted here, regards the imagery as symbolism for Basu's energy, it would be more accurate to interpret it as the frustration and impotent anger within Mr. Basu which is gone by the morning – Basu is not energetic at the beginning of the story, but simply cantankerous. Do you mean 'diction' here? How is this last paragraph about structure? I very much like this discussion of of the fiery, heated diction in the story.

We see that Basu's emotions and attitude change according to the environment, for example the wind or the noise. We see that he is only concerned about the present and not about the future. To some extent, his imminent death does not bother him and perhaps reveals his somewhat existentialist thinking. (brandon) I disagree. Basu did not only think about the present. He was in fact, extremely worried – one might say to the point of being paranoid – about his imminent death at the beginning of the book, it is only though development that he makes peace with that fact. Furthermore, existentialism is defined as "the modern system of belief made famous by Jean Paul Sartre in the 1940s in which the world has no meaning and each person is alone and completely responsible for their own actions, by which they make their own character" (Cambridge Advanced Learner's Dictionary [online]). Basu constantly demands that his wife either massage his chest, prop him up, and bring him his medicine reveals that he is not an existentialist. Are you guys studying //The Outsider?// Could make an interesting comparison. I don't really see Basu creating his own meaning here... But we can discuss this as a class.

[i] Anita Desai, __Games at Twilight__, (UK: Vintage, 1998) 98. [ii] Desai 107. [iii] Sean Carim, Comments, “Pigeons at Daybreak”. __EngA1S1012tracesgames__, Oct. 2010, 19 Oct. 2010 . [iv] Fay Lo, Class Comments, “Pigeons at Daybreak”. __EngA1S1012tracesgames__, Oct. 2010, 19 Oct. 2010 . [v] Desai 100. [vi] Carim [vii] Lo [viii] Carim ix Thomas Chen, Comments, “Pigeons at Daybreak”. ”. __EngA1S1012tracesgames__, Oct. 2010, 19 Oct. 2010 . x Desai 105 xi Carim

I think you have looked at style in a detailed manner--going beyond the basic elements. You made me look at this story in new ways. Thanks.

Frank  Best Paragraph The setting can bring out and underscore the different moods of various characters. In”Pigeons at Daybreak”, there are mainly two settings, in the living room and the terrace of the Basu’s. In the living room, comfort is projected into the minds of the readers where Otima “could set down comfortably, she settled herself on top of a cane steel like a large soft cushion of white cotton…” and that Mr. Basu has a large bed with “all the pillows and bolsters”. This is dramatically contrasted by the “wobbling net in which he was caught like some dying fish”, and in effect brings out the moods of the character. Readers can feel the frustrated mood that Mr Basu is currently in, as the setting is placed in such stark contrast. The asthma also causes reader to visualize the pain which Basu is undergoing, and in essence highlights the changed of his moods. In “Stale Mates”, the beginning of the story emphasized the setting, in which the four people were “in a boat sat facing each other on wicker seats under the flat blue awning”; provide a romantic scene for levers to meet. Likewise to the above story, it presents to the audience a scene which relates to the mood of the characters, endorsing the love experienced by the characters and felt by the audience.

Frank  WORST ONE  The theme is by far the most crucial element in which the setting can carry out, since it is the backbone of the entire story. “Pigeons at Daybreak” has used the living room and the terrace for presentation of this theme. The living room protects the couple from “the public sleeping outdoors and its disturbance- its ‘nuisance’”, and the troubled neighbors who “nearly killed him,” and were “addicted to the radio turned on full blast.” However, they also have unconsciously imprisoned themselves within their own room, pictured by the author as “the listless parrot in the cage”. As they move onto the terrace, the setting is later changed to a cool, peaceful environment and atmosphere. The gradual change in the atmosphere presents the theme of the story; self-imprisonment and freedom, life and death. “Great Felicity” uses similar approaches to illustrate the theme of the context, which is that marriage is a form of death. Description of some scenes includes “the guests were all flies”, “weeping of the bride”, “a vengeful ghost” and “like maggots squirming out of a jar”. Those strong comparisons describe the setting of the wedding ceremony as more like a burial, with the palanquin as the coffin.

 Improved version:  The theme is the most important element in which settings can bring out, as the theme is also the main idea of the story. “Pigeons at Daybreak” uses 2 main locations for presentation of its theme; the living room and the terrace. The living room protects the couple from the “public sleeping outdoors and its disturbance- its ‘nuisance’”, and the troubled neighbors who “nearly killed him”, and is represented as the Basu’s protection from dangers and fear of the outside world. The room’s role is similar to a cage, surrounding the Basu’s, and while it does bring them superficial peace and comfort, it also strips them of their freedom and contact with the outside world. They have hence unconsciously imprisoned themselves within their own room, symbolized by “the listless parrot in the cage” in their living room. Note that the parrot, although glamorous and well cared for, is described as listless, as though it lacks something worth living for, and is not enjoying the any offerings of comestibles like “the chili”, but is also reluctant to venture outside. This perfectly reflects the disposition that Basu is currently in, not enjoying the riches of his materials but is afraid to step out of his “prison”, or room.  As they move onto the terrace, the gradual change in the atmosphere presents the theme of the story; self-imprisonment and freedom. The setting is later changed to a cool, peaceful environment and atmosphere, and it well reflects the theme of the story, because Basu is no longer restricted by the needs of his luxurious goods, and finally experiences freedom again. This grants him an inner peace, where he “seemed to let it pour into him”, as though the serene landscape could pass its peaceful demeanor into him, and it is proved that his mood has really cooled when he spoke “quiet calm” despite his wife’s alarmed speech. From the gaining of his inner peace, he is then “free” from his dependence, and is symbolized by “the flutter of pigeons” flying deep into the sky. The setting paints a thematic picture into the reader’s head, and conveys the meaning of pure peace and restfulness to it. In effect, the theme of the story is then brought out to the reader, that freedom can only be achieved by venturing if you are out of your comfort zone.