t it in the swinging lights of the subway car, and in the faces and bodies of the people, and in my own face, trapped in the darkness which roared outside." (40), to the final paragraph: "In the dark, the girl came by ...up there in the indigo light..." (62), the aforementioned motif provides the locomotion for the voyage. In nearly every use of these two words, or their variations and synonyms, an inference can be realized; the motif is to be accepted in the sense of spiritual connotation. Light represents goodness, promise, possibility and most importantly spiritual salvation. This ideology is exemplified by Baldwin in the line, "I didn't want to believe that I'd ever see my brother going down, coming to nothing, all that light in his face gone out."(40) Likewise, the dark or darkness of the story exudes the feeling of evil, failure, guilt and religious damnation. A prime example of this is seen in the line, "Yet, as the cab moved uptown through the streets which seemed, with a rush, to darken with dark people..." In essence, as light and dark are physical polar opposites, this contrast is mirrored in their spiritual connotations. The underlying concept of this motif and its use is best extrapolated from: "And when the light fills the room, the child is filled with darkness. He knows that every time this happens he's moved closer to the darkness outside. The darkness ou
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