The White Heron Symbolism

In the play, The Seagull by Anton Chekhov, the main characters Constantine Treplieff, Nina Zarietchnaya and Boris Trigorin are entangled in a love triangle. Treplieff is an aspiring writer who writes plays about dead characters, which contributes to their failure. He lives in the shadow of his famous actress mother Irina Arkadina and her successful boyfriend Trigorin. Nina is a young aspiring actress who is also searching for acceptance. Her father and stepmother disapprove of her acting career. Lastly, Trigorin as mentioned before, is a successful writer and the boyfriend of Arkadina. He ultimately has an affair with Nina. The main symbolism in the play is an actual seagull, which is a bird that lives near the sea. In Chekhov’s The Seagull, the symbol of the seagull is used to represent Nina Zarietchnaya because of her sense of freedom and security at the lake, her destruction of Constantine Treplieff’s heart and her own destruction under Trigorin and their love affair.

The role played by the Little Ships during the Operation Dynamo has been heavily mythicized by contemporary accounts of Dunkirk. For instance, a heading in The Times from June 4, 1940 referred to the civilian vessels at Dunkirk as a “Magnificent Spirit”. Furthermore, the column noted how “Fishermen, yachtsmen, yacht-builders, yacht clubs, river boatmen” responded in Britain's time of need and how the civilian sailors “manned their craft with volunteer crews and rushed them to the assembly point”. Similarly, another piece from The Times helped illustrate a sense of mass, spontaneous civilian participation by making reference to how the only complaints people had about volunteering their vessels Dunkirk “came from boat-owners who could not get themselves onboard in time to go to their boats”. Newspapers publishing articles such as the two noted above helped form the public conception of the Little Ships as a mass armada of selfless volunteers who helped rescue countless Allied troops and delivered them to British coastal ports. The pinnacle of this fantasifull narrative was Paul Gallico's short story, The Snow Goose, published in The Saturday Evening Post. Within said novella, the protagonist narrates a romanticized rendition of the Little Ship story where “every tug and fishing boat or power launch that could propel itself was heading across the Channel … to rescue as many as possible from the German fire”. The main driving force behind the British Admiralty's decision to

Any person reading words such as “blossoming,” “blooming,” “glowing,” and “shining” would accept that Inman’s personal heaven is too good to be true. The dreamlike images that the many “yellow[s],” “maroon[s],” “red[s],” “orange[s],” and “purples[s]” may be the most jubilant of them all. Such vague terms mean nothing, however, if it is not paired with dynamic plants: okra, maple leaves, jewelweed, and redbud. Everything in this seasonal change is explained with vivid imagery. Metaphors are minimal, and only when Frazier describes the “maple leaves as red as October” does the reader see an example of a simile. But even this comparison is composed in a particular way. Using “as”, the reader is given a broad range of fall colors to choose from. It could be a bright, vibrant red, or a dull, colorless red. The interpretation of “as red as October” is up to the reader. One can note that the syntax Frazier uses throughout Inman’s dream is, at first, in the past: his dream home “had a coldwater spring” and his dream “seemed to be happening all at one time”. His manifestation of his dream continues thereon out in the present tense, suggesting the continuation of the dream is progressing: the trees and plants are “blooming” and the pumpkins are “shining”. The last two sentences begin to drift back to reality, placing the oak trees in the past: “there were white oaks”. This wording

The painting has strong colours and light contrasts, that make the tree dominating over the mountainous landscape. There are warm, red colours near the front of the painting that help the viewer see that it is closer, while there are cooler, blue colours in the mountains that are farther away.

At some points of the film the color red signified trouble or anger even rebellion, while the color blue represented calmness, quiet, and learning. In early scenes of the film before we see Mona there is a lot of blue lighting and small hints of red at some points. Another example of colors depicting a mood or feeling was shown when Mona goes into the dungeon of the castle where enslaved Africans were held. In this scene a room lights up in red and the faces of those enslaved were shown thus allowing for the audience to see this a time of struggle. The mention of nature referred to earlier is that of both the environment but also that of birds. Gerima plays highly off this idea of expressing the importance of the Sankofa bird as well as mentioning another bird said to save those of the enslaved. In a scene of the film after NuNu died the camera panned from her face to that of the sky. This later was explained a bit because later in the film the enslaved community said that they saw a buzzard come and take NuNu back to

The protagonists of each stories “ Hills Like White Elephants” and “A White Heron” have conflicts with another male character, whom they have a romantic relationship with one another. The male characters, the American and a young ornithologist hunter, share a similar ambition of getting what they want. The American wants his female love interest to have an operation, claiming that it is the best option for their relationship. As for the young ornithologist hunter, he has a desire to catch a rare bird, but is having difficulties locating it. Although these strong leading female protagonists, Jig and Sylvia, are in certain situations where they do not have a solid agreement with the other male characters. The story progresses for both protagonists,

The value or beauty of a color remains not only in how it looks, but also in the feeling it transmits. In The Red Badge of Courage, Stephen Crane masters imagery and the ability to play with realistic descriptions that at the same time inspire the reader’s imagination. The often use of color in the novel creates a more vivid setting, which helps the reader develop an authentical and original standpoint based on a perspective that Crane wishes to portray. In the majority of his descriptions, color is associated with nature, making Crane’s outlook highly realistic. Crain’s complex illustrations make the reader analyze the value of colors deeper into how its biased opinion can be manipulated.

Together, they reached the metal fence that is guarding the mysterious woods, Nelson pushed it opened and it made a loud creaking sound that echoed miles down the forest. Slowly, they entered the mysterious woods as the​ ​July​ ​orange​ ​sun​ ​is​ ​waving​ ​goodbye​ ​and​ ​sinking​ ​down​ ​behind​ ​the​ ​tall​ ​green​ ​pine trees,​ ​later​ filling ​the​ ​sky​ ​​with​ ​a crystal​ ​white​ ​light​ ​by​ ​the​ ​full​ ​moon.​ ​The​ ​moon casts down ​​a stream of light which created a​ ​path of light​ ​​in the dark​ ​forest.Peggie grabbed onto Nelson’s arm when she heard ​an old,​ ​black​ ​crow​’s crackled old song that is bouncing off from tree to tree. The two friends wandered through the woods with the sounds of crunching dead leaves and snapping of the twigs. A field of grey color flowers was insight, but, they remember seeing photos that were once a vibrant yellow, red and orange, but now, they see lifeless petals on the on the laying ground. With flashlights in hand,casting light on a huge cobweb with a big, blood red, and black spider eating the latest prey that got caught in the stickiness of the web. Then, a sudden chill washed over them that was colder than a dead person’s breath. As the arctic wind continued to blow Peggie shivered, Nelson noticed it and he gave Peggie his jacket to

Reached artistic maturity with her publication of A White Heron and Other Stories in 1886.

alluded in the story when the correspondent sees a shark circling the boat and at that moment wishes his comrades were awake with him. Similarly, the correspondent is perceived to delight in the simplest and brief conversations showing his appreciation for friendship.

The story starts and finishes in the American wilderness; which is described as being a beautiful “rich woodland”, “lighted by the reflected rays of the setting sun” (27). And the Kaatskill mountains surrounding the forest are “seen away to the rest of the river, swelling up to a noble height, and lording over the surrounding country” (23). Descriptions like these are typical of stories written during the romanticism period, where the environment is represented as being a serene and desired paradise, where people can feel satisfied and at peace; a refuge from the problems of their daily

First of all, after my presentation, I will review the forest landscape aspects of this book from my earlier in-class media presentation. For example, I will point out that the text says that Max’s room turned into a forest. Then, I will show the class how the text supports the aspects of the forest landscape in the illustrations through the imagery of the tree

This is a Chinese symbol that represents being calm and peaceful.The symbol is simple,but yet very intriguing. It seems to be the letter T with two apostrophe s. I believe that I am a very calm and mellow person and for that reason I chose this symbol. I’m often very relaxed and zen and I would compare my personality at times to a gentle and serene dove. The dove has generally been portrayed as a peaceful creature. At most time I’d like to say I’m a very placid and even-tempered person. I tend to go with the flow of things and remain unflustered. I believe I reassure others with my calmness prior to stressful events. For Example, there was this one moment when one of my friend’s totally lost his composure prior to a large test and completely

The imagery of the colors Stevens uses are ones that inspire life, “red bush,” the “grey grass,” and the “green-grey sky”. Red is a color of passion, perhaps speaking of the things a person loves in their lifetime, the grey alluding to the everyday, and speaking of the sky he might be thinking of a person’s dreams and aspirations.

Unlike Ramakrishna, whose defiance to authority is not as much action oriented as it is philosophical, Balram is a rule breaker with a vengeance. He must grab and take what he wants from the world, if there is no one to give it to him. Useless sentiments belonged to a different time and space, of pre-liberalised India. According to Gurwara, Balram represents “the danger that is looming large – the backlash of the underdogs” (163). He is a typical Fanonian rebel who will do anything to gain his liberty. He despises everything that stands for servitude, “absolute fidelity, love and devotion,” including Hanuman, a religious symbol of servility and utmost devotion towards Lord Rama, as he firmly believes that such idealisations make it extremely difficult for a simple man like him to come out of slavery and win the freedom due to him (13). As Balram neither wants to remain a servant till the end of his life nor die miserably like his father, he liberates himself from bondage through murder and robbery. The stark contrast between the attitudes of the men and women who people the works of Adiga before and after globalisation is astounding.