This transformation is fully realised in, "I heard the running squeak of the black boys shoes in the hall and I put my hand on the sill and vaulted I ran across the grounds in the direction I saw the dog run." With Kesey employing onomatopoeia and contextual zoomorphism so as to highlight the characters progression, as a result of his journey throughout the novel. .
Through the act of the journey in each text, characters transform via exposure to adversities that challenge their pre-conceived notions of self-identity. Throughout each text, the composers promote this evolution of character as either a sudden or gradual process, affected in a large part by the significants of surrounding characters to the protagonist. This can be seen in Kesey's One Flew Over the Cuckoo's Nest through the relationship of the Chief and McMurphy. This relationship is integral in building Chief's character throughout of the context of the narrative. "Yessir, that's what I came to this establishment for, to entertain." In this, Kesey utilised contextual purpose and colloquial language so as to identify McMurphy's purpose as an enlightener with his lack of mental disability allowing him to build empathy with the Chief and the patients. This leadership role while serving to empower the remaining patients, forces McMurphy to sacrifice his own humanity, "I can't take it in here anymore." The composer employs this to inspire evocative imagery, grounding the audience within McMurphy's plight. .
Conversely, Shakespeare's, "As You Like It," explores the notion of the transformation of identity as a sudden process, instantly and tangibly changed as a result as a specific moment within the text. "I never loved my brother in my life." Shakespeare uses hyperbole and emotive verb so as to establish the character of Oliver as cold and unloving in order to foreshadow his impending personal transformation via the journey he undertakes in search of his brother.
