Alan Paton’s Cry, the Beloved Country displays the results of residing in Johannesburg; though it is a city divided by race, its occupants lead parallel lives (Cry, the Beloved Nation 33-312). The lives of the two primary characters, Stephen Kumalo and James Jarvis, are first portrayed independently, providing each a quality of distinctness and self-reliance (33-210). When Kumalo and Jarvis satisfy, nevertheless, it is clear that they parallel one another, leading similar way of lives and experiencing similar catastrophes (33-216). The hidden aspect of design throughout Cry, the Beloved Country is subtle importance, for there are substantial information whose importance are not immediately apparent. Cry, the Beloved Nation is composed of 3 books, each structured to give insight into the separate lives Kumalo and Jarvis, while discreetly showing how each life is related (33-312).
The very first book explains the predicament of Stephen Kumalo, a native of South Africa, as he travels through Johannesburg. It introduces Kumalo as the protagonist and establishes the structure for the disputes he quickly comes across. Johannesburg serves as both the setting and the antagonist, for it is where racism, criminal activity, and poverty dwell, and is the source of Kumalo’s suffering (33-312). Its impacts are seen in the quote, ìCry for the broken tribe, for the law and the custom-made is goneÖCry, the beloved country, these things are not yet at an endî (105 ). That Kumalo discovers his sister’s prostitution, his sibling’s superficiality, and his child’s criminal activities in Johannesburg shows the city to have entrapped his household, as well as its occupants, into a phase of decreasing morality (33-312).
The second book shows James Jarvis as he grieves for his killed son. The modification in perspective to concentrate on Jarvis’ character includes depth to Cry, the Beloved Nation, revealing a response to the criminal offense committed by Absalom, Kumalo’s son. Since Jarvis’ actions and emotions are seen, he ends up being an active character (161-312). The weather scene occurs when Kumalo and Jarvis satisfy for the first time, representing the confrontation of emotion and tension everyone has actually felt since their discovery of the murder (211-216). When Kumalo says, ìÖThis thing is the heaviest thing of all my years, is the heaviest thing of all your years alsoî (214 ), he is trying to reveal Jarvis that both are grieving over their kids and are in similar scenarios. This conflict represents the parallel between the 2 men’s lives (33-216).
The 3rd book exists for Kumalo and Jarvis to come to a resolution to their circumstance. There were aspects, such as the frequency of bigotry and the paradox that his murdered child was a protector of the social injustices of locals, that would have supported Jarvis’ hatred for Kumalo (253-312). When Jarvis states, ìI have seen a manÖwho was in darkness till you discovered him. If that is what you do, I give it willinglyî (307 ), he is acknowledging the goodness of Kumalo’s objectives as a pastor. Jarvis’ generosity in rebuilding the church, cultivating the land, and enhancing the lifestyle of Kumalo’s town represents his continuing of his son’s legacy to assist the struggling natives. The third book serves to deal with the tension between Kumalo and Jarvis, and, representatively, reduce the stress between the natives and the whites of South Africa (253-312).
The 3 books that structure Cry, the Beloved Country serve to tie together the lives of Kumalo and Jarvis, who are plagued by sorrow for their lost sons. The interrelation of the books also demonstrates the dependency that both men feel for one another. Kumalo’s goodness as a servant of God, his household, and his individuals offers Jarvis inspiration to continue his child’s tradition. Jarvis’ help to Kumalo’s town restores the natives’ hope in the whites that run their nation. The simplified language used supports the subtlety of significance, producing an efficiently running style. The division of Cry, the Beloved Country into 3 books therefore creates three phases representing grief, confrontation, and hope (33-312).