Siddhartha, by Herman Hesse is a short novel predominantly describing a mans spiritual journey of contemplation in the course of three stages of experience. Siddhartha, the main character, embarks on a voyage which ultimately leads him to illumination and quintessence. Siddharthas journey is split into three phases; each of which endorses the appreciation of different aspects of man mind, body and soul. Hence, Hesses novel adheres to a rigid structure so as to articulate most accurately this inner voyage.
Although the novel is formally divided into just two parts, it would seem more adequate to split the second section further, creating a total of three sections, and thus emphasizing the trinity expressed throughout the book not only in terms of Siddharthas journey but also the Buddhist spiritual background. Regardless of the structure, however, the book does keep to classic literary style and develops a plot until reaching a climax. It becomes patent that this climax is found in the chapter entitled By the River, which is crucial to the full conveyance of the authors ideas and themes.
One reason for the chapters significance is simply its location in the novel. Then Siddhartha knew that the game was finished, that he could play it no longer. A shudder passed through his body; he felt as if something had died. (pg. 150) This quote comes from the chapter preceding By the River. Here, Hesse gradually builds the plot, brilliantly securing the readers attention throughout the process. By the end of the chapter, Hesse takes the reader by surprise providing shocking information: After a time, she found that she was with child as a result of her last meeting with Siddhartha. pg. 151)
The chapter closes here and leaves the reader completely taken aback, and thus, the next chapter immediately becomes one of enormous importance to the reader. The chapter is emotive in the sense that it causes the reader to sympathize with both Siddhartha and Kamala. Another reason for the chapters significant role in the novels plot development is because it is in this chapter that Siddhartha reencounters Govinda, with the help of whom he rediscovers himself and once again finds happiness.
Here, Siddhartha at last is able to make sense of his spiritual journey: Siddhartha now also realized why he had struggled as a Brahmin and an ascetic. Too much knowledge had hindered him; too many holy verses, too many sacrificial rites, too much mortification of the flesh, too much doing and striving. (pg. 164) Thus, in this chapter, Siddharthas most introspective state of mind is brought into the open, as Hesse presents important thematic developments while in effect, summarizing the novels message.
The concept of the river in itself is of colossal importance and it is worthwhile noting that it is the river which finally leads Siddhartha to achieve nirvana. The importance of the river is foreshadowed at the end of the chapter: The new Siddhartha felt a deep love for this flowing water and decided that he would not leave it again so quickly. Apart from being the symbolic division between Siddharthas different ideologies (mind, body, and soul) the river illustrates grandiosely the Buddhist concept of time as the reader learns in the next chapter.
That the river is everywhere at the same time, at the source and at the mouth, at the waterfall, at the ferry, at the current, in the ocean and in the mountains, everywhere, and that the present only exists for it, not the shadow of the past, nor the shadow of the future. (pg. 172) Thus, as shown above, the chapter is of great importance to the novel both in terms of its location and the themes and concepts which it expresses. It is not only important but crucial, therefore, for the author to apply an adequate linguistic style which would allow the appreciation of the ideals and wisdoms discussed.
Hesse does this by making use of simple yet figurative language. It is evident, as explained above, that the most important thing for the author to do is secure the readers attention. Hesse does this at the beginning of the chapter by adapting a melancholic, even tragic, tone: Siddhartha wandered into the forest, already far from the town and knew only one thing that he could not go back, that the life he had lived for many years was past, tasted and drained to a degree of nausea. [] He was full of ennui, of misery, full of death; there was nothing left in the world that could attract him, that could give him pleasure and solace. pg. 152) This emotive style of writing is fueled by both metaphors and similes. The songbird was dead; its death, which he had dreamt about, was the bird of his own heart. (pg. 152)
This metaphor reiterates the tragic nature of the situation and contributes to the arousing of feelings within the reader. Hesse also affirms that He (Siddhartha) was deeply entangled in Sansara; he had drawn nausea and death to himself from all sides, like a sponge that absorbs water until it is full. pg. 152) Hesse also adapts a queer rhetoric style which is very successful in engaging the reader into the narration: Was there any kind of filth with which he had not besmirched himself, any sin and folly which he had not committed, any stain upon his soul for which he alone had not been responsible? [] Was this cycle not exhausted and finished for him? (pg. 152) This style not only grasps the readers attention but also assures the readers emotional appreciation of the situation.
It is important to note however, that in all this Hesse uses relatively simple vocabulary suggesting that anyone can achieve nirvana, it being a universal concept. Although there are similes and metaphors the comparisons are not abstract and perplexing. The sentences are verbose, profound, and often long, however they are not abstruse. In view of the above, it is irrefutable that By the River is not only a vitalizing chapter in the novel, but also one of tremendous importance to the plot structure mainly due to the vicissitude experienced by Siddhartha, the vagabond.
The chapters voluble paragraphs are voluptuous, vividly clarifying vague and often vapid themes. In order to do this, Hesse has employed various linguistic styles which successfully convey his vehemence towards the theme. These include metaphor, simile, and rhetoric amid many others. Thus, Hesses vivacious combination of figurative language and thematic elements is crucial to the readers comprehension and vital to the novels essence.
