She uses a lot of quotations but that does not mean her own opinions are lost, instead they found the stem of her argument, that traditional funeral processes are savage. The quotations add more detail, make note that no one knows authenticity of embalming, and once again, make the reader more emotionally connected. For example, "If he were not in the habit of having them manicured in life, trimming and shaping is advised for better appearance-never questioned by kin" (313). The use of quotations allows the readers to know that she fairly treats alternate opinions as she presents them with true facts and a correct mindset of embalming.
Visible imagery is used when O’Brien describes the man’s corpse, he describes the man in great detail which humanizes the Vietnamese soldier. The more the protagonist describes the man, the more the feeling of regret and guilt sets into the reader and it makes the effects of war more daunting. The author also touches kinesthetic imagery by making the reader feel for the author when he begins to create the corpse’s backstory. The readers feels sympathy for O’Brien because he is already consumed with guilt and pain. In the story, O’Brien reflects his own life onto the Vietnamese soldier and the reader sees that.
The author used a name with so much meaning to it next to a sentence of a lifeless corpse to create an effect of sympathy for his
Death's caricature of Liesel's Papa draws in the reader by using pathos details and descriptions such as, " The bodies of Mama and Papa, both lying tangled in the gravel bedsheet of Himmel Street." (536) By using the words "bodies" and "lying" the author implies that
Other subjects that correspond to the meaning of “Dead” are the characters’ social classes and their way of living life. Wealth and money are recognized as the two main elements that symbolize the liveliness and happiness of life. However, in this
In the book it says, “From the depths of the mirror, a corpse was contemplating me. The look in his eyes as he gazed at me has never left me.” pg. 115 When you have gone through so much in life, you start to fade, to disappear.
Death plays a bigger role in life than life itself. When people die, people cry, and while people cry, a clear moment of lucidity occurs. Death is what makes every moment worth living and is told through stories of books and movies with symbols both subtle and blunt. Night, for example, is an autobiographical novel recalling Eliezer’s experience through concentration camps while The Book Thief is a historical fiction film where Liesel is a bystander who participates in activities symbolizing war. History is intertwined death.
In the first chapter of Langer’s analytical book on how death (specifically mass annihilation and atrocities) is represented in modern literature, Langer emphasizes the duty of the author to avoid the cynical approach to mass death without being ignorant in the reality of atrocity as part of the human experience and a condition of life. Someone who is writing about death must not be too harsh in declaring atrocities and quick deaths as the reality of death partially because no one would want to read literature so depressing. As Langer states, "literature that failed to uncover traces of the human amidst the human debris of our recent history would quickly lose its audience" (Langer 2). He also emphasizes the difficulty of addressing death
When a loved one dies, it can be difficult to cope with the loss. The loss can be overwhelmingly devastating which results in the desperate desire to connect with the person who has died. To compensate, people often insist on keeping the loved one’s spirit with them through memory. However, oftentimes the death is so unimaginable and the impact so great, it results in the denial of death and the subsequent altering of these memories. Denial of death undermines memory by fabricating understanding of events, and in Tim O’Brian’s “The Lives of The Dead,” Tim’s memories of a childhood crush Linda, demonstrate his denial through his altered visual, auditory, and emotional memories.
The imagery is also used to prepare the reading for the end with the line “the air was damp, the silence close and deep”. This line showing that death was near and soon after finding this Myop comes across a dead
Death is usually portrayed as a heartless and cruel character, but in the story the author shows a different side of death, with compassion and human-like feelings, which is very ironic. 2. What are Death ’s feelings for each victim?
Through personification the speaker depicts death as a gentlemen, and not someone who brutally takes our lives quickly, but in a courteous manner. The use of symbolism to describe three locations as three stages of life. These three stages are used to show our childhood,adulthood, and us as elderly soon about to meet death, The speaker also uses imagery to show that all death is a simple cold, then we go to a resting place which is the grave, and from there on we move on toward eternity. Death is a part of life that we all need to embrace, and learn that it is not meant to be
However, for Poe, death is poetical. And not just any death, but rather the death of a beautiful woman— by beautiful we will assume he refers to the women he admires, the women he found beautiful on the inside, because death is also the end of all external appearances. In any case, if one is familiar with Poe’s style, we will know that the death motif was nothing new in his stories, neither was the death of his female characters. Nevertheless, to understand why he had the audacity of presenting the death of a woman as something poetical, it is necessary to know more about his personal life.
The gutter she describes that is holding onto the sun in the sky represents the warmth being held away from her, especially in this relaxed place. Even the waves approaching the shore are not gentle, and are in fact in her mind like an iron gate keeping her from the closeness of her loved ones. The speaker tries to rationalize her overwhelming feelings of grief, aware that this tragedy happens everywhere and the hardship that results is normal. After examining her surroundings, the speaker addresses death itself exclaiming, “My darling, the wind falls in like stones / from the whitehearted water” (9-10). After being touched by death,
“Many people experience the feeling of the uncanny in the highest degree in relation to death and dead bodies and to the return of the dead” (Freud 241). One example of this is post-mortem photography from the Victorian era. In the Victorian era (1837-1901) death came early and often due to high infant mortality rates, death in childbirth, poor hygiene, and contagious diseases (Jalland 4-5). Furthermore, most died at home among family, giving people more exposure to death (Henger 6). A stereotypical view of death in the nineteenth century was one of the ‘beautiful death.’
