Sandra Cisneros’, “The Monkey Garden”, uses juxtaposition and personification to provide ominousness to her vignette. For instance, a bit after Esperanza first entered the garden following the family moving, she noted the “hollyhocks perfumy like the blue-blond hair of the dead”, comparing aromatic flowers to dull colored locks from the deceased, foreshadowing that there must be an upcoming negative event of some sort involving death. The foul use of corpses’ hair color to describe a fragrant plant is placed to accentuate their clear differences. Cisneros also uses personification to establish an ominous mood to this piece. For example, after stating the garden was taking over itself, the “flowers stopped obeying” their designated areas.
“The Monkey Garden” is a short story by Sandra Cisneros about a young girl named Esperanza who lives near a fantastic garden. The diction and personification in the story affects how Esperanza breaks free from her childhood and loses her innocence. Esperanza enjoys playing in the garden, but her friend Sally tells her she is too old to play where the children play. Esperanza realizes that “the garden that had been such a good place to play didn’t seem mine either” (Cisneros 2) after her friend Sally plays an unorthodox kissing game with boys at the garden. As a result, Esperanza loses her innocence when they laugh at her for trying to “save” Sally.
Spring is universally symbolic for rebirth. Yet Edna St. Vincent Millay, takes a very different perspective in her view in her poem “Spring”. Millay finds the season redundant and agitating. By using negative diction and imagery her message that the beauty of nature can't compensate for the existence of death is extremely clear. Millay's negative diction shows how she feels about life.
Both his emotions and unpreparedness provide a sense of femininity because he is both fearful and he too naive to bring a map to help him. Once McCandless realized he could not cross the river because it would be suicide had he attempted to do so, he went back to the bus and wrote in his journal, “Disaster [...] Lonely, scared” (McCandless 170). His journal entries about the way he feels shows his vulnerability, which is a big portion of the femininity in the novel. Another feminine aspect in the novel is his ignorance of preparedness when he decides to go into the wild. In chapter 17 it is explained that had he had a topographic map readily available, McCandless would have been able to return to civilization by finding a gauging station with a thick steel cable that crosses the river.
In The House on Mango Street by Sandra Cisneros, Esperanza’s shame and despair dragging her down, contrasted with her vivid dreams of escaping her economic class providing purpose and hope demonstrate the dual contradictory effects of poverty on an individual. While she does express ambition for her aspirations, Esperanza’s economic troubles cause her to feel despondent and isolated, demonstrated by her disappointment with her material possessions. Her despair is first introduced in the vignette “The House on Mango Street” where a passing nun views Esperanza’s run-down house. The nun responds to her house with disbelief and disgust, prompting Esperanza’s embarrassment: “The way she said it made me feel like nothing. There.
The mood changes from the euphoric and perhaps slightly disturbing atmosphere in the first stanza to that of gloom in the second stanza. The melancholy tone in the stanza is emphasized by the choice of words “rat-grey”, “stinking” underscoring the sickening state and unpleasantness of the rotten berries. The poem deduces in a more sad, grave, accepting tone, revealing that even the child “hoped [the blackberries would] keep, knew they would not.” Contradicting, ‘Watermelon Pickle’ ends with a sad but hopeful tone saying “the bites [of the watermelons] are fewer now” stating how his joyful childhood has ended. The hopeful tone is the point as which he says “when we… Slice off a piece… Unicorns become possible again.”, he states how when he eats the watermelon there is hope that childhood can be re-lived. To conclude, these two poems have different tones from beginning to end that gives the reader a contrasting impression from each
There is an exact place within this poem you feel the shift towards Mary Oliver’s feelings about the swamp. At the beginning she is negative towards the swamp and it feels like she doesn’t want to be there. As the poem shifts it seems as if she finds the light and sees aspects that weren’t previously there making it a more inviting place. It is almost as if in the beginning it is nighttime and she might not entirely see the swamp. At the shift, the sun rises as she sees new aspects of the swamp she couldn’t see before due to the
But I’ll never know it” (105). At this time in his life he makes his own assumption that rather than the idea that God will punish him or to reward him when the time comes, but there will be no warning or religious explanation when the earth will devour him. In The House on Mango Street tells the story of Esperanza Cordero and the journey she takes to finding herself. She encounters many other characters’ stories which can be used as morals, and more obvious with the physically broken house she grows up in. Both the stories and the house motivate her to discover herself.
Furthermore, Nagaina says, “You warned Rikki-tikki when I would have killed him. Indeed and truly, you’ve chosen a bad place to be lame in. And she moved toward Darzee’s wife, slipping along over the dust” (para 76). Thus, Nagaina is gullible because she believed that a bird who got her wing broken would even come near her nevertheless start talking to her making its presence known. Also, gullible differs from Rikki’s personality because Rikki would never be gullible enough to presume that somebody or something that fears him would suddenly give him the perfect opportunity to kill it.
Soren Kierkegaard once said, “Life can only be understood backwards; but it must be lived forwards.” In this quote, Kierkegaard speaks of the past and how dwelling in events that already happen will prevent a person of living their life in the present. Toni Morrison conveys this message in one of her major themes, showing that constantly wallowing in past memories will prevent characters to move on with their lives. Beloved portrays various sides of cruelty, showing it from a black slave’s point of view to even the owner’s point of view. Throughout the novel, the cruelty that characters experience, whether it be at Sweet Home or from the black community, show the victims’ struggle to move on from the past and the perpetrator’s awareness, or lack thereof, of their own cruel acts. Due to the Garner’s mocking disposition towards slavery, the black slaves at Sweet Home are deceived later on as a result of their kind treatment.