Every time a helmet gets shifted, the end—the invasion of the settlement—is presupposed. People in town as well as the fishermen nearby live in fear of barbarian attacks. Even though the magistrate seems to prefer entertaining his more literary and philosophical inclinations when trying to write the history of the settlement, he still intends to abandon his romanticism when the circumstances are right. From the creators of SparkNotes, something better. Course Hero, Inc. As a reminder, you may only use Course Hero content for your own personal use and may not copy, distribute, or otherwise exploit it for any other purpose. (2018, November 5). In the end, time washes away all. LitCharts Teacher Editions. As he walks, he feels like "a man who lost his way long ago but presses on" anyway.
It's ironic that now, when the magistrate fantasizes about the barbarian girl and finds that he can imagine vibrant and detailed images, he gets no visceral satisfaction, when the very opposite was the case before: the barbarian girl lacked animation and excitement, but the magistrate found an intoxicatingly pleasure in their massaging ritual. -Graham S. It seems that it’s precisely Joll’s sense of certainty and entitlement—his feeling certain that the barbarians would be no match for his expeditionary force, and his feeling that the Empire was entitled to the land, lives, bodies, and minds of the barbarians—that caused this tragic defeat. Fear of an enemy, particularly an enemy that is misunderstood, unleashes the barbarian in everyone. My students love how organized the handouts are and enjoy tracking the themes as a class.”, LitCharts uses cookies to personalize our services.
Contextually, "arms" has two meanings—physical arms (the body parts) and symbolic arms (weaponry).
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In this way humanity will always be "stupid" and "lost," pressing "on along a road that may lead to nowhere.". “Would not have made it through AP Literature without the printable PDFs.
The magistrate rather boldly and disrespectfully uses Mai’s offer as an inroad to satisfying his sexual needs, and Mai, being in a position of need, likely feels obligated to appease him. The fact that such bones would taint the water supply of the settlement is a haunting but ironic testament to the flaws inherent in the “new men of Empire’s” desire to forge fresh starts wherein the past cannot be traced. The magistrate realizes that Joll, like so many of the townsfolk, is fleeing back to the motherland. This realization is supported by the magistrate's recurring dream becoming his reality. He can cast himself in whatever role he sees fit, regardless of whether it's an accurate representation of history. The magistrate holds one soldier back, demanding to know what happened.
The first snow falls. Most especially, his dream of a pure form of cyclical time is revealed to be one such idealized end that the reality of his new directionless-ness doesn’t accurately reflect. All around him townsfolk throw rocks at Joll's carriage in the dark. The magistrate looks out the window and sees Colonel Joll waiting in a carriage as if he were afraid. The magistrate's sexual desires return.
As they dig a trench for water, they discover a mass grave from the ancient civilization the magistrate is fascinated with. Like Mandel and the soldiers, Joll is abandoning his post.
Detailed explanations, analysis, and citation info for every important quote on LitCharts. His narration suggests that Waiting for the Barbarians is his romantic version of history and not "the truth." The magistrate’s ending comment about feeling like he lost his way long ago, but that he nevertheless persists along a potentially destination-less path, implies that the he has begun to enter the kind of cyclical perception of time that he always dreamed about, but not quite—it’s not the miraculous flux of endless time he’s always romanticized.
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