As a pris 1r of World War II, Jean-Paul Sartre was able to save a realistic fictional story about Spanish anarchists being held as political prisoners. A member of the maturement class of philosophers known as existentialist philosophers, Jean-Paul Sartre wrote about human domain as a series of blind choices. In The Wall, ternary men sharing a cell receive the alike 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 disconnected and existentialist feelings. Jean-Paul Sartre uses diction and a dry, existentialist style as a means of creating mood and developing characters in The Wall.
Diction is a behavior to develop a strong theme and mood for a short story. Sartre uses words with specific connotations to convey important ideas in The Wall. When speaking about the appearance of the other prisoners, Pablo Ibbieta says skulls instead 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 detached state of feelings and responses.
The effect of this state continue as he imagines his death sentence and bullets burning hail through [his] body 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 prison cell. Choppy sentences like The smaller one kept hitching up his pants; nerves give complete information but never describe too oft (227). The use of the semicolon allows the author to use less words to attend less emotional about the situation. As the prisoners waited to hear their sentences,
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