Yolen enlightens and inspires responders through the use of structure, language and other techniques. The novel Briar Rose by Jane Yolen is a heart wrenching story of sleeping beauty intertwined with the horrors of the Jewish Holocaust. The structure of the novel is altered in a way to interweave three stories including Gemma's Briar Rose fairy tale, Becca's quest and Josef's story. The use of language techniques explores the idea of the characters as it gives an understanding of their circumstances and the situations they experience. Some of the techniques Yolen uses to enlighten responders is the use of other techniques such as allegory and symbolism which acts as a metaphor in which one story represents another.
The structure of
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He is the witness, the key to the mystery of who Gemma really was and where she had come from. Yet he tells the events in third person as if he were only a storyteller and not one of the characters. He had been in the opposite position of Becca as he knew the beginning of the story but not the end. The parallelism is satisfying to the reader as both Becca and Josef receive the answers to what they have wanted to know. The narrative is divided into three sections: Home, The Castle and Home Again. At the end, in similarity with all fairy tales, there is a happy ending foretold by Stan (Becca's prince) after he greets her with a long and very satisfactory kiss “We'll get to happily ever after eventually.”
The use of language by Yolen also enlightens responders. She adapts her language use to the situations and speakers in different sections of the novel. For example, spare and heroic language is used by Josef Potocki in the ‘The Castle’ section of the book. Here he recounts the life of the partisans and the Princess’s part in it, her rescue from Chelmno, marriage, pregnancy and escape after the violent death of her young husband Aron, also known as Avenger. Potocki speaks as the well-educated, cosmopolitan (multi-ethnic) observer. A voice inside him said “We rescue one, they kill one thousand. Still, one is enough” and he understood why Henrik and his followers cared more about making a powerful story than life itself (P181). Repetition and echoing of key