What one desires should be clear, but for Conrad and Gulnare, It is not so. These three epitaphs set the emotional charge of the succeeding Canto, but they only do so after a second reading when their connotations are less “dim;” thus, simultaneously spoiling the story for the reader and asserting the creator’s superiority. Byron further manipulates the reader using conventions, especially in the form of verse he uses, but he wholly admits this in his
Dante’s word choice here actually puts the reader into the story because of their ability to hear the sinners’ agony. Ex2 Dante uses diction in Canto 32 to form a lively scene of the Falsifier’s torment. Elab In Bolgia ten, Dante and Virgil meet the Falsifiers, who he splits into three classes according to sin. The first class, the evil impersonators, must run for all eternity while chased by the furies. One of the sinners begins to “bark and growl like a dog” throughout the “mad seizure of her misery” (30.20-21).
This said blindness is presented on many different levels, from the pure ignorance of Zorbach of the plot development to the ride the reader is taken on with a sense of foreboding but no real clues of what will happen. The author uses repetition to great effect in the epilogue and prologue, in an effort to create the haunting effect of what could have been should Zorbach have realised the implications of his actions. The interchanging of third person and first person narration, however, is what allows all the plot devices to flow together in the making of the “perpetuum
We hear the poet 's stammering voice, helplessly screaming aloud to himself while futilely hammering at the gates of the impregnable heinousness of the holocaust in an attempt to ethically hack the language of murder and murderers and purge it off its monstrosity. In With a Variable Key,
Stage directions helps reveal the emotions of the characters in this scene and laces this scene with violence. After Hally spits in Sam’s face, Sam’s anger bubbles and he “mov[es] violently towards Hally.” (56). Here, Fugard choses to make Sam feel violent because violence is one of the reactions to racism. Fugard demonstrates that people may react to racism by becoming violent. The promise of violence builds up as the next stage direction sets up “[a] dangerous few seconds as the men stand staring at the boy.” (57).
Conceivably, this hypocritical relationship between Tom and Nick may be used by Fitzgerald to generate criticism to the contemporary lack of social values and this idea of social decay that prevailed in the 1920s. Furthermore, the readers – as mentioned before – feel disgust and antipathy for Buchanan due to his racist and male chauvinist sayings and behavior.
For instance, the speaker has short bursts of exclamation in the phrases “oh da horror, oh what a shame” (14). The entire line in the poem, “oh da horror” is italicized to add feelings of disappointment, which is similar to the use of the modern-day term known as “Oh my God!” Shame is associated with lying, embarrassment, and cheating husbands, but in this context, it means a life is wasted because of its abrupt end. The concept of death is frightening because death comes unexpectedly. Furthermore, the author conjures further thoughts with the question: “why’d he do that to himself?” The question shows great importance because it is the only interrogative statement in the entire poem. The phrase “do that to himself” is of the utmost importance because it means he claimed his own life which would sadden those that knew him.
Realism is a major theme in Gustave Flaubert’s, Madame Bovary. Flaubert’s minute notation to the physical world is what brings the book to life. By adding excessive detail to certain aspects of the book, the reader is able to picture these moments, making the novel all the more life-like. Although Flaubert does an outstanding job of providing the reader with details to convey the idea of realism, he may be giving too many details. There are several instances in the book where it feels as though Flaubert put too much thought into the details and perhaps confuses the reader with adjectives that may be unfamiliar to them.