While Passage 1 gives off an informative tone and formal diction, Passage 2 does the opposite by providing a violent, harsh diction and a critical tone. In Passage 1, the author makes the swamp seem as desirable as possible by using formal language and making it seem like it’s from Discovery Channel. Using phrases like “meandering channels,” “intricate maze,” and “exotic flowers,” one could assume that it is a fairly peaceful place. This supports his form of formal diction, which is used to describe the swamp as intriguing as possible. He portrays the swamp as a wildlife resort, where tourists would come and go to see a beautiful place.
The author takes the time to describe something that is generally pleasant to his eyes, giving a sense of serenity in his tone. The reader can also feel a certain feeling of intimacy between Momaday and the land since he was a Native American: “For my people, the Kiowas, it is and old landmark, and they gave it the name Rainy Mountain.” Everything Momaday sees in the land is positive. When the author uses the term “loneliness” it is only to emphasize the beauty of the land by saying it pushes your imagination
The author’s focus on uncontaminated subjects such as the beauty of undeveloped nature, the symbol of George’s and Lennie’s dreamed of farm and Lennie’s character trait of animal/child-like innocence dovetails with the actions of the other characters who plot and scheme and ultimately kill in order to get by in the world. This is a powerful message and one that is not drilled into the reader’s consciousness but is even more effective for the gradual impression it makes on the reader upon further reflection. Of Mice and Men is a timeless work of literature whose staying power is partially explained by its message of compassion and understanding in the face of
Momaday and Brown have different purposes toward their respective landscapes as seen in the passages. Momaday’s purpose holds to view culture history of the Kiowa Indians and how the land itself holds beauty, in a most appealing positive attitude, which also reflects his background; “for my people.” Brown’s purpose, seen in the passage holds an opposite view, where it reflects a very dull aspect towards the Plains in a demoralized negative way. Momaday’s fanciful diction keeps his praise for Rainy Mountain alive with imagination choosing words such as “brittle” and “writhe,” giving a sensory image of how he feels and sees devotion of pride for the land. Momaday uses sources from his culture and the Kiowa to show a sense of clear imagination of the kind of heritage the land holds. He describes Rainy Mountain using his sensory imagination of how he feels and sees the landscape; colors in specific, making the audience have an idea of how it’s like when he mentions, “The grass turns brittle and brown… cracks beneath your feet.” He compares the many flashy insects as “yellow grasshoppers … everywhere… popping up like corn to sting the flesh…,” seeing the land with praise as to his culture of the Kiowas being reverent.
Mineral based makeup in its purest forms is made up of a mixture of minerals, mostly naturally extracted from the earth. Hence, it is considered by “many professionals to be kinder and healthier for the skin” (Bouchez). It has very few additives and fillers. Some of the elements in mineral makeup are said to have natural anti-inflammatory properties and even sun protection. Mineral makeup, however do not replace sunscreen but adds a extra layer of protection against sun damage.
The technique of setting creates a stark contrast that makes the novel a success. Whenever Wharton describes the landscape, she uses cold adjectives, but when she describes Mattie she often uses “warm” adjectives. She uses also shades of gray, white, and black when describing the land, yet uses brighter colors for descriptions of Mattie. Here are two of my favorite examples that illustrate my point. Cold images are underlined, while warm images are italicized.
ALBERT NAMATJIRA BOOMERANG 1936 ALBERT NAMATJIRA WALL PLAQUE c. 1937 Namatjira painted in a unique style. His landscapes normally highlighted both the rugged geological features of the land in the background, and the distinctive Australian flora in the foreground with very old, stately and majestic white gum trees surrounded by twisted scrub. His work had a high quality of illumination showing the gashes of the land and the twists in the trees. His colours were similar to the ochres that his ancestors had used to depict the same landscape, but his style was appreciated by Europeans because it met the aesthetics of western art. ALBERT NAMATJIRA GHOST GUM, CENTRAL AUSTRALIA c. 1945 |
It implies that to truly live life, one must seek simplicity, harmony with nature, and to follow one’s own path. Thoreau strongly believes and advocates that those who live lives of luxury and in mainstream culture created by the Industrial Revolution aren’t really living. He believes this illusion of progress impedes man’s spiritual transcendence, true happiness, and understanding of the essential facts of life. Thoreau’s advice encourages one to rid of superfluous possessions and social activities so as to lead as simple and "bare bones" a life as possible. The advice explains that “life near the bone is sweetest.” The simple life (i.e.
This type of rhyme scheme appears to be a masculine rhyme. The author uses symbolism in the form of "The gold-rimmed face of a sunflower" to show his value of the memory being that it is rare carries as much value to him as gold would. Lampmans use of similies shows his feelings being to strong that comparison to something immense and powerful was neccessary; an example of this is "Her eyes like the blue of the sky".
Victor best explains this through a quote “Clerval called forth the better feelings of my heart: he again taught me to the aspect of nature and the cheerful faces of Children (56)”. Victor takes in what Henry has to say, but his understanding of this is far greater then the natural world. The beauty in nature to him is that it can be altered and improved to the ways of his likings, or destroyed with the simplest of things. Victor’s understanding of nature and its course through life exceeds his understanding of any other human knowledge. He does not take it for what it is, but for what it can be.