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ire” (34), which points to the colonial history of Britain. Still some scholars associate Burmese Days with the British Raj between the wars. Ralph Crane examines the “island effect” of English Clubs in British India and sees the Club “as a place of refuge from Burma the Burmese” (24). 

CHPATER TWO THE PROLONGED BEGINNING: ETHICALLY STRUGGLING FLORY

2.1 Mimetic Materials with Submerged Thematic Overtones

Through the beginning of Burmese Days, John Flory stands out as the sole dissenter within a social hierarchy that puts a clear line of demarcation between white people and other races. He wishes to subvert the pukka sahib’s code which is a rigid way of conduct followed by white men in British India, and to intercede on behalf of the disadvantaged natives. Although being alone in his opposition against an established system, the implied readers are conducted to have faith in his endeavors. Orwell achieves such effect through (1) submerging the elements that will prove insurmountable for the focal character; and (2) redirecting our interest to the mimetic aspect of a colonial town. In Phelan’s development of the rhetorical approach to narrative, he proposes that authorial readers will “develop interests and responses” not only in the multi-chromatic nature of characters, but also in the three-component narrative itself, including interest in “the narrative world like our own” (mimetic), interest in “the cultural, ideological, philosophical, or ethical issues being addressed by the narrative”（thematic), and interest in “the larger narrative as artificial constructs”(synthetic) (Experiencing Fiction 5-6). Orwell’s way of communication submerges the force of the pukka sahib’s code while underlining the mimetic representation of Flory’s inner crisis caused by outer circumstances. 

2.2 Exposition of Focal Character Flory in Predicament and Rebellion

The beginning of the narrative demonstrates the implied author Orwell’s disclosure of a multitude of expository information brimming with bitter diction when concerning the social hierarchy and milieu of Kyauktada and with morose tonality when referring to the focal character Flory’s isolation and suffocation, which actually is part of the authorial design to align readers, both affectively and ethically, with Flory. The analysis of Orwell’s deployment of narrative resources to modulate our responses in favor of Flory will be deferred until the next section. In this section a close look at how those expository materials lead us to identify Flory’s circumstances as the centerpiece of the beginning will be taken. 

Burmese Days is the only work that postpones the voyage of the narrative until Chapter VI, lavishing attention on exposition of Flory’s conundrum inward and outward, when compared with Orwell’s other novels published in the 1930s all of which have a focal character stretching in a taut situation: Dorothy in her inescapable servitude; Gordon Comstock in submitting his writerly ambitions to the “money-god”; George Bowling in his antipathy toward modernity and longing for the irretrievable idyllic past. Indeed, if we view each of the first five chapter as an expository element, they either assume dominant or recessive correlatives of Flory’s existential crisis: Chapter I marks the debut of the Burmese villain U Po Kyin, who assumes the role of Flory’s archenemy as本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。