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By Oddvar Holmesland

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This fact might suggest a reconciliation with her former role as housekeeper, and a submission to Mr Craigan's mandates. Although the pigeons are representative in many ways of characters, they are nevertheless insufficient for the darity and consistency necessary ifsymbols are to define the tone ofintricate conflicts. Green's correlation of Lily and the pigeons represents his cognitive perspective on man's predicament in an irreconcilable world. 348). By equating Lily's dependence with that of the pigeons, Green 'Living' 41 relates Lily to all the other characters in the novel, most ofwhom dream of freedom but are unable to escape.

Almost like the fluctuating birds in the sunset scene, the voice rises and falls, circulates around the lathes, filling the whole foundry. Arthur Jones's singing is a spontaneous outlet for the joy he feels for having been given a son. The sense ofnatural fulfilment conquers the darkness around hirn, makes hirn free from the mechanized order of the factory; when he sings, he is his own master, he dedines to sing the songs the other men suggest to hirn. No obvious criticism characterizes the contrasting portrayal of Jim Dale, although he appears, throughout the novel, as an unimaginative and moody fellow.

Gates is vehemently blaming the foreman at the foundry for an accident in which a wire rope parted and missed Craigan by inches. Green, however, is not primarily concerned with social or institutional amendment. As previously suggested, the lack of a consistent point of view in his novels hinders effective satire or criticism of society. The central issue in this scene is Gates's obsession with injustice and his readiness to blame his surroundings for any ill fortune.

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