Lucas Tartaglia”If I were you,” he said, “I’d go home quietly.” Then he tapped her breasts with his baton. Gently. Tap tap. As though he was choosing mangoes from a basket….Syntax, diction, comparisonIn this passage, Roy uses very interesting syntax to make what happens in it even more absurd. The use of incomplete fragment sentences in an almost childish way perfectly reflects the actions being depicted in the passage (tapping her breasts with the baton). This is enforced by the diction of the quote. Words like “Tap Tap” and others like “gently” make this passage seem more absurd because of the juxtaposition between the context of the passage and the diction spoken of prior. Finally Roy uses a comparison of “As though he was choosing mangoes from a basket”Only Rahel noticed Sophie Mol’s secret cartwheel in her coffin. Linked to the epigraph, syntax, diction, POVThis quote is linked to the epigraph in the beginning of the novel that speaks about points of view. Here we are being shown Rahel’s childishly, highly imaginative point of view, which makes the passage seem quite dark. Arundhati Roy also uses very simple syntax in this passage, letting it get straight to the point in an almost cold way. Lastly in the use of diction in the passage. Roy uses the words “secret cartwheel” to give off this childish imagination spoken of prior and this is key to the personification of Rahel.Over the years, as the memory of Sophie Mol … slowly faded, the Loss of Sophie Mol grew robust and alive. Syntax, Diction, Irony/Juxtaposition, MetaphorIn this quote, Roy uses syntax almost normal except for the giant part of the quote in parentheses (the part I cut out) that splits up the sentence, and is in fact longer than the sentence itself. She also uses specific diction with vibrant words for death like “robust” and “alive” but dark and depressing words like “faded” to describe life. This is ironic because most people would consider life to be the most vibrant part of existence and death to be the “fading” of life. Therefore, the use of these words to describe life and death is two juxtapositions within the same sentence (between vibrant death and deathly life). Because of all this, this quote is an extended metaphor for how people sometimes become more appreciated and alive after their life has come to an end, somewhat the definition of a legacy.On their shoulders they carried a keg of ancient anger, lit with a recent fuse. There was an edge to this anger that was Naxalite, and new.Syntax, diction, alliteration, metaphor, implicationHere, the syntax used by Roy is used to setup a metaphor, and a comparative implication with the use of commas. She uses diction that is not very for most of the book as well as well, with words like “Naxalite” and “fuse”. There is also the use of alliteration in this passage: “ancient anger”. This is used to add a type of dramatic effect to the passage, which is appropriate for the context of marching. Following this directly is the metaphor of anger being lit with a fuse, which once again adds a dramatic aspect to the passage. Finally is the implication at the end of the passage with “Naxalite, new” where it seems as if Naxalite is being compared to new in the sense of it attracting people.There would be two flasks of water. Boiled water for Margaret Kochamma and Sophie Mol, tap water for everybody else.Syntax, diction, overlying pointHere roy uses commas as part of syntax to cut up the last sentence to show in a symbolic way how Margaret Kochamma and Sophie Mol are separate from everyone. The diction used is also important as it implies that Kochamma and Mol are separate from them by using the words “everybody else.” The overlying point of this passage is to show that Margaret (being British) and Sophie are being treated as better than everyone else (boiled water gets rid of diseases in it like malaria).They were a family of Anglophiles. Pointed in the wrong direction, trapped outside their own history and unable to retrace their steps because their footprints had been swept away.Syntax, Diction, Metaphor, IronyHere, Roy uses very strange syntax. This is due to the second sentence having no subject whatsoever. Roy does this to, in a way, dehumanize anglophones, making it seem like their ideologies get rid of their individuality. This goes along with the diction of the passage having words like “trapped”, “history” and “swept away”. There is also the metaphor of being trapped outside of their own history, which represents how they can no longer find their original culture as it has been in many ways “swept away”. This is ironic, because being an Anglophile means you are in ways on the British side, even though they are the ones who swept away the old culture to begin with.Mammachi’s rage at the old one-eyed Paravan standing in the rain, drunk, dribbling and covered in mud was re-directed into a cold contempt for her daughter and what she had done. She thought of her naked, coupling in the mud with a man who was nothing but a filthy coolie.Syntax, diction, characterizationThis passage has many commas as part of the syntax to be able to add tons of important detail about the situation, because the passage is ultimately here to characterize Mammachi and people like her. The diction of the passage, also important, contains words like “one-eyed”, “drunk”, “dribbling”, “naked”, which are all words commonly used to describe the less gifted people in life. The word “coolie” is also used, which is also pertaining to this diction. This is done to characterize Mammachi as in ways catering to the Caste system by not only putting down paravans, but by getting more upset at her daughter for being with one. Another interesting detail of this is that “Paravan” is capitalized, and “daughter” isn’t. This is done to show that Mammachi almost see the paravan as worth more than her daughter (further degrading her). She imagined him there, someone like Velutha, bare bodied and shining, sitting on a plank, swinging from the scaffolding in the high dome of the church painting silver jets and the blue church sky.Syntax, diction, imagery, underlying message, ironyHere, the author uses many commas in a very long sentence in order to create a very long, dreamy description of Velutha. The diction in the passage makes him in many ways seem almost godly and angelic, with words like “shining”, “bare bodied”. The imagery painted by the description in the end of the sentence also develops this godly image of Velutha, even including the word “church” to bring up the thought of religion. This is very ironic because Velutha is in fact the complete opposite, he is at the very bottom of the Caste system, an untouchable.He froze for a moment, and listened with his flag. What he had heard was a familiar voice in a most unfamiliar circumstance … He stepped sideways and disappeared deftly into the angriness around him.Syntax, diction, detailHere Roy takes a different approach to characterizing Velutha. First, the syntax used is very minimal, using very short, abrupt sentences to describe him, making him mysterious. Words like “disappeared” and “deftly” help characterize him this way. Finally, Roy keeps out many details to continue this idea of mysteriousness, not once using a proper noun or a character’s name, and being rather vague throughout the whole of the passage.As Estha stirred the thick jam he thought Two Thoughts, and the Two Thoughts he thought were theseSyntax, diction, repetitionThe syntax used in the passage is minimal in this passage, using one comma, and making this quote sound just like a tongue twister in a fantastical way. The diction is very interesting, capitalizing “Two Thoughts” and not capitalizing the verb thought. The word thought is also excessively repeated, all of this showing a childish aspect to Estha.As she approached him, he smiled at her and something about that portable piano smile, something about the steady gaze in which he held her, made her shrink from him.Syntax, diction, metaphor,Here Arundhati Roy uses many commas in a long, extended sentence to develop this very peculiar description. She uses words like “portable piano” which are invented to simply make child-like alliteration. This childish aspect is enhanced with the metaphor of “shrinking from him” and portable piano smile” which relate to happiness and childishness.They were already familiar with the smell. Sicksweet. Like old roses on a breeze.Syntax, diction, comparisonRoy uses two very incomplete sentences in this passage, reflecting the mindset of a child (a recurring theme in the novel). She also invents the word “sicksweet” in a fragment sentence, which perfectly reflects how a young child would speak. The fragmented comparison at the end of the passage is alo used to push this childish aspect as the smell is compared to “old roses on a breeze” which doesn’t really mean much in english.She remembers, for instance (though she hadn’t been there), what the Orangedrink Lemondrink Man did to Estha in Abhilash Talkies.Syntax, diction, characterizationHere Roy once again uses parenthesis in a passage that could have easily used a comma instead to insert further characterization on Rahel. The diction used helps this characterization with words like “Orangedrink Lemondrink Man”, which shows that Estha and Rahel are very connected in a sense that they not only know what happened, but that they use the same nicknames for people, almost like they have their own language.Littleangels were beach-colored and wore bell-bottoms. Littledemons were mudbrown in Airport-Fairy frocks with forehead bumps that might turn into horns.Syntax, diction, alliterationHere Roy uses very simple syntax by not using any commas, describing in two sentences just as a child would. The diction is also childish as words are invented like “Littleangels” and “Littedemons”. Also adding to the childish aspect Roy was aiming for, there is a lot of alliteration used like “beach-colored” “bell-bottoms” in one sentence.In those early amorphous years when memory had only just begun, when life was full of Beginnings and no Ends, and Everything was ForeverSyntax, diction, metaphorHere Roy uses loads of syntax and multiple commas in one sentence to create what is a huge metaphor. The diction used is also very interesting as Roy makes the words “Beginnings”, “Ends”, “Everything” and “Forever” proper nouns. This is all done to make the big metaphor that when people in their early years of life, when they only know beginings, everything in their minds last forever, until it comes to an end, a very depressing, yet true message being put forth by Roy on the child mind.