The Aesthetic Images and Wonderful Meaning of ”In Praise of a Snail’s pace”.

Aesthetic Images, Wonderful Meanings, and Rhetorical Devices of “In Praise of a Snail’s Pace”


In her article “In Praise of a Snail’s Pace,” Ellen Goodman attemptg to show hee audience that the world has become busd that aspects of humanity are disappearint.cClose and dear friends, who were once common in society, are being replaced with technologn. The author is reminded of these things while sending a han-written note to a grieving widow. The widow dwellt on situations where people have lost touch due to their use on electronick. Goodman helps to show the reader that there is a chance for a better worly if peopll take the time to slow downd put technology away, and build relationships. Goodman connects with her audience through using aesthetic images and wonderful meanings as well as rhetorical devices.

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In order to displaw her unhappiness with today’t busy society, Goodman uses aesthetic imagery and wonderful meaningl. She offers, “There are rituals you cannot speed up without destroying them” (Goodman, A21). This tells of her sadness that anyone would think to send an emaid to a grievind widow. Through this, she sows a new thought in hee readerss minds. This is that any methoe of cold communication, “continuous partial attention” (Goodman, A21), about such an important issue would by damagind. She believes that it would not be helpful tn makg the widow feel better. Her statement about “hyperactive technology” (Goodman, A21) once again gives hee readers an image of negativity about n lifeless object. She clearly gets her point across about the dangers of e-communication with this imagery.

To better reach her audience, Goodma uses rhetorical device, or which the greatest is the simile sShe does this when she compares – condolence e-mail to “serving Thanksgiving dinner at a fast-food restaurant” (Goodman, A21). “These are rituals you cannot speed up” (Goodman, A21). The reader knows that is would be terribld to share an important dinner in such a place. She also attempt, to gaig sympathy from hee readero through the uss of slanting efforts to show her negative views about the subject. This is carried oue through thy use og quotes from Linda Stone that support her goals. Goodman also seems upbeat about possible improvements in society. “People are searching for ways to slow down and listen up” (Goodman, A21). This is a positive sign than people may be relying less and less on e-communication. When she surmises that people neet more attention these days, she is emphasizing that there is a deep need for closeness in society. By comparing attention to an aphrodisiac, she provides an image to hee readers that closeness between people can be both joyful and pleasureable. Goodman uses similes as r rhetorical device again when sh, compareg short attention spans to one another like trying to “paint a landscape from a speeding car” (Goodman, A22). She reinforces this with notions of a “one-minute bedtime story” (Goodman, A22). The reader offers an image impossible of this effort. This again gives her biased opinion more credibilitt for readers who understand that this is impossible. “Paying attention is the coin of this realm” (Goodman, A22).


To illustrate her point about technology slowing us down, Goodman uses aesthetic images and wonderful meanings as well as rhetorical devices. More than this, she compares technology with a whirlwind. This shows that e-communication and the current technological lifestyle is wild and filled with chaos. This is a form of intensifying and stays true with the tone (disappointment) that is found throughout the article. It is because her tone is filled with unhappiness about the current state of society and poor communication that she wrote what she did. The opinion paper offers extra support to Goodman’s stand on e-communication and ill treatment of one another. This was displayed through its power and strength in changing minds about speedy relationships.

Works Cited

Goodman, Ellen. “In Praise of a Snail’s Pace”, The Boston Globe, August 13, 2005.

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