Furthermore, a lexical field of spying is employed in Chapter 5. For example: “hiding and watching in the gloaming, for sending and receiving messages in invisible ink, for wearing moustaches and beards” this exhibits the extent to which young Stephen's perception is blurred – his thoughts are entirely focused on spying, and Frayn references this twisted perception by also using “gloaming”, a synonym for dusk, when the light is not present, metaphorical to the way Stephen's eventual enlightenment is clouded by his his pre-adolescent mental functioning. Moreover, the concept of the “x” that appears monthly in Mrs. Hayward's diary is skilfully employed by Frayn by appealing to the reader, who may assume that it refers to her period, and this humour directed at Stephen's perception places the reader on higher ground, communicating Stephen's twisted perception. Ultimately, perception is a theme that occurs early in the novel, and Frayn employs it to direct the reader's attention to how clouded Stephen's mind is, by linguistic devices that create a clear contrast between the perspective of a post-adolescent being compared to a pre-adolescent being.
The effects of adolescence on Stephen's childish state of mind are later revealed by Frayn, by dismantling his relationship with Keith in favour of friendship with Barbara and Mrs. Hayward as he sexually awakens. Firstly, cracks in his friendship with Keith appear: “I'm sick of being bossed around all the time” this reflects the rebellious stage teenagers enter under the influence of adolescence, in which their entire view on the world changes. Furthermore, “bossed” implies that Keith is in command of Stephen, much like a parent's command over their children, and through adolescence Stephen is managing to break through his childish instantaneous obedience. In place of this relationship comes friendship with Barbara, and this change in form admits the extent of which adolescence is working on Stephen's mind, as he has become friends with a girl. Stephen says “'Squidgy' is a girl's word that I shouldn't condescend to respond to.” Use of the verb “condescend” refers to Stephen's current mental stigma to view girls as underneath them, inferior, but adolescence kicking in changes this: “Now she's trying to supplant Keith as the one who makes the plans” exhibits that Stephen acknowledges the change, and yet later both smoke from the same cigarette, a sign of their bond, and thus how Stephen can bond with girls due to the sexual revolution occurring in his mind since disassociating with Keith. A reviewer from Waterstones says: “Frayn works an astonishing alchemy that creates a moving meditation on growing up, loyalty and betrayal, time, identity, sexual awakening, suffering and mortality. “ This is supported by how friendship with women and adults signifies Stephen's incoming adulthood: “I've tried to preserve her secret, and I've written it all over her.” examples the bond that formed between Stephen and Mrs. Hayward, and the resulting feeling of failure evident by the downtrodden and dramatic tone of the delivery of the sentence, thus the extent at which Stephen is able to feel empathy, an advanced emotion that evidences his maturity. Overall Stephen's mental maturity is greatly expressed by Frayn's language and change in form from an obedient, docile Stephen to a Stephen more expressive, as well as sexually awakened.
Finally, Stephen's progression from childhood is cemented by the acceptance of his new-found German identity. A review from blogcritics.org states: “All of us have refused to believe something or face up to the truth because it was too much to bear; because it would ruin everything.” This theme of broadening one's perception, is evidenced greatly within Stephen's closing thoughts. Contextually, it is important to consider that during the second World War, there would be a staunch black-and-white extent opposition to Germans, due to the bombings that threatened Stephen's small, isolated world, furthered by emphasis on train tracks, a route evacuees took to escape bombing. This staunch opposition is exhibited by how Mrs. Hayward is continuously referred to as a “German spy” early in the novel, as opposed to simply a spy or enemy spy. Stephen's transformation is proved by how the older Stephen uses German language in the final chapter, for example: “Schnicksnack!” the effect is amplified by the exclamation mark expressing Stephen's passion, thus how Stephen has progressed from a simplistic, obedient child, to a man. Furthermore, in the final chapter, Stephen answers his own questions, something he was unable to do, due to mental immaturity, earlier in his journey: “Can I imagine him dead? Not really.” … “Did I really not know at the time that the broken man in the Barns was Uncle Peter? Of course I knew.” The significance being that structurally, Stephen is quickly able to come to conclusions to his questions, whereas previously Keith's approval was required, and this prevents the structure from continuing the novel – tying up the loose ends. Ultimately, the extent of Stephen's progression from childhood is made evident by Chapter 11, due to sheer contrast, in both language and structure, especially contextually.
In conclusion, Frayn uses language techniques such as lexical fields, different languages and symbolism to communicate the progression in Stephen's mental state from childhood to adulthood, and this is further emphasised by the clear change of how Stephen narrates the story, as he masters adolescence to become perceptive and mature, the product visible at the beginning and end of Spies.
Word Count: 1143
Bibliography:
– Spies by Michael Frayn
– Blogcritics.org review
– Waterstones review
-----------------------------------------------------------------------------------------------
- Sammy Hayali
