The berries are described with sensuous imagery so that the reader can imagine the taste, smell, touch and sight of the blackberries. Simple blackberries are described as addictive wine “Like thickened wine: summer’s blood was in it”. In complete contrast to this the fungus on the blackberries is later described as rat-like which creates a disgusting image in one’s mind. The same blackberries that the persona lures us into and makes us feel how great it is, is presented in such a manner that it becomes revolting. 3.
In Homers Odyssey the sirens are described as luring, tempting, beautiful creatures that show no fear. Odysseus explains all the hardships and troubles him and his ship crew go through to avoid getting lured into the sirens with vivid imagery. “Now with a sharp sword I sliced an ample wheel of beeswax down into pieces, I kneaded them in my two strong hands” tells u that Odysseus isn’t going to take any chances and fight the irresistible song. Odysseus and his crew seem almost helpless when it comes to avoiding the sirens. Odysseus’s desire to listen to their deadly song is portrayed when his heart “throbbing to listen longer.” This helpless sense seems to be present throughout the entire passage.
The onomatoepia creates an ominous feeling, and the use of the word ‘trespass’ introduces an aspect of the forbidden and dangerous, which highlights the progression in his journey, and the adolescent inclination towards rebellion. This aspect of the forbidden is continued in the ‘peach tree growing wild’. This tree is symbolic of the Tree of Knowledge of Good and Evil, and as the boy consumes the ‘sweet, dented fruit’ of his innocence he gains
Cofer later creates more imagery when describing the man who “sang a ditty to the tune of “La Bamba” and “stepped directly into [her] path” (373). Cofer’s sensory imagery conjures a feeling of being cornered and caged, unpleasant by anyone’s standards. The images highlight the persecution that is part of Cofer’s life, making them more relatable and once again inspiring empathy for the Latina woman’s plight. Cofer continues to reveal the degrading nature of Latina stereotypes by criticizing the relation of Latina women to food. Advertisements that utilize diction like “sizzling” and “smoldering” contribute to the “Hot Tamale” stereotype that Cofer discusses (372).
This poem expresses frustration at the inability to fulfill one’s dreams. The eleven-line poem uses word play and symbolism to express an overwhelming sense of frustration. Using questions to guide the reader deeper into contemplation, Hughes uses symbolism and similes throughout the poem to present the reader with graphic images. Food symbolism appears more than once in the second stanza, symbolizing that dreams, like perishables, may be good at first but change when ignored, whether for better or worse. The symbolism of the raisin in line 3, drying in the sun, symbolizes the power of a dream, like the sweetness and flavor in a grape, condensing and becoming more concentrated.
The poet continues to paint a bleak portrait of the present which “rott[s] with rotting grape” yet is “sweet with the fumes” (4, 5). The repetition of the word “rot” highlights the theme of decay. The interesting choice to mention the sweetness of the fumes uncovers a contradiction where putrefaction is actually “sweet”. Moreover, “fermented potato-peel” (6) “puzzle” (6) the man, the “motes of time” (3), and the reader equally because it is “turned out and left in this grass-patch” (9). The puzzlement arises from intentionally turning out a fermented potato peel and leaving it in a grass patch, in a place of green nature, in a place of “green shadows of elm, and ginkgo and lime” (12) trees.
What methods does Steinbeck use in this passage to present Candy? e in so many of Steinbeck’s other works, is meant to comment on the plight of the downtrodden, to make the reader sympathize with people who society and storytellers often deem unworthy because of their class, physical or mental capabilities, or the color of their skin. Whether or not these issues constitute a flaw in the novel, it is true that Steinbeck places George, Lennie, and their relationship on a rather high pedestal. Nowhere is this more clear than in the story George constantly tells about the farm they one day plan to own. This piece of land represents a world in which the two men can live together just as they are, without dangers and without apologies.
Both types of media grab the reader’s attention and bring about our intuition to define a sense of hospitality and passion, oppressiveness and plea for help. Environment and passion integrates with each other in both the book and film. Passion is seen on different levels, at certain points throughout the book it overflows in Ethan. When Ethan is told of Mattie’s imminent eviction by Zeena he spills out a passionate lust for Mattie “All the while he felt as if he were still kissing her, and yet dying of thirst for her lips”, during this scene we are focused around a dark and chilling depiction, almost proposing a sinful wish or devious yearn for Mattie. The film successfully uses the use of lighting and environment to create an eerie, desolate PLACE.
He sings his praise of it, “The air is sweet with the scent of his blood” (140). Grendel still does not know why he commits these actions, yet he finds them satisfying to his being. Therefore Grendel is an exemplary choice of an existential character in the novel Grendel, based on the character of the same name. Grendel’s fight with nature only augments his hatred of others, causing a deeper and darker evil to be born. He turns to loneliness as a refuge when no one listens to him, as the goat did and before the humans.
–Steinbeck Pg. 166” This is Elisa reaction after the tinker takes interest in the chrysanthemums. As she give the chrysanthemums to him she also offers herself symbolically. It is this connection that helps us understand why she cries at the end of the story. “She whispered to herself sadly, “he might have thrown them off the road.