On The Contrary, His Text Is Brought To Life Not Only Through His Dynamic

On the contrary, his text is brought to life not only through his dynamic typography, but also through his extensive use of onomatopoeia, plotting and scheming and churning and burning and whizzing and phizzing with murderous bloodthirsty thoughts. As these sounds accumulate, an image is conjured of a witch throwing her ingredients into a cauldron boiling and bubbling with evil thoughts, so much so that one can almost smell the smoke and feel the heat of her eternal hatred.
Metaphorical images and simile are further forms of repetition through which Dahl imprints and animates his singularly important point, If a tiger were able to make itself look like a large dog with a waggy tail, you would probably go up and pat him on the head. And that would be the end of you. It is the same with witches. This tangible imagery is further entrenched by the author's symbiotic relationship with his illustrator, Quentin Blake, Kindly examine the picture opposite, paradoxically leaving almost nothing to the imagination and yet stimulating all kinds of imaginary reactions within the reader's senses.
As we can see, Dahl exerts far more dictatorial control over the reader than Swift. His use of typography clinches this control forcing us even to read the words in the tone that he wants them to be read and to listen to the words at the correct volume. Under his power, we jump as the words leap out from the page at us, Never forget what is coming next, he says warning the reader of the importance of the next sentence, which screams maniacally, REAL WITCHES dress in ordinary clothes and they work in ORDINARY JOBS. We are left like startled rabbits, shell-shocked into paying attention to a silent text that is almost deafening as Dahl shrieks in our ears. Occasionally he points at us directly with his italicised authorial finger, A REAL WITCH gets the same pleasure from squelching a child that you get from eating

Conclusion
Looking at these two texts side by side, we come to an interesting conclusion. Through Swift's linguistic framework, we move from the everyday, the banal, into a world of fantasy that, by contrast, is farcical, unrealistic and sets the stage for his satirical work. In direct opposition, Dahl's dramatic narrative plunges us directly into the unreal, but through repetition and strong persuasive imagery brings the abstract notion of a witch into a terrifyingly real focus, forcing us to consider who among us could be one. She might even be your lovely school-teacher who is reading these words to you at this very moment, says Dahl with a wink.
Bibliography
Dahl R, The Witches, Puffin Books
Quintana R, Swift: An Introduction, Oxford Paperbacks, No.48
Royer SE, Roald Dahl and Sociology 101, http://scholar.lib.vt.edu/ejournals/ALAN/fall98/royer.