In the chapter “The Red Candle,” Amy Tan utilizes animated imagery and symbolic language to expand on Lindo Jong’s change of self. Lindo, a young woman, faced a challenging scenario where she felt encaged in despair from an arranged marriage due to cultural expectations; fortunately, a moment of realization revived the determination and optimism in her as she yielded invisible strength, an ability that allows her to alter her surroundings. Through the application of literary devices, Amy Tan is competent to delineate the overwhelming expedition Lindo partakes in as she faces obstacles of hopelessness and cultural norms. Initially, Lindo’s emotions were filled with a tone of hopelessness and despair as she was conflicted with a compelled marriage that pressured her to …show more content…
Subsequently, a dawning realization and self-reflection of Lindo left her gaining a strive to be decisive, harnessing her own strength after careful observations of the passing terrain. To reutter, Lindo, upon observing her vicinity, had achieved a tone of determination and optimism to assert her powers; soon, this tone was unveiled by Tan’s utilization of imagery and symbolic language. Nearing her final destination, Lindo observes, “I could see the power of the wind. I couldn’t see the wind itself, but I could see it carrying the water that filled the rivers and shaped the countryside. It causes men to yelp and dance” (53). Lindo, observing from her vehicle’s window, witnesses the strength of the wind to alternate its surroundings with only its presence while remaining invisible. This elaborates on the subject of how Lindo obtained the ability to think for herself and to keep her own thoughts, relative to the wind, an inconspicuous influence. This is evidently seen as Lindo utters, “I was
Joan Didion’s description of various experiences with the Santa Ana winds conveys her message through various rhetorical strategies. Early in the essay the feeling of worry and anxiety is introduced by the use of words such as “uneasy” , “unnatural stillness” , and “tension”. Because the emotion is described early on the audience can grasp this feeling those who live and Santa Ana are experiencing. This feeling causes people to act abnormal, even when they have no awareness it is coming. Additionally the suspenseful emotion continues through the use of imagery, to convey the unusual effect the winds have on the atmosphere. Didion describes the sky, having a “yellow cast” and screaming peacocks in “the olive trees… by the eerie absence of surf”.
In The Scarlet Letter, author Nathaniel Hawthorne efficiently conveys his purpose to the audience through the use of numerous rhetorical devices in his novel. Two such rhetorical strategies Hawthorne establishes to convey his purpose of informing the audience of valuable life lessons in The Scarlet Letter are characterization and the theme of duality.
The form of the novel’s initiatory journey’s corresponds to the three-stage progression in the anthropological studies of rites of passage. The novel begins with alienation from a close-knit and securely placed niche as Naomi Nakane lives in her warm and joyful family within Vancouver. Then, the passage proceeds to isolation in a deathlike state in which Naomi is stripped of everything. Her family is removed from its previous social niche and exiled into concentration camps. Naomi is forced to separate with parents and sent to live with aunt Obasan. Finally, the journey concludes with reintegration accompanied by an elevated status as the result of the second stage. Naomi accepts the surrogate family and develops a recognition of her past. When she gets her family’s documents and letters, Naomi finally shatters the personal and cultural veils of reticence and secrecy that have clouded her past, and reconciles herself with the facts. The three-stage initiatory journey helps to transform the protagonist from a victim of the society to a hero. The protagonist transformation illuminates the values such as redemption of sins, willing forgiveness of offenses, and so forth. Along with its motifs and symbols that allude to Christian rituals, thus, the heroic figure, Naomi, serves as a role model and gives meaning and guidance to the lives of readers thereby
Once she has conquered the washing line and is swinging on it, she feels as sense of flying. “The earth spins below me. I am flying.” As the author is describing her backyard there are many lines that help get the character’s perspective across to the responder. These lines include; “Other foliage; a bush with red berries, a struggling sapling, surround the patchy lawn like spectators.”.
“He uses similes to compare the curtains that danced in response to the breeze to pale flags gliding back and forth caught in the wind. The shadow from the curtains on the wine colored rug is related to the image of wind on the
...ors to describe her life and situation. This comes primarily from the fact that in her therapy sessions that is how she is taught to deal with everything. For example, one metaphor she talks about is “… she comes up with the idea of lighting candles to symbolize my past, present, and future…I’ve noticed my past melting… my present candle has stayed pretty much the same,” (D 266). She explains them as her past is become less controlling, her present is her and concrete ideas and her future is bright and untouched. These metaphors show how much she has grown and allow the things she is learning to have more meaning. All of these combine to make the piece very effective and insightful. They help to get her point across and call people to action to help against these crimes.
Lindo Jong helps define what the true inner, mental strength truly is as she is forced into a terrible marriage. She accepts her fate, and in the process learns to stay strong mentally as she tries getting out of the marriage. With her inner strength from within her eventually overcomes the marriage and comes out strong mentally.
The metaphors and symbols these authors use through their imagery help us better understand the emotional state of the characters. Though Udall’s story “The Wig” ends with better lives for the characters involved, Faulkner’s “A Rose For Emily,” is a more grim and macabre testament to the necessity of communication after loss. And, well, who knows what more strange habits the son might adopt in “The Wig,” had the father not embraced
In “Hills Like White Elephants” and “The Story of an Hour”, the woman in each story imprisons in the domestic sphere. In “Hills Like White Elephants”, the woman in this story conflicts between keeping the baby or getting abortion although the relationship with her boyfriend would not improve as he said. In “The Story of an Hour”, even though Louise Mallard, an intelligent, independent woman understands that she should grieve for Brently, her husband and worry for her future, she cannot help herself from rejoice at her newfound freedom. The author of this story, Kate Chopin suggests that even with a happy marriage, the loss of freedom and the restraint are the results that cannot be avoid.
The metaphorical meanings of ¡§A Rose for Emily¡¨ and ¡§Barn Burning¡¨ teaches me to view life in a different way. I do not agree with Miss Emily¡¦s deed, but admire her inflexible love. She reminds me to be careful when choose a beloved. It is important to find someone who suits me. The other protagonist, Sarty shows strong self-awareness. He is young, but he is able to determine right and wrong. He knows that if he continuing stay with his father, he will not be able to live his own life, or do right things. It is pretty courageous that he decide to leave his family. When I make a decision, I should have the same courage. Both stories¡¦ plots themselves are odd, but the meanings stimulate deep thought.
By extension, the ability of a character to see through clouds is a measure of the character’s ability to see past physical constructs that hamper one’s ability to see truth that is shrouded in mystery. Victor has a strange fixation with the eagle that is capable of “[soaring] amidst the clouds” (110). The creature’s fascination with eagles is linked to their ability to soar among clouds. Shelley uses the juxtaposition of positive and negative diction to emphasize an eagle’s ability to break through the physical. While soar indicates ascension, clouds denote mystery and confusion, two opposite forces: a one-way movement (ascension) and a multitude of directions (mystery).
In the opening lines of the tale there is a compulsion, representing internal conflict, indicated on the part of both the protagonist and his wife Faith:
The women soon began competing for the lanterns. They are jealous of one another and double cross one another. This brings out a darker side of the women capable of anything in order that their needs are met. This example shows a negative aspect. It is a humiliation of the neglected mistress.
'A Red, Red Rose', was first published in 1794 in A Selection of Scots Songs, edited by Peter Urbani. Written in ballad stanzas, the verse - read today as a poem – pieces together conventional ideas and images of love in a way that transcends the "low" or non-literary sources from which the poem is drawn. In it, the speaker compares his love first with a blooming rose in spring and then with a melody "sweetly play'd in tune." If these similes seem the typical fodder for love-song lyricists, the second and third stanzas introduce the subtler and more complex implications of time. In trying to quantify his feelings - and in searching for the perfect metaphor to describe the "eternal" nature of his love - the speaker inevitably comes up against love's greatest limitation, "the sands o' life." This image of the hour-glass forces the reader to reassess of the poem's first and loveliest image: A "red, red rose" is itself an object of an hour, "newly sprung" only "in June" and afterward subject to the decay of time. This treatment of time and beauty predicts the work of the later Romantic poets, who took Burns's work as an important influence.
Several different elements are necessary to create a story. Of all the elements, the conflict is most essential. The conflict connects all pieces of the plot, defines the characters, and drives the story forward. Once a story reaches its climax, the reader should have an emotional connection to the both story and its characters. Not only should emotions be evoked, but a reader should genuinely care about what happens next and the about the end result for the characters. Guy de Maupassant’s “The Necklace” is the perfect example of how a story’s conflict evolved the disposition of its characters.