Max gets so exhausted that he collapses and Mrs.Crumlin stuffs a poison muffin into his mouth. He accidently swallowed some. His mind goes completely blank and he is dragged back to his front yard. His loyal pet owl swoops down with the InjectaPort and stabs it right into Mrs.Crumlins arm. She falls on the ground and that was the end of her.
It’s the kind of dream that wakes you try and stay awake after, because you know it’s waiting there for you behind your closed eyelids. (McNamee 11) This quote illustrates that Duncan is uncomfortable with what happened. The nightmares of the drowning girl keeps coming back to him because he did not save her. Just like Duncan, in The Penance, Octavia feels uncomfortable because of what he has done. He killed the three children’s cat because Octavia thought the cat was eating the chickens.
PERIOD 3 – KALEIDOSCOPE Melissa & Brittany Rodwell’s suicide • Rodwell is assigned with men whose morals and consciences have been broken by war • “he found them slaughtering rats and mice–burning them alive in their cooking fires” • “they’d forced him to watch the killing of a cat” • Rodwell wasn’t able to change his morals and character, war didn’t break him/ change his beliefs • Rodwell wasn’t content being passive while watching others (the animals) suffer, watching the men torture them • animal rights? • war affects everyone • his letter to his daughter urges her not to despair, but to have faith in life • killing of animals represent savageness in human, the innate evil
You are an ogre. Let me go, or I will tell my papa." (Shelley 127) When the creature approaches William he screams and runs away in terror. This makes the monster feel very alone and he becomes enraged and eventually ends up strangling William to death. He then takes a picture of Caroline Frankenstein that the boy has been holding and places it in the folds of the dress of a girl sleeping in a barn—Justine Moritz, who is later executed for William’s murder.
Towards the end of the story, the master confronts Death for an explanation on why she scared his servant away. The narrator, which is Death, replies “I had an appointment with him that night in Samarra” (Maugham 279). Here, Death implies that his fate is inevitable. Second, “The Nine Billion Names of God” shows a similar outcome in the conflict between fate and free will. Two programmers try to flee for fear of being blamed for the failure of the monk’s project to bring about the end of the universe, only to realize that their efforts were in vain.
At that point death is just a childish game 'playing a war in the barn/ dying again and again'. Whereas adulthood comes suddenly as 'Your father found at dawn/ a poppy sown in the unripe corn' and the reality of mortality strikes. The scrapyard is firstly descibed using childish images: the metaphor 'elephant's graveyard of cars' is a romantic picture of the scene from a child's pespective because when elephants are about to die, they seek their own place of solitude and confinement where they can die alone without being disturbed; Sheers gives a sense that the cars have gone to this quiet place of their own accord; something a child may believe. The tension of this poem is achieved through images associated with death and war: in the first stanza the 'car quarry' is described as 'the hummock of a grave/ a headstone of trees/ wind written epitaphs', possibly linked to the death of his childhood innocence. Sheers also describes his friend's father's death as 'a poppy sown in the unripe corn', this is a semantic link between poppies and the First World War.
In support of the town’s inability to face the truth and the dangers in not doing so, Hitchcock uses several allusions to the idea of blindness in the film. For example, as Lydia Brenner discovers the farmer murdered in his home, she notices his eyes have been pecked out. Also, just before Cathy’s birthday party is broken up by a bird attack, the children are seen indulging in a game of blind man’s bluff. Finally, as the schoolchildren flee from a vicious attack by crows at the school playground, the crows knock down one of the children, breaking her glasses and leaving her virtually blind. Hitchcock uses these images to illustrate the danger of complacency and the blindness that can come with
Sensory imagery in "the knives of light", demonstrate the torture of the rays of light spearing down at the homeless victims of meth. As the prays of the metho, they fear their weakness of bright lights relating our imagination to vampires, along the slightly sheltered walls, alone and cold. The alliteration in "dead dark moon", resembles the feelings of the metho drinker, and distinguishes the death he feels inside. Wright effectively convinces us through the lively language and sensory images of the impact of the pain of metho and the suffering he endures every day as an outcast of society. Pain and suffering are clearly the outcome of metho, Wright is successful in creating the reality of suffering the effects of metho, hence the poem "Metho
The narrator also repeats the line, “I shut my eyes and all the world drops dead.” This, along with the reference to God, Satan, and Seraphim, mean that getting “into bed” with the man the narrator was speaking to was a sin, and therefore they never married. When the narrator tries to sleep, “All the world drops dead,” which could represent nightmares and visions of hell because she feels guilty for her sin. Plath uses repetition to emphasize certain phrases so the reader can decipher the true meaning. Another device the author uses is personification. In the second stanza the narrator describes “the stars go waltzing out in blue and red, And arbitrary blackness gallops in.” Clearly, stars can not waltz and blackness can’t gallop.
13 He thought how 'Jack', cold-footed, useless swine, 14 Had panicked down the trench that night the mine 15 Went up at Wicked Corner; how he'd tried 16 To get sent home, and how, at last, he died, 17 Blown to small bits. And no one seemed to care 18 Except that lonely woman with white hair. Big White Lies: Analytical Essay of The Hero by Siegfried Sassoon In “The Hero”, poet Siegfried Sassoon expresses his contempt towards the hypocrisy of warfare and especially his critical view of the authorities’ attempt at glorifying a soldier’s death. In this poem he provides stark contrast between the harsh truth and reality, employing the use of irony, imagery, contrast, and even alliteration. Firstly, Sassoon effectively uses irony to illustrate the contrast between the soldier’s real and glorified death, as well as the impression of a close-knit military unit, as opposed to the truth that no one had the compassion to care for a fallen soldier.