‘Flowers’ by Robin Jenkins is a short story about a young girl who has been evacuated to the Highlands during WW2 and dislikes it so much that she decides to break the rules. She rebels by going to the beach where the fighter jets practise bombing and finds a gruesome scene. This short story deals with a less pleasant side of life concerned with the consequences of war and the loneliness of the main character Margaret. In this essay I will show unpleasant life can be. Robin Jenkins first shows you how different the little girl is, “red eyed dissenter”.
The colour yellow, which symbolises decay and disease, is used to show the woman’s state of mind, which has been corrupted by the society she is part of. Also, the gruesome imagery of burning flesh in “smell of steaks in passageways”, coupled with the pluralisation of the objects portrays this as an experience of universal suffering. Eliot also explores the disempowerment of the individual through the judgments of a modernist society. Prufrock’s rhetorical question “Do I dare?” is about the movement he desires that has been oppressed by his self-conscious. The interjection “but how his arms and legs are thin”, shows his physical vulnerability and highlights his lack of agency.
The fact that she caught both of their attentions immediately foreshadows her significance later on in the story and the possible attraction one may have to her. “The rectangle in the doorway was cut off” strongly shows the changing mood of the room as it changes to a darker light. The idea that Curley’s wife has “cut off” the light from entering the bunkhouse predicts that she will possibly bring darkness to George and Lennie’s life. The blocking of the light changes the mood of the bunkhouse and the men and creates a foreboding atmosphere yet again foreshadowing the trouble to come. Steinbeck then uses the noun: “a girl” to describe Curley’s wife.
The readers can tell she hates her house and poverty when she points out her house to Sister Superior and she “started to cry” (45). Sister Superior even felt “sorry” for Esperanza for having pointed out her house that “even the raggedy men are ashamed to go into” (45). Esperanza even
In The poem “Root Cellar”, Theodore Roethke describes the environment inside a dark, wet, and unkempt root cellar in which you would not expect life to be able to thrive. He describes this environment using a variety of descriptive words throughout the poem which would indicate a particular distaste for the cellar in all its filth, but it is not until the final lines in the poem that the reader learns that the speaker is, in fact, amazed by the existence of life in this place. Roethke uses imagery, alliteration, and personification to portray his attitude that although he indicates throughout, a thorough dislike for the cellar, life in the cellar, amazingly, is surviving and thriving despite deplorable conditions that would suggest the opposite result. Roethke uses imagery to show his attitude that life in the cellar, is defying the odds by describing the cellar and its inhabitants in the first eight lines of the poem as something repulsive indicating that the cellar is “Dank as a ditch” (1) with a “Congress of stinks” (6) and plant life that is “Lolling obscenely from mildewed crates” (4) thus creating a scene in which everything is at its most undesirable state through the use of negative verbs such as dank, stinks, lolling, obscenely, and mildewed, all of which bring to mind the worst possible environment one could be in, and makes it seem to the reader that Roethke does not have a very high opinion of the cellar. The speaker also uses alliteration to show his attitude toward the cellar as being that of loathing but amazement by using the hard sound of the “D” to show the filth of the cellar.
The goodness of Anna symbolizes the side of change in the novel ‘Year of Wonders’. The embodiment of Anna’s goodness carried around by Anna’s worst fears, as she “turned pale” at the thought of delivering Mary Daniels baby, with the nightmare of a barber surgeon tearing the leg from a babe with a thatchers hook. Brooks also uses personification to communicate Anna’s fear when she goes down into the Wickfords mine in order to help Merry, “the dread began to seep through her body” as she did so. These fears are embedded in Anna’s personality and yet she faces them in order to help others, but changing for the better as a person for Anna throughout the novel. Anna changes in that she becomes a proactive character, making her own decisions and directing her life in the ways which she wants it.
Ibsen’s eye for resemblance and use of symbolism highlights issues that he wanted to convey about the social environment at the time, including the harsh patriarchal society, seen mostly in Torvald in the play and the role of women, represented mostly in Nora. These symbols act as foreshadowing before the tragic events at the end of the play, as they show the problems which lead to the demise of the Helmer’s ‘perfect’ family life. The name of the play itself ‘A Doll’s House’ is symbolic of the domestic dynamic in the Helmer’s household, as it reflects Nora’s position as the ‘doll’ in Torvald’s doll house. It is clear from this that Nora is seen by Torvald as an accessory or pet, who is simply for aesthetic purposes—"The squanderbird’s a pretty little creature but she geets through an awful lot of money. It’s incredible what an expensive pet she is for a man to keep".
In this passage, Anderson writes “I pull my lower lip all the way in between my teeth. If I try hard enough, maybe I can gobble my whole self this way...I didn’t try hard enough to swallow myself.” (pg.39) This is demonstrative of the anxiety Melinda feels about confronting her problems with Rachel/Rachelle. Melinda would sooner disappear or work with anyone else rather than remember that the party, at which she was raped, is the reason Rachelle hates her. Another example of this is when Melinda revisits the night of her rape and bites her lip so that it necessitates stitching. The shame she feels because of the rape causes her to become so anxious that she gets blood on the snow.
The condition that Filippo was in is further proof that Pino is an evil man. Filippo’s skin was “…caked with mud…eyelids were sealed with blood…lips were dark and split…All his teeth had gone black.” Pino and the adults of Acqua Traverse treated Filippo like an animal and an item of trade. They did not give Filippo enough food, starving the boy in a dirty whole. They fed him scraps from home, for example the meat that Marie did
Crystal Starks English Composition II - Section 020 - Fall 2011 September 17, 2011 The Wicker Husband: Simply Miserable Misery loves company; always has and always will. There are some people who decide to stay away from the common, the norm and the judgmental eyes of the miserable. Ursula Willis-Jones wrote a short story about this concept in “The Wicker Husband”. She wrote of a girl that lived amongst envious villagers who didn’t appreciate what they had. The envious villagers attempted to sabotage the girl because of jealousy but in turn lost all their valuables because they had neglected to appreciate them.