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Imagery In The Most Dangerous Game By Richard Connell

522 Words3 Pages

Hunting is fun and full of adrenaline, until you become the one that’s being hunted. In Richard Connell’s thrilling Short-story, “The Most Dangerous Game”, a hunter, Rainsford, falls off his ship, and has no other option but to swim to Ship Trap Island. When he reaches the island he meets General Zaroff and Ivan, a Cossack savage who protects Zaroff. When Rainsford and Zaroff get to talking, eventually Rainsford learns that Zaroff hunts humans on the island, which leads to Rainsford becoming the hunted. This story contains many uses of the element of imagery to describe the setting, establish the mood, and describe the characters. Connell uses the imagery element to describe the setting in many places in the story. One example is “There was no breeze. The sea was as flat as a plate glass window.”(18). In this quote he describes the calmness of the sea by using this simile. Another example is “…. it was set on a high bluff, and on three sides of it cliffs dived down to where the sea licked greedy lips in the shadows.”(20). This gives a picture of what the geography of the island is by using personification. Lastly, “…. through a screen of leaves almost as thick as tapestry…”(31), this gave imagery to the surroundings of the island by using simile. There are many ways which Connell uses imagery and these are only just a few. …show more content…

One way he does this is by using the quote “… short as the blood-warm waters of the Caribbean.”(19). In this quote, Connell uses imagery to give an eerie mood by saying “blood-warm waters” apposed to “warm waters”. Another way he uses imagery to give a certain mood is by saying “It’s like black velvet.”(18). He uses imagery in this quote by using the simile to create a suspenseful mood. He uses many ways to create a mood in this

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In the short story “The Most Dangerous Game,” the author, Richard Connell uses the wonders of figurative language to spice things up in many ways throughout the story. Almost every page had something lying within itself, hidden behind metaphors similes, personification, and the list goes on. Some examples of how Richard Connell uses figurative language were clearly displayed on page 62: “Didn’t you notice that the crew’s nerves were a bit jumpy today?” This page also began to reveal the main feeling/emotion of the story(eerie/suspicious) came to be-which was set off by the example I used above. In this scene, the author uses very descriptive words and/or adjectives in his choice(s) of figurative language when he writes, “There was no breeze.

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Connell uses imagery to show the reader how intense and fearful Rainsford feels in the story. For instance, Zaroff first look to Rainsford was “menacing look” (17) This quote is imagery because it describing the look in his eyes did not change and it was a menacing look also. Another example for imagery would be when “Ivan conducted him was in many ways remarkable.”

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Without literary devices, the stories you read would be dull and uneventful. This is why Richard Connell effectively uses similes and imagery in “The Most Dangerous Game” to help give it life. In this story, Connell used similes to give the reader a feeling of how things looked or felt. On page 19 the author wrote “...but it was like trying to see through a blanket” (Connell).

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Panic, anxiety, and most importantly, fear, are all components that form the adventurous tale, The Most Dangerous Game. Rainsford, the protagonist of the story, is widely recognized as an experienced hunter who ventures off in a ship to travel to Rio in order to hunt jaguars. However, the story turns when Rainsford falls off his ship, encounters a hunter who hunts men, and becomes the prey himself. Although Connell sets up an intense plot by using irony, characterization, word choice, and other literary devices, imagery is one of the main aspects that releases an uneasy feeling within the audience. Imagery is a common literary device that authors use to engage a reader into the story, by painting the scene in the audience’s mind.

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