32 pages • 1 hour read
Jerzy KosińskiA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Summary
Chapter Summaries & Analyses
Character Analysis
Themes
Symbols & Motifs
Important Quotes
Essay Topics
Tools
The primary symbol in Being There is the garden. It symbolizes innocence and the authentic world untouched by the whims and corruption of society. It is the proverbial Garden of Eden, where Chance retains his innocence before venturing into the world. The garden is a calm, beautiful, sheltered space. It is meditative, providing Chance with the only environment with which he can truly connect. The garden’s seasons represent natural law, the periods of growth and change over which we have no control but to which we are all subject. Life is fleeting, but the garden is eternal; it will always bloom again, even after its plants wither.
The garden is closely aligned with Chance, and he is imbued with its characteristics. Like the garden, he is innocent of the outside world and its dilemmas do not affect him. He exists according to his own laws and does not care whether he is accepted by others.
The French delegate Gaufridi says this to Chance in reference to Chance’s television appearance. He tells Chance that he did well to keep his remarks vague, since the public only wants “a god to punish, not a man of their infirmity” (95). He means that the public prefers figureheads to real, complex individuals. They want a soundbite over which they can argue at the dinner table rather than information that would require time and energy to understand. As a “Blank Page” that spouts meaningless phrases, Chance perfectly fulfills this need.
The quotation is from Act III, Scene I of Shakespeare’s tragedy Coriolanus. Coriolanus, a Roman general who is running for the office of consul, disdains the public, or “plebians,” who are easily manipulated. In the scene, Coriolanus is ranting about the public gaining power, and the tribune Brutus replies, “You speak a’ th’ people/As if you were a god, to punish; not/A man of their infirmity” (4.1.80-82).
The original remark’s context and punctuation differ from the way the novella uses the quote. In the play, Brutus accuses Coriolanus of acting like a god, as if he were above ordinary people. Kosiński reverses the meaning to imply that it is the public who punishes their political leaders, using the media as a tribunal.
After Chance’s enigmatic replies, Skrapinov, the Soviet Ambassador, tells Chance that he has a “certain Krylovian touch” (90). Ivan Krylov (1769-1844) is a well-known author of Russian fairytales, similar to Aesop. Many of Krylov’s fables have a satirical undertone. They state their true meaning through subtext, which the reader must interpret for themselves. Skrapinov believes that Chance speaks in a similar way, that one must interpret the deeper meaning behind his simple comments. The novella’s reference to Krylov satirizes the other characters’ eagerness to draw profound meaning from Chance’s remarks. However, it also suggests that perhaps these remarks may contain wisdom beyond what the partygoers can understand.
The protagonist’s name—Chance—encompasses his approach to life and the mechanism that propels the plot. Everything in the narrative happens randomly. Chance happens to be adopted by the Old Man to work in the garden, the Old Man happens to die, sending Chance off on his journey, and EE’s limousine happens to hit Chance, bringing him into the Rand’s household and in proximity to the political and social elite. Chance himself lacks any intention or direction in life, other than to remain a gardener. Chance’s success despite his lack of motivation is a commentary on a television-obsessed society’s need to create celebrities. It also complicates the classic conflict between fate and free will.
This conflict is often represented in literature by a character who strives to make a set of a life choices. However, “fate,” in the form of coincidences, fortuitous meetings, and unavoidable accidents sends them down another path. Despite a character’s best efforts, they cannot guide their life in a particular direction because fate has other plans. This theme is perennially relevant: individuals trying to realize their goals and dreams always encounter circumstances beyond their control.
In Chance, Kosiński creates a character who has no desire to achieve what others strive for their entire lives. One could infer that Kosiński’s message is that free will is meaningless; life happens by chance. All of the events in the novella befall Chance, who is passive. That said, there is a hint that agency may triumph. Chance wants to remain a gardener. Though a series of accidents takes him away from this path, the novella’s ending suggests that he can escape back into the world where he feels most at peace.
The novella has a circular pattern. Chance begins as a gardener and ends in a garden setting. The end echoes the beginning, though Chance has gone on a journey. His experiences—if not his character—have changed.