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Literary devices in two kinds
12 literary devices
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A vacuum cleaner is a device that uses an air pump to suck up dirt into a dust bag for later disposal. In Howard Nemerov's "The Vacuum," a widowed husband mourns the death of his wife while he observes their vacuum in his quiet house. As he studies the vacuum he notices it "sulks in the corner closet" (line 2). His observation sets the tone for the poem and personifying the household device. As he continues to personify the vacuum throughout the poem, he notes the lifelessness of the vacuum, memories of his wife using the vacuum, and how "life is cheap as dirt" (line 13) but dirt is still everywhere even when she is gone. The speaker in "The Vacuum," uses the vacuum cleaner to symbolize his wife's death, the connection to his wife, and how he perceives his life after her death. …show more content…
In the first stanza, the mourning husband observes the vacuum in the corner, comparing the lifelessness of the vacuum cleaner to his wife's death.
As "The vacuum cleaner sulks in the corner closet" (line 2) of the quiet house, his personification not only sets the tone of the poem and acts as a parallel to his emotions but also symbolizes the passing of his wife. When the speaker states "Its bag limp as a stopped lung" (line 3), he personifies the vacuum cleaner's bag as a lung, a vital organ in the human body. By comparing the dust bag of the vacuum cleaner to a human lung, the speaker is also offering insight into a probable cause of his wife's death. The lifelessness of the vacuum cleaner sulking in the corner with the limp dust bag represents the death of the speaker's
wife. In addition to the vacuum cleaner representing his wife's physical death, the vacuum acts as a symbol for the speaker's memories of his wife. When the speaker states that "when my old woman died her soul / Went into that vacuum cleaner" (line 7-8) he is associating not only the vacuum to his wife but also insight into the connection he has to her. He remembers how she used "to crawl, in the corner and in the stair" (line 12). Now that she has passed away he "can't bear / to see the bag swell like a belly, eating the dust" (line 8-9); therefore, when he sees the vacuum cleaner he is reminded not only of her death but also the memories he has of her. The association with his wife and vacuum cleaner stem from his wife's constant cleaning. Finally, the vacuum cleaner represents the speaker's perception of his life now that his wife has passed. He is made aware of the brevity of his life when he spots the mouth of the vacuum "grinning into the floor, maybe at my / Slovenly life, my dog-dead youth" (lines 4-5). Even after his wife's death, when he takes notice that there is "old filth everywhere" (line 11) he is observing that even with his wife gone, dirt continues to accumulate, and life is moving on. Although he cannot bear to see the bag of the vacuum "swell like a belly, eating the dust" (line 9), he acknowledges that the vacuum cleaner will still perform its duties even without her there to use. Despite seeing how life around him is moving on, he comes to the conclusion now "how life is cheap as dirt" (line 13). The dirt his wife used to eliminate by vacuuming is now worth just as much as life itself! With his wife gone, the speaker believes that now life is meaningless. As the "hungry, angry heart" (line 14) of the vacuum cleaner "hangs on and howls, biting at air" (line 15), the personification of the vacuum creates a metaphor for how he feels about life after the loss of his life.
In the Victorian era dust heaps were filled with useful garbage. Dust heaps were made up of many different things. One such ingredient – also the main ingredient – was fine cinders and ashes. These items, along with some soil, were sold to brick makers for making bricks, and to farmers for manure – especially for clover. The next item tended to be pieces of coal which were usually there because a servant’s carelessness. The coal was either resold or simply used. Another portion of the dust heaps was made from ‘breeze’. According to “Dust; or Ugliness Redeemed”, breeze was named after the cinders which were “left after the wind has blown the finer cinders through an upright sieve”. These ciders were also sold to brick makers, but for burning the b...
At first glance, one may not fully comprehend that Elie is utilizing the aforementioned metaphor to convey much more than just the meaning behind the word “chimney” (Wiesel 39). In fact, he is attempting
“He uses similes such as the breeze that ‘blew curtains in at one end and out the other like pale frogs’ and that also made a shadow on the ‘wine-colored rug’ as ‘wind does on the sea’.”
"In a little four-room house around the corner. It looks so cozy, so inviting and restful."(79) With this description Chopin introduces the reader to Edna’s new residence, which is affectionately known as the pigeon house. The pigeon house provides Edna with the comfort and security that her old house lacked. The tranquility that the pigeon house grants to Edna allows her to experience a freedom that she has never felt before.
...ttachment or emotion. Again, Heaney repeats the use of a discourse marker, to highlight how vividly he remembers the terrible time “Next morning, I went up into the room”. In contrast to the rest of the poem, Heaney finally writes more personally, beginning with the personal pronoun “I”. He describes his memory with an atmosphere that is soft and peaceful “Snowdrops and Candles soothed the bedside” as opposed to the harsh and angry adjectives previously used such as “stanched” and “crying”. With this, Heaney is becoming more and more intimate with his time alone with his brother’s body, and can finally get peace of mind about the death, but still finding the inevitable sadness one feels with the loss of a loved one “A four foot box, a foot for every year”, indirectly telling the reader how young his brother was, and describing that how unfortunate the death was.
The author begins the story with a strong statement, “I found myself in a Chinese funeral parlor because of a phone call I made to my cleaning lady” (Schmitt); it takes the reader right into the funeral parlor and draws the reader into the story: how she got to the funeral parlor and what she doing there was the question I had. She starts the story with some background about how she got to China. Then moves on to the funeral that was happening in her neighbors’ home. She describes how the family was grievously weeping as she was walking toward her apartment. She noticed what happened and wonder why they were weeping. “Do you know why the neighbors are very sad?” she asked her cleaning lady.
When he arrived at the home the servant who took his hoarse and directed him to the room that Mr. Usher was in greeted him. Inside the house was also very ornate, but it to had also been left alone for to long. The entire house had a gloomy atmosphere that would put a chill down most people’s spines. When he entered the room his friend was staying in he was warmly welcomed. He could not believe the changes that his dear childhood friend had endured.
First by sight in describing “Walls of Limerick” of course, there are no walls, but the scene is now in place. Then he proceeds with touch “with the damp: clothes never dried” McCourt is slowly bringing the reader into his environment, and with these five words “the damp clothes never dried” describing the constant weather of Limerick, so the reader may envision the environment being described. Next, he uses smell “cigarette and pipe smoke laced with stale fumes of spilled stout and whiskey and tinged with the odor of piss wafting in from the outdoor jakes where many a man puked.” The readers image is now complete. Because McCourt includes extensive sensory details to his imagery the reader can see, feel, smell and some may argue taste, inevitably makes not only this scene relatable to the reader, but exemplifies the continued conditions of the characters living in
The old man “rolls up his sleeves to show us who he was”(Kooser 12). He does this to show the swagger he had when he was younger. It is obvious the old man no longer obtains this swagger. Most people roll up their sleeves if they want to show off their muscles or they are going to do some strenuous physical activity. In this poem the aged man is not doing anything except picking up a few tools and putting them down. The old man is wearing a tight black shirt (Kooser 11), because this one way the old man trys to fit in with the young crowd. This depicts a sad image, because it may remind the reader of small children that try hard to be cool, but for some reason are never accepted by their peers. The tone of the poem this poem is melonchaly. No matter what this old man does he will be just another old man. The speaker also illustrates that the setting is at a yard sale on a chilli morning. This leaves the reader in sad state of mind. The old man has not shown any emotion at all, until this point. For some reason after the man puts the tools down, there is an indication that he feels pain. The old man puts the tools back because he is not able to do any physical activity. The tools are also broken, and the man cannot use them. These tools may symbolize this man. In years past these tools could fix anything and were useable. Now they are broken, frail, and
Many features of the setting, a winter's day at a home for elderly women, suggests coldness, neglect, and dehumanization. Instead of evergreens or other vegetation that might lend softness or beauty to the place, the city has landscaped it with "prickly dark shrubs."1 Behind the shrubs the whitewashed walls of the Old Ladies' Home reflect "the winter sunlight like a block of ice."2 Welty also implies that the cold appearance of the nurse is due to the coolness in the building as well as to the stark, impersonal, white uniform she is wearing. In the inner parts of the building, the "loose, bulging linoleum on the floor"3 indicates that the place is cheaply built and poorly cared for. The halls that "smell like the interior of a clock"4 suggest a used, unfeeling machine. Perhaps the clearest evidence of dehumanization is the small, crowded rooms, each inhabited by two older women. The room that Marian visits is dark,...
At the same time, another claw to match drew her all the way into the room, and the next moment the door closed behind her” (123) implying the possessive nature of the first old lady. The room was tiny with a lot of furniture and “the room smelled wet even the bare floor” (123), a smell of dampness and decay permeated through the air. The window shade was down, it was dark and the only door was now shut for Marian. Although the room was full of furniture the place and the inmates were stripped of any life that Marian was acquainted with and was like the bare
The poem "Question" written by May Swenson is about a person questioning the way they'll live after their belongings and pets are no longer a part of their life.
Similarly, the furniture in the house is as sullen as the house itself. What little furniture is in the house is beaten-up; this is a symbol of the dark setting. The oak bed is the most important p...
The image of a short rope hanging from the dog’s neck is repeated throughout the piece to symbolize both, a past struggle, as well as a current obstacle, hindering his ability to move forward smoothly on his journey. Furthermore, the rope represents a past mentality of slavery and how even though this slave is now free, he isn’t really ‘free’ at all. The dragging rope is a constant reminder of where he has been and who he is on the surface. Society has fixed this idea that he carries no value and although he is persistent with repentance, this chastisement is seemingly perpetual. When the child introduced the dog to the family, “scorn was leveled at him from all eyes” as he made his case to the “family council,” announcing why this dog is worthy enough to become a member of the house (Crane 13). As it becomes evident that the dog is no longer being accepted, he becomes internally embarrassed and filled with shame as he is put on a display of mockery. The father returns home from work “in a particularly savage temper” and decided the dog could stay, but only because he believed it would provoke hostility in the family (Crane 13). Soon after, the child took the dog to his room and cried softly, while the father began his typical violent outbursts on the wife. The father’s ill humor is what permits the ‘acceptance’ of the dog in the family. A few nights later, the father storms the apartment drunk and throws the dog out of the window and the dark-brown dog falls to his
The Stronger by August Strindberg is a play that is filled with irony. One of the first things noticed in this play is that the characters have no names, nor are they labeled by any type of status. Rather than having names like most plays, the two characters are differentiated by the letters "X" and "Y." Another ironic thing about this play, is how it is written; the dialogue of the play is not evenly spoken. Instead of the two characters conversing between one another, the play is written almost like a monologue where only Mrs. X speaks. Because Mrs. X is the only speaker, one would think that she is "the stronger," but ironically, she is not.