In the excerpt from the novel Under the Feet of Jesus by Helena Maria Viramontes the protagonist Estrella goes through various changes as an outcome from prior experiences. To convey those changes Viramontes uses some literature elements such as tone and paradox. Things starts when Estrella comes upon Perfecto’s red tool chest. When she opened the box she was disoriented because she did not understand what were the functions of the the tools.
After Ma’s death, Billie Jo couldn’t be around a piano, because she was so emotionally sensitive in that hard time. Billie Jo thought she would never play piano again, but that thought didn’t last long. Finding the Way states, “And I stretch my fingers over the keys, and I play.” Billie Jo became stronger through the adversity. The piano was one of many mountains Billie Jo had to
The juxtaposition provides a stark contrast between the initial and shifted temperament of the speaker. The narrator is
Melinda was less aware of the impact her teachers would have on her life, but received similar support to Anderson’s from her art teacher. After attempting to teach Melinda to use her voice through art, Mr. Freeman eventually tells her, “‘Melinda, [...] You're a good kid. I think you have a lot to say. I’d like to hear it’”
She felt left out because she was the only one that didn't play any instrument so, she questioned her dad why he didn’t let her sing and he would
The citizens then can see the different perspectives on the issue, and then base their view off the politicians’. Finally, contrasting characters can occur in books. This can happen between the protagonist and the antagonist or between two minor characters like Clarisse and Mildred in Fahrenheit 451. The author use contrasting
Which made June for shame and reject her mother for making her to do things she didn’t want to. With that June was about to go on her call to adventure to realize that her mother was just trying to do what was best for when she a child. June learn to come to terms about her when she revisit her mother before her death. She had felt like that there was a shiny trophy in the parent’s living room. The shiny trophy was the piano which you could in apply that she no longer saw it as an object of her mother disappointment but as her mother pride.
For instance, Miss Permals is characterized through conflict. “‘You don’t think I would just leave you here without investigating first, do you?’ replied Miss Perumal. ‘The notice didn’t even list a telephone number for questions. It’s a bit out of the ordinary, don’t you think?’”(8). Through the conflict of the unknown testing the reader learns more about Miss Perumal, and how she deeply cares for Reynie.
The Piano Man’s Daughter executes all of the elements of a great book perfectly. Works Cited Findley, Timothy. The Piano Man 's Daughter. New York: Crown, 1995. Print. "
Similarly, a literary critic breaks down the short story. Gwenethe Dunleavy not only recognized the irony used, but also divulged how the story’s meaning creates conflict for the character. She says, “Not only does the plot contain reversals that challenge the surface meaning of the story, but also the characters, with their sometimes opposed, sometimes parallel visions of the world, establish expectations that are ironically reversed by the end of the story. The style intentionally directs the reader to think in terms of opposition.” (Dunleavy).
Ina tells her mother that she needs to “practice” playing her piano, but this is a lie. Ina is upset about the arrival of the envelope, and is reticent to articulate her displeasure with words. Instead, Ina decides to voice her pain through her piano. Marshall drives home this point brilliantly: “’Silla, this ain no joke time.’ ‘Joke!
This fifteen-year-old girl was willing to remove herself from her social life, free time activities, and even her family in order to further her piano career and thus earn the coveted respect of her Tante. That requires an immense amount of devotion, likely even more than some adults have. Hannah was so absorbed in her piano studies that “sometimes it seemed that there was nothing else in the world but Tante Rose and me and Tante Rose’s piano” (3). She saw nothing but what was necessary for her goal of becoming a concert pianist. Her devotion to the piano, and by extent Tante Rose, overwhelmed all other aspects of her life.
Suddenly, “blue piano” music got her out of the grips of numbness. She quickly ran to the bathroom and looked in the mirror. “Blanche, Blanche…” - she spoke to herself - “Honey! What are you doing? Stella...
Nothing had been touched and was still where she left it. After her mother's death, she began to appreciate the piano and everything her mother did for her. She loved the piano and appreciated everything
She felt “light and good in the warm sun” (L8). To her young and inexperienced mind, “nothing existed for her but her song,” (L8) which just goes to show how oblivious and careless she is to her surroundings and worlds greater than her own. On the contrary, as she made her way a “mile or more from home,” (L23) she began to hit a turning point. The comfortable world at which she knew is now cracked open and unguarded.
