In the passage, Faulkner uses imagery, diction, and varied sentence structure to set a certain

pace in each sentence. In the beginning of the excerpt, the author uses short, simple sentences to
keep the pace quick. Multiple clauses are present in the third sentence, each containing descriptive
imagery that enhances how the reader views of the passage. This technique draws out the sentence,
causing the clauses to flow and the pace to be read slowly. Words such as decaying, unpruned, and
murmurous add to the calm of the sentence with their soft sounds and drawn out vowels. In the last
sentences, Faulkner returns to short sentences, then switches to a long sentence to conclude the
excerpt. The author's use of varied sentence pace shadows the action of the character. The word
'dragging' has the same calm effect of the previous words in slow paced sentences, and finishes the
passage's pace in a similar manner as the character's walk.
In the excerpt, the author quotes lyrics of the character's mother's singing to weave her
childhood into the lessons she learned from her mother. The depressing tone of the quotes contribute
to the sad setting of the place where the character's mother would sing the song. This is then
juxtaposed by the character's desire to long for "those hard times" of pain and suffering. In the last
sentence, the author reiterates the juxtaposition by claiming that, "pain was not only endurable, it
was sweet." The author juxtaposes the misery of the past with the longing to return to it by saying
that pain can be thought of in a positive light.
The author uses soft diction and slow pace in the excerpt to portray his infatuation with the
subject of the poem. Words such as, "slowly," "glide," and "whirl" provide imagery of the subject in a
captivated manner. Pacing in the excerpt is slow and smooth, adding to the effect of fascination for
the woman. The author also utilizes setting to reinforce his attitude for the woman he describes. The
"long marble stair" and "fountain-quieted square" portray a sense of elegance and beauty. While using
these settings to create imagery, these characteristics are also contributed to the woman.
In the excerpt, the author uses the setting to reflect the tone of the passage. The wagon in
the journey is described to trudge through snow and darkness. Not even the day brings light, because
"the days resembled, the nights, and the nights left in our souls the dregs of their darkness" (Wiesel).
The dark and coldness parallels the journey by making the dead bodies and hunger of the orphans
even more exaggerated, appealing to readers and forcing them to feel even more empathetic to the
characters.
Poe's diction in the passage is juxtaposed by other denotations of words, resulting in a more
intense description of events than what is actually occurring. In the beginning of the passage, Poe
writes, "I became aware of a distinct, hollow, metallic, and clangorous, yet apparently muffled
reverberation" (Poe). The juxtaposition between "clangorous" and "muffled" creates a sound that is
soft, yet very noticeable to the character. Another example of the technique is when Poe writes,
"throughout his whole countenance there reigned a stony rigidity... I saw that he spoke in a low,
hurried, and gibbering murmur" (Poe). The rigidity of the man is juxtaposed by his "gibbering
murmur," again creating the effect of a detail that is heightened to the character, but not generally
noticeable. Poe's craft utilizes juxtaposed imagery to give depth to the passage and portray a tone of
anxiety.

Duffy uses words as imagery to provide depth to the diction and varies the length of sentences
to correspond to the actions of the character. The author sets up the poem by transforming words into
objects in the reader's mind. The letters in tightrope, net, and applause stretch, squeeze, and become
the objects that they describe. This craft makes the poem more dynamic and enhances overall
imagery. The varying sentence length corresponds to the steps taken by the character in the poem.
While setting the scene of the poem, the author uses longer sentences to describe the situation. At the
highest point of suspense, short sentences are used, such as, "he holds our breath," to resemble the
quick intake of breath the reader should be taking at that point in the story. Duffy uses words and
sentence length to illustrate the story while maintaining the connotation of words in the excerpt.
In the excerpt, the author writes about time, but also uses the motion of time to form her
sentences. There is a combination of short and long syntax to echo what the author is writing about.
In the sentence, "which clocks and watches assure us passes regularly: tick-tock, click-clock"
(Barnes), the author's moderate pace subconsciously reinforces the meaning of the sentence. She also
implies onomatopoeia to create the regular sound of time passing by. Not only does the author imply
pacing; the author treats time as a constantly changing subject. When the author writes, "it takes only
the smallest pleasure or pain to teach us time's malleability" (Barnes), it suggests that time can be
easily manipulated depending on the situation.
Instead of describing jazz as purely a form of music, Woodson asks if her life would have been
different if jazz was involved. In this excerpt, jazz is not thought of as a genre of music; jazz is
something to depend on for a better life. The first names listed in the excerpt, "Sylvia, Angela, Gigi"
(Woodson) are all names of African American jazz singers. The author is also African American, which
tells readers that the author can relate to the music this group of women create. When the author
writes, "We had the Top 40 music of the 1970s trying to tell our story. It never quite figured us out"
(Woodson), she claims that popular music tried to relate to this demographic of women, but only
people who had a deep appreciation for jazz could tell a relatable story in a song that inspires one to
live on.

The Queen explains the death of Ophelia in juxtaposed imagery. In the beginning of the
Queen's description, she depicts Ophelia surrounded by nature's beauty, "There with fantastic
garlands did she make" (Shakespeare), with flowers and weeds. This imagery depicts a peaceful scene
of beauty. As Ophelia reaches for a plant, she falls into the brook. Her madness is shown in the
quotation, "Which time she chanted snatches of old lauds" (Shakespeare), which describes her singing
while she drowns. The passage shifts when Shakespeare writes, "Till her garments, heavy with their
drink, / Pulled the poor wretch from her melodious lay / To muddy death" (Shakespeare). The
cacophonous diction at the end of the excerpt, along with Ophelia's death, juxtapose the beautiful
imagery in the beginning and define Ophelia as a character comprised of both beauty and destruction.
In this excerpt of The Long Dark Tea-Time of the Soul, Adams portrays the character's
emotions by using relatable imagery to cause the reader to feel empathy towards the character.
Almost every person can relate to the monotony of a Sunday afternoon. By detailing the events of a
Sunday, such as, "you stare at any given paragraph in the papers you will never actually read,"
readers relate to the loneliness and boredom the character experiences. By using second person
perspective, the passage further resonates with readers and connects them to the character.