We Were The Mulvaneys Literary Devices

Comparing Hope Leslie or Early Times in Massachusetts and The Scarlett Letter is interesting because at first glance both novels don’t appear to have much in common aside from having a female protagonist and taking place within Puritan society of early America. (keep but not as first sentence). However, despite obvious differences between both novels such as the character presentation of the female protagonists in Hope Leslie who range from the free-spirited Hope Leslie, obedient Puritan Esther, and character of Magawisca as a noble but proud Native American contrasts with the Hester Prynne’s presentation as a shamed but deeply contemplative woman in The Scarlett Letter. The different purposes all these characters each serve in their respective stories begins to show commonality in that Hope Leslie’s Hope, Esther, and Magawisca and The Scarlett Letter’s Hester Prynne all have to overcome the adversity and social expectations with Puritan society so they can follow their hearts and do what they feel is right by relying on their wit, intelligence, and inner strength. By examining how both Hope Leslie and Hester Prynne overcome the challenges they face in their respective Puritain socities it will be easier to observe how these novels presentation of their female protagonist illustrates the gender politics of each text.

The following passage is an excerpt from Katherine Anne Porter’s short story “The Jilting of Granny Weatherall.” Read the passage carefully. Then write an essay in which you analyze how such choices as figurative language, imagery, and dialogue develop the complex emotions the character is feeling.

The power of imagination makes us infinite, and when it is dulled, one can feel trapped. Only after freeing ourselves, can we understand the beauty of a creative mind. Nathaniel Hawthorne explains how he also had to get back in tune with his imagination after not using it for years while working at the Custom House. Hawthorne draws a very well sketch of the boring life at the Custom House, and how after his head was “cut off” he got the mindset to be able to write the Scarlet Letter. In this long introduction to the Scarlet Letter, Nathaniel Hawthorne uses rhetorical devices to describe character traits, show relationships between characters, hint at future events, and enrich the plot for the reader's enjoyment. With his effective use of imagery, symbolism and biblical allusions, Hawthorne adds depth to the novel while creating a connection to the meaning beyond the story that it tells.

Eudora Welty’s sheltered, adolescent life, coupled with her parent’s emphasis on education and reading, helped to shape her as the writer she was by making her stylistic approaches daring and intelligent while keeping a southern tone and state of mind.

Contemporary civilisation places immense significance upon writings that stimulate the human psyche. Weldon extrapolates upon this notion through her epistolary work Letters to Alice. The author imbues the audience with the extended metaphorical image of the “City on Invention”. This developed and intricate allegory facilitates comprehension regarding the depth of literary matter. Such complexity is explicated by the alliteration of “mind meeting mind” coupled with the sarcastic “It’s getting crowded”. The City exists as a metaphysical realm negligent of boundaries, thus exemplifying the human mind and appetite for growth. However, Weldon makes tantamount didactic statements that transcend metaphorical allusion and convey explicit points. The high modality language of “no one burns Emma” is symbolic of humanity and its inherent need to preserve and learn about the foundations of its society. Furthermore, Weldon employs a mocking tonality in “real history” to reveal her didactic perspective pertaining to literature, furthered by the authorial intrusion of “you must read”. Weldon re-enforces the relevance of literal compositions, outlining the dire need for its prevalence in society. By observing the past through an inscribed lens, humanity progresses. The written word acts as an artefact through which contemporary society may learn to better themselves by considering the nature of each

In the beginning of the short story, as Brother reflects on Doodle’s life, the author uses personification and foreshadowing to create a mood of remorse. As he gazes out of the window into his backyard, Brother states that “the graveyard flowers were blooming. ...speaking softly the names of our dead” (Hurst 1). The flowers provide flashbacks of the past, and foreshadow a loss of life. The loneliness felt by Brother causes readers to consider how they would feel if their loved one was gone. As Brother observes the seasons, it is noted that “summer was dead but autumn had not yet been born” (Hurst 1). The personifications of the seasons as stages in the cycle of life and death creates an unsure and uncertain mood. The shift between seasons creates an idea of change and uncertainty of events to come. Hurst creates a mood of remorse through

This paper will be a unique interpretation coupled with an analysis of rhetoric in A Thousand Acre’s by Jane Smiley. This non-fiction novel is told in third person omniscient and is focused on the point of view of one of the main characters, Ginny Cook. A Thousand Acres was a modern-day retelling of Shakespeare’s King Lear; set on a large farm and small town in Iowa. This setting is important to the plot because it is more realistic compared to a far away mystical land that is detached from its audience. Smiley uses various rhetorical and literary techniques within her book to engage readers while still keeping to the basic storyline previously written by Shakespeare. Smiley’s use of language positively aids the imagery and emotions seen

In Middlemarch, George Eliot utilizes several literary devices to portray her two characters and their complex relationship that reveals their marriage is dominated by the husband who objectifies his wife into silence. Throughout the passage, Eliot makes it clear that Rosamond and Tertius Lydgate are in an uneven relationship, considering Tertius refuses to listen to his wife who seems to only have his best interest at heart, yet still, he continues to yell at her for thinking she knows what is best for him. With the help of details, Tertius’s critical tone, and imagery, Eliot is able to showcase how complex their relationship is when it comes to Rosamond giving her opinions and ideas, just to be casted to the side.

When a true genius appears in the world, you may know him by the sign that the dunces are all in confederacy against him, a quote from Jonathan swift a man known as an expert of satire. There couldn't be a better way to start this novel about a person who is convinced of his own genius, and the idiocy of those around him. Yet, at the same time, he is in almost every way the most outrageous candidate for such a suitable name. , this book itself is a spoof. From the techniques toole used to the portrayal of modern society and one of American's greatest writer Mark Twain. The characters are what make this novel, they are all connect by some way or other and end up affecting each other most of the time without even knowing it.

This family comes together in a time when they all need it. Phillip at one point tells Judd he’s on his side and has his back no what the situation is. Then every time Judd and Wendy meet on the roof to talk they are creating a turning point during a bad time. It can be see that each brother, sister, brother, brother, and/or mother, child moment is a growing point where something/someone else is thinking and acting different. The Altman family displays resilience by walking away at the end and assuring each other that they have their backs.

Authors truly have endless opportunities as far as creating effects is concerned. They can create effects by what they say and they also can create effects by what they do not say, or what their characters do not do. In 19th century American literature, we see the use of the latter tool in “Bartleby the Scrivener” and “Young Goodman Brown”, where authors do not give the full information about their characters and events to create the desired effects. In Herman Melville’s “Bartleby the Scrivener”, the enigmatic title character “prefers not to” do things. On the other hand, in Nathaniel Hawthorne’s “Young Goodman Brown”, the lead character appears to be affected by his own inability to discern the truth and thus becomes a character that

This bitterness and sarcasm is revealed as strong characteristics of the narrator. Throughout the majority of the story, the narrator continues shows his distaste for any "happy" situation. Much like the hyphenated asides, Carver implements fragmented sentences behind description, to show the narrator pausing for a moment of color commentary.

Jane Austen is well known as a novelist for her satirical representation of female characters in late Georgian society. During this period, novel writing and reading was still a controversial topic, and as such was incorporated in her book Northanger Abbey (1817), which has at its core a young female protagonist obsessed with novels. We can clearly interpret Northanger Abbey as Austen’s satirical response to the social conventions decrying novel reading, as she uses an intrusive narrator and more subtle supplementary techniques to comment on and satirize the debate surrounding novels.

At first reading, Ian McEwan’s Atonement seems to be a modernist novel that owes much of its stylistic techniques to classic novels by authors such as Virginia Woolf and Jane Austen. That is, until the first-time reader turns a page to discover the epilogue entitled “London, 1999” and has this illusion shattered by the revelation that in fact Parts One, Two, and Three were penned by none other than the 77-year-old Briony Tallis. This epilogue, and what it divulges about the events we have just read, turns the book into a metafiction. A close rereading of the book turns up multiple references to the fact that it is in fact a manuscript written by the elderly Briony. McEwan’s metafictional

The style is highly allusive and Joyce deliberately confuses the narrative by making a pastiche of the styles of several genres together while presenting the flows of the continuous thoughts of the principal characters. Here for the first time Joyce also employed the ‘interior monologue’ which is deemed to be the purest form of the ‘stream-of-consciousness’ mode. In Joyce’s third and last novel Finnegans Wake (1939) the complexity of the ‘stream-of-consciousness’ technique reaches its heights necessitating the text’s being one of the least read ones in any language. In this novel Joyce used around forty languages other than English and presented an awkwardly extensive range of literary, mythical, political and historical allusions while narrating the one-night dream sequence of the protagonist, a Dublin tavern-keeper named Humphrey Chimpden Earwicker. Apart from Joyce, Virginia Woolf also made remarkable contribution to the development of the ‘stream-of-consciousness’ mode in the modernist English fiction. In Mrs. Dalloway (1925) Woolf presents the diverse mental recourses of Clarissa Dalloway within the span of one single day, and in the interior monologue of Mrs. Dalloway the narrative breaks with the realistic mode in order to suit the inner reality of the narrator’s psyche which is different from the external reality by which she is surrounded. Similar intellectual cogency and finer technical