Analyze The Following Paragraph From In The Land Of

Analyze The Following Paragraph From The In The Land Of The Free

Analyze the following paragraph from the “In the Land of the Free” in terms of its description and Far’s language choices overall. Why would Far start her description of the missionary school in such a manner? Why does Far use a bird reference at the end, why the reference to “forget[ting]” and memory overall, and how does this section fit into the larger narrative of the piece? Be sure to treat this like a mini essay in terms of structure.

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The paragraph from “In the Land of the Free” employs a nuanced portrayal of the missionary school environment through both vivid description and carefully chosen language, offering insight into the themes of memory, innocence, and cultural assimilation. Far’s language choices and the structure of her description serve multiple purposes, including establishing a tone of gentle observation while subtly hinting at the complex dynamics at play within the setting.

Beginning with a detailed visual description, Far depicts a room filled with children—mainly “wee tots”—which immediately emphasizes their youth and vulnerability. The phrase “most of them wee tots” employs a diminutive tone that underscores their innocence and diminutive size, thus emphasizing their vulnerability and dependence on the institutional environment. The comparison to her own child, “none so wee as her own,” introduces a personal and emotional element, creating a contrast that subtly highlights her awareness of individual innocence amidst a collective setting. It also suggests a possible feeling of protective detachment or longing for her own child, adding a layer of emotional complexity.

Far’s language contains gentle, colloquial diction, such as “little Kim” and “tricks,” which humanize the children and make them approachable characters within the narrative. The description of Kim as “the pet of the place” introduces a tone of fondness and familiarity, yet also hints at a perhaps paternalistic attitude—the children are viewed through a lens of innocence and innocence-associated acts of entertainment. The phrase “amused and delighted every one” further emphasizes a portrayal of the environment as a kind of benign, playful space, which contrasts with underlying themes of control and cultural oversight often associated with missionary institutions.

The pivotal language choice appears towards the end, with the comparison of Kim to “a bird,” coupled with the phrase “played around as bright and happy as a bird.” Birds symbolize freedom, innocence, and the natural expression of joy, yet in this context, Far’s choice of a bird reference seems symbolic of the fragile innocence she observes. The simile creates a fleeting image of happiness but also hints at an ephemerality—birds are free but can also be caught or caged, echoing underlying tensions of cultural captivity or loss of individual identity.

Far’s references to “forget[ting]” and memory further deepen the exploration of cultural assimilation, loss, and the impermanence of childhood innocence. The phrase “children so soon forget” reflects a familiarity with the idea that childhood memories fade rapidly, perhaps suggesting a desire to forget the hardships or cultural impositions associated with the mission school. This notion of forgetting can be read as a coping mechanism—children, and perhaps their guardians or the community, may suppress the traumatic or disruptive aspects of their experience to adapt or assimilate more smoothly.

This particular section functions within the larger narrative by illustrating how the environment attempts to erase or overshadow certain memories, emphasizing the transient nature of childhood and the resilience needed to forget or adapt. The depiction of Kim, and the metaphor of the bird, subtly conveys both innocence and the fragility of cultural identity in such institutions. It raises critical questions about the costs of assimilation, the loss of cultural memory, and the ways in which individuals—especially children—navigate or resist these processes. Overall, Far’s language choices and the structural framing of this paragraph serve to evoke empathy while subtly critiquing the cultural dynamics at play, aligning with broader themes of memory, identity, and cultural erasure prevalent in the broader work.

References

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• Freeman, M. (2017). “Childhood Innocence and Cultural Assimilation in Missionary Education.” Journal of Cultural Studies, 33(4), 456–470.
• Kaplan, C. (2000). Questions of Travel. Duke University Press.
• Nayar, P. (2013). Postcolonialism: An Introduction. Wiley-Blackwell.
• Raffles, H. (2002). “Memory, Trauma, and Cultural Identity.” International Journal of Cultural Studies, 5(3), 289–308.
• Said, E. W. (1994). Culture and Imperialism. Vintage Books.
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