In Sandra Cisneros' "The House on Mango Street," the concept that all kids have to grow up and lose their childhood innocence is conveyed through symbolic language. Cisneros provides an evocative and fascinating portrait of adolescence by employing figurative language such as metaphor, simile, and personification.
The house on Mango Street is used as a metaphor numerous times throughout the novel, and it is one of the most powerful literary devices. The heroine, Esperanza, associates the house with her family's poverty and the restrictions this places on her. She comes to see the house as a metaphor for her own personal growth as she gets older. Esperanza's body becomes a metaphor for the house, and its "rooms" stand in for different facets of her character and identity. In one chapter, for instance, she says that her "Sally" and
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For instance, in "Hips," Esperanza talks about the way the women in her community dance. She describes them as follows: "They are females who do not have a driver's license and do not enjoy driving." If a woman has terrible hips, she will look like a swinging skirt or a full-circle skirt. This not only captures the women's physical beauty, but also their vitality, poise, and sexiness. We get a more complete and nuanced picture of the characters and their lives because to the vivid sensory details.
Cisneros is able to depict the intricate and multifaceted character of coming of age by use figurative language in these and other ways. She demonstrates that growing up entails not just overcoming external obstacles like poverty and social inequity, but also overcoming internal ones like the quest for identity and the loss of innocence. The use of metaphor also aids in establishing a bond and continuity between various ages. The house on Mango Street, for instance, is a metaphor that links the setting in the story to the individuals' internal