Bradbury's novel teaches its readers how too much censorship and control can lead to further damage and the repetition of history’s mistakes through the use of symbolism, imagery, and motif. When Bradbury employs symbolism, certain characters convey hidden meanings which help to further clarify the important themes in the story. As Montag is walking home from work one night, he runs into a young woman, Clarisse. Montag quickly discovers that Clarisse is not the average citizen and that she does not fall into the stereotype created by the censored community. Clarisse is a stark contrast to Montag who does his
Stewart’s “Lady feeding the cats” proficiently utilises this idea revealing his reflection on the inhumanity of society. The opening line “shuffling along in her broken shoes for the slums…” portrays her impoverished life, setting the theme of the poem; appreciation for nature and alienation. A motif is present throughout the poem to describe humanity’s hope for a better future. This is further emphasised in “princess out of a tower” and ‘queen of the cats’. This use of intertextuality coupled with the motif conveys the lady’s relevance and her appreciation for God’s gift of nature where she is acknowledged for her kindness and compassion.
As we unfold the lives of Behrani and Kathy in Dubus’ House of Sand and Fog, the theme of alienation becomes evident through how they view themselves, how their families treat them, and how the culture of their society has shaped them and where the society places them within itself. The majority of the time we feel alienated seeds from our own thinking, whether it lasts for a short minute or lingers until we can no longer control it. In the case of Behrani, his
Contrary to poetry’s perceived elegance, French philosopher Denis Diderot once stated: “Poetry must have something in it that is barbaric, vast and wild”. In the epic poem Beowulf, Seamus Heaney portrays the narrator’s intentions of conveying savagery in its antagonists. This poem details the experiences of a warrior named Beowulf who both rises and falls through his prideful attitude in combat. Although Beowulf encounters both external and internal threats, the poem’s tone and phrasing demonstrates the role of human bias, which determines outside threats to be more savage. The poet’s tone describes the savagery of outside threats to convey human bias’ role in judging barbarity.
As evidenced in the paragraphs above, the speaker in Blake’s poem To Tirzah believes in redemption, while the speaker in Baudelaire’s Obsession cannot find it. A larger implication that can be drawn from this difference is that while To Tirzah establishes some kind of belief in God through reaffirming the possibility of redemption, Obsession rejects religion based on the darkness that the speaker is left with. Therefore, the techniques that both Blake and Baudelaire use reveal the temperament and underlying values of the poems. The tone and mood of To Tirzah is dark, as the opening line creates a pensive, foreboding image of death. The tone of Obsession, however, is filled with anger, culminating in a sense of melancholic disappointment.
Steinbeck’s written conversations in Grapes of Wrath demonstrate unity due to their communal and friendly nature. People throughout this time were able to connect with one another by the way of shared vernacular. “Gleaming”, “lithely”, and “dark curl of crisp pork” are illustrative and expressive. They accurately describe the surrounding scenery and characters with precision . This allows vivid imagery to form and transport the reader into the plot.
The tone of the characters found on the page 95 greatly reflects how each character was ignorant in their own way. When Guy Montag was seen holding a book in his hand by Mrs. Phelps and Mrs. Bowles when re-entered the room after talking to them. Faber realized that Montag is going to ruin their plan so he quickly says, “shut up, you fool!” to Montag when he starts to discuss poetry. In this scene, Bradbury is showing the apprehensive and ambivalent tones that the woman are using, but also feeling. This is because of the laws the town has to not have to not own any literature.
The impact of the revolution was felt in all of the arts, as most artists and intellectuals entertained sentiments that were socialist, and the glorification of labour became a fashionable motif dating back to the beginning of the 19th century. Rural landscape was seen as superior to the noisome, polluted, and politically restless city life. This idealization of nature and the provincial against the urban was echoed in literary works as well. One such example being George Sands’s Mare au Diable (The Devil’s Pool), published in 1846 and said to have been read to Rosa Bonheur while she was working on the commission. The pastoral novel describes the lives of the peasants and the cycles of nature in detail and features a passage on a scene that is said to have directly influenced Bonheur’s decision to set the animals centre stage within the commissioned painting (see Fig.2).
Arundhati Roy’s novel, The God of Small Things, tells the tragic story of how a series of unfortunate events entraps a set of fraternal twins, Esthappen and Rahel, into a cycle of guilt and trauma caused by the haunting memories of their role in the demise of an innocent man. Interspersed with various references to theatrical plays – Shakespeare’s Julius Caesar, The Tempest, and predominantly the traditional Indian dance-drama – Kathakali, the performativity of the narrative gradually unravels itself through the active interaction between the readers and the narrative’s fragmented form. Using Wolfgang Iser’s theory of successful communication in literature, defined as “a mutually restrictive and magnifying interaction between the explicit and the implicit,” (Wolfgang Iser 1676) the novel demonstrates how the