The Girl Who Fell Beneath the Sea

“When the otherworldly storms rise from the East Sea, lightning breaking the sky and waters ripping up the shore, a bride is chosen and given to the Sea God.”

The phrase “otherworldly storms rise from the East Sea” paints a vivid picture of the tumultuous and supernatural nature of the storms, imbuing the narrative with a sense of foreboding. In addition to hinting at the mystical elements that pervade the novel, the vision of approaching storms can be viewed as the imminent arrival of unknown yet formidable conflicts. Also, with phrases such as “lightning breaking the sky” and “waters ripping up the shore,” Oh employs hyperbole to intensify the sense of danger and chaos. These descriptions serve to elevate the storms from mere meteorological events to harbingers of significant and possibly calamitous change.

“It is tradition in the seaside villages to write wishes onto pieces of paper before folding them carefully into boats to set upon the river. The belief is that our paper boats will carry our wishes to our dead ancestors in the Spirit Realm, where they can bargain with the lesser gods to fulfill our dreams and desires.”

The practice of writing wishes on paper and folding them into boats symbolizes the human desire to connect with the divine and the ancestral realm. This act is laden with the hope and faith of the villagers, representing their aspirations, dreams, and desires. The paper boats therefore become a tangible manifestation of these intangible thoughts and feelings, bridging the gap between the human and spiritual worlds. Additionally, the metaphor of the paper boats “carrying our wishes to our dead ancestors in the Spirit Realm” beautifully illustrates the belief in an interconnectedness between the living and the spiritual world. This connection also serves as a narrative device, establishing the Spirit Realm as a significant element in the story.

“In this moment, I don’t feel beautiful. Nor do I feel very brave, my hands trembling. But there’s a warmth in my chest that nothing and no one can take from me. This is the strength I call upon now, because even if I am afraid, I know I’ve chosen this.”

The transition to “But there’s a warmth in my chest that nothing and no one can take from me” introduces a metaphorical expression of inner strength and conviction. The “warmth in my chest” metaphorically represents Mina’s deep-seated, resilient core of self-assurance and determination. Additionally, the lack of a conjunction in the second sentence of the quote, “Nor do I feel very brave, my hands trembling,” is a stylistic choice that enhances the narrative’s immediacy and emotional impact. This technique, known as asyndeton, involves omitting conjunctions between parts of a sentence. It creates a sense of urgency and unfiltered thought, mirroring the protagonist’s raw, unmediated emotional state.

“After all, not all storytellers are grandmothers, but all grandmothers are storytellers.”

By juxtaposing the concepts of “storytellers” and “grandmothers,” the quote uses antithesis and emphasizes the unique narrative role often held by grandmothers in many cultures. This contrast underscores the universality and reverence of grandmothers as carriers of wisdom and tradition. Additionally, the quote uses a form of chiasmus, a device in which words or concepts are repeated in reverse order to increase emphasis. In this case, “storytellers” and “grandmothers” are inverted in the second clause. This reversal creates a pleasing symmetry and rhythm, enhancing the quote’s memorability and impact.

“Your people suffer not because of any great will of the gods, but because of their own violent acts. They wage the wars that burn the forests and fields. They spill the blood that pollutes the rivers and streams. To blame the gods is to blame the land itself. Look upon your reflection to find your enemy.”

The contrasting ideas of divine will versus human action are set against each other in an example of juxtaposition. The gods, who are often perceived as agents of fate and suffering, are contrasted with human beings, whose own actions are shown to be the true cause of their suffering. This juxtaposition challenges common perceptions of divine intervention and highlights the consequences of human actions.

“‘Then why did he leave me behind?’ ‘Because he knows that you love him enough to let him go.’”

The second part of the dialogue utilizes paradox, a statement that appears self-contradictory but sometimes reveals a deeper truth. The idea that one demonstrates love by letting go seems contradictory, as love is often associated with holding on. However, the paradox here speaks to a selfless love and the ability to prioritize another’s needs over one’s own desires.

“My eldest brother, Sung, says trust is earned, that to give someone your trust is to give them the knife to wound you. But Joon would counter that trust is faith, that to trust someone is to believe in the goodness of people and in the world that shapes them.”

This quote employs antithesis. Sung’s view of trust as a risk is symbolized by the metaphor of giving someone a knife and stands in direct opposition to Joon’s perception of trust as an act of faith in the goodness of people. The antithesis highlights the complexity of trust and the varying attitudes that people can have toward it.

“Above, the sky begins to writhe, swelling and pulsating as if a great heart beats within the darkness.”

Personification is used in this quote to imbue the sky itself with human attributes. Words like “writhe,” “swelling,” and “pulsating” also evoke a sense of dynamic, living motion. The metaphor of the sky behaving as if a great heart is beating within it lends a sense of life and animation to the natural phenomenon. It suggests that the sky is not just a physical entity but something more dynamic and possibly sentient.

“You claim the gods should love and care for humans. I disagree. I don’t think love can be bought or earned or even prayed for. It must be freely given.”

The opening phrase, “You claim,” introduces an argumentative tone, setting the stage for a counterargument. This approach is characteristic of a rebuttal, a rhetorical device that is used to challenge an existing argument. By stating “I disagree,” the speaker clearly positions themselves in opposition to the initially presented idea, creating a platform for their own beliefs. The statement also challenges the view that love is transactional, especially in the context of divine-human relationships. The notion that love “cannot be bought, earned, or even prayed for” refutes the idea of love as a commodity or a reward. This perspective is emphasized through the use of asyndeton in the phrase “bought or earned or even prayed for.” This stylistic choice adds a rhythmic emphasis to each condition, underscoring the futility of these efforts in achieving genuine love.

“I wake to light sweeping across my eyes and the sound of my grandmother’s voice echoing from my dreams.”

In this passage, the phrase “light sweeping across my eyes” evokes a visual picture of the first moments of waking, with light playing a key role in signifying the dawn of a new day or the end of sleep. The auditory imagery in “the sound of my grandmother’s voice echoing from my dreams” creates a sense of continuity between the dream state and consciousness. The word “echoing” suggests a lingering presence of the grandmother’s voice, implying that her influence extends beyond the realm of dreams into the character’s waking life. This could symbolize the lasting impact of familial bonds and ancestral wisdom that persist in the protagonist’s life. Moreover, the sentence structure, starting with the action of waking and moving to the sensory experiences, mirrors the process of waking up. The gradual progression from the physical sensation of light to the auditory memory of a voice encapsulates the transition from the subconscious to the conscious state.

“No, that’s not true. I thought someone was listening. Because even in moments of despair, I believed the gods were watching over us. We were never alone because we were beloved by them.”

Repetition is used, particularly in the recurring use of the concept of belief and being watched over. This repetition emphasizes the protagonist’s steadfast faith in the gods, reinforcing the idea of divine surveillance and care even in difficult times. The phrase “even in moments of despair” introduces a contrast between the grim reality of despair and the enduring belief in a divine presence. This contrast serves to highlight the protagonist’s resilience and unwavering faith, illustrating a dichotomy between human suffering and spiritual perseverance.

“Hope is a heady feeling. I sense it billowing up inside me, as if the magpie were unfurling its wings. In this moment with Shin, the Red String of Fate bright like a flame between us, anything feels possible.”

Metaphor is a primary device used as hope is likened to a “heady feeling” and compared to the soaring movements of a magpie. The comparison of hope to something “billowing up” inside the protagonist further enhances the sense of its overwhelming and dynamic nature. Also, the alliteration in the phrase “Hope is a heady feeling” effectively draws attention to the statement, creating a rhythmic quality that emphasizes the significance of the emotion being described. As the magpie stretches its wings into flight, the action is designed to reflect an uplift in the protagonist’s internal state. The passage therefore symbolizes the freeing and expansive nature of hope, which can often open one’s mind to new possibilities and perspectives.

“That there is no place you can go so far away from forgiveness. Not from someone who loves you.”

This statement offers a perspective on the nature of forgiveness and love, reflecting the didacticism of the narrative. Didacticism involves the intention of teaching, particularly in conveying moral or ethical principles. The quote teaches about the power of love and forgiveness, implying that true love encompasses unconditional forgiveness.

“‘Every being has a soul, whether it’s hidden inside you, as it is for humans, or in a different form, as it is for beasts of myth. Gods also have souls. For the Goddess of Moon and Memory, her soul is the moon. For the Sea God, his soul is the dragon of the East Sea. For household gods, their souls are the hearth; for gods of the mountains, rivers, and lakes, their souls—’ ‘Are the mountains, rivers, and lakes,’ I finish.”

In this passage, there is a clear use of symbolism, for various elements symbolize the souls of different gods. This symbolism conveys the idea that souls are not just abstract entities, for they can be embodied in physical forms or elements of nature, reflecting a connection between the divine and the natural world. The passage also employs parallelism, particularly in the structure of the sentences describing where the souls of the gods reside. This repetition of structure (“For the Goddess of Moon and Memory, her soul is the moon. For the Sea God, his soul is the dragon of the East Sea”) creates a rhythm and emphasizes the universality of souls across different beings, whether they are humans, mythical beasts, or gods.

“Since the moment our fate was first formed, he wanted to destroy it because of the risk to his own life. With that reasoning, he won’t desire to form a bond with another soul. Which means only I can break our tie by choosing the Sea God, and having him choose me in return.”

One prominent device is the use of an internal monologue, which allows direct access to the protagonist’s thoughts. This narrative technique provides insight into the character’s reasoning and emotional state, emphasizing the internal conflict and the weight of the decision she faces. The passage also demonstrates the use of logical reasoning or syllogism. The protagonist lays out a premise (“Since the moment our fate was first formed, he wanted to destroy it”) and follows it with a conclusion (“Which means only I can break our tie by choosing the Sea God”). This logical structuring helps to clarify the stakes involved and the reasoning behind the protagonist’s potential decision.

“A blinding light rises up to swallow me whole. There’s a wall of sound, like a forest of trees in the wind, and then I’m released abruptly.”

“A blinding light rises up to swallow me whole” employs metaphor and visual imagery. The metaphor of light “swallowing” Mina whole conveys a sense of being overwhelmed or consumed by a powerful force. The use of “blinding light” creates a strong visual image, suggesting a moment of revelation or transformation that is intense and all-encompassing. The phrase “There’s a wall of sound, like a forest of trees in the wind,” uses simile and auditory imagery to convey the magnitude of the experience. Comparing the sound to “a forest of trees in the wind” implies a natural, all-enveloping phenomenon. The simile creates a sense of vastness and power, enhancing the impression of an overwhelming event.

“We will always love you, because you are ours. You are our sea, and our storms, and our sunlight breaking out over a new day. You are our hope. We’ve been waiting for you for such a long time. Come back to us. Please come back.”

The phrase “You are our sea, and our storms, and our sunlight breaking out over a new day” employs a powerful metaphor. By likening the character to elements of the natural world, the text suggests that human nature and divine power are intrinsically linked. This metaphorical language elevates the character’s significance, endowing them with a mythic quality. Similarly, the phrase “You are our hope” is a straightforward statement that underscores the character’s role as a beacon or source of optimism.

“And there is no hope, because love can’t be bought or earned or even prayed for. It must be freely given. And I have given my heart to someone, but he is not the Sea God.”

The phrase “And there is no hope, because love can’t be bought or earned or even prayed for” employs antithesis by juxtaposing the concepts of hopelessness with the actions often associated with attempting to gain love—buying, earning, or praying. This contrast highlights the futility of these efforts in matters of the heart, emphasizing that genuine love cannot be acquired through transactional means or even through devout wishes. Similarly, the statement “It must be freely given” is an assertion that claims the fundamental nature of love as something that must be given without coercion or expectation.

“But how much of myth is truth? And what do you do when your belief in it is breaking?”

“But how much of myth is truth?” is a rhetorical question that invites contemplation rather than seeking a direct answer. This question probes the often ambiguous relationship between mythology and truth, suggesting that myths, while not necessarily literally true, may contain deeper truths or insights about human nature and the world. It reflects the character’s internal struggle to decipher the reality within the myths she has been told.

“Even when I’m asleep, he’s displeased with me. I sigh, wishing to fly away from his disappointment.”

The second sentence utilizes a metaphor in the phrase “wishing to fly away.” This metaphor represents a longing to be free from the burden of disapproval. The act of flying is often associated with release from constraints, and a move toward a more liberated state of being. In this context, it represents the character’s deep desire to escape the emotional weight of disappointment and find solace in a place where she is not constantly judged.

“The other woman I respect most in the world is you. When you took my place, I was filled with so many emotions. Relief. Gratitude. Guilt. And yet, that moment when you jumped onto the prow of the boat, I was filled with an emotion I’d never felt before: hope. You make me believe in wonders.”

In this quote, the speaker expresses her profound respect for another character, emphasizing the impact of a significant event during which the latter took her place. The use of direct address, “The other woman I respect most in the world is you,” creates an intimate and personal connection. Asyndeton is used in the enumeration of emotions––“Relief. Gratitude. Guilt.”––through short, emphatic sentences. This staccato rhythm mirrors the rush of contrasting emotions one might feel in a moment of profound change.

“I know that all you ever wanted was to save your family. That’s why you jumped into the sea. That’s been the reason behind every decision you’ve made, however reckless, however brave.”

This passage employs a blend of repetition and parallel structure to emphasize the protagonist’s motivations and character traits. The repeated use of phrases such as “That’s why” and “That’s been the reason” establishes a rhythm that underscores the consistency and singular focus of the protagonist’s actions. By paralleling “however reckless” with “however brave,” the quote acknowledges the duality of the protagonist’s decisions, acknowledging both their potential recklessness and inherent bravery. This rhetorical structure helps to paint a picture of the protagonist’s character, for she is driven by a deep commitment to family and is capable of both impulsive and courageous actions.

“The goddess and I can agree on one thing. It is true that a wish is a piece of your soul. Because a true wish is something that if it never came true, it might break your heart.”

The idea that “a wish is a piece of your soul” personifies the wish, attributing it with the depth and significance of a human soul. This personification intensifies the emotional resonance of a wish, elevating it from a mere fleeting desire to an expression of one’s innermost self. Furthermore, the statement “if it never came true, it might break your heart” employs hyperbole to emphasize the intensity of the emotional investment in a wish. The use of hyperbole here is not to exaggerate for the sake of drama, but rather to convey the emotional impact and vulnerability associated with nurturing a deeply held wish or desire.

“Don’t chase fate, Mina. Let fate chase you.”

This is an example of chiasmus, a rhetorical device in which two or more clauses are balanced against each other by the reversal of their structures. In this case, the inversion challenges the conventional understanding of fate as a predetermined path that individuals must follow. Instead, the speaker recommends developing a more dynamic relationship with fate: one in which personal actions and choices can influence and attract destiny. This perspective aligns with the novel’s exploration of themes like free will and destiny, encouraging a proactive rather than passive approach to life’s journey.