It is ironic that the headmaster and his wife are described using the simile, "…paired cards in Happy Families," when they both have such harsh underlying personality traits. The obvious irony is used as a literary technique to enhance the theme of deceptive appearances. They both emit the confidence that their orders will be obeyed without question, the irony is that they are described by such a gentle, childish card game when they are so matched in personality in more ways than looks alone.
The author uses certain characteristics to indicate a number of atmospheres and 'feelings', including confusion, loneliness, singularity, impending negativity, and to create a sinister element that pervades the piece. This effect is created by the author's use of vocabulary, punctuation and diction indicated in the passage. For example, when the headmaster's wife leaves the room after leaving Charles to the mercy of the boys in the lower third, the entire passage takes an immense atmospheric turn, like a sharp intake of breath when the door is shut. The first indicative tone appears with the statement, 'She is gone.' Short, sharp and concise, that single sentence carries a world of meaning. From that sentence onward, the atmosphere in the passage changes completely. The author begins using deliberate punctuation and assonance, for example, 'The circle of children contracts…strange faces, looking, assessing.' As opposed to the lengthy, descriptive sentences used before the change.
Visual imagery is rife in this writing piece, with the characteristics of a tide being the most often used by Penelope Lively. She uses the description, 'relentless tide,' when describing the headmaster's wife; 'swinging…towing him like a frail craft…'; '…the floor under his feet is unsteady, lifting and falling,'; the heaving floor and the walls that shift and swing.' The water themes used in the passage act as a foresight to the impending change, as water is symbolic for change and transformation. Another visual image used in the passage is during Charles' first encounter with the headmaster, "…it was as though he had but to clench his fingers to crush the skull." The 'clenching fingers' motions seems kin to that of a bird of prey, with their crushing talons. This may have been used as a simile for the headmaster's power, similar to the overwhelming strength that a bird of prey has over their kill.
This extract as a whole has multiple underlying messages, and not all have been described in this commentary, however, the central tension remains the paradox between power and weakness, indicated by Charles and his encounters with everyone, and his unwillingness to stand up for himself. His parents speak to him in a condescending tone of voice, believing that a child is unworthy of due respect. From the beginning we are given a very frail, fragile impression of the boy, and Penelope Lively uses multiple instances of imagery, vocabulary and diction to show the contrast between child and headmaster, as well as Charles versus his entire class. Even the title of the extract gives the impression of someone being weak, and therefore getting 'mashed.'
