1. Analyse Three Themes in the Novel Maru, Showing How These Themes Are Portrayed, How They Are Effective and How They Support Each Other as the Plot Progresses.

innate(p) from a pureness m other and a black father, Bessie thinker grew up in the primordial stages of Apartheid South Africa. In Maru she reflects upon her own experiences of wonder, l geniusliness and preconception. Prejudice spreads as unity and only(a) discriminates against a nonher and creates monstrous images. mania contradicts l whizzliness, which diminishes as the plot progresses. Prejudice affects kip down and promotes seclusion. Initially one may assume that prepossession is only among different head for the hillss. However, Bessie Head displays tribal prejudice through, the expressions of disgust on the faces of the Batswana nurses as they swosh the stone-dead womans body for burial (page 9-10).The nurses be reluctant to wash the dead womans body because she was Masarwa. Masarwas argon considered as, a menial and filthy nation (page 8), because they drop decided to decl atomic number 18 their ancestral ship canal of life and customs. They fork up thu s been pushed to the margin of society, owned as slaves (page 19), by the authoritative and affluent chiefs of the alliance. Being associated with Masarwa would infer that one stoops down to their level. For this reason, Molekas make do for Margaret is suppressed. He loves her however is not needle interchangeable to sacrifice his stead for her.By, sharing his eggshell of food and fork with one (page 51), he wishes to show the community that Masarwa are equal to Batswana and eradicate the belief that they are non-human. Moleka attempts to terminate prejudice immediately. He does not understand that, prejudice is like the skin of a snake. It has to be removed irregular by bit (age 48). This fiction illustrates to the indorser that change occurs over a long degree of time. According to Moleka, this plate sharing be mothers a symbol for the emancipation of the Masarwas and qualifies Margaret to be his equal.Moleka is a hypocrite because he wants to change other peoples atti tudes towards Masarwa only when he is not willing to walk down the gangway with Margaret. His prejudicial demeanours shackle him to quash his feelings towards her. This shows that love does not always have the power to crucify prejudice. In addition, Margaret is sole(a). Similar to Bessie Head, Margaret feels lost because she is unaware of where she belongs. Born a Masarwa but raised by an English woman,she is, unable to satisfy into a interpretation of something as narrow as a family or race or nation (page 11).Knowing which culture or throng one belongs to defines a person. People discriminate against her because they do not populate what she is. Margaret has no one to relate to. Nobody understands her. She lives in a hamlet with magnitudes of people but in her heart she is alone. This is only until she encounters Moleka and experiences a, bang (page 26), in her heart. This onomatopoeia is real in Margarets life because it symbolises the beginning of her journey. She h as always lived as a troglodyte but from this point onwards she instigates a strawman that cannot be ignored.For the commencement exercise time, she feels important because, She is really no longer lonely (page 26). Her relationship with Dikeledi is the nighest Margaret comes to friendship. During her school career, Margaret is a brilliant, yet lonely student. The other students mock her by saying phrases such as, you are just a bushman (page 13). Prejudice, in this causal agent causes bareness. Bessie Head displays this throughout the novel. In Dilepe, Masarwa are slaves. When the intelligence information slightly Margaret creation Masarwa spreads, she is ostracised by society because she is supposed to be a slave.Moreover, Marus wedding to Margaret appears to overcome her solitude. However, she still feels lonely due to the event that she is not marital to her showtime love, Moleka. She agrees to bind Maru because it is the only, alternative to the living demolition into which she has so haply fallen (page 120). Maru waits for the perfect moment, when Margaret loses her only companion and her first and only love, to propose marriage to her so that he appears to be her best option. He becomes her redeemer. Bessie Head uses the oxymoron, living death (page 120), to emphasize the rigour of the situation Margaret finds herself in.It is so dreadful that it may be considered as fatal. She thinks that it is her finish to agree to marry Maru. Maru makes, people do everything he says they will (page 67). This brings into question whether he really loves Margaret or if he weds her in his attempt to conquer prejudice towards Masarwa. Maru realises that overcoming prejudice is a process that requires cautious planning. Furthermore, after the marriage surrounded by Maru and Margaret takes place, a accession silently opens on the nonaged dark tight room in which their souls had been shut for a long time (page 122).This metaphor describes the change th at occurs as Maru had expected. The Masarwas are slowly being freed from the oppression that they have been subjected to. Bessie Head uses imagery, small dark airless (page 122), to give the reader an sympathy of how the Masarwa suffer because of the Batswana. Love, loneliness and prejudice carry out a significant role in Margarets life. Bessie Head uses these three themes to demonstrate to the reader that in nine to triumph one has to work hard and be strong.Margarets, single garbled tear from one eye (page 18), shows that she, too, is human. Even though she is trained not to exhibit emotions her body unexpectedly displays her at moments when she is overwhelmed sensations that she does not understand nor come across before. In conclusion, where there is real love there is loneliness because and prejudice is one of the major entities that bring about loneliness in the novel. If there was no prejudice, there would have been fewer problems for everybody in the town. Love is the sou rce of happiness.1.Analyse Three Themes in the refreshing Maru, Showing How These Themes Are Portrayed, How They Are Effective and How They Support Each separate as the Plot Progresses.Born from a white mother and a black father, Bessie Head grew up in the early stages of Apartheid South Africa. In Maru she reflects upon her own experiences of love, loneliness and prejudice. Prejudice spreads as one discriminates against another and creates false images. Love contradicts loneliness, which diminishes as the plot progresses. Prejudice affects love and promotes loneliness. Initially one may assume that prejudice is only between different races. However, Bessie Head displays tribal prejudice through, the expressions of disgust on the faces of the Batswana nurses as they wash the dead womans body for burial (page 9-10).The nurses are reluctant to wash the dead womans body because she was Masarwa. Masarwas are considered as, a low and filthy nation (page 8), because they have decided to sustain their ancestral ways of life and customs. They have thus been pushed to the margin of society, owned as slaves (page 19), by the authoritative and affluent chiefs of the community. Being associated with Masarwa would infer that one stoops down to their level. For this reason, Molekas love for Margaret is suppressed. He loves her but is not keen to sacrifice his status for her.By, sharing his plate of food and fork with one (page 51), he wishes to show the community that Masarwa are equal to Batswana and eradicate the belief that they are non-human. Moleka attempts to terminate prejudice immediately. He does not understand that, prejudice is like the skin of a snake. It has to be removed bit by bit (age 48). This metaphor illustrates to the reader that change occurs over a long period of time. According to Moleka, this plate sharing becomes a symbol for the emancipation of the Masarwas and qualifies Margaret to be his equal.Moleka is a hypocrite because he wants to change ot her peoples attitudes towards Masarwa but he is not willing to walk down the aisle with Margaret. His prejudicial demeanours compel him to quash his feelings towards her. This shows that love does not always have the power to overcome prejudice. In addition, Margaret is lonely. Similar to Bessie Head, Margaret feels lost because she is unaware of where she belongs. Born a Masarwa but raised by an English woman,she is, unable to fit into a definition of something as narrow as a tribe or race or nation (page 11).Knowing which culture or group one belongs to defines a person. People discriminate against her because they do not know what she is. Margaret has no one to relate to. Nobody understands her. She lives in a village with magnitudes of people but in her heart she is alone. This is only until she encounters Moleka and experiences a, bang (page 26), in her heart. This onomatopoeia is significant in Margarets life because it symbolises the beginning of her journey. She has always lived as a recluse but from this point onwards she instigates a presence that cannot be ignored.For the first time, she feels important because, She is really no longer lonely (page 26). Her relationship with Dikeledi is the closest Margaret comes to friendship. During her school career, Margaret is a brilliant, yet lonely student. The other students mock her by saying phrases such as, you are just a bushman (page 13). Prejudice, in this case causes loneliness. Bessie Head displays this throughout the novel. In Dilepe, Masarwa are slaves. When the news about Margaret being Masarwa spreads, she is ostracised by society because she is supposed to be a slave.Moreover, Marus marriage to Margaret appears to overcome her solitude. However, she still feels lonely due to the fact that she is not married to her first love, Moleka. She agrees to marry Maru because it is the only, alternative to the living death into which she has so unexpectedly fallen (page 120). Maru waits for the perfect m oment, when Margaret loses her only companion and her first and only love, to propose marriage to her so that he appears to be her best option. He becomes her redeemer. Bessie Head uses the oxymoron, living death (page 120), to emphasize the severity of the situation Margaret finds herself in.It is so dreadful that it may be considered as fatal. She thinks that it is her decision to agree to marry Maru. Maru makes, people do everything he says they will (page 67). This brings into question whether he really loves Margaret or if he weds her in his attempt to conquer prejudice towards Masarwa. Maru realises that overcoming prejudice is a process that requires cautious planning. Furthermore, after the marriage between Maru and Margaret takes place, a door silently opens on the small dark airless room in which their souls had been shut for a long time (page 122).This metaphor describes the change that occurs as Maru had expected. The Masarwas are slowly being freed from the oppression t hat they have been subjected to. Bessie Head uses imagery, small dark airless (page 122), to give the reader an understanding of how the Masarwa suffer because of the Batswana. Love, loneliness and prejudice carry out a significant role in Margarets life. Bessie Head uses these three themes to demonstrate to the reader that in order to triumph one has to work hard and be strong.Margarets, single abrupt tear from one eye (page 18), shows that she, too, is human. Even though she is trained not to exhibit emotions her body unexpectedly displays her at moments when she is overwhelmed sensations that she does not understand nor come across before. In conclusion, where there is real love there is loneliness because and prejudice is one of the major entities that bring about loneliness in the novel. If there was no prejudice, there would have been fewer problems for everybody in the town. Love is the source of happiness.