In Alexander Pushkin’s novel, Eugene Onegin, Pushkin immerses the reader into Russian high society in the 1820s and focuses on a “fop” (Pushkin 15) called Eugene Onegin. The namesake characters’ personality is truly an illusion. In the two stanzas describing Eugene’s dressing room, the word choice, personification and the use of simile gives the reader insight into the state of Eugene’s ingenuity and why both he and Russian high society are driven by vanity. The narrator spends considerable time focused on the contents of Eugene’s dressing room, which indicates the importance these belongings have to Eugene. By dedicating a substantial amount of detail into describing Eugene’s objects, these belongings begin to become symbols of himself. The things he owns have value more than what they are; they represent how he wants to present himself to the world. In the second line of Stanza 25, there is an emphasis on the fact that Eugene’s belongings are “all displayed” (Pushkin 15) which implies that Eugene’s belongings main use are to impress and to be seen by others. The use of the word “displayed” (Pushkin 15) also brings to mind how the members of high society put themselves on display for each other at social events. The purpose of going to the opera, or a masquerade is not to watch …show more content…
These words illustrate how intensive the process of Eugene getting ready is and how exhausting it must be to exist in the perpetual state of pretending to be someone else. The vanity immersed in Eugene’s life is what his persona is shaped around. This becomes even more apparent with the simile and allusion to the goddess of beauty “Venus” (Pushkin 15) in the second stanza. With this comparison, the narrator gives the reader a clear view of Eugene’s most prominent and defining trait,
The line “I feel not wet so much as painted and glittered” forms a contrasting image to that of the swamp because the consonance of the author’s word choice, “painted” and “glittered,” provide a more positive connotation. The author’s word choice plays a major role in this polarized imagery as well as the connection between speaker and swamp. By using the word “painted,” it is as if the swamp becomes the artist, and the speaker becomes the canvas, meaning that through the struggles of the swamp, the speaker has been shaped into the person she is “after all these years.” Oliver also uses a metaphor, comparing the speaker to “a poor dry stick given one more chance by the whims of swamp water,” which relates to the growth and strength that the swamp’s and ultimately life’s struggles have evoked from the
Walk through a door, and enter a new world. For John, raised in home resplendent with comfort and fine things, Ginny’s family’s apartment above the fruit market is a radically different environment than his own. Economic differences literally smack him in the face, as he enters the door and walks into towel hung to dry. “First lesson: how the poor do laundry” (Rylant 34). In this brief, potent scene, amidst “shirts, towels, underwear, pillowcases” hanging in a room strung with clotheslines, historical fiction finds crucial expression in the uncomfortable blush of a boy ready for a first date and unprepared for the world in which he finds himself.
The short story, “Ivan Fyodorovich Shponka and His Aunt”, explicates the life of a man named Ivan Fyodorovich Shponka. We see him briefly in his young years, followed by his life in the army, and his return to the farm where his strong characterized aunt resides. We can see immediately that this man lives in constant cleanliness and dutiful paranoia; these are some of his desires that he wishes to exhibit to others. We can also see his fears, which reside in the confiscation of his masculinity and independence. This short story has many elements that resemble others in the Nikolai Gogol collection.
Dostoyevsky's writing in this book is such that the characters and setting around the main subject, Raskolnikov, are used with powerful consequences. The setting is both symbolic and has a power that affects all whom reside there, most notably Raskolnikov. An effective Structure is also used to show changes to the plot's direction and Raskolnikov's character. To add to this, the author's word choice and imagery are often extremely descriptive, and enhance the impact at every stage of Raskolnikov's changing fortunes and character. All of these features aid in the portrayal of Raskolnikov's downfall and subsequent rise.
In “The Nose” and “The Overcoat,” Gogol makes fun of the rank-conscious Russian society. In “The Overcoat,” he emphasizes the phony world of Russian officials, who are powerless mediators under a hierarchy in which each person fears his superior. Of the two stories, “The Nose” is lighter-hearted and more comedic. On the surface, it is a humorous story about a government official literally losing his nose and searching for it. For much of the time, Gogol makes fun at the official’s expense. In many passages much is stated comically about how stratified Russian society was at the time.
standing in riding clothes with his legs apart on his front porch. He likes his power, and like the emperor of eastern kingdoms, he expects. the obedience of his subjects. It is not only through character status that wealth is symbolised but also through the colour “gold”. Towards the end of page 9 the reader is given a sense of time and a positive idea of how the modern world is progressing, through the metaphor of “growing trees” and the “burst of leaves” creating new.
Dostoevsky’s St. Petersburg is a large, uncaring city which fosters a western style of individualism. As Peter Lowe notes, “The city is crowded, but there is no communality in its crowds, no sense of being part of some greater ‘whole.’” Mrs. Raskolnikov initially notices a change in her son marked by his current state of desperate depression, but she fails to realize the full extent of these changes, even after he is convicted for the murder. The conditions and influences are also noticed by Raskolnikov’s mother who comments on the heat and the enclosed environment which is present throughout the city. When visiting Raskolnikov, she exclaims "I'm sure...
The speaker begins the poem an ethereal tone masking the violent nature of her subject matter. The poem is set in the Elysian Fields, a paradise where the souls of the heroic and virtuous were sent (cite). Through her use of the words “dreamed”, “sweet women”, “blossoms” and
The arena for this ideological contest is Petersburg, full of slums, revolutionary students and petty titular councilors. Scientifically and artificially constructed in the midst of marshland, the city itself is a symbol of the incompatibility of logical planning with humankind's natural sensibilities. The city did not grow randomly or organically, but entirely by czarist decree. Nonetheless, it is a dank and depressing place to live, at least for those in the vicinity of Haymarket Square, where the story takes place. Joseph Frank, Dostoevsky's biographer, says of ...
Personification is presented by the author as the only explanation for the narrator’s consumption. “The Blue Estuaries” begins to stir the narrator’s own poems (line 24) until she bores down on the page once more, coming back into what is perceived by the reader as a much more clear state of mind. Then, the narrator claims to have “lost her doubts” for a moment (line 34). This was a turning point in the narrator’s tone- signalling a shift in her thoughts, and was a strikingly out of place claim- especially coming from somebody so preoccupied- making the reader wonder what she had thought about for a moment. The narrator then begins to read once more (Line
He describes beauty as delicate and rare, unable to be established. He focuses on the lightheartedness of young girls, how they are caught up in beauty, and he warns them to be conscientious of the fact that their beauty will fade and that they cannot put all their hope on their beauty. At the same time, he encourages them to "practice" their beauty until it is gone, and he promises to celebrate that beauty as best he can, with all its value and frailty.
In the beginning of the book, Dorian seems to be an innocent, charming, beautiful young man, and even referred to as “a wonderful creation” (ch 2). Dorian is described as this amazing person, with looks comparable to a God, charm that could swoon any woman, and a mesmerizing persona about him with the ability to draw anyone near, yet he seems to be so imperceptive to himself. His attitude of simplicity causes readers to be fond of him, passing their first judgments that he could not possibly be evil. As the story moves along readers see the first inkling that Dorian may not be so perfect. Dorian comments on “how sad it is…[that he] shall grow old, and horrible, and dreadful. But the picture will remain always young” (ch 2). This statement lets readers inside Dorian’s thoughts, showing how shallow and frivolous Dorian views life to be. He places so much value and esteem on looks alone, forgetting that being painted should be an honor, or at the very least...
These aristocrats, despite their high education and power, will do nothing to help win the war. They live like parasites on the body of Russia’s society. This is how Tolstoy describes this class in general, but he also depicts two representatives of this upper class, Andrew Bolkonsky and Pierre Bisuhov, who were the more intellectual ones, and whose lives and views of war and life changed as the result of the war. Andrew was interested in a military career, and wasn’t completely satisfied with the czar, while Pierre wasted his life on alcohol – his everyday activity.
Dorian Gray's life is dictated by his physical appeal. His beauty lies within his youth. Dorian's perception of beauty allows him to love. He is convinced that his beauty allows him to accomplish anything he desires regardless of the consequences and still be loved by his friends. He uses his beauty to mitigate his evil actions. Dorian says, “I don't wish to know anything about them. I love scandals about other people, but scandals about myself don't interest me. They have not got the charm of novelty.” Youth and beauty are the most precious things to Dorian. In his life, beauty is of utmost importance. Then he sees the picture of himself, painted by Basil, absorb his sins and this changed his view. “I hope it is not about myself. I am tired of myself tonight. I should like to be somebody else,” Dorian said. He aspired to have had a good life rather than one filled with artificial meaning and beauty. The moral beauty of Doran lies within the portrait of himself. The portrait imitated his life. He finally realized that beauty cannot help him escape his evil actions. He deeply lamemted his wish that the portrait bore the burden of his age an...
Wilde begins setting the mood of the text with excessive descriptions of nature, and natural beauty: “The studio was filled with the rich odour of roses, and when the light summer wind stirred amidst the trees of the garden, there came through the open door the heavy scent of the lilac, or the more delicate perfume of the pink-flowering thorn” (Wilde 5). While this description hardly sounds like the language of the gothic, the use of nature sets up a contrast to the darker tones which appear later in the text. The nature theme is also present in the descriptions of Dorian Gray, whom at this point in the text has not been corrupted by the influences of Lord Henry Wotton or his search for pleasure and experience. Not only is Gray described as someone who encompasses flower like beauty, he is a representation of a flower himself. As Lord Henry describes, Gray is “some brainless, beautiful creature, who should be always here in winter when [there are] no flowers to look at” (7). Wilde extends this flower allusion with the metaphor of the aging man, and the beauty which dies with age. Like a flower Dorian’s beauty will fade, wither, a...