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Allusion differs from the similar term intertextuality in that it is an intentional effort on the author's part. [8] The success of an allusion depends in part on at least some of its audience "getting" it. Allusions may be made increasingly obscure, until at last they are understood by the author alone, who thereby retreats into a private ...
Allusion is a passing or casual reference; an incidental mention of something, either directly or by implication. [26] This means it is most closely linked to both obligatory and accidental intertextuality, as the 'allusion' made relies on the listener or viewer knowing about the original source.
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 ...
In the poem The Rime of the Ancient Mariner, an albatross follows a ship setting out to sea, which is considered a sign of good luck. However, the titular mariner shoots the albatross with a crossbow, an act that will curse the ship and cause it to suffer terrible mishaps.
According to Dr. Naseeb Shaheen, Shakespeare, in writing his plays, "seldom borrows biblical references from his sources, even when those sources contain many references." [1] Roy Battenhouse notes that the Shakespearean tragedy "frequently echoes Bible language or paradigm, even when the play's setting is pagan."
Like many of Eliot's poems, "The Love Song of J. Alfred Prufrock" makes numerous allusions to other works, which are often symbolic themselves. In "Time for all the works and days of hands" (29) Works and Days is the title of a long poem – a description of agricultural life and a call to toil – by the early Greek poet Hesiod. [27]
Another is finding cryptic allusions to Oxford's supposed play writing in other literary works of the era that to them suggest that his authorship was obvious to those "in the know". David Kathman writes that their methods are subjective and devoid of any evidential value, because they use a "double standard".
In his French Revolution, "the great prose epic of the nineteenth century", Carlyle managed to craft an overwhelmingly original voice, producing deliberate tension by combining the common language of the time with self-conscious allusions to traditional epics, Homer, Shakespeare, Milton, or some contemporary French history source in nearly ...