1. Several motifs in the first pages of this chapter present a real sense of theater: •Mr. Smith flapping his wide blue wings on the roof of Mercy Hospital •Red velvet rose petals spilled in the snow •The woman (Pilate) singing the song, “O Sugarman” They will reappear frequently in the novel. What contrasts do they present to the world Macon Dead would like to build?
Saba Mirfatahi Professor Bourget English 1130 October 6th 2015 Mitford: Analysis of “Behind the Formaldehyde Curtain” Jessica Mitford’s, “Behind the Formaldehyde Curtain,” is an assertive account of the true realisms involving embalming. Jessica Mitford takes a bold stand against the funeral industry and states that people are “blissfully ignorant” (Mitford 310) on preserving people. Ultimately, Jessica Mitford’s argumentative essay is successful due to her very somber but informative and organized tone, her style using dark vivid imagery and quotations make her claims credible. One of the way’s in which Mitford’s argument is effective is through the use of her sarcastic tone. There are many words to describe Mitford’s tone; cocky, blunt,
It’s clear that he has no feelings of sorrow for this family as he says things like: “ *About her death* Will be on the news tonight, I reckon. That 'll be good. No, that 's not good.” and: “She 's what the kids would call a slut, which is a terrible thing to say about someone who 's just died, but apparently there 's no denying she was one.” He is portrayed in a feminine and over-dramatic with endless amounts of hyperbole.
This shows how he was depressed after the murder, while people who had just murdered someone would almost feel satisfied. The quote “She hadn’t know them well, but in a small town everybody knows everybody else to speak to, at least, so Mrs.
3.05 Reading Journal Part A In the Premature Burial, by Edgar Allen Poe, the author speaks of his terror upon being buried while not dead. The theme of overwhelming terror and the way it alters one mentally is used to show the narrator as he is swallowed up by his dread of being buried alive. The narrator is afflicted with catalepsy, which is a nervous condition that inflicts a trance or seizure with a loss of sensation and consciousness accompanied by rigidity of the body. The narrator internally fears that his paralyzed body will be falsely misconstrued as dead.
The man then describes how the funeral had a "serious comedy" tone, but he still found the funeral to be "one of the finest of the year. " This comments are interesting due to the nature
In conclusion, Patrick Henry ordeals a well-developed meaning to the delegates and the President that they will not express fear and lose an act of bravery to the British. With an organized speech, he conquered the fear of the British being lifted from the convention to represent this act of freedom. Hopefully that Henry convinces the delegates through God and ideals repetitions to follow his speech in the victory of
In truth the masquerade license of the night was nearly unlimited; but the figure in question had out-Heroded Herod, and gone beyond the bounds of even the prince 's indefinite decorum. There are chords in the hearts of the most reckless which cannot be touched without emotion. Even with the utterly lost, to whom life and death are equally jests, there are matters of which no jest can be made. The whole company, indeed, seemed now deeply to feel that in the costume and bearing of the stranger neither wit nor propriety existed. The figure was tall and gaunt, and shrouded from head to foot in the habiliments of the grave.
Mitford then says that the funeral director has done all that he can to make the funeral was “a real pleasure” for "everybody
O’Connor’s use of satire and how morbid the characters give the reader to not sympathize with them because of their pettiness, ludicrous, and so irredeemably gauche character. “O’Connor creates hearty guffaws and cries of horror, then
In the passage by Henry James, Odgers Funeral, on July 1877 in Lippincotts Magazine, the hard-hearted and aloofness of henry reflect the feeling he has of the less fortunate. He describes the people as “shabby” and “perverted”. James thinks it was a horrible thing for Odger to get into parliament. In these times the elite thought of the poor people as savages and animals. The only good use of them would be for work.
296). Even though we can surmise from the reading the grandmother’s family is being murdered just feet away from her, the author’s use of grotesque characterization makes it difficult to be sympathetic to the grandmother (Kirszner & Mandell, 2012). When the grandmother “raised her head like a parched old turkey hen” it is difficult to sympathize due to this dehumanizing characterization (Kirszner & Mandell, 2012, p. 308). The language creates an image is so vivid the reader can almost visualize the grandmother as a cartoon character shrieking as she called out in desperation for her “Bailey Boy” (Kirszner & Mandell, 2012, p.
Grimly written, the opening scene of All the Pretty Horses by Cormac McCarthy depicts young John Grady hesitantly approaching the casket of his dead grandfather. The language of the scene is morbid and outright depressing. Although death is not written in the scene, there are many examples of language that describe death more accurate than a corpse ever could. John Grady begins walking, while the “floorboards creaked under his boots.” Even the floor is old and mistreated, close to not being able to function, evoking the sense of death.
The Power of transparent honesty in Dialogue The monologue “Requiem of love” by Patricia Burke Brogan indulges in various elements to make the story more impactful to the audience. The author uses music, props, setting and mimicry of other characters to make the monologue more animated. It begins at a slow repetitive pace, but then once the momentum picks up, it drives the story intentionally as one reads.
In recognition of the grotesque as the slipperiest of aesthetic qualities the flurry of nineteenth century writers addressing the grotesque did so by exploring its aesthetic, social and philosophical significance. Theoretical attempts to iron down the meaning and implications of the grotesque have addressed it alternately as a quality of media or as a quality of interaction with media, or even alternatively as a quality of the act of mediation itself. As a quality of media the grotesque has proven particularly susceptible to the conceptual fluctuations of history. Kayser,(1981) the father of modern grotesque theory, identifies the definition of the term as the central issue in the study of it, assessing it himself as the appearance of a reality that is simultaneously of and opposed to the worlds in which its audience take part.
