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Dillard compares the stunt pilots plane to a pen and how it draws in the air, the stunts it does to gymnast and the  plane itself to bird.

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Dillard compares the stunt pilots plane to a pen and how it draws in the air, the stunts it does to gymnast and the  plane itself to bird.

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Dillard compares the flying to the many graceful things to show the the skill and artistic abilities of Rahm. Throughout the story she is showing how much talented Rahm has and how beautifully he can do the stunts but also realizes how dangerous it is.

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Dillard compares the flying to the many graceful things to show the the skill and artistic abilities of Rahm. Throughout the story she is showing how much talented Rahm has and how beautifully he can do the stunts but also realizes how dangerous it is.

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Dillard uses metaphors comparing: The stunt plane and Rahm to a Gymnast "The plane looped the loop, seeming to arch its back like a gymnast."(89) He also references Rahm's ability to create pictures in thin air like beautifully flowing music."It began to carve the air into forms that built wildly and musically on each other and never ended."(88) Another way that Dillard compares the Stunt Pilot's flying is when he describes how Rahm could use a plane "Inexhaustibly, like a brush marking thin air".

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Dillard chose these things to compare Rahm to because she wanted to show the skillfulness, gracefulness and creativity of his job. This makes a huge point about ram's job because of its level of difficulty as well as danger.

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The first thing Dillard compares the flying to was a pen. She writes, "Like Steinberg's contracting and billowing pen line, the line Rahm spun moved to form new, punning shapes from the edges of the old" (88). A second thing Dillard compares Rahm's flying to is music. She states on page 89, "Like music, it split the bulging rim of the future along is seam.... the music had no periods, no rests or endings..." and adds on page 97, "You could hear the music as he dove through it." Finally, she compares it to dance. Dillard says, "...the pilot brings the plane up on a slant and pirouettes... Like a ballerina, the plane seemed to hold its head back stiff in concentration at the music's slow, painful beauty" (96).

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By comparing the way Rahm flies to music, dance and a pen stroke, she makes the way he flies seem graceful and elegant. Using those three metaphors, it also portrays his flying as very artistic and shows the amount of talent that Rahm has. It also shows the way Rahm fights in a difficult but beautiful light.

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Dillard refers to the flight of the plane as a line- not in the sense of it being insipid rather it stretching infinitely in all directions. She also describes Rahm's flying as "music". Thirdly Dillard denote Rahm as a fine artist because the purity and beauty he can produce with his plane

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Dillard uses the language she uses in an effort to make the imagery of flight's beauty more tangible and real. Dillard strives for comprehension through use of creative language and vivid imagery.

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Dillard uses Saul Steinberg's drawings as an example, "It was like a Saul Steinberg fantasy; the plane was the pen"(88). Another metaphor used was the plane representing a gymnast. "The plane looped the loop, seeming to arch its back like a gymnast"(89). The last was was referring to music, how smooth it was moving. "he never quit. The music had no periods"..."Who could breathe, in a world where rhythm itself had no periods"(89).

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Dillard uses Saul Steinberg's drawings as an example, "It was like a Saul Steinberg fantasy; the plane was the pen"(88). Another metaphor used was the plane representing a gymnast. "The plane looped the loop, seeming to arch its back like a gymnast"(89). The last was was referring to music, how smooth it was moving. "he never quit. The music had no periods"..."Who could breathe, in a world where rhythm itself had no periods"(89).

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All of the metaphors that Dillard chose were things that could be seen and heard as beautiful. It was the shapes Steinberg could draw, the flexibility as a gymnast could move, and the music that was heard. Dillard was trying to make a point that watching the plane was something beautiful. 

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All of the metaphors that Dillard chose were things that could be seen and heard as beautiful. It was the shapes Steinberg could draw, the flexibility as a gymnast could move, and the music that was heard. Dillard was trying to make a point that watching the plane was something beautiful. 

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Throughout this reading I noticed that Dillard very commonly uses metaphors to depict events that happen. One scene she uses a metaphor is when she is up in the plane with Rehm, she describes it like they were, "stuck to the plane's sides like flung paint." Another metaphor Dillard uses that caught my eye is when she expresses what she sees as the plane twirling by saying she saw, "the chrome sea twirling over Rahm's head like a baton." This metaphor I think I very exhilarating to me because out of all the things that she could be worried or concerned about it's the point of view she is looking and the spinning plane. Lastly another metaphor had caught my eye is when she describes going through the air in the plane like, "you could hear the music as he dove through it; it streamed after him like a contrail."(pg.97) Dillard's way of matching her point of views with a subtle yet power metaphor describing the stunt pilots flying is quite interesting.

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Throughout this reading I noticed that Dillard very commonly uses metaphors to depict events that happen. One scene she uses a metaphor is when she is up in the plane with Rehm, she describes it like they were, "stuck to the plane's sides like flung paint." Another metaphor Dillard uses that caught my eye is when she expresses what she sees as the plane twirling by saying she saw, "the chrome sea twirling over Rahm's head like a baton." This metaphor I think I very exhilarating to me because out of all the things that she could be worried or concerned about it's the point of view she is looking and the spinning plane. Lastly another metaphor had caught my eye is when she describes going through the air in the plane like, "you could hear the music as he dove through it; it streamed after him like a contrail."(pg.97) Dillard's way of matching her point of views with a subtle yet power metaphor describing the stunt pilots flying is quite interesting.

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What Dillard is trying to get across about Rahm's flying is that it's beautiful and she isn't afraid of it, she trusts him. Her metaphors that discribe his tricks, his plane itself and himself and how much of an excellent flyer he is. The metaphors she uses is very vivid like while you're reading this you feel like you are sitting right beside her in the plane. She says, "I think of this man as a figure, a college professor with a Ph.D. upside down in the loud band of beauty." (Pg 98) What she is describing throughout this whole short story is that her experience was beautiful.

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Dillard first makes a comparison between the plane and a pen. She explains that "like Steinberg's contracting and billowing pen line, the line Rahm spun moved to form new, punning shapes from the edges of the old"(88). Next, Dillard describes that the looped the loop of the plane are "seeming to arch its back like a gymnast; it stalled, dropped, and spun out of it climbing"(89). Thirdly, Dillard compares the flying of the plane to music in the way "it split the bulging rim of the future along its seam"(89).

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Dillard makes comparisons to things that can be imagined or heard. This way an individual can create an imagery in their mind of the details being described. In addition to that, Dillard compares the plane to things that relate to art and reflect grace and beauty. The combination of both aspects allows the reader to envision the plane in an aspect of charm and skill which is the point Dillard is trying to make.

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Dillard uses many metaphors throughout her essay to describe Rahm's flying.  Dillard writes, "[He] played with [his] own line like a cat with yarn" (89). Dillard also compares Rahm's flying to "a brush marking thin air" (89). Rahm's flying, according to Dillard, was also "like Steinberg's contracting and billowing pen line" (88). These metaphors display Dillard's profound love of Rahm's artistic flying.

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The first, and my personal favorite, metaphor she uses is comparing the plane to that of a pen. Making graceful and precise lines which intricately come together to form something grand. She then relates the planes movement to a gymnast when it seems like the plane was actually bending in mid air. Next she says "He was pure energy and naked spirit"(89). This tells me that Rahm's performance is consistently dazzling and almost frenetic.

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Well most everything she compares him to is, in its own way, graceful and beautiful. His featly performance can be likened to that of a swift pen moving effortlessly across a paper or a gymnast flipping and bounding through the air. From how Dillard describes it, it is a ceaseless display of wonder and spectacle that I would very much like to see myself. Of course the point of all these beautiful metaphors is to really put into words just how marvelous the show is and I really think she's encouraging others to want to witness it as well. I say to her "bravo!" for capturing with writing just how grand Rahm's flying is.

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Dillard uses many creative metaphors when describing Rham's avian maneuvers. Most of which refer to the pilot as being an artist whom can effortlessly mark the sky, the plane being the pen, and create pictures out of thin air. Dillard also compare the plane to be a ballerina, "...the pilot brings the plane up on a slant and pirouettes...Like a ballerina the plane seemed to hold its head back stiff in concentration at the musics slow, painful beauty,"(96).

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Dillard uses many metaphors throughout her writing to describe the stunt pilot’s flying. The first metaphor Dillard uses is to compare Steinberg’s way of drawing, “Like Steinberg’s contracting and billowing pen line, the line Rahm spun moved to form new, punning shapes from the edges of the old” (88). The second metaphor is used compare the plane to a gymnast, “The plane looped the loop, seeming to arch its back like a gymnast” (89). Lastly, Dillard compares Rahm’s flying to music, “Like music, it split the bulging rim of the future along its seam” (89). Each metaphor is used to express Dillard’s amazement in Rahm’s technique of flying.

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Each metaphor Dillard chooses: the pen on paper, the gymnast, and music, expresses beauty. When Dillard uses metaphors, it allows the readers to capture how delicate Rahm’s flying was. With the use of imagery, the readers can realize how Rahm’s flying is more like art, rather than an actual plane flying through the air. As Dillard watched the plane, she was amazed by the tricks Rahm performed. The author proved this by the metaphors she used throughout her writing.

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Dillard chooses the metaphors about Rahm's flying to convey her passionate feelings to the wider audience who may have not been fortunate enough to see Rahm. She claims, "I had thought I knew my way around beauty a bit... Now I had stood among dandelions between two asphalt roads ... and begun learning about beauty" (90). Her admiration for Rahm's performance leads her to try and connect with others by describing Rahm's performance as artistic. Dillard quotes Teilhard de Chardin by saying, "The world is filled, and filled with the Absolute. To see this is to be made free" (99). Dillard has been made free, by watching Rahm fly, and she desires to enlighten all of the unfortunate people who weren't as lucky as her.

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Dillard compares the stunt pilot to a rousing piece of music, "Like music, it split the bulging rim of the future along its seam"(89). Dillard also compares Rahm's work to a painter with an ability to make art of anything, "like a brush marking thin air. Finally, Rahm's flying is described as a poem, the sentences of which never ended

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Dillard compares the pilot to all of these things in order to make the point that experiences are often about more than just what they are about. Seeing the stunt pilot perform these tricks was not just a man flying a plane, it was a man making art, music, and beauty the only way he knew how to: through flying. This romantic approach to experience is the whole basis of the poem.

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All of Dillard's metaphors for Rhams flying style involve things of precision and grace. She expertly romanticizes such a basic mechanical function implying she has great admiration for the pilots skills.

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Rham's aerobatic flight is compared to an unraveling ribbon in the sky, "Rham's plane shed a ribbon in space, a ribbon whose end unraveled in my mind," (98). The stunts were also related to music written in the air, "It was as if Mozart could move his body through his notes, and you could walk out on the porch, look up, and see him in periwig and breeches," (97). Thirdly, Dillard metaphorically relates the plane's lines to those of a poem. "the poetry's beautiful sentences never ended," (89).

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Dillard relates Rham's flying to things we all know, but are still widely seen as artistic an beautiful. Paintings, poetry, endless Moebius Loops, unraveling ribbons. These are all descriptions the reader can see to get an idea of how stunning Rham's work is. her points are that it is artistic, and endless, but still too few words and ideas worthy of comparison

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The majority of Dillard's metaphors compare Rahm's flying to incredible artists. One of the first metaphors compares the lines that Rahm makes in the sky to the ink of an artist. "It was like a Saul Steinberg fantasy; the plane was the pen. Like Steinberg's contracting and billowing pen line, the line Rahm spun moved to form new, punning shapes from the edges of the old" (88). Rahm was able to build off of his lines unceasingly. Another metaphor that Dillard used compared the plane's flight to that of a person. "The plane looped the loop, seeming to arch its back like a gymnast..." (89). This shows that the way Rahm flew the plane made it seem as if it was moving in impossible ways. Towards the end of the essay, Dillard makes the comparison of Rahm's skilled flight to music. "It was as if Mozart cound move his body through his notes... You could hear thhe music as he dove through it; it streamed after him like a contrail" (97). This metaphor shows that he flew with grace and to an unceasing and beautiful rhythm.

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Dillard is comparing Rahm's flying to works of art, gymnasts, and music in order to show how incredibly graceful and beautiful the way he flew truly was. This interpretation of his work is shown when Dillard states, "...I thought the bonds of beauty must break," (97), as he is flying. She is trying to show that his work was immeasurably incredible and full of grace. She also makes a comparison that suggests that Rahm seemed to perform mostly for the audience. She states: "as if Beethoven could not hear his final symphonies not because he was deaf, but because he was inside the paper on which he wrote, (98). This brings about the other point that Dillard wanted to make, that Rahm seemed to fly mostly for the benefit and enjoyment of others. This is also shown because Dillard has experienced the incredibly physically difficult reality of flying. After experiencing the barrel rolls, Dillard states "if I had not turned two barrel rolls in an airplane, I might have fancied Rahm felt good up there, and playful... Drawing lines with an airplane, unfortunately, tortures the senses," (97). This proves that Dillard feels that what Rahm did was more for the benefit of others than for his own benefit.

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Dillard compared Rahm's flying to various forms of art work. First, she described the lines made by his planes "like a Saul Steinberg fantasy; the plane was the pen" (88).  This clearly shows that Rahm's flying had an artistic beauty to it, like a pen on paper. A second metaphor used describes the plane as a ballerina. Dillard wrote, "He did pirouettes on the plane's tail" (89). This shows that his plane is able to maneuver and fly gracefully. A third piece of artwork Dillard compared his flying to was poetry.  The essay reads, "...He fulfilled your hope slantingly, like a poet... the poetry's beautiful sentence never ended"(89). Dillard compares his flying to an un-ending, beautiful piece of poetry, which shows that she truly regards his flying as beautiful artwork.

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Dillard chose to use these metaphors, as they compare Rahm's flying to diverse forms of art work. First, she compared his plane to Saul Steinberg and a pen on paper. Second, she compared his plane to a ballerina. Third, she compared his flying to poetry. Fourth, she compared it to music. The point she is trying to make here is that Rahm's flying was inspiring artwork and very beautiful.

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Throughout the text Dillard constantly compares the pilot and his tricks to some form of art. Dillard compares the plane to a pen drawing its way across the sky. "It was like a Saul Steinberg fantasy; the plane was the pen" (88). The stunts are also compared to music to convey the constant rhythm the pilot had and the beauty of the continuous movement. "The music had no periods, no rest or endings" (89). As well as using music as a comparison to the pilot's absence of rest,  the author also uses poetry to convey the same message. "The poetry's beautiful sentence never ended" (89).

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Dillard uses a plethora of similes, metaphors, and personification to truly capture the beauty and wonder of the plane and stunts. The comparisons bring a whole new meaning to the words and express the drama of his flying. The literary devices used create a stronger image of the pilot and his action. The pilot was a true artist committed to his medium. He didn't do it for the fame or the glory, and he most certainly didn't do it for the enjoyment and leisure, he had committed to his craft as all artists do.

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 Clarify connections Dillard draws between the movements of a stunt pilot and her own writing style.

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 Clarify connections Dillard draws between the movements of a stunt pilot and her own writing style.