Larkin highlights the absurdities of the advertisements on show in ‘Essential Beauty’, which offer apparatus that in actuality, are never as utopian in the harsh realities of this world, as described by Larkin presenting the extravagant adverts which appealed to the target audience by captivating and manipulating them in order that they should purchase the products on offer. Dannie Abse uses his poem, ‘Welsh Valley Cinema’, to reveal how the audience in the cinema were enticed by the films and went to the cinema in an attempt to escape their mundane lives; however they have the struggles of returning back to reality after their sensational experience. The poem begins in stanza 1 by describing ‘frames as large as rooms’ and ‘block the ends of streets with giant loaves’, these ideas link in with the overpowering and dominant vibe that the adverts gave off, since they were so overshadowing that they simply dominate the outdoors as if to emphasise the power of advertising, however what is offered is just a picture of illusion. A further implication to how the adverts prevailed the outdoors is ‘Screen graves with custard’, where people are declared to forget about the difficulties of life such as death and are instead granted ‘custard’, yet the consumers should not be so wound up in the fantasy world of adverts where everything is perfect and should be more worried what is beyond the advertisement and what is right in front of them, which is the truth of real life struggles. Larkin is perhaps using this to rebuke the attitude many had towards the advertisements that were suspected to be genuinely tempting, though in reality the temptations were glorified and therefore when obtained were little like what the consumers expected.
Browning writes: 'It was roses, roses, all the way.' The repetition of the word 'roses' gives the impression that there are a lot of them and emphasises that. Also the use of the imagery of the roses creates a positive atmosphere which is ideal for the flashback at the beginning the poem. In line three, there is the personification of the house-roofs as they seem to 'heave and sway'. This piece of imagery gives the impression that everyone wanted to see ' The Patriot' and so he was therefore very popular with the people.
My interpretation of a pasture in New England is of rolling hills of grasses, with the dampness of early morning dew, and the coolness of an early spring morning. The subtle, yet precise imagery reflects a concise tone of warmth and happiness that weigh upon the reader’s mind. For myself, there was a moment of clarity achieved after several thorough readings. And this was ascertained by my own personal identification. It was almost as though I where able to see as the author had scene.
Wharton’s delivery of a suspenseful tale is brilliantly done by depicting the exploits of a cunning seductress through the eyes of her current prey. At first glimpse, the newly wedded Alice Waythorn is victim of being the mother of a child stricken with typhoid fever. Wharton’s introduction of Alice, in this manner, is conceivably a ploy at evoking a premature sense of sympathy from the reader. Mr. Waythorn himself is able to sense something a bit odd about Alice’s affection, but rationalizes the concern by comparing “Pros and Cons” which can be witnessed in the following passage: She was very fond of Lily-her affection for the child perhaps been her decisive charm in Waythorn’s eyes but she had the perfectly balanced nerves which her little girl had inherited, and no woman ever wasted less tissue in unproductive worry (1026). Though it seems callous at first glance, this indirect coldness to her daughter is perhaps
He help creates a mental image for the reader that helps produced imagination or conjured up by a stimulus a set for the reader. For example, “He broke out into that goofy smile”. (pg. 37 line 9) Hazel uses imagery to help describe what Augustus smile looks like to her and thus creating a mental picture for the reader to use their imagination. Another example of imagery used in the novel is “but there was nothing they could do to dim the supernova exploding inside my brain, an endless chain of intracranial fire crackers that made me think that I was once and for all going.” (pg.
Passion: foreign territory; a comical but unavoidable affliction like mumps, that one hopes to undergo while still young, in one of its milder, less ruinous varieties, so as not to catch it more seriously later on. When the fictional novelist Elizabeth Costello, who suggests that Rayment is not alive at all but her own imaginary creation, arrived she is intrigued by the idea of an amputee with no future and a misguided love for a young nurse. Paul begins to adapt to his world, for better or worse, but also brings plenty of humiliations upon himself. He misreads many of his circumstances, Rayment's attempts to atone for his wasted life by claiming Marijana's heart, or, if he cannot have that, by at least
Indeed, the poem begins rather rhapsodically, with Thomas proclaiming “The glory of the beauty of the morning”, in which the rather unorthodox meter applied to somewhat create an emphatic and celebratory spectacle of the daybreak. This uplifting tone is prolonged more so until like 8: Thomas’ incessant allusions to birds in “The blackbird has found it, and the dove/ That tempts me” and the imagery to open space in referring to “white clouds” and “sky and meadow” almost bolsters the poem further in that, through emphasising the freeness and breadth of the countryside at dawn, the opening radiates optimism and liberation to which Thomas will shatter subsequently. Indeed, this uplifting and almost romantic opening to The Glory utterly deviates from that of Old Man, in which Thomas begins in an altogether more pensive and pondering fashion, ruminating over how the names of such plants “half decorate, half perplex”, the repetition of “half” mirroring the ambiguity and uncertainty within Thomas. However, unlike Old Man, the tone of The Glory is raised onto a pedestal at its opening for Thomas to characteristically plunge into a wallowing meditation of his own prospects. Indeed, Thomas asserts that the magnificence of nature only “leaves me scorning/ All I can ever do, all I can be”.
However, Wordsworth uses bright words such as “beauty” and “glittering”. These words give the reader the image of London being a very bright place which is very clean. Wordsworth also compares London to nature. He uses the line “In his first splendour, valley, rock, or hill” to show how truly beautiful he thinks London is. He uses words like this to add the effect of it being extremely pretty therefore trying to get his point of view across to the reader.
Additionally, Joyce uses vast amounts of words to express the “gloomy” and “somber” of narrator’s heart. The story might reflect the author’s own life as a boy when growing up in Dublin. Readers would sense the boy’s life is “blind”, lonely and isolated, however, the appearance of the “brown-clad figure” girl suggests that the boy is capable of seeing happiness. ”Her name was like a summons to my foolish blood,” is an example that the narrator feels ashamed and ridiculed by his earlier inability to communicate with the girl. “Araby” as the story’s name is not only the boy’s destination where he goes against all odds, but it is the place where the cold reality
When they suffer from a lack of attention it leads to loneliness and depression. In addition to feeling lonely and depressed, they feel like a complete outsider, they feel different; they feel like they are a “wrong” person. “Nobody even stops to think of my side of it.” “Why do I have to be the one with braces” (Audre, 24-30). In today’s day and age many adolescents are suffering from being different or feeling “wrong”. “Mommy, daddy, I just want to let you know I’m gay.” Some parents who have gay kids try and prevent them from being gay hoping to