Imagine living in a world where there are no feelings, color or pain and everyone is the same except you. Jonas realized that he lived in a world without color, pain or feelings. Without color, pain and feeling Jonas was unable to express true happiness and therefore left the community. "Lois Lowry's childhood adventures inspired her books" (Dellinger). Lois also loved photography and the result was the cover of The Giver, which is a photo of a blind painter. This ties into the book because no one can see in color other than the giver and the recipient, who is Jonas. Lois Lowry uses the literary elements of foreshadowing, symbolism, and imagery to express the theme that one cannot have happiness without pain, in the book The Giver. To begin the author uses the literary element, foreshadowing, to demonstrate that pain comes with happiness. The foreshadowing in The Giver allows you to predict what might happen later in the book. An example of a premonition is when Jonas didn't take the pill. Jonas's failure to take the pill foreshadowed a future rebellion. Jonas rebels by going elsewhere and taking a child who should be killed. Another example of foreshadowing is when Jonas bathes the old lady and shows his love for his grandparents. "He liked the feeling of safety here in this warm, quiet room; he liked the look of confidence on the woman's face as she lay in the water unprotected, exposed and free," (Lowry, 30). The last example is when Jonas hears about an eleven going elsewhere. “He wondered what was in the distance where he had never gone,” (Lowry, 106). Jonas had planned to escape elsewhere, and he did. As Jonas gets off the sleigh he is able to see the lights, the different colors. Jonas must escape from... the center of the card... somewhere, and the community must deal with memories. Works Cited Ebscohost Np: Patterson, nd Literary Reference Web. .Gale Np: Dellinger, nd Literary Reference Center. January 31, 2014. .Gale Np: np, nd Literary Reference Center Web. January 24, 2014. .Lois, The Giver Harcourt, 1993. Print.
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