In “Odger’s Funeral” by Henry James, irreverent, disdainful tones exhibit the way James feels about the man’s funeral. The plot involves a reporter attending a man’s funeral, considered to be the scum of society by James. James has an offensive and uppity diction throughout the story. When he mentions “the element of grotesque was very noticeable,” he states that the environment was absurd and disgusting. He was not at all satisfied with the funeral as it did not meet his expectations. He did not call it a tragedy, [“but a very serious comedy”]. This shows ridicule in a somber occasion. Claiming that the day was “magnificent” and “the finest of the year” shows his narcissistic attitude. Stating that a horrible, depressing funeral is a happy
Before Tim Piazza’s night begins, he reaches in a closet that “his mother will soon visit to select the clothes he will wear in his coffin.” After the night of “torture”, Tim’s family will be reunited one last time with “the redheaded boy they have loved so well” so he does not “die alone”. These pieces of wording are prime examples of the instrumentality of emotionally involving the audience in any piece of writing. When simple statistics and bland facts don’t seem to push Flanagan’s stance quite far enough, she turns to powerful, almost agonizing wording to complete the task. The language may be exaggerated at times, but it’s undoubtedly effective.
In conclusion, Patrick Henry ordeals a well-developed meaning to the delegates and the President that they will not express fear and lose an act of bravery to the British. With an organized speech, he conquered the fear of the British being lifted from the convention to represent this act of freedom. Hopefully that Henry convinces the delegates through God and ideals repetitions to follow his speech in the victory of
It’s clear that he has no feelings of sorrow for this family as he says things like: “ *About her death* Will be on the news tonight, I reckon. That 'll be good. No, that 's not good.” and: “She 's what the kids would call a slut, which is a terrible thing to say about someone who 's just died, but apparently there 's no denying she was one.” He is portrayed in a feminine and over-dramatic with endless amounts of hyperbole.
For example, he describes its gloominess as a “fantastic farm where ashes grow like wheat,” which demonstrates a dismal feel in an ironic fashion through the contrasting imagery associated with growth and freshness. This tone is further expressed by the “ashes grow[ing] like wheat into ridges… and grotesque gardens,” which adds to the dreariness of
In truth the masquerade license of the night was nearly unlimited; but the figure in question had out-Heroded Herod, and gone beyond the bounds of even the prince 's indefinite decorum. There are chords in the hearts of the most reckless which cannot be touched without emotion. Even with the utterly lost, to whom life and death are equally jests, there are matters of which no jest can be made. The whole company, indeed, seemed now deeply to feel that in the costume and bearing of the stranger neither wit nor propriety existed. The figure was tall and gaunt, and shrouded from head to foot in the habiliments of the grave.
In the passage by Henry James, Odgers Funeral, on July 1877 in Lippincotts Magazine, the hard-hearted and aloofness of henry reflect the feeling he has of the less fortunate. He describes the people as “shabby” and “perverted”. James thinks it was a horrible thing for Odger to get into parliament. In these times the elite thought of the poor people as savages and animals. The only good use of them would be for work.
Grimly written, the opening scene of All the Pretty Horses by Cormac McCarthy depicts young John Grady hesitantly approaching the casket of his dead grandfather. The language of the scene is morbid and outright depressing. Although death is not written in the scene, there are many examples of language that describe death more accurate than a corpse ever could. John Grady begins walking, while the “floorboards creaked under his boots.” Even the floor is old and mistreated, close to not being able to function, evoking the sense of death.
Mitford then says that the funeral director has done all that he can to make the funeral was “a real pleasure” for "everybody
296). Even though we can surmise from the reading the grandmother’s family is being murdered just feet away from her, the author’s use of grotesque characterization makes it difficult to be sympathetic to the grandmother (Kirszner & Mandell, 2012). When the grandmother “raised her head like a parched old turkey hen” it is difficult to sympathize due to this dehumanizing characterization (Kirszner & Mandell, 2012, p. 308). The language creates an image is so vivid the reader can almost visualize the grandmother as a cartoon character shrieking as she called out in desperation for her “Bailey Boy” (Kirszner & Mandell, 2012, p.
3.05 Reading Journal Part A In the Premature Burial, by Edgar Allen Poe, the author speaks of his terror upon being buried while not dead. The theme of overwhelming terror and the way it alters one mentally is used to show the narrator as he is swallowed up by his dread of being buried alive. The narrator is afflicted with catalepsy, which is a nervous condition that inflicts a trance or seizure with a loss of sensation and consciousness accompanied by rigidity of the body. The narrator internally fears that his paralyzed body will be falsely misconstrued as dead.
1. Several motifs in the first pages of this chapter present a real sense of theater: •Mr. Smith flapping his wide blue wings on the roof of Mercy Hospital •Red velvet rose petals spilled in the snow •The woman (Pilate) singing the song, “O Sugarman” They will reappear frequently in the novel. What contrasts do they present to the world Macon Dead would like to build?
Mitford takes note that “not one in ten thousand has an idea of what actually takes place” (310) and there is so much more beneath the surface of things. Mitford also uses oxymorons such as, “he has done everything in his power to make the funeral a real pleasure for everybody” (314). It’s clear that a funeral isn’t a “pleasure”, it’s an incredibly sad experience (for most people) and it just goes to show the depth Mitford will go to portray her aggressive opinions. As Mitford continues to describe the shocking details about embalming she gets into a routine and systematically gives us disconcerting imagery every other paragraph, such as, a corpse “whose mouth had been sewn together” (312). Mitford’s style is informative and she doesn’t shy away from being brutally open by using unsettling imagery, which once again makes her case even
O’Connor’s use of satire and how morbid the characters give the reader to not sympathize with them because of their pettiness, ludicrous, and so irredeemably gauche character. “O’Connor creates hearty guffaws and cries of horror, then
In recognition of the grotesque as the slipperiest of aesthetic qualities the flurry of nineteenth century writers addressing the grotesque did so by exploring its aesthetic, social and philosophical significance. Theoretical attempts to iron down the meaning and implications of the grotesque have addressed it alternately as a quality of media or as a quality of interaction with media, or even alternatively as a quality of the act of mediation itself. As a quality of media the grotesque has proven particularly susceptible to the conceptual fluctuations of history. Kayser,(1981) the father of modern grotesque theory, identifies the definition of the term as the central issue in the study of it, assessing it himself as the appearance of a reality that is simultaneously of and opposed to the worlds in which its audience take part.
The Power of transparent honesty in Dialogue The monologue “Requiem of love” by Patricia Burke Brogan indulges in various elements to make the story more impactful to the audience. The author uses music, props, setting and mimicry of other characters to make the monologue more animated. It begins at a slow repetitive pace, but then once the momentum picks up, it drives the story intentionally as one reads.