Contrast (literary)

Last updated

In literature, an author uses contrast when they describe the difference(s) between two or more entities. According to the Oxford Dictionary, contrast is comparing two things in order to show the differences between them. It is common in many works of Literature. For example, in The Pearl by John Steinbeck, a clear contrast is drawn between the Lower Class and the Upper Class residents of the society presented in the text. The Lower Class citizens live in brush houses, their economic activity is fishing and are sociable. These ones are represented by Kino, the main character and the fishermen. On the other hand, the Upper Class citizens live in plastered buildings, they engage in reputable economic activities such as medicine and are more focused to their economic activities as opposed to social interactions.

In addition, in the first four lines of William Shakespeare's Sonnet 130 , Shakespeare contrasts a mistress to the sun, coral, snow, and wire.

Contrast is the antonym of simile. In poetic compositions, it is common for poets to set out an elaborate contrast or elaborate simile as the argument. For example, John Donne and the metaphysical poets developed the conceit as a literary device, where an elaborate, implausible, and surprising analogy was demonstrated. In Renaissance poetry, and particularly in sonnets, the contrast was similarly used as a poetic argument. In such verse, the entire poem argues that two seemingly alike or identical items are, in fact, quite separate and paradoxically different. These may take the form of my love is unlike all other women or I am unlike her other loves.

In the early 18th century, a theory of wit developed by English writers (particularly John Locke) held that judgement sees the differences in like things, or imagination or fancy sees the likeness in different things, and wit operates properly by employing judgement and fancy to form sound propositions. In lyric poetry, the author is often attempting to show how what seems to be solely an exercise of judgement or fancy is, in fact, wit.

Related Research Articles

<span class="mw-page-title-main">English poetry</span>

This article focuses on poetry from the United Kingdom written in the English language. The article does not cover poetry from other countries where the English language is spoken, including the Republic of Ireland after December 1922.

<span class="mw-page-title-main">Metaphysical poets</span> Term used to describe a loose group of British lyric poets of the 17th century

The term Metaphysical poets was coined by the critic Samuel Johnson to describe a loose group of 17th-century English poets whose work was characterised by the inventive use of conceits, and by a greater emphasis on the spoken rather than lyrical quality of their verse. These poets were not formally affiliated and few were highly regarded until 20th century attention established their importance.

<span class="mw-page-title-main">William Lisle Bowles</span> English priest, poet and critic (1762–1850)

William Lisle Bowles was an English priest, poet and critic.

An extended metaphor, also known as a conceit or sustained metaphor, is the use of a single metaphor or analogy at length in a work of literature. It differs from a mere metaphor in its length, and in having more than one single point of contact between the object described and the comparison used to describe it. These implications are repeatedly emphasized, discovered, rediscovered, and progressed in new ways.

<span class="mw-page-title-main">Mac Flecknoe</span> Poem by John Dryden, published in 1682

Mac Flecknoe is a verse mock-heroic satire written by John Dryden. It is a direct attack on Thomas Shadwell, another prominent poet of the time. It opens with the lines:

<span class="mw-page-title-main">Glossary of literary terms</span>

This glossary of literary terms is a list of definitions of terms and concepts used in the discussion, classification, analysis, and criticism of all types of literature, such as poetry, novels, and picture books, as well as of grammar, syntax, and language techniques. For a more complete glossary of terms relating to poetry in particular, see Glossary of poetry terms.

<span class="mw-page-title-main">Sonnet 18</span> Poem by William Shakespeare

Sonnet 18 is one of the best-known of the 154 sonnets written by English poet and playwright William Shakespeare.

<span class="mw-page-title-main">Sonnet 130</span> Poem by William Shakespeare

Sonnet 130 is a sonnet by William Shakespeare, published in 1609 as one of his 154 sonnets. It mocks the conventions of the showy and flowery courtly sonnets in its realistic portrayal of his mistress.

<span class="mw-page-title-main">Sonnet 55</span> Poem by William Shakespeare

Sonnet 55 is one of the 154 sonnets published in 1609 by the English playwright and poet William Shakespeare. It is included in what is referred to as the Fair Youth sequence.

<span class="mw-page-title-main">Artistic inspiration</span> Unconscious burst of creativity

Inspiration is an unconscious burst of creativity in a literary, musical, or visual art and other artistic endeavours. The concept has origins in both Hellenism and Hebraism. The Greeks believed that inspiration or "enthusiasm" came from the muses, as well as the gods Apollo and Dionysus. Similarly, in the Ancient Norse religions, inspiration derives from the gods, such as Odin. Inspiration is also a divine matter in Hebrew poetics. In the Book of Amos the prophet speaks of being overwhelmed by God's voice and compelled to speak. In Christianity, inspiration is a gift of the Holy Spirit.

<span class="mw-page-title-main">Sonnet 26</span> Poem by William Shakespeare

Sonnet 26 is one of 154 sonnets written by the English playwright and poet William Shakespeare, and is a part of the Fair Youth sequence.

<span class="mw-page-title-main">Sonnet 33</span> Poem by William Shakespeare

Shakespeare's Sonnet 33 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It is a member of the Fair Youth sequence, in which the poet expresses his love towards a young man. This sonnet is the first of what are sometimes called the estrangement sonnets, numbers 33–36: poems concerned with the speaker's response to an unspecified "sensual fault" mentioned in (35) committed by his beloved.

Nationality words link to articles with information on the nation's poetry or literature.

<span class="mw-page-title-main">Sonnet 57</span> Poem by William Shakespeare

Sonnet 57 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It is a member of the Fair Youth sequence, in which the poet expresses his love towards a young man. Sonnet 57 is connected with Sonnet 58 which pursues the theme of the poet as a slave of the beloved.

<span class="mw-page-title-main">Sonnet 59</span> Poem by William Shakespeare

Sonnet 59 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It's a part of the Fair Youth sequence, in which the poet expresses his love towards a young man.

The volta is a rhetorical shift or dramatic change in thought and/or emotion. Turns are seen in all types of written poetry. In the last two decades, the volta has become conventionally used as a word for this, stemming supposedly from technique specific mostly to sonnets. Volta is not, in fact, a term used by many earlier critics when they address the idea of a turn in a poem, and they usually are not discussing the sonnet form. It is a common Italian word more often used of the idea of a time or an occasion than a turnabout or swerve.

<span class="mw-page-title-main">Sonnet 133</span> Poem by William Shakespeare

Sonnet 133 is a poem in sonnet form written by William Shakespeare, first published in 1609 in Shakespeare's sonnets.

<span class="mw-page-title-main">Sonnet 84</span> Poem by William Shakespeare

Sonnet 84 is one of 154 sonnets published by the English playwright and poet William Shakespeare in 1609. It's part of the Fair Youth sequence, and the seventh sonnet of the Rival Poet group.

Waṣf is an ancient style of Arabic poetry, which can be characterised as descriptive verse. The concept of waṣf was also borrowed into Persian, which developed its own rich poetic tradition in this mode.

<span class="mw-page-title-main">To Sheridan</span> Poem written by Samuel Taylor Coleridge

"To Sheridan" or "To Richard Brinsley Sheridan" was written by Samuel Taylor Coleridge and published in the 29 January 1795 Morning Chronicle. As the last poem running as part of the Sonnets on Eminent Characters series, it describes Coleridge's appreciation of Richard Brinsley Sheridan and his theatre talents. Coleridge, unlike most, preferred Sheridan's somber works over his comedies and emphasizes them within the poem. Coleridge also respects Sheridan's political actions.

References