Professional Response 1: Although, I find the ending somewhat predictable, I would use Gordimer’s short story, “A Beneficiary,” to highlight how the author uses figurative language and rhetorical devices to develop characterization. Not only did I enjoy examining the protagonist’s journey to enlightenment, I also appreciated studying how Gordimer utilizes certain figures and strategic devices to bring the deceased mother to life. For instance, Charlotte notes that her mother, Laila “had baptized herself professionally” as an actress since she lied about her age, her name, and her marriage (568), suggesting that she worshipped the superficial and the artificial just like her career. This concept is reinforced as Charlotte and her friends clean out Laila’s apartment and one her carries on about “the …show more content…
Joyce surrounds the young protagonist with the darkest imagery as develops the exposition of the story. For instance, North Richmond Street, where the boy lives is “blind,” and “the short days of winter” darkened the streets where he and the other neighbor boys play making the houses seem “somber” (Joyce 741). However, all is not dark in the lad’s life, well not at first. Joyce’s use of light in association with Mangan’s sister, creates a sense of hope for this boy who is covered in darkness. In fact, whenever she appears she is bathed in light. For example, Joyce first describes her “waiting” for the boys, “her figure defined by the light” (741), and later while protagonist speaks with her about Araby, he notices that “the light from the lamp opposite [the] door caught the white curve of her neck; lit up her hair that rested there and, falling, lit up the hand upon the railing” (Joyce 742); she truly is the light of his life. In addition, Joyce could be hinting at her innocence and purity present in
The timeline carries on chronologically, the intense imagery exaggerated to allow the poem to mimic childlike mannerisms. This, subjectively, lets the reader experience the adventure through the young speaker’s eyes. The personification of “sunset”, (5) “shutters”, (8) “shadows”, (19) and “lamplights” (10) makes the world appear alive and allows nothing to be a passing detail, very akin to a child’s imagination. The sunset, alive as it may seem, ordinarily depicts a euphemism for death, similar to the image of the “shutters closing like the eyelids”
I think the main idea the narrators is trying to emphasize is the theme of opposition between the chaotic world and the human need for community with a series of opposing images, especially darkness and light. The narrator repeatedly associates light with the desire to clear or give form to the needs and passions, which arise out of inner darkness. He also opposes light as an idea of order to darkness in the world, the chaos that adults endure, but of which they normally cannot speak to children.
In the novel light was an important motif. When light was shed on Zeena it “…drew out of the darkness her puckered throat… and deepened fantastically the hollows and prominences of her high-boned face under its ring of crimping pins”. The author used light in order to emphasize Zeena’s austere and worn face illustrating her cold personality. When light was shed on Mattie it “…drew out with the same distinctness her slim young throat and… it threw a lustrous fleck on her lips, edged her eyes with velvet shade, and laid a milky whiteness above the black curve of her brows”. Mattie looked radiant and full of beauty beneath the light under which Zeena had appeared hideous. It is clear that Mattie would appear more attractive to Ethan.
The girl's mother is associated with comfort and nurturing, embodied in a "honeyed edge of light." As she puts her daughter to bed, she doesn't shut the door, she "close[s] the door to." There are no harsh sounds, compared to the "buzz-saw whine" of the father, as the mother is portrayed in a gentle, positive figure in whom the girl finds solace. However, this "honeyed edge of li...
Bad choices are made every day by everybody. Those bad choices could lead to consequences that are going to bother a person for a long time. Even more, that person may try various ways to correct that error. The intention is good, but things can go even worse if the effort is based on unrealistic fantasies. This effort is presented as a part of modernist ideas. Modernist writers dramatize this effort through the tragic outcomes of the characters. Three modernist pieces, A Street Car Named Desire, Death of a Salesman, The Great Gatsby, all of them sent out a message to the audience, the loss of past and how it cannot be recovered. Each piece features a character who lost hope, strived to recover the hope, and ended with a tragic outcome. A Street Car Named Desire featured Blanche; Blanche spent her whole life trying to get some attentions. Death of a Salesman featured Willy; Willy spent his whole life trying to apply the idea “Be Well Liked.” The Great Gatsby featured Jay Gatsby; Gatsby spent his whole life trying to win back Daisy. All of those characters ended with tragic outcome. Blanche was sent to asylum by her own sister. Willy committed suicide after felt humiliated by his sons. Gatsby was murdered with a gunshot planned by Tom Buchanan. Blanche, Willy, and Gatsby’s tragic fates are caused by their false beliefs about life, which are proven wrong by the contradictions between the reality and the illusion.
Since symbolism first began to be used in the English language, Light has always represented a theme of hope and optimism. The phrase “Light at the end of the tunnel” best encompasses this, implying an opportunity or relief after difficulty or chaos. In the same way, Darkness has represented confusion or despair. James Joyce expands on the traditional connotations of Light and Darkness in his short story “Araby”. The narrative follows a young boy on his futile quest to find love with a girl much older than himself whom he hardly knows. Joyce uses Light to represent not only hope, but unrealistic idealism and illusion. In the same way, Darkness, in addition to despair, represents the reality and truth in the narrator's predicament. Joyce uses Light and Darkness as a symbol for the clash between fantasy and reality that takes place within the narrator.
Many mothers, regardless of age or situation, share sympathetic life ideals. They all share the common goal of raising their children wholesome; they want to create an environment of love, nurture, and support for their children as well. A mother’s effort to implant good values in her children is perpetual; they remain optimistic and hope that their children would eventually become prosperous. However, some women were not fit to be mothers. Thus, two different roles of a mother are portrayed in As I Lay Dying written by William Faulkner. Faulkner uses the literary technique of first person narrative with alternating perspectives. By doing so, Faulkner adds authenticity and the ability to relate (for some) to the two characters Addie Bundren and Cora Tull. The first person narrative acts as an important literary technique because it allows the reader to experience the opposing views of Addie and Cora; they are both mothers who act as foils to each other because of their diverse opinions and outlooks on motherhood, religion and life.
Death is inevitable to all forms of life. In giving birth to a typical family, Flannery O’Connor immediately sets the tone for their deaths, in the story, A Good Man is Hard To Find. O'Connor’s play on words, symbolism and foreshadowing slowly paves the way for the family’s death.
Lightness and darkness have very different meanings in the human psyche in that lightness is synonymous with innocence and naïvety while darkness coincides with all things daunting and evil. Throughout the memoir, many situations are repeated but to different degrees of severity. For example, on pages 113 and 145, Marjane is arguing with her mother. However, the first instance is simply a minor act of preteen rebellion while the second alludes to the possibility of state-sanctioned rape and execution. At first glance, these pages are very similar; Marjane’s mother is obviously angry and invades upon her daughter’s personal space as she lectures and ...
In the opening scenes of the story the reader gets the impression that the boy lives in the backwash of his city. His symbolic descriptions offer more detail as to what he thinks about his street. The boy says “North Richmond Street, being blind, was a quiet street [it’s houses inhabited with] decent lives within them, gazed at one another with brown imperturbable faces” (Joyce 984). This shows that the boy feels that the street and town have become conceited and unoriginal. While to young to comprehend this at the time the matured narrator states that he now realizes this. The boy is also isolated in the story because he mentions that when the neighborhood kids go and play he finds it to be a waste of time. He feels that there are other things he could be doing that playing with the other boys. This is where the narrator starts to become aware of the fact that not everything is what is seems. He notices the minute details but cannot quite put them together yet. As the story progresses one will see that th...
The repetition of the word "blind" introduces the theme of light and darkness. The streets of Dublin are described as "being blind"(2236) suggesting they do not lead anywhere. The houses are personified as being sombre and having "brown imperturbable faces"(2236), creating the shift from a literal setting to a state of mind. The streets remain silent until the boys are set free from school (2236), comparing the school to a prison: mundane and repetitive, and comparing their departure from school to a type of liberation for the children.... ...
The boy is haplessly subject to the city’s dark, despondent conformity, and his tragic thirst for the unusual in the face of a monotonous, disagreeable reality, forms the heart of the story. The narrator’s ultimate disappointment occurs as a result of his awakening to the world around him and his eventual recognition and awareness of his own existence within that miserable setting. The gaudy superficiality of the bazaar, which in the boy’s mind had been an “oriental enchantment,” shreds away his protective blindness and leaves him alone with the realization that life and love contrast sharply from his dream (Joyce). Just as the bazaar is dark and empty, flourishing through the same profit motivation of the market place, love is represented as an empty, fleeting illusion. Similarly, the nameless narrator can no longer view his world passively, incapable of continually ignoring the hypocrisy and pretension of his neighborhood. No longer can the boy overlook the surrounding prejudice, dramatized by his aunt’s hopes that Araby, the bazaar he visited, is not “some Freemason affair,” and by the satirical and ironic gossiping of Mrs. Mercer while collecting stamps for “some pious purpose” (Joyce). The house, in the same fashion as the aunt, the uncle, and the entire neighborhood, reflects people
James Joyce uses the bright light when describing Mangan's sister. the boy's infatuation with the snare. The protagonist is infatuated with his neighbor's sister. and he imagines that he will heroically bring her back from the bazaar. Joyce refers to bright light when discussing Mangan's sister in order to give her a heavenly presence.
...cates feelings without having to actually spell them out, surgically adding or removing pieces in a strategy designed to create a certain kind of feel in the story, much like the artist's use of the space surrounding an object in making that object visible. Through her recollections and musings just outside of the first person, Joyce constructs an open Eveline who could become many different characters, and a story malleable to varying time periods which could take on different tones, depending upon who the reader happens to be.
Katherine Philips is desperately trying to renew her faith in life, but she is struggling to do so because of the death of her son. She is attempting to justify the loss of her child as a form of consolation, while keeping somewhat emotionally detached to the later death of her stepson in “In Memory of F.P.” The differing phrases, words, and language contrast the two elegies and emphasize the loss and pain in “Epitaph” while diminishing the pain in “Memory of FP.”