Perry In Cold Blood Analysis

Perry is then able to accept that his family was not like any other ordinary family. From realizing this, he comes to the conclusion that he himself is not ordinary as well so maybe he uses this information to try justify his actions. He needs psychological help moreover, Capote is able to impress us with Perry’s character by having us feel some type of sympathy for Perry that may or may not be justifiable depending on what you consider justifiable. A really great example to prove this thought would be, “I think there must be something wrong with us… after all it was “painful” to imagine that one might be “not just right, particularly if whatever was wrong was not your own fault but “maybe a thing you were born with”, (Capote 110), clearly Capote want’s us to believe or accept that Perry’s actions are justifiable and we should feel sympathy for him. In this quote Perry is able to realize or spark his head with the idea that he isn’t ordinary.

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.

In Cold Blood by Truman Capote is a novel that explains the history of a family murder through two characters perspective. Capote unravels each character through the concept of juxtapose, which helps prevail the occurrence of events. Dick, is a very straight forward man that does not care about what others think. Whereas, Perry has a shy, conserved personality that is shown through transitions and details. Juxtapose effects the readers and characters as explained throughout the novel by comparing and contrasting two different characters opinions.Details are shown on every page and are illustrated in every sentence, which gives the reader the image. In Cold Blood represents the development of characters, juxtapose, transitions and details.

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.

To prove that outside influences are to blame for Perry’s actions, Capote first employs metaphor and parallel structure in order to place the blame on Perry’s partner, Dick. While Perry is waiting for Dick to come back to the laundromat in Kansas, where Perry was waiting, Perry starts to panic and imagine that maybe the police found his partner. Upon Dick’s return, Perry states that “The sound of Dick’s voice was like an injection of some potent narcotic, a drug, that invading his veins, produced a delirium of colliding sensations; tension and relief, fury and affection” (Capote 194). By comparing Dick’s voice to a “narcotic”, and the parallelism of “tension and relief, fury and affection,” conveys that he was like a potent drug and one that Perry was addicted

In order to paint an image of Dick as a controlling and condescending killer, Capote uses a simile to describe his stature. On page thirty-one capote describes Dick’s physique:“as though his head had been halved like an apple, then put together a fraction off center.” (Capote 31). Because Dick is described as abnormal it helps Capote achieve his purpose of demonstrating that Dick was a true monster who changed and molded Perry from a man into a killer. Capote describes Dick in this way to set Dick apart from a normal human being. A normal person could not have changed someone but because Dick was not normal he was able to change Perry. Because Dick is not normal he will be seen as the true

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 use three layers of trauma to completely develop the character of Perry Smith. Capote describes Perry’s childhood, mental state, describes why he does certain things

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

Written in a time period in which people who are found guilty are immediately assumed as such, Truman Capote was able to write a non-fiction novel, In Cold Blood, that had characters that he believes deserve to be seen as humans, even victims themselves, rather than criminals. Truman Capote manipulates language elements, achieving his purpose of telling a story that shows the potential corruptness of the criminal justice system and plays toward the humanity of the criminal rather than the viciousness of the crime.

Truman Capote put a lot of thought into this writing and in order to change the way people looked at this almost new type of writing, he decided to demonstrate pathos in order to do this. In the novel when talking about the murders Perry said, “I didn’t want to harm the man. I thought he was a very nice gentleman. Soft-spoken. I thought so right up to the moment I cut his throat.” (204). Right here Capote almost makes you feel bad for Perry and tries to show that Perry really is not an evil person and almost did not want to commit the murders. Now this supports his purpose because nobody tries to make the reader feel bad for the murderers. They are usually viewed as evil, disturbed people yet Perry is almost looked upon as someone who is not evil and almost as just someone who was forced into this. Nobody ever feels bad for a murderer yet in this novel, almost everyone starts to feel bad for them. Which really changes the way people write these types of novels and at the time seemed very unorthodox. Capote also makes people sympathize for the murderer by having Perry talk about his background. Perry says, “‘What she used to do, she’d fill a tub with ice-cold water, put me in it, and hold me under till I was blue. Nearly drowned. But she got found out, the bitch. Because I caught pneumonia. I was so sick that Dad came back. When I got well, he took me away’” (132). Now with almost every murderer they have a very rough upbringing yet people still do not

Although Perry commits a ghastly offense he still contains another compassionate side to him, Capote’s importance is to tell readers Perry can be sweet too, therefore; he contends even though a person commits a crime doesn’t mean they are inferior.

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

By using this example, Capote is able to convince readers by claiming a childhood should be filled with happy memories, Perry’s whole life was running on an “ugly and lonely progress” and chasing happy “mirage” that he could never reach. Because of the usage of figurative language, readers feel sympathy for Perry since Perry was an unfortunate, poor kid who failed to achieve normal, happy