The Simpsons pointed out how comical some of Poe’s supposedly deep, gloomy lines are if they were read individually of the rhythm. Other things The Simpsons paradox differed from Poe’s “The Raven” was by using visual effects that didn’t agree with the original text to create irony and physical humor. When the narrator said, “Then, me thought, the air grew denser, perfumed from an unseen censer,” the unseen censer hit Homer’s head, and we hear Homer’s classic line “D’oh!” Here, The Simpsons paradox transformed the poem by allowing us to see an “unseen” object in a scene that is normal of the physical humor that Homer is usually involved in. They mock Poe’s diction, by using Homer’s well-known physical humor to make a scene in “The Raven” that is supposed to be emotional and touching seem hilarious. The Simpsons paradox used all of the members of the Simpsons family during the sequence of the
These caused the post modern versions of her stories to adopt dualisms of combining sexual desires with naivety and give alternative interpretations that perhaps the male characters suffered victimisation instead. Within “The Bloody Chamber”, based on the fairy tale of Blue Beard, the dualism Carter builds is evident in the young girls’ character. Firstly, the fairytale depictions portray the girl as innocent, weak and naive with the use of lexis such as “girlhood”, “bony hips, my nervous pianist’s fingers” and “I thought I must truly love him” – therefore conforming to the gender constructs of gothic literature. Nonetheless, Carter’s use of sexually explicit language such as “young girl’s pointed breasts” and “now teasingly caressed me, egregious, insinuating, nudging between my thighs” provides the character with a sexually adventurous nature, and as a result the story moves away from the usual depictions of women and thus gothic conventions. Carter’s use of the narrative in first person gives a foresight into the girl’s mind, therefore suggesting due to the hyperbolic and romanticising language of “that magic place” when describing her wedding night that she is not entirely victimised by the male character but by
This could be applied to make a point that life and liberty are one in the same; that with life comes a given freedom, and the right to pursue ones own happiness is branched under that freedom. Jefferson uses a few other types of creative alliteration in this writing. For instance, towards the end of the document, he exaggerates the words “repeated petitions.” This emphasis on the harsh “P” sound further elaborates how many times the colonists have tried to let their voices be known, but end up either accomplishing nothing or becoming even more worse off then before. Also towards the end he
With Chaucer’s humour there is also satire which parodies ordinary life and the previous tale. Because of the position of the Miller’s Tale as an answer to the Knight’s Tale, we have to look at what that means. Seeing as the Miller’s Tale is a direct answer to the Knight’s Tale of high romance and courtly love, we get the juxtaposition of two very different tales that really are about the same thing. Chaucer shows us that the fabliau can be a parody of the romance genre. In both stories we have a love triangle with a woman which is unobtainable and two men that fight over her.
This formation works particularly well for “Oh, think not I am faithful to a vow!” because she presents her problem in the first eight lines by giving two examples back to back of reasons that would cause her to leave. Since the first eight lines all connect a central idea they would not work as well if they formed two quatrains. The sestet is formed beginning with “But” in line nine. The last six lines resolve the problem by the (4+2) method, because lines nine through twelve answer the problem and then the heroic couplet accentuates the resolution in elevated diction. [10 points] The poem, however, deviates from the standard structure of the Shakespearean sonnet in the following ways.
People are, in theory, all bound to a certain set of natural laws and moral codes and country rules, and part of the Romantic dogma is to break free of these bounds. This is precisely what Victor was attempting to do with his reanimation experiments: “Life and death appeared to me ideal bounds, which I should first break through, and pour a torrent of light into our dark world,” (M. Shelley 52) he says, further cementing his existence as a Romantic character. Mary Shelley was a self-professed lover of Coleridge, especially his poem, “Rhyme of the Ancient Mariner,” so it comes by no surprise that she also has references to his poem “The Eolian Harp,” which is another topic breached by several of the Romantic poets because of its place in classical poetry as well. The poem grants the idea of somewhat of a breeze of inspiration playing on the heart of the subject (Coleridge). Shelley takes this idea into her novel in several places, and means it as a breeze of discovery, not just as a breeze of inspiration.
He subtly creates a climatic and dramatic play with details that may be overlooked if not examined closely enough. While changing Abigail's age may appear to be an insignificant change in The Crucible, Arthur Miller's reasons for making this change shed light on both history and the play. According to William J. McGill Jr., Arthur Miller changed Abigail's age to make a more dramatic story possible. McGill states that "Abigail Williams, the prime mover of the Salem hysteria had been the house servant of the Proctors, developed an adulterous relationship with John Proctor to avoid an 'inartistic danger' of making an entirely innocent character suffer" (259). If John Proctor had an affair with a different person, it would not have been as impactful to the story.
Marcus Aurelius once said, “Whosoever does wrong, wrongs himself…” Othello by William Shakespeare and A Streetcar Named Desire by Tennessee Williams both illustrate the critical lens. Both authors use literary devices to convey the critical lens. Both authors use characterization and theme of deception in their literary works. The critical lens means that if a person does wrong or bad thing it will eventually affect them at the end. The quotation is true because when someone does wrong thing it comes back to them.
Poetry and drama have a few key features that emphasize their per formative nature. One is the use of rhyme, rhythm, meter, alliteration, and other types of sound symbolism. For example, in Gwendolyn Brooks' "We real cool", the poet uses a strong rhyme scheme, a consistent meter, and an almost sing-song tone to demonstrate the lack of education of the narrator and his or her youthfulness. It also emphasizes the last line "We die soon.". Another is in "unity of action".
Shakespeare echoes key thematic topics by the production of a series of lies that form intro deception at crucial moments. When Hero and Ursula exit and leave Beatrice alone, Beatrice declares, “…Benedick, love on; I will requite thee, taming my wild heart to thy loving hand” (III. i. 117-118). Beatrice expresses her acceptance of Benedick’s love but does not realize the love inside Beatrice exists artificially.