For instance, Margery dresses up like Alithea, she not only hides who she is from her husband, but she also hides the fact that she is in love with Horner. Many of Wycherley’s references to plays throughout The Country Wife tied to double-entendres. Candido points out a few in his essay, such as when Sparkish says to Harcourt, “Oh, Harcourt, my mistress tells me you have been making fierce love to her all the play long, ha, ha....” In this line Sparkish is not only talking about a play but is unconsciously
The except opens with the description of a “valley of ashes” that Nick Carroway and Tom Buchanan is going to, to meet Tom Buchanan’s mistress, Myrtle Wilson. Fitzgerald uses alliteration to create a musical effect in the first paragraph. His alliterations, such as “grotesque gardens, cars crawls, obscures operations”, helps the passage flow, creating a musical ring to it. This device is used to help the reader along with giving the book a nice little tone to it, and it also gives a vivid description of the narrator’s surroundings, which makes it easier to draw pictures of the events and places that the author is talking about. The “valley of ashes” Is described to be a desolate and forsaken undeveloped land that marks the intersection of the city with the suburbs as it is said to be where “ashes grow like wheat into the ridges and hills and
The prop of the Shoe-Horn is used as a unifying symbol throughout the play, symbolising the reconciliation of the women in the final scene. The stage direction depicts that it is offered symbolically to Bride as a token of the importance of their relationship. Equivalently, the poem South of My Days employs imagery enabling the readers visualisation of a metaphysical relationship between the persona and his surroundings, which is evident in the visualisation of the drover. The personification of the tablelands as ‘’bony slopes wincing under winter’’ utilises internal rhyme to draw the attention of reader’s as well as strengthening and signifying the relationship between the persona and country. The landscape is personified as ‘’lean and hungry’’ attaining a positive connotation, through the epithet, ‘’clean’’ and creates an atmosphere of vitality and freedom.
“A Rose for Emily,” by William Faulkner, was an interesting story about an abnormal woman in the community that everyone talked about. “We Real Cool,” by Gwendolyn Brooks, remind me of the stories my grandfather use to tell me about his community he grew up in. Reading literature is a great way to get in touch with yourself
There is a reason that it has been re-sung so many times. There is also a reason why The iconic look cannot be touched. This ballad might not have been written by Judy Garland. That was common at the time to share the talent between those who can and those who can’t. When “Dorothy” starts her conversation with Toto it really sets the mood along with the orchestra with longing and hope.
Barry, on the other hand, humorously discusses the differences between the two sexes. Both authors call attention to the dangers of stereotyping, and the need to be aware and respectful of each other, which will be more productive in the long run. Judith Cofer uses many personal anecdotes to exemplify and support her arguments against stereotyping of women of Latina descent. The young man who sang to Cofer in a "...Irish tenor's rendition of 'Maria' from West Side Story." opens the essay's tone.
All of the musical elements in the movement correspond to the key characters and ultimately give the ready a more fully rounded perception of their roles in the play in relation to on another as well as their role in developing the theme. The tone of the play very closely resembles the dark and ominous tone of the movement due to the continuously changing volume and intensity of the sound to emphasize Paulina and Gerardo’s unhealthy and unpredictable relationship. The light high pitched, and rather delicate violin playing relates to Gerardo’s caring and benevolent tone of voice when talking to Paulina. He soothes her with words such as “Poor little love. It must’ve got cold” and “If you knew how much I love you.” as he takes her in his arms.
The themes presented, such as legality versus morality and male and female gender roles, also allow critics to create comparisons that provide an analysis of the play and the impact it has on an audience. Overall, A Doll’s House has many contrasts that can be observed between the many different aspects of the play, from its characters to its many themes. One of the most important contrasts that can be seen in this play is the difference between appearance and reality, as for most of the play the main characters are living under the assumption that they are a happily married couple. However, the reality is vastly different from this, even if they didn’t know better, as Torvald and Nora actually have quite a dysfunctional relationship. Toril Moi details this dysfunctional relationship between the two of them by writing “Helmer’s idealism and Nora’s unthinking echoing of it make them theatricalize both themselves and each other…” (2).
In her poem entitled 'Anne Hathaway', Carol Ann Duffy adopts the persona of Shakespeare's widow. The introductory quote from Shakespeare's will 'Item I gyve unto my wife my second best bed' reminds us that Shakespeare's best bed was reserved for guests, and that Anne inherited the one that she and her husband slept in. This bed becomes the focus of the fourteen-line poem. In the opening two lines, Duffy uses a metaphor to express the magic of the bed in which Shakespeare made love to Anne: it was 'a spinning world / of forests, castles, torchlight, clifftops, seas'. More metaphors follow in lines three and four as Anne Hathaway recalls their lovemaking; she expresses the notion that Shakespeare would 'dive for pearls', and she describes the sweet words he said to her as 'shooting stars' that landed on her lips when he kissed her.
Marianne appears to react subconsciously and heedlessly to situations rather than consciously assessing and reasoning before she acts. Marianne physically pours out her feelings by playing passionate, joyless songs on the piano or by having crazed, emotional outbursts. In her love life she hits high and low extremes: Marianne is emotionally whimsical when she is in love with Willoughby however, she is completely struck with sadness and despair when the relationship takes a troublesome turn. Marianne’s emotions do not only affect her, but also impact her family and everyone else around her. As Marianne begins to notice her actions, she begins to shift her characteristics from those of irrationality, imagination, and emotion to reason, intellect, and restraint in feeling.