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In the world of La Belle Sauvage, every person has a dæmon, an animal-shaped external representation of the soul that usually takes the opposite gender of its person. In childhood, dæmons can change shape at will, but as a person matures and passes through puberty, the dæmon “settles” on one shape that generally reflects the personality of their person. In childhood, children are usually best friends with their dæmon; however, as they grow up, dæmons often become quieter and more subdued, representing the self-doubt and insecurity that often develops with age. Some, like Bonneville, even develop antagonistic relationships with their dæmons. A person cannot stray far from their dæmon without experiencing intense pain, and a deep taboo prevents anyone from touching another’s dæmon.
As the dæmon represents an individual’s soul, the relationship someone has with their dæmon is symbolic of the relationship they have with themselves. In their innocence, children like Malcolm are completely at peace with themselves. However, as individuals age, they become more disconnected from their true selves. Dæmons also represents the human connection to nature and the larger universe. Baby dæmons like Lyra’s Pantalaimon instinctively know how to become animals they have never seen before. Malcolm’s dæmon Asta tells him, “You just feel mole-ish” (214) when he wonders at this phenomenon. This connection to nature is also suggested in the dæmon’s animal shapes. They symbolize humanity’s proximity to the animal kingdom rather than our separation.
Throughout La Belle Sauvage, traveling is a motif that represents Malcolm’s journey out of childhood. Between the inn and the priory, Malcolm has spent his life surrounded by travelers and always listened eagerly to their stories, learning all he could about the world. He dreams of taking his own journey, perhaps sailing his canoe all the way to France. In the second half of the novel, Malcolm’s opportunity for travel arises, and his journey down the swollen river mirrors his journey into adolescence. As he travels, he becomes progressively more mature, learning to overcome his own pain and fear to protect Lyra and Alice. By the time he reaches the end of his journey, he has experienced anguish, sorrow, and terror, but he has also discovered new strength in himself and a new depth of feeling for Alice and Lyra.
The flood that strikes in the second half of La Belle Sauvage is huge and destructive. It transforms the landscape into “a wild waste of gray water” (259) that moves with a “mighty force.” The flood also produces a “sense of strangeness and unreality” (429), opening passageways to other dimensions and sometimes producing unsettling illusions for those caught up in the water.
The flood has several symbolic functions. It sweeps things away, like Malcolm’s childhood and Alice’s hostility. It also creates a sense of cleansing and reveals things that have been hidden. The gyptian sailors that aid in the search for La Belle Sauvage claim that weather has “its own states of mind” (430), which can be “out there” in the world or “in here” in the human mind, suggesting that the turmoil of the flood could be a product of the social turmoil between the Church and the secular forms of government. During the flood, criminal behavior such as murder, assault, and looting become far less governed and less able to be tracked and controlled. Bonneville’s villainous behavior and the horrible trials Malcolm experiences represent a part of humanity that remained unseen when things were operating as usual. In the aftermath, the authorities are forced to abandon any controversial agenda and instead must “spend every penny in their treasuries and every second of time in the sole task of dealing with the chaos” (429). In this way, it also showcases the positive, united humanity everyone shares in a time of crisis.
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By Philip Pullman