The drought that covers the land in Chapter 30 becomes a symbol for the drought of the spirit as well as of the land. Rain and water are traditional symbols of birth, purification, and love. Conversely, the absence of water and the absence of rain must be regarded as symbolic of death, or a withdrawal of love. T. S. Eliot, in The Waste Land, utilized these symbols. Also William Faulkner, in a story called "Dry September," used the drought of nature as a symbol of the inner drought of a group of Southern townspeople that drives them to lynch an innocent black man.
This chapter contains the return from the quest. Earlier it was suggested that Kumalo's trip to the city could be viewed in terms of a quest. Now with his return from this quest or journey, which some may see as a failure, he has brought back two new people, who serve as symbols of new hope and perhaps of a new quest.
Even though this small village is being destroyed by a drought, there is still more of a sense of unity and a quality of life about it than was found in the impersonal city. Paton refers to the valley as a waste land but lets the reader know that there is no waste land of the spirit here. The manner in which Kumalo is accepted indicates a stronger and a more humane relationship than existed in the city. Kumalo, himself, thinks that he should leave because of the disgrace brought about by other members of his family, but his followers respect him for the suffering he has endured. Kumalo has also learned that kindness and love can pay for pain and suffering. In his return home, he finds all the love and respect that was missing in the larger city where he endured so much pain and suffering.
Kumalo is strengthened by his memories of Msimangu. He calls him "the best man of all my days." His quiet example stands as a symbol for Kumalo of the way a man can quietly work for the good of humanity.
