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Songs and poetry often rely on ambiguous words for artistic effect, as in the song title "Don't It Make My Brown Eyes Blue" (where "blue" can refer to the color, or to sadness). In the narrative, ambiguity can be introduced in several ways: motive, plot, character.
Seven Types of Ambiguity ushered in New Criticism in the United States. The book is a guide to a style of literary criticism practiced by Empson. An ambiguity is represented as a puzzle to Empson. We have ambiguity when "alternative views might be taken without sheer misreading." Empson reads poetry as an exploration of conflicts within the author.
Empson's best-known work is the book Seven Types of Ambiguity, which, together with Some Versions of Pastoral and The Structure of Complex Words, mines the astonishing riches of linguistic ambiguity in English poetic literature. Empson's studies unearth layer upon layer of irony, suggestion and argumentation in various literary works, applying ...
Also apophthegm. A terse, pithy saying, akin to a proverb, maxim, or aphorism. aposiopesis A rhetorical device in which speech is broken off abruptly and the sentence is left unfinished. apostrophe A figure of speech in which a speaker breaks off from addressing the audience (e.g., in a play) and directs speech to a third party such as an opposing litigant or some other individual, sometimes ...
Poetry (from the Greek word poiesis, "making") is a form of literary art that uses aesthetic and often rhythmic [1] [2] [3] qualities of language to evoke meanings in addition to, or in place of, literal or surface-level meanings. Any particular instance of poetry is called a poem and is written by a poet.
Free verse is an open form of poetry which does not use a prescribed or regular meter or rhyme [1] and tends to follow the rhythm of natural or irregular speech. Free verse encompasses a large range of poetic form, and the distinction between free verse and other forms (such as prose) is often ambiguous. [2] [3]
With an ambiguous ending, the poem does not just end with a death, but instead, it just begins. [20] The monody clearly ends with a death and an absolute end but also moves forward and comes full circle because it takes a look back at the pastoral world left behind making the ambivalence of the end a mixture of creation and destruction. [ 21 ]
This poem is a virtuoso sequence of a half dozen Ovidian myths, from Apollo and Daphne to Actaeon and Diana, offered up as figuration of the poet's own subjective experience; it has become known as the canzone della metamorfosi, a sustained “lyricization of epic materials,” [18] which effectively rewrites Ovid's long poem as erotic and ...