Multipke Literary Devices In From Julia By Lillian Hellman

As a means of assessing the extent to which the work was successful, I evaluated the books ability to answer the questions the author himself posed to the audience. These questions were discussed in the introduction where Ozment presented two questions before he launched into the narrative in search of their answers. Ozment asked: “What exactly had [Anna] done to cause her father, the Burgermeister, to denounce her as an “evil serpent” and the government of Hall to declare her a renegade?” and “Why did the behaviour of one woman rivet the attention and disrupt the lives of so many important people for so long a time?”. According to Ozment, answers to these questions can be found “in the internal workings of a distant society and in the inner lives of people who were both like and unlike ourselves” (3). Therefore, in considering whether or not this book was successful I looked

In “The Shawl”, Cynthia Ozick uses vivid details throughout the story to engage the reader. The story portrays the hard times Jews had during the Holocaust in a concentration camp consisting of three main characters: Rosa, Stella, and Magda who are trying to survive the horror of Nazism through a magical shawl. Rosa is the mother of Magda, a fifteen month baby and the aunt of Stella, a fourteen year old girl. The shawl is the only thing keeping them alive throughout the story and at the end it leads them to their death. The author’s use of symbolism is very significant to the story. Cynthia Ozick use of symbolism helps the reader visualize the setting by using symbols to convey different meanings and understand how these symbols characterize the experience of the holocaust survivors.

The last literary device Eugenia Collier exercises to deepen her sensation  of despair and disgrace is diction. Collier influences her words to carve her emotions into the reader, one can sense the feelings of puzzlement and the irascibleness it evokes. For instance, in this quote the reader can grasp Eugenia’s voice through her use of eloquent words “ I indeed lost my mind, for all the smoldering emotions of that summer swelled in me and burst - the great need for my mother who was never there, the hopelessness of our poverty and degradation, the bewilderment of being neither child nor woman and yet both at once, the fear unleashed by my father’s tears. And theses feelings combined in one great impulse toward destruction.” This quotes reveals the emotions the author choice to seal

In a revolt against romanticism, realism attempts to represent subjects and events as truthfully and unidealized as possible. Throughout The Children’s Hour, by Lillian Hellman, many characteristics of realism are prevalent. The play follows two women, Karen and Martha, who run a girl’s boarding school, but their lives are quickly ruined when Mary, an unkind, manipulative girl at the school, starts a rumor that they are lesbian lovers. Some aspects of realism the play contains are attention to detail, plausible events, the importance of class, and characters that are complex mixes of good and bad.

Want’s, and needs. Two words that have different interpretations. Two words at war with one another. When these simple, words are called into action they cause doubt in even the most steadfast individuals. Giving up the wants of one’s self for the needs of another, that causes the tipping of the scales. People have a tendency by nature to take what they want and forget about what they need. Balancing want’s and needs is, to put it in simple terms hard, but completely giving them up for someone else is close to impossible. Yet when an individual is put under compelling circumstances, there needs and wants intertwine giving them the ability to put their own interests aside and sacrifice themselves for others.

The chosen interpretation rests on how the narrator’s character is analyzed through her hidden thoughts and concerns. In the following paragraphs, we’ll look at how the author, Gilman, uses indirect characterization to reveal the narrator’s character through emphasis on the narrator’s thoughts.

This is compounded by the initial description of Julia's character. As Julia is supposed to be pure, symbolized by the red sash she wears as a member of the local abstinence section, and she is described to be fairly attractive. Wilson's thoughts during one of the daily Hate sessions, however, turn even darker. If in this beginning, Julia is shown as a somewhat positive example of humanity, and human nature, Wilson is shown as a clearly distruptive one...

The heroine, Mrs. P, has some carries some characteristics parallel to Louise Mallard in “Hour.” The women of her time are limited by cultural convention. Yet, Mrs. P, (like Louise) begins to experience a new freedom of imagination, a zest for life , in the immediate absence of her husband. She realizes, through interior monologues, that she has been held back, that her station in life cannot and will not afford her the kind of freedom to explore freely and openly the emotions that are as much a part of her as they are not a part of Leonce. Here is a primary irony.

This is a very important part of the book because it shows the reader that the

We hear of her moving to New York to escape her life as a child bride after being orphaned at a young age. This story allows the audience to gain a sense of sympathy for Holly, and enhances the pathos of the story. This pathos puts the audience into the shoes of Holly and enables them to understand the reasoning behind her escape. The use of language features like pathos and literary allusion allow the authors of both texts to convey the theme of escapism.

It is evident that this literary work has an expressive approach. The author shares a personal experience of rescuing a kitten from “beneath her house.” In her reflection, she reveals what the basement symbolizes to her, which is both comfort and death: comfort, because she finally rescues this “tiny creature”; death, because she is in need of a rescue herself. No one else is aware that she is beneath the house, and she is so far beneath, in a small space; she feels as if she may be stuck and die there. She compares her feelings to what she thinks a fetus may feel right before delivery, and states that,“what the body remembers of birth it anticipates as death.” Erdrich expresses her emotional reactions throughout, and she carefully selects words that cause an aesthetic effect. She says the kitten has a “piteous cry” that she can hardly stand to hear. Then, she gets so close to the kitten and brushes its fur, but the kitten “scrambles away,” and she feels a “slight warmth” come over her, which is a “mad calm.” This “mad calm” pushes her to complete this rescue mission. She continues to try and catch the kitten, and she continues to fail. Her desperation is apparent, but she prevails and “takes a deep breath, and remains patient,” and finally she catches the kitten.

In Kate Chopin’s “The Story of an Hour”, Louise Mallard is caught in a cold marriage and a constrictive house. The same goes for Sarah Penn in Mary Wilkins Freeman “The Revolt of “Mother.’” Despite the fact that both stories share the topics of imprisonment and control, physically and inwardly, the ladies in the stories have diverse responses to their circumstances. Sarah battles the confinements without holding back, taking her opportunity, while Mrs. Mallard adopts a motionless strategy and is just liberated through the death of Mr. Mallard.

In William Styron’s book Sophie’s Choice Styron explains the effects of World war 2 on an American, a Polish person and a Jewish person. Sophie, the polish women, who is forced to make a very difficult decision during the war, a choice that, affects her mental state of mind for the rest of her life. Stingo, the American and narrator of the story struggles to find inspiration for his writing career while also discovering his families past. Nathan, the Jewish man who is hopelessly in love with Sophie a holocaust survivor, lashes out in anger and questions her about her past. Sophie’s Choice uses three characters guilt to portray the hardships of World War 2 and the mental instability it has caused.

Austen has set out to save the rising art form of the novel. In this address to the reader she glorifies what a novel should be: the unrestrained expression of words conveying the wide range of raw human emotion. This veneration of the novel is necessary to the development of Catherine's fiction-loving character as it justifies the narrator's right to remain fond of this flawed heroine.