...flower can bring about the deepest life questions. This is exactly the case in “Design,” one of Robert Frost’s most renowned poems that he wrote in 1922. In Robert Frost’s “Design,” Frost utilizes juxtaposition though natural similes and rhetorical questions to parallel the poem’s structure of comparing the white spider on the heal-all to evil and corruption in the world. Just as Robert Frost’s “Design” evolves in comparing the white spider on the heal-all flower to deep philosophical questions, similes throughout the first eight stanzas create a major contrast between the flower and the spider. Throughout the poem, Frost utilizes similes such as “like a white piece of rigid satin cloth” (Frost 3) and “like the ingredients of a witch’s broth” (Frost 6) to completely contradict the destruction and hate of the killer spider to the goodness of the healing flower. In effect, Frost...
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...On The Antipathy of Robert Frost Irving Rowe was correct in saying that Frost’s best work was “antipathetic to the notion that the universe is inherently good or delightful or hospitable to our needs” (Howe). This is abundantly clear in his poems “Out, Out-” and “Design”. These poems demonstrate the disdain and meaninglessness found in both nature and existence itself in their tone and the striking, harsh reality of their conclusions. Frost’s apathy, as contrasted to his “homey philosophy” and “wandering romanticism”, is jarring, and prompts interior reflection on the meaning of life and man’s relation to God (Howe). Both “Out, Out-” and “Design” are poems that use their tone to convey the cruelty of the universe. “Out, Out-” in particular...
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...The Evil Nature and Evil Omen “Design” by Robert Frost and “I Heard a Fly Buzz When I Died” by Emily Dickinson use natural objects as symbols. In the poem “Design,” life forms within nature are connected and under the influence of a greater consciousness. In “I Heard a Fly Buzz When I Died,” Emily Dickinson talks about seeing a fly as she takes her final breath. By focusing on natural objects within the poems, both poets reveal the negative nature of their chosen symbols. In the poem “Design,” a spider symbolizes death; in “I heard a Fly Buzz When I Died,” a fly figures as the omen of death. In first stanza of “Design,” Frost describes a spider as “dimpled,” the flower like a “froth,” and the moth like “white satin.” However, in line 4, the spider, flower, and moth are also described as “assorted characters of death and blight.” Frost chooses his words carefully throughout the entire poem. Deirdre Fagan and Robert Seltzer state that “he intentionally contrasts the white innocence of the description of all three characters with the seemingly horrific actions they undertake. Even the spider, which is apparently the exterminator, is described in terms usually applied to infants (‘dimpled’ and ‘fat’)” (Fagan and Seltzer 49.) At this moment, it is difficult to understand how innocence could turn to death and evil. Frost describes the moth as being made of “satin cloth” and the spider as a “snow drop spider” (Frost 7). These reveal Frost’s appreciation of the beauty of the...
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...Classic Poetry Series Robert Frost - poems - Publication Date: 2004 Publisher: PoemHunter.Com - The World's Poetry Archive "In White": Frost's Early Version Of Design A dented spider like a snow drop white On a white Heal-all, holding up a moth Like a white piece of lifeless satin cloth Saw ever curious eye so strange a sight? Portent in little, assorted death and blight Like the ingredients of a witches' broth? The beady spider, the flower like a froth, And the moth carried like a paper kite. What had that flower to do with being white, The blue prunella every child's delight. What brought the kindred spider to that height? (Make we no thesis of the miller's plight.) What but design of darkness and of night? Design, design! Do I use the word aright? Anonymous submission. Robert Frost www.PoemHunter.com - The World's Poetry Archive 2 A Boundless Moment He halted in the wind, and -- what was that Far in the maples, pale, but not a ghost? He stood there bringing March against his thought, And yet too ready to believe the most. "Oh, that's the Paradise-in-bloom," I said; And truly it was fair enough for flowers had we but in us to assume in march Such white luxuriance of May for ours. We stood a moment so in a strange world, Myself as one his own pretense deceives; And then I said the truth (and we moved on). A young beech clinging to its last year's leaves. Robert Frost www.PoemHunter.com - The World's Poetry Archive ...
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... Rhyme 116 Rhythm 117 PART IV LEXICAL EXPRESSIVE MEANS AND STYLISTIC DEVICES 123 A. INTENTIONAL MIXING OF THE STYLISTIC ASPECT OF WORDS 123 B. INTERACTION OF DIFFERENT TYPES OF LEXICAL MEANING 125 1. INTERACTION OF PRIMARY DICTIONARY AND CONTEXTUALLY IMPOSED MEANINGS 126 Metaphor 126 Metonymy 131 Irony 133 3. INTERACTION OF LOGICAL AND EMOTIVE MEANINGS 139 Interjections and Exclamatory Words 140 The Epithet 143 Oxymoron 148 4. INTERACTION OF LOGICAL AND NOMINAL MEANINGS Antonomasia 150 Antonomasia 150 C. INTENSIFICATION OF A CERTAIN FEATURE OF A THING OR PHENOMENON 152 Simile 152 Periphrasis 154 Euphemism 158 Hyperbole 161 D. PECULIAR USE OF SET EXPRESSIONS 161...
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...[pic] Гальперин И.Р. Стилистика английского языка Издательство: М.: Высшая школа, 1977 г. В учебнике рассматриваются общие проблемы стилистики, дается стилистическая квалификация английского словарного состава, описываются фонетические, лексические и лексико-фразеологические выразительные средства, рассматриваются синтаксические выразительные средства и проблемы лингвистической композиции отрезков высказывания, выходящие за пределы предложения. Одна глава посвящена выделению и классификации функциональных стилей. Книга содержит иллюстративный текстовой материал. Предназначается для студентов институтов и факультетов иностранных языков и филологических факультетов университетов. GALPERIN STYLISTICS SECOND EDITION, REVISED Допущено Министерством высшего и среднего специального образования СССР в качестве учебника для студентов институтов и факультетов иностранных языков |[pic] |MOSCOW | | |"HIGHER SCHOOL" | | |1977 | TABLE OF CONTENTS Page Предисловие к первому изданию……………………………………………………..6 Предисловие к второму изданию……………………………………………………..7 Part I. Introduction 1. General Notes on Style and Stylistics…………………………………………9 2. Expressive Means (EM) and Stylistic Devices (SD)………………………...25 3. General Notes on Functional Styles of Language……………………………32 4. Varieties of Language………………………………………………………..35 5. A Brief...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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