Kitchen, By Banana Yoshimoto

This shows that meteorological conditions are able to affect a character’s thoughts and alter their feelings. As has been noted, Shelley accentuates the description of spring to express the hope and renewal bestowed upon the creature by the exemplifications of the weather.

Although the lovers remain silent, "The wind's incomplete unrest / Builds and disperses clouds about the sky", which symbolizes first an eternal yearning for something deeper than is there, and secondly a "clouded," obscure vision of what this something may be. The previously mentioned yearning is shown also by a definition of clouds as "a type of the fleeting or unsubstantial" (Oxford English Dictionary). Whatever it may be that is being searched for cannot be found by lying inert letting time pass by. While this second stanza contemplates the apparently unattainable, the final two seem to convey a feeling of hopelessness in knowing that the clouds may never subside.

Hawthorne describes a cold and gray day.  This description gives the reader a sense of isolation as well as slight depression.  However, the mention of a slight breeze that ruffles the canopy of the forest just enough to let in little flickers of sunshine conveys a fleeting ray of hope that seems to coexist with the gloominess in the scene.  In many scenes during the book, moods or prevailing feelings are established through descriptions of the natural surroundings of the characters.  This aspect of Hawthorne's writing makes the book deeper and more emotional.

We obtain the feeling of spring when King describes the weather in this section: “The air soft and beautiful, the sky was darkening by slow degrees from blue to the calm and lovely violet of dusk” . The spring symbolises hope and joy and make the atmosphere calm contrary to the dark streets in the night that obtain a more scary atmosphere when there suddenly are less people than on the big avenues.

The effect that the landscape has on the characters is very significant. Through the use of figurative language, Kent is able to covey the landscape and how it emphasizes many of the emotions felt by the characters. In the text characters live in Icelandic society where long distance communication is hard and fast communication is even harder. With the weather being the way it is; bitterly cold and oppressive, it reflects on each character and their emotions felt through the book. Particularly the oppressive snowfall throughout the text leaves the characters feeling claustrophobic and confined. In turn this allows each character to express these feelings in their own individual way. Margaret, the mother is trapped in her own house in a repetitive cycle of her own making. Agnes is caught in her own inner turmoil, and Margaret’s daughters are also trapped in a cycle, fated to live a

I understand that the character said that but with all of the dangerous and life threatening situations the Mikaelson's have been put in I don't believe that. I don't believe that nothing that has ever happened to him or his siblings have never frightened him to the same extent or more.

On page 110 the setting is depicting Holling’s walk home from school. The weather produced dark clouds prepared to rain, “Gray clouds whose undersides had been shredded” (Schmidt 110). Also, with ominous clouds leaving behind an awfully cold mist that hung for what

On the other hand, Eriko’s death is the determining element in Mikage’s character development. As a result of this shock, Mikage’s character truly understands the lack of control she has on life and death. Mikage’s desperation is depicted the night she hears of the death. Unwilling to grasp reality, she stays up all night hoping Eriko would return. “Still no matter how late I waited up, she would not come back” (53) Yoshimoto does not foreshadow Eriko’s death, foreshadowing would corrupt the underlying theme.

She also speaks about why sometimes it is worth being stuck or cramped in a tiny place, due to some of the horrors she has witnessed or seen from the outside world. In paragraph three, Jacobs uses personification many times to describe how the winter and autumn felt, and how they affected her. For example, she says that autumn “whirls” through

Throughout the years the concept of home style, which was coined by the political scientist Richard Fenno in his book titled “Home Style”, has been investigated by several other political scientist’s. I believe home style should be consistent and continually reinforced. As an inconsistent home style would not produce a good image of a member of Congress to constituents. I believe home style may contain many different components, some of which are: A member of Congress’ image, trust with constituents and Washington, as well as communication with both parts. How many times a member of Congress goes back to their home district to discuss matter’s in Washington is part of this idea of home style. When members make trips back home they usually

In conjunction with the symbolic representation of Elisa’s life, the dramatic description of the environment can also be seen as a unique representation of the relationship conflict between husband and wife. Steinbeck’s foggy description demonstrates conflict through the following statement, "a time of quiet and waiting." This description is interesting because the fields are personified as waiting for rain, however, “rain and fog do not go together” therein lies the conflict just as Elisa waits for a positive change in how her husband treats her (Palmerino, Gregory J). Gregory P. further points out that, “The natural elements of the foothills ranch seem as unwilling to confront each other as the characters that inhabit its environs. Hence, fog and rain can be seen as the female and male equivalents to Elisa and Henry.” This only further solidifies the deep rooted troubles within Elisa and her relationship with her husband. The setting of the story is personified to act as a symbolic representation of the couple’s relationship (Steinbeck, John 337-338).

Stanza two and three depicts two types of storms, one externally and one internally, that are bound to happen. As the storm persists, the speaker observes that “weather abroad / And weather in the heart alike come on / Regardless of prediction.” The speaker associates the storm currently happening as a parallel to the troubles he has metaphorically. The “weather abroad” speaks of the disorder present outside of his sentiments. Even though predictions or storm warnings can aid people in toughing through the occurrence, such as stocking up on food and basic disaster supplies, the storm is imminent either way; the weather cannot be manipulated and it will continue to bring forth destruction. Meanwhile, in regards to the emotional state of the speaker, it is of the heart. An individual can attempt to brace themselves in the face of trying times that will weather away the heart, however, they can’t hinder the turmoil set to come. The speaker “can only close the shutters” to the storm raging outside or within. However, by closing the only way he can view the turbulent storm, either from the house or within oneself, he is closing his eyes to the destruction, choosing to be blind to it. Nevertheless, the storm will go forth and wreak havoc that will remain for an extended period of time, engendering suffering. Instruments may well predict the storm, but it is unavoidable and the outcome depends on what one does with the

In this case, the clouds are connected to the notion that humans will eventually disappear and that none of their actions will last. Percy Shelley in the next stanza compares humans to lyres; each time the lyre is struck, it plays a dissonant and unmelodious note. Just like the notes played, humans will always give differing responses at different times because they will have changed emotionally. The melodious tunes have been forgotten and unmelodious ones have taken their place; in comparison, the previous unity and harmony have been replaced by disunity and tension in human minds and mankind. Shelley compares man to clouds and lyres in order to express his powerful reasoning that humans are undergoing change at all times.

“Storm Warnings,” true to its literal subject matter, possesses flowy sweeping syntax created by the strategic use of commas and phrasing to draw parallels between the physical oncoming winds and the gales of life. The author crafts a long run-on sentence that spans the first stanza and carries on into the latter portion of the second to mirror the continuous flowing of windy weather and the forward motion of life. Once the speaker notices the brewing storm, they “walk from window to closed window, watching boughs strain against the sky.” In this portion of the affromented run-on sentence, alliteration, rhythm, and the repetition of words all contribute to the impression of movement. The various “w” sounds at the beginnings of words and the repetition of the word “window” create a sensation of continuously flowing forward, especially when read aloud; the comma adds a small swirling pause to the rhythm, which is then soon after resumed with the word “watching.” Just as the poem rhythmically moves forward with its long phrases connected with frequent commas, so must life carry on with each additional experience, whether it be misfortunes or joys. The elongated syntax allows all these elements to work together within sentences to highlight the similarities between physical storms and emotional struggle and to stress the inevitability of predicaments in life.

This just shows how weather can affect people's moods. At first the storm seemed exciting; getting to leave work and school early sounded like a good thing. However, throughout the day, little things happened that made it no longer be so exciting. And eventually, that excitement was gone and it was replaced by