Use Of Syntax In Jasper Jones

Imagery is one of the best used literary devices in this short story. Imagery means “The use of vivid or figurative language to represent objects, actions, or ideas.” (http://dictionary.reference.com/define/imagery) In The Pedestrian Bradbury tells us that Mr. Mead’s house “had all of its electric lights brightly lit, every window s loud yellow illumination, square and warm in the cool darkness.” (51) This story also uses imagery when it talks about the police car and says, “…peered into the back seat, which was a little cell, a little black jail with bars. It smelled of riveted steel. It smelled of harsh antiseptic; it smelled too clean and hard and metallic. There was nothing soft there.”

In the novel Jasper Jones, Craig Silvey provides us the audience an insight into the characters’ pursuit of truth by exploring overarching ideas such as Fear, Racism and Scapegoating and linking them with character dialogue as well as narrator descriptions. The main truth presented by Craig Silvey is the investigation of Laura Wishart’s death, by pursuing this truth Charlie uncovers truths about his family and town. I believe that by using these overarching ideas, silver is able to offer us a deep insight into the characters’ pursuit of truth.

He first emphasizes how ample and bright the place is. He also narrates how there are “poisonous particles… as motes in sun-beams, into the lungs” (40). He expresses how suffocating this place is with a cough (14). The fact that the women don’t cough and are “used to it” is like saying they don’t breathe anymore. He describes the women as the “blank-looking girls, with blank, white folders in their blank hands” (12). He portrays these women as cadavers being preserved in this cold place, like a morgue. He says, “…face pale with work, and blue with cold; an eye supernatural with unrelated misery” (11). He is intentionally making the reader feel they are dead alive through the description of a physical death, then a social and emotional death.

Stevenson suggests the sense of fear and cultural anxieties of late Victorian England through depiction of the unreal city, in particular, fog in the novella. "The fog has gripped London", and it "swirls" and "eddies through the gloomy neighborhoods", describing them seem "like a district of some city in a nightmare." Stevenson shape an eerie aura through portrayals of the "great chocolate-coloured pall lowered over heaven ... here it would be dark like the back-end of evening; and there would be a glow of a rich, lurid brown ... and here ... a haggard shaft of daylight would glance in between the swirling wreaths." The haggard and swirling fog and somber hues combine to form a murkiness that displays

Bryson uses sentence structure and simile to characterize the driver as clueless and create humor. The cab driver’s short syntax structure – with sentences of only one or two words – implies that he doesn’t care about Bryson’s requests. His repetition of “dunno” also indicates that he is too clueless to know anything or to care about Bryson, his customer. In contrast, Bryson’s longer sentences characterize him as more intelligent and perceptive than the cab driver. Also, by telling the driver he is “as stupid as a paramecium” (Bryson 151), Bryson directly characterizes the driver as brainless. A paramecium has no brain or any senses at all; with his simile, Bryson implies that the driver cannot think whatsoever, and, indeed, has no brain. His

While watching movies, the sound is what creates the emotion: whether it is fear, excitement, or frustration. In stories, the description of the setting is what intrigues the reader. In all of Edgar Allan Poe’s stories, he uses the setting to create a dark tone, to develop external characteristics, and form internal characteristics.

In “The Handsomest Drowned Man in the World”, Gabriel Garcia Marquez uses powerful, visual imagery to create his world, but it is the olfactory, auditory, and tactile imagery that enables the reader to enter his world of magical realism. Marquez’s visual imagery begins with a dire description of a “dark and slinky bulge” that was possibly a “whale” (1). This clearly represents an ominous presence. However, it is the tactile and olfactory imagery that supports a more positive characterization. For example, the drowned man has “the smell of the sea” and is covered in a crust of “mud and scales” (1) “that the women finished cleaning him of...

“Wake up you lazy lout!” the Owner of the theatre yelled at a slumped figure sleeping on the rotting desk in the room, who had a quill in hand. The room was stingy, dusty and boiling hot and room was dimly lit by a pair of tall candles and the moon poured it’s beautiful dim light into the room.The room smelt of smoke and burning wax. It was as horrifically smelling as the city dungeons.The walls were covered in full bookshelves with books and scrolls that appeared to have never been opened.He woke startled and terrified, ink staining the old wooden table. he was meant to be working on on a money making scheme for the theatre.

First, Poe develops a dark and sinister atmosphere through his vivid imagery. An example of this is shown when Montresor and Fortunato reach the end of the crypt. Poe implores imagery as he describes the “walls [which] had been lined with human remains” (Poe 139). Poe’s lucid description of corpses incorporates a grim and haunting ambience into the setting.

Syntax and Diction: The short sentences show the turmoil that the narrator is currently in. The parenthesis are there to indicate an aside, therefore, indicating the inner dialogue that the narrator is having with himself. A series of rhetorical questions in those short sentences further proves the point of the confused narrator.

The way the writer has structured the text has interested me, as a reader, due to the fact he begins with using a focus shift. This is intriguing as the first sentence implies a normal bus journey ‘Stanley was the only passenger on the bus’ however, he follows that by using the phrase ‘A rifle lay across his lap’. This creates a sense of danger and consequence, furthermore, it also connotes contrast and mystery.

This was both to display the level of intoxication of Bobby in this drinking scene, but also to help the reader focus on the gravity of what he was saying to Clare. The structure of the spacing between the fragments allowed the readers to create this image in their mind of Bobby deep in thought, and intensely giving each word he speaks potent significance. There was also a moment in the description of his language where Bobby, “started out angry but slid gradually to quiet,” (151). Once again, this allowed the importance of what Bobby was expressing to be shown to the reader, asking them to mentally lean in to hear what he was going to say next. However, when Bobby came to a substantial point, he spoke in a full sentence, which contrasted with his original staccato conversation and brought an even deeper attention to it.

Joyce’s use of imagery to describe the boy’s life growing up is significant as it showcases his awareness to his dark and somber reality. The story begins with the boy’s description of North Richmond Street, his neighbourhood

For example, one scary scene is when Dorian shows Basil the secret room, a gothic element, where Dorian hides the painting. Wilde describes the atmosphere as Basil and Dorian “…walked softly, as men do instinctively at night...the lamp cast fantastic shadows on the wall and staircase…rising wind made some of the windows rattle…a cold current of air passed them, and the light shot up for a moment in a flame of murky orange” (159) to portray terror through the setting in order to convey the gothic literature feel. Winds making the windows rattle and casted shadows at night are perfect examples of gothic elements expressed through

In W.W Jacobs short story, “The Monkey’s Paw,” the reader sees the first example of setting eeriness within the first three lines the author states, “without, the night was cold and wet, but in the small parlor of Laburnum Villa the blinds were drawn and the fire burned brightly.” This text is truly captivating and it lures the reader in and it is only within the first three lines that it does this. Another instance of fear being put into the setting is in Edgar Allan Poe’s short story, “The Tell-Tale Heart,” when the author describes the room before the caretaker kills the old man he describes, “His room was as black as pitch with the thick darkness” (Lines 53-54). This statement shows the purity of just how creepy a