The Journey Archetype helps the character understand themself or society better (literarydevices). In Act III of the play, Emily goes back in time to her twelfth birthday. In that moment, Emily realizes that no one appreciates life in the moment. The journey can be done in two ways; physical or emotional. The type of journey that Emily went through in Our Town, is an emotional journey.
Mademoiselle Reisz is an independent woman which is what Edna is longing for. She loves to play piano and doesn’t care about the opinions of others. This helps Edna do the same but through art. Edna learns that Mademoiselle Reisz is writing with Robert, and she is the only one who knows about their love for each other.
Antoinette had never hit Marie nor Charlotte before, so at this point in the book, it was very heartbreaking knowing that Antoinette is so blinded by Emile that she would turn against her own family in order to defend him. Marie tried her best to change Antoinette's mind but with no luck until she would discover his guilt on her own accord. When Antoinette does have the realization that Emile was guilty, she knew that she needed to reconcile her relationship with Marie and apologize. She rekindled with her sister as well as bringing balance to their lives once more. The power of their love may have been harsh but it had brought them together and remained as so for the many years to
In the novel “An Old Fashioned Girl” by Louisa May Alcott, Polly Milton, a young country girl, moves to the city to become a music teacher. This is because her older brother wants to go to college but the family does not have the money. Polly being the good sister that she is, leaves her family to earn the much needed money. As the novel progresses, Polly begins to struggle against the high class society that surrounds her, though this is far more undesirable than she expected in the beginning. Though not always easy Polly tries to adjust to her new lifestyle, and proves herself to be kind, sensible, and brave.
Creating characters from Riley’s emotions provides an exciting way to communicate to the audience the importance of every emotion equally. For example, Joy finally realizes near the end of the movie that Sadness is essential to Riley’s mind when she notices how Sadness helps Riley reconnect with her family and bring them close together again. Secondly, viewers are educated on how the mind cannot process information when the train of thought is interrupted. This is demonstrated in an amusing way by utilizing a physical train to represent Riley’s thought process. When the train of thought breaks down, this leaves Riley lost and confused, leading her to make the unethical decision of running away from home.
She had grown up as a social out cast. During the song, she makes resolution for a new direction in her life. She no longer wants love if it “comes at much too high a cost.” Idina Menzel sings “Defying Gravity” in the best way. Third song is “For Good.” Stephen considers “For Good” one of the best songs he has written. The song was written for the show to try to express the leading characters’ feelings as they are seeing each other for the last time.
Dido puts her relationship with Aeneas as her number one priority. Her needs are set aside as she falls deeply in love with him. Her love for Aeneas soon turns into an obsession as they grow fonder of each other. After Aeneas’ sudden need to leave, Dido’s compulsion takes a turn for the worst. In Book IV of The Aeneid it stated that, “She prayed for death being heartsick at the mere sight of heaven” (Virgil 598-600).
She does this in order to make them a more interesting read. Angelou was challenged by her publisher to turn an autobiography into fiction, and thus she began writing her life with literary elements put into it (Walker 77). She recreates herself in childhood form in order to “reclaim the horror of childhood sexual abuse from statistical anonymity” (Henke 243). Angelou uses repetition and mirroring in Singin’ and Swingin’ and Gettin’ Merry like Christmas to show similarities in her young life to her adult life, such as leaving her son with her mother like her own mother did to her. She also uses capitalization to show importance.
It is free verse and written in the vernacular, implying that it emulates the examples of discourse and lingual authority of discussion. Hughes then builds up the metaphor of a staircase further, as the mother portrays the challenges in her life using images like tacks, fragments, uncarpeted floor, and dark, dim corners. She urges her son not to turn back, in light of the fact that she never will. The expression crystal stair is captivating. It can be found in an assortment of writings from the nineteenth century, a few religious and some mainstream, and it is frequently used to propose the superb association or parade from earth to paradise.
. . a sense of order and of being loved” (208) Instead of being overpowered by “the scars and prints of wounds,” her friend has the excellent power to include sadness and pain into a lucid and harmonious life. Vivien Grey meets Jennings’s idea of the social function of the artist. She constructs a symbolic order which endorses the truths she has learned, and she invites others to share in her