Analysis of “Eleven” by Cisneros Essay

Poet Maya Angelo capably stated, I am convinced that most population do not grow up We carry accumulation of days in our bodies, and on our faces, but gener bothy our realistic selves, the pip-squeakren inside, are innocent and shy as magnolias. Similarly, Sandra Cisneross Eleven illuminates the enigmatic voyold be on of growing up through and through the sagacious eyes of an xi class emeritus child. As the vocaliser of this work asserts, the senescence process does not eradicate a persons previous self. Instead, it accumulates layers of nonpareils former long time and creates a realistic portrait of virtuosos complete existence.Cisneross work illustrates humannesss maddening, internal struggle as it ages in this manner. When life demands maturity, whiz inadvertently twists the sobbing triplet family experient, the introverted teen, or the awkward teen of ones past. The loudspeaker of this literary work, Rachel, embodies this frustrate process of growing up. U ndoubtedly, Cisneros employs similes, repeating, and imagery as well as images and style to think of Rachel as she matures. The similes, repetition, and imagery utilized passim Eleven vividly portray the speaker.For example, Cisneros illuminates Rachels development with the future(a) comparisons Growing old is kind of wish an onion plant or kindred the rings inside a tree trunk or like my little wooden dolls that fit one inside the other. This illustrates the way in which for separately one of Rachels years develops atop the precedent one. As a result, she ashes the dim four year old who shadownot evoke that the pinny does not belong to her and the three year-old who desperately wants to release a flood out of tears as she is forced to tangle with the horrid red adorn.Addition in ally, Cisneros characterizes Rachel as a child with only 11 years rattling inside her like pennies in a Band-Aid box. The randomness and disorder of release change as it jiggles in i ts container mirrors Rachels internal turmoil. Each of the speakers eleven years metaphorically cluck inside her mind and struggle to become the master of her actions. Furthermore, the repetition of critical phrases works to Rachels characterization. Cisneros restates the numbers, ten, nine, eight, seven, six, five, four, three, two, and one., to reiterate the concept that all of Rachels previous ten years remain a part of her. Interestingly, computation backwards from ten, a common juvenile person chant, successfully turn outs Rachels simple(a) character. Additionally, the repetition of the phrase today I am eleven reveals Rachels vehement require to suppress the previous years of her young person which embody a maddening immaturity. However, the speakers resolute, repetitive assertion that she is eleven highlights Rachels struggle to remind herself that she is transitioning into her 11th year.Thus, her apparently juvenile behavior illustrates that Rachel is a culmination of each of her prior years. In addition, the repetition of the phrase not tap further illuminates Rachels inner tot years. Finally, Cisneros practice of imagery vividly depicts Rachel. For example, she describes her with the following vibrant lines My face all impetuous and spit coming out of my mouth because I cant finish making those little animal noises, my substantial head hurts like when you drink take out too fast. This creates the portrait of the teary-eyed, red-faced Rachel and connects to the lectors senses of touch, sight, taste, and hearing.Hence, literary devices masterfully demonstrate Rachels character throughout Eleven. Moreover, Cisneros employs symbols and style to aptly characterize Rachel. First, the red perspirer serves as a crucial symbol in this work of prose. Essentially, this lamentable dress embodies the previous years that remain inwardly Rachel. Cisneros writes the following description of this repulsive pinafore Its an ugly sweaterwith the pinpoint and sleeves all stretched out like you could use it as a jump-rope. In addition, the speaker cringes as she places one arm through one sleeve of the sweater that smells like cottage cheese. As Rachel glares at this emblematic garb, its sleeves evidently illustrate the eight or nine year old child within her who enjoyed the teenaged pastime of start rope. Additionally, the cottage cheese stench of this garment is reminiscent of the peculiar scents that a younger child may often carry. Furthermore, as she shoves the sweater to the tippy-tip corner of her desk, it hangs over the butt against like a waterfall. As this pattern demonstrates, Rachels emotions spill from her just as the significant red garment tumbles from the desk. Moreover, the age of eleven is a symbolic portion throughout the authors compendious story. This age is classifiablely regarded as a frustrating period positioned surrounded by the adolescent and teen years. Similarly, Rachel remains trappe d amid the maturity of her el compositors caseh year and the vapidity of her previous self. For example, Rachels eleven year old mind recognizes the blatant evil of Mrs. harms actions who forces her to accept thecontemptible red sweater. However, as Rachel opens her mouth, her four year old self stutters an ineffective denial. In addition, the diction of this work contributes to the authors portrayal of Rachel. Cisneros writes in the simple lecturing of a young girl. For instance, Rachel utilizes run-on sentences and childlike phrases such as not mine, tippy-tip, all itchy, and that stupid Phyllis Lopez. This deliberate style reminds the contributor that Rachel is a little girl condescension her wish to be one snow and two. Also, one hundred and two exhibits typical childish exaggeration. Additionally, the authors diction allows readers to experience thisgh situation from the perspective of an eleven year old. For instance, Cisneros describes Rachels indignation with the following lines That stupid Phyllis Lopez, who is even dumber than Sylvia Saldivar, says she remembers the red sweater is hers. I take it off expert away and give it to her, only Mrs. Price pretends like everythings okay. This amplification of the possibility allows readers to grasp the traumatic impact of this event on Rachel.Therefore, the symbols and diction of Eleven aptly depict Rachels character. Unquestionably, literary devices such as similes, repetition, imagery, symbols, and diction deftly contribute to the characterization of Rachel. Cisneros draws an enlightening parallel between development and the formation of layers within an onion or tree. Additionally, the repetition of childlike phrases such as not mine demonstrates that each of Rachels prior years remains within her as she matures.Also, the brilliant imagery of this literary work solidifies the readers visualization of Rachel. Moreover, the symbolic red sweater as well as the age of eleven further corroborates this central message. Finally, the puerile diction of this writing masterfully allows readers to turn over the conflict that Rachel experiences in the tween year of eleven. Certainly, Cisneros in effect illustrates Rachels disillusionment as she realizes that she can neither make her voice be heard nor silence her childlike instincts at age eleven.