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Allusion as a literary device means that a text refers to another literary work or work of art. “The Swimmer” is in many ways a retelling of the myth of Narcissus. John Cheever sets the stage for the parallels between Neddy Merrill and Narcissus by initially characterizing Neddy as a vain man who sees himself as having a greater purpose than his fellow suburbanites. Rather than seeing himself clearly as a shallow person whose social status is fading, he thinks of himself as “a pilgrim, an explorer, [and] a man with a destiny” (Paragraph 5). Cheever also emphasizes the reflection or echo of the water to evoke images of Narcissus’s constantly staring into the river; likewise, his emphasis on the water’s “refract[ion of] the sound of voices” evokes Echo, the nymph who fell in love with Narcissus but was destined only to repeat the words of others (Paragraph 7). Cheever also emphasizes Neddy’s obsession with youth, another element of Narcissus’s vanity. In particular, Neddy is unsettled when learning that his strength, both physical and emotional, is beginning to wane toward the end of the story; he cries after seeing his former lover and is unable to lift himself from the pool using just his arms. This progressive deterioration of his youth parallels the passing of time and his increased alienation throughout the story.
Visual imagery is a literary device in which an author uses visual depictions of a scene to tie to a main theme or motif. Cheever mainly employs visual imagery as it relates to the depiction of the water in the various pools Neddy encounters, but there is also ample visual imagery about the setting in general. As previously mentioned, the color of the water in the pools at times is “a pale shade of green,” sometimes “sapphire-colored,” “murky,” “opaque gold,” having a “wintry gleam,” or “lighted cerulean” (Paragraphs 2, 7, 13, 33, 38). Cheever also draws attention to the autumn leaves that continue to fall as the story delves further into the surreal, such as the maple tree with its “red and yellow leaves” that are “scattered […] over the grass and the water,” or the yellow “beech hedge” of the Hallorans’ yard (Paragraphs 9, 17). As Cheever details the transition of the pools’ water from light to dark and the transition of seasons from summer to fall, he parallels the passage of time and the increasing detachment of his protagonist.



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