“The Supper” & “The Drunkard”

In the story, “The Supper,” the author makes wise craft choices on imagery.  Jumping right into the story, it starts off with images.  We get to see how the weather is looking outside, darkness thickening, and at last rain is beginning to fall.  Not only can we see these images, but we can use all out senses to imagine these images.  The audience can see, smell, taste, feel, and hear the images being projected.  The way that the author, Tadeusz Borowski, uses imagery to attract our senses, the audience can get a sense of how horrible it was to live in a concentration camp.  We get to feel the way the crowd feels.  We even get to sense their starvation by the end of the story.  The way Borowski uses imagery lets the audience feel one with the story and the characters in it.

In “The Supper,” Borowski gives good imagery regarding his craft choice.  In “The Drunkard,” the author makes different craft choices to better the story.  “The Drunkard” shows very well-developed, round characters.  If this story had flat, static characters, then the story wouldn’t make the impact it does.  In the beginning of the story, we get a taste of all characters.  The father, who likes to drink, becomes very round right off.  He continues to stay round throughout the entire story, and even helps make his son Larry, a round character.  Not until the middle of the story does Larry become a round character.  At first, he’s just the son of a mother and drunkard father.  When Larry’s time come, to get drunk just like his father always does, we get to see him grow and become dynamic.  Although there are a couple round, full personality characters, there are a couple who stay flat, one being the mother.  We only see her briefly at the beginning and end of the story, which then she gives us a couple strong lines.  But, the story isn’t about her, just the father and son, so it wasn’t important to make the mother a dynamic character.