is a comparison of two unalike things where one thing is said to be the other; a
is a comparison which is of somewhat lesser strength because it depends upon
the use of the words like or as.
The ebony clock in the seventh and final room, all hung with black, is
compared, via metaphor, to something living. The narrator says that, each
hour, "there came from the brazen lungs of the clock a sound which was clear and loud and
deep and exceedingly musical." Obviously, a clock does not actually have lungs; neither can
it be considered to be "brazen," as this adjective implies purposefulness. The cabinet
in which the chimes hang is compared to lungs.
metaphor when the narrator describes the dancing figures that stalk "To
and fro in the seven chambers" as "a multitude of dreams." They are living people
dressed so fancifully and fantastically that they seem like something out of a dream. They would
certainly add to the surrealism of the decor itself and affect the
Wednesday, May 29, 2013
In chapter 3 of Of Mice and Men, cite three examples of foreshadowing.
1) At
the beginning of the chapter, Slim tellsthat he is impressed with 's strength and
says,
Say, you sure was right about him. Maybe he aint
bright, but I never seen such a worker. He damn near killed his partner buckin barley. There
aint nobody can keep up with him. God awmighty, I never seen such a strong guy (20).
Slim's comments regarding Lennie's strength foreshadows his
impressive display of power during his fight with Curley at the end of the chapter. During the
fight, Lennie ends up breaking Curley's hand by simply squeezing it. Slim's comment also
foreshadows Lennie accidentally murdering Curley's wife. Lennie "damn near killed his
partner" while working and accidentally breaks Curley's wife's neck while petting her
hair.
2) When George tells Slim what happened to Lennie in Weed, he
foreshadows Lennie's deadly interaction with Curley's wife later in the story. Similar to his
situation in Weed, Lennie attempts to pet Curley's wife's hair but breaks her neck...
How is radical mediocrity achieved and enforced in "Harrison Bergeron"?
In 's
"," "radical mediocrity" is a byproduct of the push for universal equality
that has finally come to fruition in 2081. This equalityin which "Nobody was smarter than
anybody else... Nobody was better looking than anybody else... Nobody was stronger or quicker
than anybody else..."was instituted through the 211th, 212th, and 213th Constitutional
Amendments and enforced under the iron rule of Diana Moon Glampers, the United States
Handicapper General, and her dedicated group of agents.
"Handicaps" are provided to any person who shows some sort of exceptional
ability in order to bring them back down to the "standard." Those with beauty must
wear grotesque masks. Those who are strong receive sashweights and bags of birdshot to hinder
their movement. Those with great intelligence are forced to wear radios connected to a
government transmitter that emits sharp, disruptive noises.
George,
Harrison's father, must wear forty-seven pounds of birdshot and a radio. He mentions that the
punishment for adjusting one's handicaps is, "[t]wo years in prison and two thousand
dollars dine for every ball I took out."
Harrison himself is provided
with thick glasses to obscure his vision and give him headaches, earphones to block his hearing,
three hundred pounds worth of weights to slow him down, and a red rubber ball nose, tooth caps,
and shaven eyebrows to cover his good lucks. His attempt to rebel and overthrow the rule of the
government results in the ultimate punishment: execution.
In other words,
not only has excellence and talent been completely stripped of its worth within this society,
but so has the value of human life.
How does seeing the five old pieces of fishing line on the fish's jaw impact the speakers view of the fish in "The Fish"?
Whereas prior to this
the speaker sees the fish both as something to be feared and as something to catch, when the
speaker notices the evidence of all the other fishermen that the fish has outwitted or survived,
the attitude towards the fish is shown to change dramatically. Notice how the speaker talks
about the fish after noticing these...
Monday, May 27, 2013
What are 3 rising actions in "Charles" by Shirley Jackson?
The rising
action in a story are the events which lead up to the , or turning point. In 's ","
the rising action is the daily description of Charles's behavior which gets him into trouble
with the teacher, until the turning point, which has Charles change into a model student,
teacher's pet.
-First, Laurie tells his parents that Charles was
fresh.
-Then, getting worse, Laurie tells them that Charles hit the
teacher.
-Then, worse still, Laurie tells them that Charles hit a girl in the
head with the seesaw and she was badly hurt and bleeding.
-Then, Laurie says
that Charles was yelling so loud that he was kept after school, only the whole class stayed with
him.
-When Laurie tells his parents that Charles had kicked the teacher's
friend and would probably be kicked out of school.
-Charles is established in
the household as a terror of a child. Laurie's mother can't wait to go to parent-teacher night
to meet the child's mother.
Fortunato is hesitant to follow Montresor into the vaults. Why do you think Poe included this detail?
The
classic horror short story "" bytells of a
man named Montresor, who plots elaborate
vengeance on someone he supposes is
an enemy. His motivation is summed up in the first sentence:
"When he
ventured upon insult I vowed revenge." Sane people might possibly want to
repay insult, but not with murder. Montresor prepares a far chamber in his family vaults
with
the tools and materials he needs, makes sure that his servants will be
gone from the house, and
then comes up with a story about a hidden case of
Amontillado, a type of sherry wine, to lure
Fortunato...
Sunday, May 26, 2013
What is meant by this quote? "The American Negro has the great advantage of having never believed that collection of myths to which white...
African
Americans have never needed to subscribe to dominant myths because they were born into a harsh
reality of oppression, marginalization, and prejudice. The creation of myths is a privilege of
power; as African Americans have never exercised power in the United States to any great
degree, they have not been able to generate the kind of galvanic, power-enhancing myths that
entrench white dominance.
Such myths, however, are seldom consciously
constructed. They develop over time, serving the needs of those who come to believe in them in
various different ways. As successive generations of white people are raised under these myths,
they lack the wider perspective on American history necessary to understand the nature of racial
oppression. In blunt terms, they have been brainwashed. People who have been brainwashed tend
not to be held responsible for their beliefs.
This is not to suggest that
white people are in any way unaccountable for racist actions; I simply mean to point out
that...