11/13/11 Analysis In Bradbury’s novel, Fahrenheit 451, his use of diction creates a mood full of tension, conflict and turmoil. The trailer that was created also shares this feeling, with the use of multiple tense scenes adapted from the novel. More specifically in the beginning, Bradbury creates this mood by showing Montag’s conflict with himself and also after, with society, and during the climax where Montag is in conflict with Beatty. From the very beginning of the novel, Bradbury creates a mood of tension, turmoil and conflict when Montag questions the society he has followed until now. This change was stimulated by discussion with Montag’s new neighbor Clarisse.
He speaks carefully, weightily, and has a disconcerting habbit of looking hard at the person he adresses before actually speaking" This continues the idea of how the Inspector has a large affect on people and shows how he is going to interogate each family member later on in the play. This is an effective description as it conveys how Inspector Goole can be rather intimidating in the way he looks and addresses the characters in the
Chapter 32 Giacomo brings Lucrezia portrait to the castle and she still doesn't like, she says she looks like a "German", she is mad, the Duke is satisfied with the painting. The Duke tells Giacomo to Leonardo that he wants to see a demonstration of the flying machine. Giacomo gets to go in the Duke's gallery and put Lucrezia's painting in there and takes out the painting of Cecilia. Chapter 33 When Giacomo wakes up, Master Leonardo is not there but the alchemist, Master Assanti is in his room. Master Assanti is making it hard for Giacomo to breathe because he
This could be interpreted as a symbol for his dissatisfaction with Elizabeth because she is not good enough. It could also represent that their relationship lacks the spice that he craves; the spice that he received when he “sweated like a stallion” with Abby. Due to the way that he enters and decides almost immediately that he wants to taste the stew and season it, we also receive the impression that Proctor has probably done this before, therefore it is possible that he has not been pleased with Elizabeth for a long time. Elizabeth has not been present before this scene so it shows a lot about their relationship that she enters the room her first words are a question “What keeps you so late?” This shows that she is
Paul felt the need to lie compulsively. During his meeting in the principal’s office he was asked to state why he was there, his response was that he wanted to come back to school, “This was a lie, but Paul was quite accustomed to lying; found it, indeed, indispensable for overcoming friction”, (Cather, 245). Thus, Paul used his lies to make him feel more comfortable in situations that were vexing. Paul’s speech and his mannerisms were not appreciated by his classmates, and his teachers; his teachers expressed this by “falling upon him without mercy”, during his meeting in the principal’s office. The students showed this by becoming “listless” during his stories.
Hosseini uses a number of literary devices in chapter ten, on of the ways he tells the story is when Amir and Baba are in the fuel tank, He opens the paragraph with “PANIC.” this makes the reader ask a number of questions, why is he panicking? is he in danger? and so they read on eager to know what’s going on, he also repeats it again after describing his anxiety of not being able to breath, I think Hosseini used this to build the tension and reflect Amirs fear. Hosseini also repeats “now” when they’re in the fuel tanker “ you order your lungs to draw air,NOW,you need air,need it NOW” the reiteration of the word shows Amirs claustrophobia and desperation for air which causes the reader to empathise with him over the severity of the situation. Hosseini also uses Nouns and adjectives to describe the how Amir feels, he describes his airways “collapse,tighten,squeeze” which creates an image for the reader of how gruelling a simple task like breathing is.The lack of descriptive detail of the setting also helps to portray the sensory deprivation of being trapped in the dark.
This section is where Montag truly starts to think independently, as he does things that are taboo against his society in hopes of gaining new insights. While on a subway, Montag recalls a painful childhood memory. “… some cruel cousin had said ’Fill this sieve and you’ll get a dime!’ And the faster he poured, the faster it sifted through with a hot whispering.” (Bradbury, 78). The harder Montag tried, the more hopeless the situation became. He was making zero progress.
A man is followed into an elevator that Paul has gone through the first stage of the monomyth, separation. Paul’s benevolent guide appears to be the voice of his conscience. This helps him to get through the emotional turmoil he is experiencing because of his decision to step off the elevator leaving upset and weeping man alone on the elevator. As Paul goes through this emotional hardship it signifies that he is in the struggle stage of the monomyth. Paul knows that he did the wrong thing, and he wished that he could go back and be there for the man, even to talk.
When Lennie first enters Crooks’ room, Crooks is deeply hostile to him, “he stiffened and a scowl came on his face”. Steinbeck writes Crooks with this reaction because he is relating his reaction to the bigger theme of the book: The Dream. Although one of the aims of the dream is company, Crooks has given up on the dream meaning that he has given up on the dream, meaning that he has given up on companionship. The reason for this is because Crooks has suffered from segregation the whole time has been However Steinbeck presents Crooks in a way that he knows that his personal space is one of those rights to have and so does not allow Lennie to me in. Also, it eventually become obvious that Crooks is seeing that he has the opportunity to be cruel to Lennie, as he realises Lennie is simple and not like the white men because “A guy can talk to you an’ he be sure you won’t go blabbin’”.
Carver uses a mirror to illustrate how identity can change based on new circumstances and new information. During a phone call with Clara, Arnold excused himself and “removed his glasses and looked at himself in the mirror over the fireplace. When he returned to the telephone, he was half afraid she might be off the line” (26). A mirror does not reflect the same image everyday; an image changes as a person changes. Carver relates exploring superficial appearance with discovering what is occurring deeper down in the soul.