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The poem "Maxims I" can be found in the Exeter Book and "Maxims II" is located in a lesser known manuscript, London, British Library, Cotton Tiberius B i. "Maxims I" and "Maxims II" are classified as wisdom poetry, being both influenced by wisdom literature, such as the Havamal of ancient Germanic literature. Although they are separate poems of ...
Modernist literature scholar David Thorburn saw connections between literary style and impressionist painters such as Claude Monet. Modernist writers, like Monet's paintings of water lilies , suggested an awareness of art as art, rejected realistic interpretations of the world and dramatized "a drive towards the abstract".
Poetic closure is the sense of conclusion given at the end of a poem. Barbara Herrnstein Smith's detailed study—Poetic Closure: A Study of How Poems End—explores various techniques for achieving closure.
Gnomes, in their literary sense, belong to the dawn of literature, in their naiveté and their simplicity and moralizing. Many of the ethical reflections of the great dramatists, and in particular of Sophocles and Euripides, are gnomic distiches expanded. The ancient Greek gnomes are not all solemn; some are voluptuous and some chivalrous.
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 ...
A similar literary genre recurred in 1150 within the Libri Quattuor Sententiarum (The Four Books of Sentences) of Peter Lombard, a book which was widely commented during the Middle Age, namely by Saint Thomas Aquinas [8] and Saint Bonaventura. [9] There is a classical, Roman novel written by Publilius Syrus. The book is a series of proverbs ...
Critics have aptly borrowed those terms to characterize the difference between Mr. Beckett, for example, and his erstwhile master James Joyce, himself a maximalist except in his early works. [3] Takayoshi Ishiwari elaborates on Barth's definition by including a postmodern approach to the notion of authenticity. Thus: