In Broken April, Ismail Kadare tells two tales of how the traditions of the High
Plateau affect the individuality of a man that leaves within it and two newlyweds on their honeymoon. These newlyweds try to immerse themselves within this new culture, the Kanun and the Blood Code, but fail to realize the detrimental effects of such a culture on their relationship.
The author uses the Physical proximity the newlyweds, Bessian and Diana, as a representation of the division that arises between the two, as they both interact with and learn more about the
Kanun.
On his journey to the unknown Kulla, Bessian`s struggle to balance his attention between his wife and the physical representations of the Kanun, depicts the beginning of a separation between…show more content… When the two meet the next day , Bessian holds Diana’s hand, she seems “pale to him”(91).The change in Diana`s appearance can be attributed to her first physical encounter with the traditions of the Blood Code a it begins to mold her interactions with her husband. After getting to the location of the boundary dispute, Diana talks to Bessian saying “they take me for a princess”(100). She begins to experience the Kanun in a new light different from Bessian`s. Ali
Binak begins to explain the boundary issue and as Diana begins to ask questions of Ali Binak about the dispute Bessian looks “at his wife questioningly” (101), shocked at her new found independence. Diana`s effort to formulate her own view of the Blood code, leaves Bessian fearful of his wife’s behavior and a possible change in their relationship. As the boundary ceremony begins Diana slips “her hand under Bessian’s” (103), as she realizes the danger amongst the Blood Code adherence to rifles. Here shows a physical connection between the two but an emotional detachment, for Bessian is indifferent to the presence of the rifles. After…show more content… Bessian`s approach to the Bessa is detached and impersonalized, contrary to his wife’s approach as she tries to connect it to Gjorg
.This difference between Bessian and Diana`s approach to the Code enlarges the rift between the two. After noticing the tower of refuge, Bessian puts his arm around his wife asking “how are we going to sleep tonight” (117), but she replies with a shrug, depicting a progression in the distance between the two. She is no longer interested in how the rules of the Kanun will affect her interaction with her husband. Looking out of their bedroom at the Kulla of Orosh Bessian and Diana see the Murderers Gallery, discussing the Gallery`s history Diana refers to it as
“terrifying”(124), for rather than the history she connects with what could have been Gjorg’s experience at the Gallery. Still facing the window, Bessian holds his wife and he asks her
“what’s the matter”(127) but she “did not answer”(127). Diana doesn’t care nor does she listen for her husband’s explanation of the gallery but rather becomes completely enamored in her representation of the physical face of the Kanun, Gjorg. Her physical representation of the