Professional Documents
Culture Documents
IB English SLY1
09/02/08
Paper II practice
Journeys, both literal and metaphorical, often play a central role in literature. Discuss
learns the most important lesson of his life after he abandons everything and sets
out to find the underlying truth in a clueless journey. Alternatively, the narrator
wanders around the city of Christiania, hoping to earn his place in society, yet
eventually realizing the futility in his journey. Initially in the journeys, both
connection to people and the outside world. As both characters wander around
the forest and the city, illusion lures in as they meet women and become eager to
earn fine possessions. Finally, Siddhartha and the narrator abandons the long
journey with the hope they gain through connection with the river or the sea;
discovers futility in the city as he takes the voyage across the sea. Throughout the
journeys, the two characters finally develop their new perspective of viewing the
world.
In the journeys, Siddhartha abandons his relationship with people and
possessions by fasting, while in Hunger the narrator loses connection with the
people in the city because of his suffering from hunger. Siddhartha views fasting
as a way to escape from the tormenting Self, while the narrator in Hunger views
hunger as the trouble causing his hallucinations and thus impeding him from
consciousness. Siddhartha, the noble Brahmin stands up for his definite goal in
life when he leaves his title and family behind, to join the Samanas. Patiently,
Siddhartha tries to abandon his Self by fasting. He cuts off his connection to the
outside world, and finds “torment of the onerous life cycle” (12) where he “felt
thirst, conquered thirst, [and] felt new thirst” (12). Although realizing that fasting
only alleviates him through “temporary escape from the torment of Self” (13), the
prideful young Siddhartha refuses to settle under Gotama, the Illustrious one.
leaves his best friend, Govinda, who decides to become the disciple of Gotama,
and continues his path as a Samana alone. Wandering through the city, hunger
causes hallucination in the narrator of Hunger, and thus forces the narrator to be
isolated from the conventions. The narrator is “becoming a freak from hunger in
the middle of the city of Christina!” [104]. The effects of constant sufferings of
starvation cause mind blockage in the narrator; he could not write as he used to
when he “was so much better off” [154] and hence could not find money to
narrator starts talking to himself and repeating phrases over and over at many
points in the text. The narrator’s relationship with Ylayali ends (and so does all
his connections to the world) because of his odd behaviors. As the narrator
reveals to Ylayali that he “can sense things…That’s all part of [his] insanity”
(180), Ylayali becomes suddenly “frightened” [182] of the narrator. The author
uses extended metaphor, comparing hunger to the dark shadow that follows the
narrator everywhere; hunger is “the same darkness was brooding around me, the
same fathomless black eternity” [80]. “Hunger was beginning to take hold of
[the narrator] again” [122]; it was never gone. Conversely, it is the hunger from
fasting for Siddhartha that brings him temporary escapes from the Self that was
never gone. Note that food (dinner with family or cocktails with friends) often
food during the part of life as a wealthy businessman suggests Siddhartha at his
highest point of social involvement. The narrator, too, had access to food when
he “was so much better off” [154] with old acquaintances such as Hans Pauli,
who now “nodded and hurried past” [8] the narrator. Hence, the lack of food
world.
Through the wanderings in the forest and city, Siddhartha and the
lessons of love from women. Women in both texts play a significant role in
influencing the characters’ material and appearance idealism. Note that the
Siddhartha felt a “longing and the stir of sex in him” (42) as soon as he comes out
of the forest and in to the village of ‘child people’. The author uses metaphor to
compare the normal village people as the ‘child people’, who live in the chain of
burden, greed, and illusions. Among the ‘child people’, Siddhartha meets
Kamala who would not teach him “the pleasures of love” (45) until Siddhartha
the ideal materials people believe one must have, in order to be prosperous.
Only then did Siddhartha realize the importance of possessions, and thus swings
himself in the “game of passion in which all men play” (57) in order to earn
“impatient at losses”(64) and cannot remain without food like before. Learning
the “pleasures of love from Kamala and business from Kamaswami” (78),
Siddhartha have become one of the ‘child people’, who experience “fear of
death” (65). With women and possessions, Siddhartha is trapped with the
passion of love and greed; “content with small pleasures and yet never really
satisfied” (67). For the narrator in Hunger, it is Ylayali who he wants to learn the
lessons of love with. One night while walking Ylayali home, the narrator quickly
avoids the idea of going to the zoo because then, Ylayali would know that he is
poor. “In those bright lights, among all the people!...my frightful clothes, my
skinny face…I had no waist coat…” [140], the narrator thought. This stream of
front of his woman. The narrator takes the metaphorical journey in the obsession
with the arts of love with Yaylali, as Siddhartha is with Kamala. The narrator
content is with his first relationship and is “fascinated…to talk with a spirited
he lives for, within all the misfortunes and sufferings of his life, because she is “a
tiny ray of sunlight, making [the narrator] ecstatically warm” [157]. Hence, the
Ylayali. Nevertheless, the narrator feels the guilt of not being able to do that for
her; “she was in love with me, the poor thing!” [226]. Through the stream of
consciousness, the narrator implies that the narrator thinks that he, as the poor
thing, does not deserve Ylayali’s love because he doesn’t have fine clothes and
Traveling across the river or the sea, both Siddhartha and the narrator in
Hunger abandon possession idealism, though the former finally attains Nirvada,
while the latter finally realizes the inevitable sufferings in the city as he seeks for
escape. The literal journey of crossing that river and sea, accounts for the point of
senseless life” (66), he leaves the village and meets same ferryman who once
takes him into the village and said to him, “one can learn much from a river”
(40). With the ferryman’s advice, Siddhartha starts to listen to the river, and
discovers many answers in the lesson of life within the flowing essence of water.
“The river has come holy”(86) to Siddhartha. Siddhartha realizes the importance
of every element in his life and that he has “to sin in order to live again” (78).
With ferryman’s advice, Siddhartha have become the “new Siddhartha” (81),
who “learned to listen with a still heart, with a waiting open soul, without
passion… desire… judgment… [and] opinions” (87). Never had it been so clear
to Siddhartha how his life as a Samana is similar to his life as business man;
although Siddhartha practices sacrifice in one life and greed in the other, both
lives involve sufferings because of his arrogant pride. “Siddhartha was obsessed
by his goal, each one suffering”(109). In the river, Siddhartha finally sees the
hears “the voice of Being of perpetual Becoming” (88) and realizes “how closely
related passion is to death” (65). Here the author emphasizes the similarity
Everything is transitory and connecting. Siddhartha now sees all the answers so
lucidly in the tranquil unity of the river. Through his long journey, Siddhartha
the greed as a businessman, and finally discovers the underlying truth of death
and rebirth in the flowing river. The narrator’s contact with the sea also marks
end (only that this time it ends not because of realization but because of the
narrator’s insanity). The narrator is forced to abandon his only relationship with
the world. He becomes more and more depressed because his “luck was gone”
[188]. Towards the end of the text, the narrator is at the lowest point of his life.
The money the chief has given him is used up, and he is permanently chased out
of the landlady’s apartment; the narrator becomes “extremely hungry” [213]. The
narrator “sank every time, sank further, sank to [his] knees” [223], in the middle
of the busy city of Christiana. His “out-of-place pride” [211] is lowered, as the
narrator realizes that “a man can die…from too much pride” [227]. In his
hopeless journey, he finally goes against his pride by asking the cake seller for
the cake he “paid her in advance” [229]. The narrator “almost gobbled down the
last cake of them all” [230], while “staring at the Copegoro ship”[231]. Realizing
the futility of living in the city, the narrator knows that the sea is the last and
only option for his survival. Consequently, the narrator finally departs to the sea
as he says goodbye to Christiania, yet with “brightness” [232] in his heart. Note
that the sea and river are motifs for hope in both the Siddhartha and Hunger. The
narrator views the sea as an escape from helplessness, and Siddhartha views the
In the journeys, Siddhartha and the narrator suffers from starvation and
abandonment of the outside world. Both characters then become obsessed in the
internal journeys they take to learn the arts and pleasures of love from women.
Finally, Siddhartha and the narrator reach the point of a change of perception
and travel across the river and the sea with hearts full of hope. Life is a journey;
(change) throughout our life-time-voyage in the river or the sea, where one trip