Once outside the camp, “it seemed as though an even darker night was waiting for us on the other side” (84). The motif of night can be identified effortlessly because of the key words and attention grabbing context of the literary
“He opened his own mouth and let their shriek come down and out between his bared teeth. The house shook. The flare went out in his hand. The moonstones vanished. He felt his hand plunge toward the telephone.
The passage begins by alerting the reader of the she-wolf’s death, witnessed by a man referred to by “he”. In the second paragraph of the passage, the man makes a fire, which is supposed to get him through the night. Contrary to the darkness, the light of
In the lighthouse, the lantern flame dies out, “plunging Josan into darkness” (3). Bray uses the word “plunging” to portray the sudden absence of light. Furthermore, the reader is kept on edge because of the antisipitation of what will happen in the dark. Josan shakes with fear and “[h]is hand tremble[s]” as he tries to relight the wick (9). Patricia Bray deliberately chooses the word trembled to illustrate the terror in Josan.
Moreover, “But the strangest thing about it was, that from the crown of its head there a sprung bright clear jet of light, by which all this was visible, and which was doubtless the occasion of its using, in its duller moments, a great extinguisher for a cap, whit it now held under its
(p. 28) When the train stopped in the camp, they saw a flames rising into the dark sky. They did not know what burned there. As soon as the door opened they were have to go out and move faster. Flames in the darkness symbolize the power of the darkness soul . Not far from us, flames, huge flames, were rising from a ditch.
He demonstrates this saying “there was evening brightness,” when talking about the light outside and then writing “inside it was dusk” (38). The small light in the confined area represents the freedom people have. The darkness is to show the struggle people take to ensure a stable life for the future and the hard work it takes. The light from the day outside the bunkhouse shows that although things might seem bright the internal conflict in a person darkens it. He also claims the “cone of the shade threw its brightness straight downward, leaving the corners of the bunkhouse still in dusk” to argue that people are far to confined inside (38).
The phrase “ firelight to a lance extended”(4) describes an unsettling picture of the fire having a deadly form and appearance. The word lance by
Yet, in a moment, he somehow knew from the sound of that storm which rose so painfully in him now, which laid waste -forever?- the strange, yet comforting landscape of his mind, that the hand of God would surely lead him into this staring, waiting mouth, these distended jaws, this hot breath as of fire. He would be led into darkness, and in darkness would remain; until in some incalculable time to come the
Alas, alas, villainous villanelle! Your bold refrain makes it easy to tell Just what the poet's thinking as he writes. Now don't you see you've brought my poem hell?
The word ‘blazed’ has connotations of fire and burning, both of which are included in the semantic field of hell. By using this semantic field, this makes the reader feel that Dracula is a
On the beach, the littluns are in disarray, they scream “...and [blunder] about, fleeing from the edge of the forest, and one of them broke the ring of biguns in his terror. Him! Him!”(168). Furthermore, the literary technique of syntax adds to the theme of the power of fear by portraying Simon’s death as a gruesome and savage, spur of the moment incident through exclamatory phrases, repetition and word choice. The chant reveals the unification of the boys due to a mutual fear.
When the monster in embarks on his journey of life, he comes across a fire which had been left by some beggars; he is “ overcome with the delight at the warmth [he] experience[es] from it ”, however
In each stanza, two rhyming tercets in trochaic tetrameter are followed by a thorn line. Each tercet starts with a catalectic verse followed by two complete verses. In the two tercets of the first stanza, even the number of syllables of each word is identical. Only the seventh and the fourteenth verse are written in trochaic dimeter. Both the rhyme scheme and the metre emphasise thus the last verse of each stanza.
In “Acquainted with the Night”, it embodies the abyss of despair that the narrator finds themselves in. The poem centers on the qualities of the night, and the night’s defining characteristic is its never-ending darkness. The poem’s very title shows how deeply bogged down in darkness the narrator is; the speaker has, ironically, become friends with it. The motif of darkness manifests itself in other examples as well. The speaker writes, “I have outwalked the furthest city light,” showing that he or she has transcended the limits of a normal person’s misfortune and instead exposed himself to complete and utter desperation (3).
