Examples Of Simile In God Of Small Things

The author moves to her actual realization that she has been misunderstood her entire lifetime along with the Western world by extending her vocabulary and appealing to emotional diction. These are seen clearly through “’aina” meaning culture and “the great bloodiness of memory: genealogy” (Trask 118). These few examples show how her language is connecting with the audience on an emotional level by using native terms and powerful language such as “bloodiness.” She appeals to the ideals of pathos by employing meaningful words when describing the traits of her people. She

Poverty and hardship are shown to create vulnerability in female characters, particularly the female servants, allowing powerful men to manipulate and sexually abuse them. Kent illustrates how poverty perpetuates maltreatment and abuse in a society like Burial Rites using the characters of Agnes’ mother Ingveldur and Agnes. Agnes’ mother is forced to make invidious choices as her children are “lugged along” from farm to farm, where she is sexually exploited by her employers. In spite of these circumstances, Agnes’ mother is commonly referred to as a whore in their society which abhors female promiscuity yet disregards male promiscuity as a harmless character trait; as in the case of Natan, who is merely “indiscreet” despite all his philandering. Born into poverty, Agnes experiences similar sexual coercion and manipulation from her “masters” and yet is labelled “a woman who is loose with her emotions and looser with her morals”. The severe poverty of Agnes is explicitly demonstrated to the reader by Kent through the intertextual reference of her entire belongings - a very dismal, piteous list to be “sold if a decent offer is presented”. Furthermore, Kent contrasts the situation of Agnes, a “landless workmaid raised on a porridge of moss and poverty”, to the comparative security Steina has experienced using a rhetorical question from

In “The Pedestrian” by Ray Bradbury, the author uses simple, but powerful similes as a gateway to the reader understanding the setting of the story. “The Pedestrian” is the tale of a lone wandering man walking down the street at twilight. The man is then accused of being a criminal and taken back to his home, also known as “The Psychiatric Center for Research on Regressive Tendencies.” The similes used in the story help readers fully understand and see the setting of “The Pedestrian”.

Throughout Rudolfo Anaya’s book, “Bless Me Ultima”, the main character Antonio has several vivid, detailed and sometimes graphic dreams. In one of these dreams (on pages 243-244), Antonio bears witness to blood, violence, and death. In this dream, Anaya uses imagery, symbolism, similes, and specific diction to indicate that Antonio is losing faith in his religion and god. Notes: Need to adjust the words used towards the end.

There are many varying views of God and his abilities, that can be integrated differently into their lifestyle. Jonathan Edwards touches on merging God into your life into his sermon, “Sinners In The Hands Of An Angry God.” The sermon talks about God’s fury caused by the sinful actions of humans, and how they are doomed if they do not adjust their lives. Jonathan Edwards uses similes about God’s wrath, diction that describes the definition of a sinner, and repetition about the pits of hell to his advantage to make his readers realize they need to change their ways.

The author agrees with the idea of women as victims through the characterisation of women in the short story. The women are portrayed as helpless to the torment inflicted upon them by the boy in the story. This positions readers to feel sympathy for the women but also think of the world outside the text in which women are also seen as inferior to men. “Each season provided him new ways of frightening the little girls who sat in front of him or behind him”. This statement shows that the boy’s primary target were the girls who sat next to him. This supports the tradition idea of women as the victims and compels readers to see that the women in the text are treated more or less the same as the women in the outside world. Characterisation has been used by the author to reinforce the traditional idea of women as the helpless victims.

In the book Breath, Eyes, Memory by Edwidge Danticat, Sophie’s ideal image of women has been heavily shaped by her Haitian upbringing and cultural norms. Her mother, Martine, and aunt, Atie have an even stronger connection with the Haitian ideals and norms which also influences Sophie. These women all have very set views on how women are “suppose” to live and behave based on these societal norms. Sophie wants to become the spirit Erzulie because she see’s it as the goal representation of Haitian femininity.

The narrator grows up through the memory of a women named Mai Ling. In the excerpt “Kuraj” by Silvia Di Natale, Mai Ling to whom is noticed as a mother figure. The excerpt how the people from this environment admires and values the action of being protected; therefore, the narrator felt that Mai Ling was he/shes protector. “I know that I dreamed about her and it was Mai Ling with her almond eyes in her pale face.” The narrator describes the appearance of Mai Ling by using the literary devi

Homeric or epic similes can be found all throughout The Odyssey written by Homer. A simile is the comparison of two unlike objects using like or as. Homer’s similes are considered to be “epic” because of how elaborate they are to help the audience “feel” and picture a scene. One of the most glorified scenes in The Odyssey, full of epic similes, is when Odysseus stabs the eye of Cyclops Polyphemus. As soon as Polyphemus fell asleep from the over-consumption of wine, Odysseus put his plan into motion to escape the Cyclops’ cave. Courage took over Odysseus and Homer writes:

This dark, decayed, disgusting and risky place makes the character confused and makes him feel inside hell. He feels despair and does not understand the cruelness of his captors (even though he had heard some stories, being there was worse).

I will argue that we may view the woman as representative of Odysseus’ grief in his moment of pity and pain, the simile in its entirety may be regarded as analogous to a potential future for his own oikos. Should he fail to return home or succeed to return only to deceit and demise, Odysseus will initiate the splintering of his home into the rabid hands of the suitors. The simile shifts from referring solely to Odysseus to encompass the possible fate of his entire household. This promotes the idea that this hero reaps what he sows for, as the perpetrator of like monstrosity, he faces the tragedy of a future akin to that of his own surviving victims.

Claude McKay was a Jamaican poet who brought hopefulness to the oppressed during the Harlem Renaissance in his poem, “If We Must Die”. McKay experienced the hardships that colored people were going through because of their race and nationality. He believed that the people should fight for what they believe in, even if it seems like a hopeless cause. McKay uses the concept of dying with dignity to persuade his fellow African-Americans that are being oppressed to fight for what they believe in.

   In response to Raymond Chandler's The Big Sleep, I have just one question. Why all the similes? There isn't a single page in the novel that doesn't display this annoying literary device. Everything is "like this" or "like that." It never ends! Similar to decoding a secret message that isn't difficult to understand, but nevertheless tiring due to the overwhelming amount of messages, the novel is frustrating to read. The following analysis acknowledges Chandler's creativity in developing his main character, Philip Marlowe, with his usage of simile. However, the excessive style of the novel creates a dominating force that ultimately leaves the reader unfulfilled at the end.

Shakespeare’s usage of metaphor and simile in A Midsummer Night’s Dream is best understood as an attempt to provide some useful context for relationships and emotions, most often love and friendship, or the lack thereof. One example of such a usage is in Act 3, Scene 2 of the play. Here, the two Athenian couples wake up in the forest and fall under the effects of the flower, thus confusing the romantic relationships between them. Hermia comes to find her Lysander has fallen for Helena. Hermia suspects that the two have both conspired against her in some cruel joke, and begins lashing out against Helena. She says “We, Hermia, like two artificial gods, / Have with our needles created both one flower, / Both one sampler sitting on one cushion, / Both warbling of one song, both in one key; / As if our hands, our sides, voices, and minds, / Had been incorporate. So we grew together, / Like a double cherry, seeming parted; / But yet a union in partition / Two lovely berries moulded on one stem: / So, with two seeming bodies, but one heart; / Two of the first, like coats in heraldry, / Due but to one, and crowned with one crest.” (Shakespeare 2.3.206-13). Shakespeare writes this list of vibrant metaphors to establish the prior relationship between these two characters and to make it evident how affected Helena is by this unexpected turn of events, as well as to add a greater range of emotion to the comedy, thereby lending it more literary and popular appeal.

The Foxwife, is a mythological creature, that was mentioned by Older Father in his animal “spirit stories”. The Foxwife could be viewed as an aspect of Kanseun’s cultural identity as he is part of its tales and stories. In the text, the author describes how Osthen’s friends “never seemed to remember him once they left the apartment” even though they treated him “genially enough”. This is similar to how people in a globalized world are amicable when it comes to celebrating different cultures and customs but once those occasions are over, many do not remember the beliefs and values that define those cultures. To many individuals, such aspects of their unique cultures are not important in the increasingly homogenized societies. This non-importance was also reflected in the clothes worn by the Foxwife which looked like they had led a “former life as a sack”. The torn and tattered appearance emphasizes the rejected and disregarded view of cultures that globalized individuals