Gordiner uses irony in that occurrence, for it is ironic that the wife seems to be more trusting of the unemployed vagrants than her maid. One would expect the opposite, that she would be more doubtful of them and that the maid would inspire her to help them.
The extract illustrates the difficult societal circumstances and conflicts which were created by a legalized system of oppression. In the first place, whites, in terms of the apartheid system were placed in superior position and could play a part in all the privileges such a system granted them. All the other races were classified as second or third class members of the society. This obviously led to huge inequalities in the socio-economic status of the different racially classified groups.
Since white people were a privileged class, it was reasonable that a great number of them would adopt a part of superiority and they would look down to the less privileged. Their actions were not essentially guided by sense of obligatory duty or pity but they felt being superior meaning that they could be patronized and make available for those in need. Furthermore, because of the huge difference, the less privileged classes were required into subservient positions and this led to manipulation and abuse that survival became a anxious struggle. Many earned pittance and lived in impoverished conditions.
Many of the artists who practiced "realism" were concerned with the rise of abstract and interpretation-based artwork, since they thought this may force them out of the popular and in-demand world of art.
Butter (Burro): The other principal fat in modern Italian cookery is, of course, butter. It predominates in the cooking of most northern regions, from Piemonte to Lombardia over to Venice, Alto Adige and Friuli, as well as, of course, Emilia-Romagna, where arguably the best dairy products in Italy come from.
The British take over of Egypt was an example of "imperialism", since it meant that the British went into a foreign country and imposed their economic and political will.
