Commetorical Analysis: The Dikes Had Been Breached

In the poem crossing the swamp the relationship between the speaker and the swamp is that the swamp is what the author puts in as her problem. She’s trying to compare the swamp to her problem, “here is the endless wet think cosmos” both of the speaker and the swamp share fear “I feel not wet as much as paintable and glittered.”

“It was not pleasant work. Goggles were a necessity, and a rubber apron, but even so it was like standing for eight hours a day under a lukewarm blood-shower. At night I'd go home smelling of pig.” This example portrays a strong tone of disgust for his job at the pig factory. In the story he talks about relating his horrible, disgusting job the the awful sights that he would see in war. The use of imagery in this like the lukewarm blood-showers affect the tone majorly because of how one puts all these things together in their

Greasy Lake is described by the narrator in a deliberately appalling to the average reader. However, the narrator and his friends see the lake as the most favorable location to spend their days and late nights. The lake itself is described as “fetid and murky, the mud banks glittering with broken glass and strewn with beer cans and the charred remains of bonfires.” (130) However, as the

The author uses Rainsford’s perception of the island and the hunt to formulate uneasiness and tension throughout the story. As Rainsford approaches the perimeter of the “snarled and ragged jungle”, he sees that the jungle turf is oddly “thrashed about”, “lacerated”, and “stained crimson”(3). Connell objectifies Rainsford’s first impression of the island to increase tension in the onset of his story. By this time

In the first passage, the Okefenokee Swamp is described with a wide variety of diction. Its features are mentioned with a neutral tone and simply describe what the place looks like. In the second passage, Okefenokee Swamp is portrayed as an unpleasant setting with many disturbing features. Each passage describes the area with a different purpose and a different view. The first passage from the Encyclopedia Britannica has an objective tone, while the second passage has a detestable tone and is subjective.

Lit devices for Anthem by Ayn Rand Symbol: A symbol is a thing that represents or stands for something else (google) Example: “ Then we knew. We were in the Uncharted forest. We had not thought of coming here, but our legs had carried our wisdom, and our legs had brought us to the Uncharted forest.”

According to the speaker, the swamp is “endless wet thick cosmos, the center of everything,” (line 1). The implication that this swamp is the center of everything can allude to how long the speaker may have been engulfed within it. It seems as if he/she has reached a point in which the swamp is infecting his/her mind as much as it is taking over the body. The speaker even begins to compare him/herself to “a poor dry stick given one more chance by the whims of the swamp water.” (line 28). This person, in beginning to view him/herself as part of the swamp, communicates to the reader effectively describing the direness of the situation, and the point of return that seems to be slipping away.

Oliver starts off by using imagery to describe the struggle with the swamp as a sense of hardship, and challenge. Her descriptions utilizes dark diction such as “endless,” “wet,” “dark,” “pale,” “black,” “slack,” “pathless,” “seamless,” and ‘peerless”, which gives the reader a sense of hopelessness and despair. Oliver also uses enjambment to emphasize the swamp as a never ending trail and symbolize

In the third paragraph of his argument he used figurative language to really describe the horrible conditions these families in Phnom Penh lived in. Kristof used both metaphors and alliteration to really give the audience clear visuals of the garbage dump. One of the metaphors is, “It’s a mountain of festering refuse”, which translates to piles of rotting wastes. By writing metaphorically it creates a much more vivid and exaggerated image in our mind. Another metaphor he used was, “The miasma of toxic stink…” (Paragraph 3, pg. 109) which vividly describes the harmful vapors from the decomposing garbage. Continuing that last sentence “… toxic stink leaves you gasping, breezes batter you with filth, and even the rats look forlorn” (paragraph 3, pg. 109 in), is an example of alliteration. These visual statements (metaphors and alliteration) help Kristof convince his audience that sweatshops are a better option, a way out of poverty.

In Mary Oliver’s “Crossing the Swamp”, the speaker compares a swamp to the struggles and hardships in life that fight against her. The speaker repeatedly contrasts herself to the swamp to emphasize the vastness of the swamp, conveying how the speaker understands the hardships that come with life.

Once submerged into the swamp, her human body and “pale bones” contradict the obscure, “peerless” and “pathless” environment. The contrast between light and dark imagery such as “pale bones” and “black earth soup” emphasize her sense of loss and displacement within natural world. Through words relating to the human anatomy, she attempts to surface the swamp’s pulling control over her. The initial incompatibility between her and the swamp continue as she fights for “foothold, fingerhold” out of her immediate situation and back to the shore, before she entered. In the midst of wrestling for mental control over her situation, repeating “s” sounds reveal her sinking position and how she succumbs to her environment. Sibilants such as “slick,” “silent,” “sink,” and “slack,” force her into the mud. Once absorbed, he previously “burred” perspective clashes with the soft feeling in the mud. The speaker's description of the swamp when in it, contradicts the earlier assumptions made at a physical distance. The previously “wet, thick” mud is actually “not so wet as much as painted.” Rather than submissive to her environment, she is passive by entirely accepting her surprised reaction. The switch to “I feel” is another pause, as she contemplates her surrounding as she experiences a raw moment rather than standing on the edge of it.

Though the viewers focus first on the centered figures, it is easier to first analyze the surrounding settings to understand them. The stone wall foreground and the open fields of the background each embodies one of the girl’s thoughts. The back landscape is filled with warm, airy colors of blue and orange, as if it were under a bright sun. On the other hand, the foreground’s stone walls and concrete floor has dark, cold, shadowy, earthy colors that seem to appear as if under a stormy cloud. The sunny land suggests free, pure, spacious land previous to the industrialization. Yet, the darkened foreground due to the overcasting shadows resemble the currently dirty,

Krakauer adds specific words such as ‘luminous’ rather than bright and ‘idyll’ rather than just happy. This diction in relation to imagery gives the reader a specific picture in their mind to further understand the depth of the information that is presented, so there is nothing left to interpretation. “Here, on a low, sun-scorched rise dotted with collas and indigobushes and twelve-foot ocotillo stems, McCandless slept on the sand under a tarp hung from a creosote branch” (Krakauer, 49). Krakauer continues to use diction to explicitly illustrate the image he wants the reader to see. By utilizing these two rhetorical devices together Krakauer can really display how isolated McCandless is and what situation he has gotten himself

This passage is an extract from Joseph O’ Connor’s Star of the sea which was penned in the year 2002. The passage makes use of a third person narrative view point as a result of which the readers are provided with a vivid image of passengers aboard a stormy sea ship. The passage talks about a ship afloat a stormy sea and how the passengers on the deck are caught unaware due to this storm. The author uses a descriptive style of writing with short crisp sentences that heighten the pace of the story. In the last two paragraphs however, the author uses longer sentences that signal a slower pace and show the readers that the storm has died down for the time being. The author has interspersed the action with 2 dialogues. It is interesting to

Finally looking at them he stared and slowly placed the paper at the top of his cluttered desk, turning to the two men and sighed the first words, "More of this madness.” Gazing out the window he continued, “For months this town has been unsettled and upset because of these damn requests and these damn ships. Were you present yesterday at the fight at the waterfront?” They shook their head no. “Over the most unbelievable thing,” he shook his head as if scolding school boys. “It seems that one of the sailors, a questionable man he must be, to go on this voyage and perhaps with a bit too much drink in him, told your Captain that,” here the shop keeper played the part of a drunk, “Aye, the 'La Gallega' was a most awkward ship for such a voyage!”