The Narrators epiphany of mortality is explored by the use of many contrasting elements in the following passage.

Initially, Mistry explores the dualities of mood and tone to emphasize his epiphany as the readers can clearly distinguish in the narrators maturity from his characterisation. Mistry also paints an apt picture of the contrast between light and darkness delving on the concept of sight. The intimate relationship between the Narrator and his friend Viraf is used to paint an innocent and a childish image of the narrator. There is a constant conflict between the narrators innocent demeanour and Virafs earnestness. Despite Viraf looking upset, the intimacy and transparency between the two characters allows the narrator to call him a cry-baby. More than anything, by calling Viraf a cry baby he actually hints his own lack of maturity. From the portrayal of his surface appearance we get a sense that the narrator doesnt see the reasons behind Virafs sadness. He really can only see his polite demeanour [making] him smile. This clearly highlights his lack of maturity, developing an aura of innocence. However, as the extract develops, Mistry gives a sense that narrator is rather turning away from the concept of sadness. He indeed does not want to understand the reason of Virafs earnestness as even though Viraf looked upset, words to show concern were beyond [him]. This phrase suggests how the narrator is trying to escape being reminded of sadness. He also constantly changes the subject of sadness and disdain to further portray this idea. At first he begins to talk about buttering up the doctor and later by looking out the balcony away from the sadness. He then talks about the third floor being his favourite spot, exploring his desire to escape as he can see the Chaupatty beach and sunlight there which he has never seen on his ground floor veranda. Innocent as the narrator may seem, the relationship built between Viraf and the narrator allows readers to estimate the narrators desire to escape the sadness, by making him seem innocent at first. The conflict of maturity is taken further by exploring the stark contrast between light and darkness. The concept of darkness is exploited to symbolise the bitter reality being overshadowed. When the narrator stopped and looked inside, we get the sense that the narrator has instantly felt something sharp and striking - just like the long needle stuck on the right arm. The room is painted to be simply dark and this simplicity is illustrated by the explicitly short and simple sentence it was dark. The sentence stands on its own, highlighting the power of darkness over Virafs father that is, his sickness. However, the sun is creeping over glint[ing] cruelly almost as if it is tantalizing the father. But more than anything, the sunlight appears to have revealed this long needle and the pain associated with mortality and sickness. From this stark contrast between dark metal stand towering over the bed and the thin shaft of sunlight the narrators discovery seems even more apparent. Even though the narrators epiphany is clearly highlighted in the extract, there is a hint that the narrator might actually have already understood this idea of mortality, but merely did not want to be reminded of. The narrator actually himself highlights the concept of time flying quickly resulting in mortality. He tells Viraf how half the mornings over; and surely if a person understands this basic concept of time and aging, the bigger picture is not far away. Furthermore, this idea of already having known the process of mortality is portrayed through the concept of sight. From the ground floor, he can only see black stone wall visible but from the third floor, where Virafs sick father rests, he can see everything from their balcony. It may be plausible to say that it is the reminder of his sick father that allows his epiphany. The fact that the narrator is being reminded of what he actually did not intend on remembering reflects the power of the concept of mortality- i.e. the narrators discovery. Indeed that is the reason why he claims the sunlight to be cruel and the metal strand on the bed to be towering (reflecting its power). In short, the idea of being reminded of what was constantly been tried and ignored to enhances the effect of narrators discovery. To conclude, this extract enhances our understanding of the effect in which the narrators epiphany is portrayed. By contrasting the differences in tone and characterisation, Mistry encapsulates a rather innocent image of the narrator. But as the passage develops, Mistry also creates a sense of having already known the concept of mortality, simply for emphasize of the significance of the cruelty caused by this discovery.