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Often, the meaning of an allegory is religious, moral, or historical in nature. Example: "The Faerie Queene" by Edmund Spenser. [1] Periphrasis: the usage of multiple separate words to carry the meaning of prefixes, suffixes or verbs. Objective correlative; Simile: a figure of speech that directly/explicitly compares two things.
For example, the recently re-discovered Fourth Commentary on the Gospels by Fortunatianus of Aquileia has a comment by its English translator: "The principal characteristic of Fortunatianus' exegesis is a figurative approach, relying on a set of concepts associated with key terms in order to create an allegorical decoding of the text."
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 ...
Key assertions about poetry include: Ordinary life is the best subject for poetry; Everyday language is best suited for poetry; Expression of feeling is more important than action or plot "Poetry is the spontaneous overflow of powerful feelings" that "takes its origin from emotion, recollected in tranquillity" [2]
Robert Burton, in 1621, in The Anatomy of Melancholy, stated: "It is an old saying, 'A blow with a word strikes deeper than a blow with a sword': and many men are as much galled with a calumny, a scurrilous and bitter jest, a libel, a pasquil, satire, apologue, epigram, stage-play or the like, as with any misfortune whatsoever."
Because of the variety of performance modes, oríkì defies classification as music or poetry, and it has been studied from both perspectives. Historically, oríkì was delivered by a specialist in a particular vocal style. [4] For example, ìjálá is acoustically open and intense, while ewì is spoken in a high-falsetto, wailing voice quality.
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The turn in poetry has gone by many names. In "The Poem in Countermotion", the final chapter of How Does a Poem Mean?, John Ciardi speaks thus of the "fulcrum" in relation to the non-sonnet poem "O western wind" (O Western Wind/when wilt thou blow/The small rain down can rain//Christ! my love were in my arms/and I in my bed again): 'The first two lines are a cry of anguish to the western wind ...