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The exploration of artistic work by way of utilizing different writing techniques has made art to become more intriguing though to some extent, technical and baffling. The literal techniques used, in most cases, are in figurative manner in order to conceal the deeper meaning of artistic piece and responses of the artist. Many artists have employed the use of such literal techniques and are even seen in modernism pieces of opus. However, majority of readers are exposed to difficulties in comprehending these compositions and this begs the question:  to what extent do artists go in order to express their deep thoughts and what is the essence of literal styles involved? To unravel these, human nature plays a central part as it determines life parameters such as happiness, contentment and reasoning. With regard to the literal technique employed to express an artist thought, the story by Gertrude Stein, “Miss Furr and Miss Skeene” highlights the intrigues and technicality of the literal styles employed by artists.

The story of “Miss Furr and Miss Skeene” formerly in printed in the year 1922, is about two women who used to live together. This composition entails the use of irregular language and ordinary approach to contemporary writing. The illogical repetition of sentences in Stein’s story put prominence on the characters’, Helen Furr and Georgine Skeene, attachment (Stein, pg256). It is this literal style, repetition of words, which outlines the origin of Stein’s literal approach. The repetition of words shapes the foundation of Stein’s literal implement. Repetition, in Stein’s opus, tends to bring out the oblique conventions as it is applied to disengage prescribed sentiments to apparatus that are simple in order to be viewed differently.

Consciously repeating the word ‘gay’ in Stein’s opus brings out the difficulties in understanding the primary meaning she intended to express. Stein attempts to translate the concept and disruption of perception into a continuous structure and present an item or knowledge from varying viewpoints simultaneously. Repetition as a literal tool is essential in emphasizing a concept that the artist intends to share with the audience. In the case of Stein’s piece, repetition of the word ‘gay’ seems to be the crucial intuition as it appears to be the carter of Stein’s opinions. The repetitiveness creates a barrier in appreciation of the story since readers get varying notions about the authors theme. Further more, the clouding of the story with ‘gay’ repetitions makes it lackluster.

The meaning of ‘gay’ generates more queries since it has many definitions. In modern society, the word ‘gay’ means homosexual. However, in Stein’s opus, it has to be examined in literal terms. In ancient times, the meaning of ‘gay’ varied depending on the context. The word ‘gay’ entails the French gai adjective which means ‘joyful or pleasant’ as well as brilliant, garish colors as exemplified by Miss Mars’ dyed hair and the immense cosmetic of both women. The intensive utilization of ‘gay’ by repetition turns out to be expressive and sexual but by continued repetition, it ends up with a different meaning, as in the case of the pleasant Mrs. and Mr. Furr and their house which  ended up not to exist as pleasant.

For the reader to identify with the primary essence of ‘gay’ in Stein’s composition, an elaborate research is required. This necessitates a further rigorous exercise to get information that might lead to the reader loosing interest in Stein’s work. The application of simple idiom to break down rule is baffling. Nonetheless, Stein manages to reconstitute the human experience, an accomplishment that is way more astonishing considering that the regeneration entails huge venture in progressing conformist revelation. Affiliated tongue in humans and its important provision, which is perception and reflection, are entrenched in a bleak situation with, hopefully, a promising future to come.

 The natural imagery work of Stein acts at the same time as a shortcoming and a compensation typically for protracted observation of persons and equally as a precondition and prospective high caliber for author and reader. The method used by Stein to enlist and direct this imagery is also baffling, considering that there seem to be no extensionality with the preceding composition. In addition to Stein’s conception as outlined in the story, she concerns herself with the transmission of life rather than invention of thoughts. Stein brings out her anti-narrative skill which comic’s habitual elucidation where contemplation is directed by a steadily nonstandard sentence structure of chronicled procedures. In her way of writing, Stein intends to bring out the fundamental routes of perception and thoughts with the aim of expressing encountered situations not as viewed by an individual but as they clearly occur.

Utilization of figurative language to conceal the deeper meaning of a given piece of art is due to a variety of notions that the writer is concerned with. Artistic works that expressly revealed the artists feelings have been in existence since ancient times and thus the need to develop a fresh idea might have been the sole driving force for artists to venture into figurative writing. Since conformist narration is ideologically fashioned and not built naturally, Stein strives to enlighten individuals on the perturbing origin of meditative living packed with the joy of considering as well as gazing and of amiable inquiry as to why we scrutinize things in a definite way. However much an individual expresses Stein’s work mastery, the magnitude of intrigue in the work is still passed on to the next generation.

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