DIDLS DICTION IMAGERY DETAILS LANGUAGE SYNTAX WORD CHOICE

DIDLS DICTION IMAGERY DETAILS LANGUAGE SYNTAX WORD CHOICE APPEALS TO SENSES SUPPORTS ATTITUDE AND TONE FIGURES OF SPEECH SOUND DEVICES LITERAY TECHNIQUES SENTENCE STRUCTURE STYLE TONE WRITER’S MANNER OF EMPLOYING LANGUAGE WRITER’S ATTITUDE TOWARD SUBJECT THEME GENERAL STATEMENT ABOUT LIFE OR HUMAN NATURE

IMAGERY Writers use language to create sensory impressions and to evoke specific responses to characters, objects, events, or situations in their works. The writer "shows" rather than "tells, " thus allowing the reader to participate in the experience more fully. Therefore imagery helps to produce mood and tone. When reading a piece containing imagery, you need to ask yourself two questions What do I hear, taste, smell, feel or see? What effect is the author trying to convey with these messages?

SENSES Visual Auditory Tactile Gustatory Olfactory

IMAGERY The use of vivid descriptions or figures of speech that appeal to sensory experiences helps to create the author's tone. Evaluate the author's or speaker's tone conveyed in the images of the following lines of poetry: My mistress' eyes are nothing like the sun. ______ An old, mad, blind, despised, and dying king. ______ He clasps the crag with crooked hands. _________ If I should die, think only this of me. That there's a corner of a foreign field that is forever England. _______

Take a look at the opening of the novel Pearl. Examine the excerpt for examples of imagery and think about how these images and sensory details contribute to meaning and effect. Why do you think Steinbeck chose to open his novel with these images and details? What kind of information do the images and details provide to the reader about the characters and the society? Kino awakened in the near dark. The stars still shone and the day had drawn only a pale wash of light in the lower sky to the east. The roosters had been crowing for some time, and the early pigs were already beginning their ceaseless turning of twigs and bits of wood to see whether anything to eat had been overlooked. Outside the brush house in the tuna clump, a covey of little birds chattered and flurried with their wings. Kino's eyes opened, and he looked first at the lightening square which was the door and then he looked at the hanging box where Coyotito slept. And last he turned his head to Juana, his wife, who lay beside him on the mat, her blue shawl over her nose and over her breasts and around the small of her back. Juana's eyes were open too. Kino could never remember seeing them closed when he awakened. Her dark eyes made little reflected stars. She was looking at him as she was always looking at him when he awakened. Kino heard the little splash of morning waves on the beach. It was very good--Kino closed his eyes again to listen to the music. IMAGERY

ALL QUIET ON THE WESTERN FRONT PP. 112 -113 I see one of them, his face upturned, fall into a wire cradle. His body collapses, his hands remain suspended as though he were praying. Then his body drops clean away and only his hands with the stumps of his arms, shot off, now hang in the wire.

The moment we are about to retreat three faces rise up from the ground in front of us. Under one of the helmets a dark pointed beard and two eyes that are fastened on me. I raise my hand, but I cannot throw into those strange eyes; for one mad moment the whole slaughter whirls like a circus around me, and these two eyes alone are motionless; then the head rises up, a hand, a movement, and my hand-grenade flies through the air and into him.

We make for the rear, pull wire cradles into the trench and leave bombs behind us with the strings pulled, which ensures us a fiery retreat. The machineguns are already firing from the next position.

We have become wild beasts. We do not fight, we defend ourselves against annihilation. It is not against men that we fling our bombs, what do we know of men in this moment when Death is hunting us down —now, for the first time in three days we can see his face, now for the first time in three days we can oppose him; we feel a mad anger. No longer do we lie helpless, waiting on the scaffold, we can destroy and kill, to save ourselves and to be revenged.

YOUR PASSAGE Find 2 phrases of IMAGERY--- WORTH looking at Find a TONE word to describe YOUR AUTHOR’S ATTITUDE as defined by this IMAGERY