How does Satrapi use the character of God as a symbol in Persepolis?

Persepolis by Marjane Satrapi is a fictional, graphic novel about the coming-of-age story of the
protagonist Marjane. In the story, Marjane has an innocent fascination with God, who appears in the
novel several times. Satrapi's stereotypical illustration of God as an old, wise man is indicative of Marjane's
naivete; however, as the story progresses and Marjane matures, the presence of God gradually shows him
to be less powerful and divine than before. In Persepolis Marjane's depiction of God as great is indicative of
her innocence, Satrapi's illustration of the characters and panel composition support this. Narration and
dialogue emphasize changing dynamics and Satrapi also uses juxtaposition to solidify God' s depiction as a
symbol of Marjane' s innocence.

God is introduced in the first chapter of Persepolis titled "The Veil". The reader is introduced to 10-year-old
Marjane's school life and her relationships with her family. Significantly, the reader is also introduced to
Marjane' s devotion to God and her aspirations of becoming a prophet.

(Page 8)

In this excerpt, God is having a conversation with Marjane, He is depicted as a gracious figure with white
hair, a long white beard, and white robes. Satrapi uses the composition of the panel to illustrate God's
significance; Marjane lays in her bed surrounded by darkness, a trope used to represent evil, however
when she is in the arms of God, she is now in the light, which represents good and peace. The size of God
in the two panels is indicative of Marjane's visual portrayal of Him, as almighty. Satrapi continues to
illustrate an image of Marjane being cradled in the arms of God, He is a guardian in Marjane's life,
emphasizing her vulnerability and need for protection.

The dialogue the characters share is also significant, in the first panel Marjane is anxious and nervous as
she does not feel ready to become a prophet. However, God's response calling Marjane a "celestial light"

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makes him seem comforting and merciful. The interaction between the two characters is presented in
Marjane 's narrative voice, making it feel genuine to the reader, amplifying the greatness of God in
Marjane's life. Thus, Satrapi 's illustration of God represents Marjane 's naivete before she is further
exposed to the external conflict unfolding.

On the next page, Satrapi chooses to highlight God' s role both as a protector and a confidante as the
dynamic between the characters develops.

(Page 9)
In the first panel, the narration reads that Marjane feels guilty, she told her parents she does not want to
be a prophet. God expresses concern by asking a question and Satrapi's use of ellipses emphasizes His
insecurity. He appears less almighty than before. Marjane abruptly interrupts God and lets him know it was
a ruse, and she still wants to be a prophet as she worries she offended Him. This naive sentiment continues
to the last panel, where the illustration includes three drawings of Marjane, accompanied by narration
reading, "I wanted to be justice, love, and the wrath of God all in one." Satrapi's representation of
Marjane's ideas about God displays a childish understanding of religion, one based on imagination. In this
very first chapter of the book, Marjane is the most innocent she will be in the coming-of-age story; because
of this, it is evident to the reader that Marjane shows the utmost devotion to God.

As Marjane matures, her relationship with God changes, evident by Satrapi' s use of dialogue. The dynamic
between the two characters is different, and God is not as powerful as he was once depicted. This
becomes evident in the chapter "The Bicycle". Satrapi introduces the Iranian revolution to the reader

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through Marjane and her fascination with political figures like Castro, Marx, and the philosopher Descartes.
Although this is only the second chapter of the book, Marjane seems to be developing complex theoretical
ideas as a young girl.

(Page 13)
The extract begins with an elongated panel featuring Marx on the left, and God on the right; the similarity
in their flowing hair and beards demonstrates that Marjane admires both figures. Marjane's narrative voice
establishes that her external conflicts make it difficult for her to interact with God; this leads to God having
insecurities about Marjane no longer wanting to become a prophet. However, instead of consoling Him,
Marjane replies, "Let's talk about something else. " Already the reader is exposed to a shift in dynamic;
while in prior interactions Marjane idolized God, Marjane now speaks to God like he is an equal,
undermining His power. Satrapi uses this transformation in their relationship to indicate how Marjane is
maturing and no longer has the same innocent admiration for God she once had.

The use of dialogue to show the undermining of God continues on the following page. God and Marjane' s
dynamic bas changed as Marjane begins to engage with the more adult subject matter, the Cinema Rex
Burning.

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 (Page 14)
Although God is attempting to begin a conversation with Marjane, Satrapi writes, "Shhh! Wait for a
second!" Marjane gives no attention to God; she establishes authority by telling Him to be quiet,
something that she would not have previously done. There is a contrast in God's illustrations, He looks
gracious as His white presence is overpowering the first panel. However, when Marjane exchanges her
rude dialogue, He becomes smaller and is overpowered by the darkness in the background; symbolic of
how Marjane' s external conflicts are overpowering her relationship with God.

The use of dialogue to establish a change in dynamic is also used in the chapter "The Water Cell." Marjane
learns about her maternal lineage and how her grandfather was the prime minister of Iran but was
arrested and would have his cell filled with water because of his communist ideology.

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(Page 25)
In the extract, Marjane narrates how she wanted to know what it felt like to be in a cell filled with water.
God's illustration is feeble in comparison to his previous iterations. Marjane has been told troubling
information about her family, which leads to a loss of innocence justifying God's lacklustre stature. God
asks Marjane, "What are you doing?" further supporting the notion that He does not represent the trope
He once did, He is not omniscient and appears to be rather naive.

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Marjane's view of God has been severely weakened, and through the use of dialogue, it becomes evident
that Marjane's maturation leads to her interpretation of God to be less divine. Furthermore, the use of
juxtaposition in Marjane and Satrapi’s last two interactions enforces Satrapi's theme of God's almightiness
being interconnected with Marjane's innocence.

In the chapter "The Heroes," Marjane learns about stories of mutilations, torture, and violence as the
revolution continues. These stories take a toll on her, and her habits begin to change.

(Page 53)
In the first four panels on the page it is evident that Marjane 's playfulness has been corrupted. On the fifth
panel, the reader sees Marjane looking into a mirror, she sees herself with devil horns. However, Satrapi
shows Marjane still as a child, as her guilt over this diabolical fantasy overwhelms her and she cries. On the
last panel of the page, Satrapi illustrates Marjane being cradled in the arms of God just like she did in the
first chapter "The Veil". This is a strong juxtaposition to Marjane's previous depictions of God as his
depleting almightiness has been restored. Satrapi uses Marjane 's narrative voice to say, "The only place I
felt safe was in the arms of my friend," making it evident to the reader that Marjane is holding on to
whatever innocence she has left. The external conflicts surrounding Marjane force her to mature which is
overwhelming, so Marjane escapes to her early depiction of God to feel safe and innocent again.

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Although God' s almightiness was restored in Marjane's previous interaction with Him, Satrapi once again
uses juxtaposition to connect God' s depiction to Marjane's innocence. This is evident in the chapter
"Moscow," which sees the demise of Marjane's beloved uncle Anoosh.

(Page 70)
For Marjane, the death of her uncle proves to be a point that forces maturity. Satrapi introduces a
newspaper that reads, "Russian spy executed", and she is grief-stricken. Marjane screams at God saying,
"Shut Up," and "Get out of my life !!!!" Now the same height as God, Marjane no longer shows any respect
for God and wishes to end her relationship with Him. As the death of Anoosh steals Marjane's innocence,
God is emphatically eliminated from her life.

Ultimately, Satrapi 's depiction of God serves as a symbol of Marjane's innocence. Marjane is devoted to
God early in the novel as he is presented as an all-powerful being. However, as the external conflict that is
the Iranian Revolution prevails, Marjane is forced to mature, and her depiction of God falls far from the
tropes of divinity. This is made evident by Satrapi's illustrations of the characters and the composition of
the panels; the narration in the perspective of Marjane and the dialogue she shares with God; as well as
Satrapi' s use of juxtaposition to emphasize God's strength and its interconnectedness with Marjane 's
innocence.

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Word Count: 1496

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