Just this quote alone describes how twisted his mind was. The imagery used drew me in because it described how calm he was yet right on the edge of crazy. It makes you wonder how the killer can be so sensitive one moment and then so violent then next. The author used a lot of descriptive words throughout the book especially when the victims dead bodies were described how they were found. Things get carried away during the robbery when he realizes there is no money in the house.
You've heard of Dracula, the vampire who sucks humans' blood to death, and you've heard of the apocalypse, where the world is basically ending. Would you ever think these two completely different things have the same characteristics? Well, I'm going to show you in the passages, "Dracula", by Bram Stoker, and "Station Eleven", by Emily St. John Mandel, show how these two authors' use of sensory details helps create the mood. The two passages have similar moods because of their similarities in sensory details, but they also have differences between them. Some moods portrayed in the passages by the sensory details were ominous, edgy, and creepy.
Describing, and living the emotional rollercoaster between each character as they grew in success or perished in horrible ways. This book transforms the human mind through each one of the literary challenges that Larson uses to make a deeper connection to the readers. It takes you to a new state of mind when in Holmes head, and gives you inside look of how, and what a serial killer thinks. Yet with Burnham it gives you a inside look at the growth of the city, and the bond between people. This book would not be complete without the contrasting of the light and dark, heaven and hell, and good and evil aspect
Holmes knew that he had to start somewhere in this new place and he wasted no time by manipulating Mrs. Holton into giving him the information he needed to weasel the store from underneath
This passage occurs as more and more people begin to disappear from Holmes’s hotel in the midst of the World’s Fair including waitresses, stenographers, and even a male physician. Larson's purpose in this passage is to depict Holmes's insanity and psychopathic tendencies as he murders several guests at his hotel. Employing a vivid sense of diction, Larson details Holmes’s methods of murder; he uses words such as “gorging,” “proximity,” “death,” and “panic,” to characterize Holmes’s preferences, including the fact that he avoids bloody murder (like the notorious Jack the Ripper) and enjoys being near his victims while they are on the brink of death. When he murders, Holmes feels a sense of, “possession,” over his victim and believes it is “satisfying.” The vault in which Holmes murdered most of his victims “deadened,” most of the sound- but not all, and when his hotel was full of guests Holmes would, “settle,” for more silent means, explains
The imagery in Metropolis can be observed as very dark, as Ake Bergvall demonstrates in his writings on such. First off, Freder runs into a man named Georgy underneath Metropolis. Freder decides to switch roles with him and see what it is like to be in Georgy’s place and so then Georgy can see what it is like to be in Freder’s place. Having Georgy be a worker underneath Metropolis, he works on the clock machine. When Freder takes his place to work on the clock machine, he eventually succumbs to exhaustion, as he is shown holding the hands of the clock almost visually looking as though he is being crucified.
Capote paints a vivid picture of Smith's life and emotions, making the reader more invested in his story and more likely to sympathize with him. One of the most prominent examples of imagery used to evoke empathy for Smith is the use of the "death house. " The "death house" is a symbol of the grim reality of the death penalty and the dehumanizing nature of the criminal justice system. The imagery of the cold, sterile, and oppressive environment creates a powerful emotional impact on the reader, increasing their proclivity to sympathize with Smith as a victim of circumstance. Another example of imagery used to evoke empathy for Smith is the use of the "cold blood" of the title.
Wright creates and revisits the existence of “a whore’s lipstick” on the trampled grass. The lipstick is red, a color symbolic of passion and rage and bloodshed. The narrator analyzes the lipstick as belonging to a prostitute, due to the fact that the woman in question is concerned about her appearance during a horrific, brutal murder. Makeup is used to change one’s appearance, and the narrator feels an inexplicable rage towards the woman and her lipstick in this context, possibly because the victim of the lynching was killed for his own appearance. The symbol of the discarded lipstick exemplifies the callous nature of the witnesses that the persona is able to interpret from the aftermath of the
In The Jungle, the amount of crime and corruption happening around Chicago in the early 1900s seems questionable. In my history class, I have never heard of how “tens of thousands of votes were [being bought] for cash”, just so a certain politician could win an election (Sinclair 303). Sinclair then went on to accuse the meat packing industries’ rampant corruption by invoking pity for Jurgis’s father, Dede Antanas. A feeble old man who could not find a job against the multitude of competition in Chicago, he found a poorly paying job as long as he was “willing to pay one-third of his wages for it” (Sinclair 73). Furthermore, Sinclair’s portrayal of Chicago in the late 19th century at times seems exaggerated.
For instance, “That slanting mark on the water refers to a bluff reef which is going to kill somebody’s steamboat one of these nights, if it keeps on stretching out like that; those tumbling ‘boils’ show a dissolving bar and a changing channel there…that tall dead tree, with a single living branch, is not going to last long, and then how is a body ever going to get through this blind place at night without the friendly old landmark?” (44-51). Here, the reader is able to comprehend that by contemplating about the negative aspects of the river and how it would result in certain obstacles for a pilot of a steamboat, Twains initial view of the Mississippi River was ultimately diminished. Therefore, the author contemplates whether possessing knowledge about the beauty of an aspect and its true connotation truly belittles it compared to only seeing its beauty without thinking. Likewise, Twain contemplates the position of doctors relating their possible viewpoints towards a patient with his circumstances.
This first sentence in the passage immediately makes the reader wonder about the setting and what’s going on. In other words, the author W.W. Jacobs grabs the reader’s attention by making the readers think and be curious about
In both passages, the smells are used to orient the characters in a direction; the repairman, Stuart Little, and Montag each move follow the appealing smells of nature, which ultimately provides them with both physical and mental direction.
Why the Drinking Age should Not be Lowered Imagine seeing a loved one being in a drunk driving accident, now imagine them being the drunk driver. All of this could have been avoided if the drinking age was not lowered, but some may disagree. Many people believe that if the drinking age were lowered, these problems would no longer be an issue. But many also believe that the problem would just become worse and maybe even cause greater issues.
This paragraph employs robotic imagery most heavily and also uses loaded diction more than others. This section even goes so far as to call Worth’s body in intensive care as, “a nightmare of tubes and wires, dark machines silently measuring every internal event, a pump filling and emptying his useless lungs.” This section channels the intensity of an event like this and the fear one and one’s loved ones feel when the shade of fatality affects a person. Imagery also plays a large part in this section and places the reader in the situation John Jeremiah Sullivan was in through imagery like “The stench of dried spit”. This passage’s imagery challenges the reader to undergo the stale smell described and to witness the machine that Worth is connected to.
The silent film, City Lights, was created during a time where talkies were introduced, and many were transitioning to that medium. Charlie Chaplin obstinately refused to join the rest of his fellow artists and stubbornly decided to stick with his preferred medium-silent film. He wanted to demonstrate the validity of the art of the silent film with the creation of City Lights. This film details the adventures of Chaplin’s character, the Tramp, as he stumbles through town attempting to help the object of his desires, the Blind Girl (played by Virginia Cherrill) who mistakes him for a gentleman. To undertake this venture, Chaplin poured his entire soul to make a beautiful silent film that could capture his audience without implementing speech.
