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    interpretation with its' antithesis and its' relationship to the thesis: a charge of triviality. The antithesis is supposed to start with the thesis, demonstrate a fallacy within the thesis in order indirectly prove the thesis. While the thesis talks about the necessity for a notion of transcendental freedom or non-natural causality, it is possible that the antithesis merely expresses that transcendental freedom is not compatible with natural causality, which is a trivial point. If the antithesis does not necessarily

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    Antithesis In The Tempest

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    Throughout The Tempest, Shakespeare uses antithesis to represent opposition to express conflict. For example, in act 5, when Ferdinand discovers that his father is not dead, he says “though the seas threaten, they are merciful” (V.i.184). The use of antithesis become very important when the actors speak. Unless the antithesis is played by the actor, the meaning and force behind the speech is lost. The antithesis shape and clarify the thought behind the verse. How do the words

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    Cat's Cradle

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    the reader aware of them. Show the reader humans being human and make them aware of all the stupid, silly, rude things we do and say everyday. Consider the ignorance of Miss Pefko, who neither finds science the very antithesis of magic nor understands the meaning of the word antithesis, the rude curtness of Marvin Breed and Philip Castle, and the duping of the entire population of the Bokonon religion based not on God, but upon socialism and lies. Cat's Cradle is full of characters that display very

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    principles. The Gothic novel allowed the reader to pass from reason and order of the day to a region born of the supernatural which inspired dread and abounds in death and decay as nature's only true end. In Frankenstein, Shelley is able to create the antithesis of nature from various aspects of nature itself, creating a monster that is born of death and of decay yet enveloped in Rousseau's ideology. "It was on a dreary night of November, that I beheld the accomplishments of my toils. With an anxiety that

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    inversion on the eleventh line and personification on the last line. On the third stanza, we have assonance, alliteration and repetition of the word “waves” on the first line, and again repetition on the seventeenth line. On the forth stanza, we have antithesis on the twentieth line and a metaphor on the twenty-first line. We also have alliteration on the last line. Samuel Taylor Coleridge (1772-1834) Part II of the Rime of the Ancient Mariner The sun now rose upon the right: Out of the carne he

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    Disaster in Elizabeth Bishop’s One Art

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    Disaster in Elizabeth Bishop’s One Art Art is not life. More, it is a deception, mirroring experience and emotion, but never truly becoming that which it reflects. Art is attractive in that it is a controlled balance between rigid structure, which is too mundane for its purposes, and chaotic discord, which is too feral. Poetry is art. Loss is not. In her villanelle “One Art,” Elizabeth Bishop proves this to be so. The poem itself is an emotive crescendo, and while its speaker struggles to hold

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    human thinking and communication along with its ability to change as more information and knowledge is acquired. His primary focus as the story begins and progresses is the growth of Oedipus from an unintelligible and unenlightened mentality to its antithesis. Because the story was one familiar to most of its viewers in its time, there are certain things that they are expected to already know. Among them is the background to the legend. Most generally it was that it was prophesied that Laios and Jocasta

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    ultimate unity and structure. This ultimate unity is the keystone that holds the whole systematic structure of knowledge together. Definitions: Spiritual: Intuitive knowledge. The antithesis of sensual. Rational: Logical knowledge. The synthesis of the spiritual and sensual. Sensual: Sensory knowledge. The antithesis of the spiritual. Progressive Ranges: Hierarchical social levels, like person, group, nation, civilization. There is too much factual knowledge to grasp even a speck of the

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    Love

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    depict love with some sense of perfection, sweetness, and chastity, with the beautiful, infallible blonde as the love object, however both with a sense of unattainability. Shakespeare’s later sonnets, 127-152, dealing with the “dark lady”, the antithesis of the Petrarchan model of love, however, may be a more accurate predecessor, nearly all dealing with the torments and imperfections of love and its source, after its having been attained. Sonnets 141-142 are a pinnacle of the later part of the

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    In lines 51-60 of “Stings,” imagery, allusion, and antithesis are employed by the author, Sylvia Plath, to develop her attitude towards men. In this section of “Stings,” Plath uses the “queen bee” as a symbol of herself -- a fiery, angry, vengeful daughter who rises up in spite of the man (her husband Ted) described in lines 38-50. Because much of Plath’s work is confessional poetry, it can be analyzed not only by her use of poetic devices but by her personal history as well. This poem was written

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