CHAPTER SEVEN
“FIGURATIVE LANGUAGE 3”
AESOP TELS THE TALE OF A TRAVELER WHO SOUGHT
REFUGE WITH A SATYR ON A BITTER WINTER NIGHT. ON
ENTERING THE SATYR’S LODGING, HE BLEW ON HIS FINGERS
AND WAS ASKED BY THE SATYR WHY HE DID IT. “TO WARM
THEM UP,” HE EXPLAINED. LATER, ON BEING SERVED A
PIPING-HOT BOWL OF PORRIDGE, HE BLEW ALSO ON IT, AND
AGAIN WAS ASKED WHY HE DID IT. “TO COOL IT OFF,” HE
EXPLAINED. THE SATYR THEREUPON THRUST HIM OUT OF
DOORS, FOR HE WOULD HAVE NOTHING TO DO WITH A MAN
WHO COULD BLOW HOT AND COLD WITH THE SAME BREATH.
PARADOX IS AN APPARENT CONTRADICTION THAT IS
NEVERTHELESS SOMEHOW TRUE.
OVERSTATEMENT OR HYPERBOLE IS AN EXAGERATION TO
MAKE A POINT.
UNDERSTATEMENT IS SAYING LESS THAN WHAT YOU MEAN.
IRONY HAS MEANINGS THAT EXTEND BEYOND ITS USE.
VERBAL IRONY IS SAYING THE OPPOSITE OF WHAT YOU
MEAN.
SARCASM IS SIMPLY BITTER OR CUTTING SPEECH INTENDED
TO HURT SOMEONE’S FEELINGS.
SATIRE IS WRITTEN TO RIDUCLE A PERSON OR GROUP OF
PEOPLE.
THREE MAIN TARGETS FOR SATIRE ARE THE GOVERNMENT,
UPPER CLASS, AND RELIGION.
DRAMATIC IRONY IS WHEN THE AUDIENCE KNOWS MORE
THAN THE SPEAKER.
SITUATIONAL IRONY IS WHEN THE EXPECTED OUTCOME AND
THE ACUTAL OUTCOME ARE DIFFERENT.
POEMS IN THIS CHAPTER:
“MUCH MADNESS IS DIVINEST SENSE” BY EMILY DICKINSON
“THE CHIMNEY SWEEPER” BY WILLIAM BLAKE
“OZYMANDIAS” BY PERCY SHELLEY
“SOUTHERN COP” BY STERLING BROWN
“A MAN SAID TO THE UNIVERSE” BY STEPHEN CRANE
“TRAVELING THROUGH THE DARK” BY WILLIAM STAFFORD
“THE GROUNDHOG” BY RICHARD EVERHART
“A BIRD CAME DOWN THE WALK” BY EMILY DICKINSON