Sister Carrie: Imagery 7 key examples

The detailed visual imagery of this passage paints Drouet as someone who wants to exhibit money and opulence. From this first appearance, the young man is swathed in symbols of ostentatious wealth: "His fingers bore several rings—one, the ever-enduring heavy seal—and from his vest dangled a neat gold watch chain." The explicit detailing of his attire highlights his burning desire to exhibit his affluence to the world. He is desperate for people to see him as wealthy and successful, so he covers himself with what he sees as indicators of wealth and success.

The description of Drouet's outfit as "rather tight-fitting" subtly communicates his sense of discomfort and desire to belong. Like his suit, his hard-won and newly-acquired societal role doesn't fit him perfectly. It's almost as if Drouet is trying to squeeze himself into his version of what prosperity should look like. His "heavy-soled tan shoes, highly polished," further illuminate this idea. While they—like his jewelry—reflect some refinement, the emphasis on their shine suggests that their elegance is surface-level.

Dreiser's commentary here isn't just about Drouet as an individual. It serves as a broader critique of the aspirational middle class of the era. People like Drouet were eager to climb the social ladder at any cost. However, their showy dress had a tendency to mark them clearly as outsiders from the social class they wanted to infiltrate. The narrator observes that "whatever he had to recommend him, you may be sure was not lost upon Carrie, in this, her first glance." This comment references the superficial qualities of both Drouet's appearance and Carrie’s social skills. While someone who came from money might quickly spot that Drouet was all show, flashy nouveau-riche displays of wealth hold a lot of allure for young innocents like Carrie.

The sensory language in this passage is romantic and evocative. The "tinkling" of the horse-car bells introduces Carrie (and the reader) to a pleasant aspect of the lively, bustling soundscape of the city. While she stays with Minnie and her husband, Carrie likes to stand in the door-frame and look out into the Chicago night. The auditory language makes the “lighted street” seem welcoming rather than threatening.

This experience contrasts sharply with what Carrie might have been familiar with, presenting the "vast city" as a realm of endless possibilities. However, the vastness and continuous "murmur" of the city, which stretches for “miles and miles” also subtly introduces an underlying sense of overwhelming size. While the novelty of the horse-bells is pleasant, it’s quickly subsumed by the overwhelming, ever-present hum of industry in her new home.

The auditory imagery in this passage vividly encapsulates the bustling, noisy atmosphere of Chicago during the time. The city was industrializing at an extremely rapid rate. It was pulling in workers from all over the world and quickly becoming one of the biggest centers of production in the United States. The "sound of the hammer" paints a sonic picture of this vibrant, developing atmosphere. The town is alive with activity and is incessantly expanding. This noise of “the hammer” doesn’t refer to one specific tool, but to the concept of all the hammering and construction that surrounds Carrie in her new home.

The phrase "was everywhere heard" is a hyperbole that helps build this soundscape. While it might not be literally true that the hammering was heard everywhere, this exaggeration emphasizes the ubiquity of construction and industry in Chicago at the time. Through this hyperbole, the reader is drawn into the scene of a city in the throes of rapid growth. It also emphasizes Carrie’s innocence and confusion. She’s only recently arrived from her much smaller and more rural hometown. When she walks around Chicago, the ever-present sounds of hammer strikes accompany her attempts to find her own path amidst the cacophony.

The visual imagery of this passage paints Hurstwood as a refined, sophisticated figure. The reader is told that he’s a “serious” person, who is more inclined to observe than to drink and party. The light reflecting off his polished jewelry underscores his wealth, and his entire appearance gives an impression of careful curation and “fastidious comfort.” He’s one of the only still points in the surrounding "bubbling, chattering, glittering chamber,” which contributes to the impression that he doesn’t see himself as entirely a part of it.

The metaphor comparing the other people in the room individuals to "moths" drawn to a flame also gestures to his separation from the crowd. He sees the people around him as “moths” who are drawn in by the light and warmth of the party to “bask.” This gives the reader insight into Hurstwood’s own slightly pompous view of gatherings like this, where he believes that anyone looking for “intellectual” company would be poorly served.

This passage is awash with both visual and tactile imagery, immersing the reader in Carrie's experience as she is enchanted by the vistas of comfort and opulence around her. The "softness in the air" evokes a sensation of coolness and gentleness, making the reader feel the calming atmosphere of the day. It’s very enveloping and comforting, invoking a “delicacy of feeling as well as flesh.” This sensation is juxtaposed with the luxurious visual stimuli of the carriages, the footman, and the rich interiors that surround her. Everything is welcoming, pliant, and nourishing, making Carrie feel “ripened” and happy.

These vivid descriptions paint a picture for the reader of the possibilities of the “rich interiors” that Carrie is surrounded with. However, they also to offer a glimpse into Carrie's psyche. The luxury she observes—the bustling carriages, the leisurely gentleman, the ornate furniture—all these elements fuel her dreams and aspirations. The tactile imagery of the “soft air” and “freshening green” lawns connects the external world with her internal emotional state. She feels that the comfort and fertility around her is there for her benefit, adding to her sense of hopefulness and belonging. Of course, she’s merely a visitor to this world, but the imagery reinforces Sister Carrie’s theme of tension between the reality of working-class life and the distant dream of wealth. The richness of the visual and tactile details in this passage mirrors Carrie's growing desires to “ripen” in environments as appealing and luscious as the North Shore.

The metaphor of wine "in his veins" goes beyond mere intoxication. The wine is running through Hurstwood's body, almost as if it is replacing his other vital fluids. This metaphor emphasizes the profound impact drinking has on his psyche, coloring his judgment and risk assessment. By likening the wine's influence to blood in the bloodstream, the narrative underscores its inescapable and dominant role in shaping his decisions.

The tactile imagery of the wine’s “warmth” communicates the fact that it relaxes Hurstwood and gives him a more optimistic view of his prospects. The wine, having “crept up into his head” makes him feel brave and act rashly. The extent of its reach further amplifies its power over him, suggesting that it provides Hurstwood with a sense of surety that his environment doesn't actually have. It falsely boosts his confidence, making him feel like the $10,000 he plans to steal is an opportunity well within his reach.

The imagery in this passage paints a vivid scene of Hurstwood's decline. His "dull-coloured bath gown" and "uncombed" hair are in tangible opposition to the way he was previously depicted. Prior descriptions of Hurstwood made him seem a suave and sophisticated figure who knew how to dress and how to present himself as an attractive social prospect. Dreiser's attention to these minute details provides readers with a visual representation of this character's physical and emotional deterioration.

Additionally, Dreiser’s portrayal of Carrie's reactions offers insight into their dynamic. As Hurstwood appears more vulnerable, “haggard and quite old,” her detachment to him grows. The fact that he doesn’t “appeal” to her in this state highlights a profound change in their relationship. Rather than wanting to draw closer to him, she is “held aloof” by his visible deterioration.