The stench of sulfur rose from the chimneys, the stench of caustic lyes from the tanneries, and from the slaughterhouses came the stench of congealed blood. The streets stank of manure, the courtyards of urine, the stairwells stank of moldering wood and rat droppings, the kitchens of spoiled cabbage and mutton fat the unaired parlors stank of stale dust, the bedrooms of greasy sheets, damp featherbeds, and the pungently sweet aroma of chamber pots. In the period of which we speak, there reigned in the cities a stench barely conceivable to us modern men and women. Suskind takes us on an amazing olfactory ride in this excerpt and throughout the entirety of his novel: Patrick Suskind’s novel, Perfume: The Story of a Murderer, is based on a main character who has a supernatural sense of smell. So, when the main character of a novel walks into his mother’s kitchen and catches the buttery scent of scones dancing through the air in salutation, don’t be surprised if that scene takes you back to your Nana’s kitchen stool from your childhood. To no surprise, authors want to tap into some of that. A single whiff of our mother’s favorite flower can take us back in time. Science has proven our sense of smell is our strongest link to the past. In the hard-packed dirt of the midway, after the glaring lights are out and the people have gone to bed, you will find a veritable treasure of popcorn fragments, frozen custard dribblings, candied apples abandoned by tired children, sugar fluff crystals, salted almonds, popsicles, partially gnawed ice cream cones and wooden sticks of lollipops. Here’s a lovely example of visual imagery from Charlotte’s Web by E.B. If an author writes, “The ancient willow trees swayed in the moonlight,” we’re enjoying visual imagery as he or she sets the scene. If an author writes, “She had chestnut brown hair with glimmering golden hues,” that’s visual imagery describing a character's appearance. Tied into each of those elements are vivid images of the characters and the scenery, making visual imagery not only common but paramount. At its core, every story has five elements: introduction, rising action, climax, falling action, and resolution. To that end, the narrative's continual juxtaposition of sound and silence creates an associative contrast that heightens the emotional elements of the novel.Visual imagery is the most common form of imagery in literature. And, most importantly, he decides to record his story for posterity, expressing his traumas and difficulties rather than remaining silent on the subject. But while he might remain silent in the presence of the Martians, he actively participates in the preservation of his own life and the rescue of his wife. Most of the people in this novel seem to exist in an "infinity of suspense" as the Martian invasion uproots their worldview and existence. Silence, the narrative implies, can signify either peace or intense fear. In Book 2, Chapter 4, the narrator describes the "silence, that passed into an infinity of suspense" as he hides from a Martian. It comes to symbolize death and the cessation of human activity. But auditory imagery helps reinforce the "real and familiar" world of industrial England. The narrator also uses alliteration to create a distinctive rhetorical effect, as he observes, "It was frantic, fantastic!" Here, "fantastic" does not mean great it rather means beyond belief. During the first stages of the Martians' invasion, the narrator cannot fathom that something so "fantastic" could ever be real. However, they still contrast sharply with the other sentences in the passage (which are more visually descriptive). The words "clatter, clatter, clap, rap" do not have special formatting or punctuation.
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