In Hawthorne's description of Hester on the pedestal he paints this shameful picture of Hester. He describes her in a guilty manner and emphasizes the pain Hester is feeling from this shame. Hawthorne expresses all of this guilt and pain in his first set of parallel phrases. For instance he repeats "a fixed gaze" twice in order to show the reader the intenseness of this part and then goes on to say the sun is "lighting up her shame" and making her "sin" clear to everyone watching her. He also refers to the "midday sun" as lighting up her shame and therefore making it more visible to the "whole people." He even goes as far as to describe her child as "sin-born" when she makes eye contact with the stranger, who is found out to be her husband. This adds to her feeling of guilt as Hawthorne makes it clear the baby in her arms is not her husband's child. Yet when he gets to the second set of parallel phrases he has this complete rhetorical shift and this whole guilty look of Hester disintegrates into one of almost sympathy. He goes from shaming and making Hester look guilty to describing how her privacy has kind of been torn away from her because of this whole situation. For example, he makes note of private affairs and compares them to the event taking place, he says things such as "features that should have been seen only in the quiet gleam of the fireside."
Leonard Pitts’ piece was effective from the start even though his piece was written in a ranting manner. This is because the author pours opinionated pathos into the piece and it happened to be the feeling of everyone in the country at the moment. The author also dismisses his ethos as a paid column writer to say what the normal American with average communication skills would say. Most paid column writers would probably not use the words, ¨you monster. You beast. You unspeakable bastard¨ (Pitts). However, even though he is dismissing his credibility this works for him because it makes him a relatable speaker and makes the reader want to continue reading.
Capote manages to effectively create a complete impression of the character of Perry Smith by showing his remorse and how he confides in Dick. By Capote allowing the readers to see Perrys weak and vulnerable side, it gave off the impression that he too, no matter the deed, had feelings. Capote uses sympathy as a tone when Perry confides to Dick. He creates the illusion that Perry's life was difficult. By adding the “murder” story into it, it also gives off the parallel of him being lethal. Capote’s value of character is shown through Perry by enlightening how he feels towards his past actions. He creates a sympathetic tone towards Perry. Capote uses short sentences to emphasis the dramatic and terrible conditions that Perry was put through
One simile I found in this passage is " But methinks, dear Sir, you look pale; as if the ravel through the wilderness had been too sore for you."
So, the only thing that I can guess on that is because Warrant Officer Helm told Burmaster that, and like I said, later on he told me and frankly I don’t know why, it just didn’t matter to me, that he did that IG complain back in 2009. The only thing that I can guess is that Burmaster, in his mind, connected the two together and said, oh that must be the reason why they sent you out here, because I know originally you were going to be assigned to the talk. In fact, Burmaster was in the room with me and Helm when I told Warrant Officer Helm, because Warrant Office Helm in fact, said that to me.
In his essay “On the Scarlet Letter,” D.H. Lawrence criticizes Hester’s immoral behavior for her adulterous actions. Lawrence views her as a shameful member of Puritan society and centers his argument on her sin and its effects on the story’s plot. D.H. Lawrence’s use of different literary techniques strengthens his claim that Hester is not the heroine through his sarcastic tone, abrupt syntax, and biblical allusions.
In the short play A Raisin in the sun conflict’s both internal and external occure for in three of the main characters regarding their dreams. When the opportunity came for them to accomplish their dreams through using the insurance money they’ve come across from the loss of a family member, one of the main characters, Walter, wishes to be successful in life; but he needs the insurance money to do so. He wants to use the insurance money to open up a liquor store because he believes this would change his life. A exceptional quote that shows his determination to be successful in life is when he speaks to Ruth “You tired, ain’t you? Tired of everything. Me, the boy. The way we live-this beat up hole-everything”(
Nathaniel Hawthorne, in his bold novel, The Scarlet Letter tackles a variety of themes that include: sin, guilt, redemption, postfeminism, and organized religion's abuse of power. Hawthorne spoke in a somber and grim tone, designed to arouse a sense of suspense for his readers. The audience in which he was addressing would have been conservative Christians and women suffragettes, all of whom reflected the ideologies during this time period. By instilling clever diction, Hawthorne exposes hypocrisy in Puritanism and objects against the religion's superfluous punishments; which force individuals to endure unnecessary and extreme suffering.
This postcard builds suspense in the reader’s mind. Alex saying that this adventure could kill him makes the reader interested in finding out more. “If this adventure proves fatal and you don’t ever hear from me again I want you to know you’re a great man.” (Krakauer 3).
In Nathaniel Hawthorne’s Scarlet Letter, the author uses melodramatic diction in order the emphasize Hester Prynne’s unusual comfort with the crowd’s attention. Prynne’s insecurity with confrontation causes her to isolate herself above a crowd rather than face confrontation. The narrator refers to the platform on which Prynne stands as a “pedestal”, connoting that she gains attraction from the audience in a certain sense of admiration. Prynne’s lionization of standing higher than everyone else in the audience portrays the amount of attraction she gains and how Prynne holds herself to some degree of worthiness because of her raised place. Amidst the audience, Prynne spots a “fixed gaze” from a stranger which draws her attention and causes her
In “Bring Back Flogging”, Jeff Jacoby addresses the problems within America 's criminal justice system. He gives many reasons why imprisonment simply does not work, and suggests that corporal punishment should be used as an alternative. Published in the Boston Globe, a newspaper well known for being liberal, Jacoby provides a conservative view and directs his argument towards those who strongly support imprisonment and view corporal punishment to be highly barbaric and inhumane. However, in order to shed light on our current situation, Jacoby discusses the dangers that we face though our criminal justice system a nd shows concern that imprisonment is doing more harm than good. In effect, Jacoby looks to the past for solutions, and
The changing imagery of each of the three scaffold scenes presents Hawthorne’s idea of private vs. public sin. Using different visual elements such as light and placement, Hawthorne’s imagery creates a separation of each scene (and character) for the reader. This idea is carried out through the portrayal of Dimmesdale and Hester, each with their own kind of sin to endure. In the first scaffold scene, Hawthorne exemplifies Hester’s public sin as she stands in the exposure of daylight, facing a crowd of townspeople, her embroidered A visible to all. Her shame is very much public, with societies reactions and judgements ringing loudly throughout the scenes description.
Advertisements are everywhere. From billboards, to magazines, to newspapers, flyers and TV commercials, chances are that you won’t go a day without observing some sort of ad. In most cases, companies use these ads as persuasive tools, deploying rhetorical appeals—logos, pathos, and ethos—to move their audiences to think or act in a certain way. The two magazine ads featured here, both endorsing Pedigree products, serve as excellent examples of how these modes of persuasion are strategically used.
Throughout In Cold Blood Capote goes through the lives of the killers, Dick and Perry. Both convicts released from jail and at first glance seem to have a lot in common, but as the book continues the reader can see that the two characters are in fact very different. To characterize the killers Capote frequently uses flashbacks into their pasts, giving the reader a sense of what their lives were like and why they became who they are. Capote also utilizes detailed descriptions of the men’s appearances, quirks, and habits to characterize the murderers.
"Those who before had known her, and had expected to behold her dimmed and obscured by a disastrous cloud, were astonished, and even startled, to perceive how her beauty shone out, and made a halo of the misfortune and ignominy in which she was enveloped" (39). Hester, who is being openly condemned for her sins, Hawthorne describes ironically. To the Puritans, Hester should be dim and obscure, surrounded by darkness and evil. However, Hawthorne instead describes her shining beauty and the godliness she makes out of her sin and shame by exposing it to the public. The Puritans condemn Hester for her sin and look towards her as evil, yet she is exposing her sin to the sunshine, to the public, something that Hawthorne praises in the novel. "A blessing on the righteous Colony of the Massachusetts, where iniquity is dragged out into the sunshine! Come along, Madame Hester, and show your scarlet letter in the market-place!" (40). The Puritans feel that they are hurting Hester Prynne by exposing her sin, yet it is only making her stronger and making her grow.
Hawthorne makes it a point to comment on Hester’s role in society as a publicly shamed sinner, and he goes further to emphasize how products of such sins are viewed by society. More specifically, Hawthorne discusses the consequences that children born out of adultery face because of a judgmental society. Hawthorne challenges such judgement by writing: