For the main character paul in the novel his human experiences can sometimes be over dramatized. This is demonstared through the images of pauls bizare and overstated world “ the moths that fludded the fly scream...size of bats”. In this quotation goldsworthy uses exageration which provokes the audience to imagine that there is a hint of something threatening and dangerous ahead. This is futher represented in the sentence “ like some lush green, five o'clock shadow”. The visually realised enviroment brings out more harsh qualities of human characters who inhabit it and further leads us to understand how the individual sees and percieves the world.
The girls start shouting “I saw Goody Bibber with the devil” and “ I saw Goody Booth with the devil”, this use of short snappy accusations one after another makes the whole scene dramatic and adds to the suspense being created. The words “I saw” almost become like a barrel of bullets being fired into the ears of the audience making them feel the madness going on. The stage directions say the the “curtains fall” as the girls continue making the accusations, this shows that the situations going to continue on into the rest of the play In act 2, Elizabeth gets arrested and we the audience are able to feel the madness going on because we know that such a devout Christian woman such as Elizabeth could not possibly be involved in witchcraft. We know that this due to Abigail’s plan to try and get Elizabeth arrested. We are able to feel the madness even more through Proctor shouting “Herrick!
Repeats Stella's name, could be as not to loose her trip on reality or loose her sanity, amongst her painful recollections from belle reve. Rhetorical questions come up, all in one big clump, she starts off by just exclaiming, with almost all words/sentences ending in a exclamation mark, however towards the end of the monologue, it's more questions 'which of them left us a fortune.' ' which of them left a cent of insurance even.' Could be showing towards the end that her sadness turns more into anger directed at Stella, this shows her as slightly indecisive, muddled, and also starts to see a more sinister side to her, as she brutally interrogates and judges her younger sister. 'You didnt dream but I saw' the mention of dreams relating to belle reve, (which ironically translates to
Another stylistic convention that double indemnity uses is the unpleasant weather. Bad weather signifies that something will soon go wrong. It is a reflection of the pessimistic mood of Film Noir. Scenes where bad things happen mainly take place in the night, while day scenes build up the suspense for what will play out later in the night. The weather seems to correlate with the story and the rain is also a connection to water, which is another characteristic of Film Noir This Film Noir film seems a little strange to viewers today with the strange dialoge and Neff’s detective-like narration.
Birling” at the meeting, to which Sybil Birling took immediate offense. The girl, who (the Inspector reveals) was pregnant, was desperate and asking the charity for help. Mrs. Birling used her influence over the committee, however, to have her appeal denied. “She came to you for help,” the Inspector continues, “at a time when no woman could have needed it more ... alone, friendless, almost penniless, desperate. She needed not only money, but advice, sympathy, friendliness ... And you slammed the door in her face.”
Confinement is a method of placing boundaries and limitations on something or someone. The notion of confinement is presented in “The Yellow Wallpaper” by Charlotte Perkins Gilman, through the main character Jane and her psychological journey as she faces confinement. The aspects of Jane's confinement create an excessive pressure upon her that ultimately leaves her no choice but to defy the norms of the nineteenth century in order to be free. The little knowledge presented to her keeps her unaware of her confinement, and it remains unfamiliar until through her own dread and apprehensiveness she begins to become aware of her own self. As the story transpires, Jane's unknown figure becomes all that is known to her; however, because of what is expected of her as a woman it is difficult for her to acknowledge her own self as she is afraid of her own monstrosity.
James’ choice of language in the Governess’ manuscript displays this interpretation; Frequent use of the words, “mine”, “me”, “myself” give this interpretation verification. Her manuscript is written in first person, however her outlook on her surroundings and the story itself, constantly revolves around her own feelings and actions and very often little more than a monologue. James presents the governess as self important and as seeing herself as the centre of attention often. When she first sees Peter Quint, James writes “it was intense to me that […] he never took his eyes from me”. From the governess’ manuscript, how far away the ghost was from her, makes this account both unreliable and self important.
With the "dark" and cosy lighting at the beginning it juxtaposes to the opposite spectrum and by this the audience becmes aware of this tension that grows within the Birling's as each character finds a snippet of information that they'd rather not hear. Moreover, Priestly portrays this growing tension with the use of the characters desire to discover the truth behind Goole's case after he's left. They had minimal effection towards Eva Smith, but they still want to ring the infirmary, showcasing their guilt and shared tension towards the case. Evidently they want to change the subject of their own wrong doing (such as having an affair and rejecting Daisy from charity aid) and continue to ponder over the reliability of the
Farmer highlights the inner resilience of her characters as they come to realise their place in the world. In a selected passage from “A Woman in a Mirror”, readers are confronted with a nameless protagonist, a universal emblem of society’s tendency to ignore the torment of illness and death rather than face the truth. The protagonist’s underlying tendency to refuse to acquiesce to the very possible thought of “cancer of the cervix” preferring to “take risks”, “I never took risks” appears to have tailgated her apparent “solitude”. Farmer’s focus on emotional disconnection is a reiterated one, whether it be in effect of the internal isolation, such as “A man in the Laundrette” or the result of cultural displacement “Ismini” and “Pumpkin”. The protagonist’s self-pity is often stressed in her reference of time, “Time was andante” as she procrastinates her shear loneliness without addressing the common cause “Peter had died”, preferring to delve into the intrinsics of the event as the “car glided under the lorry”, rather than acquiesce to the reality of her impeding future.
Once again this brings the theme of entrapment that features in much of Plath’s poetry as she felt she was trapped within her own body. Not only does the speaker refer to the bees being “dangerous” in a literal sense because they have the ability to harm people but she is also suggesting that her subconscious mind is a menacing, dangerous thing that should it be unleashed she would be in jeopardy. I imagine mind as the box and the bees as her uncontrollable thoughts that must be oppressed for if they were released from containment they would bring damage. The speaker’s inner turmoil is revealed as she feels she “can’t keep away from it”, she is all consumed by her dangerous thoughts as they continue to uncontrollably buzz around her head much like the venomous bees in the box. The bizarre image of the speaker curiously peering into the bee box and seeing “dark, dark” pulls us into complete and utter darkness.