As a pris 1r of World War II, Jean-Paul Sartre was able to carry out a realistic fictional narration about Spanish anarchists being held as political prisoners. A member of the growth class of philosophers known as existentialist philosophers, Jean-Paul Sartre wrote about humankind domain as a series of blind choices. In The Wall, ternary men sharing a cell aim the a homogeneous objurgate; death by shooting. As the story tracks the about twenty-four hours after the delivery of the sentence, the narrator, Pablo Ibbieta shares his increasingly illogical and existentialist feelings. Jean-Paul Sartre uses diction and a ironical, existentialist style as a means of creating mood and developing characters in The Wall. verbalism is a behavior to develop a strong radical and mood for a short story. Sartre uses words with specific connotations to hire important ideas in The Wall. When speaking about the appearance of the other(a) prisoners, Pablo Ibbieta says skulls instea d of heads (227.) Reflecting the emaciate conditions, he refers to the people more as physical structures than reinforcement beings with emotions and a soul. When he sits freezing in the jail cell, the narrator explains that It was rather uncomfortable (230). This unemotional understatement shows Pablos stray state of feelings and responses.
The effect of this state continue as he imagines his death sentence and bullets burning hail through [his] consistence but adds that he was calm in this situation (231). Sartres dry style creates a clean, empty mood for The Wall, which takes place in a flyspeck desolate pris on cell. Choppy sentences like The smaller o! ne kept hitching up his pants; jitteriness give complete information but never learn too oft (227). The use of the semicolon allows the author to use little words to attend less emotional about the situation. As the prisoners waited to hear their sentences, If you penury to get a full essay, format it on our website: BestEssayCheap.com
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