Narrative

The importance of the narrative in these two pages is not primarily the meaning of the words used but instead the amount of words used. I have removed the actual narrative from each page, but the places where the text were still remain. Page 140 has much less text than page 200, and Panel 4 on page 140 actually doesn’t have any text.

Page 140 Panel 4

Page 140 Panel 4

The panels on page 140 that do have text only have a limited amount of text, while the panels on page 200 not only all include text but have an abundance of text.

Page 140 Panel 3

Page 140 Panel 3

Page 200 Panel 5

Page 200 Panel 5

 

 

 

 

 

Satrapi uses the amount of text on each page to add to the feel. On page 140, Marjane is afraid and feels as if the world is standing still. The audience is allowed to relate to the feeling of Marjane from the lack of words. Instead of reading, the audience is encouraged to imagine walking home with the worries of Marjane. Although most readers have never had an experience similar to this, the mood that Satrapi sets allows for the reader to feel the emotions in a vicarious way.

Page 140 Panel 1

Page 140 Panel 1

On page 200, Marjane has an abundance of excited and nervous energy. This is conveyed in many ways. One important way is the abundance of the text making the page feel crowded. This is both representative of the thoughts that one experiences when excited and nervous and the crowding of people showed in the later panels.

Both pages have similar scenes. On page 140 panel four, young Marjane is embraced in her mother’s arms, and on page 200, older Marjane is embracing her mother. However, page 140 is very solemn while page 200 is a sweet and emotional moment. Satrapi conveys to the reader how she felt in both scenarios by controlling the amount of words.

Page 140 Panel 4

Page 140 Panel 4

Page 200 Panel 8

Page 200 Panel 8

 

 

 

 

 

To continue reading about Persepolis, visit the introduction or the pages devoted to shading and noise.

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