Descriptive Writing Callenge

The sand glistens as the ocean pounds on the shore line. True fascination spurred by the way the waves softly crashed against the rocky beach, brushing each stone with a gentle caress as the wind accompanied them towards the shore. The way the sun reflected off the rippling water, its golden light warped in the twisted waves. The royal blue waves crept towards me before running away, only to repeat the process in a cycle that caused droplets of salty water to spray onto my bare, sand-encrusted feet. In every direction the deep blue ocean met the grey clouds on the horizon. The water was gentle as I walked through it, the sunset like orange paint on a blue canvas. Beautiful smudges of coral, turquoise, and a fiery orange blended together to create a sight so astounding it swept me away from all of my worries, just like the waves creeping over seashells and stealing them in a matter of seconds.

"In The Metro" Poem Summary

In The Metro describes how many desires, including love, can pass you by leaving you with little other than sadness. In the beginning it depicts a man who developed an infatuation towards a beautiful stranger he notices in the subway. He lusts over her physical appearance by mentioning her "shining legs" (3) but if quickly reminded that he will never meet her again because "she goes her way" (4) and he'll go a different way. From his downheartedness he makes it clear he's no sure why he/ll "never meet [her] again" (1). He compares "the escalator [carrying] her away" (7) from his view to a flower flowing down a river to the sea. The man admires the women's ability to go where she pleases while he's "crucified to family duties" (9). At the end he realizes that he is just a man, alone on the platform with nothing more more than "a shopping bag dangling from [his] hand" (12). He has seen love, in all its beauty, but almost as soon as it arrived, it disappears.

"Hamlen Brook" Poem Discussion Summary

Hamlen Brook transforms from a nature poem into a deeper reality of life. The opening image portrays a small stream running through the woods. The speaker approaches the luminous stream describing it in contrast to the "alder-darkened brink". Sweat dripping into the water signifies the speaker had performed an activity to cause perspiration. As the speakers kneels down, they describes a translucent fish swimming in the water whose shadow on the streams bottom appeared to be more solid than its body. The speaker continues to describe the fish as under "sliding glass" suggesting its as if they are observing the specimen on a slide through a microscope. Only the reflections of birches, dragonflies, and "deep cloudlets" on the surface of the water add more layers than reality. Through the speakers description it can be determined that they themselves can not get enough of nature because moments like these are so rare; making him want to return to feel this satisfaction. By stating "How shall I drink all this?" he questions how he can absorb all this beauty in the nature around him in that moment. At the end the narrator writes "Leaving them dumbstruck also with an ache" to represent the shock of complete satisfaction. The poem catches the aspect of the inability to always have total joy because moments like these fade quickly. Permanent satisfaction is not possible. Nothing can fully satisfy people, people are always searching to be happier.

"The Wild Swans at Coole" Summary

"The Wild Swans at Coole" conveys a middle aged man's awareness on the process of life. The opening image is the narrator admiring the "autumn beauty" (1) as he watches the swans in the lake he has been visiting for the past nineteen years. The swans begin to represent something beautiful he can hold onto. As the poem continues, the swans "all suddenly mount and scatter" (10) before he had finished counting. This brings attention to how change is starting to happen by mentioning the painful process of realizing that things change as we grow older and that they'll never be the same. The narrator continues to illustrates how "all's changed" (15) from the "first time on this shore" (16). This change affects him emotionally and physically as the speaker states "my heart is sore" (14). The forth image portrays the speakers realization that the swans are started to grow older, "unwearied still, lover by lover" (19) and how they're going on their own paths to adulthood "wander where they will" (23), assumingly comparing this development to himself. At the end the speaker is looking ahead and wondering if he will "awake some day to find they have flown away," (30) relating to his initatal unwillingness to accept change.

Rebel Still Frame Analysis

This frame expresses the unconventional family connection of Jim, Judy and Plato. The three teens band together because they share in the same feeling of alienation from their families. Jim and Judy pretend to be married and Plato pretends to be their real estate broker; Plato wants Jim and Judy to be his family.

It is apparent from the beginning of the film that the characters are rebellious teenagers who each have different troubled family relationship. The scenes depict the need they have to try to fit in with their peers and find the love they so desperately needed from their families. Judy has been ignored by her parents while Jim is has not been completely accepted by his parents. While Plato has been disregarded by his parents. Now as they are together in this frame, they create a new family and bond over their tough backgrounds. Plato has always looked up to Jim as a father figure. This fulfills Plato’s desire for acceptance from others that he’s never had. However Plato is faded in the frame and Jim is not looking back at him. Although Plato stance is lower than Jim and Judy, implying that he is less than them, Plato remains in front of them, guiding them. This makes Plato finally feels a sense of belongingness.

Jim’s figure appears grand and is the main focus point because he is acting like his father and articulating how he feels about his father which is an instinct that both he and Judy do because of their family’s rejection. Within the scene, the teenagers adopt the voices of their parents. This illustrates how they’re trying to correct what they didn’t have while mocking them. Jim and Judy glance directly at each other suggesting the husband and wife role they portray while on the house tour.

The irregular family connection amongst the teenagers is exhibited through this scene’s lighting, staging, and body language. Jim’s red jacket also contributes to his figure appearing as the main focus point while Plato’s clothing blends in with the abandoned mansion. Continuing on, the lighting in the scene are the candles Plato is carrying. The three candles represent those are the only three people within the darkness of the house. Half of Jim’s face is in the darkness and the other side of his face is lit up. As the darkness is regarded to the emptiness of his true family, the lit up part expressed the connection he has with his new family as he looks at Judy. The angels of the characters the closeness they wish for among each other. The frame captures the growing family relationship between Jim, Judy and Plato.

Lord of the Flies - Jack Task Analysis

Throughout Golding’s novel, egomaniacal Jack is a primary representative of character development as he undergoes a transformation from a proper leader of the choirboys to one who favors savagery, violence, and the desire for power. Early on, Jack retains the sense of moral propriety and behavior that society instilled in him. He express this by claiming, “We've got to have rules and obey them. After all, we're not savages... I'll split up the choir -- my hunter, that is -- into group, and we'll be responsible for keeping the fire going” (42-43). Nevertheless, Jack portrays his short tempered, naturally aggressive personality; even before the trauma of the island has an effect on him; "Out of this face stared two light blue eyes, frustrated now, and turning, or ready to turn, to anger” (20). His desires of power above all other things leaves him furious when he loses the election to Ralph, resulting in him continually pushing the boundaries of his subordinate role in the group. As the choirboys take responsibility of becoming the hunters, Jack is unable to kill when he first encounters a pig. Golding depicts that the rest of the hunters, “knew very well why he hadn't: because of the in Normandy of the knife descending and cutting into living flesh; because of the unbearable blood" (31).

In contrast to Jack’s original inability to kill, he soon becomes obsessed with hunting and devotes himself to the task. He gives himself over to the bloodlust and paints his face like a barbarian; "Jack planned his new face. He made one cheek and one eye-socket white, then he rubbed red over the other half of his face and slashed a black bar of charcoal across from right ear to left jaw” (63). Jack delineates his favor for hunting and its savage reward of meat over the civilized domesticity and hope for rescue that Ralph tries to maintain. The more savage Jack becomes, the more he is able to control the rest of the group. Indeed, the group follows Jack in casting off moral restraint and embracing violence and savagery. Caught up in the moment, Jack and the hunters slaughter a sow, "Jack was on top of the sow, stabbing downward with his knife… The sow collapsed under them and they were heavy and fulfilled upon her… he giggled and flip them while the boys laughed at is wreaking palms. Then Jack grabbed to Maurice and rubbed the stuff over his cheeks” (135). This revolting scene of how the boys can gruesomely spreads blood on others, laugh at this attack and end up putting the sow’s head on a stick portrays the savagery transformation that has happened. Jack’s fondness of authority and violence are intimately connected, as both him to feel powerful and exalted.

As Jack loses his moral innocence, Jack leads his group of choirboys-turned-hunters in mutiny against Ralph's leadership by playing on the boys' baser instincts. Due to Jack’s heightened desire for power he justifies yet again that he should be chief not Ralph since, "He's not a hunter. He'd never have got us meat. He isn't a perfect and we don't know anything about him. He just gives orders and expects people to obey for nothing" (126). Not only does he revolt towards Ralph’s leadership, he reveals that he wants absolute power by stating, "It's time some people knew they've got to keep quiet and leave deciding things to the rest of us” (102). Then in Chapter 8 a split occurs among the boys and they are divided into two tribes. An overall psychological decline occurs as some boys slowly choose to follow their instincts in preference to order. By the end of the novel, the tribe lays before him as he sits naked to the waist with a blocked out face of paint while, "power lay in the brown swell of his forearms: authority sat on his shoulder and chattered and his ear like an ape” (150).  Jack transforms into a primal entity, exploring the dark side of humanity and the savagery that underlies even the most civilized human beings.

Lord of the Flies - The Hunters Imagery Quotes

"The suffusion drained away from Jack's face. Ralph waved again for silence. 'Jack's in charge of the choir. They can be -- what do you want them to be?' 'Hunters.'...As if released from class, the choir boys stood up, chattered, piled their black cloaks on the grass" (23).

"'I agree with Ralph. We've got to have rules and obey them. After all, we're not savages... I'll split up the choir -- my hunter, that is -- into group, and we'll be responsible for keeping the fire going.' This generosity brought a spatter of applause from the boys..." (42-43).

"'Just an ordinary fire. You'd think we could do that, wouldn't you? Just a smoke signal so we can be rescued. Are we savages or what? Only now there's no signal going up. Ships may be passing Do you remember how he went hunting and the fire went out and a ship passed by?" (170).

"He was down like a sprinter, his nose only a few inches from the humid earth...There was only the faintest indication of a trail here; a cracked twig and what might be the impression of one side of a hoof...The dog-like, uncomfortably on all fours yet unheeding his discomfort, he stole forward five yards and stopped...Jack himself shrank at this cry with a hiss of indrawn breath, and for a minute became less a hunter than a furtive thing, ape-like among the tangle of trees" (48-49).

"He swung back his right arm and hurled the spear with all his strength. From the pig-run came the quick, hard patter of hoofs, a castanet sound, seductive, maddening -- the promise of meat. He rushed out of the undergrowth and snatched up his spear. The pattering of pig's trotters died away in the distance" (49).

"'For hunting. Like in the war. You know -- dazzle paint. Like things trying to look like something else--' he twisted in the urgency of telling. '--Like moths on a tree trunk.' Roger understood and nodded gravely. He rubbed the charcoal stick between the patches of red and white on his face... Jack planned his new face" (63).

"The chant rose ritually, as at the last moment of a dance or a hunt. 'Kill the pig! Cut his throat! Kill the pig!Bash him in!'" (114). & "Kill the beast! Cut his throat! Spill his blood!'" (152).

"The circle moved in and round. Robert squealed in mock terror, then in real pain... They got his arms and legs. Ralph, carries away by a sudden thick excitement, grabbed Eric's spear and jabbed at Robert with it. 'Kill him! Kill him!'" (114).

"The sow fell and the hunters hurled themselves at her... she squealed and bucked and the air was full of swear and noise and blood and terror. Roger ran round the heap, prodding with his spear whenever pig-flesh appeared. Jack was on top of the sow, stabbing downward with his knife... The spear moved forward inch by inch and the terrified squeeling became a high-pitched scream. Them Jack found the throat and the hot blood spouted over his hands. The sow collapsed under them and they were heavy and fulfilled upon her..." (135).

"He giggled and licked them while the boys laughed at his reeking palms. Then Jack grabbed Maurice and rubbed the stuff over his cheeks... Robert stabilized the thing in a phrase that was
received uproariously. 'Right up her ass!' ...Jack held up the head and jammed the soft throat down on the pointed end of the stick which pierced through the mouth" (136-137).

"The voice rang out sharply from on high, where the diminishing crags were balanced one on another. 'Halt! Who goes there?' 'Roger.' 'Advance, friends.' 'You could see who I was.' 'The chief said we got to challenge everyone.'" (159).