Power and the Group: Meaning and Contex t in The Lottery Essay

Power and the Group: Meaning and Context in The Lottery There is power in any group consensus. As long as the group thinks as a group they gain authority and power over single voice. The group deflects the problems of the individual by diffusing responsibility thoughout its members. Diffusion of responsibility allows the group to think as an entity. Over time, the entity develops a set of mores. Mores within the group are very strong. The group takes on characteristics and functions as if it were possessed of individuals, but because its responsibility is to remain all knowing, all-powerful and obs equious. Claiming responsibility would in effect threaten the entity, so instead the entity threatens the individual that says I am responsibly for myself. Groups cry out, â€Å"it isn’t fair† while the individual cries out â€Å"it isn’t right† so it was for Tessie Hutchinson. Shirley Jackson’s essay, â€Å"The Lottery† is a tale wherein an appointed official conducts a yearly lottery, presumably to ensure good crops and health throughout the village. The head of each family draws a ticket from a lottery box. One family draws the marked ticket. The individual members within the family then draw again, determining the winner. At first it seems surprising that when stripped to i ts essential elements that the story holds the attention of the reader, but because the audience identifies with the details of the town, the villager, even the drawing of lottery tickets, we, like the group process itself, become part of the fiber of the story. The audience takes in stride that Jackson clues us in on a sinister undercurrent by the gather ing of boys who â€Å"made great pile of stones in one corner of the square and gua... ...remains in effect, he can deflect responsibility for poor crops and ill health onto the mystery of an outdated belief system. The reader may think that we are above such beliefs, but consider the tobacco industry’s self-serving lies and how many lives have ben doomed by them. Then ask yourself, how many parents and children sit in courtrooms or mental institutions thinking, â€Å"it isn’t fair, it isn’t right†? Works Cited: Jackson, shirley. â€Å"The Lottey.† The Norton Anthology of Literature By Women. . Ed. Sandra M. Giubar New York: Norton, 1985. 1872-1880. Nebeker, Helen. â€Å"The Lottery†: Symoblic Tour de Force†. American Literatur. Vol. 46. No. 1. [March, 1974] 100-107. Oehschlaeger, Fritz. â€Å"The Stoning of Mistress Hutchinson: Meaning and Context in â€Å"The Lottery†. Essays in Literature. Vol. XV. No. 2 [Fall 1998] 259-265.

The Hunters: Phantom Chapter 26

The day passed with much research, but with very little in the way of results, which left Elena feeling increasingly concerned for her comatose friend. By the time night fel and Aunt Judith cal ed to wearily inquire whether Elena's family would see her at al that day, they had sorted through the first bag of papers and Alaric had gone over a third or so of what seemed to be the notebook in which Caleb kept the record of his magical experiments, grumbling about Caleb's terrible handwriting. Elena frowned, flipping through another stack of papers. Looking through the pictures and clippings confirmed that Celia hadn't been among Caleb's planned victims. If the phantom had targeted her first, it must have been because she was rich in whatever emotion this phantom fed off. â€Å"Snippiness,† Meredith suggested, but she was careful to say it out of Alaric's hearing. The clippings and printouts also showed that Caleb was indeed obsessed with Tyler's disappearance, and that he had evidence and memories of two different time lines for the same period – one where Fel ‘s Church had been fal ing apart and Elena Gilbert had been dead, and one where everything had been just fine, thanks in the smal Virginia town of Fel ‘s Church, including the continuing reign of the senior class's golden girl, Elena. In addition to Caleb's own double memories, which covered only the summer, Tyler had apparently talked to him over the phone the previous fal and winter about the mysterious events surrounding Mr. Tanner's death and everything that fol owed. Although it didn't sound from Caleb's notes like Tyler had mentioned his own transformation to werewolf and conspiracy with Klaus, just his growing suspicions of Stefan. â€Å"Tyler.† Elena groaned. â€Å"Even though he's long gone, he manages to make trouble.† Alaric's examination of the notebook so far had proved that they were right that Caleb was a magic user, and that he was planning to use his magic both to take vengeance against them and to try to locate Tyler. But it hadn't shown how he had summoned the phantom. And despite Alaric's bringing any likely looking note, incantation, or drawing to Mrs. Flowers for inspection, they had not yet discovered what kind of spel Caleb had been doing, or what purpose the roses served. Stefan escorted Elena home for dinner, then returned to continue helping the others. He'd wanted to stay with Elena, but she had a feeling her aunt would not appreciate a lastminute dinner guest. The second Elena stepped through the door, she could feel Damon's lingering presence and remembered how, just hours ago, they had stood upstairs, holding each other. Al through the meal, while she told Margaret a bedtime story, and then during her last cal to Meredith to check on the rest of the group's progress, she'd thought longingly of him, wondering whether she would see him tonight. That in turn set off pangs of guilt related to Stefan and Bonnie. She was being so selfish, keeping Stefan's brother's return from him, and thinking of herself while Bonnie was in danger. The whole cycle was exhausting, but stil she couldn't contain her exuberance that Damon was alive. Alone in her room at last, Elena ran a brush through her silky golden hair and pul ed on the simple cool nightgown she'd wo rn the night before. It was hot and humid outside, and through her window she could hear the crickets chirping busily. The stars were shining, and a half-moon floated high over the trees outside. She cal ed good night to Aunt Judith and Robert and climbed into bed, fluffing the pil ows around her. She half expected a long wait. Damon liked to tease, and he liked to make an entrance, so he was quite likely to wait until he thought she would be asleep, and then sweep into her room. But she had barely turned off the light when a piece of darkness seemed to separate itself from the night outside her window. There was the faintest scuff of a footstep on the floor, and then her mattress groaned as Damon settled himself at the foot of her bed. â€Å"Hel o, love,† he said softly. â€Å"Hi,† she said, smiling at him. His black eyes glittered at her from the shadows, and Elena suddenly felt warm and happy, despite everything. â€Å"What's the latest?† he asked. â€Å"I saw a lot of fuss going on at the boardinghouse. Something got your sidekicks in a tizzy?† His tone was casual y sarcastic, but his gaze was intense, and Elena knew he had been worried. â€Å"If you let me tel everyone you're alive, you could be with us and then you'd know everything that's going on firsthand,† she teased. Then she grew somber. â€Å"Damon, we need your help. Something terrible has happened.† She told him about Bonnie, and about what they had discovered in the Smal woods' garden shed. Damon's eyes flamed. â€Å"A phantom's got the little redbird?† â€Å"That's what Mrs. Flowers's mother said,† Elena answered. â€Å"Stefan told us that he'd known of a rage phantom somewhere back in Italy.† Damon made a little pfft! noise. â€Å"I remember that. It was amusing at the time, but nothing like what you've been describing. How does this theory of Stefan's explain Bonnie's being taken? Or the appearance of the names when someone is threatened?† â€Å"It's Mrs. Flowers's theory, too,† Elena said indignantly. â€Å"Or her mother's, I guess. And it's the only one that makes sense.† She could feel Damon stroking her arm with the most featherlight touch, and it felt good. The hairs prickled on the back of her arms, and she shivered with pleasure in spite of herself. Stop it, she thought sternly. This is serious business. She moved her arm out of Damon's reach. He sounded amused and lazy when he next spoke. â€Å"Wel , I can't blame the old witch and her ghost mother,† he said. â€Å"Humans mostly stay in their own dimension; they learn only the tiniest piece of what's happening, even the most gifted of them. But if Stefan behaved like any self-respecting vampire and didn't go around trying to be human al the time, he'd have a little more of a clue. He's barely even traveled to the Dark Dimension except when he was dragged there to sit in a cage or save Bonnie. Maybe if he had, he would understand what was going on and be able to protect his pet humans a little better.† Elena bristled. â€Å"Pet humans? I'm one of those pet humans, too.† Damon chuckled, and Elena realized he had said that purposely, to rile her up. â€Å"A pet? You, princess? Never. A tiger, maybe. Something wild and dangerous.† Elena rol ed her eyes. Then the implication of Damon's words hit her. â€Å"Wait, are you saying this isn't a phantom? And that you know what it actual y is? Is it something that comes from the Dark Dimension?† Damon shifted closer to her again. â€Å"Would you like to know what I know?† he said, his voice like a caress. â€Å"There are a lot of things I could tel you.† â€Å"Damon,† Elena said firmly. â€Å"Stop flirting and pay attention. This is important. If you know anything, please tel me. If you don't, please don't play games with me. Bonnie's life is at stake. And we're al in danger. You're in danger, too, Damon: Don't forget, your name's been written, and we don't know for sure that whatever happened on the Dark Moon was the attack on you.† â€Å"I'm not too concerned.† Damon waved his hand disparagingly. â€Å"It would take more than a phantom to hurt me, princess. But, yes, I know a little more about this than Stefan does.† He turned her hand over and traced her palm with cool fingers. â€Å"It is a phantom,† he said. â€Å"But it's not the same kind we saw in Italy long ago. Do you remember that Klaus was an Original? He wasn't sired like Katherine or Stefan or I was; he was never human. Vampires like Klaus consider vampires like us who started out as humans to be weak half-breeds. He was much stronger than us and much more difficult to kil . There are different types of phantoms, too. The phantoms who are born of human emotions on Earth are able to intensify and spur on these emotions. They don't have much consciousness of their own, though, and they never get very strong. They're just parasites. If they are cut off from the emotions they need to survive, they fade away pretty quickly.† Elena frowned. â€Å"But you think this is another, more powerful kind of phantom? Why? What did Sage tel you?† Damon tapped her hand with one finger as he counted. â€Å"One: the names. That's beyond the powers of an ordinary phantom. Two: It took Bonnie. A regular phantom wouldn't be able to do that, and wouldn't get anything out of it if it could. An Original phantom, though, can steal her spirit and take it back to the Dark Dimension. It can drain her life force and emotions to make itself stronger.† â€Å"Wait,† Elena said, alarmed. â€Å"Bonnie's back in the Dark Dimension? Anything could be happening to her! She could be enslaved again!† Tears pricked at the corners of her eyes as she thought of how humans were treated in the Dark Dimension. Damon squeezed her hand. â€Å"No, don't worry about that. She's there only in spirit – the phantom wil have her in some kind of holding cel ; it'l want her safe. I think the worst thing that could happen to her is she'l be bored.† He frowned. â€Å"It'l sap her life force, though, and that'l weaken her eventual y.† â€Å"You think that being bored's the worst thing that could happen to her†¦ oh, at least until it drains al her life force? That's not good enough, Damon. We have to help her.† Elena thought for a moment. â€Å"So phantoms live in the Dark Dimension?† Damon hesitated. â€Å"Not in the beginning. The Original phantoms were relegated to the Dark Moon by the Guardians.† â€Å"Where you died.† â€Å"Yes,† Damon said caustical y. Then he rubbed the back of her hand in a silent apology for his tone. â€Å"Original phantoms are kept inside some kind of prison on the Dark Moon, just itching for a chance to get out. Like genies in a bottle. If something broke the prison wal , their ultimate goal would be to make it to Earth and feed on human emotions. After the World Tree was destroyed, Sage said things changed, which would make sense if an Original phantom managed to escape as things shifted after the destruction.† â€Å"Why come al the way to Earth, though?† Elena asked. â€Å"There're al those demons and vampires in the Dark Dimension.† She could see Damon's smile in the shadows. â€Å"I guess human emotion is extra-delicious. Like human blood is. And there aren't enough humans in the Dark Dimension to make a real y good meal. There are so many humans on Earth that an Original here can just keep on gorging on emotion and growing ever more powerful.† â€Å"So it fol owed us from the Dark Moon?† Elena asked. â€Å"It must have hitched a ride with you when you came back to Earth. It would have wanted to get as far from its prison as possible, so an opening between dimensions would have been irresistible.† â€Å"And it was freed from its prison when I used my Wings of Destruction and blasted the moon?† Damon shrugged. â€Å"That seems to be the most likely explanation.† Elena's heart sank. â€Å"So Bonnie's vision was right. I brought this. It's my fault.† He brushed back her hair and kissed her neck. â€Å"Don't think of it that way,† he said. â€Å"How could you have stopped it? You didn't know. And I'm grateful you used the Wings of Destruction: That's what saved me, after al . The important thing now is to fight the phantom. We need to send it back before it gets too powerful. If it gets a real foothold here, it can start influencing more and more people. The whole world could be in danger.† Elena half consciously arched her neck to one side so that Damon could get a better angle, and he gently traced the vein on the side of her neck with his lips for a moment before she realized what they were doing and nudged him away again. â€Å"I don't understand, though. Why would it tel us who it's going after next?† she said. â€Å"Why does it give us the names?† â€Å"Oh, that's not its own doing,† Damon said, and kissed her shoulder. â€Å"Even the most powerful phantom has to fol ow the rules. It's part of the spel the Guardians put on the Original phantoms, when they relegated them to the Dark Moon. A safeguard in case the Originals ever escaped. This way, their prey knows they're coming, and it gives them a fair shot at resisting.† â€Å"The Guardians imprisoned it,† Elena said. â€Å"Would they help us send it back?† â€Å"I don't know,† Damon said shortly. â€Å"I wouldn't ask them if I could help it, though. I don't trust them, do you?† Elena thought of the cool efficiency of the Guardians, of the way they had dismissed Damon's death as irrelevant. Of the way they had caused her own parents' death. â€Å"No,† she said, shivering. â€Å"Let's leave them out of it if we can.† â€Å"We'l defeat it ourselves, Elena,† Damon said, and caressed her cheek with his hand. â€Å"Stop it,† Elena said. â€Å"We have to concentrate.† Damon stopped trying to touch her for a moment and thought. â€Å"Tel me about your little friends. Have people been tense? Fighting? Acting out of character?† â€Å"Yes,† Elena said immediately. â€Å"No one's been acting like themselves. I can't put my finger on it, but something's been wrong since we got back.† Damon nodded. â€Å"Since it probably came with you, it makes sense that it would have targeted you and those connected to you as its first victims.† â€Å"But how do we stop it?† Elena asked. â€Å"What do these stories you've heard about the Original phantoms say about recapturing them once they've escaped from their prison?† Damon sighed, and his shoulders slumped a little. â€Å"Nothing,† he said. â€Å"I don't know anything more. I'l have to go back to the Dark Dimension and see what I can find out, or if I can fight the phantom from there.† Elena stiffened. â€Å"It's too dangerous, Damon.† Damon chuckled, a dry sound in the darkness, and Elena felt his fingers run through her hair, smoothing the silky strands, then twisting them, tugging them gently. â€Å"Not for me,† he said. â€Å"The Dark Dimension is a great place to be a vampire.† â€Å"Except that you died there,† Elena reminded him. â€Å"Damon, please. I can't stand to lose you again.† Damon's hand stil ed, and then he was kissing her gently, and his other hand came up to touch her cheek. â€Å"Elena,† he said as he reluctantly broke the kiss. â€Å"You won't lose me.† â€Å"There has to be another way,† she insisted. â€Å"Wel , then we'd better find it, and soon,† Damon answered grimly. â€Å"Otherwise the entire world wil be at risk.† Damon was saturated with Elena. Her sweet, rich scent in his nostrils, the throbbing beat of her heart in his ears, the silk of her hair and the satin of her skin against his fingers. He wanted to kiss her, to hold her, to sink his fangs into her and taste the heady nectar of her blood, that vibrant blood that tasted like no one else's. But she made him go, although he knew she didn't real y want to. She didn't say it was because of his little brother that she pushed him away, but he knew anyway. It was always Stefan. When he left her, he transformed graceful y into a large black crow again and flew from her bedroom window to the quince tree nearby. There, he folded his wings and shifted from one foot to another, settling in to watch over her. He could sense her through the window, anxious at first, her thoughts churning, but soon her pulse slowed, her breathing deepened, and he knew she was asleep. He would stay and guard her. There was no question: He had to save her. If Elena wanted a chivalrous knight, someone who would protect her nobly, Damon could do that. Why should that weakling Stefan have al the glory? But he wasn't sure what came next. Despite Elena's begging him not to go, heading into the Dark Dimension seemed like the logical next step in fighting this phantom. But how to get there? There were no easy paths. He didn't have the time to journey to one of the gates again, nor did he want to leave Elena's side long enough to travel there. And he couldn't expect to find something as useful as a star bal again by chance. Plus, if he did get there, being in the Dark Dimension would have special dangers for him now. He didn't think the Guardians knew he had come back from the dead, and he didn't know how they would react when they did. He'd rather not find out. The Guardians didn't care for vampires much, and they tended to like things to stay the way they ought to be. Look at how they had stripped Elena's Powers when she came to their attention. Damon hunched his shoulders and fluffed out his iridescent feathers irritably. There had to be another way. There was the slightest rustle underfoot. No one without the sensitive ears of a vampire would have heard it, it was so cautious, but Damon caught it. He snapped to attention and peered sharply around. No one would get to his princess. Oh. Damon relaxed again and clicked his beak in vexation. Stefan. The shadowy figure of his little brother stood beneath the tree, head tilted back, gazing in devotion at Elena's darkened window. Of course he was there, standing by to defend her against al the horrors of the night. And just like that, Damon knew what he had to do: If he wanted to learn more about the phantom, he'd have to give himself over to it. He closed his eyes, al owing every negative feeling he'd ever had about Stefan to wash over him. How Stefan had always taken everything Damon wanted, had stolen it, if he needed to. Damn Stefan, Damon thought bitterly. If his brother hadn't come to town earlier than him, Damon would have had a chance to make Elena fal in love with him first, to be the one to reap the utter devotion he saw in her eyes when she looked at Stefan. Instead, here he was, second-best. He hadn't been enough for Katherine either; she had wanted his brother, too. Elena, tiger to the kitten Katherine had been, would have been the perfect mate for Damon. Beautiful, strong, wily, capable of great love, they could have ruled the night together. But she had fal en for his lily-livered weakling of a little brother. Damon's claws clenched the branch he sat on. â€Å"Isn't it sad,† a quiet voice beside him suggested, â€Å"how you try and try, but you're never enough for the women you love?† A cool tendril of fog touched his wing. Damon straightened and looked around. Dark fog was winding around the quince tree, just at Damon's level. Below, Stefan stood unaware. The fog had come for Damon alone. With a private smile, Damon felt the fog envelop him, and then al was darkness.

20142321 SIYIWANG TACC403 - 2063 Words

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Holdens Depression in Catcher in the Rye Essay - 754 Words

The Catcher in the Rye, by J.D. Salinger, portrays Holden Caulfield as a manic-depressive. Holden uses three techniques throughout the novel to cope with his depression. He smokes, drinks, and talks to Allie. Although they may not be positive, Holden finds comfort in these three things. Holden smokes a lot when he is nervous, or bored. When the stripper is in his room he noticed that she is shaking her foot as if she is nervous. He offers her a cigarette, twice. Both times she says no. Holden offers Sunny the cigarette because he thinks it would calm her down, like cigarettes calm him down when he is nervous. â€Å"I sat in the chair for a while and smoked a couple of cigarettes†¦boy, I felt miserable† (98). The smoking habit may have come†¦show more content†¦Instead of dealing with his problems Holden drank. This negatively affects him. Instead of getting help with his emotions he would drink them away so he would feel less. Drinking is seen persistently throug hout the novel. 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The Law Enforcement Must First Achieve Respect And Trust

To gain the willing cooperation of the public, the law enforcement must first achieve respect and trust. Respect is earned over a long period of time from doing heroic and fair acts of justice. Most Americans have a tremendous amount of respect for police officer, however, racial biased events in the past have skewed that respect. America needs its officers to be viewed with respect, but they must earn it first. That may sound very selfish and naive but it is crucial for trust between citizens and officers. The Rand Corporation writes an article that explains the importance of the trust. Events in recent months have focused national attention on profound fractures in trust between some police departments and the communities they are charged with protecting(Jackson 2015). The current role of police officers has a potential to create the fractures between police departments and their communities. Ultimately, the health of the American democracy is the most important thing. 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Comparrison of the Color Purple Book and Movie Free Essays

lHaley Sullivan Think of the person who means most to you in life. Now imagine what life would be like if you never saw or heard from them again. This is what happens to Celie, the main character in the novel The Color Purple written by Alice Walker and the movie The Color purple directed by Steven Spielberg. We will write a custom essay sample on Comparrison of the Color Purple Book and Movie or any similar topic only for you Order Now The novel The color purple was published in 1982. The story is told through letters written by Celie to God. The only sentences outside the letters are the first two â€Å"You better not never tell nobody. It’d kill your mammy. † The story follows Celie throughout her life starting from when she was 14. Celie is a poor black girl from the south who is verbally physically and sexually abused by all the men in her life, mainly her father and husband. The only person she has ever left truly loved her is her sister Nettie. The two are inseparable until Nettie is forced away and never allowed to see or speak to Celie again. Celie writes letters to God because now that Nettie’s gone she has no one else to talk to. She writes about Mr. ___ her husband, his family who becomes somewhat hers, and Shug Avery. Shug is Mr. ___’s lover who comes to stay with Mr. ___ and Celie because she was very sick. Shug takes a strong liking to Celie and vice versa. Shug helps Celie see that she is a beautiful woman and that she isn’t worthless like people in her past had made her believe. Thanks to Shug’s guidance love and support Celie breaks free of the hold Mr. ___ once had on her and finally stands up for herself. The movie The Color Purple was directed by Steve Spielberg and was released in 1985. The movie stays true to the novel in only a few ways. The movie is not told through letters because that would have been too complicated to stage. In the novel you get to learn more about Nettie’s life along with Celie’s, while in the movie you only see Celie’s side of the story. The movie uses many different aspects of film to emphasize its beauty and emotional feeling of the novel. For example Steven focuses a lot on color in the shooting of the film. The scenery, no matter where being shot, has an undertone of browns and greens. Then in significant scenes there are pops of purple or pinks to show that you’re supposed to be noticing something or to emphasize what the characters are talking about. Steven Spielberg also uses high and low angles to show who has power during certain scenes. So whenever Mr. ___ and Celie are having a conversation Mr. __ is always shot from a low angle to show that he has power over Celie, and Celie is shot from a high angle to show that she has less power than Mr. ___. Spielberg also used numerous voice-overs in the film to narrate thoughts during moments that silence was incorporated. So from all the information and observations I’ve gathered I’ve decided my thesis is that, the novel The color purple writte n by Alice walker is better than the movie directed by Steven Spielberg. I believe this statement to be true because when it comes to the details and complexities of the characters in the story the movie sells the book short. The movie shows the characters relations with each other to be very one sided while in the novel characters develop much deeper relationships with each other. I also liked the book better because it really allowed you to see inside Celie’s head. You felt the pain with her as you read her heartfelt letters to God about her hardships and, everyone in a while, moments of supreme joy. I did appreciate the acting in the movie though. Whoopi Goldberg and Oprah Winfrey were discovered because of the film. How to cite Comparrison of the Color Purple Book and Movie, Papers

Analysis of Sea Fever by John Masefield Essay Example For Students

Analysis of Sea Fever by John Masefield Essay John Masefields poem Sea Fever is a work of art that brings beauty to the English language through its use of rhythm, imagery and many complex figures of speech. The meter in Sea Fever follows the movement of the tall ship in rough water through its use of iambs and hard hitting spondees. Although written primarily in iambic meter, the meter in Sea Fever varies throughout the poem. The imagery in Sea Fever suggests an adventurous ocean that appeals to all five senses. Along with an adventurous ocean, Sea Fever also sets a mood of freedom through imagery of traveling gypsies. Perhaps, the most complex part of this poem is the use of personification and metaphor. These figures of speech go beyond the meter and imagery to compare life to a sea voyage and portray a strong longing for the sea. The two main themes of Sea Fever bring the reader closer to the sea and help the reader understand why the speaker must return to the sea. Sea Fever not only depicts a strong longing for the sea through its theme, but also through use of complex figures of speech, imagery, and meter. Sea Fever is an excellent example of varied meter which follows the actions of a tall ship through high seas and strong wind. Lines one and two contain the common iambic meter found throughout the poem. Sea Fever may be categorized as a sea chantey due to its iambic meter and natural rhythm which gives it a song like quality. This song like quality is created through the use of iambic meter and alliteration. For example, lines three and ten contain the repeated consonant sound of the letter w. In line three, the meter becomes spondaic through the use of strongly stressed syllables. These spondees suggest the repeated slapping of waves against the bow of the ship. As a result, John Masefield creates an image of powerful ocean swells. In addition to the meter suggesting the repeated slap of the waves, the wheels kick is a reference to the ships steering wheel spinning out of control. To further support the theory of the waves slapping against the bow, The wheels kick suggests that the tall ship is traversing very storm seas. Through the combining of iambic and spondaic meter, Sea Fever not only gains a magnificent rhythm, but gives clues into the location and movement of the tall ship. Perhaps, the most striking characteristic of Sea Fever is the remarkable imagery seen on each line throughout the poem. Images of a gray mist and a gray dawn breaking bring the poem to life by appealing to the senses. The powerful images bring the reader to the ocean and help the reader understand the strong longing the speaker has for the sea. Through the use of descriptive adjectives, the effectiveness of Masefields imagery is increased. Specifically, words such as whetted and flung help create a realistic picture of the sea. Images of a wild call and a  clear call that may not be denied describe a longing that is shared between the speaker and the ocean. Finally, images of alonely sea and a vagrant gypsy life bring a mood of freedom and independence to the poem. Through the use of vivid descriptions and strong images of the sea, Masefield helps the reader to understand why the speaker must return to the sea. Through the use of complex figures of speech, Sea Fever is transformed from an ordinary poem to a masterpiece. Masefield adds figures of speech such as, personification, to bring detailed descriptions of the ship and sea to the reader. .u9d4806d053dc883a4e0b94d4f63aab31 , .u9d4806d053dc883a4e0b94d4f63aab31 .postImageUrl , .u9d4806d053dc883a4e0b94d4f63aab31 .centered-text-area { min-height: 80px; position: relative; } .u9d4806d053dc883a4e0b94d4f63aab31 , .u9d4806d053dc883a4e0b94d4f63aab31:hover , .u9d4806d053dc883a4e0b94d4f63aab31:visited , .u9d4806d053dc883a4e0b94d4f63aab31:active { border:0!important; } .u9d4806d053dc883a4e0b94d4f63aab31 .clearfix:after { content: ""; display: table; clear: both; } .u9d4806d053dc883a4e0b94d4f63aab31 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u9d4806d053dc883a4e0b94d4f63aab31:active , .u9d4806d053dc883a4e0b94d4f63aab31:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u9d4806d053dc883a4e0b94d4f63aab31 .centered-text-area { width: 100%; position: relative ; } .u9d4806d053dc883a4e0b94d4f63aab31 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u9d4806d053dc883a4e0b94d4f63aab31 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u9d4806d053dc883a4e0b94d4f63aab31 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u9d4806d053dc883a4e0b94d4f63aab31:hover .ctaButton { background-color: #34495E!important; } .u9d4806d053dc883a4e0b94d4f63aab31 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u9d4806d053dc883a4e0b94d4f63aab31 .u9d4806d053dc883a4e0b94d4f63aab31-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u9d4806d053dc883a4e0b94d4f63aab31:after { content: ""; display: block; clear: both; } READ: Important Places and Settings in Of Mice and Men EssayIn line four, the sea is personified when the waters surface is referred to as theseas face. In addition to personification, Masefield uses several similes and metaphors that increase the effectiveness of the already strong imagery. The simile the winds like a whetted knife, appeals to the senses and helps the reader feel the cold wind blowing. The similes and metaphors seen in Sea Fever are easily recognized, but their meanings and implications may be viewed as anything but shallow or irrelevant to the poetic style of Masefield. One example of a metaphor is in line nine when the speaker compares the vagrant gypsy life to the ocean. Sea Fever is dominated by implied metaphors comparing the speakers life to the sea. For example, the word trick in line ten implies that the speakers life has been like a sea voyage. The complex metaphors increase the emotional tone of Sea Fever and help the reader relate to the speakers passion for the sea. Through the use of figures of speech such as personification, simile and metaphor, the poem is enhanced by further development of the theme and the imagery. From the intensity of the speakers feelings, two themes are created that complement each other. First, a theme of longing for freedom and an adventurous ocean is developed. Although not the only theme, it is very recognizable and easily found after the initial reading of the poem. For example, this yearning for the sea can easily be seen in the refrain I must go down to the seas again. The title Sea Fever, shows the speakers hunger for an adventurous and free life. This hunger for life is also seen through references to the freedom of a sea gull and a whale in line ten. Equally important, Masefield uses strong metaphors to create a theme of life resembling a sea voyage. In line twelve, the speakers asks for a quiet sleep and a sweet dream when the long tricks over. The speaker is implying that life is a long sea journey and is requesting a peaceful afterlife. These two themes work together to convey the speakers passionate feelings for the sea and help the reader to further understand the seas importance to the speaker. Sea Fever uses meter, imagery, and figures of speech so effectively that the reader is brought to the sea. The iambic and spondaic  meter along with alliteration give Sea Fever a natural rhythm that coincides with the movement of the sea. The refrain I must go down to the seas again is one of the many poetic devices used to show the strong longing the speaker has for the sea. Equally important, the dynamic imagery is seen practically on each line throughout the poem. The images in Sea Fever are strengthened through the use of figurative language. Masefield uses personification and similes to add vivid details of the wind, ship and sea. Perhaps, the most puzzling element of Sea Fever is the implied metaphors. Furthermore, the simple themes in Sea Fever, consist of the longing the speaker has for the sea and the comparison of life to a sea voyage. In conclusion, Sea Fever employs meter, imagery, and figurative language to help strengthen the themes and help the reader gain an understanding of the speakers desire to return to the sea.