3. "With Mandela came freedom—and with freedom came McDonald’s." (Chapter 15)

Simile: he is constantly comparing his situation in South Africa with the American culture.  Also, he intends to compare how different or similar he is to other vulnerable cultures. 

1. The crazy thing about McDonald’s is that we

knew about it long before it came, probably from movies. We never even dreamed we would ever get one in South Africa; McDonald’s seemed to us like one of those American things that is exclusively American and can’t go anywhere else. (Chapter 15)

2. Alexandra was a farm originally named for the wife of the white man who owned it. Like Sophiatown and other black spots populating white areas before apartheid, Alex started as a squatter settlement where blacks gathered and lived when coming to Johannesburg to find work. (Chapter 16)

3. If they could learn to speak correct English

and dress in proper clothes, if they could Anglicize and civilize themselves, one day they might be welcome in society. The Afrikaners never gave us that option. British racism said, “If the monkey can walk like a man and talk like a man, then perhaps he is a man.” Afrikaner racism said, “Why give a book to a monkey?” (Chapter 5)

Symbolisms: the purpose is to show the most common and important elements of the narration, where he highlights and finds a "funny" way to talk about his situation ship in Africa.
 
1. My mom hated the hood. She didn’t like my friends there. If I brought them back to the house, she didn’t even want them coming inside. “I don’t like those boys,” she’d say. She didn’t hate them personally; she hated what they represented. “You and those boys get into so much shit,” she’d say. “You must be careful who you surround yourself with because where you are can determine who you are.” (Chapter 17)
2. "Under apartheid, if you were a black man you worked on a farm or in a factory or in a mine. If you were a black woman, you worked in a factory or as a maid." (BLACK COLOR) (Chapter 2)
3. "By law, white-collar jobs and skilled-labor jobs were reserved for whites. Black people didn’t work in offices. My mom, however, was a rebel, and, fortunately for her, her rebellion came along at the right moment." (WHITE COLOR) (Chapter 2)

First-person narrator: he wants to show his personal experience because he wants to teach his audience about how it was to live in Africa compared to what social media and books. He can emphasize with the audience. 

1. "I was nearly six when Mandela was released, ten before

democracy finally came, yet she was preparing me to live a life of freedom long before we knew freedom would exist." (Chapter 5)

2. I believed that Fufi was my dog, but of course, that wasn’t true. Fufi was a dog. I was a boy. We got along well. She happened to live in my house. That experience shaped what I’ve felt about relationships for the rest of my life: You do not own the thing that you love." (Chapter 7)

3. My grandmother treated me like I was white. My grandfather did, too, only he was even more extreme. He called me “Mastah.” In the car, he insisted on driving me as if he were my chauffeur. “Mastah must always sit

in the backseat.” I never challenged him on it. What was I going to say? “I believe your perception of race is flawed, Grandfather.” No. I was five. I sat in the back. (Chapter 4)

Allusions: he talks about WW2, nazis, famous American works, and other important figures that impacted the African culture. This is used to make the audience familiar with the concepts of how much Africa idealized the US. 

1. With money, I experienced freedom on a whole new level: I went to McDonald’s. People in America don’t understand, but when an American chain opens in a third-world country, people go crazy. That’s true to this day. A Burger King opened for the first time in South Africa last year, and

there was a queue around the block. It was an event. Everyone was going around saying, “I have to eat at Burger King. Have you heard? It’s from America." (Chapter 15)

2. Before, living in a township was something to be ashamed of; it was the bottom of the bottom. Then we had movies like Boyz n the Hood and Menace II Society, and they made the hood look cool. (Chapter 16)
3. The walls of apartheid were coming down just as American hip-hop was blowing up, and hip-hop made it cool to be from the hood. Before, living in a township was something to be ashamed of; it was the bottom of the bottom. (Chapter 16)

3. There! That's all you get out of Eliza. Ah--ah--ow--oo! No use explaining. As a military man you ought to know that. Give her her orders: that's what she wants. Eliza: you are to live here for the next six months, learning how to speak beautifully, like a lady in a florist's shop. If you're good and do whatever you're told, you shall sleep in a proper bedroom, and have lots to eat, and money to buy chocolates and take rides in taxis. If you're naughty and idle you will sleep in the back kitchen among the black beetles, and be walloped by Mrs. Pearce with a broomstick. (Act II)

Metaphors: the metaphors engage Higgins' way of treating Eliza and women in general. It portrays the culture of the society where people from the high class feel superior to those from the lower class (they see them as dirty). 

1. "Oh, I'm only a squashed cabbage leaf." (Act V)
2. "[catching her wrists] Ah! would you? Claws in, you cat. How dare you show your temper to me? Sit down and be quiet. [He throws her roughly into the easy-chair]." (Act IV)
3. "[becoming excited as the idea grows on him] What is life but a series of inspired follies? The difficulty is to find them to do. Never lose a chance: it doesn't come every day. I shall make a duchess of this draggletailed guttersnipe" (Act II)

Ironic tone: this tone is used to highlight Eliza's transformation and Higgin's incapability of making her a duchess or part of the high class (mocking society's point of view of poor people). It also portrays how the lower classes are neglected. Lastly, it shows how the characters feel that high-class people are "childish". 

1. CLARA [all smiles] I will. Good-bye. Such nonsense, all this early Victorian prudery! (Act III)
2. Higgins: I'm interested. What about the ambassador's garden party? I'll say you're the greatest teacher alive if you make that good. I'll bet you all the expenses of the experiment you can't do it. And I'll pay for the lessons. (Act II)
3. Just the other way about. She threw my slippers in my face. She behaved in the most outrageous way. I never gave her the slightest provocation. The slippers came bang into my face the moment I entered the room--before I had uttered a word. And used perfectly awful language. (Act V) (It is ironic because although the language was meant to represent Eliza's upgrade to the high society, she used it to offend the man that thought that language is crucial for social status). 

Allegory: it is used to show the advantages and privileges of high-class people. They are rich and own a lot of money, and to show this, they buy excentric foreign statues, houses, and artworks.

1.  Put that along with her resentment of Higgins's domineering superiority, and her mistrust of his coaxing cleverness in getting round her and evading her wrath when he had gone too far with his impetuous bullying, and you will see that Eliza's instinct had good grounds for warning her not to marry her Pygmalion. (Act 5) Pygmalion= people's expectations and self-fulfillment based on them. 
2.  She wears a little sailor hat of black straw that has long been exposed to the dust and soot of London and has seldom if ever been brushed. Her hair needs washing rather badly: its mousy color can hardly be natural. She wears a shoddy black coat that reaches nearly to her knees and is shaped to her waist. She has a brown skirt with a coarse apron. Her boots are much the worse for wear. She is no doubt as clean as she can afford to be; but compared to the ladies she is very dirty. (Act I)
3. [He hurries to the door, anxious to get away with his booty. When he opens it he is confronted with a dainty and exquisitely clean young Japanese lady in a simple blue cotton kimono printed cunningly with small white jasmine blossoms. Mrs. Pearce is with her. He gets out of her way deferentially and apologizes]. Beg pardon, miss. (Act II)

Imagery: the author provides a brief description of the surroundings of the characters. He uses this to show the audience how different people's ways of behaving are in terms of what they own and how they speak (social classes).

1. Eliza opens the door and is seen on the lighted landing in opera cloak, brilliant evening dress, and diamonds, with fan, flowers, and all accessories. She comes to the hearth, and switches on the electric lights there. She is tired: her pallor contrasts strongly with her dark eyes and hair; and her expression is almost tragic. She takes off her cloak; puts her fan and flowers on the piano; and sits down on the bench, brooding and silent. (Act IV)
2. In the corner diagonally opposite the door Mrs. Higgins, now over sixty and long past taking the trouble to dress out of the fashion, sits writing at an elegantly simple writing-table with a bell button within reach of her hand. There is a Chippendale chair further back in the room between her and the window nearest her side. At the other side of the room, further forward, is an Elizabethan chair roughly carved in the taste of Inigo Jones. On the same side a piano in a decorated case. The corner between the fireplace and the window is occupied by a divan cushioned in Morris chintz.(Act III)
3. The flower girl enters in state. She has a hat with three ostrich feathers, orange, sky-blue, and red. She has a nearly clean apron, and the shoddy coat has been tidied a little. The pathos of this deplorable figure, with its innocent vanity and consequential air, touches Pickering, who has already straightened himself in the presence of Mrs. Pearce. But as to Higgins, the only distinction he makes between men and women is that when he is neither bullying nor exclaiming to the heavens against some featherweight cross, he coaxes women as a child coaxes its nurse when it wants to get anything out of her. (Act II)

3. "The chemical process went perfectly," he said. "Unless all my science has tricked me, it cannot fail." (Almost at the end)

Foreshadowing: the author provided certain aspects that represented the main character's slow deteriorating state of mind, where he slowly started to dream about his wife's "disgusting" mark. This allows the readers to know that he is going to try and get rid of it with his scientific knowledge, even if it kills her.   

1. To test the liquid, he placed a drop in the soil of a dying flower growing in a pot in the room. In a few moments, the plant became healthy and green once more. (At the ending)

2. The mind is in a sad state when sleep cannot control its ghosts and allows them to break free with its secrets. Aylmer now remembered his dream. He had imagined himself with his assistant Aminadab trying to remove the birthmark with an operation. But the deeper his knife went, the deeper the small hand sank until it had caught hold of Georgiana's heart. (Middle part)
3. "Aylmer saw the mark as a sign of his wife's eventual sadness, sickness and death. Soon, the birthmark caused him more pain than Georgiana's beauty had ever given him pleasure." (At the beginning)

Symbolism: the main symbol is the Birthmark. It is intended to demonstrate how it doesn't matter how much you try to be perfect, based on your culture's beauty standards, you will never achieve it, and it will only waste your time. People need to stop idealizing people's expectations. 

1. Some women said the red hand quite destroyed the effect of Georgiana's beauty. Male observers who did not praise the mark simply wished it away so that they did not see it. After his marriage, Aylmer discovered that this was the case with himself. Had Georgiana been less beautiful, he might have felt his love increased by the prettiness of that little hand. But because she was otherwise so perfect, he found the mark had become unbearable. Aylmer saw the mark as a sign of his wife's eventual sadness, sickness and death. Soon, the birthmark caused him more pain than Georgiana's beauty had ever given him pleasure. (At the beginning)

2. "Georgiana soon began to fear his look. His expression would make her face go pale. And the birthmark would stand out like a red jewel on white stone." (At the beginning)

3. To test the liquid, he placed a drop in the soil of a dying flower growing in a pot in the room. In a few moments, the plant became healthy and green once more. (At the ending)

Imagery: he provides an image that portrays the deterioration of the scientist's home, where his obsession slowly started to affect his order and his intimate relationship with his wife. 

1. The next day the couple went to Aylmer's laboratory where he had made all his famous discoveries. Georgiana would live in a beautiful room he had prepared nearby, while he worked tirelessly in his lab. One by one, Aylmer tried a series of powerful experiments on his wife. But the mark remained. (Middle part)
2. The mind is in a sad state when sleep cannot control its ghosts and allows them to break free with its secrets. Aylmer now remembered his dream. He had imagined himself with his assistant Aminadab trying to remove the birthmark with an operation. But the deeper his knife went, the deeper the small hand sank until it had caught hold of Georgiana's heart. (Middle part)
3. The first thing that struck Georgiana when entering the laboratory was the hot furnace. From the amount of soot above it, it seemed to have been burning for ages. She saw machines, tubes, cylinders and other containers for chemical experiments. What most drew her attention was Aylmer himself. He was nervous and pale as death as he worked on preparing a liquid. (Ending part)

Simile: it is used to show how the concepts of perfection and idealism and the scientist's obsession with the birthmark (its shape) because it outspends his wife's beauty. 

1. "When Georgiana blushed, the mark became less visible. But when she turned pale, there was the mark, like a red stain upon snow. The birthmark would come and go with the emotions in her heart." (At the beginning)

2. "The mark was shaped like a very small human hand. Georgiana's past lovers used to say that the hand of a magical fairy had touched her face when she was born. Many a gentleman would have risked his life for the honor of kissing that mysterious hand." (At the beginning)

3. "Georgiana soon began to fear his look. His expression would make her face go pale.

And the birthmark would stand out like a red jewel on white stone." (At the beginning)