“Deep down, even the most hardened criminal hungers for the same thing that motivates the innocent baby: love and acceptance . » Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay - Lily Fairchilde After reading this statement, one can be fully immersed in the perception of Australian author Hannah Kent's funeral rites, through the prism of the universality of humanity. need for acceptance. Published in 2013 and set in 1820s Iceland, Kent's novel traces the journey of its protagonist Agnes Magnúsdóttir, from rejection to acceptance of others and ultimately herself. Presented through literary devices such as symbolism and analogy, Icelandic culture and movement through the landscape mimic Agnes' journey toward redemption. Set in a distant time and place, Burial Rites is surprisingly relevant in that it “gets close to the bones and sinews of human experience.” As a young person living in a modern world, it is interesting to focus on such a concept, in which we, as a modern society, are still seeking acceptance ourselves. Kent's protagonist is exposed to social rejection from early childhood, derived from her mother's status and identity, Agnes ends up rejected by those she loves most and reaches the climax of the lowest point of his life. Through Kornsá's family, Agnes is slowly exposed to acceptance, leading to the end point of her journey, self-acceptance. Kent's novel resonates with me because of its ideology that for society to accept someone as they are, one must accept oneself fully. It is through this concept that Kent presents the bridges between Iceland of the 1820s and our modern society of the 21st century. Kent's novel conveys the basic human necessity of cooperative grouping and the need to belong and be accepted in these groupings; like a society. Agnes' rejection by Icelandic society is based on her class, gender, and sexuality, which leads me to wonder if my own society has similar principles when it comes to acceptance. When we consider statements such as: “she is a landless worker raised on a mush of moss and poverty” and “remember your place Agnes!” ", it is clear that Agnès' position in society has been biased since her birth. A clear example of this stigmatization is Margrét's use of the powerful and condemning analogy: "no dove hatches from crow's eggs." This “social rejection therefore thwarts the fundamental need for positive and lasting relationships, which go to the heart of well-being”. Agnes' rejection by society has been significant since her birth and is clearly reflected in her movements across the landscape from a young age. His family is forced to travel constantly and his mother Ingveldur has the habit of "leaving a farmer under her skirts" in search of work and shelter. Icelandic society views Ingveldur's former sexual activity and lack of housing as a personal choice rather than a need for survival. Their lack of housing and stable position separates them from society's expectations of female and child domestic workers, relegating them to the margins of society – literally and figuratively. The belief that a person's identity and values ​​are determined by their status and material wealth is observable in today's society. Whatever the goal, greater acceptance is given to those who do not necessarily have better values ​​and notions, but rather those of wealth and conceptsarbitrary rights such as birthright. It was Kent's speech about this belief in defining acceptance that allowed me to relate to the struggles of Agnes' journey to acceptance. Agnès's desperation to escape the horrors and unacceptable gaze of society leads her to impetuously seize the first opportunity to isolate herself. ; Natan, who “would take her out of the valley, out of her miserable and loveless life… and give her spring”. Natan's characterization as immediately accepting another rejected member of society, provides the basis on which Kent can build Agnes' final step toward complete physical separation. Kent once again depicts this mental isolation through the location of Agnes. Located Natan's farm in Illugastadir, on Iceland's remote northwest coast, as opposed to its former, more central locations in Búrfell and Geitaskard. In the “claustrophobic puritan society” (Singh) that dominated Iceland in the 1820s, those who did not commit to Christianity were polarized. Natan's lack of religious involvement and Agnes' involvement with Natan results not only in an amplification of his social separation, but also in a reputation as wicked and suspicious of witchcraft; a perspective common to traditional texts concerning Agnes and the murders such as; Enginn Má Undan Líta (No Can Be Soft) by Guðlaugur Guðmundsson and Dauða Natans Ketilssonar (Death of Natan Kettilsson) by Gunnar S. Þorleifsson. When she considers leaving Illugastadir after seeing Natan "remove the covers from Sigga's bed", Natan's rejection of Agnes in favor of Sigga, allows her to realize that she has trapped herself in her own isolation . Kent's involvement in the imagery depicts the toxicity of his relationship with Natan through the unknown "distant tongues of rock" that "scar the perfect kiss of sea and sky." The personification of the landscape depicts Natan's impossible navigation and hostility, suggesting that Agnes's own isolation worked against her; “There is no one and nothing else. There’s nowhere to go.” Kent applies the dialogue to constitute the lowest point of Agnes' journey. Natan calls Agnès a “nag” and asks her “do you think I love you?” . . .You are a cheap woman,” forcing her to “go away!” ". Agnes being excluded by an outcast himself presented me with one of humanity's most damaging and detrimental moments. Agnes' ultimate rejection prompted me to think about those on the margins of my society and the reasons for their situation. Whether it is faith, financial status, or last name, it is society's conventional belief that forces those who do not conform to languish in unacceptance. Kent gradually forms an acceptance between his protagonist and the women of Kornsá through their environment to depict Agnes' rise. acceptance. Established through the symbolic movement of Agnes from the outskirts of the northwestern region of Iceland to centrally located Kornsá, where she was held until her execution. In the same way that Agnes's physical location denotes her rejection, Kent depicts the controlling landscape by constructing his characters "at the whim of nature and it stands as majestic, cruel and sometimes anthropomorphized" (Laui). Use zoomorphism, particularly in Agnès, to do this; “her arms are tied in front of her… tied like a lamb to be slaughtered”, she is led “like a cow” and she wonders if they are going to “put her in the cellar… like smoked meat”. Kent uses figurative language to describe the setting and “communicate a deeper meaning for the audience to decipher” (Singh). Like the rigors of winter to ultimately create an isolated environment that brings thecharacters. Consequently, each character becomes friends through the unexpected similarities the family has with Agnes. Although initially reluctant, Margrét and Agnès respect each other in their respective difficulties and in their strong work ethic. They find common ground and, ironically, comfort in the fact that they are “two dying women.” It is this process of finding similarities that binds humanity together, a psychological manifestation that still remains a predominant factor in the structure of society. Reflecting on her approach towards Agnes, Margrét refers to the sagas, realizing that “the only murderers Margrét had known were the women of the sagas, and even then, it was with words that they had killed men; orders given to servants to kill lovers or avenge the death of relatives… But these times are not times of saga… this woman was not a woman of saga.” Margrét's confirmation that Agnes is "not a saga woman" suggests that although stories hold an important place in Icelandic culture, a person's life is not a story written from a single point of sight, recognizing that she judged Agnes before knowing her motivations and situations in her individual context. Allowing Margrét to sympathize and demonstrate acceptance of Agnes establishes trust and prompts the revelation of the true events of the murders. Kent's establishment of the connection between Steina and Agnes occurs before they meet. She is the first to hear and announce the news of Agnes' lodgings and the only one to remember meeting her on the road, remembering the moment when she "braided her sister's hair and gave them an egg to each.” After recalling their meeting, the wind rises and dissolves the gray ashes on Agnes' dress. Agnès sees this as a sign and wonders if it is “happiness, this feeling against her chest”. Kent applies his keen sense of symbolism and constructs the landscape to “dissolve” the “gray flakes”; referencing her grief and allowing Steina to reorient Agnes with a notion of acceptance and happiness. She reconciles with Agnes almost immediately and feels a connection with her, as she feels separated and misunderstood due to her alternative way of perceiving situations. Steina is supposed to “invent stories” and Margrét is worried because “she smiles at Agnès”. Subsequently, Steina's relationship with the protagonist becomes essential in Agnes's emergence from her social rejection. Additionally, Kent's construction of the name Steina is significant, translating from Norse as "a small piece of stone". Iceland has a tradition of creating piles of stones, or cairns, which serve as markers or markers. Cairns were also used to mark burial mounds and were an emblem of good luck during travel. Steina represents a beacon or marker on Agnes' path to acceptance. As her execution approaches, Margrét “passes Agnes' hands to Steina, as if she were a token, or a piece of bread and they all commune with her.” A key point of acceptance is symbolized here; “communion” referring to the personal acceptance of Agnes by the family and the meaning of their acceptance through reference to their religion. The author's development of the family's gradual acceptance influenced my thinking about whether the Kornsá community had already unconsciously accepted Agnes. Common ground, meaningful connections and, therefore, a non-judgmental stance towards Agnes, and ultimately towards anyone, are fundamental to bringing acceptance in any society. With partial acceptance found through the women of Kornsá, Kent presents the final leg of his journey..