, “the grown-ups… They were like that—they
, “the grown-ups… They were like that—they
"Near the threshold he stopped, horror-stricken at the sight of a thing. He was being looked at by a dead man who was seated with his back against a columnlike tree. The corpse was dressed in a uniform that had once been blue, but was now faded to a melancholy shade of green. The eyes, staring at the youth, had changed to the dull hue to be seen on the side of a dead fish. The mouth was open. Its red had changed to an appalling yellow. Over the gray skin of the face ran little ants. One was trundling some sort of bundle along the upper lip.”…
I can determine the author's style in the story ,In November. Cynthia Rylant, likes to use figurtive language in her story. The one that she likes to use the most is personification. An example she used was ,"The tree's spreaded there arms like dancers." This is personification because it is a tree pretending to be a dancer. In fact plants and animals can't do human things. Her style of writing is very funny and she used a lot of figurtive…
* Inside the cottage- “The inside of the cottage is dim. Its strange light the colour of egg yolk. The wallpaper is split and faded. Everything smells of dust and turpentine. On my left is a wall hanging of butterflies with pins through their bodies. They don’t look very colourful. The hall mantle is full of photographs and trinkets and doilies” pg 300 – 301. His furniture is very bad “He gestures towards to ratty coaches by the window” pg 301…
1. “Nature sent him into the world strong and lusty, in a thriving condition, wearing his own hair on his head, the proper branches of this reasoning vegetable, until the axe of intemperance has lopped off his green boughs, and left him in a withered trunk;”…
The first excerpt that really stood out to me was that of Fern. I found it interesting and sort of sad how mysterious how she was. You could tell that there was a lot to her that never expelled from her outward appearance. Even those who knew her knew nothing that went on in her mind. She would often stare off, seemingly in a longing way, as if she were looking into an abyss. It seemed that men understood her the least, however. They would spend…
A superfluous use of description emphasizes Dillard’s unique and meticulous style. The use of long sentences allows for abundant amounts of description, coupled with figurative language, and imagery. Dillard uses graphic verbs to describe the death of a moth. For example, in the midst of the death, Dillard describes it by saying, “...Her head jerked in spasms, making a spattering noise; her antennae crisped and burnt away...” (“Death of a Moth”.) However, she still manages to make the moth seem beautiful by calling its body, “a spectacular skeleton,” and comparing the moth’s wings to angels’ wings. Dillard’s use of description allows readers to visualize the moth and its death. Dillard is relatively emotionally unaffected by the moth’s death, as opposed to Woolf, as seen in sentence structure. Dillard’s skillful description mixes brutality with beauty in order to describe death.…
We left the bay, and lost the salt, sad, sweet, fishy smell of the tidelands out of our nostrils. We headed north again. It was darker now. The ground mist lay heavier on the fields, and in the dips of the road the mist frayed out over the slab and blunted the headlights. Now and then a pair of eyes would burn at us out of the dark ahead. I knew that they were the eyes of a cow-a poor dear stoic old cow with a cud, standing on the highway shoulder, for there wasn’t any stock law- but her eyes burned at us out of the dark as though her skull were full of blazing molten metal like blood and we could see inside the skull into that bloody hot brightness in that moment when the reflection was right before we picked up her shape, which is so perfectly formed to be pelted with clods, and knew what she was and knew that inside that unlovely knotty head there wasn’t anything but a handful of coldly coagulated gray mess in which something slow happened as we went by. We were something slow happening inside the cold brain of a cow. That’s what the cow would say if she were a brass-bound Idealist like little Jackie Burden.…
"sinewy mind, capable of violent enthusiasms and possessed of a driving energy to make and do." p35…
(pg.2) chp.1“Then there were bloody towels upon the bathroom floor, and women’s voices scolding, and high over the confusion a long broken wail of pain”. Pg. 37 (chp. 2)“The lights grow brighter as the earth lurches away from the sun…” pg. 40 (chp.3)“So he was aware of the bizarre accusations that flavored conversation in his halls”. Pg. 65 (chp.4)…
In this excerpt, from A White Heron, by Sarah Orne Jewett, a number of literary techniques were used. All of them contributing to the excerpt's excellent flow. This essay will focus on three literary techniques Jewett used "" imagery, tone, and symbolism.…
2. Within “The Story of an Hour”, symbolism, allegory, imagery, and irony are used. Within “The Revolt of Mother”, diction including “afflicted, broken, disaster, and tender”, as well as similes.…
The author uses a number of very descriptive passages throughout the beginning of the story,…
‘He breathed with difficulty, and sweat came out at the roots of his hair, on his forehead.’ The writer also makes a lot of use of emotive language such as-‘agony’,…
The story contains an abundance of stylistic devices. The similes such as “stood like a dusty, bony…
These are her rather plain physical traits: her eyes are nothing like the sun in the sense that they aren't warm, inviting and to a lesser extent, of a dark color. A comparison is used in the second and third stanzas: her lips are compared to a coral's red but nothing that catches one's attention; her breasts are of a gray-brown tone. This reinforces the fact that she is human and not god-like. Her hair seems to be braided as the last stanza would imply. The next quartet continues in the same fashion.…