Smell
Imagery often appeals to the reader’s sense to bring to more vivid life the portrait of that which is being described. Such is the case when describing the sick room atmosphere of Mrs. Sinclair:
“Nor is it to be wondered at, when it is considered, that to the various ill smells, that will be always found in a close sick−bed room (since generally when the Physician comes, the Air is shut out) This of Mrs. Sinclair was the more particularly offensive, as, to the scent of plaisters, embrocations, and ointments, were added the stenches of spirituous liquors, burnt and unburnt, of all denominations”
Sight
Imagery related to what is seen, covertly, by prying eyes is used to convey a growing awareness of romantic interest between two others. It is all perception, of course, a reading of truth as interpreted by a voyeur with an agenda:
“For I soon perceived the Love reciprocal: A scrape and a bow at first seeing his pretty mistress; turning often to salute her following eye; and, when a winding lane was to deprive him of her sight, his whole body turned round, his hat more reverently d'off'd, than before. This answered (for, unseen, I was behind her) by a low courtesy, and a sigh”
Sound
Imagery which calls upon the reader’s sense of sound to make sense of what is happening is used ironically at one. The ironic element is that the passage is dependent far less upon what is heard that that the revelation of what made the sound produces in another person an absolute paralysis of the ability to create sound herself:
“I was returning from the woodhouse, when I heard a rustling, as of somebody behind a stack of wood. I was extremely surpris'd: But still more, to behold a man coming from behind the furthermost stack…In the same point of time that I saw him, he besought me, not to be frighted: And, still nearer approaching me, threw open a horseman's coat: And who should it be but Mr. Lovelace! I could not scream out (yet attempted to scream, the moment I saw a man; and again, when I saw who it was) For I had no voice”
Taste
Taste is represented in imagery in another sort of manner. The situation is set up to create imagery that appeals to the reader’s lack of sustenance. The writer recreates for that reader that sensation of thirst that moves beyond the pale and towards being parched, creating a link between character and reader that make the scene more authentic:
"I complained once or twice of thirst. My mouth seemed parched. At the time, I supposed, that it was my terror (gasping often as I did for breath) that parched up the roof of my mouth. I called for water: Some table−beer was brought me: Beer, I suppose, was a better vehicle (if I were not dosed enough before) for their potions. I told the maid, That she knew I seldom tasted malt−liquor: Yet, suspecting nothing of this nature, being extremely thirsty, I drank it”
