In Niccolo Machiavelli's book, The Prince (1513), he evaluates on how a prince can be a successful leader. Machiavelli’s purpose of this guidebook was to construct his argument to the rising ruler Giuliano de Medici for when he comes to power in Florence. He adopts a casual but authoritative tone in order to convince the prince that Machiavelli’s evaluation on how to be the best prince, is the right thing for the prince to do without coming off as he knows more than the prince or is trying to intimidate him.. Machiavelli’s reference to previous rulers and whether their tactics failed or succeeded helps to benefit his credibility along with his allusion to historic text. He appeals to our logic by simply stating a prince can only do what is within his power to control, and his use of an analogy furthers his argument. Throughout the chapter, Machiavelli uses authoritative language to help convince the reader and prince that his ideas are worthy of being followed.
Ionesco put his focus on the tragedy of language. In fact he bothers the audience with the disintegration of language, which is one of his main targets of this play. All over The Bald Soprano can be analyzed as a parody where the author mocks about the universal bourgeoisie which, to reveal a dehumanized mankind which became spiritually seen empty. Therefore Ionesco used the language as an important implement to highlight this dehumanization. In concrete the language of the Smiths and Martins is indeed old fashioned and dry adding slogans and a lot of simple expressions.
Dom Casmurro is narrated in the first person narrative by the self-proclaimed protagonist Bento, nicknamed Dom Casmurro for his stubborn nature. The story is told solely from his perspective and therefore automatically creates a biased view of the events that come to pass in the novel. The flawed narrator (Bento) writes the story from his point of view completely muting out the opinions and speech that do not directly support his case in order to rally sympathy and build trust between himself and the reader. Despite the fact that all we have to believe is Bento’s thoughts and what he writes down, because of Machado’s writing technique we are able to see what Bento tries to do, which is to play the victim in the story. Driven by jealousy and
Literary devices are what makes up any work. Every author has to incorporate their style into their work so that they can give the reader an idea on how to feel. It is manipulation actually, they use positive and negative reinforcement in their words to affect the readers judgement. In The Inferno by Dante Alighieri uses symbolism and diction to help the reader comprehend his work. One of the most often literary device that Alighieri uses is symbolism.
Gianni Barbiero suggests the order is ‘poetic, not logical’. The text seems to disagree in describing her from the eyes downwards to the neck, but then uses another single inversion in reversing the position of the cheeks and lips positions being reversed. However, it does comply with Barbiero’s view that the eyes are described first, as in romantic tradition they are the most important feature on the face, telling of the soul. Thus we can agree with Tod Linafelt when he says ‘strict use of parallelism adds a heightened sense of formality to the passage’, and indeed the style of the passage could highlight the new found formality of their love now the couple is married and their union
Prompt: Use evidence from the entire text to support your answer to the following prompt about the theme of the story. Your response should be well thought out, supported, and written. The story ended with Abuelita teaching Isabel to crochet and saying, “Ten stitches up to the mountain” and “Do not ever be afraid to start over” Why is the choice to the end the story in this way, significant to the story as a whole? In the Book, Esperanza Rising, a frequent saying has been used, “Ten stitches up to the top of the mountain” and “Do not ever be afraid to start over”. These sayings have two meanings, literal and metaphorical.
In conclusion, with the use of symbolism, Nino Ricci displays a more positive side of the character, where hope is presented in his heart. To sum up, throughout the story, by using tone and symbolism, the author convey the experience of immigration: their struggle and the belief, the dream for a more improved life. This experience points out that settling in a new country is perhaps a dreadful experience, yet a lesson can be drawn out of this story: if one is strong enough to overcome the hardship, they will earn a better
Karen Russell included the epigraphs, short quotations at the beginning of a chapter intended to suggest a theme, from the handbook to help the reader understand what the characters might be feeling or how they will act in a certain stage. In Stage One, the epigraph closely relates to the characters’ development, yet doesn’t consider that the girls could be fearful in their new home due to interactions with the nuns. The first stage from The Jesuit Handbook for Lycanthropic Culture Shock explains that St. Lucy’s will be exciting for the pack, and they should have a fun time exploring their new environment (Russell 226). The epigraph creates a mood of curiosity and positivity for the reader. Three adjectives used in the epigraph itself that help convey this mood are “new, exciting, and interesting”.
It is almost as if in this first part of the soliloquy, Othello is still trying to convince himself that Iago’s suspicions could be an accurate reflection of reality. This perhaps lack of confidence, however, does not persist throughout the rest of the soliloquy. Another prominent feature of this passage is that it is utterly inundated with bestial imagery. The first image comes in lines 162 to 165, where Othello states, “If I do prove her haggard, / Though that her jesses were my dear heartstrings, / I’d whistle her off and let her down the wind/ To prey at fortune.” Here, Desdemona is the falcon and Othello is the falconer. The falcon-falconer image
The following passage is significant to the play ‘Othello’ in retrospect to the plot progression, as it reiterates themes and introduces important facets to the plot development. Through Iago’s cunning manipulation and Shakespeare’s crafting of language, this passage is constructed as a pivotal point of the play, marking the transition of Othello’s personality and revealing his deepest insecurities that eventually lead to his downfall and tragic ending. Iago wields a lot of power over all the characters throughout the play, but in this passage in particular he is presented at his most powerful. The passage is riddled with subtle suggestions and insinuations by Iago to raise Othello’s suspicions of his wife’s fidelity, opening with the admonition to “beware, my lord, of jealousy! / It is the green-eyed monster, which doth mock / The meat it feeds on.” This metaphor not only is a symbol representing Othello’s dark feelings of inadequacy – pointing out Othello’s hamartia, which is root of his tragedy, but it also highlights the central theme of this play: Jealousy and the terrible consequences it holds on those who