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FONTS
By Holli Holton
They were burdened with sashweights and bags of birdshot, and their faces were masked, so that no one, seeing a free and graceful gesture or a pretty face, would feel like something the cat drug in. (Vonnegut, 1)
She was referring to the forty-seven pounds of birdshot in a canvas bag, which was padlocked around George's neck. (Vonnegut, 2)
THE YEAR WAS 2081, and everybody was finally equal. They weren't only equal before God and the law. They were equal every which way. Nobody was smarter than anybody else. Nobody was better looking than anybody else. Nobody was stronger or quicker than anybody else. (Vonnegut, 1)
It was such a doozy that George was white and trembling, and tears stood on the rims of his red eyes. Two of of the eight ballerinas had collapsed to the studio floor, were holding their temples. (Vonnegut, 2)
The atmosphere that pervades a literary work with the intention of evoking a certain emotion or feeling from the audience.
She must have been extraordinarily beautiful, because the mask she wore was hideous. And it was easy to see that she was the strongest and most graceful of all the dancers, for her handicap bags were as big as those worn by two-hundred pound men. (Vonnegut, 3)
The theme of Kurt Vonnegut’s short story, “Harrison Bergeron”, is that in a society, which limits everyone physically and mentally, to ensure a completely equal fellowship, they actually disadvantage everyone.
Clanking, clownish and huge, Harrison stood - in the centre of the studio.