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Wood work pepers qation
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Inside the nicely decorated room with taupe walls just the perfect hint of beige, lie colorful accessories with incredible stories waiting to be told. A spotless, uninteresting window hangs at the end of the room. Like a silent watchman observing all the mysterious characteristics of the area. The sheer white curtains cascade silently in the dim lethargic room. In the presence of this commotion, a sleepy, dormant, charming room sits waiting to be discovered. Just beyond the slightly pollen and dust laden screens, the sun struggles to peak around the edges of the darkness to cast a bright, enthusiastic beam of light into the world that lies beyond the spotless double panes of glass. Daylight casts a dazzling light on the various trees and flowers in the woods. The leaves of fall, showcasing colors of orange, red, and mustard radiate from the gold inviting sunshine on a cool fall day. A wonderful world comes to life outside the porthole. Colossal colors littered with, abundant number of birds preparing themselves for the long awaited venture south, and an old toad in search of the perfect log to fall asleep in for the winter.
The rustic cathedral ceiling contains numerous individually, interlocking ash colored planks, each with a well-planned placement. At first glance, it resembles a children’s vintage wooden puzzle. Each and every piece adds a unique element of old-fashioned warmth and charm to an otherwise sleepy, serene room. Each board signifies a perfectly landscaped map; flowing rivers, rippling streams weaving through an endless span of knotty trees, woody forests and up over sun-glistening hillsides looking into an endless dark indigo sky. Colors of chocolate and butterscotch accent the natural beauty of each slender piece of uneven rough-finished lumber. Smooth blades of mahogany adorn the antique copper colored ceiling fan. A thin layer of dust dwells on the top of each of the six powerful blades.
Below the ceiling, hovering eighteen inches above plush, sculptured carpet, a monstrous king-sized tempurpedic bed. The oak sturdy headboard attaches to a scratched and dented brown metal frame, extending down to include an identical oak footboard.
The fluffy soft multi-colored, quilt sits on top of the huge four-poster oak bed, an endless rainbow of color. The quilt contains yellows as bright as the sun, transition to a shadowed maize color of a dried corn field. Browns ranging from bark of an oak tree, to melted chocolate on a new white shirt.
The object is not yet visible to the eye, but its presence can be felt. Noticing that there was a “tension and strain to the air, a shift in its customary balance” (31). This is analogous to their relationship because there’s the sense of something problematic but there’s no clear issue to be pinpointed on. Walking back from the barber shop, the narrator realizes that if the “ceiling” in its “smooth black polish” were to remain at its current level “we might come to forget that it was even there, charting for ourselves a new map of the night sky” (35). The object symbolizes how the narrator perceives his relationship, that as long as there aren’t any bumps or scratches, his marriage will remain as steady as he assumes it to be. In particular, the plane of the object is no more than a few inches above the ground, and the narrator, his wife and Mitch, along with their kids, were lying underneath the “polished undersurface of the ceiling” (39). As far as shown, the affair remains unaddressed which may make it seem as if their relationship is perfect without any flaws despite the knowing complications and their avoidance to discuss it. Ironically, not only are they trapped in a town that’s coming to an end as the ceiling nears the ground, but they’re also trapped in a doomed marriage with equally no way
Alice Walker, author of The Color Purple, wrote "Everyday Use," which tells a story of a rugged, independent mother of two girls who celebrate their African-American heritage in completely different ways. One daughter, Maggie, celebrates her heritage by enjoying and appreciating the use of family heirlooms whereas the other daughter, Dee, feels it is more honorable to display these heirlooms for artistic show. Walker's use of imagery illuminates the story's theme of family heritage and, quite possibly the most respectful way of celebrating such heritage.
Ralph heard the night watchman call lights out. The moon gleaming in the window was the only source of light within Ralph’s room now. Even in the dim light he could make out the sink and toilet. The room was padded, and the door had a glass window that reflected fluorescent light into the room. The combination of the artificial and natural light created a faint glimmer upon the mirror that hung above the sink.
Filban said the home had a yard that was overgrown. “The trees and bushes were overgrown, and the house was dark,” Filban said. “And the windows were covered.” She and her sister slept in the front bedroom of the house. She remembers the bedroom having a large, floor-to-ceiling window. She said you could look out and see the wra...
She describes the September morning as “mild, benignant, yet with a keener breath than the summer months.” She then goes on to describe the field outside her window, using word choice that is quite the opposite of words that would be used to describe a depressing story. She depicts the exact opposite of death, and creates a feeling of joy, happiness, and life to the world outside her room. After this, she goes into great detail about the “festivities” of the rooks among the treetops, and how they “soared round the treetops until it looked as if a vast net with thousands of black knots in it had been cast up into the air”. There is so much going on around her that “it was difficult to keep the eyes strictly turned upon the book.” Descriptions like these are no way to describe a seemingly depressing story about a moth, but by using these, joyful descriptions, Woolf connects everything happening outside to a single strand of energy. These images set a lively tone for the world around her, and now allow her to further introduce the moth into the story.
perspective. The room is austerely decorated in period style with heavy cypress-green curtains on the back and side walls. The gold of the curtain tresses is revisited...
Before entering the main sanctuary, I must first pass through a second set of doors. Unlike the first metallic ones, these doors are made of darkened mahogany wood, and a panel of glass that has several Hebrew verses inscribed within it. After doing so, I am immediately hit by the extravagance of the room. Shapes like the letter “U,” the room is filled with at least three hundred chairs on its main floor. Each of these seats is made up of polished mahogany wood, probably of cedar origin, and is layered with bright red cushioning, the type that allows one to remain quite comfortable for a long period of time. Placed right within the center of the seating arrangements is a raised altar, upon which the Hazan, or leader of services, stands in order to recite the prayers for the congregation. From this focal point, one can see the many signs of Judaism throughout the room, such as the Magen David, or Stars of David, ...
As previously pointed out the piece is full of many vibrant colors, like the floors a dull, muted yet dark brown that is accented with the pale almost teal colored shade of green, primarily in the far end on the floor. The glass on the window in the back has both light greens and yellow shades next to each other, yellow on the right side and the light green colors, covering more of the glass on most of the windowpanes, on the left side. The walls are a light blue with the occasional bundle of white lines or streaks of white. Both of the doors that are partially visible are similar shades of blue, one of them has blotches of a brownish grey color. The other door has a different colored doorframe, a green stripe on the left side, which is immediately followed by a white stripe.
Horizontal bands of dark green marble provide a solid contrast to the band of golden stones that form the center of the huge platform. Above and below are additional horizontal expanses of rock in lighter greens, and rich burgundies. Decorative features provide a sense dimensionality, as if the bands were carved from rock. Rising vertically from the platform are three dark alcoves, surrounded by green marble. Above looms a large frieze with three decorative, horizontal bands. The lowest contains repeating golden geometric patterns, with reddish shadows that provides a sense of carved plaster. Next is a band of colored rectangles, cut and polished stonework, agates and geodes. The topmost band is very dark, highlighted with swirling, colorful floral patterns, and trimmed with gold. And, between decorative frieze and solid stone platform, the walls are red, trimmed with
Imagery in literature brings a story to life for the reader. It draws the reader in and surrounds them with the environment of the narrative. The use of imagery will make the reader fully understand the circumstances under which the characters of a story live. In "The Yellow Wallpaper", by Charlotte Perkins Gilman, the narrator of the story often describes the wallpaper, each time giving more details. The vivid descriptions allow the reader into the psyche of the narrator, which illustrates her ever-deepening mental illness. The imagery presented in the wallpaper through the narrator's words show her descent into insanity coupled with her desire for independence.
It was magnificent. The first thing to catch my eye was a monstrous chandelier that hung from the 50 foot ceiling. It was awe inspiring. As my eyes surveyed the room, it was hard to miss the antique maple pews that provided seats for approximately 300 people. Plush emerald green carpet was the grounding to the room. It's path led directly up to the stage which was home to a variety of items. The band, pulpit, arid baptismal were the most obvious. Above the stage was a huge dome, it was colored in shades of blue, mauve, white, and several other soft accents. A bright light was right in the center of its point. Our gazing was soon interrupted when the official greeter returned. This time she was quick and to the point. She collected our cards and informed us that service was about to begin. Within a matter of minutes, a middle-aged man stepped up to the pulpit and asked us to stand.
We walk up to the gingerbread colored house as the pea stones crunch underneath our feet and a summer breeze hits our faces. We open the rickety white storm door and push the heavy ginger bread colored door into the kitchen. The kitchen has a rustic smell to it, surrounded with furniture from the 1970s. I continue through the kitchen, glancing at the monk cookie jar on top of the refrigerator.
The place where I feel the most comfortable, and show my personality, is my bedroom. This is the place where I can really be myself and do what I want; it’s the place I come home to, and wake up every day. My room makes me feel comfortable because it is my own space. My house is always crazy, with my dog barking, and my siblings running around making noise, my room is the only place in the house where I can come and relax without caring about everything else, the only place that I can go to clear my mind.
Standing on the balcony, I gazed at the darkened and starry sky above. Silence surrounded me as I took a glimpse at the deserted park before me. Memories bombarded my mind. As a young girl, the park was my favourite place to go. One cold winter’s night just like tonight as I looked upon the dark sky, I had decided to go for a walk. Wrapped up in my elegant scarlet red winter coat with gleaming black buttons descending down the front keeping away the winter chill. Wearing thick leggings as black as coal, leather boots lined with fur which kept my feet cozy.
Sensory imagery was used in lines 7 and 8 to make the reader extra apparent of the smells of the room. I thought that this was important because the smell of something greatly impacts a persons idea about the place, and if the room smells like nature and wood, it will made the reader think of the outdoors and the serenity of being surrounded by nature. I chose the work ‘impaired’ on line 8 because it is a gentle word and it makes the reader feel soothed, even though it is talking about how the room and the life isn’t perfect, it is talking about this in a positive way, not a negative. I think that part of the way the Amish people live is about not needing everything to be perfect and just living life without added complications, so I wanted