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Literature:Literary Devices
Literary devices examinable
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Condren’s article, “Two Witty Glosses” discusses how the “The Friar’s Tale” and “The Summoner’s Tale” both use language to create ironic foreshadowing of each tale’s events. Condren also expounds upon how each tale is structurally similar. Both tales follow a straightforward formula to present both tales’ engagements with social discourse and the importance of intent. Condren’s structuralist approach to the three tales in Fragment III (“The Friar’s Tale” and “The Summoner’s Tale in particular) illustrates how language itself operates within tales that rely heavily on the specifics of
Such comments as, “I pray to God his nekke mote to-breke” quickly reveal that the ver-bal game of “quite” involves much more than a free meal to the Reeve in “The Canterbury Tales” (I 3918). This overreaction, which grabs the attention of the audience and gives it pause, is characteristic of the Reeve’s ostensibly odd behavior, being given to morose speeches followed by violent outbursts, all the while harboring spiteful desires. Anger typifies the Reeve’s dialogue and his tale, which begs the question why. It appears to be a reaction to the Miller’s insults, but they are not extreme enough to provoke such resentment. He seem-ingly has no hesitation in articulating his bitterness, yet he and his story are as much marked by suppression as expression. Silence resounds as loudly as any noise in the Reeve’s Prologue and Tale. The reader is as puzzled by his utterances as the lack of them: his sudden sermon on death is matched by the quietness of two couples copulating in a small room of five, none of which are able to hear what the others are doing. The reality is that the behavior of the Reeve and the characters in his tale are not random or unaccountable. The Reeve is continually si-lenced by other pilgrims and himself, which is paralleled in his tale, and in turn suppresses his emotions, which leads to even more explosive conduct.
The Merchant's Prologue and Tale presents the darkest side of Chaucer's discussion on marriage. Playing off both the satire of the moral philosopher, the Clerk, and the marital stage set by the Wyf of Bathe, the Merchant comes forth with his angry disgust about his own marital fate. Disillusioned and depraved, the Merchant crafts a tale with a main character who parallels his own prevarication and blind reductionism while he simultaneously tries to validate his own wanton life by selling his belief to the other pilgrims. As both pervert reality through pecuniary evaluations on different levels, however, both are exposed to be blind fools, subject to the very forces that they exert on others. As this reversal happens and the Merchant satirizes Januarie blindness, Chaucer reveals the Merchant's blindness, giving him the very significance that he had spent his whole tale trying to deny.
Murphy, B. & Shirley J. The Literary Encyclopedia. [nl], August 31, 2004. Available at: http://www.litencyc.com/php/speople.php?rec=true&UID=2326. Access on: 22 Aug 2010.
The more thought that is put into the true nature of human beings, the clearer the realization seems to be that as a species, humans are inclined to challenge limits that are thought to be understood and transcend set boundaries. This truth of human nature is quite effectively revealed in both The Epic of Gilgamesh and the novel Oryx and Crake. The Epic of Gilgamesh reveals more about the human disposition to push mortal boundaries. It explores the desire to challenge religious boundaries, which hold extreme repercussions, as well as fears that were faced when dealing with the truth of human mortality. Oryx and Crake, on the other hand, deals more with the human desire to attain eternal youth, and the moral boundaries that are pushed and most certainly crossed in those endeavours. As each text presents evidence to prove the presence of such desires in human nature, both also seem to argue that boundaries are set for reasons, and that nothing fruitful can come from the endeavour of crossing them.
Throughout literature, relationships can often be found between the author of a story and the story that he writes. In Geoffrey Chaucer's frame story, Canterbury Tales, many of the characters make this idea evident with the tales that they tell. A distinct relationship can be made between the character of the Pardoner and the tale that he tells.
For many, the world of Runescape is an unfamiliar world. Runescape involves many players in a medieval world of ghosts, goblins, and dangerous dragons. By fighting these monsters, characters can level up and get stronger. Each combat level that a player acquires increases his or her character’s strength by one point. People outside this discourse community would have a difficult time trying to understand everything that is going on in this internet game. Even people playing for years might not know everything there is to know about the game. It takes about two weeks to understand and incorporate Runescape’s terms and ways to trade, but that two weeks goes by plenty fast. Breaking things down to its simplest parts is a tough thing to do, but it puts the world of Runescape into view for others that have not heard about the game. Interacting with the other players of Runescape and understanding what the other people are trying to say are key survival techniques that must be used in order to last in this game.
The collection of stories comprised in both The Decameron By Giovanni Boccaccio and The Canterbury Tales by Geoffrey Chaucer illustrate a frame story where both parties are going on an adventure. In particular the characters in The Decameron are fleeing the city of Florence and the Black Plague, while in The Canterbury Tales the characters are making a pilgrimage. Each collection has one notable story that could be seen to have a common theme. In The Decameron the tale of “Federigo’s Falcon” and “The Wife of Bath’s Tale” in The Canterbury Tales both have similar themes of sacrifice. Whether this theme necessarily means the same thing to both tales is questionable. Despite this, it is clear that both do share a theme involving sacrifice, as well as having some subtle differences in what that sacrifice means to the character.
The narrator of this story is omniscient and narrates the events in the first person , in the narrative, there is a definite plot , but corresponds perfectly with the fable : we can therefore speak of a parallel totale.La story is divided into three main sequences : the first serves to give the reader , the definition of the moment in which the story takes place , and announces what is happening in the narrative ; The second part contains a description of the abbey and its inhabitants ; in the third sequence , the more narrative , there is the unfolding of the whole story : with the arrival of death and its consequences .
Mitchell, J. Allan. (2005). Chaucer's Clerk's Tale and the Question of Ethical Monstrosity. Studies in Philology. Chapel Hill: Winter 2005. Vol.102, Iss. 1; pg. 1, 26 pgs
Unlike a frame story literary device where an author uses a story to set the stage but puts the proverbial meat of the story into the tales told by the characters in the main story. To better clarify rather than following the format of Geoffrey Chaucer’s “Canterbury Tales” Beerbohm and Saki’s tales give a story told by one of the main characters to supplement the tale and influence the reader’s opinions regarding the character telling, and to an extent the character listening to, the story.
Although both authors claim their stories are true, and thereby that their characters are realistic, there seems to be a gap between the authors' claims and the "reality" of the characterization. This question is closely connected to the fact that both novels belong to the earliest English novels. There was no fixed tradition that the authors worked in; instead the novel was in the process of being established. The question arises whether the two works lack a certain roundness in their narrators.
...an see, when reading a work such as The Canterbury Tales, there are many advantages and disadvantages to the work being in both middle and modern English. Before reading such a work, one must realize his or her own purpose for reading the work and then decide on which version to read. It is the opinion of many that it is beneficial to read both versions in order to educate one self about both languages as well as to experience the evolution of the English language. The English language has changed greatly over the many centuries since the time this work was written. However, this work helps create a bridge between the languages of the middle and modern English worlds. This was a work that transcended any work previously written and one that will continue to have an important place in the history of English literature and the English language as a whole.
Two of the greatest masters of British literature, Shakespeare and Chaucer, tended to look to the classics when searching for inspiration. A lesser-known example of this lies in an ancient tale from Greece about two star-crossed lovers. There are many variations on the names of these lovers, but for the purpose of solidarity, they shall henceforth be referred to as “Troilus and Criseyde” for Chaucer and “Troilus and Cressida” for Shakespeare. Chaucer’s “Troilus and Criseyde” offers up a classic tale of love that is doomed, whereas Shakespeare’s “Troilus and Cressida” is not only tragic but also biting in its judgment and representation of characters. This difference may be due to the differences in time periods for the two authors, or their own personal dispositions, but there can be no denying the many deviations from Chaucer’s work that Shakespeare employs. Shakespeare’s work, by making the characters and situations more relatable, builds upon Chaucer’s original work, rather than improving it or shattering it.
With careful study, the language of Chaucer in The Canterbury Tales is usually clarified and understood as the beautiful verse narrative it is. There is, however, the common problem that comes when one is unable to comprehend it in Middle English enough to coherently study it. The question has been raised as to whether it might be more useful to study a translated version of the poem so that it can be understood on first reading. The main problem with this idea is that in nearly every translation, the great beauty of the language is lost in translation, thus subtracting a great deal of the poem's power and charm. Some gloss, however, is required to make it accessible for the average reader. Therefore, the best answer is moderation between translation and language which captures the beauty in a manageable form.
This essay explores the research question “In what ways does the use of supernatural elements in literature serve to reflect the nature of humanity?” and focuses on fairy tales, Hamlet, and Macbeth. It begins by outlining and examining the role of supernatural elements in promoting struggles between both the characters and groups within the plot. It then proceeds to showcase how using these elements to create struggles within the plot helps the author to outline the societal struggles of his or her time period within the work of literature. This essay then goes on to consider how and why the use of supernatural elements plays a role in a literary work’s adaptability over time and region. From there, this essay explores how important supernatural elements are in making the stories that they are a part of more intricate and interesting. The role of supernatural elements in aiding character development and the role of certain characters within the plot is examined afterwards.