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This definition of a play, supplied by Lisideius/Sedley (whose rhymed plays had dazzled the court and were a model for the new drama), gives the debaters a versatile and richly ambiguous touchstone. To Crites' argument that the plots of classical drama are more "just," Eugenius can retort that modern plots are more "lively" thanks to their variety.
sarcasm is an insincere form of politeness which is used to offend one's interlocutor. [9] Linguist John Haiman writes: "There is an extremely close connection between sarcasm and irony, and literary theorists in particular often treat sarcasm as simply the crudest and least interesting form of irony." Also, he adds:
The poetry depends on extended, elaborate metaphors and conceits, and the language is often rhetorical—written for actors to declaim rather than speak. For example, the grand speeches in Titus Andronicus, in the view of some critics, often hold up the action, while the verse in The Two Gentlemen of Verona has been described as stilted. [2] [3]
The repetition of identical or similar sounds, usually accented vowel sounds and succeeding consonant sounds at the end of words, and often at the ends of lines of prose or poetry. [ 7 ] For example, in the following lines from a poem by A. E. Housman , the last words of both lines rhyme with each other.
Metaphysical poetry as a style was prevalent in the time of English playwright William Shakespeare, who admonished pretension with the phrase "Better a witty fool than a foolish wit". [3] It may combine word play with conceptual thinking, as a kind of verbal display requiring attention, without intending to be laugh-out-loud funny. Indeed wit ...
Helping define the objective correlative, Eliot's essay "Hamlet and His Problems", [1] republished in his book The Sacred Wood: Essays on Poetry and Criticism discusses his view of Shakespeare's incomplete development of Hamlet's emotions in the play Hamlet. Eliot uses Lady Macbeth's state of mind as an example of the successful objective ...
An example in literature is the character of Touchstone in Shakespeare's As You Like It, described as "a wise fool who acts as a kind of guide or point of reference throughout the play, putting everyone, including himself, to the comic test". [3] Dante's "In la sua volontade è nostra pace" ("In his will is our peace"; Paradiso, III.85) [4]
Furthermore, throughout the four essays Bloom and Jaffa engage the critical literature on Shakespeare by citing several past literary analyses; however, these citations are to earlier and non-contemporary figures as the Earl of Shaftesbury, John Upton, Samuel Taylor Coleridge, and A.C. Bradley. They refer to only one critical work from the ...