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'Irony' comes from the Greek eironeia (εἰρωνεία) and dates back to the 5th century BCE.This term itself was coined in reference to a stock-character from Old Comedy (such as that of Aristophanes) known as the eiron, who dissimulates and affects less intelligence than he has—and so ultimately triumphs over his opposite, the alazon, a vain-glorious braggart.
Poetic justice, also called poetic irony, is a literary device with which ultimately virtue is rewarded and misdeeds are punished. In modern literature, [ 1 ] it is often accompanied by an ironic twist of fate related to the character's own action, hence the name "poetic irony".
Critics who find that Tennyson identifies with the speaker read Ulysses' speech "affirmatively", or without irony. Many other interpretations of the poem have developed from the argument that Tennyson does not identify with Ulysses, and further criticism has suggested that the purported inconsistencies in Ulysses' character are the fault of the ...
Poetic justice describes an obligation of the dramatic poet, along with philosophers and priests, to see that their work promotes moral behavior. [10] 18th-century French dramatic style honored that obligation with the use of hamartia as a vice to be punished [10] [11] Phèdre, Racine's adaptation of Euripides' Hippolytus, is an example of French Neoclassical use of hamartia as a means of ...
Zadig; or, The Book of Fate (French: Zadig ou la Destinée; 1747) is a novella and work of philosophical fiction by the Enlightenment writer Voltaire. It tells the story of Zadig, a Zoroastrian philosopher in ancient Babylonia. The story of Zadig is a fictional story. Voltaire does not attempt any historical accuracy.
Destiny, sometimes also called fate (from Latin fatum 'decree, prediction, destiny, fate'), is a predetermined course of events. [ 1 ] [ 2 ] It may be conceived as a predetermined future, whether in general or of an individual.
Here, Rorty argues that all language is contingent.This is because "only descriptions of the world can be true or false", [1] and descriptions are made by humans who must also make truth or falsity: truth or falsity is thus not determined by any intrinsic property of the world being described.
Ivar Nilsson as the Fool in a 1908 stage production of King Lear at The Royal Dramatic Theatre in Sweden [5]. In his article "The Wisdom of the Fool", Walter Kaiser illustrates that the varied names and words people have attributed to real fools in different societies when put altogether reveal the general characteristics of the wise fool as a literary construct: "empty-headed (μάταιος ...