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“Mr. Brown's successor was the Reverend James Smith, and he was a different kind of man. He condemned openly Mr. Brown's polic of compromise an accommodation. He saw things as black and white. And black was evil. He saw the world as a battlefield in which the children of light were locked in mortal conflict with the sons of darkness. He spoke in his sermons about sheep and goats and about wheat and tares. He believed in slaying the prophets of Baal.” (page 144)
That quotation state that there is different view between black and white people. The black people are evil, savage and inferior. We can see how Reverend James Smith who is a white man of England views the black people as evil. His view to this world, it is must be conflict between black and white. The world is a battlefield between black and white, children of light and sons of darkness. He contemns the black people. Edward Said Orientalism was ultimately a political vision of reality whose structure promoted the difference between the familiar (Europe, the West, "us") and the strange (the Orient, the East, "them"). the Orient has helped to define Europe (or the West) as its contrasting image, idea, personality, experience. Yet none of this Orient is merely imaginative. The Orient is an integral part of European material civilization and culture. In this novel there is political view of white people viewing the black native of Nigeria. The white man of England is different from native of Nigerian. The white man is "we”, civilized, superior. The native of Nigerian is "others”, uncivilized, inferior and savages. This novel contains orientalism. We can see from the statement of Reverend James Smith which saw the native of Nigeria as evil.
"What has happened to that piece of land in dispute?" asked Okonkwo. "The white man's court has decided that it should belong to Nnama's family, who had given much money to the white man's messengers and interpreter." "Does the white man understand our custom about land?" "How can he when he does not even speak our tongue? But he says that our customs are bad, ….” (page 139)
The missionaries who are a white men spread the Christian religion to the native of Nigeria. They build church in the land. The white men take the rights of the land authority from the natives. The white man’s court gives the land to someone who gives much money to them. The white men say that the native customs are bad. They ignore the native customs. They don’t care about it. According to Edward Said, the understanding of Western people about the orient is uncivilized, savage and bad. The orientalism exists in this novel. We can see from the white men calling the custom of orient/native of Nigeria is bad.
“They had built their church there, won a handful of converts and were already sending evangelists to the surrounding towns and villages. That was a source of great sorrow to the leaders of the clan, but many of them believed that the strange faith and the white man's god would not last. None of his converts was a man whose word was heeded in ihe assembly of the people. None of them was a man of title. They were mostly the kind of people that were called efulefu, worthless, empty men. The imagery of an efulefu in the language of the clan was a man who sold his machete and wore the sheath to battle. Chielo, the priestess of Agbala, called the converts the excrement of the clan, and the new faith was a mad dog that had come to eat it up.” (Page 115)
The missionaries build the church, send evangelist to convert the natives clan who are efulefu, worthless, empty men. They spread the Christian religion to convert the excrement of the clan. The white missionaries who are white men want to purify the clan who are still primitive, believing mystic, and myth. They come there to convert the clan to be Christian. Based on Edward Said orientalism, it divides the world between “us” (the civilized) and “them” (the other or savages). The savage is considered evil as well as inferior. Sometimes the savage is perceived as possessing a primitive life. There is orientalism in this novel. It’s showed that the white men want to convert or purify the clan who are regarded as efulefu, worthless and empty men.
“Within a few weeks of his arrival in Umuofia Mr. Smith suspended a young woman from the church for pouring new wine into old bottles. This woman had allowed her heathen husband to mutilate her dead child. The child had been declared an ogbanje, plaguing its mother by dying and entering her womb to be born again. Four times this child had run its evil round. And so it was mutilated to discourage it from returning. Mr. Smith was filled with wrath when he heard of this. He disbelieved the story which even some of the most faithful confirmed, the story of really evil children who were not deterred by mutilation, but came back with all the scars. He replied that such stories were spread in the world by the Devil to lead men astray. Those who believed such stories were unworthy of the Lord's table.
One member in particular was very difficult to restrain. His name was Enoch and his father was the priest of the snake cult. The story went around that Enoch had killed and eaten the sacred python, and that his father had cursed him.” (page 140)
From this quotation, we can see that the story which tells woman who has the heart to let his child mutilated by his husband. The native is believing the story, but Mr. Smith disbelieves it. The natives still believe in myth and mystic.. This shows that they are primitive. They don't use logic or knowledge if they face a problem. Edward Said displays the Orient as a production of Western understanding. The west has his own perception of the east. Applying to this novel, Nigerian are imagined as primitive.
“It was late afternoon before Nwoye returned. He went into the obi and saluted his father, but he did not answer. Nwoye turned round to walk into the inner compound when his father, suddenly overcome with fury, sprang to his feet and gripped him by the neck. "Where have you been?" he stammered. Nwoye struggled to free himself from the choking grip. "Answer me," roared Okonkwo, "before I kill you!" He seized a heavy stick that lay on the dwarf wall and hit him two or three savage blows.” (Page 122)
We can see from that quotation stated that Okonkwo wants to kill Nwoye if he doesn't answer. Okonkwo hit him two or three blows. We can see here how Okonkwo solve the problem. They prefer to use the harshness, hits and wants to kill. According to Edward Said east people is other. They are described as savages by west people view. From that quotation we can see that Okonkwo is imagined as the savage.
“Even when the men were left alone they found no words to speak to one another. It was only on the third day, when they could no longer bear the hunger and the insults, that they began to talk about giving in. "We should have killed the white man if you had listened to me," Okonkwo snarled.” (Page 153)
Okonkwo has plan to kill the white man. He thinks that the problem will be solved by killing the white man. Okonkwo represents Nigerian who are brave, reckless, strong and stubborn. His will to kill the white man shows that he is brave to oppose something strong. The white man has an authority in Nigeria at that time based on this novel. And if there is Nigerian killing the white man, it will be a very trouble for the murder. Okonkwo behavior, attitude shows that he is savage.
Minggu, 13 Juni 2010
Selasa, 08 Juni 2010
George Santayana in “The Sense of Beauty”
Beauty is pleasure regarded to the quality of thing. Beauty is a value, that is, it is not a perception of a matter of fact or of a relation, it is an emotion, an affection of our volitional and appreciative nature. An object cannot be beautiful if it can give pleasure to nobody. A beauty to which all men were forever indifferent is an contradiction in term
In the second place this value is positive, it is the sense of the presence of something good, or (in the case of ugliness) of its absence. It is never the perception of a positive evil, it is never a negative value. That we are endowed with the sense of beauty is a pure gain which brings no evil with it. When the ugly ceases to be amusing or merely uninteresting and becomes disgusting, it becomes indeed a positive evil: but a moral and practical, not an aesthetic one. In aesthetics that saying is true — often so disingenuous in ethics — that evil is nothing but the absence of good: for even the tedium and vulgarity of an existence without beauty is not itself ugly so much as lamentable and degrading. The absence of aesthetic goods is a moral evil: the aesthetic evil is merely relative, and means less of aesthetic good than was expected at the place and time. No form in itself gives pain, although some forms give pain by causing a shock of surprise even when they are really beautiful: as if a mother found a fine bull pup in her child's cradle, when her pain would not be aesthetic in its nature.
Further, this pleasure must not be in the consequence of the utility of the object or event, but in its immediate perception; in other words, beauty is an ultimate good, something that gives satisfaction to a natural function, to some fundamental need or capacity of our minds. Beauty is therefore a positive value that is intrinsic; it is a pleasure. These two circumstances sufficiently separate the sphere of aesthetics from that of ethics. Moral values are generally negative, and always remote. Morality has to do with the avoidance of evil and the pursuit of good: aesthetics only with enjoyment.
Finally, the pleasures of sense are distinguished from the perception of beauty, as sensation in general is distinguished from perception; by the objectification of the elements and their appearance as qualities rather of things than of consciousness. The passage from sensation to perception is gradual, and the path may be sometimes retraced: so it is with beauty and the pleasures of sensation. There is no sharp line between them, but it depends upon the degree of objectivity my feeling has attained at the moment whether I say "It pleases me," or "It is beautiful." If I am self-conscious and critical, I shall probably use, one phrase; if I am impulsive and susceptible, the other. The more remote, interwoven, and inextricable the pleasure is, the more objective it will appear; and the union of two pleasures often makes one beauty. In Shakespeare's LIVth sonnet are these words:
O how much more doth beauty beauteous seem
By that sweet ornament which truth doth give!
The rose looks fair, but fairer we it deem
For that sweet odour which doth in it live.
The canker-blooms have full as deep a dye
As the perfumed tincture of the roses,
Hang on such thorns, and play as wantonly
When summer's breath their masked buds discloses.
But, for their beauty only is their show,
They live unwooed and unrespected fade;
Die to themselves. Sweet roses do not so:
Of their sweet deaths are sweetest odours made.
One added ornament, we see, turns the deep dye, which was but show and mere sensation before, into an element of beauty and reality, and as truth is here the co-operation of perceptions, so beauty is the co-operation of pleasures. If colour, form, and motion are hardly beautiful without the sweetness of the odour, how much more necessary would they be for the sweetness itself to become a beauty! If we had the perfume in a flask, no one would think of calling it beautiful: it would give us too detached and controllable a sensation. There would be no object in which it could be easily incorporated. But let it float from the garden, and it will add another sensuous charm to objects simultaneously recognized, and help to make them beautiful. Thus beauty is constituted by the objectification of pleasure. It is pleasure objectified.
Plato about beauty
Plato was in great interest in trying to pin point the role of beauty in society. Plato believed, among other things that relative beauty only exists when you compare objects to each other. If some aspect of an object is beautiful, the whole object is beautiful. After further consideration, Plato came up the most logical of all the philosophies, that beauty cannot be defined. Some things have the "ideal beauty" and no one can consider it not beautiful. It is also in agreement of Plato throughout time that beauty provokes pleasure. Following in the ideas of Plato, Plotinus also preached that there is no one object that beauty can be defined as nor is there one aspect of any object that beauty can be defined as. He also believed that "beauty is that which irradiates symmetry rather than symmetry itself." Plato created a trend in that beauty cannot be defined, yet philosophers continued to struggle with the meaning. Aristotle hypothesized that the senses most prone to recognizing beauty are sight and hearing.
My opinion about beauty
It's quite hard to define what is beauty. The beauty is abstract. The beauty is real and we can really feel it if it is related to something concrete or the work. In other word we can enjoy the beauty if it's related to a concrete thing. Beauty can be felt by the concrete thing. So It's hard to define the beauty, but it is obviously for us to define something beautiful. Beauty is just a concept that can be felt if it has form, for example : song, body shape, film, landscapes, music, decoration, person, painting etc.
It must be differed the beauty as something abstract and as the something beautiful. Beauty has a wide meaning. It includes
The beauty of art
The beauty of nature
The beauty of moral
The beauty of intellectual
The pure beauty is something which is experienced by human in conjunction with something absorbed by them. Beauty also has the limited meaning. It is something which can be absorbed by sense of sight, for example the beauty of form and colour.
That explanation and the division above is still unclear about what truly beauty is. One of the way to know the answer is looking for the general specification in something (regarded as) beautiful and compare it to specification in the meaning of beauty. Therefore the beauty itself actually is a certain value which exists in a thing. The quality of the value itself usually is called the unity, balance, symmetry, and harmony.
From that specification, we can conclude that beauty is constructed from harmony, symmetry line, colour, form, sound and words. In my opinion beauty is a unity of the harmony relations in a thing.
Beauty is a unity of harmony relations of our sense perception. Beauty can be related to the idea of a pleasure which is something enjoyable for our sense. Beauty is something pleasure if it's seen, heard, felt by our sense. People prefer to define and feel something beautiful rather than the beauty which is abstract. Because something which can be observed, analyzed and defined is something concrete.
The beauty is value which can be differed between subjective value and objective value. Subjective value is value which is judged based on the subject/the creator of the thing. And objective value is value judged based on knowledge or scientific method. Beauty is also differed to the value of personal and the value of society. The value of personal is value judged by personal perception. And the value of society is based on a certain society perspective. But the important thing to manage is extrinsic value and intrinsic value. The extrinsic value is a quality of the thing as the media to something else (instrumental or contributory value). It is a value which is as the tool, the purpose or it is for the interest of that thing itself for example : a poem consists of language, verse, diction, rhythm. These are the extrinsic value and the message which is conveyed in the poem is intrinsic value
Source :
The Sense of beauty, page 49-52
http://ablemedia.com/ctcweb/showcase/greenwaldgreece3.html
Beauty is pleasure regarded to the quality of thing. Beauty is a value, that is, it is not a perception of a matter of fact or of a relation, it is an emotion, an affection of our volitional and appreciative nature. An object cannot be beautiful if it can give pleasure to nobody. A beauty to which all men were forever indifferent is an contradiction in term
In the second place this value is positive, it is the sense of the presence of something good, or (in the case of ugliness) of its absence. It is never the perception of a positive evil, it is never a negative value. That we are endowed with the sense of beauty is a pure gain which brings no evil with it. When the ugly ceases to be amusing or merely uninteresting and becomes disgusting, it becomes indeed a positive evil: but a moral and practical, not an aesthetic one. In aesthetics that saying is true — often so disingenuous in ethics — that evil is nothing but the absence of good: for even the tedium and vulgarity of an existence without beauty is not itself ugly so much as lamentable and degrading. The absence of aesthetic goods is a moral evil: the aesthetic evil is merely relative, and means less of aesthetic good than was expected at the place and time. No form in itself gives pain, although some forms give pain by causing a shock of surprise even when they are really beautiful: as if a mother found a fine bull pup in her child's cradle, when her pain would not be aesthetic in its nature.
Further, this pleasure must not be in the consequence of the utility of the object or event, but in its immediate perception; in other words, beauty is an ultimate good, something that gives satisfaction to a natural function, to some fundamental need or capacity of our minds. Beauty is therefore a positive value that is intrinsic; it is a pleasure. These two circumstances sufficiently separate the sphere of aesthetics from that of ethics. Moral values are generally negative, and always remote. Morality has to do with the avoidance of evil and the pursuit of good: aesthetics only with enjoyment.
Finally, the pleasures of sense are distinguished from the perception of beauty, as sensation in general is distinguished from perception; by the objectification of the elements and their appearance as qualities rather of things than of consciousness. The passage from sensation to perception is gradual, and the path may be sometimes retraced: so it is with beauty and the pleasures of sensation. There is no sharp line between them, but it depends upon the degree of objectivity my feeling has attained at the moment whether I say "It pleases me," or "It is beautiful." If I am self-conscious and critical, I shall probably use, one phrase; if I am impulsive and susceptible, the other. The more remote, interwoven, and inextricable the pleasure is, the more objective it will appear; and the union of two pleasures often makes one beauty. In Shakespeare's LIVth sonnet are these words:
O how much more doth beauty beauteous seem
By that sweet ornament which truth doth give!
The rose looks fair, but fairer we it deem
For that sweet odour which doth in it live.
The canker-blooms have full as deep a dye
As the perfumed tincture of the roses,
Hang on such thorns, and play as wantonly
When summer's breath their masked buds discloses.
But, for their beauty only is their show,
They live unwooed and unrespected fade;
Die to themselves. Sweet roses do not so:
Of their sweet deaths are sweetest odours made.
One added ornament, we see, turns the deep dye, which was but show and mere sensation before, into an element of beauty and reality, and as truth is here the co-operation of perceptions, so beauty is the co-operation of pleasures. If colour, form, and motion are hardly beautiful without the sweetness of the odour, how much more necessary would they be for the sweetness itself to become a beauty! If we had the perfume in a flask, no one would think of calling it beautiful: it would give us too detached and controllable a sensation. There would be no object in which it could be easily incorporated. But let it float from the garden, and it will add another sensuous charm to objects simultaneously recognized, and help to make them beautiful. Thus beauty is constituted by the objectification of pleasure. It is pleasure objectified.
Plato about beauty
Plato was in great interest in trying to pin point the role of beauty in society. Plato believed, among other things that relative beauty only exists when you compare objects to each other. If some aspect of an object is beautiful, the whole object is beautiful. After further consideration, Plato came up the most logical of all the philosophies, that beauty cannot be defined. Some things have the "ideal beauty" and no one can consider it not beautiful. It is also in agreement of Plato throughout time that beauty provokes pleasure. Following in the ideas of Plato, Plotinus also preached that there is no one object that beauty can be defined as nor is there one aspect of any object that beauty can be defined as. He also believed that "beauty is that which irradiates symmetry rather than symmetry itself." Plato created a trend in that beauty cannot be defined, yet philosophers continued to struggle with the meaning. Aristotle hypothesized that the senses most prone to recognizing beauty are sight and hearing.
My opinion about beauty
It's quite hard to define what is beauty. The beauty is abstract. The beauty is real and we can really feel it if it is related to something concrete or the work. In other word we can enjoy the beauty if it's related to a concrete thing. Beauty can be felt by the concrete thing. So It's hard to define the beauty, but it is obviously for us to define something beautiful. Beauty is just a concept that can be felt if it has form, for example : song, body shape, film, landscapes, music, decoration, person, painting etc.
It must be differed the beauty as something abstract and as the something beautiful. Beauty has a wide meaning. It includes
The beauty of art
The beauty of nature
The beauty of moral
The beauty of intellectual
The pure beauty is something which is experienced by human in conjunction with something absorbed by them. Beauty also has the limited meaning. It is something which can be absorbed by sense of sight, for example the beauty of form and colour.
That explanation and the division above is still unclear about what truly beauty is. One of the way to know the answer is looking for the general specification in something (regarded as) beautiful and compare it to specification in the meaning of beauty. Therefore the beauty itself actually is a certain value which exists in a thing. The quality of the value itself usually is called the unity, balance, symmetry, and harmony.
From that specification, we can conclude that beauty is constructed from harmony, symmetry line, colour, form, sound and words. In my opinion beauty is a unity of the harmony relations in a thing.
Beauty is a unity of harmony relations of our sense perception. Beauty can be related to the idea of a pleasure which is something enjoyable for our sense. Beauty is something pleasure if it's seen, heard, felt by our sense. People prefer to define and feel something beautiful rather than the beauty which is abstract. Because something which can be observed, analyzed and defined is something concrete.
The beauty is value which can be differed between subjective value and objective value. Subjective value is value which is judged based on the subject/the creator of the thing. And objective value is value judged based on knowledge or scientific method. Beauty is also differed to the value of personal and the value of society. The value of personal is value judged by personal perception. And the value of society is based on a certain society perspective. But the important thing to manage is extrinsic value and intrinsic value. The extrinsic value is a quality of the thing as the media to something else (instrumental or contributory value). It is a value which is as the tool, the purpose or it is for the interest of that thing itself for example : a poem consists of language, verse, diction, rhythm. These are the extrinsic value and the message which is conveyed in the poem is intrinsic value
Source :
The Sense of beauty, page 49-52
http://ablemedia.com/ctcweb/showcase/greenwaldgreece3.html
Senin, 07 Juni 2010
Daffodils - a poem by by William Wordsworth
I wandered lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.
Continuous as the stars that shine
And twinkle on the milky way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.
The waves beside them danced, but they
Out-did the sparkling leaves in glee;
A poet could not be but gay,
In such a jocund company!
I gazed—and gazed—but little thought
What wealth the show to me had brought:
For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils.
Figurative Language Analysis
Metaphor A figure of speech in which a comparison is made between two things essentially unalike.
Simile A figure of speech in which a comparison is expressed by the specific use of a word or phrase such as: like, as, than, seems or Frost's favorite "as if,"
Personification A type of metaphor in which distinct human qualities, e.g., honesty, emotion, volition, etc., are attributed to an animal, object or idea.
Apostrophe A figure of speech in which someone absent or dead OR something nonhuman is addressed as if it were alive and present.
Synecdoche A figure of speech which mentions a part of something to suggest the whole. As in, "All hands on deck," meaning all sailors to report for duty. Hands = sailors. Frost said, "I started calling myself a Synecdochist when other called themselves Imagists or Vorticists."
Metonymy A figure of speech that uses a concept closely related to the thing actually meant. The substitution makes the analogy more vivid and meaningful.
Allegory or Parable A poem in the form of a narrative or story that has a second meaning beneath the surface one. Frost is notable for his use of the parable using the description to evoke an idea. Some critics call him a "Parablist."
Paradox A statement or situation containing apparently contradictory or incompatible elements, but on closer inspection may be true.
Hyperbole A bold, deliberate overstatement not intended to be taken literally, it is used as a means of emphasizing the truth of a statement. This is relatively rare in Frost. He has a penchant for fact and truth.
Understatement The presentation of a thing with underemphasis in order to achieve a greater effect. Frost uses this device extensively, often as a means of irony. His love poems are especially understated. He cautions, "Never larrup an emotion.
"Irony Verbal irony is a figure of speech when an expression used is the opposite of the thought in the speaker's mind, thus conveying a meaning that contradicts the literal definition. Dramatic irony is a literary or theatrical device of having a character utter words which the the reader or audience understands to have a different meaning, but of which the character himself is unaware. Irony of situation is when a situation occurs which is quite the reverse of what one might have expected.
Simile
I wandered lonely as a cloud
Continuous as the stars that shine
And twinkle on the milky way,
Hyperbole
Ten thousand saw I at a glance,
They stretched in never-ending line
The waves beside them danced, but they
Out-did the sparkling leaves in glee;
Personification
- A host, of golden daffodils;
- Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.
- Continuous as the stars that shine
And twinkle on the milky way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.
- The waves beside them danced,
- What wealth the show to me had brought
- And then my heart with pleasure fills,
And dances with the daffodils.
Alliteration
Continuous as the stars that shine
And twinkle on the milky way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.
http://languagearts.mrdonn.org/figurative.html
I wandered lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.
Continuous as the stars that shine
And twinkle on the milky way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.
The waves beside them danced, but they
Out-did the sparkling leaves in glee;
A poet could not be but gay,
In such a jocund company!
I gazed—and gazed—but little thought
What wealth the show to me had brought:
For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils.
Figurative Language Analysis
Metaphor A figure of speech in which a comparison is made between two things essentially unalike.
Simile A figure of speech in which a comparison is expressed by the specific use of a word or phrase such as: like, as, than, seems or Frost's favorite "as if,"
Personification A type of metaphor in which distinct human qualities, e.g., honesty, emotion, volition, etc., are attributed to an animal, object or idea.
Apostrophe A figure of speech in which someone absent or dead OR something nonhuman is addressed as if it were alive and present.
Synecdoche A figure of speech which mentions a part of something to suggest the whole. As in, "All hands on deck," meaning all sailors to report for duty. Hands = sailors. Frost said, "I started calling myself a Synecdochist when other called themselves Imagists or Vorticists."
Metonymy A figure of speech that uses a concept closely related to the thing actually meant. The substitution makes the analogy more vivid and meaningful.
Allegory or Parable A poem in the form of a narrative or story that has a second meaning beneath the surface one. Frost is notable for his use of the parable using the description to evoke an idea. Some critics call him a "Parablist."
Paradox A statement or situation containing apparently contradictory or incompatible elements, but on closer inspection may be true.
Hyperbole A bold, deliberate overstatement not intended to be taken literally, it is used as a means of emphasizing the truth of a statement. This is relatively rare in Frost. He has a penchant for fact and truth.
Understatement The presentation of a thing with underemphasis in order to achieve a greater effect. Frost uses this device extensively, often as a means of irony. His love poems are especially understated. He cautions, "Never larrup an emotion.
"Irony Verbal irony is a figure of speech when an expression used is the opposite of the thought in the speaker's mind, thus conveying a meaning that contradicts the literal definition. Dramatic irony is a literary or theatrical device of having a character utter words which the the reader or audience understands to have a different meaning, but of which the character himself is unaware. Irony of situation is when a situation occurs which is quite the reverse of what one might have expected.
Simile
I wandered lonely as a cloud
Continuous as the stars that shine
And twinkle on the milky way,
Hyperbole
Ten thousand saw I at a glance,
They stretched in never-ending line
The waves beside them danced, but they
Out-did the sparkling leaves in glee;
Personification
- A host, of golden daffodils;
- Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.
- Continuous as the stars that shine
And twinkle on the milky way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.
- The waves beside them danced,
- What wealth the show to me had brought
- And then my heart with pleasure fills,
And dances with the daffodils.
Alliteration
Continuous as the stars that shine
And twinkle on the milky way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.
http://languagearts.mrdonn.org/figurative.html
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