Quick boys, an ecstasy of fumbling” and but someone still was yelling out and stumbling” creates the image of chaos and confusion within the soldiers that are being attacked and infected with the poisonous gas (9-10). . Dudly Randal uses many words to describe the image of war, pain and discomfort in order to let the reader relate and feel the agony and suffering these soldiers
They are starving, stalked by the unseen, by armed thugs who travel by truck, and in terror they see an army of “marchers” who appear on the road four abreast and epitomize what the apocalypse has wrought: “All wearing red scarves at their necks. ... Carrying three-foot lengths of pipe with leather wrappings. ... Some of the pipes were threaded through with lengths of chain fitted at their ends with every manner of bludgeon.
Trail dust and tumbleweeds filled the air along with the reckless gunfire of yelling cowboys. Scenes like these were common in the cowtowns of Wyoming, Colorado, Texas, and New Mexico, Missouri, and Montana. Among the lawless towns in the West were names like Deadwood, Leadville, Dodge, and Tombstone. This was the West of the 1860's to the early 1900's. It was filled with a cast of unforgettable characters, some on the right side of the
For instance, while hunting, Jack came alive in the austere ominousness of the forest and jumped off the page, making every violent and vigorous movement almost instinctively. ”Jack was bent double… with his nose only a few inches from the humid earth…[he] breathed gently with flared nostrils…opened his eyes, that with frustration, seemed bolting and nearly mad” (Golding 48). Jack had become, uncannily, one with nature. This image evokes in the reader, the adjacency of the newly evolved Jack and a primitive almost pre-human creature. At this point, Golding has developed Jack as a proselytistic character who has converted into the forest life.
The kites battle for supremacy as do the children below who are flying them. Also, we are told of the deep gashes Amir receives from the string that is covered in ground glass. Lastly, once the kites fall out of the sky, the runner retrieve them with the same ferocious determination, similar to soldiers running into a battlefield. Kite running leads Amir to his betrayal of Hassan, as well as later in then novel to his redemption with Sohrab. Furthermore, the kite themselves symbolize the nature of Afghani culture; beautiful, bloody and violent.
In Herot, which is above the Earth, “music rang loud in the hall… glowing across the land and light it… [and] warriors sang of their pleasure.” (lines 3-15) In contrast, the lair of the monsters’ who were “living down in the darkness, growled in pain, impacient.” (lines 1-2) The monsters, Grendel and Grendel’s mother, are isolated on the outside watching these happy men enjoy their lives. The monsters envision malevolent thoughts such as disrupting the warriors’
/ For I ne’er saw true beauty till this night” (I.v.50-51) This shows his impulsiveness by not mentioning Rosaline at all and starting to fall in love with a girl he does not even know. Yet does he know she is a Capulet. Romeo’s action of falling in love leads to much grief of others. It leads to the deaths of Romeo, Juliet, Tybalt, Mercutio, Paris, and Lady Montague. The fates and lives of these people, Romeo included, could have been spared if his tragic flaw had not taken over when
Swenson's remote research station in the jungle, leaving her with some serious chinks in her techno-scientific armor. This is a particular problem because the Brazil of "State of Wonder" is a perilous and threatening place. Patchett's South American jungle is bursting with creepy-crawly people and insects, all of which pose a potentially lethal threat to the novel's civilized scientific wayfarers. Swarms of bodies cycle anonymously through the novel and around Marina as her personal voyage unfolds. Dense clouds of insects clamor for blood, and armies of natives mass around the fluorescent lights of a storefront in a frenzy to get inside, or the lonely beam of a flashlight in the jungle.
Forcing myself to put weight on my ankle, I leave my shelter of trees. As I step out from the forest, my ears are jolted by the screams. I whip my head to the right and see the boy from District 1 is running; it’s obvious that he’s been running for a long time by the deep shade of violet on his face. Running from what? I wonder.
Here, Gilgamesh finally shows emotion, he is devastated and for the first time he is not afraid to show it. For Hancock, the climax comes when he realizes that as immortals get closer they begin to loose their powers. So many years ago Mary deserted him so he could live and now he must return the favor. In both instances this action marks the end of the