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Nature in literature
Use of nature in literature
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Exaggeration is commonly used in everyday life to make a story an individual may use when telling another about an event that happened to them. The so called ‘narrator’ of the event may add in more details to the story than what actually happened to attract the ‘reader’ and keep them interested. Authors may use the same tactic to pull readers in and keep them excited to read the end of the story/novel/etc. Exaggeration for the background of the story or even a Shakespearean play gives the story a entirely different meaning in general.
Perfume, which was written by Patrick Suskind, gives the reader an overwhelming, to the point of sickening, imagery of stench. The protagonist of the novel, Grenouille, becomes obsessed with finding
The storyteller had not witnessed the strange happenings at the school but claimed to know someone who had seen the disturbances. As a performance, the telling of this story was very matter a fact and my friend did not self-aggrandize; the performance was quick, to the point, but not particularly dramatic. The storyteller told the legend as fact and was not melodramatic about her role as storyteller.
Using words and details in a story can provide the main impression by telling rather instead of showing an author’s feelings and thoughts in the childhood memory. In the showing and telling technique and author may use verbs like “felt” or a noun such as “thought” to create the dominant impression.
During the period of Realism in the late 19th century, writers attempted to bring their readers into a story that they or someone they knew might experience. It was very popular as it was relatable but also brought up themes that were not commonly explored. As best said by Harriet Kramer Linkin of the Journal of Narrative Technique "Bierce plays a cat and mouse game with his readers in the tale" (Linkin 2). This is shown especially well in Ambrose Bierce's "An Occurrence at Owl Creek Bridge". In this short story, Bierce tests his readers by blurring the fine line between fiction and reality.
Authors use figurative language to add detail to the story. One example of literature that uses figurative language is The Outsiders. The dramatic short story, “The Legend of Sleepy Hollow”, by Washington Irving uses many types of figurative language.
While telling the story the storyteller used very specific details to produce an effective presentation. He paused several times for dramatic effect, indicating that something important was going to happen. Also, he told the story confidently, rarely stuttering in a short of words. The storyteller appeared to be extremely knowledgeable on the subject because the incident happened to his older brother and due to the bridge's close proximity to his home. While listening to the story I noticed several details that seemed to be exaggerated for effect, such as the three male bodies hanging from the rafters. When reaching the climax of the story the teller did a great job in portraying the frightened expressions of the driver and passengers.
1. What motivates Grenouille to commit his first murder? What does he discover about himself and his destiny after he has killed the red haired girl?
When a narrator is deemed unreliable, there is conflict between the narrator’s presentation and the rest of the novel that makes readers suspect his sincerity and reliability. Readers often read between the lines and come to the conclusion that the narrator is either withholding the true version of the story or lacking the ability to tell the truth. There are three specific sources of unreliability according to Rimmon-Keenan they are the narrator’s limited knowledge, his or her personal involvement, and his or her questionable morals (100-101). Factors that could contribute to a narrator’s unreliability is that the narrator is young and inexperienced, old with failing memory, or has a low IQ. These are all cases of limited understanding and knowledge on the part of the narrator. When narrators are personally involved in the story, they tend to portray events or characters i...
Stories, both factual and manipulated, present different things to a reader. Factual writings help readers visualize the actual moment, but may not have them feeling the same as the author felt. Manipulated writings however, are superior in the fact that emotion through writing can actually help readers see a situation for what it really is. Distortions in manipulated writing are beneficial to the reader by providing more sensory imagery, even if it costs presenting the complete truth.
In Lynda Barry’s Common Scents, she considers scents a demon for many reasons. One reason being that everyone has his or her own scent preference and scent in general, yet we also judge the way that other people smell. When the woman whose house smelled like a fresh bus bathroom talking about the smells of different Asian people’s houses, Lynda notes that she was “free with her observations about the smells of others” (18). She sprays her house with disinfectant sprays and air fresheners, which to her smells better that whatever her house smelt like before, but to others, such as Lynda’s grandmother, these smells are too strong and are trying to hide the fact that not everything smells good all the time.
In much of The Things They Carried, stories are retold time and time again. One reason for this is the idea of keeping a story’s story-truth alive. In “Good Form,” O’Brien differentiates what he calls story-truth from happening-truth. Story-truth seems to give us a better understanding of O’Brien’s sentiment in a particular story even though the story itself may not be true at all. On the other hand, happening-truth is what actually happened in the story, but may not contain as much emotional authenticity as story-truth. According to O’Brien, story-truth is therefore truer than happening-truth. Relating back to storytelling, O’Brien retells stories continuously to maintain their sentiment and emotional value. Without this continuous repetition, this sentiment fades away and the emotional value of the story is lost.
The novel Perfume: The Story of a Murderer, by Patrick Süskind takes place in the densely populated and repugnant slums of 18th century Paris where protagonist Jean-Baptiste Grenouille resides as a lowly peasant with an incomparable sense of smell that sets him apart from the rest of the world. However, Grenouille is unaffected, and endures the hardships of brutal peasant life with an iron will, in the hopes of discovering every scent the world had to offer as his only motivation for living. He craves to be alone to further enhance his knowledge in capturing scent; Grenouille becomes so estranged and enthralled in the art of capturing fragrances that he sets out on a quest to concoct the “ultimate perfume” which leads him to commit a series of murders to capture human scent. Süskind, by way of Jean Baptiste’s obscure life and fine nose allows readers to explore the concept of alienation and the effects it has on the character development of Jean Baptiste Grenouille.
In conclusion, reading the poem “Smell!” by William Carlos Williams made me realized that the way my nose function can be compare to many other aspects in my life. The author tells us about the good and bad odors our nose smell. I also find this poem to be really inspirational because we can all draw many different conclusions out of this
Exaggeration - “There was some confusion among the animators when Walt first asked for more realism then criticised the result because it was not exaggerated enough.” - Thomas and Johnston (1997)
When we read any work of fiction, no matter how realistic or fabulous, as readers, we undergo a "suspension of disbelief". The fictional world creates a new set of boundaries, making possible or credible events and reactions that might not commonly occur in the "real world", but which have a logic or a plausibility to them in that fictional world. In order for this to be convincing, we trust the narrator. We take on his perspective, if not totally, then substantially. He becomes our eyes and ears in this world and we have to see him as reliable if we are to proceed with the story's development.
Suskind, Patrick. Perfume, The Story of a Murderer. Trans. John E. Woods. New York: Vintage