Transcript Document

‘Flowers’ by Robin Jenkins
Choose a novel or a short story in which the writer’s use of setting in
time/ place has a significant part to play in your appreciation of the text
as a whole.
Give the relevant details of the setting and then discuss fully why it has
such significance.
‘Flowers’ by Robin Jenkins
Appearances can be deceptive - as even the most beautiful place
can contain hidden dangers and unexpected threats. In his short
story, “Flowers”, Robin Jenkins skilfully creates a tranquil rural
setting only to destroy it, in order to make us think more deeply
about human nature ; he also selects a wartime setting in order
to make us consider the consequences of mankind’s violent and
destructive impulses.
‘Flowers’ by Robin Jenkins
This short story is set in the Highlands of Scotland, where Margaret has been evacuated to
protect her from the bombs of the city. Margaret’s hatred and feelings of isolation are
skilfully depicted in this story as – just like the yellow flower – she has been ‘uprooted’ from
all she knows and trusts. Margaret’s hatred of the rural setting is also shown through the
writer’s use of alliteration as ‘she hatefully’ considers the local children ‘gabbling in Gaelic’.
Her superiority and dismissal is emphasised by the harsh and guttural ’g’ sound here. The
repeated word ‘she’ at the start of each sentence emphasises that Margaret feels superior
to the locals and wishes to distance herself from them this is perhaps Jenkins’ warning
about the possible consequences of such self centeredness and complacency.
‘Flowers’ by Robin Jenkins
Another way in which the setting is so significant is because the beautiful Highlands are
depicted metaphorically as an idyllic Eden. Margaret is made to make a solemn vow – just
as Adam and Eve did - not to disobey Miss Laing’s request. The appearance of a ‘serpent’
further emphasises the Biblical allusions of the story as Margaret is tempted into
disobedience and loses her sense of innocence. Margaret’s “fall” and the destruction of her
childlike innocence is a symbol for the way that humanity’s arrogance and destructive
impulses can have dreadful and unforeseen implications The extended symbolism of the
colour ‘red’ in Margaret’s hair ribbon, the birds’ legs, the heather and finally the blood of
the airmen coveys an atmosphere of danger throughout the setting and increases our
rising sense of trepidation as we advance towards the story’s dramatic climax. The fact that
we see the setting through Margaret’s eyes means that we share her naïve perspective
and are as unaware as she is of the dangers lurking beneath the calm waters of the loch.
‘Flowers’ by Robin Jenkins
The juxtaposition of the city with this rural scene is another way in which Jenkins uses
setting to convey his message so effectively. Margaret cannot appreciate the beauty and
safety and lashes out at the adder she encounters due to her feelings of anger and
resentment at her exile from the:
‘shops, houses, tramcars of home’
Margaret’s venom as she attacks the adder is explained because:
“…it seemed to represent not only that detestable alien country but her own wickedness in
disobeying”
Here, Jenkins’ word choice is used to convey the depth of feeling Margaret has at being in
exile from all that is familiar to her. There is also irony in the fact that Margaret herself is
from Scotland – Jenkins is surely asking us to consider the violent and destructive
consequences of man’s hostility and prejudice to their fellow men. A theme that is as
relevant now as it was in the nineteen forties.
‘Flowers’ by Robin Jenkins
The imagery of flowers is a vivid motif throughout the setting representing the fragility of
innocence. The lochside setting is used for practice by the pilots who Miss Laing describes
as ‘the true flowers of our country’ – this metaphor is a vivid example of Jenkins’ imagery
as he is cleverly suggesting that many of these brave men were cut down ‘in full bloom’ just
like the flowers in Margaret’s botany lesson. Later in the story, after her destruction of the
adder, Margaret comes across a yellow flower which draws her interest. At first she follows
the same destructive impulse and then a different response to the natural setting moves
her. Something about the flower’s: “loneliness” moves her and she holds it ‘tender[ly]’ to
her cheek. Here, Jenkins’ metaphor is illustrating the idea that mankind has dual impulses
– tempting them towards both good and evil and our free will is what makes us human.
‘Flowers’ by Robin Jenkins
Because we see the setting from Margaret’s childlike perspective we share her horror as
she realises that the ‘red’ beaks of the birds are covered with the blood of these fallen
‘flowers’: the dead airmen. Through the vivid description of the story’s climax – as we see
their wounded bodies desecrating the beauty of the loch, we are given a brutal and vivid
image of mankind’s fragility and mortality in the face of evil. This lesson is made very vivid
by Jenkins as Margaret glances down at the flower in her hand. The beautiful yellow bloom
symbolising innocence, beauty and peace has become:
“crushed into a green and black mess”
Through this extended metaphor, Jenkins makes us reconsider the idea that Margaret’s
selfish actions have brought about the destruction of this flower – just as mankind’s actions
in waging war ; through their intolerance and self-centeredness has brought about the
destruction of these brave young pilots.
‘Flowers’ by Robin Jenkins
“Flowers” is set in a time and place distant to us, yet through skilful use of language and
imagery, Robin Jenkins has enabled the reader to see how mankind’s temptation into evil
has not altered since the Garden of Eden. This young girl’s traumatic experience
symbolises the way that human beings’ violent and destructive tendencies lurk beneath
the surface, just as the airmen’s ruptured bodies lie beneath the ‘gold and silver spangles’
of the loch.
This story succeeds - through its vivid and memorable use of setting- to convey an
important message about the brutality within mankind and our capacity for war and
destruction: a message just as relevant now as it was when Robin Jenkins was writing his
powerful indictment of our inability to see the true horror and corruption of war in the
1940s.