As Marshall Bennett Connelly continues, the all-knowing point of view briefly interjects the involvement of the five young men who are ultimately the responsible group for the ensued arguments. They conceived the gravity of their positions, and yet, all of them still aspire to be saved in the end. The persistent inquiry on how the mayor and their parents will act in the face of life-threatening situations demonstrates the assumption that they, too, desire to keep control of their lives. In a breathless manner, the accused party observes the small crowd of people, “ searching about the room for even a margin of hope” (Connelly 3).
The telltale gesture is an act in pursuance with the nurtured hope of escaping the looming face of death. In the end, the hope maintained seemed to die together with the young men. Lastly, the concerted manner in which the townspeople are projected in the story is another point of view that needs to be examined. In retrospect, a large portion of the story is dominated by the point of view generally represented by the unknown observer in the scene.
Interspersed between the scenes of the mayor and the parents with the young men are the descriptive episodes of great anguish of the townspeople on the traumatic event to come: “ screeches of sharpened steel on steel sent trembles through the muted congregation, and a chorus of screams went up as women sought sanctuary against the breasts of their husbands and brothers” (Connelly 2). Unlike other scenes in the story, the phrases indicate an objective description, wherein the narrator does not have access to the point of view of the people in the congregation.
Despite the absence of interpretative recollection, the mere concept that these people have taken the effort to witness the “ sacrifice” of the young men does not exemplify the act of defeat, instead, this signifies strength of characters; as well as hope that the cause for the execution will mark their group as a force that withstood the pressures of dictatorial military force. Based on the statements above, the omniscient point of view shifts into an objective point of view--rendering the story as a more dynamic piece in visualizing the search of hope under violent turmoil.
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