...In the poem “The Raven” by Edgar Allan Poe, the speaker details one night during a period of sadness and madness in which a raven flies into his room and talks to him. The speaker uses diction, symbolism, and allusion to present the loneliness, hopelessness, and darkness that he experiences throughout the night and how it takes a toll on his mind. The diction in “The Raven” helps to set the mood of the poem, which is gloomy and dark. The poem starts off with, “Once upon a midnight dreary.” This phrase automatically tells the reader that the rest of the poem is going to be scary and dark, and the word “dreary” represents hopelessness. The speaker also says in the second stanza his experience took place “in the bleak December.” “Bleak” is another...
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...one word, in ominous tones, to a grief-stricken young man mourning the death of his young ladylove. The poem has garnered international attention and became one of the most famous poems ever written (Poestories). Therefore, the poem of “The Raven†by Edgar Allan Poe is the most successful poem, surviving heavy criticism, all due to the combination of poetic devices with structure, imagery and symbolism of Leonor, the Raven and language such as The Night’s Plutonian Shore and Nepenthe, that together emphasize the themes of insanity, love and the supernatural. Edgar Poe uses several themes that are found throughout his creative works. It includes the tragic death of a beautiful woman at a young age and the grief of the young man whose affection for his lost love transcends the physical boundaries of death and life (Got Poetry). This supports Poe's fascination with the imagery of young lovers separated by death. Throughout the poem the young man (narrator) slips into insanity, which now begins to question the existence of the Raven. The motif of the Raven as the omen of misery and sorrow also embodies grief caused by loneliness and separation. This is the central confrontation of the poem, bringing out the idea of a conflict between man and nature. It is these themes of madness, love and the paranormal that are the focus of the poem. Imagery and symbolism is used to make poetry come alive, giving the reader the immediate connection to the theme and the poet's attempt...
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...------------------------------------------------- List of kennings From Wikipedia, the free encyclopedia A kenning (Old Norse kenning [cʰɛnːiŋɡ], Modern Icelandic [cʰɛnːiŋk]) is a circumlocution used instead of an ordinary nounin Old Norse, Old English and later Icelandic poetry. This list is not intended to be comprehensive. Kennings for a particular character are listed in that character's article. For example, the Odin article links to a list of names of Odin, which include kennings. Only a few examples of Odin's kennings are given here. For a scholarly list of kennings see Meissner's Die Kenningar der Skalden (1921) or a good edition of Snorri Sturluson's Skáldskaparmál ------------------------------------------------- Source language abbreviations[edit] * OE - Old English * D - Danish | * G - Germanic * Ic - Old Icelandic * N - Norse * ON - Old Norse | * Nor - Norwegian * S - Swedish | ------------------------------------------------- List of Kennings[edit] Primary Meaning | Kenning Translated | Original Kenning | Explanation | Source Language | Example | axe | blood-ember | | | N | | battle | spear-din | | | N | Snorri SturlusonSkaldskaparmal | blood | slaughter-dew | | | N | | blood | battle-sweat | | One reference for this kenning comes from the epic poem, Beowulf. As Beowulf is in fierce combat withGrendel's Mother, he makes mention of shedding much battle-sweat. | N | Beowulf | blood | wound-sea | svarraði sárgymir |...
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...thee when we know it not. William Wordsworth | | She Walks in Beauty | | | | She walks in beauty like the night of cloudless climes and starry skies; And all that's best of dark and bright meets in her aspect and her eyes: Thus mellow'd to that tender light which heaven to gaudy day denies. One shade the more, one ray the less, had half impair'd the nameless grace which waves in every raven tress, or softly lightens o'er her face - where thoughts serenely sweet express how pure, how dear their dwelling - place. And on that cheek, and o'er that brow, so soft, so calm, yet eloquent, the smiles that win, the tints that glow, but tells in days of goodness spent, a mind at peace with all below, a heart whose love is innocent. George Gordon Byron, Lord Byron | | Theme: a subject of discourse, discussion, meditation, or composition; topic: Diction: style of speaking or writing as dependent upon choice of words: Structure: the relationship or organization of the component parts of a work of art or literature Allusion: a passing or casual reference; an incidental mention of something, either directly or by implication: Metaphor: something used, or regarded as being used, to represent something else; emblem;...
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...AP LIT TERMS 1. Allegory: figurative treatment of one subject under the appearance of another. George Orwell's 1984 (ex. Big Brother: Stalin, Airstrip One: Soviet Russia), Shakespeare's All the World's a Stage (metaphor of human lives being as in a play) 2. Alliteration: The repetition of the same letter or the same consonant sound in words that are together. Edgar Allan Poe's The Raven(While I nodded, nearly napping...) 3. Allusion: A casual reference to a significant figure from the past Shakespeare's Romeo and Juliet ("...when King Cophetua loved the beggar maid!": Allusion to an old legend) 4. Ambiguity: An unclear, indefinite, or vague word, expression, meaning, etc J.D Salinger's The Catcher in the Rye(“... I’m quite a heavy smoker, for one thing—that is, I used to be. They made me cut it out. Another thing, I grew six and a half inches last year. That’s also how I practically got t.b. and came out here for all these goddam checkups and stuff..."-"Here" and "there" are ambiguous) 5. Analogy: A comparison that shows the likenesses in two things Shakespeare's Romeo and Juliet("What’s in a name? That which we call a rose by any other word would smell as sweet. So Romeo would, were he not Romeo called.": Compares Romeo to a rose and says a rose is sweet smelling no matter how you call it.) 6. Anaphora: The repetition of words in two or more successive clauses, sentences, or verses J.D Salinger's The Catcher in the Rye("It rained on his lousy tombstone...
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...Figures of Speech (Stylistic Devices) What are stylistic devices? In literature and writing, a figure of speech (also called stylistic device or rhetorical device) is the use of any of a variety of techniques to give an auxiliary meaning, idea, or feeling. Sometimes a word diverges from its normal meaning, or a phrase has a specialized meaning not based on the literal meaning of the words in it. Examples are metaphor, simile, or personification. Stylistic devices often provide emphasis, freshness of expression, or clarity. A simile is a figure of speech comparing two unlike things, often introduced with the word "like" or "as". It takes the form of: * X is (not) like Y * X is (not) as Y * X is (not) similar to Y Examples of simile: * He fights like a lion. * He swims as fast as a fish. * He slithers like a snake. * "My dad was a mechanic by trade when he was in the Army, When he got the tools out, he was like a surgeon." What is a metaphor? Unlike simile, metaphor (from the Greek language: meaning "transfer") is language that directly compares seemingly unrelated subjects. It is a figure of speech that compares two or more things not using like or as. In the simplest case, this takes the form: X - is - Y Examples of metaphor: All the world's a stage, And all the men and women merely players; They have their exits and their entrances; (William Shakespeare, As You Like It, 2/7) Example: “Henry was a lion on the battlefield”. This...
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...the one that he believes is his friend. As a result of this mistaken identity, Antonio’s relationship with Sebastian is going to diminish; this is because Antonio believes that Sebastian betrays him when he needs him the most. While on the other hand, Antonio helps Sebastian when he is suffering, not to mention he is wanted in Illyria and still helps Sebastian. When Duke Orsino becomes conscious of whom Cesario marries, he says “I’ll sacrifice the lamb that I do love, / to spite a ravens heart within a dove” (5.1.126-127). Duke recognizes that Cesario marries the one that he loves, Olivia. However, it is not, Cesario, but Sebastian, since Olivia marries Sebastian, thinking it is Cesario because they look identical. Orsino believes that Cesario betrays him by marring the one he loves, but it is Sebastian. One of the literary devices is dramatic irony, because the audiences know the one that Olivia is marrying is Sebastian, but Duke believes it is Cesario. Another literary device is biblical allusion; it happens when Duke says “I’ll sacrifice the lamb that I do love”. It represents Jesus sacrifices himself to the world that he loves. Also, there is the motif of mistaken identity and the theme of appearance versus reality. Since it is not, Cesario who marries Olivia but Sebastian. Sebastian creates many problems to Viola to the point that she had a chance to be killed. Furthermore, being unaware about a particular incident is the same situation that Sebastian is put into. Sebastian...
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...According to the Britannica Encyclopedia, an allusion “is an implied or indirect reference to a person, event, or thing or to a part of another text. Allusion is distinguished from such devices as direct quote and imitation or parody. Most allusions are based on the assumption that there is a body of knowledge that is shared by the author and the reader and that therefore the reader will understand the author’s referent.” "allusion". Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2013. Web. 13 Mar. 2013 <http://www.britannica.com/EBchecked/topic/16658/allusion>. Dark Lady Sonnets 127-154 127 In the old age black was not counted fair, | Or if it were it bore not beauty's name: | But now is black beauty's successive heir, | And beauty slandered with a bastard shame, | For since each hand hath put on nature's power, | Fairing the foul with art's false borrowed face, | Sweet beauty hath no name no holy bower, | But is profaned, if not lives in disgrace. | Therefore my mistress' eyes are raven black, | Her eyes so suited, and they mourners seem, | At such who not born fair no beauty lack, | Slandering creation with a false esteem, | Yet so they mourn becoming of their woe, | That every tongue says beauty should look so. | 128 How oft when thou, my music, music play'st, | Upon that blessed wood whose motion sounds | With thy sweet fingers when thou gently sway'st...
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...Animal Farm An Allegory of the French Revolution By Travis Booker English 1302 Mrs. Simpson April 18, 2012 What is an allegory? Allegory is a device used to present an idea, principle, or meaning, which can be presented in literary form, such as a poem or novel, in musical form, such as composition or lyric, or in visual form, such as in painting or drawing. It is also seen in scriptural passage. Allegory communicates its message by means of symbolic figures, actions, or symbolic representation. Allegory is generally treated as a figure of rhetoric; a rhetorical allegory is a demonstrative form of representation conveying meaning other than the words that are spoken. As a literary device, an allegory in its most general sense is an extended metaphor. As an artistic device, an allegory is a visual symbolic representation. An example of a simple visual allegory is the image of the grim reaper. Viewers understand that the image of the grim reaper is a symbolic representation of death (Kennedy 142). During a time when there was much change and the spirit of rebellion was all around, Animal Farm was written by George Orwell. George Orwell used allegory in his novel Animal Farm to parallel the Russian Revolution and resulting totalitarian regime to the revolutions of the animals and the pigs' corruption of absolute power. The novel's characters, events, and corruption of ideas paralleled the pattern that took place among the Russians during and following the...
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...The story takes place on a farm somewhere in England. The story is told by an all-knowing narrator in the third person. The action of this novel starts when the oldest pig on the farm, Old Major, calls all animals to a secret meeting. He tells them about his dream of a revolution against the cruel Mr Jones. Three days later Major dies, but the speech gives the more intelligent animals a new outlook on life. The pigs, who are considered the most intelligent animals, instruct the other ones. During the period of preparation two pigs distinguish themselves, Napoleon and Snowball. Napoleon is big, and although he isn't a good speaker, he can assert himself. Snowball is a better speaker, he has a lot of ideas and he is very vivid. Together with another pig called Squealer, who is a very good speaker, they work out the theory of "Animalism". The rebellion starts some months later, when Mr Jones comes home drunk one night and forgets to feed the animals. They break out of the barns and run to the house, where the food is stored. When Mr Jones sees this he takes out his shotgun, but it is too late for him; all the animals fall over him and drive him off the farm. The animals destroy all whips, nose rings, reins, and all other instruments that have been used to suppress them. The same day the animals celebrate their victory with an extra ration of food. The pigs make up the seven commandments, and they write them above the door of the big barn. They run thus: 1. Whatever goes upon...
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...English - Final Exam Terms to Know The following link is very helpful: Examples Glossary from Your Dictionary Alliteration In alliteration, the first consonant sound is repeated in several words. A good example is “wide-eyed and wondering while we wait for others to waken”. Alliteration can be fun, as in tongue twisters like: “Kindly kittens knitting mittens keep kazooing in the king's kitchen 1. 2. 3. 4. 5. Alice’s aunt ate apples and acorns around August. Becky’s beagle barked and bayed, becoming bothersome for Billy. Carries cat clawed her couch, creating chaos. Dan’s dog dove deep in the dam, drinking dirty water as he dove. Eric’s eagle eats eggs, enjoying each episode of eating. Examples of Alliteration Allusion “I was surprised his nose was not growing like Pinocchio’s.” This refers to the story of Pinocchio, where his nose grew whenever he told a lie. It is from The Adventures of Pinocchio, written by Carlo Collodi. “When she lost her job, she acted like a Scrooge, and refused to buy anything that wasn’t necessary.” Scrooge was an extremely stingy character from Charles Dickens’, A Christmas Carol. “I thought the software would be useful, but it was a Trojan Horse.” This refers to the horse that the Greeks built that contained all the soldiers. It was given as a gift to the enemy during the Trojan War and, once inside the enemy's walls, the soldiers broke out. By using trickery, the Greeks won the war. “He was a real Romeo with the ladies.” Romeo was a character...
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...White Man’s Burden (Handout) Summary & Annotation: A straightforward analysis of the poem may conclude that Kipling presents a"Euro-centric" view of the world, in which people view society from only a European cultures point of view. This view proposes that white people consequently have an obligation to rule over, and encourage the cultural development of people from other ethnic and cultural backgrounds until they can take their place in the world by fully adopting Western ways. The term "the white man's burden" can be interpreted simply as racist, or taken as a metaphor for a condescending view of non-Western national culture and economic traditions, identified as a sense of European ascendancy which has been called "cultural imperialism". A parallel can also be drawn with the charitable view, common in Kipling's formative years, that the rich have a moral duty and obligation to help the poor "better" themselves whether the poor want the help or not until according to Europeans, "they can take their place in the world socially and economically." The term "white man's burden" is a phrase that became current in the controversy about the United States acquisition of the Philippines after the Spanish-American war of 1898. It was a concept that was the responsibility of white Europeans to bring "proper" European civilization to the nations (mostly brown, black, red or yellow) that did not have it. The underlying thought was that Europeans were correct in their beliefs and...
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...1. Literature of the 17th century. John Milton. “Paradise Lost”. John Bunyan. “Pilgrim’s Progress”. The peculiarities of the English literature of the 17th century are determined by the events of the Engl. Bourgeois Revolution, which took place in 1640-60. King Charles I was beheaded in 1649& General Oliver Cromwell became the leader of the new government. In 1660, shortly after Cro-ll’s death, the dynasty of the Stuarts was restored. The establishment of new social&eco-ic relations, the change from feudal to bourgeois ownership, escalating class-struggle, liberation movement and contradictions of the bourgeois society found their reflection in lit-re. The main representatives of this period is: John Milton: was born in London&educated at Christ’s College. He lived a pure life believing that he had a great purpose to complete. At college he was known as the The Lady of Christ’s. he Got master’s degree at Cambridge. It’s convenient to consider his works in 3 divisions. At first he wrote his short poems at Horton. (The Passion, Song on May Morning, L’Allegro). Then he wrote mainly prose. His 3 greatest poems belong to his last group. At the age of 23 he had still done little in life&he admits this in one of his sonnets. (On his 23d B-day) In his another sonnet he wrote on his own blindness. (On his Blindness) Milton wrote diff. kinds of works. His prose works were mainly concerned with church, affairs, divorce & freedom. The English civil war between Charles...
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...[pic] Гальперин И.Р. Стилистика английского языка Издательство: М.: Высшая школа, 1977 г. В учебнике рассматриваются общие проблемы стилистики, дается стилистическая квалификация английского словарного состава, описываются фонетические, лексические и лексико-фразеологические выразительные средства, рассматриваются синтаксические выразительные средства и проблемы лингвистической композиции отрезков высказывания, выходящие за пределы предложения. Одна глава посвящена выделению и классификации функциональных стилей. Книга содержит иллюстративный текстовой материал. Предназначается для студентов институтов и факультетов иностранных языков и филологических факультетов университетов. GALPERIN STYLISTICS SECOND EDITION, REVISED Допущено Министерством высшего и среднего специального образования СССР в качестве учебника для студентов институтов и факультетов иностранных языков |[pic] |MOSCOW | | |"HIGHER SCHOOL" | | |1977 | TABLE OF CONTENTS Page Предисловие к первому изданию……………………………………………………..6 Предисловие к второму изданию……………………………………………………..7 Part I. Introduction 1. General Notes on Style and Stylistics…………………………………………9 2. Expressive Means (EM) and Stylistic Devices (SD)………………………...25 3. General Notes on Functional Styles of Language……………………………32 4. Varieties of Language………………………………………………………..35 5. A Brief...
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...The Decline and Fall of Literature November 4, 1999 ANDREW DELBANCO E-mail Print [pic]Share [pic] [pic]In Plato’s Cave[pic] by Alvin Kernan A couple of years ago, in an article explaining how funds for faculty positions are allocated in American universities, the provost of the University of California at Berkeley offered some frank advice to department chairs, whose job partly consists of lobbying for a share of the budget. “On every campus,” she wrote, “there is one department whose name need only be mentioned to make people laugh; you don’t want that department to be yours.”1 The provost, Carol Christ (who retains her faculty position as a literature professor), does not name the offender—but everyone knows that if you want to locate the laughingstock on your local campus these days, your best bet is to stop by the English department. The laughter, moreover, is not confined to campuses. It has become a holiday ritual for The New York Times to run a derisory article in deadpan Times style about the annual convention of the Modern Language Association, where thousands of English professors assemble just before the new year. Lately it has become impossible to say with confidence whether such topics as “Eat Me; Captain Cook and the Ingestion of the Other” or “The Semiotics of Sinatra” are parodies of what goes on there or serious presentations by credentialed scholars.2 At one recent English lecture, the speaker discussed a pornographic “performance artist”...
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