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In Mavis Gallant's short story "One Morning in June," Gallant uses monotonous imagery, repetition, and unsettling similes to convey Mike's mostly stagnant journey in studying art and eventual improvement.

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In the the 1952 short story, "One Morning in June," Gallant's use of comparisons, characterization, and allusions illustrates Mike's inspring yet fruitless experience in his art studies as he learns to improve his skill.

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In the short story, "One Morning in June" author Mavis Gallant uses similes, descriptive imagery, and a shift in narrative tone to convey Mike's unfamiliar yet exciting experience of studying painting in France.

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Eva and Charlotte: In "One Morning in June" by Mavis Gallant, Gallant uses similes, tone shifts, and direct characterization to show Mike's eager yet timid approach to his career in art.

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In the excerpt "One Morning in June", Mavis Gallant utilizes comparisons, convincing dialogue, and direct word choice to demonstrate Mike's newfound love for the arts, yet his complex struggle with beginning his journey as an artist.

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In the short story, "One Morning in June," Mavis Gallant uses encouraging dialogue, dull imagery, and frequent comparisons to express Mike's doubtful yet persistent pursual in the art industry.

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The simile Gallant uses demonstrates how Mike is out of his comfort zone when first arriving to France. His first few weeks are described "like exposing someone to a case of measles and watching for spots to break out" (Gallant 10-11). Mike's experience in the beginning being compared to a case of measles shows the unpleasant and discomforting feelings he felt in this new environment where he was already struggling creatively. To go to Paris as an amateur artist is not an easy thing to do and being an American with no formal background in art makes the transition that much worse. Although this is an amazing opportunity to grow as an artist, he will have to face some obstacles before becoming comfortable first.

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Mavis Gallant uses comparisons to convey Mike's calloused start to his new art journey. The author explains that Mike's beginning is "rather like exposing someone to case of measles and watching for spots to break out" (Gallant 10-11). Just as a case of the measles, Mike's defeat is waiting to take over. As sickness takes over one's body it becomes hard to think and move. Mike finds himself stuck without purpose, much like the symptoms of being sick. As the story goes on, he realizes that his adventure is not as relieving as he though it would be, leaving him conflicted as to if he should continue with his journey. However, he becomes cured of his disease and is convinced to give art another try.

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In the excerpt, the author uses convincing dialogue to demonstrate the encouragement Mike Cahill received that drove him in his journey to becoming an artist. After hearing that Cahill did not want to go to the countryside to practice his skills, his mentor changed his mind, "Mr. Chitterley shot him an offended look and then a scornful one, which said, How like an American!"..."Mike, for want of a better thought, or even a contrastive one, took the train there a day later" (Gallant, 63-69). Cahill did not have the motivation to explore his talents further. Without the outside encouragement from his professor, he would not have pursued the path he did. Because of his professor, he became a better artist.

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Gallant incorporates the use of connotating words to convey his conflicted emotions towards his art. When beginning his journey, he experienced uncertainty in finding his style, saying "He had never been taught to draw, and it was not his nature to take chances." (Gallant) This quote tells the readers that he has never been one to experiment because he thinks that he will fail and embarrass himself. His explanation of this provides context as to why he is so unsure of himself that the reader would have otherwise not realized.

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Gallant recurringly establishes monotonous imagery to exemplify Mike's bland and unchanging painting style. Mike's paintings are consistently large, askew, and devoid of people solely because "he had never been taught to draw, and it was not his nature to take chances" (Gallant 26-28). Despite the sacrifices his parents made for him to have the opportunity to pursue art, Mike behaved indifferently to giving effort to his passion and remained stagnant in his works. He even quit on finding the Beaux-Arts and instead enrolled under an English painter; Mike constantly gives up before seizing the opportunity to grow as not only an artist, but also a person.

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Gallant uses intense visual imagery to portray the feelings and deep meanings behind Marks paintings, by describing the captivating images. He describes his painting as "painted with sober patience the bridges of the Seine, the rain-soaked lawns of the Tuileries, and head-on view of Notre Dame. His paintings were large" (Gallant 21-24). It makes it clear to the reader how passionate Mark is about his work and how much further his talent could be taken, but is not. It describes the attention to detail on the painting and the total focus Mark has. Mark does not know the artistic talent he has and his ability to move forward but his work speaks for himself.

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Gallant uses repetition to describe how his artistic journey of painting has almost taken over his life and becomes his purpose. When Mike is at a loss on which path to take next, his mentor, Mr. Chitterley tells him to "Go south. Don't stop in a hotel but live on the land, in a tent, and paint, paint, paint, paint, paint" (56-58). The word paint is repeated five times in these lines, which symbolizes the gravity of his desire to paint. His mentor is pushing him to pursue art as a career. Although this is Mike's path, he does not take the moment to realize this. This leads Mike with an inability to grow in his talent and ambition.

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Mavis Gallant includes comparisons, convincing dialogue, and clear word choice to portray Mike's newfound love for his art, yet his complex struggle to begin his journey as a rising artist.

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In "One Morning in June," Gallant uses characterization in developing his character, Mike, as an unlucky man who cannot seem to get what he wants: a painting career. Mike, though passionate, is not very bright, "In Paris, Mike had spent the first three weeks standing in the wrong queue at Beaux Arts" (Gallant 12-13). Mike shows dedication to his painting career, but luck is not with him. Waiting in line for three weeks straight shows how much he wants this career for himself, but the fact that it was the wrong line all along shows that he does not think before he acts. Similarly, going to Paris was not a well-thought-out idea between him and his family. Gallant successfully characterizes Mike as a foolish, but honest man with good, passionate intentions.

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Gallant uses unsettling similes to express his fear and uncertainty going into his art journey. When describing the forceful move to Paris to study art, Mike states that it was, "like exposing someone to a case of measles and watching for spots to break out" (10-11). Mike believes that he is taking a risk by pursing art in a new place. He felt as if his family was setting him up to fail similar to purposely exposing someone to an infectious disease. This shows how Mike did not have confidence in himself or his abilities and continued his stagnant journey with a mindset of self-criticism.

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Gallant uses a shift in tone to depict to readers Mike's preference for comfortability and familiarity, which ultimately ends in him stepping outside of his comfort zone. He writes, "In Paris, Mike had spent the first three weeks standing in the wrong queue at the Beaux-Arts…" (Gallant 12-15) Readers see that when Mike first arrives he stands cluelessly around Paris, waiting for someone to tell him exactly what to do. He feels awkward in this new setting and to fix that problem, he joins an English person's art class. He can't handle the feeling of something new, so he immediately goes back to what he knows. Towards the end, the teacher suggests Mike paint in the country. Mike says, "I can't afford it,…I mean I can't afford to buy the tent and stuff" (Gallant 59-60). Mike instantly makes up an excuse to why he shouldn't branch out. He tries to justify his refusal with economic issues. The tone shifts for the last time at the end of them poem stating, "Mike for want of a better though, or even a contrastive one, took the train three days later" (Gallant 68-69). Mike begins to realize the opportunities he has been given and gets excited to challenge himself and his art skills. He takes his chance and buys a train ticket to the countryside in hopes of expanding his current talent, and also learning more about the beauty of art.

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Through the employment of dreary imagery, repetition, and disturbing similes in the short story "One Morning in June", Gallant expresses Mike's static journey while studying art in Paris to his developing self-confidence.

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Gallant effectively uses descriptive imagery, a simile, and a tone shift to portray Mikes discomfort yet thrill in his new experience in France.

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The author uses direct characterization, an decisive writing style, to further emphasizes Mike's hesitance and indecisiveness when diving into an art career. Within the first paragraph, the speaker establishes that it is, "not in [Mike's] nature to take chances." Although mike is directly stated to be a talented artist, he hesitates to draw people out of fear of messing them up. He limits him self with perfectionism and sets himself up for failure in art, a career that requires failure and recovery. Later on, Mike struggles to succeed in Paris and thinks, "He might have have been equally happy at a quiet table, gathering into something ticking... but this had never been suggested, and he had most certainly never given it a thought." Mike does not have passion in his career in art and it causes him to cautiously take risks instead of jumping in. Additionally, he only decides to explore new avenues after they have been suggested to him. He struggles to step out of his comfort zone and despite attempting a creative career, he is unable to think of new topics he may be interested in. Mike's hesitance is emphasized in his inability to take risks in his artwork and it is contrasted by a direct writing style.

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Author Mavis Gallant employs the use of tone shifts to portray the changes in Mikes attitude towards his artistic journey and how it changes over his time in Paris. Mike begins his journey enthusiastically with the words of a teacher who "pronounced that his was a talent not to be buried under the study of medicine or law" ( Gallant 6-7). Because of this teacher, Mike finds the confidence to go to Paris to pursue art professionally. However, upon arrival, he loses momentum quickly and decides to join a small painting class. The tone of the story shifts to pessimistic or hopeless as Mike describes his paintings using words like "flat, empty and the color of cement"(Gallant 34). Mike feels as though his art skills are not sufficient for him to succeed and he is unsure of what to do about it. At this point during his conversation with his art teacher, Mr. Chitterley, the story shifts to a more hopeful tone and mike decides to take a train to find inspiration in Menton which he describes as "a paradise of lemon ice and sunshine" (Gallant 67-68). This word choice highlights Mike's positive new outlook and excitement for his fresh start. The author uses these tone shifts in the story to help the reader visualize Mikes feelings throughout his journey.

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Gallant uses allusions to illustrate Mike's inspiring yet fruitless experience in his art studies as he learns to improve his skill. The given exert begins "he had come to France because the words "art" and "Paris" were unbreakably joined in his family's imagination, the legend of Tribly's Bohemia persisting long after the truth of it had died". Gallant alludes to the novel Tribly to convey the imbecilic nature of Mike's move to Paris and his attempts at art. This allusion helps to convey that the author believes Mike's artistic attempts to be unconventional, highlighting their fruitless nature through the mention of the novel, where unconventional lifestyles are artists are highlighted.

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Gallant uses tone shifts to show the differences in Mike's inspired and hopeless moments. He uses words like "empty," "sunless," and "unnerved" to show Mike's lack of inspiration in Paris. This word choice helps the audience understand how Mike feels and puts the world in his dreary lens. But, when he is talking about going to Menton, he describes it as a "paradise of lemon ice." This change of diction shows the inspiration and optimism that Mike feels at the prospect of creating. Overall, the tone shifts help the audience understand that although Mike feels untalented, he does find joy in the idea of doing art.

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Gallant's portrayal of motivating dialogue gives reason for Mike to continue his journey, although he remains doubtful of his abilities. His mentor Mr. Chitterley analyzes Mike's work, "squinting a little, [and adding], 'Ah! I see what you were trying to do here!'" However, "Mike wished he would be more specific for he sometimes recognized that his pictures were flat, empty, and the color of cement,"(Gallant 30-34). While Mr. Chitterley attempts to incite reason for Mike to continue his artwork, Mike is struggling to follow this path. Because he has such an open-minded mentor, rather than someone who is judgmental, he remains conflicted on whether this path is right for him or not. This shows his persistence to become better at art, even though he is unconfident, is being fueled by inspiring mentors.

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The speaker utilizes comparing and contrasting in order to convey the differences in the painting sessions Mike has, which are sometimes fruitful, but often times frustrating. The speaker says, "Mike painted with sober patience the bridges of the Seine, the rain-soaked lawns of the Tuileries, and a head-one view of Notre Dame." This largely contrasts to his other reality when the speaker says, "Mike wished he would be more specific, for he sometimes recognized that his pictures were flat, empty, and the color of cement." Mike has an idea in his head of exactly what he wants his paintings to look like: serene, beautiful, and dreamy. He appreciates the beauty of his surroundings but knows his skills and is aware that he cannot convey his vision in the way he desires. As he studies what is around him, he knows his paintings cannot do the things he loves, like Notre Dame, any justice. His initial thought that he paints with patience beautiful things around him and then his following thought that he knows his paintings can be dull shows that his studying of painting has its ups and downs.

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Gallant's use of comparisons, characterization, and allusion in his 1952 short story, "One Morning in June" create a disappointing story of Mike's inspiring, yet fruitless longing for an art career.

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Gallant's use of dull imagery expresses Mike's lack of connection to his art. When his mentor, Mr. Chitterley, says that he understands what he was trying to do, Mike is caught off guard. He knows that his "pictures were flat, empty, and the color of cement. He has blamed the season, for the Paris winter had been sunless… he saw that its gray contained every shade in a beam of light, but this effect he was unable to reproduce," (Gallant 33-38). Mike's unattachment to his art work stems from the fact that his view of art is different from others. To someone else, his work can be monotonous and where he can see shades of light in the gray, others might view it as meaningless. Because of his unconventional style, Mike has become uninterested and lost in his passion.

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Gallant compares the dull, uninspiring city of Paris to the vibrant country: "When the season had rained itself to an end… he approached Mr. Chitterley and asked what he ought to do next. 'Why, go to the country"…'Go south. Don’t stop in a hotel but live on the land" (Gallant 48-49, 52-54,56). Gallant's comparison creates a shift in perspective, changing Cahill's dull, usless experience in Paris to an inspiring new adventure in the south. Gallant provides this comparsion to help the auidence see the difference of inspiration in the city versus the country. Thus helping the reader have a shift in persepctive towards the end of the short story and ending on a positive note. Cahill takes a chance and goes to the country, hopfully changing the outcome of his summer avdenture and his artistic career.

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Gallant uses comparisons to illustrate how Mike feels as though pursuing his artistic abilities is a chore rather than following his passion. Mike describes his artistic excursion as being "like exposing someone to a case of measles and watching for spots to break out" (Gallant 10-11). The comparison of his trip to France and being exposed to a disease portrays his talent as more of a duty or sickness to be rid of, rather than engaging in something that supposedly brings him pleasure. Learning to understand his talent and skills should be a worthwhile experience, but instead, it is described as being like the measles, making the audience feel as though Mike truly does not enjoy painting; it is something his family wants him to be successful in.