Eidia- Rushdie- 2.13.11

8. Language - 

Stylistically, Midnight's Children, emphasizes a variation of linguistics involving colloquial speech intertwined with elegant "high" bred and educated dialogue. In the introduction, the narrator seems to be at conflict with his own thoughts, and we the readers are lured into this confusion, indecisiveness regarding at which point the tale of Saleem Sinai should embark. By creating this scene, Rushdie begins to allow the readers to become one of Saleem's audience members, almost in a sense enrolling in the same mode of eagerness displayed via Padma, an attentive yet restless listener. We are turned into curious little children, and Saleem a master craftsman of storytelling. 

Basically, thus far, the form of language is divided between descriptions and dialogue. While most of the narrative details are provided via Saleem's perspective, the dialogue inserts an array of voices, exerting a spectrum of speech. An example of this tactic is cleverly displayed during the earlier passage of Tai's boat. We are aware that Aadam Aziz is to attend to a certain landowner's ill daughter, and with this ensuing task, comes a series of dialogues shifting between Tai and Aadam, Aadam's mother and Aadam, and lastly Ghani and Aadam. This rhythmic mode conversation displays the colloquial banter of a semi rogue like quality of Tai, who uses a very strong sense of reckless hatred towards Aziz's western grooming and bag, and also introduces a series of Hindi words, "nacho", "tu" (informal "you"), "aap" (formal "you"), we are also given a sense of non factual form of Indian folklore, tales which are transferred by mouth, generation to generation. 

This mode of dialogue carries itself into many more parts of the novel, including the scene in which Amina pleads with Ahmed not to purchase Methwold's Buckingham Villa, which so beautifully synchronized with Ahmed's conversation with Methwold, who so magnificently hypnotizes Ahmed, successfully maneuvering him into purchasing the house. What follows is a series of remarks between the neighbors of the four homes owned by Methwold, each bringing forth a series of detestation regarding the remnants of British lifestyles, from the ceiling fans, goldfish, to almaris, all of which seem to taunt the tenants, bewildering them with a burden.