World literature lesson 5 - Essay Example

World literature Lesson No. 5 Match the terms in Column I with the s in Column II Allegory - G. a story in which the characters, settings, and events stand for abstract or moral concepts. Foreshadowing - B. clues that hint at what is going to happen later in the plot Metaphor - I. A figure of speech that makes a connection between two seemingly unlike things Sonnet - C. a 14-line lyric poem usually written in iambic pentameter that follows one of several rhyme schemes Parody - A. the imitation of an artistic work for amusement or instruction Satire - J. writing that ridicules human weakness, vices, or folly in order to bring about social reform Irony - E. a contrast or discrepancy between expectations and reality Mood - D. the overall emotion created by a work of literature Setting - H. the time and place of a work Theme - F. the central idea or insight of a work of literature (2) Which literary period was Wordsworth describing when he said that literature was “the spontaneous overflow of powerful feelings?” Romanticism (3) Why is it ironic that Sasha threatens his uncle Ivan Markovitch for money? Ivan Markovitch has just kept Sasha from being tried for a crime. (4) In Chevrefoil, an extended metaphor is used to – describe the love shared by Tristan and Iseult. (5) The climax of a story is defined as the point at which the story’s excitement or suspense peaks. (6) In Faust, Mephistopheles characterizes Faust to the Lord as a -- a fool who does not serve the Lord well. (7) In Faust, Faust begins his experiment with Mephistopheles by seeking “The most painful joy, enamoured hate, enlivening / Disgust” because he – hopes passion will teach him what knowledge could not. (8) When read as an allegory, Dante's journey through Hell warns readers to live righteous lives. (9) In The Song of Roland, Roland did not sound his horn to call for help earlier in the battle because he was too proud to admit his need for help. (10) Which line from How Siegfried Was Slain is the best example of foreshadowing? “What if we have offended any men who have the power to vent their malice on us?” (11) A careful reader can best predict what will come later in a story by using clues from the story and personal experience. (12) In order to give human form to strong emotions, sonnet poets often use personification. (13) Brother Onion says his servant Guccio is helpful, responsible, and respectful. In truth, Guccio is none of those things. Brother Onion's misplaced trust in his servant is used to give added impact to the irony of his sermon when the prank of his friends is discovered. (14) In the story The Piece of String the conflict between Maitre Hauchecorne and Maitre Malandain grows into a conflict between Maitre Hauchecorne and the entire town. (15) The line from Russia 1812 describing the soldier who died at his post with his "stone lips frozen to the bugle's mouth" contains an example of imagery. (16) Which is NOT true of the literary movement known as “Realism”? It was an offshoot of Naturalism. (17) Faust is one significant character in the 16th century German literature known to have been consumed by discontent in life despite successful intellectual pursuit. As a protagonist, he is initially identified with the remarkable scholarly nature of engaging with in-depth studies of philosophy, medicine, and even theology only to find that he could not seem to have enough of the world. Eventually, this principle governs his thoughts toward the urge for more knowledge and other objects that would relive Faust of dissatisfaction. Because he claims “No doubts plague me, nor scruples as well. / I’m not afraid of devil or hell”, Faust likely dares himself and desires to figure the extent of his potentials. Hence, he considers making a bargain with the devil and shifts into a character who occurs to lose sanity and negotiates with the devil that he may acquire unlimited knowledge and gratification for material obsession. The tragic end indicates that Faust does not stand a chance at salvation for his soul. (18) Foreshadowing pertains to a literary device in which the author attempts to hint specific developments to plot which may be found in the story at a later time and the audience, in most cases, are able to conceive foreshadowing through the story’s flow either through characters or incidents within the plot. It is normally difficult to utilize foreshadowing when it is opted to be brought via implication made by passing the mind of the character which may at often times be taken for granted. (19) In reference to the woman whom Petrarch was desperately in love with yet beyond possibility, the poet composed sonnet 292. The apparent distance between them may be sensed with the first two lines of the second stanza with “the waving hair of unmixed gold that shone, / the smile that flashed with the angelic rays”. Attempting to let go of the hopeless love felt and dedicated for long but in vain, Petrarch concludes by personifying his ‘accustomed art’ with dry vein. This personification is designed for the audience to be able to measure the speaker’s degree of sadness after deciding to free his secret passionate love for the beloved. On the other hand, in Ronsard’s “Roses” which opens with “I send you here a wreath of blossoms blown, / And woven flowers at sunset gathered,” the speaker manages to express his love with a tempered tone or attitude quite far from desperation while in his act of courtship. Ronsard makes use of simile in this sonnet to compare “beauties” with a “perfect flower” that would wither someday. The poet aims to convey how impatient the suitor-narrator is becoming as manifested by such comparison whereby the fading of beauty may be compared to the inevitable passing of time. He alludes in “Nay, ‘tis not time that flies but we that go” the fact about mortality so while they still live, the lady must cease from making the suitor wait at considerable length and respond favourably to his love. (20) As an initial significant part of the Divine Comedy, Dante’s “Inferno” is set with an illusory means of demonstrating correspondence between an earthly sin and its unpleasant matching consequence in Hell. To help lead soul’s path to Heaven and God, the chief substance in Inferno enables the reader to distinguish sinful deed and the essence of rejecting it. Alighieri might have thought that by a poetic rendition of his piece in the 1300 setting that approaches Good Friday, the reader would most probably take it seriously. In turn, such effect ought to convince the same reader to follow the unsmooth path which Dante leads as he encounters the three beasts which altogether symbolize human weakness one finds greatly difficult to get away from. Getting lost in the dark wood is also symbolic of losing track of one’s salvation so upon Virgil’s arrival, Dante is rescued to set out on a journey to the underworld with the fellow poet. Contrapasso is a concept used to refer to the punishment for every sin committed in “Inferno”. It provides account for sufficient understanding of poetic justice, as in the case of fortune-tellers. Because they sin by looking beyond the present to foresee life or events in the future, they are punished through advancing in a forward direction yet their heads are made to look backwards so they are deprived of the main potential of seeing the future. Consequently, Dante’s theme is justified in the process as the reader acquires adequate wisdom on the grounds for the punishments made by God. It places larger picture as well on the structure of Hell, nevertheless, if the poem were to be assessed in its entirety, it can often be perceived in the light of poetic justice. Those who sin suffer the consequences of their iniquities depending on the nature of sin involved so the gravity of punishment employed varies in degree and suitability too. (21) With parody, since the writer is inclined to imitate a work of art, he composes for the purpose of amusing and teaching the reader a lesson at the same time. To achieve social reform, however, a creator of satire prefers to substantiate the ridicules formed in writing with the reality found in human weakness, vices, or foolishness. Voltaire, as such, settles with sharp effects of sarcastic humor with his satirical endeavor on one hand whereas Cervantes figures a great deal of opportunity with art to exhibit his literary approach. “Don Quixote de La Mancha” is Cervantes’ parody of chivalric romance in which knight-errant tales are mimicked by Don Quixote himself. Being an old man who loses his sanity, he leaves his village of La Mancha and explores the 17th-century spots of the imperial Spain where he parodies the adventure of a knight-errant. This may be distinguished from Voltaire’s character in Candide wherein he establishes satire through a young man Candide who lives a sheltered life in an Edenic paradise but who is fed Leibnizian doctrines concerning optimism that he may depart from his type of idealism with which former beliefs are attached. Read More