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Truth, a small town in rural Montana, and Bright Water, a reserve across the Canadian–American border, are separated by a river. The first person narrator, a 15-year-old Native American youth, Tecumseh (named after the famous Shawnee leader), watches a strange woman jump off the cliff into the river that marks the border.
The Sacred Wood is a collection of 20 essays by T. S. Eliot, first published in 1920.Topics include Eliot's opinions of many literary works and authors, including William Shakespeare's play Hamlet, and the poets Dante Alighieri and William Blake.
W]hen the subject of criticism is fiction generally, not his alone, picture will take a wider meaning, as opposed to drama. It is a question, I said, of the reader's relation to the writer; in one case the reader faces towards the story-teller and listens to him, in the other he turns towards the story and watches it.
Writers use scare quotes for a variety of reasons. They can imply doubt or ambiguity in words or ideas within the marks, [18] or even outright contempt. [19] They can indicate that a writer is purposely misusing a word or phrase [20] or that the writer is unpersuaded by the text in quotes, [21] and they can help the writer deny responsibility for the quote. [19]
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In the King James Version of the Bible, the text reads: And when the disciples saw him walking on the sea, they were troubled, saying, It is a spirit; and they cried out for fear. The New International Version translates the passage as: When the disciples saw him walking on the lake, they were terrified.
Brandon Sanderson, in his Mistborn and Stormlight Archive series uses various epigraphs including letters between various gods, so-called "death rattles" and quotes from the villain's diary. Edward Gorey's The Unstrung Harp is not only about a fictitious novel, but its author thinks of a fictional verse for its epigraph.
The point is not to be taken in by appearances, like the dog who attacks his reflection and falls into the water. As he struggles to swim to shore, he relaxes his grip on his plunder and loses "shadow and substance both". [21] An allusive proverb developed from the title: Lâcher sa proie pour l'ombre (giving up the prey for the shadow).