Literary Techniques Used In Sinclair Ross's The Painted Door

In the first section of this gothic short story, Jacobs starts off by describing the setting. He describes the night as "cold and wet" but, he shows the reader that the house is warm and cozy even with the cold rainy weather. He depicts this by telling us “the blinds were drawn and the fire burned brightly"(Jacobs 1). He contrasts the inside of the home heavily with the outside of the home. Outside it is a dark, stormy night, and the inside it is cheery and warm with chess, knitting, and a warm fire. The author shows us in the beginning that the family is happy and has everything they could need.

Throughout the short story, The Painted Door by Sinclair Ross, John is established as an admirable character. His hardworking and compassionate behaviour emphasizes his admirable personality. Overall, John is a diligent, considerate and unappreciated

I chose to focus on a passage in Sinclair Ross’ “The Lamp at Noon” and how it related to the larger context of the short story. The passage I chose is near the end of the story on page 21, when the storm finally clears and Paul sees the desolate landscape:

This initial reaction, particular thoughts of Charlie and the syntax that was produced by Silvey creates a sinister, grievous mood which creates this particular setting which therefore ultimately changes Charlie’s life. ‘I follow Jasper Jones. And I see it. And everything changes. The world breaks and spins and shakes. I’m screaming, but they’re muffled. I can’t breathe in. I feel like i’m underwater. Deaf and drowning.’ (pg. 12). This following excerpt from the book emphasizes on the horrifying impact this experience has on Charlie. Silvey uses many short sentences to create a scene in the mind of the reader of short cuts which indicates a sense of urgency, tension and haste in the story. This use of syntax really portrays what would have been going through the mind of Charlie which gives the perception of realism to the reader. A few pages later we a given an extract which describes the glade as follows ‘I imagine it might be rare and amazing during the day. A quiet bush oasis. But right now it just seems so sinister and suffocating.’ (pg. 14). Here we are given a proper insight of how this beautiful serene area of bush can be quickly demonized and labelled as ‘sinister and suffocating’. Silvey talks about how this setting, which is so beautiful to be quickly reshaped into something treacherous which gives the impression

In Emily Dickenson's "We Grow Accustomed to the Dark," and in Robert Frost's "Acquainted with the Night," the poets use imagery of darkness. The two poems share much in common in terms of structure, theme, imagery, and motif. Both poems are five stanzas long: brief and poignant. The central concepts of being "accustomed" to something, and being "acquainted" with something convey a sense of familiarity. However, there are core differences in the ways Dickenson and Frost craft their poems. Although both Dickenson and Frost write about darkness, they do so with different points of view, imagery, and structure.

The Winter is the opposite of summer, during the winter not only does the winter change but the town's appearance. The houses that once looked artificial were exposed and looked abandoned. “Winter comes down savagely over a little town on the prairie...The roofs, that looked so far away across the green treetops...they are so much more uglier then when their angles were softened by vines and

The Painted Door, by Sinclair Ross published in New York in 1941. Is isolation the enemy of our improvement, or is our worst possible counselor? The letter "i" in illness is isolation, it is a feeling through which a person feels and has thoughts about being rejected by others, which leads us to the conclusion that being in that state of mind leads a person in the company of our worst enemy, the one within ourselves. Being Isolated from John was the loneliness Ann had felt which made her feels like it was forced upon her, like a punishment.

"Although there was evening brightness showing through the windows of the bunkhouse, inside it was dust". This shows that the light tries to get in but never manages to penetrate the darkness. This is important to the themes of the story because workers' hope for a future farm is just like the light while the cruel reality is like the darkness. Their efforts to realize this plan is just like the light trying to penetrate the darkness, but their dream

“Cold for all the summer beyond the panes, for all the tropical heat of the room itself, a harsh thin light glared through the windows, hungrily seeking some draped lay figure, some pallid shape of academic goose-flesh, but finding only the glass and nickel and bleakly shining porcelain of a laboratory. Wintriness responded to wintriness. The overalls of the workers were white, their hands gloved with a pale corpse-coloured rubber. The light was frozen, dead, a ghost.”

Throughout ‘At Mornington’, Harwood uses descriptions, “night fell”, and similes, “the piece of this day will shine like light” when referring to the power of memory. During ‘The Violets’, Harwood uses imagery such as “ambiguous light” and metaphors such as “unreturning light” and “blurring darkness” to portray time’s ability to pass, and the way that you cannot regain time that is lost. During ‘The Violets’, Harwood also uses the metaphor of the “melting west” to represent a closing day, capturing the vivid colours of the natural phenomenon through the use of evocative imagery. Indeed, the second poem of the diptych of ‘Father and Child’ is ‘Nightfall’. These references to darkness, light and the closing of days can all be seen as symbolic of life, death and the transience of time, as when one day ends and night falls, the transience of that moment will be held in one’s memory regardless of the moment never being able to be relived.

The interplay of dark and light motifs underlies the narrator’s most recent hardship. On his way home on the subway, the narrator comes across his brother’s name in a newspaper and “stared at it in the swinging lights of the subway car, and in the faces and bodies of the people, and in my own face, trapped in the darkness which roared outside” (Baldwin). Riding in the light of the subway car, the author makes the non-suspecting narrator subject to suffering, unguarded by the protective cloak of the outside darkness. Made vulnerable by the exposed light and people surrounding him, the narrator is hit harder by the unexpected news than if he had read it in the darkness of his private room. Under the “swinging lights,” the narrator is not prepared to cope with the troubling news. This emphasizes the importance of light as a symbol for one’s need of camouflage to properly cope with tragedy.

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.

Imagery is another important element which London uses to illustrate and emphasize his theme. In “To Build a Fire” Earl Labor sees the “mood and atmosphere, which is conveyed through repetitive imagery of cold and gloom and whiteness,” as being “the key to the story’s impact” (63). London does rely heavily on imagery to set the mood of the story, and in this way he draws a picture of the harsh environment that his character must endure. London uses imagery with such skill that the reader can almost feel the deadly cold of the environment and can almost hear the “sharp, explosive crackle” when the man’s spit would freeze in mid-air (119). Through the use of such vivid imagery, London guides the reader toward the realization of the story’s theme; the reader can visualize the man “losing in his battle with the frost” and therefor can picture man in his conflict with a cruel and uncaring universe (128). Symbolism is also an important element in “To Build a Fire”. David Mike Hamilton’s criticism, he says “the fire symbolizes life as does the white snow that falls at the beginning of the story.” He also views “the dark point in the midst of the stamped snow, foretelling the end of the fire, and thus of life” (2). I strongly agree with Hamilton’s criticism; “the dark point in the midst of the stamped snow” because it not only foretells the end of the fire but of the end of life itself.

The first paragraph of Bleak House alone gives the reader an instant idea of how Charles Dickens saw London to be around 1842. He has portrayed the streets to be muddy and extremely polluted, "As much mud in the streets as if the waters had but newly retired from the face of the earth." Here Dickens has used a slight amount of Hyperbole to emphasize his point. He also uses personification when referring to the snow flakes, saying that they have gone into mourning, ?smoke lowering down from the chimneypots, making a soft black drizzle, with flakes of soot in it as big as full-grown snowflakes?gone into mourning, one might imagine, for the death of the sun.? the contrast of the imagery he is using helps for the reader to imagine the scene,

Similarly, Frost also uses descriptive adjectives to portray a significant moment in time, which creates imagery for the reader. In “Stopping by a Woods on a Snowy Evening” Frost uses the rule of three by listing the adjectives “lovely, dark and deep”. This, along with the alliteration in “dark and deep” creates a powerful image of the woods. By doing this, Frost is being metaphorical as the woods themselves represent solidarity and peace “He will not see me here” the personal pronoun “he” meaning society or God. Essentially, Frost is saying that when one steps out of life’s routine, it can be “lovely, dark and deep” which comes across as mysterious and unusual. It could also be said that because the three adjectives used are simple, they can be accessible for anyone to relate to.