What Is The Difference Between Dick And Perry

What the readers know of Dick’s past is very little, as Capote works to characterize him through flashbacks the readers know it was his plan to kill the Clutters and he does have some family “there were those Dick claimed to love: three sons, a mother, a father, a brother—persons he hadn’t dare confide his plan to(Capote 106).” But Capote characterizes Dick more so through descriptions of his habits than through his memories. “Inez was a prostitute…she was eighteen and Dick had promised to marry her. But he had also promised to marry Maria, a women of fifty who was a widow of a very rich banker(Capote 118-119)” Dick is shown throughout the book as someone who uses people to get what he wants, he calls on Perry to help him with his plan, he uses women for sex and money while making promises he never intends to keep. “If he knew Dick, and he did—now he did—would spend the money right away on vodka and women(Capote 119). Capote does not draw any sympathy from the readers, Dick is perceived as an emotionless man who pretends to believe in people and want the same

Besides using anecdotes and stories from his childhood, Capote also used analogies to invoke a sense of sympathy for Perry, thus further using the means of pathos. In specific, a constant ‘comparison’ or analogy coupled with Perry is typically his ‘childish’ like structure. Short legs, small feet. This analogy is used constantly, including the hanging scene, where it is said Dewey had “open his eyes [and] saw the same childish feet, tilted, dangling”(Capote 341). This comparison is seen often when describing Perry and seems to give the man a childlike presence, making him come across as more innocent and understandable. This connection to Perry takes away from the ‘severity’ of his actions and instead reminds readers of his childhood and how it has affected him all through life. Using pathos to soften the personality of a killer and bring to life his struggles helped Capote to better exemplify the ‘makings’ of a murderer. When creating this book, Capote wanted to analyze how a murder came to be and thus how a murderer came to exist - in particular, Perry. The use of pathos in correlation to one of the main characters helped break down the hostile killer into a damaged, young, sensible young man who simply had a tough go at life. The device allowed for connection and personalization.

Truman Capote includes finite details such as Perry’s middle name, and goes down to even the name of the county that Perry was born and grew up in to appeal to his audience’s logic. By giving more detail to Perry’s past life, the audience is able to better grasp the image of Perry, which humanizes the murderer, and is more likely to create an emotion of sympathy towards the criminal and alter the audience’s view on capital punishment. This information is irrelevant to the plot, however, is very strong in supporting Capote’s argument.

Although Dick and Perry may both be killers, Capote uses language to portray Perry as a victim of Dick;therefore, Perry is seen through the eyes of the reader as an innocent man who was simply taken advantage of and molded into a killer by Dick.

Following the emotionally ‘flat’ perspective by Dick, is Perry’s self-pity attitude during his own chapter. Perry knows the annoyance of his voice to Dick, but has no control over his actions. With only having one thought repeated indefinitely, “I think there must be something wrong with us” (capote 30), one would need to vent in some manner. To continue, Perry’s pity persona even has the author himself take pity on him: “Look at his family!” (Capote 30). Capote demands the reader to acknowledge Perry’s grim adolescence and suicidal family: “His mother, an alcoholic, had strangled to death on her own vomit...Fern...jumped out a window...Jimmy...had one day driven his wife to suicide and killed himself the next” (Capote 30). Capote pities Perry and portrays him as human, instead of the monster everyone believes him to be. Capote explains how Perry’s mental state and upcoming is the reason he is mentally unstable. Capote exposes not all criminals are monsters. Referring back to Dick’s passage, Dick claims “Perry could be “such a kid,” always wetting the bed and crying in his sleep” (Capote 29). Perry never matured from his depressing childhood, and he remained a in this state into adulthood. Returning to Perry’s

Does a man who brutally murdered four humans-for the sole reason that he had the power to-deserve any ounce of sympathy? “In Cold Blood”, Truman Capote uses “pathos” to appeal to the emotions of the readers about the two murderers, Perry Smith and Richard Hickock. Capote certainly sympathizes with one more than the other. He portrays one of the cold-blooded murderers in a positive light, but portrays the other murderer as a despicable and disgusting human being. For instance, Capote utilizes righteous and simple diction to advocate Perry’s emphatic nature with choices like, “compassion” and “uncharitable”. Furthermore, the author’s piteous tone emphasizes the tragic and hopelessness of Perry’s life with choices like, “You think I like myself?”(Capote 185) and “...the Black Widows were always at me. Hitting me”(Capote 132). In addition, Capote’s tone and diction paint Dick as a tasteless, vicious creature who deserved to take the full blame of the murder. Lastly, there are several rhetorical strategies that author employs to encourage the audience to empathize with Perry and to hate and despise Dick. Primarily, diction is one of the most persuasive literary device in the novel.

Capote's structure in In Cold Blood is a subject that deserves discussion. The book is told from two alternating perspectives, that of the Clutter family who are the victims, and that of the two murderers, Dick Hickock and Perry Smith. The different perspectives allow the reader to relive both sides of the story; Capote presents them without bias. Capote masterfully utilizes the third person omniscient point of view to express the two perspectives. The non-chronological sequencing of some events emphasizes key scenes.

The most dominant strategy that Capote utilizes in order to achieve his purpose is pathos, as he plays on our emotions to get us to feel true sympathy for Perry Smith. This is strategy is overall the most effective one because it allows the viewers to perceive Perry differently. Capote mentions Perry’s abusive and neglectful childhood several times throughout the story’s course in order to make the readers feel empathic, and pitiful towards him. In one instance of the novel, Capote makes out Perry as a hero in a way. He sets up a picture of the killers at the beach, and he mentions how uncomfortable Perry is when he sees Dick talking to a young girl. He describes another instance like this when he says, “Hadn’t they almost got in a fight when quite recently he had prevented Dick from raping a terrified girl” (Capote 202). Perry is willing to stand up to his partner when he comes to situations like this. Readers can’t help but view Perry as a hero in his own way as he protects the young girls from Dick’s pedophilic mind. Capote plays on the assumption that everyone hates child predators, which is almost always true. In a way, Capote makes us feel admiration for Perry’s heroic effort in protecting the innocent, as he “prevented Dick” from doing something horrible. As Perry confesses his crime to Dewey and Duntz, he admits, “But I hoped we could do it without violence” (234). This is one of several moments where the readers get a sense of reluctance from Perry to commit the crime. Although Perry did eventually

During which time I’m sure they developed a different relationship than I am familiar with. All the time that they had spent together and learning each other’s secrets. It seems that they both have indifferent sexual tendencies towards others. Dick tells Perry several times “how about it honey?” He was sorry he felt as he did about her, for his sexual interest in female children was a failing of which he was sincerely ashamed (Capote 201). I can’t remember Perry mentioning much about his sexual interests in the book except for maybe what he says about Willie-Jay. The only other thing is when Perry mentions that he is disgusted with people who cannot control their own sexual desires.

In “In Cold Blood” (1966) from page 200 to 202, Capote give us the insight into the past of Dick and Perry characters that caused them to resent a certain type of situation or condition. The author acknowledge this matter by showing how Dick and Perry nature being revealed through what they seen and encounter on their get away trip, first he inform us about how the view of the sea, and people Dick see in the hotels remind him of how he growth to feel hostile against people who possessed thing that he known he couldn’t have, “Why should that sonofabitch have everything, while he had nothing? Why should that “big shot bastard” have all the luck?” (Rhetorical question and Parallelism were used to emphasize Dick animosity), “open them up and let

Capote uses Perry as a sympathetic character; asking the reader if Perry’s life had been easier growing up, would he have committed the murders? A point often overlooked is Capote’s detailed exploration into Perry’s childhood and life

As Truman Capote guides his readers through the thrilling story of the homicide of the Clutters family in his nonfiction novel, In Cold Blood, he gives the them a clear conception of the characters in his story. The characterization of Dick Hickock and Perry Smith, the two vicious killers, enhances the richness of the story by adding depth to the characters. Capote manipulates ethos and visual imagery to illustrate Dick’s corrupt nature, while he skillfully exploits assumption and pathos to characterize Perry as a sympathetic character.

Diction supports Capote’s purpose because he uses it to vividly describe the murderers. His diction also shows readers how complex their minds really are and how Perry is really just an ordinary human. As readers meet the murderers, Capote describes Perry as such, “His tiny feet, encased in short black boots with steel buckles, would have neatly fitted into a delicate lady’s dancing slippers; when he stood up, he was no taller than a twelve-year-old child, and suddenly looked, strutting on stunted legs that seemed grotesquely inadequate to the grown-up bulk they supported, not like a well-built truck driver but like a retired jockey, overblown, and muscle bound,” (Capote 15). Capote describes Perry as “no taller than a twelve-year-old” which indicates how he is not some big, dangerous man who murders on the daily. His word choice of “grotesquely inadequate” also connotes how Perry is not strong and can barely support his weight. This makes readers feel sympathy for Perry, which therefore humanizes Perry as not a criminal. Capote also writes how he is more like a “retired jockey” which denotes how he is just a normal guy who has been through life just like anyone else. The word choice makes readers believe Perry is just like anyone else, a normal human being with faults. A second effect of diction is when Capote includes Dr. Jones’ diction to emphasize how Perry’s criminal mind thinks. As Dr. Jones is describing Perry’s mental state he says, “ More extensive evaluation would be necessary to make an exact psychiatric diagnosis, but his presence personality structure is very nearly that of a paranoid schizophrenic reaction,” (Capote 298). Capote

These emotions could go one of two ways- the first would be to feel pity for his parents, while seeing Dick in a slightly more pitiful light, rather than not even seeing him as human. Or it go go the second way, you feel pity for his parents, and begin to hate Dick even more for, not only what he did to the Clutter family, but also what he did to his parents. He not only ruined the Clutter family’s lives, he also ruined his life, his parents’ life, and even Perry’s life, even though he willingly participated in the murder. Capote’s use of pathos really humanizes the Clutter family murders, but also makes them more pitiful. They had a chance at a good life, Dick’s father even said that he used to be a good kid, but they threw it all away, robbing and killing an innocent family. Capote does a very good job of depicting Dick and Perry, creating a good balance between despicable and pitiful, while sharing their side of the story in a very accurate, yet interesting, way.

Capote uses syntax to further capitalize on Perry’s dark origins as a source of cruelty. Using brief, but meaningful sentences, Perry is portrayed as a victim of society, repeatedly referring to the people who treated him poorly during his growth. His dark origins capitalized on when he describes his motives for killing the Clutter family: “‘And it wasn’t because of anything the Clutters did. They never hurt me. Like other people. Like people have all my life. Maybe it’s just that the Clutters were the ones who had to pay for it’” (290). Perry himself is emphasizing how the Clutters are innocent, but, because of the way people treated him his entire life, they unfortunately had to receive the brunt of his pent-up aggression. He repeats the phrase “like…” to once again draw attention to the fact that it was the people in his life that turned him into the criminal he grew to be. Noting how Perry essentially held a grudge against his childhood