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Cosmic irony, sometimes also called "the irony of fate", presents agents as always ultimately thwarted by forces beyond human control. It is strongly associated with the works of Thomas Hardy . [ 28 ] [ 30 ] This form of irony is also given metaphysical significance in the work of Søren Kierkegaard , among other philosophers.
The plot comes together when Oedipus realizes that he is the son and murderer of Laius as well as the son and husband of Jocasta. Martin M. Winkler says that here, peripeteia and anagnorisis occur at the same time "for the greatest possible impact" because Oedipus has been "struck a blow from above, as if by fate or the gods. He is changing ...
Poetic justice, also called poetic irony, is a literary device with which ultimately virtue is rewarded and misdeeds are punished. In modern literature, [ 1 ] it is often accompanied by an ironic twist of fate related to the character's own action, hence the name "poetic irony".
Poetic justice describes an obligation of the dramatic poet, along with philosophers and priests, to see that their work promotes moral behavior. [10] 18th-century French dramatic style honored that obligation with the use of hamartia as a vice to be punished [10] [11] Phèdre, Racine's adaptation of Euripides' Hippolytus, is an example of French Neoclassical use of hamartia as a means of ...
Perhaps the most famous example of irony in Austen is the opening line of Pride and Prejudice: "It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife." At first glance, the sentence is straightforward and plausible, but the plot of the novel contradicts it: it is women without ...
The wistful tone and the implied sympathy for the time-bound victims are disarming. But, as many critics have noted, the poem is not without irony...the sense of timeless rest is soon complicated by the ambiguous syntax." [5] Indeed, Bloom [6] goes so far as to say that "the lyric's tone can be characterized as a kind of apocalyptic sardonicism."
The two consecutive episodes of The Irony of Fate were originally broadcast by the Soviet central television channel, Programme One, [7] on 1 January 1976, at 18:00. [8] The film was a resounding success with audiences: author Fedor Razzakov recalled that "virtually the entire country watched the show"; [ 9 ] the number of viewers was estimated ...
The lazy argument or idle argument (Ancient Greek: ἀργὸς λόγος) is an attempt to undermine the philosophical doctrine of fatalism by demonstrating that, if everything that happens is determined by fate, it is futile to take any kind of action. [1] Its basic form is that of a complex constructive dilemma. [2] [3]