The Unbearable Lightness to be is a reserve written by Milan Kundera and shared in 1984. It is a convincing love account, a must-read that is both touching and sad. This is a book whose context is defined in the late sixties up to the eighties in the communist run Czechoslovakia. It in essence explores the themes or templates of love and politics through an in-depth use of various literary devices such as symbolism, imagery and allegory. This has been widely discussed in here-in under the crucial theme of fate in relation to love.
In assessing the literary device of symbolism, imagery and allegory, the concept of lightness, weight and eternal go back is well presented by the German word 'es muss sein' which indicates 'it must be. ' Kundera clarifies the origin of the word as a motif from the Beethoven's melodies. It came up up when Tomas was debating after Tereza left him in Zurich concerning whether to return to Prague. He phrases the word to his boss since he feels it is beyond his control, induced by fate and he does not have any choice but to follow Tereza. Fate, as an idea in light and weight, alludes or simplifies Nietzsche's ideas in 'What's Up with the Title?' where Nietzsche alleged that folks can attain eternal go back and the burden of weight associated with it. Therefore, 'es muss sein' is highly relevant in this context since Kundera views Beethoven as a weighty person alluded by the 'frown' and 'improbably mane. ' Further, he is one of the fantastic loves of Tereza who's associated with heaviness and weight. Tomas learns about his music only through Tereza. Tomas seems that Tereza is part of fate and his 'es muss sein' and chooses to return to Prague to prove this. He analyses his romantic relationship with Tereza on his way back and recognizes six fortuitous occasions that precipitated their romance, hence the mention of Tereza as 'the girl given birth to of six fortuities' in the novel. This greatly concerns him since they could be alongside one another by chance, referring to this as 'es konnte auch anders sein' rather by fate. This, is later challenged in Tomas' thinking as illustrated by his musings on that if fate frequently points at a certain event, then the event must be sufficiently 'significant and noteworthy. ' This is an implication that what goes on by chance is a result of the need for necessity which is what's repeated further implying it belongs to the sphere of eternal come back. This further contrasts the lightness versus weight dichotomy since he further wonders that the events that appear by chance only once likewise have an implication. This struggle with the idea of fortuity is further illustrated in section five whereby Tomas deliberates on his career as the narrator phrases: "He previously come to treatments not by coincidence or computation but by the deep internal desire. " Kundera also illustrates 'es muss sein, ' or fate by Tomas' womanizing patterns which he seems is an essential enslaving him. Following a night of erotic dreams and tummy aches, Tomas finally declares that Tereza is the 'es muss sein' of his love, though he still cannot control his womanizing behaviors. He finally comes to the conclusion that love lives beyond 'es muss sein. ' Therefore, the dichotomy of weight versus lightness is well illustrated since on one hand, Tereza wishes Tomas to stop his philandering lifestyle and invest in her but on the other hands, Tomas seems Tereza is in the world of lightness since she actually is delivered of fate alternatively than compulsion.
The literary device of symbolism, imagery and allegory can be furthered by the bowler head wear. Kundera mentions that the bowler head wear implies several aspects in viewpoint. First, Kundera explains it signified violence against any woman's dignity such as Sabina. From Kundera's point of narration, the lingerie is depicted as boosting the 'attraction of her femininity' as the bowler hat, seen as hard and masculine, 'violated and ridiculed it. ' Further, he depicts this humiliation as seen through Tomas who stood just stood beside her, totally dressed. Erotic humiliation in Kundera's Unbearable Lightness is illustrated by both Sabina and Tereza. They harbor hidden knowledge really wants to be degraded by the men they have had sex with, For example, Tereza desires the engineer to watch her go to the bathroom after gender, a desire also expressed by Sabina. With the iteration of certain words, the bowler head wear can be therefore regarded as a symbol of sexual degradation which contrary to the reader's thoughts is voluntary and longed for by the ladies personas in the publication.
Secondly, Kundera talks about that the bowler head wear was memento which reminded her of her dad. After the fatality of her daddy, she adamantly refuses to 'out of sovereign contempt to battle for her rights' or even to have other things except the bowler hat. Sabina's relationship with the father is strained and sophisticated. She feels that the kitsch or ideas instilled by her father during her child years should be betrayed. She refused to deal with for her inheritance; hence the bowler head wear in cases like this alludes to her betrayal and desertion of her dad.
In conclusion, it is crucial to note that Milan Kundera's The Unbearable Lightness of Being is highly successful due to the fact that he is able to create an exchange between his 'skeptical critical intelligence and his notion in the autonomy of his fictional individuals' (Andrews). The writer adopts a point of narration whereby he avoids all interior monologue and instead attracts attention persistently to its fictiveness and the ability to display the individuals imaginatively without resulting in soliloquy.
