Bass explains that before he integrated to the valley he rarely hunted, but when he moved there he could not help exploring the game that the forest sheltered. The charming rich forest seems to allure people to explore the resources within in it. The statistics and real life examples that Bass uses of his personal and villagers’ experiences are logic, because they are facts and not opinions. Aside from arguing that hunting can awaken a creative imagination, Bass is also arguing that hunting is a very enjoyable activity, and he is trying to emphasize to the readers that it can help one feel something that one has never felt before. Bass’s logic is that hunting can contribute to a creative imagination, and that it is an incredible experience that will make one feel something that one has never felt before.
Twain most certainly accomplished this message by relying on examples from the river and talking about them figuratively. Twains use of figurative language helped get across the central message to his readers in such a way that they would better comprehend. Mark Twain depicts the central message by equating his inability to perceive the beauty of the majestic river to that of a doctor, who is no longer able to separate the beauty of the human body from the diseases and deformities that humans often suffer from, yet Twain still creates an imaginative playground that leaves the reader hesitant to leave. Also found throughout the story, are the use of similes that help depict the beauty and majesty of the mighty Mississippi River. His use of similes help the reader envision the beauty that Twain had once saw of the river.
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.
While he travels to his family in Geneva, he finds a source of tranquility in nature to keep him sane. The scenery soothes him, in which he states in this quote: “I remained two days at Lausanne, in this painful state of mind. I contemplated the lake: the waters were placid; all around was calm, and the snowy mountains, ‘the palaces of nature,’ were not changed. By degrees the calm and heavenly scene restored me, and I continued my journey towards Geneva.” Although in many instances Dr. Frankenstein’s feelings were enhanced by nature, he was not the only one who sought a general exhilaration of spirits through one’s surroundings. The monster’s declaration of
Both these stories ideally fits the character of Victor, as he himself was under the impression of considering him as The Creator of a different species which would give him the credit for creating them. ‘…a new species would bless me as its creator and source; many happy and excellent natures would owe their being to me…’ (pg 52; Ch.4). We could compare both the characters of Victor and his abhorred monster under the themes of exploiting the deepest feelings of humanity. The novel revolves on a redemptive power of Love and Hate, and this interrelation is evidently explained throughout the interconnection between the structures formed together with the character of Victor Frankenstein verses his created Monster. They all are exposed in the novel by sharing the love of nature, thirst for knowledge, along with the desire of vengeance.
In Rolf de Heer’s ‘The Old Man Who Read Love Stories’, protagonist Antonio Bolivar suffers in the harsh unforgiving environment to the Amazonian jungle. However, Antonio is also able to discover great happiness through love and beauty present in the jungle. Antonio dwells between the natural ways of the jungle, reminiscing his time with the native shuar and the white settlement of El Idilio, which embodies the flawed humanity, suffering and barbarity in the film. Through Antonio, de Heer considers the presence of western civilisation in the Amazonian jungle as Antnio straddles between two very different worlds, experiencing isolation and dislocation from the two world he inhabits, struggling to find true happiness in either. From the opening scene in the film, love and beauty is evident to be a central theme.
Their belief that beings are in constant existence and never truly die allows Billy to accept death in a broader sense. The all-knowing atmosphere of Tralfamadore provides Billy Pilgrim with the peace and clarity he needs. He often psychologically escapes to Tralfamadore while in captivity during the war. For Billy, Tralfamadore is a place of sense and much needed control, both of which greatly contribute to his mental stability. Aside from experiencing a mental paradise, Billy Pilgrim also gains a sense of physical control and stability during his time in Dresden.
They are thankful for what they have. When you are able to adapt to a living place you live in you don’t need any thing else. They have everything they need in forest. The Pygmies live in the forest and live off of the forest and what the forest has to offer. People are afraid of the forest they think it is scary and has evil in it, but the Pygmies think that the forest is wonderful away of life on PG 13 it says the forest is “exciting, mysterious, mournful, and joyful” they love the forest.
Fate and Nature Emerson was perhaps one of the most extraordinary writers of the 1800’s, giving insight to topics that may have been otherwise overlooked. In “Nature” and “Fate”, many of his ideas are similar yet also different at the same time. One of the ways both of these works are similar is because of the intertwining of nature with other elements. For example, in “Nature”, Emerson states that nature is where he feels united with himself, nature, and God. Then, in “Fate” Emerson states that “The element running through entire nature, which we popularly call Fate, is known to us as limitation,” (191).
He is nothing without Victor. He is as much a part of Frankenstein as he is his own being. So we might as well call him "Frankenstein." This starts to get at the sob-fest at the end of the text. We, like every other reader, react something like this: "What?