Category: Comparative Literature

Introduction

Figurative language and metaphors are used in short stories and poems to establish mood, develop characterization, enhance daily language, and make the works more expressive and brighter. In the poem Marks, Linda Pastan uses an extended metaphor to demonstrate the narrators attitude toward her family members and their appraisal of her work. In comparison, in his short story A&P, John Updike uses metaphors and figurative language to describe the protagonists attitude toward other people and reveal his inner world and imagination. Both authors utilize these figures of speech to help the readers better penetrate the plot and comprehend the characters feelings and emotions. Although Pastan and Updike use different metaphors and other figures of speech to create mood and express the narrators emotional states in their works of literature, one can see many similarities in the use of these literary techniques.

The Use of Metaphors and Figurative Language in the Poem Marks by Linda Pastan

The poem Marks by Linda Pastan is a short, 12-lines only poem about a mother and her familys attitude toward her work. The poem reveals such themes as family, aging, grading, and even death through metaphors and figurative language. The entire poem is an extended metaphor. The narrator uses school grades to demonstrate how her husband, son, and daughter measure her as a wife and mother. It seems that her family members do not grade her work with marks, but these marks allow the narrator to communicate with her audience more effectively.

The author uses three different systems to grade her work. Thus, the father evaluates his wife using letters, the son utilizes a charting system, and the daughter applies a pass/fail system. In such a way, the author distinguishes between three diverse family relationships and attitudes. Moreover, different grading systems can be identified with different standards with which the mother has to comply. The first line of the poem establishes a positive mood, which is later changed: My husband gives me an A (Pastan line 1). First, readers may think that the husband loves and values his wife, but the following metaphor refutes this thought: An incomplete for my ironing, / a B plus in bed (Pastan lines 3-4). This metaphor demonstrates that the husband takes his wife for granted and evaluates all her activities instead of telling her thank you. One can see that letter grades are associated with the narrators husband, whose work appraisal is subjective.

The son and daughter use other grading systems to assess their mother. In such a way, Pastan tries to show that the mother is forced to comply with this grading system, but she is irritated with it. The same can be said about a school where students are forced to comply with grading systems, and if they make something unusual or non-standard, the school states that they fail. Rebellious students will disagree and protest against such a system, dropping out of school. The poems last line uses school jargon to describe the mothers rebellious nature and suggests that she will no longer tolerate her family members judgment: Im dropping out (Pastan line 12). These words can also be identified with death, meaning that the mother can no longer endure the whole appraisal system, and she feels as if she is morally dying. One can see that Pastan uses metaphors and figurative language to make the readers better understand womens feelings and the struggles they face during their motherhood.

The Use of Metaphors and Figurative Language in the Short Story A&P by John Updike

John Updikes short story A&P is a first-person narration about one day in the supermarket. The narrator, Sammy, is a young boy working at the A&Ps checkout line. One day, three beautiful girls, wearing only bathing suits, enter the supermarket, and Sammy begins to observe them and imagine what these girls have in mind. He nicknames one girl Queenie, because she looks like a queen to him. The story ends with Sammy quitting his job because the store manager, Lengel, rebukes the girls for their appearance. In this short story, Updike uses the supermarket as an extended metaphor for society. Moreover, several examples of similes and personification can also be seen in the story.

The grocery store A&P is a huge metaphor for society and social relationships. The author illustrates how violating social rules and norms arouses fear and bias in human beings. For instance, when people get used to social norms, they will not accept anything different, like wearing bathing suits in the supermarket. The short story demonstrates that most members of society are afraid of changes and do not want to accept any new things and behaviors into their world because of this fear. The A&P supermarket represents an ordinary society where routine is trivial. When the three girls come in, this routine is broken, and the characters attention is directed to these unordinary creatures. Like in real life, some people accept unusual things, as Sammy does, and the others refuse to accept them, like the manager Lengel. Therefore, the supermarket represents society, and the interactions between characters demonstrate social norms and relationships within this society.

Another example of figurative language in the short story is a simile. Updike uses similes to compare different objects in unusual ways. For example, when Sammy is gazing at Queenie, he notices this clean bare plane of the top of her chest from the shoulder bones like a dented sheet of metal tilted in the light (Updike 1). This simile makes the readers better penetrate Sammys imagination and understand his thoughts. Another simile helps reveal Sammys attitude towards older customers of the store, who knock against each other, like scared pigs in a chute (Updike 3). Here, the boy does not see these ordinary customers as individuals. On the contrary, they are all like animals to him, without any signs of individuality and difference. Another simile is used when Lengel comes to the girls, and Stoksie, another worker, shakes open a paper bag as gently as peeling a peach (Updike 3). This simile attracts the readers attention to this scene, emphasizing the characters attitude to the situation. Thus, similes convey the narrators casual observations in an unordinary way.

Finally, the author uses personifications to reflect Sammys experience and attitudes to society. For instance, the following example denotes that A&P is more than a supermarket for Sammy: the door heaves itself open, and outside the sunshine is skating around on the asphalt (Updike 3). The store is like a microcosm, and the sun represents fun activity. One can suggest that Sammy is satisfied with his decision to quit, and he leaves this microcosm and enters the funny and sunny world. Thus, personifications make the story more vivid and help the readers better understand the characters inner world.

Comparison and Contrast of the Works Use of the Literary Techniques and Conclusion

Having analyzed the use of metaphors and other elements of figurative speech in Pastans Marks and Updikes A&P, one can assume that both authors utilize these literary devices to emphasize the plot and make the stories more expressive and brighter. Pastans metaphors reveal the narrators feelings and attitudes toward her family members and their appraisals of her work. In comparison, Updikes metaphors and similes express the narrators inner feelings and thoughts about people and his attitude to society and social norms. In both works of literature, the authors compare objects and daily routines to unordinary things and actions.

At the same time, the difference between the use of literary devices can also be seen in the analyzed works. For example, Updikes short story is more vivid because he uses similes and personifications to reveal the narrators feelings. In contrast, Pastans poem is an extended metaphor, and it does not contain any other figures of speech. The author only utilizes school jargon to denote the narrators irritation with the grading system at the end of the poem. Despite such differences in the use of figurative language, both works effectively convey their hidden messages and express the narrators emotions with the help of metaphors, similes, and personification. In conclusion, a short story and a poem have different structures and sizes, but they use literary devices to create mood and convey the characters feelings in a similar way.

Works Cited

Pastan, Linda. Marks. Your Daily Poetry.

Updike, John. A&P. 1962.

Broken Chains is a story written by Gary Soto, the main character of which is the boy Alfonso, who did not have a sense of belonging to a group he is in. In turn, the short story Fish Creeks, written by Amy Tan, tells a young Chinese girls drama based on the hardships that many immigrants face. In these stories, both authors reveal the topic of belonging.

The short story Broken Chains describes Alfonsos inner conflict  the boy is extremely dissatisfied with his appearance. This is supported by many phrases in the text, including: Alfonso sat on the porch, trying to push his crooked teeth to where he thought they belonged. He hated the way he looked (Soto, 2000, p. 1). This hero is so shy that he cannot accept his physical appearance and makes many efforts to change it. Due to his external characteristics, the boy cannot identify himself with the rest of the adolescents, and has difficulties in building communication with them. He is all alone, exclusively accompanied only by his complexes.

As for the story Fish Creeks, the Chinese girl is in pain due to cultural differences with her beloved person who is an American. The girl tries to assimilate into American culture, but it is difficult for her to break her mental habits, typical for the Chinese. At a dinner with her lover and his family, the heroine is embarrassed at her family members mistake and experiences a real culture shock. The author, through the image of a girl belonging to a social group of immigrants, highlights challenges experienced by many representatives of this community.

Thus, both short stories are narrative essays that describe the inner conflicts of young people connected with belonging. Writers, using the example of their main characters, show the problems of representatives of different social groups. In Broken Chains, the conflict of belonging is associated with dissatisfaction with protagonists appearance, and in Fish Creeks, the heroine suffers from cultural differences with her beloved one. The characters endeavor to impress others, trying in every possible way to overcome their characteristics, which, in their opinion, are disadvantages and, in a way, obstacles to the balanced feeling of belonging. At the same time, both authors emphasize that appearance is not the central aspect; it is vital to preserve the individuality.

Reference

Soto, G. (2000). Baseball in April and other stories. HMH Books for Young Readers.

Introduction

When we think of the human animal, we envision a complex of behavioral qualities that all primeval humans could have. Before the establishment of the social order in its familiar form and the development of the cultural aspects of life, people were closer to nature and did not suppress their instincts. It seems that the concept of the human animal, as described in the early contemporary literature, refers readers to this irrational and uncontrolled side of human life. Most of the time, if not always, the bestial qualities attributed to characters are represented in a negative light because the view on humans as animals contradicts the ideal image of people as the supreme beings; the cultured, enlightened, virtuous, and spiritual ones.

In the given paper we will review the concept of the human animal in the examples of Jonathan Swifts Gullivers Travels: A voyage to the country of the Houyhnhnms and Pedro Calderon de la Barcas Life is a Dream. In their compositions, both authors review the issue of human nature but in a slightly different ways. While Calderon de la Barca depicts the story of overcoming own animal instincts in the character of Segismund, Swift provides a satirical allegory on human vices and critically evaluates the human society as a whole in the fourth part of his novel where Gulliver travels to the land inhabited with intellectually and culturally developed horses. Although the two authors criticize the manifestations of animal nature in people, the play and the novel have some positive connotations as well  they imply that humanity as a whole and individuals, in particular, have potential to grow and overcome the vices which detract the human dignity and affect lives in an adverse way.

Life is a Dream

Life is a Dream is the play comprised of three acts that describe the events that took place within three days of the characters lives. Sigismund, an imprisoned prince who is not even aware of his royal origins, during the first day of narration, he represents as a prisoner. The first act is meant to arrange the characters in conflicting positions. In the second act, he is the prince in the palace. Lastly, in the third act, Sigismund is again represented in the role of the prisoner who then becomes the king.

The important thing in this gradual development of the plot is that the three acts may be regarded as the stages of the human maturation. On the first day, readers see Segismund as a man who does not differ much from an animal. He spent all his life among the mountains, and he knows only the animal-like existence exclusive of any human feelings and moral principles. For instance, in the dialog with Rosaura, he says:

But then if murder be

The law by which not only conscience-blind

Creatures, but man too prospers with his kind;

Who leaving all his guilty fellows free,

Under your fatal auspice and divine

Compulsion, leagued in some mysterious ban

Against one innocent and helpless man,

Abuse their liberty to murder mine (Calderon de la Barca, 2006, para. I).

The contextual analysis of the given verse makes it clear that, throughout his life, Segismund encountered only injustice and started to perceive the world as a cruel place, and people  as heartless creatures. As a result, when pulled out of his familiar, wild environment, the character fully manifests his bestial qualities  he becomes merciless and bloodthirsty. Segismund seeks vengeance for the humiliation to which he was exposed. He takes the revenge on everyone and especially the king, his father, who made an order to enchain the innocent child like a wild beast.

The power given to the character in the second act reveals his worst qualities: selfishness, incontinence, and lust. At this stage, Segismund represents as the human animal, as the human in his or her initial, primeval state; as he came out of the bosom of nature. However, both animal and human qualities are combined in the main character. As a person, he is intelligent and reasonable, and, as a beast, he is enslaved by his natural instincts. At the same time, in Segismunds statements, we may observe that this bestiality is not merely defined by nature but rather is determined by the circumstances in which he was placed:

And if the chain

You helpd to rivet round me did contract

Since guiltless infancy from guilt in act;

Of what in aspiration or in thought

Guilty, but in resentment of the wrong

That wreaks revenge on wrong I never wrought

By excommunication from the free

Inheritance that all created life,

Beside myself, is born to  from the wings

That range your own immeasurable blue,

Down to the poor, mute, scale  imprisond things,

That yet are free to wander, glide, and pass

About that under-sapphire, whereinto

Yourselves transfusing you yourselves englass! (Calderon de la Barca, 2006, para. I).

As we can see, the environment in which Segismund lived, the controversies between his current position and realization of the possibility to be free, as well as the understanding that all that time he was treated unjustly, made the character turn into the human animal. After the truth was revealed to him in the second act, he starts to blame the father for everything that happened to him. The realization of the fact that he was deceived, mistreated, and deprived of rights to rule the kingdom only increased his bestiality and rage.

Although at the beginning Segismunds actions and words revealed his belief in the power of cruelty which he considered an inherent human feature, after all, he comes to a conclusion that human dignity can be asserted by other means. In the third act, as soon as he wakes up in the dungeon and is told that all he experienced the other night was nothing but a dream, Segismund changes. He comes to the realization that life is just a dream and all human aspirations, motivations, and ambitions are rather futile and meaningless. At this point, the character becomes a wise man who managed to overcome the vices though self-cognition and the power of reasoning. Reasonableness and will are thus can be understood as the purely human qualities that differ people from animals.

Gullivers Travels

As it was mentioned in the introduction to the paper, A voyage to the country of the Houyhnhnms is a satire on the whole of the humanity and the existing social order. Swift created an anti-utopia in which he revealed humans in all their unattractiveness. The country of the Houyhnhnms is the place where reasonable horses live as the superior form of life, while the human-like beings, also known as Yahoos, represent as disgusting and imperfect creatures.

In that country, Gulliver is treated as a guest and plays a role of an observer of both Houyhnhnms and Yahoos. The character became fascinated with Houyhnhnms mode of life, their manners, and worldviews. At the same time, he was aware of own similarity to the human animals which coexisted with the horses in the country. The contrast between the ideal behavior of Houyhnhnms and Yahoos unattractiveness made Gulliver come to a conclusion that people are initially flawed and that humanity, as we know it, loses its humanistic image and obtains the features of Yahoos:

The Yahoos appear to be the most unteachable of all animals; their capacity never reaching higher than to draw or carry burdens. Yet I am of opinion, this defect arises chiefly from a perverse, restive disposition; for they are cunning, malicious, treacherous, and revengeful. They are strong and hardy, but of a cowardly spirit, and, by consequence, insolent, abject, and cruel (Swift, 2016, p. 300).

The given statement points out at the flaws of the humans as animals  they are always angry, stubborn, prone to numerous vices, and indifferent to virtue. The main character does not like to be associated with the Yahoo tribe. Moreover, after being confronted with the human imperfections which were not hidden behind the social norms, and courteousness, when Gulliver returns home to England, he attempts to avoid the human company.

At the same time, although Swift depicted all vices inherent with Yahoos, he also shows that the artificial horses society is rather boring because there is no place for feelings and emotions. Houyhnhnms remain reasonable in every single aspect of life; they do not take risks and think everything through in advance. In their world, everything is planned, and nothing happens occasionally and accidentally. Houyhnhnms lives are uneventful, and their actions are not driven by even a hint of fear. Thus, the image of the horses society contrasts with the image of Yahoos. However, both of the representations serve as allegories to the tendencies which take place within our real-life human society and demonstrate two distinct developmental directions. The author does not persuade readers that one way of life is better than another but allows them to reflect upon it independently. To some extent, it is true that every individual decides what to become in life  a Houyhnhnm or a Yahoo. Potentially a person can either cultivate reasonableness and try to control everything in life or can indulge in the vice and turn into an animal-like creature. However, it seems that finding a balance between the two states may be a right solution. Based on this, like Calderon de la Barca, Swift may implicitly point at the importance of the will for individual self-assertion.

Conclusion

In their compositions, Calderon de la Barca and Swift reflected upon the issues of human nature. Life is a Dream and A voyage to the country of the Houyhnhnms undoubtedly include some philosophical messages. It is possible to assume that the authors tried to depict that the reasonableness as such does not lay the foundation to this world, and the violence, as well as all irrational and ugly events that frequently take place in the society, is rather defined by the desire to survive which is characteristic to all living beings including animals and humans. The image of the human animal as depicted in the early modern literature includes a large share of social criticism. The analysis of the image of the human as animal reveals multiple negative connotations hidden in it. It is possible to say that the authors used it to demonstrate the immaturity and imperfection of individuals and humanity as a whole. However, it would be wrong to say that people are doomed to be constantly led by the animal instincts because humans also have some features which distinguish them from other creatures. These cognitive qualities are the reasoning and the will for self-assertion. Although according to Swift, an excess control over decisions and actions may result in the loss of taste in life, he depicts reasoning as an instrument that may help to fight flaws and vices. Additionally, Calderon de la Barca shows that human intelligence may help a person to become better. In this way, the analyzed pieces of literature make it clear that people may become less attached to their bestial nature and grow as human beings.

References

Calderon de la Barca, P. (2006). Life is a dream. Web.

Swift, J. (2016). Gullivers travels. Littleton, CO: Coterie Classics.

Introduction

Cyberpunk is a genre of science fiction set in the future, which is characterized by the development of technology and the decline in living standards. Cyberpunk novels and movies often have a dark and depressive tone: the action takes place only at night, there are rarely any positive heroes. Cyberpunk is always associated with advanced technologies, namely, virtual reality, cyber implants, androids. However, this progress does not contribute much to the prosperity of people. The world lives by laisses-faire Capitalist laws, and inequality there has an enormous scale. People either are wealthy and enjoy all the benefits of the future or are very poor and live in slums and can afford only the cheapest technologies, if they are lucky. Thus, they always experience loneliness in crowded multi-million cities with large skyscrapers and neon signboards. Only the hi-tech and entertainment industry gives people an opportunity to relax and have fun and distract from the meaninglessness of their lives.

William Gibsons short story Burning Chrome and Ridley Scotts movie Blade Runner belong to the cyberpunk genre and share its main characteristics. Both of them appeared in 1982, at the dawn of the genre. Burning Chrome and Blade Runner can be called pioneering works because they invented, reflected, and visualized the main topics of cyberpunk.

Cyberpunk City

The action in Blade Runner and Burning Chrome takes place in large megacities. In Blade Runner, it is Los Angeles of the future; in Burning Chrome, it is a large city in the US. Police officer Rick Deckard, the protagonist of Blade Runner, and Automatic Jack, Burning Chromes main character, live in simple flats in apartment buildings. In the case of Automatic Jack, who is a hacker, the flat is also the main workplace because he conducts all operations from his home computer. When hungry, they eat fast food: Rick Deckard eats noodles at the Chinese street restaurant under a big coca-cola signboard, and Automatic Jack eats sandwiches lying on a bed in his flat. When the characters do not work, they go somewhere out, like clubs, bars, or brothels, with bugs [&] at the neon and the air [&] smelling of perfume and fast food. These details help to describe the world the characters live in.

The omnipresent neon is one of the most common things when it comes to the cities of cyberpunk. It is mentioned seven times throughout the short story, and it appears in numerous scenes of Blade Runner. Neon was trendy in Asian cities like Tokyo or Hong Kong, which served as an inspiration for Gibson and Scott. Gibson himself said that Japan was already a cyberpunk state in the 1980s when the term first appeared. Cities in these two artworks have a lot of elements of Asian culture. In Blade Runner, Deckard eats at a Chinese restaurant, a Chinese designer Chew makes replicant eyes, and there is a giant visual signboard with a Japanese geisha. In Burning Chrome, characters travel to Hong Kong and Macau to gain equipment and find influential business partners and to Chiba City in Japan, which is the capital of body implants. Thus, the portrayal of cities in Blade Runner and Burning Chrome is inspired by Asian cities, and neon is one of its elements.

Tough Guy in a Hostile World

Characters in Blade Runner and Burning Chrome share many similarities. They live in a world that is not friendly to them, and they have to survive in it. They are men of action who do not reflect much on the things they do. They are good at their work, but they are not satisfied with their lives and try to get distracted.

Deckard drinks whiskey and browses through the old photographs, while Jack watches some kind of virtual reality videos called simstim. It causes people to experience a wide range of emotions, from having sex to feeling completely alone. Bobby Quine, Jacks partner, spends all of his time sitting in a bar and chasing women, but they always leave him in the end. The characters encounter women and do what they do for their sake. Deckard falls in love with Rachel and cannot bear the thought of her being executed for being a runaway android, so he flees with her in the final. Jack and Bobby, who love the same woman named Rikki, decide to commit a very dangerous crime, but after the success, she leaves both of them, pursuing her dreams.

Bobby and Jack are criminals and hackers, but instead of leaving all the money to themselves, they donate most of it to charity. Deckard is a police officer, but throughout the film, he does not do much except kill unarmed androids, who were guilty of willing to live. The cyberpunk world is a world with twisted morality, and it is difficult for readers to decide who is good and who is bad. The characters do not find the answer to this question and just go with the flow.

Conclusion

Burning Chrome and Blade Runner share a very similar tone and setting. The description of cities and characters personalities allows readers to understand the story better and comprehend the concept. William Gibson and Ridley Scott managed to create sophisticated and original worlds with their rules and laws that are hard not to fall in love with. Both of these works are very interesting and have a high value for the cyberpunk genre.

Introduction

The present critical analysis will explore and analyze Colour of Walls by Thomas King and The Stolen Party by L. Heker. The Colour of Walls and The Stolen Party give the readers insightful messages about the characters experiences and highlight common and robust themes. These stories highlight interesting racism, classism, and identity destruction incidents. Indeed, the plot and the unexpected climax in the allegories serve an essential role in supporting the theme of class inequalities and the societal influence of personal identity. The two narratives bring out significant themes of class and racial prejudice and the impact of society on a persons identity.

Summary of the Works

The Stolen Party by Lilian Heker is a short narrative that analyses a girls experience that changed her description of society. The story revolves around an invitation to Rosaura to a rich peoples party where there was to be a magician with a monkey and other children to play with it. Despite her expectations, the event made the nine-year girl lose her innocence and discover the hurtfulness and evil of class distinctions (Heker 3). According to the Marxism class theory, the position of an individual in any given class hierarchy depends on the persons role in the production process, which consequently influences the persons ideological and political consciousness (Eagleton 45). The Marxist theory about the existing social inequalities will help understand the class differences in The Stolen Party.

Contrarily, The Colour of Walls by Thomas King is a short story about Harper Stevenson. The entire story is a symbolic portrait that exemplifies societys obsession with categorizing favorable and unfavorable based on appearance. The story takes the brunt of how societys obsession with color, a classifying aspect of human appearance, determines the kind of treatment one gets (King 3). Post-colonial theory is an effective model that can help illustrate the occurrences in this short story. According to Rui and Jiao, post-colonialism theory is a critical model that highlights that an individuals knowledge represents ones identity and culture (196). Hence, the occurrences within the short story The Colour of Walls indicate persistent colonial aspects in global interactions and politics with identity, power, and culture questions.

Common Themes of Prejudice and Personal Identity

The prejudice that emerges from differences in socioeconomic status and social class is the central theme in The Stolen Party and The Colours of Walls. According to Heker, while talking to her mother, Rosaura said, I helped the magician, and he said to me, Thank you very much, my little countess (3). Similarly, the short story by Thomas Kings is an illustration of racial prejudice that is prevalent in western countries. While talking to Afua, Hamper said, White& Id like a nice, clean white (King 2).

The occurrence in the two allegories depicts the reality within the modern world. Indeed, society today has more significant levels of classism, whereby people receive differential treatment based on their perceived social class. Besides, there is also a high prevalence of racial discrimination, making the Whites have more privileges, respect, and apathy than people from other racial backgrounds. Hence, the social class structure is the central point of this piece, which signifies more significant inequalities and discrimination of the minority members of the community.

Moreover, the two stories bring out the illustration of perceived personal identity and imposed identity. According to Heker, Just then Senora Ines arrived saying shh shh, and asked Rosaura if she wouldnt mind helping serve out the hot dogs, as she knew the house so much better than the others (4). Similarly, Afua says, They have a history. Walls have a memory& know, but they dont want to cooperate (King 2). According to King, Harper tries to erase the difference between the natives, symbolized by the walls and his insistence on excellent and while color emerged from the white mans assimilationist attitudes (3).

Thomas King uses the wall to illustrate people who resist the assimilation efforts and the white walls to demonstrate the adoption of ones culture. I concur with the authors argument that a persons cultural systems greatly influence how people see themselves and interpret their experiences into their identity. These incidents indicate that although people might understand and appreciate themselves, society affects how people think and feel about their identity.

Conclusion

Overall, The Colours of Walls and The Stolen Party are influential narratives that bring out the subjects of classism and the societal influence of personal identity. In The Stolen Party, Heker tries to bring about the issue of classism present in different communities and how it affects an individual. Contrarily, in The Color of Walls, the author illustrates the societal obsession to categorize unfavorable and favorable aspects based on appearance. The illustration of prejudice and its influence on personal identity depicts the impact of class inequalities, racism, and discrimination in the modern world. Indeed, the short stories offer essential insights into how current imbalances in the societal social class systems emerge from human behavior. However, given a chance, it would be necessary to explore how classism and racism pass from one generation to another.

Works Cited

Eagleton, Terry. Why Marx Was Right. Yale University Press, 2018.

Heker, Liliana. The Stolen Party. A. Manguel (Ed. & Trans.), Other fires: Stories from the women of Latin America, 1986, pp: 151-58.

King, Thomas. Colour of Walls. U of Minnesota Press, 2013.

Rui, Li, Jiao Dan, and Jiao Dan. Original Paper Analyzing Other Construction in Robinson Crusoe from Post Colonialism Perspective. Studies in Linguistics and Literature, vol. 2, no. 3, 2018.

Phyllis Wheatley, the first African American to publish a book of poetry in 1773, was the author of the poem Being Brought from Africa to America. Wheatley represents the start of a long tradition of African American poets. She described her African ancestors as non-Christian (Pagan) and believed that she was transported to America by mercy and kindness (Wheatley). Wheatley saw her new existence as a part of her surrender to God, who would save her soul.

Then, she switched her emphasis away from his personal perceptions of herself and her roots onto the perceptions of others  Western Europeans in America who saw Africans as a lower class compared to white Europeans. Wheatley ended the poem by stating that Africans might be refined and accepted by God by joining the angel train of individuals who will be with God in heaven (Wheatley). In the poem, she reminded her readers that, despite her race, anybody might join the chorus of the heavenly, regardless of skin color.

Robert Haydens A Letter from Phyllis Wheatley was published in 1978 and is about Wheatley and her poetry. Wheatley describes his experiences on a journey to England in 1773 in quest of financing to publish his book of poetry as the poems narrator. This poem sounds similar to the first words of Being brought from Africa to America, but Hayden highlights the different aspects of the trip I yet have some remembrance of its Horrors (Hayden). Wheatley still admires the concept that God arranged her incarceration in order for her to be rescued, yet Hayden made her reconsider her original beliefs by reminding her of the Horrors she had seen on the journey.

Hayden gives Wheatley room to indicate that she is well conscious of her status as a slave, not a free woman and that she removes contradictions on purpose. The narrator highlights the irony of his situation: although being a slave, she performs her poetry in front of the Countess and receives praise (Hayden). Wheatleys knowledge of his enslaved situation is demonstrated throughout the poem by Haydens use of similar compositions. She is shown in Haydens poetry as an enslaved spectacle, a carnival exhibit that promotes the system of slavery rather than as an independent individual. The Countess and others appraise her poems, yet they send her to a different table for dinner (Hayden). Wheatleys realization that she is neither American nor African accompanies us throughout the poem, and all she wishes for now is a pleasant existence in the hereafter.

In Being brought from Africa to America, Wheatley tried to demonstrate that Christianity offers redemption to all individuals, regardless of color. She presented a small yet forceful challenge against racism in America, elaborating on the fundamental human values of Christian theology but eventually accepting slavery. Hayden, in his turn, places her voice and thoughts in his own social context, imitating the persons language in a convincing manner. Hayden reconsiders Wheatleys optimism through her own experience, and for him, the slavery institution is to blame. He attempted to demonstrate that Wheatleys dual personality is only a dreamlike fabrication surrounded by prejudice and that she rejects the terrible reality around her. These poems are a great reflection on the racism issue, and even now, their demand is not decreasing. Although in the modern world, the institution of slavery does not exist anymore, thousands of people migrate to America in hopes of redemption and a new life. However, most of them soon realize the illusion of dual personality; in the end, like Wheatley, they are stuck in limbo between America and their own culture.

Works Cited

Hayden, Robert. A Letter from Phillis Wheatley. The Massachusetts Review 18.4 (1977): 645-647.

Wheatley, Phillis. On being brought from Africa to America. The Open Anthology of Earlier American Literature 435 (1773).

Introduction

Henry Thoreaus the battle of the ants and Virginia Woolfs the death of the moth are two exceptional essays that depict the life of small creatures. The two writers humanize the life of the ants and moth in an extraordinary manner. The two writers use imagery to communicate human truths using small creatures.

Nonetheless, the use of the imagery, personification and allegories are common styles for both writers. However, the two excerpts are comparable from different perspectives as discussed in the paper.

This paper compares and contrasts the battle of the ants and the death of the moth based on imagery, personification, and allegories.

Imagery

Thoreau uses imagery by depicting the character of interest as two species of ants. Precisely, the red and black ants are embroiled in a game of survival. From the imagery of ants, the author tries to show how ants are heroic and suffer as much as a human once on the battlefield. The military imagery of the ants is interesting for the reader to understand the consequences of war.

Perhaps, the best way to understand how war is important to the community is by learning the readiness by which ants are ready to die for a worthy course. The authors inclusion of the red and black ants is a depiction of the differences found in humanity. Humanity is diverse in terms of color, culture, and language. The territorial boundary is notably one of the major war factors in history.

On the other hand, Virginia Woolf compares the life of a moth to that of a man. In this regard, the reader tries to make connections from the character of the moth. The imagery act of a moth escaping a windowpane edifies the human struggle. The imagery of death is critical for the reader to understand that fate is inevitable. The stillness that befalls the moths community is similar to that of mankind.

The power of death becomes real to the reader once the same is described from different dimensions. For example, a sense of personification is evidenced by the portrayal of death with strong connotations such as death is stronger than I am (Woolf 1075).

The author seems to be helpless when she observes the struggles of the moth in the face of death. From this perspective, the imagery of death as powerful over life is frightening. Nonetheless, the imagery of the moth struggles implies that no one can overcome the indomitable will of death.

Henry Thoreaus imagery presents the war among the ants as a huge battle similar to that witnessed among humans. The authors presentation of the war is that it was a bellum and not dueled (Thoreau 776).

Interestingly, the author uses the imagery of myrmidons to depict the warring ants as legions of armored Greek warriors (Thoreau 776). The imagery of red and black ants is a duplication of the reality that exists between the republicans and the democrats in the political arena.

Personification

The act of ants fighting is personified in an interesting manner. In fact, the writer seems to witness the war in a human sense. The aspect of a war that is based on life and death is given a human form when the author refers to the fighting ants as combatants. In fact, the author implies that war is motivated by emotions. The authors impression that the war depicts an ancient Spartan war is intriguing.

According to Thoreau, the ancient Spartan entailed wives and mothers sending away their sons as warriors. To Thoreau, the ants were to return with their shields or upon it (Thoreau 777). The personification of a victorious black ant spending its days at a hotel des invalids (Thoreau 777), represents a similar consequence that befalls soldiers after the war. Precisely, the majority of soldiers remain as invalids even after winning the war.

On the other hand, Woolf uses personification by implying that the shadow of a curtain arouses the reader. Precisely, this personification is evidenced when the author argues that the shadow of the curtain never fails to arouse in us (Woolf 1075).

In addition, death is personified when the author argues that the moth is dancing in the arms of death (Woolf 1075). Moreover, the personification takes an interesting twist when the author alleges that the death is a foe that the moth wants to defeat.

Allegory

Thoreaus and Woolfs stories represent an interesting aspect of animal life that is similar to that of human. The human struggle and story of survival through acts of war are evidenced in the allegory of battle of the ants.

Important aspects that are prevalent in human life such as political and cultural differences, become rife through the red and black ants. The loyalty of the warriors and their dedication to serving the society is made rife in Henry Thoreaus battle of the ants.

Meanwhile, Virginia Woolfs death of the moth uses the allegory of the vanity of life when death overpowers creature. The allegory of the struggle to pass through the windowpane represents the vanity of mankinds efforts to achieve things that are beyond control.

While every creature struggles to enter new paradises, there is always an obstacle that proves to be indomitable. Whether it is the windowpane or death itself, the success and life of a living creature are rendered useless after death.

In conclusion, the depiction of little creatures in both stories exemplifies human life in an interesting manner. The two authors are keen on the use of imagery, personification, and allegories. Although the two writers use similar styles, there are notable differences in terms of characters. For example, ants and moth are creatures with different characters.

Works Cited

Thoreau, D. Henry. The battle of the ants. The Norton Reader: An anthology of nonfiction. 12^th Ed. Eds. Linda, Peterson and John Brereton. New York: W. W. Norton & Company, 2008. 776-78 Print.

Woolf, Virginia. The death of the moth. The Norton Reader: An anthology of nonfiction. 12^th Ed. Eds. Linda Peterson and John Brereton. New York: W. W. Norton & Company, 2008. 1074-84. Print.

The same title Blackberries combines two stories written by Ellen Hunnicutt and Leslie Norris. The mention of berries is not accidental because the image of the berries goes through each story. The following essay will be devoted to comparison of these stories and finding the differences and similarities between them.

Comparing these two stories we notice the first difference which is the narration way. In the story by Norris, the events were described by the boy who made his haircut and had a beautiful cap for the first time in his life. The story by Hunnicutt was presented by the author in the form of short dialogues between the man and wife who were on a camping trip.

One should note that the Hunnicutts story has much less volume than the other work. Both stories describe the same period of time  the beginning of autumn. The mood of the Blackberries by Norris is happy and mellow till the last part of the story when the quarrel begins. As for the Blackberries by Ellen Hunnicutt, this story causes mixed feelings. Norris includes variety descriptions in his story; it concerns the barbers in whole and the haircut process, the fathers dinner and Fletchers Woods. The Hunnicutts story contains only restrained details.

The most notable difference between these two stories is the attitude of main characters to the blackberries. The blackberries for the boy are the source of joy and the way of taking pleasure through communication with father. The berries were the factor that triggered the real reason of mothers irritation and thus, she had the opportunity to complain about the low income of her husband. All day long the boy could see how the attitude of his parents to blackberries was changing.

For him and his father the dark berries gathering process was delightful and they wanted to share this feeling with their mother and wife. Unfortunately, the living expenses were more significant to her and the joy of life for her son has become extinct. For the principal heroine of the Hunnicutts story, these berries were not something unusual. The woman did not call the attention to the berries and her husbands impulse. Only in the end of the story she began eating the berries.

Thereby we are passing to the next difference between these stories. The problem of good relations and family interaction is represented by the authors in different ways. The boy in the story by Leslie Norris goes through two models of relation with his family. Father gives him a treat, shares with the boy the most delicious pieces of his dinner and gives him an approval on the subject of boys new look.

Mother cares about the economic condition of the family but not about its emotional components  she worries about the high price of a cap, buys all the necessary for the dinner and reproaches her husband for his low salary. In the other story we can see indifference towards each others interests. While man is interested in woods, swimming, and the other pleasures of camping, his wife dreams about the theater tour. One can see that the problem of the mutual understanding is present in this story, nobody listens to each other.

Those two stories also have different endings which is another significant difference that should be noted. The Hunnicutts story does not end with a radical change, whereas the story by Norris shows that the boy has matured significantly during the quarrel between his parents.

Finally, one can say that despite all the differences these stories have some common features like problems within family and difficulties that may arise in the interpersonal relationships.

Despite its ancient origin, the archetypal journey of the hero remains one of the most enduring and captivating stories known to civilization. The Epic of Gilgamesh, The Iliad, and The Odyssey depicts two very different types of heroes  Gilgamesh and Odysseus  however, both heroes encounter the theme of death and immortality in the course of their respective journeys. Critical scholarship typically views Homers works The Iliad and The Odyssey as the genesis of the heroic journey in the tradition of Western Literature. This essay compares The Epic of Gilgamesh with The Iliad and The Odyssey in the areas of characterization and plot and contrasts both heroes experiences with death and immortality.

This essay will offer the perspective that the story of Gilgamesh represents the starting point of the archetypal heros journey. Odysseus resembles an accidental hero. His circuitous journey home following the conclusion of the Trojan War depicts a man who yearns for the stability of his former life in Ithaca and the return to the simple pleasures of family, old age, and death, and his heroism is rooted in his desire to get back home. The emphasis placed on The Iliad and The Odyssey over The Epic of Gilgamesh colors the heros journey to be one in which the hero accepts his mortal human fate and finds the beauty and serenity in death by living a full and self-actualized life. Were The Epic of Gilgamesh to replace The Iliad and The Odyssey in the canon of literature, however, the main difference we would recognize would be the emphasis placed on immortality and the desire to escape death as evidenced by Gilgameshs search for Utnapishtim. In The Epic of Gilgamesh, we witness the extent to which the possibility of physical immortality charms the heart of man (Campbell 161).

Odysseus vs Achilles and Gilgamesh: Their Heroic Journey

The archetypal journey of the hero adheres to a structure that we see repeated in both The Epic of Gilgamesh, The Iliad, and The Odyssey. Initially, some event precipitates the heros call to action: in Gilgameshs case, the death of Enkidu launches him onto his quest for eternal life; for Odysseus, the call to action involves the success of his Trojan Horse ruse which finally ends the Trojan War and signals his return home. Joseph Campbell understands the heroic journey essentially as a spiritual quest. The trials and tribulations that the hero faces in pursuit of his quest Campbell liken to the agony of breaking through personal limitations& [into] the agony of spiritual growth.

Art, literature, myth and cult, philosophy and ascetic disciplines are instruments to help the individual past his limiting horizons into spheres of ever-increasing realization (Campbell 163). As the hero traverses threshold after threshold, conquering dragon after dragon, the stature of the divinity that he summons to his highest wish increases until it subsumes the cosmos (Campbell 163). In the heros journey, the hero aspires to the domain of the gods  immortality  only to acquire through hardship, loss, and failure an a realization transcending all the experiences of form  all symbolizations, all divinities: a realization of the ineluctable void (Campbell 163). The heros journey essentially charts the human beings recognition of his or her humanity, in all its failings and magnificence.

Once launched on the heroic journey, the hero enlists the help or favor of a god or otherworldly escort to help him gain access through a shadowy and dangerous world to achieve his end. For Gilgamesh, this guide is Urshanabi, the ferryman, and for Odysseus, this guide is the Greek goddess of war Athena. Numerous tests create obstacles for both heroes, however, in the case of Gilgamesh, his struggle remains largely with himself. Gilgameshs rash temper and propensity for quick and unrestrained violence are truly epic and as such he tends to kill, destroy, and maim first and ask questions later. An example occurs in the section of The Epic of Gilgamesh after Gilgamesh destroys the stone statues and then arrogantly introduces himself as the king of great walled Uruk. I have traveled here across the high mountains, I have traveled here on the hidden road, through the underworld, where the sun comes forth and demands that Urshanabi show me the way to Utnapishtim,  whereupon Urshanabi calmly informs Gilgamesh that your own hands have prevented the crossing (Mitchell 171).

A boy in a mans body, Gilgamesh resembles a man of action, and though he remains brash and abrasive and quicker to act than to think, Gilgamesh retains enough charm throughout the epic to garner and use the support and aid of some key figures, namely Urshanabi and Utnapishtims wife. In the case of Gilgamesh, the heros failings seem to endear to him to other characters that are in the position to help him achieve his goals. This endearing quality prompts Utnapishtims wife to convince her husband to provide the warrior king with directions to locate the plant that gives eternal life. Once Gilgamesh retrieves the plant from the lake bed, another failure  this time thoughtlessly leaving the plant beside the pool while he swims  loses him the plant. A snake smelled its fragrance, stealthily it crawled up and carried the plant away [and] when Gilgamesh saw what the snake had done, he sat down and wept (Mitchell 197). This moment in the epic represents the hero coming face to face with failure and the loss of his dream, to the extent that he allows his despair to unman him, having lost the key to eternal life to such a lowly creature as a snake bruises the kings ego sorely.

However, Gilgamesh returns to Uruk a changed man. Though he forfeited eternal life to the snake, he did gain a new friend in Urshanabi, and through thwarted in his quest, the epic ends with Gilgamesh benefiting from this new voice in his life, since Urshanabi aptly clarifies the folly of Gilgameshs immortal aspirations: what have you achieved but to bring yourself one day nearer to the end of your days? At night the moon travels across the sky, the gods of heaven stay awake and watch us, unsleeping, undying. This is the way the world is established, from ancient times. Yes, the gods took Enkidus life. But mans life is short, at any moment it can be snapped, like a reed in a canebrake&death destroys us, all of us, old or young. And yet we build houses make contracts, brothers divide their inheritance, conflicts occur  as though this human life lasted forever (Mitchell 178). With Urshanabis guidance, Gilgamesh can return to his throne as a more stable and patient individual, chastised and humbled, not to mention a less harsh and tyrannical ruler. Though disappointed in his quest Gilgamesh returns home a richer man  richer in friendship and given the gift of a more stable and firm grasp on the reality of the human condition.

Gilgamesh and Odysseus view death from opposing poles, mainly because they represent opposites in their characterization. Gilgamesh exemplifies the warrior king; the celebrated warrior who predates the appearance and establishment of an organized civilized state which centralizes and institutionalizes power in the shape of a governing body. As a warrior king, Gilgamesh embodies the physical might required to maintain order and trounce whatever enemy may threaten that order. The Epic of Gilgamesh and Gilgamesh himself perceive the hero as an extension of war. The greatest honor available to a hero of Gilgameshs ilk would be to die on the battlefield. In this sense, he echoes Achilles from The Iliad (Homer 13). Warriors, essentially, remain good for one purpose: war. When the perspective of battle shifts to a time of peace, the warrior hero may struggle, as in the case of Gilgamesh, to live viably in the human world during the time after the war has been fought in won.

Heroes such as Gilgamesh depict the discrepancy between the values of power and war and those of the present moment, and they explore the inevitable conflict that the new circumstances call forth. These circumstances may be the requirement that one return to a peaceful occupation and pursue a normal life or that one submit to the discipline of the state and become a warrior or king and leader in its service (Abusch 614). For a character such as Gilgamesh, self-identified as a warrior king and programmed by his nature to solve all problems through violence, the choice to remain a traditional hero&is often a meditation upon and an exploration of the inevitable conflict between, on the one hand, the forces represented by the absolute commitment of the powerful and heroic male to energy and battle and, on the other, the forces that represent some newly emerging situations and value systems(Abusch 614). In The Epic of Gilgamesh, the hero returns home to embrace his humanity and learns to value the ephemeral nature of human life.

Odysseus represents a different type of hero than Gilgamesh; though no less of a warrior, Odysseus is much more cerebral, and his interests remain decidedly human. He wants to return home; he misses his wife and son, and he is tired of war. In this sense, Odysseus seems more of an anti-hero. He remains the only Achaean hero of importance who is described&[both] in the Odyssey and Iliad&as using the unheroic bow rather than the spear, that standard weapon of the other heroes (Finkelberg 2). Odysseus, unlike Gilgamesh, is a wily, cunning individual who prefers to stay behind the scenes. Odysseus is the only hero of the Homeric tradition who is described in both The Iliad and The Odyssey as much-enduring (Finkelberg 1). Odysseus is also far more willing to apply any means necessary to save his own life, even if it means passing through compromise and humiliation (Finkelberg 1). Other Greek heroes such as Ajax and Achilles, not to mention Gilgamesh, would certainly never stoop to the majority of Odysseus humiliations, such as his three adventures in beggars disguise&[and] his ignominious escape from the Cyclops cave by hanging under a rams belly (Finkelberg 2).

While Gilgamesh spends his time seeking eternal life, Odysseus seems more interested in living the life that he has. Odysseus hero journey exemplifies how one ought to live. Earthy and prosaic as he is, Odysseus manages to pass through all the tests that life puts before him: to contrive the escape from the Cyclops cave, to abstain from eating the flesh of the sacred cattle of Helios, and to endure the crowning humiliation of living as a beggar in his own house (Finkelberg 2). The contrast between the two heroes  Odysseus being the reluctant hero while Gilgamesh resembles the conscious hero  plays out in how each man values life. While Gilgamesh appears unsatisfied with lifes terms and views the heros journey as a means to get something more  namely, immortality  Odysseus views the heros journey as a means to get home and get on with it. Salty Odysseus epitomizes the survivor, and in essence, he survives a heros journey that would have killed most because [he is] earthy and prosaic& after all, nothing else than&human (Finkelberg 2). We see the strongest evidence for this when Calypso offers Odysseus eternal life and he chooses instead to remain as he is (Homer 37). Had Gilgamesh been offered immortality, he would surely have taken it, and missed the magic of humanity in the process. Odysseus accepts the brevity and unpredictability of human life and understands its value.

Odysseus vs Gilgamesh and Achilles: Conclusion of Character Analysis

In conclusion, the heroic journeys of Odysseus, Achilles, and Gilgamesh present rich narratives that explore the complexities of the human condition. Through his resilience and resourcefulness, Odysseus teaches us the power of wit and perseverance in overcoming obstacles. With his unwavering bravery and inner conflicts, Achilles reminds us of the costs and consequences of excessive pride and unchecked anger. Gilgameshs quest for immortality highlights the universal human desire for transcendence and the importance of accepting our mortality. Each hero undergoes personal growth, grapples with their flaws, and leaves a lasting impact through their deeds. Their stories continue to resonate, offering timeless lessons and insights into human natures depths and the heroic journeys transformative power.

The Odyssey and Gilgamesh Heros Journey: Comparison

This table highlights the similarities and differences in the heros journeys in The Odyssey and The Epic of Gilgamesh, emphasizing their challenges, personal evolution, and ultimate outcomes.

” Gilgamesh Heros Journey	=á Odyssey Heros Journey
Odysseus embarks on a perilous voyage home after the Trojan War, facing numerous trials.	Gilgamesh undertakes a quest for immortality, battling mythical creatures and encountering divine beings.
The hero faces temptations, battles, and personal growth throughout his journey. He learned valuable lessons and gained wisdom.	He gains wisdom and confronts his mortality, undergoing personal transformation and personal development as he seeks eternal life.
The climax of Odysseus journey occurs during his confrontation with the suitors in his palace, where he proves his worth.	In his heroic journey, he realizes the futility of his quest for immortality and returns to his kingdom, embracing his role as a mortal king.
He reunites with his family and reclaims his kingdom of Ithaca, completing the return phase of the heros journey.	The hero seeks to leave a lasting legacy through his deeds and accomplishments, embracing his mortality and seeking meaning in his mortal existence.
Throughout the journey, Odysseus faces personal transformation and returns as a transformed hero with a deeper understanding of his role in the world.	This character undergoes advancement and transformation of personality, accepting his mortality and embracing his humanity.

References

Abusch, Tzvi. The Development and Meaning of the Epic of Gilgamesh: An Interpretive Essay. Journal of the American Oriental Society 121.4 (2001): 614-622. Web.

Campbell, Joseph. The Hero with a Thousand Faces. 3^rd ed. Novato, California: New World Library, 2008. Print.

Finkelberg, Margalit. Odysseus and the Genus Hero. Greece & Rome 42.1 (1995): 1-12. Web.

Homer. The Odyssey. Trans. Robert Fitzgerald. New York: Farrar, Straus and Giroux, 1998. Print.

Mitchell, Stephen. Gilgamesh: A New English Version. New York: Free Press, 2004. Print.

Introduction

This paper will be focused on analyzing, comparing, and contrasting two short stories. The first one is The Lottery by Shirley Jackson, and the second is The Destructors by Graham Greene. The pieces share some similarities in terms of their approaches and themes, making them well-suited for comparison. The essay will discuss the main conflicts of each respective story, their characterization, and themes. An overall goal is to show how two distinct stories approach similar themes and subjects in their respective narratives.

Conflict

Each story details a completely different situation, but the overarching conflicts are similar. Both scenarios in these books are extremely exaggerated and unrealistic, clashing with a down-to-earth presentation. The discrepancy in both pieces comes from a difference between expectation and reality. The stories carefully build up tension, subverting the expectations of both the characters and the audience. In The Lottery, the plot revolves around the people from a small village holding a lottery. The author meticulously describes the townsfolk, stating their names and paying much attention to how the event itself is held and organized. Conflict of the story comes from the audiences and the characters anticipation of the lotterys results. The village people are immersed in the process and adhere to it as a long-standing tradition, while the reader is driven by curiosity and investment in the plot. The plot of The Destructors, on the other hand, follows an English gang of young boys that dedicate their time to committing pranks. The story manages to subvert the expectations of the Old Man and the reader by completely destroying the house by the end of the story, which can be considered a rather bold move.

Characterization

In regards to characterization, both pieces masterfully build their characters throughout the course of their stories. In The Lottery, every villager that is mentioned is given a name, and the central characters have time to show the reader their dispositions about the event. Mr. Summers, the man conducting the lottery is shown as a diligent man and one of the community leaders for the village (Jackson, 1948). Old Man Warner is another character the audience gets to know. His major contribution to the story is arguing with younger people about the necessity of the lottery. He believes it is an essential part of their lives, and abandoning the lottery will lead to the degradation of society. Judging from the fact that his opinions are not ridiculed, the reader can assume that many of the villagers hold similar beliefs and want to follow the established conventions. In the case of The Destructors, most of the characterization is received by the boys of the Wormsley Common Gang. Each of the members has some distinct character traits, with T. and Blackie being the most prominent. Blackie is a careful and strong leader of the group, directing the others course of action. A first, he has reservations about the newest recruit, T., but accepts him after a display of conviction (Greene, 1954). Blackie recognizes that Ts plan to destroy the house of Mr. Thomas can bring the boys much recognition. T. is a descendant of a wealthy family, carries himself seriously, and has the ability to take initiative. Convincing the other boys to destroy the house, he became a temporary leader of the gang. His motivations are beyond hate for the man, as he sees the situation as a way to challenge the concept of materialism. Both stories take their time to introduce and make the reader familiar with their characters, grounding the plot in reality, and immersing the audience into the events.

Irony

Irony persists as an important concept in both stories. While the two stories largely rely on building tension and subverting the expectations, the narratives are told in a serious, straightforward manner. The commitment to a descriptive, matter of fact tone creates an interesting contrast with the extreme actions of some characters. In the case of the first story, it comes from a contrast between the townsfolk awaiting the lotterys results and Tessie Hutchinsons reaction upon realizing she is a winner. She, similar to all others is excited, but soon changes her disposition once learning of her victory (Jackson, 1948). Her reaction shows the reader that the villagers enjoy seeing the suffering of others but are unhappy to be on the receiving end. In the case of the second story, Mr. Thomass desire to clean his shoes before entering the house is a source of irony, because the reader understands that the inside of the house is destroyed, and his actions have no point. Ts desire to give the old man a blanket to make him feel warmer is also quite ironic, considering that the boy is responsible for his homes destruction.

References

Jackson, S. (1948) The Lottery. Web.

Greene, G. (1954). The Destructors. The Short Story Project. Web.