To begin the passage, Petry sets a dark, desolate mood as she personifies the wind as relentless and assaulting. It is made blatantly clear that the weather “did everything it could to discourage the people along the street” and is restraining to the inhabitants of the city. Petry utilizes vivid words to enhance the strength and vigour of the wind, further adding to the life-like qualities that the wind possesses. The first encounter between Lutie Johnson and the wind is at line 34 which aids in effectively establishing the persona of the wind, and its relationship with the city. Again, Petry exercises the use of personification in making their first meeting uncomfortable and chilling. As Ms. Johnson is introduced, the wind is molesting her in a way. One can imagine that the wind is a man that completely disregards those on the receiving end of his actions. It lifts the hair away from her neck and she feels “suddenly naked”. Once more, the wind is personified as having fingers which “[touch] the back of her neck [and explore] the sides of her head”.…
“corrugated with a thousand caramel wrinkles”, her hair “looking flour dusted” and staring with her…
Throughout the novel Curleyâs wife acts and dresses as a floozy; in the very beginning when we first see her she is dressed up nice and has her nails painted red which in those days was a sign of danger, she dresses in very good quality clothes and takes care of herself much more then she should as she is in a ranch full of men and has chores as all the women those days had. She spends too much time on her appearance, in the novel it says she has rouge lips, hair in little sausages, and not only is she dressed very nice, she also acts very seductive by showing off her womanly parts âshe put her hands behind her back and leaned against the door frame so her body was thrown forwardâ. She leans against the door frame teasing the men, she knows she will get lots of attention because she is a young pretty girl and the men are always in the ranch and she is the only girl there.…
“Miss Brill was glad that she had decided on her fur”. “Dear little thing! It was nice to feel it again”. “She unclasped the necklet quickly; quickly, without looking, laid it inside”.…
In the story the fur is described by the narrator in a way that is easy to understand that this fur is not in its best condition, it is old, dusty, and the nose is falling off. However, Miss Brill does not see it this way. She is proud of her fur and for her, it is still in great condition. Furs are known to have been a piece of clothing that only the upper class can afford, so at some point in her life Miss brill must have been part of this social class, but no longer is and the fur is the only thing she has left from this part of her life so she refuses to let go of…
Suspicious actions occur when the winds are present, her descriptions of darkened houses and husbands “roaming” the place in search of trespassers and snakes show how the winds truly effect people. However, an even better description Didion gives for how sinister the winds’ true nature is, was with Raymond Chandler’s quotation of how all the parties end in fights and “meek little wives” feel the edge of the carving knife and stare down their husbands neck, “anything can happen”. It was with this description Didion truly showed how malevolent and frightening these winds were. Even with the research, facts, and scientific evidence from the end of the excerpt, an uneasiness is still with the winds and the mystery surrounding them. The clear objective tone in this part of the essay shows how emotionless and possibly…
“The wind blew her blond hair in front of her face as she walked, squatted, crawled and talked,” Page 116…
(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)…
She is pretty, but moderately pretty, not overdone or arrogant. The husband, however, has a "round, self-satisfied face." He is haughty and overconfident. The reader recognizes his self-centeredness and demeans him for it. The reader is told that the woman provides a "small but glossy birthday cake" for her husband's "Occasion." There is "one pink candle" in the center of the cake. The cake's appearance parallels with that of the wife's. Both are small and modest yet in their own way appealing. The wife has supplied a "little surprise" for the one she loves and she is very proud of it. The others dining at the restaurant react with a "pattering of applause" to support the woman and encourage her. The reader echoes this applause in his own mind in order to also help the woman. However, the reader at once discovers that the man "was not pleased." Brush then quotes the thoughts of the reader towards the husband's behavior with the reaction of "Oh, now, don't be like that." The author uses the words that she knows are in the mind of the reader. The woman is then seen to be crying "all to herself." Her husband has deserted her and she is left alone "under the gay big brim of her best…
The three opening stanzas are spoken by a narrator-type voice. This speaker sets the scene and tone of the piece: that of Petrarchan love, with the topos of an unattainable beloved, whose love burns and pains the Lover. He introduces the characters: Damon the mower, and Lover; and Juliana, the cruel beloved. The narrator expounds Juliana 's character and Damon 's perception of her, she is one to behold, “Like her fair Eyes the day was fair;” (3). However, the short-lived compliment of her eyes is accompanied with words like stung, complaint, scorching, and fear that exemplify Juliana who is scornful and one to be feared, and scornful.…
There have been numerous questions that have always confused mankind since the early days. The significance of life, how everything functions, is there a god of every single topic that still confuses humans. Although those concepts create a good argument, a topic that is time consuming in our lives is how to pick up on women. A main example of how old that problem has bothered men is in the book of Ovid: The Art of Love. We independently come up with our own style of picking up on a female through personal experiences and knowing stories. The majority advice given by Ovid is dead to me but there are a few things I do concur.…
the first time I saw my grandmother braid her hair, I was instantly astonished. The way she maneuvered her hands as she glided the hair between each finger, overlapping each strand of hair onto the next, was so delicate and precise. The finished braid dangled down her back, reaching all the way to her waistline, it reminisced that of a princess, from the storybooks I had seen. I knew only after moments of watching her, this was something I had to accomplish; easier said than done.…
Prima ab origine mundi, ad mea perpetuum tempora carmen, "from the very beginning of the world, in an unbroken poem, to my own time" (Metamorphoses 1.3-4). Publius Ovidius Naso also known as Ovid wrote Metamorphoses, which combines hundreds of stories from Greek mythology and Roman traditions. He stitched many of them together in a very peculiar epic poem in fifteen books. The central theme of the book is transformation "from the earliest beginnings of the world, down to my own times." Ovid sweeps down from the creation to the Augustan era.…
"Or like the sun-flooded silks / Of an eighteenth-century boudoir." This is a metaphor. Sun-flooded silks is a soft and elegant material. By comparing the lady with it, I think that speaker means this lady is very graceful. Also, an eighteenth-century boudoir appear a long time, even in Lowell time. Therefore, I think she means that the lady is quite old. Moreover, she is also very luxurious because that is what an eighteenth-century boudoir are like, since they are only available for rich people in the 18th century. Since I didn't put a picture of a 18th century boudoir, I put a laces for the lady to tie her hair instead because it give me a noble feeling, like the 18th century boudoir.…
In Lord Byron poem, She Walks in Beauty; the poet admires the beauty of a women. However, he does not pay attention to the external appearance of the women but extends his adoration onto the internal features of her; which make her more beautiful and admirable.…