Literary Devices Quotes

Hash, x. There is no definition for this word - nobody knows what hash is. Famous, adj. Conspicuously miserable. Dictionary, n. A malevolent literary device for cramping the growth of a language and making it hard and inelastic. This dictionary, however, is a most useful work.

That’s what happens when you personify hopes and dreams in one person. He becomes nothing more than a literary device.

As I approached my fiftieth birthday, I had become more and more enraged and mystified by the idiot decisions made by my countrymen. And then I had come suddenly to pity them, for I understood how innocent and natural it was for them to behave so abominably, and with such abominable results: They were doing their best to live like people invented in story books. This was the reason Americans shot each other so often: It was a convenient literary device for ending short stories and books. Why were so many Americans treated by their government as though their lives were as disposable as paper facial tis-sues? Because that was the way authors customarily treated bit-part players in their made-up tales. And so on.Once I understood what was making America such a dangerous, unhappy nation of people who had nothing to do with real life, I resolved to shun storytelling. I would write about life. Every person would be exactly as important as any other. All facts would also be given equal weightiness. Nothing would be left out. Let others bring order to chaos. I would bring chaos to order, instead, which I think I have done. If all writers would do that, then perhaps citizens not in the literary trades will understand that there is no order in the world around us, that we must adapt ourselves to the requirements of chaos instead. It is hard to adapt to chaos, but it can be done. I am living proof of that: It can be done.

Poetry aside, a religion is really a moral code that is expressed through legends, myths, or any type of literary device in order to establish a system of beliefs, values, and rules with which to regulate a culture or a society.

The thing to remember when you're writing," he said, " is, it's not whether or not what you put on paper is true. It's whether it wakes a truth in your reader. I don't care what literary device you might use, or belief systems you tap into--if you can make a story true for the reader, if you can give them a glimpse into another way of seeing the world, or another way that they can cope with their problems, then that story is a succes.

Do you know what religion is, Martin, my friend? -I can barely remember Lord's Prayer. -A beautiful and well-crafted prayer. Poetry aside, a religion is really a moral code that is expressed through legends,myths, or any type of literary device in order to establish a system of beliefs, values , and rules with which to regulate a culture or a society.

The essay is a literary device for saying almost everything about almost anything.

Code is not like other how-computers-work books. It doesn't have big color illustrations of disk drives with arrows showing how the data sweeps into the computer. Code has no drawings of trains carrying a cargo of zeros and ones. Metaphors and similes are wonderful literary devices but they do nothing but obscure the beauty of technology.

Di looked annoyed. “No, I am here to tour the palace.” “Sarcasm, not the time.” “Sorry, the literary device is still new to me.

Nothing on earth really matters, there is nothing to fear, and death is but a question of style, a mere literary device, a musical resolution.

I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn't be—basically, gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful—nonfiction only, please. I do not like genre mash-ups à la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and crossbreeding rarely results in anything satisfying. I do not like children's books, especially ones with orphans, and I prefer not to clutter my shelves with young adult. I do not like anything over four hundred pages or under one hundred fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and—I imagine this goes without saying—vampires.

Poetry aside, a religion is really a moral code that is expressed through legends, myths or any type of literary device in order to establish a system of beliefs, values and rules with which to regulate a culture or a society.

Poetry aside, a religion is really a moral code, that is expressed through legends, myths, or any type of literary device in order to establish a system of belifs, values, and rules with which to regulate a culture or a society.

The best literary device I got from my people was their talk, rough, earthy, salty speech that starts dancing on me sometimes, crying on me other times whether I like it or not.

They were doing their best to live like people invented in story books. This was the reason Americans shot each other so often: It was a convenient literary device for ending short stories and books.

I thought Beatrice Keedsler had joined hands with other old-fashioned storytellers to make people believe that life had leading characters, minor characters, significant details, insignificant details, that it had lessons to be learned, tests to be passed, and a beginning, a middle, and an end. As I approached my fiftieth birthday, I had become more and more enraged and mystified by the idiot decisions made by my countrymen. And then I had come suddenly to pity them, for I understood how innocent and natural it was for them to behave so abominably, and with such abominable results: They were doing their best to live like people invented in story books. This was the reason Americans shot each other so often: It was a convenient literary device for ending short stories and books. Why were so many Americans treated by their government as though their lives were as disposable as paper facial tissues? Because that was the way authors customarily treated bit-part players in their madeup tales. And so on. Once I understood what was making America such a dangerous, unhappy nation of people who had nothing to do with real life, I resolved to shun storytelling. I would write about life. Every person would be exactly as important as any other. All facts would also be given equal weightiness. Nothing would be left out. Let others bring order to chaos. I would bring chaos to order, instead, which I think I have done. If all writers would do that, then perhaps citizens not in the literary trades will understand that there is no order in the world around us, that we must adapt ourselves to the requirements of chaos instead. It is hard to adapt to chaos, but it can be done. I am living proof of that: It can be done.

God is a novelist. He uses all sorts of literary devices: alliteration, assonance, rhyme, synecdoche, onomatopoeia. But of all of these, His favorite is foreshadowing. And that is what God was doing at the Cloisters and with Eudora Welty. He was foreshadowing. He was laying traps, leaving clues, clues I could have seen had I been perceptive enough.

Thousands of years before Christianity, secret cults arose which worshipped the sacred mushroom—the Amanita Muscaria—which, for various reasons (including its shape and power as a drug) came to be regarded as a symbol of God on earth. When the secrets of the cult had to be written down, it was done in the form of codes hidden in folk tales. This is the basic origin of the stories in the New Testament. They are a literary device to spread the rites and rules of mushroom worship to the faithful.

If Scripture were to describe the downfall of an empire in the style adopted by political historians, the common people would not be stirred.

Watson is a cheap, efficient little sod of a literary device. Holmes doesn't need him to solve crimes any more than he needs a ten-stone ankle weight. The audience, Arthur. The audience needs Watson as an intermediary, so that Holmes's thoughts might be forever kept just out of reach. If you told stories from Holmes's perspective, everyone would know what the bleeding genius was thinking the whole time. They'd have the culprit fingered on page one.

Symbols are not only objects; they can be gestures, places, and words. Story can be symbolic all on its own, as in allegory. Considering the power of this oldest of literary devices,

A few years I discovered this wonderful device which boosts my productivity enormously. Fortunately, it comes in handy pint-sized glasses and is called beer.” “I figured no one is going to be dumb enough to break into the house of the local police inspector.

You hold in your hands a very special book. It contains one hundred carnival rides of terror. You must remember: horror can come from any direction. It can be as subtle as a spider web's caress, or as vicious as the drop of an axe blade. It can be grim as the reaper, or as sardonic as, well, Sardonicous. It can wear the garments of science or superstition; can be dressed in the trappings of fantasy or the fancy-free. But always it will terrify. And one of the bluntest of its instruments is the short-short story, one of the most difficult of literary devices to master. Not only must each word be perfect-but each comma and period. Nothing can be wasted. In the hands of master executioners, like the authors who fill this book-it can be deadly. So... Die-and die again- one hundred times...

These scenes, by the way, are not altogether a literary device - a means of summing up and making a knot of innumerable little threads. Innumerable threads were there; still, if I stopped to disentangle, I could collect a number. But whatever the reason may be, I find that scene making is my natural way of marking the past.

...I had come suddenly to pity them, for I understood how innocent and natural it was for them to behave abominably, and with such abominable results. They were doing their best to live like people invented in story books. This was the reason Americans shot each other so often: It was a convenient literary device for ending short stories and books.

No, Ben. What I’m asking is: Are you the vehicle, and Georgie rides around in you? That is why Ben’s the driver, right?

They had bigger problems than poorly deployed literary devices.

DICTIONARY, n. A malevolent literary device for cramping the growth of a language and making it hard and inelastic. This dictionary, however, is a most useful work.

That's what happens when your personify hopes and dreams in one person. He becomes nothing more than a literary device.

For my present purpose I require a word which shall embrace both the Sub-Creative Art in itself, and a quality of strangeness and wonder in the Expression, derived from the Image: a quality essential to fairy-story. I propose, therefore, to arrogate to myself the powers of Humpty-Dumpty, and to use Fantasy for this purpose: in a sense, that is, which combines with its older and higher use as an equivalent of Imagination the derived notions of 'unreality' (that is, of unlikeness to the Primary World), of freedom from the dominion of 'observed fact,' in short of the fantastic. I am thus not only aware but glad of the etymological and semantic connexions of fantasy with fantastic: with images of things that are not only 'not actually present,' but which are indeed not to be found in our primary world at all, or are generally believed not to be found there. But while admitting that, I do not assent to the depreciative tone. That the images are of things not in the primary world (if that indeed is possible) is, I think, not a lower but a higher form of Art, indeed the most nearly pure form, and so (when achieved) the most Potent. Fantasy, of course, starts out with an advantage: arresting strangeness. But that advantage has been turned against it, and has contributed to its disrepute. Many people dislike being 'arrested.' They dislike any meddling with the Primary World, or such small glimpses of it as are familiar to them. They, therefore, stupidly and even maliciously confound Fantasy with Dreaming, in which there is no Art; and with mental disorders, in which there is not even control; with delusion and hallucination. But the error or malice, engendered by disquiet and consequent dislike, is not the only cause of this confusion. Fantasy has also an essential drawback: it is difficult to achieve. . . . Anyone inheriting the fantastic device of human language can say the green sun. Many can then imagine or picture it. But that is not enough -- though it may already be a more potent thing than many a 'thumbnail sketch' or 'transcript of life' that receives literary praise. To make a Secondary World inside which the green sun will be credible, commanding Secondary Belief, will probably require labour and thought, and will certainly demand a special skill, a kind of elvish craft. Few attempt such difficult tasks. But when they are attempted and in any degree accomplished then we have a rare achievement of Art: indeed narrative art, story-making in its primary and most potent mode.

Anna is the sort of woman who writers write about, Tom. Somewhere in the third act, women like her save characters like you and me from ourselves. She's the loveliest literary device in the world.

It was no good my knowing that old men have conned young ones like that ever since time began. I still fell for it, as one still falls for the oldest literary devices in the right hands and contexts.

Equally important was the fact that the interpretation provided the model for how Tianming had hidden his message in the three stories. He employed two basic methods: dual-layer metaphors and two-dimensional metaphors. The dual-layer metaphors in the stories did not directly point to the real meaning, but to something far simpler. The tenor of this first metaphor became the vehicle for a second metaphor, which pointed to the real intelligence. In the current example, the princess’s boat, the He’ershingenmosiken soap, and the Glutton’s Sea formed a metaphor for a paper boat driven by soap. The paper boat, in turn, pointed to curvature propulsion. Previous attempts at decipherment had failed largely due to people’s habitual belief that the stories only involved a single layer of metaphors to hide the real message. The two-dimensional metaphors were a technique used to resolve the ambiguities introduced by literary devices employed in conveying strategic intelligence. After a dual-layer metaphor, a single-layer supporting metaphor was added to confirm the meaning of the dual-layer metaphor. In the current example, the curved snow-wave paper and the ironing required to flatten it served as a metaphor for curved space, confirming the interpretation of the soap-driven boat. If one viewed the stories as a two-dimensional plane, the dual-layer metaphor only provided one coordinate; the supporting single-layer metaphor provided a second coordinate that fixed the interpretation on the plane. Thus, this single-layer metaphor was also called the bearing coordinate. Viewed by itself, the bearing coordinate seemed meaningless, but once combined with the dual-layer metaphor, it resolved the inherent ambiguities in literary language. “A subtle and sophisticated system,” a PIA specialist said admiringly. All the committee members congratulated Cheng Xin and AA. AA, who had always been looked down on, saw her status greatly elevated among the committee members. Cheng

He will live to see them make him a national hero and he will die the only person thinking he had failed. That’s what happens when you personify hopes and dreams in one person. He becomes nothing more than a literary device.

All-out nuclear war, of course, is just a literary device here; it is not a prerequisite for contemporary cultural disintegration, and indeed, one could argue that corporate consumer culture is tantamount to a kind of nuclear attack on the mind.

As I approached my fiftieth birthday, I had become more and more enraged and mystified by the idiot decisions made by my countrymen. And then I had come suddenly to pity them, for I understood how innocent and natural it was for them to behave so abominably, and with such abominable results: They were doing their best to live like people invented in story books. This was the reason Americans shot each other so often: It was a convenient literary device for ending short stories and books.

The idea of bearing witness is often very problematic as a concept, as a rhetorical tool, and as a literary device. We no longer need James Nachtwey to fly to war-torn Bosnia. Everyone is a photographer now, so we are all witnesses. We live in a surveillance economy where we are constantly just bearing witness. Which means that the capacity to see does not automatically become the capacity for action. What is the function of seeing something, and saying something, if it doesn’t lead to concrete action or change?

As I wrote at Lake City Community College in the mid-90s there were a great many things I could only discuss with the help of literary devices – allusion, allegory, metaphor. And now... I'm just like... "Well, stepdad drank himself to death." May you all find a way to write what you now cannot write.

How about I tell you what I don't like? I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn't be - basically gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful - nonfiction only, please. I do not like genre mashups a la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and cross breeding rarely results in anything satisfying... I do not like anything over four hundred pages or under one hundred and fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and - I imagine this goes without saying - vampires.

Tick is a humble genesis, tock a feeble apocalypse; and tick-tock is in any case not much of a plot. We need much larger ones and much more complicated ones if we persist in finding 'what will suffice.' And what happens if the organization is much more complex than tick-tock? Suppose, for instance, that it is a thousand-page novel. Then it obviously will not lie within what is called our 'temporal horizon'; to maintain the experience of organization we shall need many more fictional devices. And although they will essentially be of the same kind as calling the second of those two related sounds tock, they will obviously be more resourceful and elaborate. They have to defeat the tendency of the interval between tick and tock to empty itself; to maintain within that interval following tick a lively expectation of tock, and a sense that however remote tock may be, all that happens happens as if tock were certainly following. All such plotting presupposes and requires that an end will bestow upon the whole duration and meaning. To put it another way, the interval must be purged of simple chronicity, of the emptiness of tock-tick., humanly uninteresting successiveness. It is required to be a significant season, kairos poised between beginning and end. It has to be, on a scale much greater than that which concerns the psychologists, an instance of what they call 'temporal integration'--our way of bundling together perception of the present, memory of the past, and expectation of the future, in a common organization. Within this organization that which was conceived of as simply successive becomes charged with past and future: what was chronos becomes kairos. This is the time of the novelist, a transformation of mere successiveness which has been likened, by writers as different as Forster and Musil, to the experience of love, the erotic consciousness which makes divinely satisfactory sense out of the commonplace person.

Guts,” never much of a word outside the hunting season, was a favorite noun in literary prose. People were said to have or to lack them, to perceive beauty and make moral distinctions in no other place. “Gut-busting” and “gut-wrenching” were accolades. “Nerve-shattering,” “eye-popping,” “bone-crunching”—the responsive critic was a crushed, impaled, electrocuted man. “Searing” was lukewarm. Anything merely spraining or tooth-extracting would have been only a minor masterpiece. “Literally,” in every single case, meant figuratively; that is, not literally. This film will literally grab you by the throat. This book will literally knock you out of your chair… Sometimes the assault mode took the form of peremptory orders. See it. Read it. Go at once…Many sentences carried with them their own congratulations, Suffice it to say…or, The only word for it is…Whether it really sufficed to say, or whether there was, in fact, another word, the sentence, bowing and applauding to itself, ignored…There existed also an economical device, the inverted-comma sneer—the “plot,” or his “work,” or even “brave.” A word in quotation marks carried a somehow unarguable derision, like “so-called” or “alleged…” “He has suffered enough” meant if we investigate this matter any further, it will turn out our friends are in it, too… Murders, generally, were called brutal and senseless slayings, to distinguish them from all other murders; nouns thus became glued to adjectives, in series, which gave an appearance of shoring them up… Intelligent people, caught at anything, denied it. Faced with evidence of having denied it falsely, people said they had not done it and had not lied about it, and didn’t remember it, but if they had done it or lied about it, they would have done it and misspoken themselves about it in an interest so much higher as to alter the nature of doing and lying altogether. It was in the interest of absolutely nobody to get to the bottom of anything whatever. People were no longer “caught” in the old sense on which most people could agree. Induction, detection, the very thrillers everyone was reading were obsolete. The jig was never up. In every city, at the same time, therapists earned their living by saying, “You’re being too hard on yourself.

As I approached my fiftieth birthday, I had become more and more enraged and mystified by the idiot decisions made by my countrymen. And then I had come suddenly to pity them, for I understood how innocent and natural it was for them to behave to so abominably, and with such abominable results: They were doing their best to live like people invented in story books. This was the reason Americans shot each other so often: It was a convenient literary device for ending short stories and books. Why were so many Americans treated by their government as though their lives were as disposable as paper facial tissues? Because that was the way authors customarily treated bit-part players in their made-up tales.

The Tull-Toks claim that everything in the universe can be read. Each star is a living text, where the massive convection currents of superheated gas tell an epic drama, with the starspots serving as punctuation, the coronal loops extended figures of speech, and the flares emphatic passages that ring true in the deep silence of cold space. Each planet contains a poem, written out in the bleak, jagged, staccato rhythm of bare rocky cores or the lyrical, lingering, rich rhymes—both masculine and feminine—of swirling gas giants. And then there are the planets with life, constructed like intricate jeweled clockwork, containing a multitude of self-referential literary devices that echo and re-echo without end.

Here's what an e-reader is. A battery operated slab, about a pound, one half-inch thick, perhaps an aluminum border, rubberized back, plastic, metal, silicon, a bit of gold, plus rare metals such as columbite-tantalite (Google it) ripped from the earth, often in war-torn Africa. To make one e-reader requires 33 pounds of minerals, plus 79 gallons of water to produce the battery and printed writing and refine the minerals. The production of other e-reading devices such as cell phones, iPads and whatever new gizmo will pop up (and down) in the years ahead is similar. "The adverse health impacts from making one e-reader are estimated to be 70 times greater than those for making a single book," says the Times. Then you figure that the one hundred million e-readers will be outmoded in short order--to be replaced by one hundred million new and improved devices in the years ahead that will likewise be replace by new models ad infinitum, and you realize an environmental disaster is at hand.

This unusual situation is due to the fact that the tablet omits all outbreaks of the conventional literary structure – Anu opened his mouth to speak, saying to the lady Ishtar … followed by Ishtar opened her mouth to speak, saying to her father, Anu … Gilgamesh VI: 87–88; 92–93 – with which Babylonian narrative literature is, not to put too fine a point on it, slightly tiresomely littered. In fact, I cannot come up with another example of Babylonian mythological or epic literature that is devoid of this characteristic speech-linking device. Its repetitive nature at first sight looks like a remnant of oral literature, where things are repeated more than we would repeat them today, which the modern connoisseur of cuneiform literature just has to accept, or appreciate as atmospheric and authentic. On reflection, however, it is just the opposite. The characteristic dependence on this formula originates in the very transition from oral to written literature, for who is speaking at any one time will always be clear in a storyteller’s presentation, but the process of writing down what has previously been spoken aloud creates ambiguity for the reader unless each speaker is clearly identified.

Literary Fiction and Reality Towards the beginning of his novel The Man Without Qualities, Robert Musil announces that 'no serious attempt will be made to... enter into competition with reality.' And yet it is an element in the situation he cannot ignore. How good it would be, he suggests, if one could find in life ' the simplicity inherent in narrative order. 'This is the simple order that consists in being able to say: "When that had happened, then this happened." What puts our mind at rest is the simple sequence, the overwhelming variegation of life now represented in, as a mathematician would say, a unidimensional order.' We like the illusions of this sequence, its acceptable appearance of causality: 'it has the look of necessity.' But the look is illusory; Musil's hero Ulrich has 'lost this elementary narrative element' and so has Musil. The Man Without Qualities is multidimensional, fragmentary, without the possibility of a narrative end. Why could he not have his narrative order? Because 'everything has now become nonnarrative.' The illusion would be too gross and absurd. Musil belonged to the great epoch of experiment; after Joyce and Proust, though perhaps a long way after, he is the novelist of early modernism. And as you see he was prepared to spend most of his life struggling with the problems created by the divergence of comfortable story and the non-narrative contingencies of modern reality. Even in the earlier stories he concerned himself with this disagreeable but necessary dissociation; in his big novel he tries to create a new genre in which, by all manner of dazzling devices and metaphors and stratagems, fiction and reality can be brought together again. He fails; but the point is that he had to try, a sceptic to the point of mysticism and caught in a world in which, as one of his early characters notices, no curtain descends to conceal 'the bleak matter-of-factness of things.

How about I tell you what I don’t like? I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn’t be—basically, gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful—nonfiction only, please. I do not like genre mash-ups à la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and crossbreeding rarely results in anything satisfying. I do not like children’s books, especially ones with orphans, and I prefer not to clutter my shelves with young adult. I do not like anything over four hundred pages or under one hundred fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and—I imagine this goes without saying—vampires. I rarely stock debuts, chick lit, poetry, or translations. I would prefer not to stock series, but the demands of my pocketbook require me to. For your part, you needn’t tell me about the ‘next big series’ until it is ensconced on the New York Times Best Sellers list. Above all, Ms. Loman, I find slim literary memoirs about little old men whose little old wives have died from cancer to be absolutely intolerable. No matter how well written the sales rep claims they are. No matter how many copies you promise I’ll sell on Mother’s Day.

We understand this well in every other book, movie, or television show—perhaps a little too well. Today’s filmmakers blow up entire populated planets just to raise the stakes for the hero’s climactic fight scene (something done in both the Star Wars and Star Trek science fiction franchises). In “Game of Thrones,” murder and torture are doled out with such abandon, over so many seasons, that they cease to be mere plot devices and become a central theme of the series. But heaven forbid Ayn Rand should write a scene where people suffocate to death to demonstrate the disastrous consequences of Big Government. As with most literary complaints against her, this one is applied selectively, only to the author with an unwelcome political and philosophical message.

Like,” he repeats with distaste. “How about I tell you what I don’t like? I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn’t be—basically, gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful—nonfiction only, please. I do not like genre mash-ups à la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and crossbreeding rarely results in anything satisfying. I do not like children’s books, especially ones with orphans, and I prefer not to clutter my shelves with young adult. I do not like anything over four hundred pages or under one hundred fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and—I imagine this goes without saying—vampires. I rarely stock debuts, chick lit, poetry, or translations. I would prefer not to stock series, but the demands of my pocketbook require me to. For your part, you needn’t tell me about the ‘next big series’ until it is ensconced on the New York Times Best Sellers list. Above all, Ms. Loman, I find slim literary memoirs about little old men whose little old wives have died from cancer to be absolutely intolerable. No matter how well written the sales rep claims they are. No matter how many copies you promise I’ll sell on Mother’s Day.

In 1910 Leroux had his greatest literary success with Le Fantôme de l’Opéra (The Phantom of the Opera). This is both a detective story and a dark romantic melodrama and was inspired by Leroux’s passion for and obsession with the Paris Opera House. And there is no mystery as to why he found the building so fascinating because it is one of the architectural wonders of the nineteenth century. The opulent design and the fantastically luxurious furnishings added to its glory, making it the most famous and prestigious opera house in all Europe. The structure comprises seventeen floors, including five deep and vast cellars and sub cellars beneath the building. The size of the Paris Opera House is difficult to conceive. According to an article in Scribner’s Magazine in 1879, just after it first opened to the public, the Opera House contained 2,531 doors with 7,593 keys. There were nine vast reservoirs, with two tanks holding a total of 22,222 gallons of water. At the time there were fourteen furnaces used to provide the heating, and dressing-rooms for five hundred performers. There was a stable for a dozen or so horses which were used in the more ambitious productions. In essence then the Paris Opera House was like a very small magnificent city. During a visit there, Leroux heard the legend of a bizarre figure, thought by many to be a ghost, who had lived secretly in the cavernous labyrinth of the Opera cellars and who, apparently, engineered some terrible accidents within the theatre as though he bore it a tremendous grudge. These stories whetted Leroux’s journalistic appetite. Convinced that there was some truth behind these weird tales, he investigated further and acquired a series of accounts relating to the mysterious ‘ghost’. It was then that he decided to turn these titillating titbits of theatre gossip into a novel. The building is ideal for a dark, fantastic Grand Guignol scenario. It is believed that during the construction of the Opera House it became necessary to pump underground water away from the foundation pit of the building, thus creating a huge subterranean lake which inspired Leroux to use it as one of his settings, the lair, in fact, of the Phantom. With its extraordinary maze-like structure, the various stage devices primed for magical stage effects and that remarkable subterranean lake, the Opera House is not only the ideal backdrop for this romantic fantasy but it also emerges as one of the main characters of this compelling tale. In using the real Opera House as its setting, Leroux was able to enhance the overall sense of realism in his novel.

Like,” he repeats with distaste. “How about I tell you what I don’t like? I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn’t be—basically, gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful—nonfiction only, please. I do not like genre mash-ups à la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and crossbreeding rarely results in anything satisfying. I do not like children’s books, especially ones with orphans, and I prefer not to clutter my shelves with young adult. I do not like anything over four hundred pages or under one hundred fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and—I imagine this goes without saying—vampires. I rarely stock debuts, chick lit, poetry, or translations. I would prefer not to stock series, but the demands of my pocketbook require me to. For your part, you needn’t tell me about the ‘next big series’ until it is ensconced on the New York Times Best Sellers list. Above all, Ms. Loman, I find slim literary memoirs about little old men whose little old wives have died from cancer to be absolutely intolerable. No matter how well written the sales rep claims they are. No matter how many copies you promise I’ll sell on Mother’s Day.” Amelia blushes, though she is angry more than embarrassed. She agrees with some of what A.J. has said, but his manner is unnecessarily insulting. Knightley Press doesn’t even sell half of that stuff anyway. She studies him. He is older than Amelia but not by much, not by more than ten years. He is too young to like so little. “What do you like?” she asks. “Everything else,” he says. “I will also admit to an occasional weakness for short-story collections. Customers never want to buy them though.” There is only one short-story collection on Amelia’s list, a debut. Amelia hasn’t read the whole thing, and time dictates that she probably won’t, but she liked the first story. An American sixth-grade class and an Indian sixth-grade class participate in an international pen pal program. The narrator is an Indian kid in the American class who keeps feeding comical misinformation about Indian culture to the Americans. She clears her throat, which is still terribly dry. “The Year Bombay Became Mumbai. I think it will have special int—” “No,” he says. “I haven’t even told you what it’s about yet.” “Just no.” “But why?” “If you’re honest with yourself, you’ll admit that you’re only telling me about it because I’m partially Indian and you think this will be my special interest. Am I right?” Amelia imagines smashing the ancient computer over his head. “I’m telling you about this because you said you liked short stories! And it’s the only one on my list. And for the record”—here, she lies—“it’s completely wonderful from start to finish. Even if it is a debut. “And do you know what else? I love debuts. I love discovering something new. It’s part of the whole reason I do this job.” Amelia rises. Her head is pounding. Maybe she does drink too much? Her head is pounding and her heart is, too. “Do you want my opinion?” “Not particularly,” he says. “What are you, twenty-five?” “Mr. Fikry, this is a lovely store, but if you continue in this this this”—as a child, she stuttered and it occasionally returns when she is upset; she clears her throat—“this backward way of thinking, there won’t be an Island Books before too long.

Rad had written a two-sentence response for his comparison/contrast between Moby Dick and The Old Man and the Sea: “The fishermen lost their fish, and that was IT. Nothing to write books about, and the ‘literary devices’ you want listed are nothing but made-up complications for a useless major.

Metaphor is a literary device, just like rhyme is a literary device; as such, it is a means of expressing ideas that may be true or false, effective or ineffective, compelling or boring.

Delayed gratification hints that something terrible is going to happen, and then delays the resolution. It’s that interval between the promise of something awful and it actually happening, where suspense resides.

His eyes are burning a hole in me like I’m that idiotic heroine from Fifty Shades of Grey.  Thoughts of that book are not going to help calm me any.  Literary abomination or not, nobody is totally immune to its devices.

In telling a story one of the most successful devices for easily creating uncanny effects is to leave the reader in uncertainty whether a particular figure in the story is a human being or an automaton and to do it in such a way that his attention is not focused directly upon his uncertainty, so that he may not be led to go into the matter and clear it up immediately.

one might argue that the Mandeville author’s original deception was not a simple trick for its own sake, but rather that it allowed him the freedom to speak his mind in a society that did not encourage such expression: to critique the moral state of his fellow Christians through an unusually open-minded presentation of the sectarian Christian and non-Christian world beyond Latin Christendom,2 an open-mindedness extended to nearly every group except the Jews and some nomads like the Bedouins. If so, the deception can be considered akin to the sort of literary device used by his near contemporary, William Langland, who, to obtain similar critical freedom, couched his impassioned critique of Christendom in an allegorical dream vision called Piers Plowman (five of whose some fifty surviving copies are bound with TBJM, suggesting that they have concerns in common).3

As I approached my fiftieth birthday, I had becomes more and more enraged and mystified by the idiot decisions made by my countrymen. And then I had come suddenly to pity them, for I understood how innocent and natural it was for them to behave so abominably, and with such abominable results: They were doing their best to live like people invented in story books. This was the reason Americans shot each other so often: It was a convenient literary device for ending short stories and books.

a religion is really a moral code that is expressed through legends, myths or any type of literary device in order to establish a system of beliefs, values and rules with which to regulate a culture or a society.

And we will do better with changing the questions we ask of such texts from “What literary device did the author use to reveal conflict?” to “What has changed or challenged your thinking?” The right books with the wrong questions will not move us forward.

The efforts to trace formal rhetorical devices back to Homer produced results conveniently available in the work known as De Vita et Poesi Homeri, which has come down to us among Plutarch's Moralia. The author sets out to prove that essentially everything in the form and content of literature, as well as in philosophical thought, was anticipated by Homer: figures of speech, adaptations of regular grammatical usage, figures of thought, styles of rhetoric, types of speech, and much else. The treatise lists about thirty-eight figures of speech and thought (there is some overlap between the two), and provides Homeric examples of each. It is significant that with a few exceptions (falling in the areas of military strategy and other practical aspects of culture) the author achieves his purpose without undue strain: all the figures identified by later teachers of rhetoric do occur in Homer, and the study testifies to the richness of the decorative features of Homeric style. This richness need not, of course, be the product of a sophisticated m d highly developed literary style, still less of a formal rhetorical teaching, and many of the figures are natural features of speech, found in the ordinary discourse of uneducated people. However, the frequency and variety of their occurrence within the conventional epic diction suggests that in this respect, as in all others, Homer is both making the fullest use of techniques developed by his predecessors and surpassing their achievement.

Literary devices are to literature what salt is to food, sugar is to cake, fragrance is to a rose, and the soul is to the body!

there are several problems with the idea that Paul was a Roman citizen.   First, the way this is presented in Acts appears to be a literary device to add suspense; many readers find it improbable that Paul should wait until after he has been mistreated, even brutally beaten, for a long time to mention to anyone that he is a Roman citizen, and then even more unlikely that everyone should then believe him and fall over themselves to do him right.

A tontine is a kind of primitive insurance fund, combined with a sort of lottery. And while it has many flaws as a financial scheme, as a literary device…

His studies were always second to Beatrice. He would've said everything was second to Beatrice but the flowery metaphors and literary devices can only stretch so far and for so many characters.

THE GOSPEL ACCORDING TO MATTHEW INTRODUCTION TO MATTHEW ■ Matthew’s author used a number of literary devices that indicate a Jewish audience. His writing captures a strong sense of messianic expectation and fulfillment. Matthew made much of fulfilled prophecy in his narrative. Quoting heavily from the Old Testament, Matthew claimed that fifteen Old Testament prophecies were fulfilled in Jesus’ ministry. He showed great interest in Jesus’ teaching on the Law of Moses. Jesus’ statement that He came to fulfill the law rather than abolish it is found exclusively in Matthew (5:17–20).

He handed me a letter. I unfolded it and read: Dear Mr Spratt, It has come to our attention that you may be attempting to give up the booze and reconcile with your wife. While we approve of this as a plot device to generate more friction and inner conflicts, we most strongly advise you not to carry it through to a happy reconciliation, as this would put you in direct contravention of Rule 11C of the Union of Sad Loner Detective’s Code, as ratified by the Union of Literary Detectives, and it will ultimately result in your expulsion from the association with subsequent loss of benefits. I trust you will do the decent thing and halt this damaging and abnormal behaviour before it leads to your downfall. PS. Despite repeated demands, you have failed to drive a classic car or pursue an unusual hobby. Please do so at once or face the consequences.

Suspense doesn’t always have to be about physical danger. Making the reader worry is a universal concept that can be applied to any story.

Inerrancy: The position that the Bible affirms no falsehood of any sort; that is, “it is without fault or error in all that it teaches,” in matters of history and science as well as faith (Chicago Statement on Biblical Inerrancy). Inerrancy allows for literary devices, such as metaphors, hyperbole, round numbers, and colloquial expressions.

It is for this reason that the anxiety about the boundaries between people and machines has taken on new urgency today, when we constantly rely on and interact with machines—indeed, interact with each other by means of machines and their programs: computers, smartphones, social media platforms, social and dating apps. This urgency has been reflected in a number of recent films about troubled relationships between people and their human-seeming devices. The most provocative of these is Her , Spike Jonze’s gentle 2013 comedy about a man who falls in love with the seductive voice of an operating system, and, more recently, Alex Garland’s Ex Machina , about a young man who is seduced by a devious, soft-spoken female robot called Ava whom he has been invited to interview as part of the “Turing Test”: a protocol designed to determine the extent to which a robot is capable of simulating a human. Although the robot in Garland’s sleek and subtle film is a direct descendant of Hesiod’s Pandora—beautiful, intelligent, wily, ultimately dangerous—the movie, as the Eve-like name Ava suggests, shares with its distinguished literary predecessors some serious biblical concerns.

using the content you teach to take all kids, not just inner-city kids, outside their own narrow band of experience is critical. This means challenging them with ideas outside their experience. Pandering to kids by substituting lyrics for lyric poetry or referring to a corpus of movies for examples of literary devices instead of a corpus of novels is easy in the short run but insufficient in the long run.

Framework hypothesis. Dr. Meredith Kline (1922–2007), who accepted many evolutionary ideas, popularized this view in America.24 It is very common in many seminaries today. Those who hold to framework treat Genesis 1 as a literary device (think poetic or semi-poetic), with the first three days paralleling and equating to the last three days of creation. These days are not seen as 24-hour days but are taken as metaphorical or allegorical to allow for ideas like evolution/millions of years to be entertained. Hence, Genesis 1 is treated as merely being a literary device to teach that God created everything (essentially in 3 days25).26 However, Genesis 1 is not written as poetry but as literal history.

Gothic is the genre of fear. Our fascination with it is almost always revived during times of instability and panic. In the wake of the French Revolution, the Marquis de Sade described the rise of the genre as 'the inevitable product of the revolutionary shock with which the whole of Europe resounded,' and literary critics in the late eighteenth century mocked the work of early gothic writers Anne Radcliffe and Matthew Lewis by referring to it as 'the terrorist school' of writing. As Fred Botting writes in Gothic, his lucid introduction to the genre, it expresses our unresolved feelings about 'the nature of power, law, society, family and sexuality' and yet is extremely concerned with issues of social disintegration and collapse. It's preoccupied with all that is immoral, fantastic, suspenseful, and sensational and yet prone to promoting middle-class values. It's interested in transgression, but it's ultimately more interested in restitution; it alludes to the past yet is carefully attuned to the present; it's designed to evoke excessive emotion, yet it's thoroughly ambivalent; it's the product of revolution and upheaval, yet it endeavors to contain their forces; it's terrifying, but pretty funny. And, importantly, the gothic always reflects the anxieties of its age in an appropriate package, so that by the nineteenth century, familiar tropes representing external threats like crumbling castles, aristocratic villains, and pesky ghosts had been swallowed and interiorized. In the nineteenth century, gothic horrors were more concerned with madness, disease, moral depravity, and decay than with evil aristocrats and depraved monks. Darwin's theories, the changing roles of women in society, and ethical issues raised by advances in science and technology haunted the Victorian gothic, and the repression of these fears returned again and again in the form of guilt, anxiety, and despair. 'Doubles, alter egos, mirrors, and animated representations of the disturbing parts of human identity became the stock devices,' Botting writes, 'signifying the alienation of the human subject from the culture and language in which s/he is located.' In the transition from modernity to post-modernity, the very idea of culture as something stable and real is challenged, and so postmodern gothic freaks itself out by dismantling modernist grand narratives and playing games. In the twentieth century, 'Gothic [was] everywhere and nowhere,' and 'narrative forms and devices spill[ed] over from worlds of fantasy and fiction into real and social spheres.

Books. It's always easier to tell people that a character is funny rather than attempt to hit the punchline of a joke that character would've said. But if we all simply told, books would cease to exist. And so would empathy. And feeling.

A religion is really a moral code that is expressed through legends, myths or any type of literary device in order to establish a system of beliefs, values and rules with which to regulate a culture or society

As I read on, however, the prose itself rather than the content became the center of my attention. It was unlike the books they had made me read at school and had nothing to do with the mysteries I used to check out of the library. Later, when I finally went to college, I would be able to trace Vanner’s literary influences and consider his novel from a formal point of view (even if he was never assigned reading for any of the courses I took, since his work was out of print and already quite unavailable). Yet back then I had never experienced anything like that language. And it spoke to me. It was my first time reading something that existed in a vague space between the intellectual and the emotional. Since that moment I have identified that ambiguous territory as the exclusive domain of literature. I also understood at some point that this ambiguity could only work in conjunction with extreme discipline—the calm precision of Vanner’s sentences, his unfussy vocabulary, his reluctance to deploy the rhetorical devices we identify with “artistic prose” while still retaining a distinctive style. Lucidity, he seems to suggest, is the best hiding place for deeper meaning—much like a transparent thing stacked in between others. My literary taste has changed since then, and Bonds has been displaced by other books. But Vanner gave me my first glimpse of that elusive region between reason and feeling and made me want to chart it in my own writing.

To the producers of Darling in the Franxx: thank you for inspiring the boy-girl pilot system in this book and the idea that mechas can be used as a literary device to explore adolescence, gender, and sexuality.

The efforts to trace formal rhetorical devices back to Homer produced results conveniently available in the work known as De Vita et Poesi Homeri, which has come down to us among Plutarch's Moralia. The author sets out to prove that essentially everything in the form and content of literature, as well as in philosophical thought, was anticipated by Homer: figures of speech, adaptations of regular grammatical usage, figures of thought, styles of rhetoric, types of speech, and much else. The treatise lists about thirty-eight figures of speech and thought (there is some overlap between the two), and provides Homeric examples of each. It is significant that with a few exceptions (falling in the areas of military strategy and other practical aspects of culture) the author achieves his purpose without undue strain: all the figures identified by later teachers of rhetoric do occur in Homer, and the study testifies to the richness of the decorative features of Homeric style. This richness need not, of course, be the product of a sophisticated and highly developed literary style, still less of a formal rhetorical teaching, and many of the figures are natural features of speech, found in the ordinary discourse of uneducated people. However, the frequency and variety of their occurrence within the conventional epic diction suggests that in this respect, as in all others, Homer is both making the fullest use of techniques developed by his predecessors and surpassing their achievement.

I had two great passions at the time: one magical and ethereal, which was reading, and the other mundane and predictable, which was pursuing silly love affairs. Concerning my literary ambitions, my successes went from slender to nonexistent. During those years I started a hundred woefully bad novels that died along the way, hundreds of short stories, plays, radio serials, and even poems that I wouldn't let anyone read, for their own good. I only needed to read them myself to see how much I still had to learn and what little progress I was making, despite the desire and enthusiasm I put into it. I was forever rereading Carax's novels and those of countless authors I borrowed from my parent's bookshop. I tried to pull them apart as if they were transistor radios, or the engine of a Rolls-Royce, hoping I would be able to figure out how they were built and how and why they worked. I'd read something in a newspaper about some Japanese engineers who practiced something called reverse engineering. Apparently these industrious gentlemen disassembled an engine to its last piece, analyzing the function of each bit, the dynamics of the whole, and the interior design of the device to work out the mathematics that supported its operation. My mother had a brother who worked as an engineer in Germany, so I told myself that there must be something in my genes that would allow me to do the same thing with a book or with a story. Every day I became more convinced that good literature has little or nothing to do with trivial fancies such as 'inspiration' or 'having something to tell' and more with the engineering of language, with the architecture of the narrative, with the painting of textures, with the timbres and colors of the staging, with the cinematography of words, and the music that can be produced by an orchestra of ideas. My second great occupation, or I should say my first, was far more suited to comedy, and at times touched on farce. There was a time in which I fell in love on a weekly basis, something that, in hindsight, I don't recommend. I fell in love with a look, a voice, and above all with what was tightly concealed under those fine-wool dresses worn by the young girls of my time. 'That isn't love, it's a fever,' Fermín would specify. 'At your age it is chemically impossible to tell the difference. Mother Nature brings on these tricks to repopulate the planet by injecting hormones and a raft of idiocies into young people's veins so there's enough cannon fodder available for them to reproduce like rabbits and at the same time sacrifice themselves in the name of whatever is parroted by bankers, clerics, and revolutionary visionaries in dire need of idealists, imbeciles, and other plagues that will prevent the world from evolving and make sure it always stays the same.

For O’Connor, the transcendent heart of paradox becomes more than a literary device: it comes a revelatory sign of God’s presence in the world

Stories can be incredibly powerful and beautiful devices that form and assist our perception and understanding of the world. However, according to twentieth-century American author Kurt Vonnegut, stories rarely tell the truth. After studying stories from an anthropological standpoint, examining the relationships with various cultures, Vonnegut found that stories and myths across many cultures share consistent similar shapes that can typically be broken down into just a few main categories. These shapes can be found graphing the course of a protagonist’s journey through a story along an axis of good and ill fortune. In all stories, someone or something starts somewhere, either in a good place, bad place, or neutral place. Then things happen related to that person which is conveyed as good or bad, bringing the character up and down the axis of fortune as they traverse forward through the story. Then, the story ends and its shape reveals itself. Vonnegut discovered that many popular stories follow common, consistent curves and spikes up and down the good/ill axis and that most end with the protagonist higher on the axis than where they started. However, what’s perhaps most interesting about Vonnegut’s analysis is this argument that these shapes, and consequently most stories, lie. Vonnegut proposed that a more honest, realistic story shape is simply a straight line. In a story of this shape, things still happen and characters still change, but the story maintains ambiguity around whether or not the events that occur are conclusively good or bad. According to Vonnegut, Hamlet is the closest literary representation of real life. “We are so seldom told the truth. In Hamlet-Shakespeare tells us that we don’t know enough about life to know what the good news is and the bad news is and we respond to that.” One story medium that seems to inadvertently coincide with this idea, is the medium of the television series. The goal of TV series is to keep viewers watching as long as possible. Each episode must be an engaging enough story to keep the viewer watching until the end, but each episode must also be left unresolved enough so the larger season-long and series-long stories continue and the viewer is interested in watching all the following episodes. In order to keep the whole thing going, none of the stories can reach a conclusion, and thus, the main characters can’t find ultimate peace or freedom from the uncertainty between good and ill-fortune. Of course, most shows don’t qualify as the straight-line shape in Vonnegut’s analysis, because most shows attempt to convey conclusively good and bad fortunes within them. However merely by the requirements of the medium TV series are forced to self-impose the same sort of universal truth that Vonnegut suggests. That neither the viewer nor the characters in a series can ever know what anything that’s so-called “good” or “bad” in one episode might cause in the next. And that on a fundamental level, the changes in each episode are futile because they are a part of a never-ending cycle of change through conflict and resolution, for the mere sake of its continuation, with no aim of a final resolution or reveal of what’s ultimately good or bad. Of course, eventually, a show reaches its series end when it stops working or runs its natural course. But the show fights its whole life to stay away from this moment. A good TV series, a series that we don’t want to end, is only a series that we don’t want to end because it can’t seem to resolve itself. In this, the format of Tv series also shows us that there is meaning, engagement, and entertainment within the endless cycle of change, regardless of its potential universal futility. And that perhaps change in life can exist not for the sake of some conclusion or ultimate state of peace, but a continuation of itself for the sake of itself. And perhaps the ability to be in this cycle of continued change for the sake of change is the actual good fortune.

2. Remember that Revelation was first of all written by a first-century Christian for first-century Christians using first-century literary devices and images.

Frowning, she considered this. “Was there a portent in Macbeth?” “Indeed, madam; there were several. Banquo’s ghost comes to mind.” “Aye—Shakespeare liked his ghosts.” “A useful literary device, madam. The ghosts were a form of foreshadowing.” “If you say so,” Doyle replied doubtfully

In fact, by offering young, overeducated fiction writers a comprehensive view of how hypocritically the U.S.A. saw itself circa 1960, early television helped legitimize absurdism and irony as not just literary devices but sensible responses to a ridiculous world.

beautiful and well-crafted prayer. Poetry aside, a religion is really a moral code that is expressed through legends, myths, or any type of literary device in order to establish a system of beliefs, values, and rules with which to regulate a culture or a society.

She takes it, flicks through the photographs of the objects picked up at the base. Rao sees her linger on a toy rifle, a red velvet comforter, a plush rabbit, a rocking chair. “Yeah,” she says. “Beautifully curated. Makes me think of the Valley of Lost Things. There’s a chapter called that in my book. It’s a literary device, a place characters visit in stories and find all the things people have lost. These, though”—her voice turns speculative—“seem to me not so much lost things as things made of loss. Where are these from?

Yet I know about how detrimental it alone can be, The audience can see satire as a time for lightheartedness A time to laugh instead of a time to ponder How could I meaningfully address a problem if I only spend time ridiculing it? Satire, I advise myself, “Use it, but use it not to an excessive degree

Al-Bisṭāmī turned the Quranic story of the Prophet’s night journey to heaven into a trope for the Sufi search for God, and subsequent Sufi mystics adopted that literary device as well.

This introduces us to several things about Mark's Gospel. First, he writes at an absolutely breakneck pace, often focusing on deeds without many words. For example, his account of Jesus' temptation by Satan does not include the mini-debate familiar from Matthew and Luke. Mark portrays Jesus as relentlessly active, driven by a sense that time is short and he has much to do. Things inevitably slow down after this remarkable opening chapter, but Mark will still move his narrative along. Second, we see the importance the evangelist puts upon Jesus' authority. He differs from everyone else. He is unique. The world has never seen his like and never will again. Human history has changed because of him, although few knew it at the time. Third, one reason few people knew him was that Jesus kept cautioning those he healed as well as the evil spirits to tell no one about the work he did. On the surface this makes little sense. How can he cure someone in a synagogue or when the whole town is present and expect word of that not to get around? The answer is that this is a Markan literary device.

I have constantly spoken, in the course of these analyses, of ‘literary devices.’ The phrase is a rather unfortunate one; for it is liable to call up in the hearer’s mind a picture of someone laboriously practising a mixture of card-sharping and cookery. The words make us visualize the man of letters turning over the pages of some literary Mrs. Beeton in quest of the best recipe for an epigram or a dirge; or else as a trickster preparing for his game with the reader by carefully marking the cards. But in point of fact the man of letters does most of his work not by calculation, not by the application of formulas, but by aesthetic intuition. He has something to say, and he sets it down in the words which he finds most satisfying aesthetically. After the event comes the critic, who discovers that he was using a certain kind of literary device, which can be classified in its proper chapter of the cookery-book. The process is largely irreversible. Lacking talent, you cannot, out of the cookery-book, concoct a good work of art. The best you can hope to do is to produce an imitation, which may, for a short time, deceive the unwary into thinking it the genuine article.

Who is the “me” here? The “I” and “me” of Romans 7 is a literary device through which Paul is telling the life story of Israel under the Torah.

As I approached my fiftieth birthday, I had become more and more enraged and mystified by the idiot decisions made by my countrymen. And then I had come suddenly to pity them, for I understood how innocent and natural it was for them to behave so abominably, and with such abominable results: They were doing their best to live like people invented in story books. This was the reason Americans shot each other so often: It was a convenient literary device for ending short stories and books. Why were so many Americans treated by their government as though their lives were as disposable as paper facial tissues? Because that was the way authors customarily treated bit-part players in their made-up tales.

Hammersley (2014) suggests that qualitative researchers aim to describe causation in one of two ways: 1. Create plausible models of causation using imaginative tools like metaphors literary devices, and thought experiments to explain how a thing might work in many different contexts, in abstract language 2. Conduct a deep analysis of observed, empirical data to generate

Or, to take the analogy imagined by Amos Oz and Fania Oz-Salzberger in Jews and Words, the reader today who consumes “Tolstoy and Toni Morrison with his morning coffee while skimming two news sites on his electronic device and perusing the small print on his breakfast cereal package.

Poetry is a combination of emotions, fantasy and reality, peppered with literary devices that speak more than words.

THE DEVIL TEACHES THERMODYNAMICS My second law, your second law, ordains that local order, structures in space and time, be crafted in ever-so-losing contention with proximal disorder in this neat but getting messier universe. And we, in the intricate machinery of our healthy bodies and life-support systems, in the written and televised word do declare the majesty of the zoning ordinances of this Law. But oh so smart, we think that we are not things, like weeds, or rust, or plain boulders, and so invent a reason for an eternal subsidy of our perfection, or at least perfectibility, give it the names of God or the immortal soul. And while we allow the dissipations that cannot be hid, like death, and — in literary stances — even the end of love, we make the others just plain evil: anger, lust, pride — the whole lot of pimples of the spirit. Diseases need vectors, so the old call goes out for me. But the kicker is that the struts of God's stave church, those nice seven, they're such a tense and compressed support group that when they get through you're really ready to let off some magma. Faith serves up passing certitude to weak minds, recruits for the cults, and too much of her is going to play hell with that other grand invention of yours, the social contract. Boring Prudence hangs around with conservatives, and Love, love you say! Love one, leave out the others. Love them all, none will love you. I tell you, friends, love is the greatest entropy-increasing device invented by God. Love is my law's sweet man. And for God himself, well, his oneness seems too much for natural man to love, so he comes up with Northern Irelands and Lebanons... The argument to be made is not for your run-of-the-mill degeneracy, my stereotype. No, I want us to awake, join the imperfect universe at peace with the disorder that orders. For the cold death sets in slowly, and there is time, so much time, for the stars' light to scatter off the eddies of chance, into our minds, there to build ever more perfect loves, invisible cities, our own constellation.

In my opinion, that’s way too many plot devices and completely unnecessary.” “Genre. Trope. Plot devices. Who are you?” I smirk, knowing I’ve just wet her panties a little with my knowledge of literary terms. “I love reading—what can I say? Just a big old book nerd. Hashtag book lover.” I stuff more food in my mouth, chewing slowly, so as to drive her wild with suspense.

There was already a term for talking about oneself in the third person, “illeism,” which was frequently used to describe the literary device Julius Caesar had employed to narrate his work on the Gallic Wars, in which he had participated. He wrote about himself by using his own name and the pronoun “he” instead of the word “I.

we call the editorial plural or the editorial “we,” which a writer or speaker uses to communicate a point. This device is often used by dignitaries; a king, a pope, or another person in high office prefaces his or her comments by saying, “We decree” or “We declare,” even though the person is speaking only for himself or herself. More specifically, there is a Hebrew literary device called the plural of intensity, which calls attention to the depth of the character of God, in whom resides all elements of deity and majesty. So, I believe that the name Elohim is compatible with the doctrine of the Trinity and may be hinting in that direction, but the name itself does not demand that we infer that God is triune