It climbs the cliff instinctively, attempting to dodge Grendel’s attacks, “he keeps on climbing, mindless, mechanical, because it is the business of goats to climb” (140). “I smile, threatened by an animal already dead, still climbing” (140). Grendel states that the reasoning of the goat is that it is its business to climb. His evil nature takes over when he is angered. He sings his praise of it, “The air is sweet with the scent of his blood” (140).
In performing the ritual of throwing the flowers into the river, it releases Mark of the overabundance of unhealthy guilt. The flowers transform from a thing of trepidation to an icon of beauty. While still at Kurdistan, Mark undergoes a survivors’ guilt as he deems himself liable to the hastening colin’s death, feeling responsible to both Colin and his wife. This guilt further intensifies as fails to bring Colin’s body home. In a life lesson taught by Talzani, Mark has to learn to ‘forget the dead’ and ‘turn away from the past’, to realize that he is not responsible for the death of his friend and failing to bring his body back.
According to the story, it is unfortunate that the dog found the goatskin and ate it up making it hard to build the ciramella (Mazer, 1993). Nicole decided to order more goatskin to make another ciramella instrument (Mazer, 1993). Things got worse when the second ciramella started to rot from the inside, which, as a result,
I didn't feel comfortable about it" this conveys the message that tom is both afraid and uncertain of where his new life may take him. The use of flashbacks throughout the novel plays a vital role in conveying the theme of fear. This technique
She looked down at the axe, which seemed for last for hours. She thinks of the bible sales man that ran away with her leg, and has nothing but hatred for him. With the last little strength Hulga has, she kicks, with her one leg, and pushes her way the last little bit she needs to so that she may begin her fall to her own demise. She hears a familiar voice yell her name, as she exits the window. She screams a loud screech, just seconds before her death.
He describes the dog as ‘ancient’ and complains about how much he smells. He also mentions to Candy that the dog is old and has a lot of trouble getting through each day. Since the dog is deteriorating, Carlson tries to persuade Candy to kill the dog. “‘God awmighty, that dog stinks. Get him outa here, Candy!’…‘Got no teeth,’ he said.
Lennie’s physical strength is an extreme form of physical harassment. One example of the lack of intelligence of Lennie is when he speaks to the dead pup, “Why do you got to get killed? You ain’t so little as mice. I didn’t bounce you hard.” (Steinbeck, 85). Steinbeck uses these examples to foreshadow the eventual death of Curley’s wife.
At that mental age, they would not have been able to handle reality. One may say that it is sinful to end a life in general, however what George did was a truly good action by sending Lennie to a better place instead of receiving torture from Curley, a very abusive and cruel man to Lennie. A good example that is similar to this is when Candy had to make the decision to end the life of his dog. Many workers disliked Candy’s dog because it was elderly and smelled horrendous, therefore wanted it dead. Like George, Candy only wanted his dog dead to prevent it from enduring the suffering that they both face from oppressors.
Even more impactful to Paul’s experience, perhaps in a negative way, are Paul’s journeys home during the war. Throughout the novel Paul’s longing to return home dominates much of the novel’s narration. Paul consistently yearns for the years and experiences of adolescence that precede his experiences in the war, but when he encounters them both on leave and as a result of his injury, he rejects them. He quickly recognizes that “the world of our parents [is] a thing incomprehensible to us” (122). Home for Paul, and his romantic notions of it, is destroyed when he recognizes his own incompatibility with society due to his experiences in war.
Just as she used time of day in The Violets, she uses seasons to symbolise a time in her life. Autumn symbolises her middle age. In this stanza she paints a grim picture of her innocence lost as she has become aware of age and death by saying “we stand, two friends of middle age by your parents’ grave in silence among the avenues of the dead.” The reason she has chosen to set this part of the poem at the grave of her friend’s parents because of her love for her own parents, and she deeply empathises with her friend’s loss. It is typical in her poetry that, when the present becomes too miserable, Harwood will transcend the current time and return to a happier memory. However in this poem she cannot find a happier memory and recalls a dream instead, “I dreamed once long ago, that we walked among day-bright flowers.” Her use of positive imagery such as the “day-bright flowers” lightens the mood and achieves the same effect of the memories in The Violets, as she stops thinking of death and causes the reader to forget the unhappy nature of the initial memory and be emotionally moved by the warmth of the following memory where she is “secure in my father’s arms.” In her poems The Violets, Father and Child and At Mornington Gwen Harwood demonstrates through her use of memories, her loss of innocence, the love for her parents and how quickly time moves.