Definition of Drama

Drama is a mode of fictional representation through dialogue and

performance. It is one of the literary genres, which is an imitation of some
action. Drama is also a type of a play written for theater, television, radio, and
film.

In simple words, a drama is a composition in verse or prose presenting a story

in pantomime or dialogue. It contains conflict of characters, particularly the
ones who perform in front of audience on the stage. The person who writes
drama for stage directions is known as a “dramatist” or “playwright.”

Types of Drama
Let us consider a few popular types of drama:

 Comedy – Comedies are lighter in tone than ordinary works, and

provide a happy conclusion. The intention of dramatists in comedies is
to make their audience laugh. Hence, they use quaint circumstances,
unusual characters, and witty remarks.
 Tragedy – Tragic dramas use darker themes, such as disaster, pain,
and death. Protagonists often have a tragic flaw — a characteristic that
leads them to their downfall.
 Farce – Generally, a farce is a nonsensical genre of drama, which often
overacts or engages slapstick humor.
 Melodrama – Melodrama is an exaggerated drama, which is
sensational and appeals directly to the senses of the audience. Just like
the farce, the characters are of a single dimension and simple, or may
be stereotyped.
 Musical Drama – In musical dramas, dramatists not only tell their
stories through acting and dialogue, but through dance as well as
music. Often the story may be comedic, though it may also involve
serious subjects.

Examples of Drama in Literature

Example #1: Much Ado About Nothing (By William Shakespeare)

Much Ado About Nothing is the most frequently performed

Shakespearian comedy in modern times. The play is romantically funny, in
that love between Hero and Claudio is laughable, as they never even get a
single chance to communicate on-stage until they get married.
Their relationship lacks development and depth. They end up merely as
caricatures, exemplifying what people face in life when their relationships are
internally weak. Love between Benedick and Beatrice is amusing, as initially
their communications are very sparky, and they hate each other. However,
they all of sudden make up, and start loving each other.

Example #2: Oedipus Rex (By Sophocles)

Tragedy:

Sophocles’ mythical and immortal drama Oedipus Rex is thought to be his

best classical tragedy. Aristotle has adjudged this play as one of the greatest
examples of tragic drama in his book, Poetics, by giving the following reasons:

 The play arouses emotions of pity and fear, and achieves the

tragic Catharsis.
 It shows the downfall of an extraordinary man of high rank, Oedipus.
 The central character suffers due to his tragic error called Hamartia; as
he murders his real father, Laius, and then marries his real mother,
Jocasta.
 Hubris is the cause of Oedipus’ downfall.

Example #3: The Importance of Being Earnest (By Oscar Wilde)

Farce:

Oscar Wilde’s play, The Importance of Being Earnest, is a very popular

example of Victorian farce. In this play, a man uses two identities: one as a
serious person, Jack (his actual name), which he uses for Cesily, his ward,
and as a rogue named Ernest for his beloved woman, Gwendolyn.

Unluckily, Gwendolyn loves him partially because she loves the name Ernest.
It is when Jack and Earnest must come on-stage together for Cesily, then
Algernon comes in to play Earnest’ role, and his ward immediately falls in love
with the other “Ernest.” Thus, two young women think that they love the same
man – an occurrence that amuses the audience.

Example #4: The Heiress (By Henry James)

Melodrama:
The Heiress is based on Henry James’ novel the Washington
Square. Directed for stage performance by William Wyler, this play shows an
ungraceful and homely daughter of a domineering and rich doctor. She falls in
love with a young man, Morris Townsend, and wishes to elope with him, but
he leaves her in the lurch. The author creates melodrama towards the end,
when Catherine teaches a lesson to Morris, and leaves him instead.

Function of Drama
Drama is one of the best literary forms through which dramatists can directly
speak to their readers, or the  audience, and they can receive instant
feedback of audiences. A few dramatists use their characters as a vehicle to
convey their thoughts and values, such as poets do with personas, and
novelists do with narrators. Since drama uses spoken words and dialogues,
thus language of characters plays a vital role, as it may give clues to their
feelings, personalities, backgrounds, and change in feelings. In dramas the
characters live out a story without any comments of the author, providing the
audience a direct presentation of characters’ life experiences.

Comedy Poems - Examples of all types of poems about comedy to share and read. This
list of new poems is composed of the works of modern poets of PoetrySoup.
Read short, long, best, and famous examples for comedy.

Diction Definition
Diction can be defined as style of speaking or writing, determined by the
choice of words by a speaker or a writer. Diction, or choice of words, often
separates good writing from bad writing. It depends on a number of factors.
Firstly, the word has to be right and accurate. Secondly, words should be
appropriate to the context in which they are used. Lastly, the choice of words
should be such that the listener or reader understands easily.

Proper diction, or proper choice of words, is important to get the message

across. On the other hand, the wrong choice of words can easily divert
listeners or readers, which results in misinterpretation of the message
intended to be conveyed.

Types of Diction
Individuals vary their diction depending on different contexts and settings.
Therefore, we come across various types of diction.
  Formal diction – formal words are used in formal situations, such as
press conferences and presentations.
 Informal diction – uses informal words and conversation, such as
writing or talking to friends.
 Colloquial diction – uses words common in everyday speech, which
may be different in different regions or communities.
 Slang diction – is the use of words that are newly coined, or even
impolite.

Examples of Diction in Literature

Depending on the topics at hand, writers tend to vary their diction. Let us see
some examples of diction in literature:

Example #1: Ode on a Grecian Urn (By John Keats)

John Keats, in his Ode on a Grecian Urn, uses formal diction to achieve a

certain effect. He says:

“Heard melodies are sweet, but those unheard

Are sweeter: therefore, ye soft pipes, play on …”

Notice the use of the formal “ye,” instead of the informal “you.” The formality
here is due to the respect the urn inspires in Keats. In the same poem he
says:

“Ah, happy, happy boughs! that cannot shed

Your leaves, nor ever bid the spring adieu.”

It is more formal to use “adieu” than to say “goodbye.”

Example #2: The Sun Rising (By John Donne)

In sharp contrast to Keats, John Donne uses colloquialism in his poem The

Sun Rising:

“Busy old fool, unruly Sun,

Why dost thou thus,
Through windows, and through curtains, call on us?
Must to thy motions lovers’ seasons run?
Saucy pedantic wretch, go chide. “
Treating the sun as a real human being in this excerpt, the poet speaks to the
sun in an informal way, using colloquial expressions. He rebukes the sun
because it has appeared to spoil the good time he is having with his beloved.
Further, he orders the “saucy pedantic sun” to go away.

Example #3: The School (By Donald Barthelme)

Writers skillfully choose words to develop a certain tone and atmosphere in

their works. Read the following excerpt from a short story The School, by
Donald Barthelme:

“And the trees all died. They were orange trees. I don’t know why they died,
they just died. Something wrong with the soil possibly or maybe the stuff we
got from the nursery wasn’t the best. We complained about it. So we’ve got
thirty kids there, each kid had his or her own little tree to plant and we’ve got
these thirty dead trees. All these kids looking at these little brown sticks, it was
depressing.”

The use of the words “died,” “dead,” “brown sticks,” and “depressing” gives a
gloomy tone to the passage.

Example #4: A Tale of Two Cities (By Charles Dickens)

Sometimes writers repeat their chosen words or phrases to achieve an artistic

effect, such as in the following example from A Tale of Two Cities, by Charles
Dickens:

“It was the best of times, it was the worst of times, it was the age of wisdom, it
was the age of foolishness, it was the epoch of belief, it was the epoch of
incredulity, it was the season of Light, it was the season of Darkness, it was
the spring of hope, it was the winter of despair.”

By repeating the phrase “It was the …” throughout the passage, the writer

ensures that the readers will give more consideration to the characteristic of
the era they are going to read about in the novel.

Function of Diction
In literature, writers choose words to create and convey a typical mood, tone,
and atmosphere to their readers. A writer’s choice of words, and his selection
of graphic words, not only affect the reader’s attitude, but also conveys the
writer’s feelings toward the literary work. Moreover, poetry is known for its
unique diction, which separates it from prose. Usually, a poetic diction is
marked by the use of figures of speech, rhyming words, and other devices.

The author of a play is called:

a. an author
b. a poet
c. a playwright
d. a composer

“…if you are setting our to be joyful you are not going to end up being joyful.
You are going to find yourself turned in on yourself… and I think some
suffering, maybe even intense suffering, is a necessary ingredient for life…”
Explanation:
I have spent years seeking joy and happiness and a sense of purpose in my
life, all the while trying hard to avoid stress, difficult feelings and sadness. In
the last six months I have felt more stressed, more anxious and more
distressed than at any other time in my life. But I have also begun to feel a
much deeper sense of fulfilment than before. All this coincided with becoming
a parent, and it has finally taught me what years of reading could not quite
prove: that happiness and sadness go together, that our depth of feeling for
both increases at the same rate, that fulfilment comes in tandem with struggle.

Allusion Definition
Allusion is a brief and indirect reference to a person, place, thing or idea of historical, cultural,
literary or political significance. It does not describe in detail the person or thing to which it
refers. It is just a passing comment and the writer expects the reader to possess enough
knowledge to spot the allusion and grasp its importance in a text.

For instance, you make a literary allusion the moment you say, “I do not approve of
this quixotic idea,” Quixotic means stupid and impractical derived from Cervantes’s “Don
Quixote”, a story of a foolish knight and his misadventures.

Allusion Examples in Everyday Speech

The use allusions are not confined to literature alone. Their occurrence is fairly common in our
daily speech. Look at some common allusion examples in everyday life:

 “Don’t act like a Romeo in front of her.” – “Romeo” is a reference to Shakespeare’s

Romeo, a passionate lover of Juliet, in “Romeo and Juliet”.
 The rise in poverty will unlock the Pandora’s box of crimes. – This is an allusion to one
of Greek Mythology’s origin myth, “Pandora’s box”.
 “This place is like a Garden of Eden.” – This is a biblical allusion to the “garden of God”
in the Book of Genesis.
 “Hey! Guess who the new Newton of our school is?” – “Newton”, means a genius
student, alludes to a famous scientist Isaac Newton.
 “Stop acting like my ex-husband please.” – Apart from scholarly allusions we refer to
common people and places in our speech.

Examples of Allusion in Literature

Let us analyze a few examples of the use of allusions in literature:

Example #1

Milton’s “Paradise Lost” gives allusions a fair share. Look at the example from Book 6 below:

“All night the dread less Angel unpursu’d

Through Heav’ns wide Champain held his way, till Morn,
Wak’t by the circling Hours, with rosie hand
Unbarr’d the gates of Light. There is a Cave
Within the Mount of God, fast by his Throne”

In the above lines “dread less Angel” is a reference to “Abdiel”, a fearless angel. “Circling
Hours” alludes to a Greek Myth “The Horae”, the daughters of “Zeus” and “Themis” namely
“Thallo (Spring), Auxo (Summer) and Carpo (Fall). “ With rosie hand” Milton refers to Homer’s
illustration of the “rosy fingered dawn” (Odyssey Book 2).

Example #2

Marlowe’s “Doctor Faustus” is replete with instances of allusions. Read the example from Act
III below:

“Learnèd Faustus, to find the secrets of astronomy

Graven in the book of Jove’s high firmament,
Did mount him up to scale Olympus’ top,
Where, sitting in a chariot burning bright,
Drawn by the strength of yokèd dragons’ necks,
He views the clouds, the planets, and the stars.”
Jove’s high firmament refers to the outer stretches of the universe. “Olympus’ top” is an allusion
to Greek Mythology where Mount Olympus is home of gods. Similarly, “a chariot burning
bright” refers to a Greek Myth of “god Apollo” who is said to drive the sun in his chariot.

Example #3

In Conrad’s “Heart of Darkness”, “the two knitting women” whom Marlow sees alludes to
“Moirae” or Fates as visualized in Greek Mythology:

“The two knitting women increase his anxiety by gazing at him and all the other
sailors with knowing unconcern. Their eerie looks suggest that they know what will
happen (the men dying), yet don’t care”

The thread they knit represents human life. The two women knitting black wool foreshadows
Marlow’s horrific journey in the “Dark Continent”.

Example #4

We find a number of allusions in Keats’s “Ode to the Grecian Urn”. For example:

“Sylvan historian, who canst thus express

A flowery tale more sweetly than our rhyme:
What leaf-fringed legend haunts about thy shape
Of deities or mortals, or of both,
In Tempe or the dales of Arcady?”

“Sylvan” is a goat-like-man deity of Greek mythology. “Tempe” alludes to the “Vale of Tempe”
in Greece, a place (from Greek mythology) frequently visited by Apollo and other gods.
Likewise, “the dales of Arcady” refers to the home of “Pan”, the god of rustic music.

Function of Allusion
By and large, the use of allusions enables writers or poets to simplify complex ideas and
emotions. The readers comprehend the complex ideas by comparing the emotions of the writer or
poet to the references given by them. Furthermore, the references to Greek Mythology give a
dreamlike and magical touch to the works of art. Similarly, biblical allusions appeal to the
readers with religious backgrounds.

Related Posts:
 A Huge List of Famous Allusions
 10 Beautiful Allusions in Poetry
 10 Unforgettable Allusions in 90s Music
 Hamlet Act-I, Scene-I Study Guide
  Ships That Pass in the Night
 The Quality of Mercy is Not Strain’d
 Raining Cats and Dogs
 Romeo and Juliet Allusion
 Difference between Allusion and Illusion
 Examples of Historical Allusion

Definition of Aside
Normally playwrights use characters’ dialogues to tell their stories, but often it becomes difficult
for them to express what their characters are thinking. Hence, they use a typical dramatic device,
called “aside,” to solve this problem. An aside is a short comment or speech that
a character delivers directly to the audience, or to himself, while other actors on the stage appear
not to hear. Only the audience knows that the character has said something to them.

In essence, through an aside, a character comments on what happens in the play. Simply, we can
define aside as a short commentary that reveals private opinions and reactions of the character.
However, it refers to the major conflict in a play, though it may not involve his personal conflict.

Difference Between Aside and Soliloquy

Both asides and soliloquies are dramatic devices; they have similarities and differences. The
similarity between them is that a single character speaks directly to himself, or to the audience,
and no other character can hear his comments. The difference between them is that an aside is a
shorter comment, while a soliloquy is a longer speech. Another difference is that an aside reveals
hidden secrets or judgments, whereas the soliloquy reveals motives, inner thoughts, or internal
struggles going on in the mind of the character.

Examples of Aside in Literature

Aside became a popular dramatic technique during the Elizabethan era, when structure and
arrangement of the theaters themselves were changing. The structure of stages was transformed
into a three-sided shape that allowed spectators to come closer to actors than ever before. Hence,
this friendly setting made asides more realistic. Following are a few examples of aside from
literature:

Example #1: Macbeth (By William Shakespeare)

“Time thou anticipat’st my dread exploits.

The flighty purpose never is o’ertook
Unless the deed go with it. From this moment
The very firstlings of my heart shall be
The firstlings of my hand.”

Here, readers learn that the leading character, Macbeth, feels regret to launch an attack on
MacDuff. However, his speech announces that Macbeth would attack MacDuff’s castle and kill
his family. This speech reveals Macbeth has lost his moral values. First, he struggles with the
decision to kill the king, but now he does not feel hesitation to murder the king’s whole family.
This aside makes it clear that he has transformed into a violent and ambitious man.

Example #2: Crucible (By Arthur Miller)

Arthur Miller, in his play Crucible, uses aside through the last words of Elizabeth towards
the conclusion of the play, when she says:

“He have his goodness now. God forbid I take it from him.”

Elizabeth forgives her husband of his adultery, and John – after making many mistakes – makes
the right decision and confesses his sin. This good moral decision restores his goodness.
Therefore, when Reverend Hale asks Elizabeth to convince her husband not to give up his life,
she makes an aside, saying that she cannot do this when he finally realizes that he has his
goodness.

Example #3: Hamlet (By William Shakespeare)

Another example of aside occurs in Shakespeare’s Hamlet. In this play, after the death of the
King of Denmark, the king’s brother Claudius takes the charge of the throne, rather than
Prince Hamlet. Moreover, Claudius marries the king’s wife. In the first act of this play, when
Claudius talks to Hamlet, by calling him his son and nephew, Hamlet makes an aside by saying:

“A little more than kin, and less than kind.”

Example #4: Cherry Orchard (By Anton Chekhov)

Yasha: (Aside.)
“Lyubov Andreyevna, could I have a word? I was wondering if Madame would be
going back to Paris … the food’s uneatable, that old man wandering about muttering
to himself …”

In this example, Yasha makes an aside to express that he wants to go back to Paris with Mrs.
Ranavesky, as there are no standards living in her estate, and also he is not satisfied with the
behavior of its residents.

Function of Aside
Aside gives special information to the audience about the plot and other characters onstage. It is
like a window into the thoughts of characters. Since aside is a comment about the characters
without bringing into their knowledge, it gives better understanding to the audience about the
essence of the matter.

Asides also create an enjoyable experience for the audience, as a character talks to them directly,
drawing them closer to his or her actions and thoughts. They can enter into the true thoughts and
feelings of the characters. However, in comedies asides are delightful, and as a result,
playwrights could imagine how the audience enjoys their work.

Conflict Definition
In literature, conflict is a literary element that involves a struggle between two
opposing forces, usually a protagonist and an antagonist.

Internal and External Conflicts

Careful examination of some conflict examples will help us realize that they
may be internal or external.

An internal or psychological conflict arises as soon as a character experiences

two opposite emotions or desires – usually virtue and vice, or good and evil –
inside him. This disagreement causes the character to suffer mental agony,
and it develops a unique tension in a storyline, marked by a lack of action.

External Conflict, on the other hand, is marked by a characteristic involvement

of an action wherein a character finds himself in struggle with those outside
forces that hamper his progress. The most common type of external conflict is
where a protagonist fights back against the antagonist’s tactics that impede
his or her advancement.

Examples of Conflict in Literature

Example #1: Hamlet (By William Shakespeare)

Hamlet’s internal conflict is the main driver in William

Shakespeare’s play Hamlet.”  It decides his tragic downfall. He reveals his
state of mind in the following lines from Act 3, Scene 1 of the play:
“To be, or not to be – that is the question:
Whether ’tis nobler in the mind to suffer
The slings and arrows of outrageous fortune
Or to take arms against a sea of troubles
And by opposing end them. To die, to sleep…”

The conflict here is that Hamlet wants to kill his father’s murderer, Claudius,

but he also looks for proof to justify his action. This ultimately ruins his life,
and the lives of his loved ones. Due to his internal conflict, Hamlet spoils his
relationship with his mother, and sends Ophelia (Hamlet’s love interest) into
such a state of despair that she commits suicide.

Hamlet’s indecisiveness almost got everyone killed at the end of the play.
The resolution came when he killed Claudius by assuming fake madness so
that he would not be asked for any justification. In the same play, we find
Hamlet engaged in an external conflict with his uncle Claudius.

Example #2: Doctor Faustus (By Christopher Marlowe)

Another example of an internal conflict is found in the character of Doctor

Faustus in Marlowe’s Doctor Faustus. Faustus has an ambitious nature. In
spite of being a respected scholar, he sold his soul to Lucifer by signing a
contract with his blood, in order to achieve ultimate power and limitless
pleasure in this world. He learns the art of black magic, and defies
Christianity.

After the aforementioned action, we see Faustus suffering from an internal

conflict where he thinks honestly about repenting, acting upon the advice of
“the good angel,” but “the bad angel” or the evil inside him distracts him by
saying it is all too late. In conclusion, the resolution comes when devils take
his soul away to Hell, and he suffers eternal damnation because of his over-
ambition.

Example #3: The Lord of the Flies Farm (By William Golding)

The most straightforward type of external conflict is when a character in a

story struggles against another character physically. In William
Golding’s novel The Lord of the Flies, for example, Ralph (the leader of the
“good guys”) steadily comes into conflict with Jack – a bully who later forms a
“tribe” of hunters. Jack and his tribe give in to their savage instinct, and make
attempts to hunt or kill the civilized batch of boys led by Ralph.
Example #4: To Kill a Mockingbird (By Harper Lee)

Another kind of external conflict sets a character against the evil that
dominates a society. In this case, a character may confront a dominant group
with opposing priorities. For instance, in Harper Lee’s novel To Kill a
Mockingbird, an honest lawyer, Atticus Finch, goes up against the racist
society in which he lives. Atticus has the courage to defend a black man, Tom
Robinson, who has been falsely accused of a rape. Though Atticus has the
support of a few like-minded people, most of the townspeople express their
disapproval of his defense of a black man.

Function of Conflict
Both internal and external conflicts are essential elements of a storyline. It is
essential for a writer to introduce and develop them, whether internal,
external, or both, in his storyline in order to achieve the story’s goal.
Resolution of the conflict entertains the readers.

Definition of Dialogue
A dialogue is a literary technique in which writers employ two or more
characters to be engaged in conversation with one another. In literature, it is a
conversational passage, or a spoken or written exchange of conversation in a
group, or between two persons directed towards a particular subject. The use
of dialogues can be seen back in classical literature, especially in
Plato’s Republic. Several other philosophers also used this technique for
rhetorical and argumentative purposes. Generally, it makes a literary work
enjoyable and lively.

Types of Dialogue
There are two types of dialogue in literature:

 Inner Dialogue – In inner dialogue, the characters speak to themselves

and reveal their personalities. To use inner dialogue, writers employ
literary techniques like stream of consciousness or dramatic monologue.
We often find such dialogues in the works of James Joyce, Virginia
Wolf, and William Faulkner.
  Outer Dialogue – Outer dialogue is a simple conversation between two
characters, used in almost all types of fictional works.

Examples of Dialogue in Literature

Let us see how famous writers have used dialogues for resonance and
meaning in their works:

Example #1: Wuthering Heights (By Emily Bronte)

“Now he is here,” I exclaimed.  “For Heaven’s sake, hurry down!  Do be quick;

and stay among the trees till he is fairly in.”

“I must go, Cathy,” said Heathcliff, seeking to extricate himself from his
companion’s arms. “I won’t stray five yards from your window…”

“For one hour,” he pleaded earnestly.

“Not for one minute,” she replied.

“I must–Linton will be up immediately,” persisted the intruder.

Miss Bronte has employed surprises, opposition, and reversals in this

dialogue like will-it-happen, when he says, “But, if I live, I’ll see you …” She
has inserted these expressions in order to develop conflict in the plot.

Example #2: Crime and Punishment (By Fyodor Dostoevsky)

“But who did he tell it to? You and me?”

“And Porfiry.”

“What does it matter?”

“And, by the way, do you have any influence over them, his mother and
sister?  Tell them to be more careful with him today …”

“They’ll get on all right!” Razumikhin answered reluctantly.

“Why is he so set against this Luzhin? A man with money and she doesn’t
dislike him …
“But what business is it of yours?” Razumikhin cried with annoyance.

In this excerpt, notice the use of conflict, emotions, information, conflict,

reversal, and opposition flowing by. The ideas and information are expressed
with perfect timing, but here an important point is that the characters are not
responding with a definite answer. This is a beautiful piece of dialogue.

Example #3: A Dialogue Between Caliban and Ariel (By John Fuller)

Cal. “Have you no visions that you cannot name?”

Ar. “A picture should extend beyond its frame,

There being no limitation
To bright reality:
For all their declaration
And complexity,
Words cannot see.”

Fuller has written this poem in the dialogue form. Two characters, Caliban and
Ariel, are conversing, revealing the conflict, as Caliban asks questions, and
Ariel gives answers that make the poem alive and interesting.

Example #4: Pride and Prejudice (By Jane Austen)

“Oh! Single, my dear, to be sure! A single man of large fortune; four or five
thousand a year. What a fine thing for our girls!”

“How so? How can it affect them?”

“My dear Mr. Bennet, “replied his wife, “how can you be so tiresome! You
must know that I am thinking of his marrying one of them…

My dear, you flatter me. I certainly have had my share of beauty, but I do not
pretend to be anything extraordinary now…she ought to give over thinking of
her own beauty.”

Austen explores the characters in her novels through dialogue. Likewise, in

this conversation, the author unfolds Mrs. Bennet’s character as being stupid
and worthless. Mr. Bennet makes fun of her wife, and this dialogue sums up
their relationship and gives hints about their personalities.

Function of Dialogue
The use of dialogue is prevalent in fiction, but this technique can also be
found in poetry, non-fiction, films, and drama. The dialogue has several
purposes, such as advancing the plot of a narrative, and revealing the
characters that cannot be understood otherwise. Further, it presents
an exposition of the background or past events, and creates the tone of a
narrative. Its usage can also be seen in modern literary works, where it colors
the personalities of the characters, creates a conflict, highlights
the vernacular, and moves the storyline forward. Moreover, dialogue makes a
literary piece interesting and alive, and gives enjoyable experience to the
readers.

Definition of Irony
Irony is a literary device in which contradictory statements or situations reveal
a reality that is different from what appears to be true. There are many forms
of irony featured in literature. The effectiveness of irony as a literary device
depends on the reader’s expectations and understanding of the disparity
between what “should” happen and what “actually” happens in a literary work.
This can be in the form of an unforeseen outcome of an event, a character’s
unanticipated behavior, or something incongruous that is said.

One of the most famous examples of irony in literature comes from The Gift of

the Magi by O. Henry. In this story, a newly married couple decides
independently to sacrifice and sell what means most to themselves in order to
purchase a Christmas gift for the other. Unfortunately, the gifts they receive
from each other are intended for the very prized possessions they both sold.
As a result, though their sacrifices symbolize the love they have for each
other, the actual gifts they receive are all but useless.

Common Examples of Irony

Many common phrases and situations reflect irony. Irony often stems from an
unanticipated response (verbal irony) or an unexpected outcome (situational
irony). Here are some common examples of verbal and situational irony:

Verbal Irony

 Telling a quiet group, “don’t everybody speak all at once”

 Coming home to a big mess and saying, “it’s great to be back”
  Telling a rude customer to “have a nice day”
 Walking into an empty theater and asking, “it’s too crowded”
 Stating during a thunderstorm, “beautiful weather we’re having”
 An authority figure stepping into the room saying, “don’t bother to stand
or anything”
 A comedian telling an unresponsive audience, “you all are a great
crowd”
 Describing someone who says foolish things a “genius”
 Delivering bad news by saying, “the good news is”
 Entering a child’s messy room and saying “nice place you have here”

Situational Irony

 A fire station that burns down

 Winner of a spelling bee failing a spelling test
 A t-shirt with a “Buy American” logo that is made in China
 Marriage counselor divorcing third wife
 Sending a Christmas card to someone who is Jewish
 Leaving a car wash at the beginning of a downpour
 A dentist needing a root canal
 Going on a blind date with someone who is visually impaired
 A police station being burglarized
 Purchasing a roll of stamps a day before the price to send a letter
increases

Examples of Irony in Plot

Irony is extremely useful as a plot device. Readers or viewers of a plot that
includes irony often call this effect a “twist.” Here are some examples of irony
in well-known plots:

 The Wizard of Oz (L. Frank Baum): the characters already have what
they are asking for from the wizard
 Time Enough at Last (episode of “The Twilight Zone”): the main
character, who yearns to be left alone to read, survives an apocalyptic
explosion but breaks his reading glasses
 Oedipus Rex (Sophocles): Oedipus is searching for a murderer who, it
turns out, is himself
 The Cask of Amontillado (Edgar Allan Poe): the character “Fortunato”
meets with a very unfortunate fate
  Hansel and Gretel (Grimm fairy tale): the witch, who intended to eat
Hansel ad Gretel, is trapped by the children in her own oven

Real Life Examples of Irony

Think you haven’t heard of any examples of irony in real life? Here are some
instances of irony that have taken place:

 It is reported that Lady Nancy Astor once said to Winston Churchill that
if he were her husband, she would poison his tea. In response, Churchill
allegedly said, “Madam, if I were your husband, I’d drink it.”
 Sweden’s Icehotel, built of snow and ice, contains fire alarms.
 Hippopotomonstrosesquippedaliophobia is the official name for fear of
long words
 Fahrenheit 451 by Ray Bradbury is considered an anti-
censorship novel, and it is one of the most consistently banned books in
the United States.
 A retired CEO of the Crayola company suffered from colorblindness.
 Many people claimed and/or believed that the Titanic was an
“unsinkable” ship.
 There is a hangover remedy entitled “hair of the dog that bit you” that
involves consuming more alcohol.
 George H.W. Bush reportedly stated, “I have opinions of my own, strong
opinions, but I don’t always agree with them.”

Difference Between Verbal Irony, Dramatic Irony, and

Situational Irony
Though there are many forms of irony as a literary device, its three main
forms are verbal, dramatic, and situational. Verbal irony sets forth
a contrast between what is literally said and what is actually meant.
In dramatic irony, the state of the action or what is happening as far as what
the reader or viewer knows is the reverse of what the players or characters
suppose it to be. Situational irony refers to circumstances that turn out to be
the reverse of what is expected or considered appropriate.

Essentially, verbal and situational irony are each a violation of a reader’s

expectations and conventional knowledge. When it comes to verbal irony, the
reader may be expecting a character’s statement or response to be one thing
though it turns out to be the opposite. For situational irony, the reader may
anticipate an event’s outcome in one way though it turns out to happen in a
completely different way.

Dramatic Irony is more of a vicarious violation of expectations or knowledge.

In other words, the reader/audience is aware of pertinent information or
circumstances of which the actual characters are not. Therefore, the reader is
left in suspense or conflict until the situation or information is revealed to the
characters involved. For example, a reader may be aware of a superhero’s
true identity whereas other characters may not know that information.
Dramatic irony allows a reader the advantage of knowing or understanding
something that a particular character or group of characters does not.

Writing Irony
Overall, as a literary device, irony functions as a means of portraying a
contrast or discrepancy between appearance and reality. This is effective for
readers in that irony can create humor and suspense, as well as showcase
character flaws or highlight central themes in a literary work.

It’s essential that writers bear in mind that their audience must have an
understanding of the discrepancy between appearance and reality in their
work. Otherwise, the sense of irony is lost and ineffective. Therefore, it’s best
to be aware of the reader or viewer’s expectations of reality in order to create
an entirely different and unexpected outcome.

Here are some ways that writers benefit from incorporating irony into their
work:

Plot Device

Irony in various forms is a powerful plot device. Unexpected events or

character behaviors can create suspense for readers, heighten the humor in a
literary work, or leave a larger impression on an audience. As a plot device,
irony allows readers to re-evaluate their knowledge, expectations, and
understanding. Therefore, writers can call attention to themes in their work
while simultaneously catching their readers off-guard.

Method of Reveal

As a literary device, irony does not only reveals unexpected events or plot
twists. It serves to showcase disparity in the behavior of characters, making
them far more complex and realistic. Irony can also reveal preconceptions on
the part of an audience by challenging their assumptions and expectations. In
this sense, it is an effective device for writers.

Examples of Irony in Literature

Irony is a very effective literary device. Here are some examples of irony and
how it adds to the significance of well-known literary works:

Example 1: The Necklace (Guy de Maupassant)

“You say that you bought a necklace of diamonds to replace mine?”

“Yes. You never noticed it, then! They were very like.”

And she smiled with a joy which was proud and naïve at once.

Mme. Forestier, strongly moved, took her two hands.

“Oh, my poor Mathilde! Why, my necklace was paste. It was worth at most five
hundred francs!”

In his short story, de Maupassant utilizes situational irony to reveal an

unexpected outcome for the main character Mathilde who borrowed what she
believed to be a diamond necklace from her friend Mme. Forestier to wear to
a ball. Due to vanity and carelessness, Mathilde loses the necklace. Rather
than confess this loss to her friend, Mathilde and her husband replace the
necklace with another and thereby incur a debt that takes them ten years of
labor to repay.

In a chance meeting, Mathilde learns from her friend that the original necklace
was fake. This outcome is ironic in the sense that Mathilde has become the
opposite of the woman she wished to be and Mme. Forestier is in possession
of a real diamond necklace rather than a false one. This ending may cause
the reader to reflect on the story’s central themes, including pride, authenticity,
and the price of vanity.

Example 2: Not Waving but Drowning (Stevie Smith)

Nobody heard him, the dead man,
But still he lay moaning:
I was much further out than you thought
And not waving but drowning.
 This stanza reflects Smith’s many uses of dramatic irony in her poem. The
reader is aware that the “dead” man is actually still alive, though “nobody”
hears him. In addition, the reader has the understanding and knowledge that
the man in the poem was not waving as those who saw him believed him to
be. Instead, the man was signalling for help because he was drowning.
The dramatic irony in this poem is significant on many levels. The reader is
fully informed as to the situation of the dead man, yet is powerless to influence
the people around him to understand the situation. Therefore, this irony
reflects the poem’s portrayal of the consequences of miscommunication and
misunderstanding among people.
Example 3: A Modest Proposal (Jonathan Swift)

A child will make two dishes at an entertainment for friends; and when the
family dines alone, the fore or hind quarter will make a reasonable dish, and
seasoned with a little pepper or salt will be very good boiled on the fourth day,
especially in winter.

Swift makes use of verbal irony in his essay in which he advocates eating

children as a means of solving the issue of famine and poverty. Of course,
Swift does not literally mean what he is saying. Instead, his verbal irony is
used to showcase the dire situation faced by those who are impoverished and
their limited resources or solutions. In addition, this irony is meant as a call to
action among those who are not suffering from hunger and poverty to act in a
charitable way towards those less fortunate.
Direct address involves the use of a person’s name or title to address a remark or a
question directly to that person.

Not every use of a person’s name is a case of direct address. Often we use someone’s name
to speak about that person rather than directly to him or her. For example, if you say,
“Alison went to the concert,” you are talking about Alison, not to her.

But suppose you say, “Alison, how did you like the concert?” Then you are talking
directly to Alison, and you are using her name to get her attention and to show that the
question is meant for her. This use of Alison’s name to speak directly to her is an example
of direct address.

Comma use with direct address

When using direct address in writing, you use a comma to separate the person’s name from
the rest of the sentence.

 Halynka, I hope you made perogies for the potluck!

Location of the name

 The name used in direct address can appear at the beginning, at the end or in the middle of
the sentence. (When it is in the middle, it has a comma before and after it, as in the third
example below.)

 Claudio, I heard you made ricotta dumplings for supper.

 Show me the dress you bought, Samina.
 Tell me, Carl, how do you like your new job?

Titles in place of names

Finally, direct address doesn’t need to involve a name. A title can be used in place of a
name, as in the following examples:

 Excuse me, sir, you dropped something.

 Listen up, girls and boys!
 Ladies and gentlemen, the play is about to begin.

Costume
From Wikipedia, the free encyclopedia

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For the Finnish magazine, see Costume (magazine).

Costumes of All Nations – Franks A.D. 800 (1882) Examples of a range of costumes suitable for specific
individuals at a particular epoch. In later periods, once authentic costume may be revived or copied for
theatrical purposes.

Costume is the distinctive style of dress of an individual or group that reflects class,
gender, profession, ethnicity, nationality, activity or epoch.
The term also was traditionally used to describe typical appropriate clothing for certain
activities, such as riding costume, swimming costume, dance costume, and evening
costume. Appropriate and acceptable costume is subject to changes in fashion and
local cultural norms.[1]
"But sable is worn more in carriages, lined with real lace over ivory satin, and worn over
some smart costume suitable for an afternoon reception." A Woman's Letter from
London (23 November 1899).[2]
This general usage has gradually been replaced by the terms "dress", "attire", "robes" or
"wear" and usage of "costume" has become more limited to unusual or out-of-date
clothing and to attire intended to evoke a change in identity, such as theatrical,
Halloween, and mascot costumes.
Before the advent of ready-to-wear apparel, clothing was made by hand. When made
for commercial sale it was made, as late as the beginning of the 20th century, by
"costumiers", often women who ran businesses that met the demand for complicated or
intimate female costume, including millinery and corsetry.[3]

Part of a series on

Costume

Background[show]

Society and culture[show]

Design[show]

Elements and methods[show]

Traditional[show]

Theatrical[show]
 Period[show]

Children[show]

Fictional[show]

Organizations[show]

Awards[show]

People[show]

Museums[show]

 v
 t
 e

Contents

 1Etymology
 2National costume
 3Theatrical costume
 4Costume construction
o 4.1Draping and cutting
4.1.1Pros and cons of draping [10][11]

4.1.2Pros and cons of cutting[10][11]

 5Jobs
o 5.1Costume Designer
o 5.2Costume Technician
o 5.3Wardrobe Supervisor
o 5.4Millinery
 6Religious festivals
 7Parades and processions
 8Sporting events and parties
o 8.1Mascots
o 8.2Children
o 8.3Cosplay
 9Design
o 9.1Organizations
o 9.2Publications
 o 9.3Notable designers and awards
o 9.4DIY and homemade costumes
 10Industry
 11See also
 12References
 13External links

Etymology[edit]
Costume comes from the same Italian word, inherited via French, which means fashion
or custom.[4]

National costume[edit]

King of Bhutan in traditional dress and Bhutanese Women in traditional dress

National costume or regional costume expresses local (or exiled) identity and

emphasizes a culture's unique attributes. They are often a source of national pride.
[5]
 Examples include the Scottish kilt or Japanese kimono.
In Bhutan there is a traditional national dress prescribed for men and women, including
the monarchy. These have been in vogue for thousands of years and have developed
into a distinctive dress style. The dress worn by men is known as Gho which is a robe
worn up to knee-length and is fastened at the waist by a band called the Kera. The front
part of the dress which is formed like a pouch, in olden days was used to hold baskets
of food and short dagger, but now it is used to keep cell phone, purse and the betel
nut called Doma. The dress worn by women consist of three pieces known
as Kira, Tego and Wonju. The long dress which extends up to the ankle is Kira. The
jacket worn above this is Tego which is provided with Wonju, the inner jacket. However,
while visiting the Dzong or monastery a long scarf or stoll, called Kabney is worn by
men across the shoulder, in colours appropriate to their ranks. Women also wear scarfs
or stolls called Rachus, made of raw silk with embroidery, over their shoulder but not
indicative of their rank.[6]

Theatrical costume[edit]
Main article: Stage clothes

"Costume" often refers to a particular style of clothing worn to portray the wearer as
a character or type of character at a social event in a theatrical performance on
the stage or in film or television. In combination with other aspects of stagecraft,
theatrical costumes can help actors portray characters' and their contexts as well as
communicate information about the historical period/era, geographic location and time
of day, season or weather of the theatrical performance. Some stylized theatrical
costumes, such as Harlequin and Pantaloon in the Commedia dell'arte, exaggerate an
aspect of a character.

Actors in samurai costume at the Kyoto Eigamura film set

Costume construction[edit]
A costume technician is a term used for a person that constructs and/or alters the
costumes.[7] The costume technician is responsible for taking the two
dimensional sketch and translating it to create a garment that resembles the
designer's rendering. It is important for a technician to keep the ideas of the designer in
mind when building the garment.[8]
Draping and cutting[edit]
Draping is the art of manipulating the fabric using pins and hand stitching to
create structure on a body. This is usually done on a dress form to get the adequate
shape for the performer.[9] Cutting is the act of laying out fabric on a flat surface,
using scissors to cut and follow along a pattern. These pieces are put together to create
a final costume.[10]
Pros and cons of draping[10][11][edit]

 It is easier to visualize the finished product

 It is hard to keep the fabric symmetric
 You are able to drape in your fashion fabric rather than making a muslin mockup
 Draping makes it difficult to replicate for multiple people
 There are no needs for patterns
 It can be hard to keep the grain of the fabric straight
 There is less waste when using the specific fabric from the start
Pros and cons of cutting[10][11][edit]

 You are able to create your own pattern to fit a certain size
 You may need instructions to piece the fabric together
 It is easier to control the grain of the fabric as well as symmetry
 There is more ability to create many of the same garment
 The measurements can be very accurate
 It takes time to see the final product

Jobs
Satire
Definition of Satire
Satire is a literary device for the artful ridicule of a folly or vice as a means of
exposing or correcting it. The subject of satire is generally human frailty, as it
manifests in people’s behavior or ideas as well as societal institutions or other
creations. Satire utilizes tones of amusement, contempt, scorn, or indignation
towards a flawed subject with the hope of creating awareness and subsequent
change.

For example, one of the most well-known satirical literary works is Brave New
World by Aldous Huxley. In his novel, Huxley satirizes most of the social
conventions and institutions considered sacred and held dear by an
“enlightened” Western society. This includes religion, monogamy, social
equality, and the blessing of childbirth. In the novel, these conventions and
institutions are turned upside down such that the characters embrace drug
culture, social class separation, casual sex, and governmental control. Huxley
satirizes contemporary society in order to expose for the reader its arbitrary
and often hypocritical moral structures.

Common Examples of Satire

Many common forms of media, art, and entertainment reflect satire, including
movies, magazines, newspapers, novels, poetry, short fiction, drama, and
even visual art. Satire can be overt or subtle, but it is prevalent throughout
history and in popular culture. Here are some common and familiar examples
of satire:

 political cartoons–satirize political events and/or politicians

 The Onion–American digital media and newspaper company that
satirizes everyday news on an international, national, and local level
 Family Guy–animated series that satirizes American middle class
society and conventions
 The Colbert Report–comedy television series that satirized news and
late-night talk show programs
 Alice in Wonderlandj–novel by Lewis Carroll that satirizes corrupt
political and judicial system of Victorian England
 The Importance of Being Earnest–dramatic satire by Oscar Wilde of
love and marriage cultural norms during Victorian Age
 Shrek–movie that satirizes fairy tales
 Fountain–famous urinal artwork by Marcel Duchamp satirizing American
avant-garde art
 The Nymph’s Reply to the Shepherd–poem by Sir Walter Raleigh
satirizing pastoral tradition of Christopher Marlowe’s “The Passionate
Shepherd to his Love”
 2BR02B–short story by Kurt Vonnegut satirizing meaning of life, death,
and individuality
 Mad Magazine–satirized pop culture and politics
 Deadpool–movie that satirizes super hero genre
 A Modest Proposal (For Preventing The Children Of Poor People From
Being A Burthen To Their Parents Or Country, And For Making Them
Beneficial To The Publick)–essay by Jonathan Swift satirizing 18th
Century England’s legal and economic exploitation of Ireland
 Scream–movie satirizing horror genre
 Mr. Robinson–character played by Eddie Murphy satirizing Mister
Rogers and his children’s television program

Examples of Satirical Television Programs

Many television programs are based in satire. They appeal to audiences with
their combination of scrutiny, humor, and criticism of politics, popular culture,
social conventions, human nature, media, and even television itself. Here are
some examples of satirical television programs:

 The Daily Show

  South Park
 The Office
 Monty Python’s Flying Circus
 Saturday Night Live
 The Simpsons
 The Soup
 American Dad
 Last Week Tonight with John Oliver
 Married with Children

Famous Examples of Quotes about Satire

One way to get a better understanding of the craft, purpose, and effect of
satire is through the words of satirists themselves. Here are some famous
quotes about satire:

 Satire is tragedy plus time. You give it enough time, the public, the
reviewers will allow you to satirize it. Which is rather ridiculous, when
you think about it. (Lenny Bruce)
 Tomorrow is a satire on today, and shows its weakness. (Edward
Young)
 Satire is a lesson, parody is a game. (Vladimir Nabokov)
 You can’t debate satire. Either you get it or you don’t. (Michael Moore)
 I only aim at the powerful. When satire is aimed at the powerless, it is
not only cruel–it’s vulgar. (Molly Ivins)
 Fools are my theme, let satire be my song. (Lord Byron)
 I never wanted to do political satire because it seems too surface to me.
(Tracey Ullman)
 People say satire is dead. It’s not dead; it’s alive and living in the White
House. (Robin Williams)
 Praise undeserved, is satire in disguise. (Alexander Pope)
 Satire is a form of social control, it’s what you do. It’s not personal. It’s a
job. (Garry Trudeau)

Difference Between Satire and Parody

For some, it can be difficult to distinguish between satire and parody. Both
devices utilize humor to convey meaning and fulfill their purpose. However,
there are differences between them–particularly in their intentions. Satire
intends to ridicule human and/or societal flaws, discrepancies, and
inadequacies as a means of provoking an audience and challenging
viewpoints. Parody intends to mimic something familiar to an audience as a
means of amusement or invoking humor.

Parody primarily relies on audience recognition of what is being mimicked in

order to understand the ridicule of the subject. However, the focus of parody
tends to be exaggeration or observation at a surface level such as a well-
known leader’s mannerisms or pattern of speech. The motive of parody is to
generate laughs rather than any deeper understanding.

The focus of satire is a larger scope. Satire relies on audience recognition of a

systemic problem underlying the ridicule and humor. Therefore, though satire
does intend to be humorous, the motive is a greater common understanding
of humanity and society rather than generating laughter.

Writing Satire
Overall, as a literary device, satire functions as a means of conveying social
commentary and/or criticism on the part of a writer through irony, humor,
exaggeration, and other methods. This is effective for readers in that satire
can create a critical lens through literature with which to look at human
behavior, political structures, social institutions, and even cultural traditions.

It’s essential that writers bear in mind that their audience must have an
understanding of the source material that is being satirized. Otherwise, the
satirical meaning is lost and ineffective. Therefore, it’s best to be aware of the
reader’s ability to discern what elements of human nature, history, experience,
or culture are being satirized in the literary work.

Here are some ways that writers benefit from incorporating satire into their
work:

Create Awareness and Call to Action in Reader

Since a large purpose of satire in literature is to convey social commentary

and/or criticism, this allows a writer to create awareness of issues and
disparities in society. Satirical literature calls attention to these issues and can
make readers aware of something they had not previously considered or
understood. This awareness can then engender a call to action in a reader to
condemn, attempt to set right, or even think more critically about societal
flaws.
Establish Empathy and Reflection for Reader

Many writers consider satire to be a literary device that allows them to hold up
a metaphorical mirror to their reader. This allows the reader to experience
empathy for the disadvantaged in satirical works, as well as an opportunity to
reflect on the reader’s own behavior and/or viewpoint. In other words, if the
satire in literature applies to the reader’s behavior or outlook, then they can
reflect on their complicity.

Examples of Satire in Literature

Satire is a very effective literary device in its power to portray and reflect
social commentary and criticism. Here are some examples of satire and the
way it adds to the significance of well-known literary works:

Example 1: Lysistrata (Aristophanes)

LYSISTRATA: May gentle Love and the sweet Cyprian Queen shower
seductive charms on our bosoms and all our person. If only we may stir so
amorous a feeling among the men that they stand firm as sticks, we shall
indeed deserve the name of peace-makers among the Greeks.

In this Greek comedy, the poet Aristophanes creates a female protagonist,

Lysistrata, who convinces her fellow women to withhold all sexual interactions
from their male partners as a means of influencing and coercing them into
ending the Pelopponesian War. In the play, Aristophanes satirizes the war, yet
he also satirizes the complexities of male/female relationships and the implied
nature of differences between men and women. Lysistrata’s story has
continued to be adapted and interpreted across time, indicating that the
comedic themes of the original remain fodder for satire.

Example 2: A Midsummer Night’s Dream (William Shakespeare)

Ay me! for aught that I could ever read,

Could ever hear by tale or history,
The course of true love never did run smooth

This statement by Lysander in the play reflects Shakespeare’s clever use of

satire as a literary device. In fact, the basis of this comedic play is a satire
about the way humans foolishly perceive and idealize the concept of romantic
love. Lysander’s character reflects this irony by indicating that he has never
heard of or read a love story that was not troublesome. Therefore, the idea
that the characters in the play are consumed with the romantic notion of love
is irrational considering there is no foundational example of successful or
“smooth” passionate love on which to base their idealization. Shakespeare
satirizes this type of love by poking fun at the foolish behavior exhibited by
humans in the name of romance and passion.

Example 3: Unfortunate Coincidence (Dorothy Parker)

By the time you swear you’re his,

Shivering and sighing,

And he vows his passion is

Infinite, undying – –

Lady, make a note of this:

One of you is lying.

Dorothy Parker is one of the most well-known and successful satirists. Her
poetry often addresses the theme of love with artistic composition, yet she
consistently utilizes her talent for humor and satire to ridicule the genre of
romantic poetry and the subject of love itself. This is evident in her poem
“Unfortunate Coincidence,” in which she sets the scene of two lovers who
have declared their eternal love and passion for each other. Rather than
celebrating this romance, Parker ridicules it by warning the “Lady” in the poem
that either she or her lover is lying.

Parker’s satire of romantic love calls the reader’s attention to the frequent
false hope and promises of romantic love, lovers, and even romantic poetry.
This allows the reader to appreciate the artistic nature of the love poem, while
simultaneously reaching an understanding that the concept of romantic love is
not sustainable and a false reality.

Simile
Simile Definition
A simile is a figure of speech in which two essentially dissimilar objects or
concepts are expressly compared with one another through the use of “like” or
“as.” Simile is used as a literary device to assert similarity with the help
of like or as, which are language constructs that establish equivalency. A
proper simile creates an explicit comparison between two things that are
different enough from each other such that their comparability appears
unlikely.

For example, the statement “this poem is like a punch in the gut” features a
simile. The poem is being explicitly compared to a “punch in the gut” with the
word “like.” This is an effective simile in that a poem is not at all similar to a
punch in literal terms. However, figuratively, the simile’s comparison and
association between these two things establishes that the impact of the poem
on the speaker has the force of and feels similar to a punch in the gut.

Common Examples of Simile

There are many common examples of simile used in everyday conversation
and writing. Here are some well-known phrases that utilize this figure of
speech:

 Nutty as a fruitcake
 Slept like a log
 Sly as a fox
 Fits like a glove
 Cool as a cucumber
 Blind as a bat
 Light as a feather
 Like watching paint dry
 Works like a charm
 Old as the hills
 Pretty as a picture
 Hurts like the devil
 Strong as an ox
 Fight like cats and dogs
 Sparkle like diamonds
 Cheeks like roses
 Flat as a pancake
 Eyes like glass
 Sweet as sugar
 Dull as a doorknob
 Bright as the sun
 Tough as nails
 Smart as a whip
  Mad as a hatter
 Happy as a clam

Examples of Similes for Love

One of the most common concepts to feature simile as a literary device is
love. Here are some memorable lines and quotes that showcase simile as an
effective comparison for describing love:

 Love is like war: easy to begin but very hard to stop. (H.L. Mencken)
 Life without love is like a tree without blossoms or fruit. (Khalil Gibran)
 Love is like a friendship caught on fire. (Bruce Lee)
 Love is like a faucet; it turns off and on. (Billie Holiday)
 And she said losing love is like a window in your heart; everybody sees
you’re blown apart; everybody sees the wind blow (Paul Simon)
 Keep love in your heart. A life without it is like a sunless garden when
the flowers are dead. (Oscar Wilde)
 Love is like the wild rose-briar (Emily Bronte)
 Falling out of love is like losing weight. It’s a lot easier putting it on than
taking it off. (Aretha Franklin)
 Love is like a beautiful flower which I may not touch, but whose
fragrance makes the garden a place of delight just the same. (Helen
Keller)
 Love is like the measles. The older you get it, the worse the attack.
(Rainer Maria Rilke)

Famous Examples of Simile

Simile is also found in many famous examples of poetry, prose, drama, lyrics,
and even clever quotations. Here are some famous examples of simile:

 Easy Like Sunday Morning (Lionel Richie)

 All those moments will be lost in time, like… tears in rain. (Blade
Runner)
 Life is like riding a bicycle. To keep your balance, you must keep
moving. (Albert Einstein)
 That’s always seemed so ridiculous to me, that people want to be
around someone because they’re pretty. It’s like picking your breakfast
cereal based on color instead of taste. (John Green)
  Not forgiving is like drinking rat poison and then waiting for the rat to die.
(Anne Lamott)
 Writing a novel is like driving a car at night. You can see only as far as
your headlights, but you can make the whole trip that way. (E.L.
Doctorow)
 Parents are like God because you wanna know they’re out there, and
you want them to think well of you, but you really only call when you
need something. (Chuck Palahniuk)
 Time was passing like a hand waving from a train I wanted to be
on. (Jonathan Safran Foer)
 Being with her I feel a pain, like a frozen knife stuck in my chest. (Haruki
Murakami)
 Her hair, like golden threads, play’d with her breath. (William
Shakespeare)
 Life swings like a pendulum backward and forward between pain and
boredom. (Arthur Schopenhauer)
 You, just like heaven. (The Cure)
 Life is like writing with a pen. You can cross out your past but you can’t
erase it. (E.B. White)
 The pain is like an axe that chops my heart. (Yann Martel)
 We are like roses that have never bothered to bloom when we should
have bloomed and it is as if the sun has become disgusted with waiting.
(Charles Bukowski)

Difference Between Simile and Metaphor

Some may find it difficult to differentiate between simile  and metaphor as
literary devices since both are figures of speech designed to create meaning
through comparisons. Simile is actually a subset of metaphor and is
distinguished by the presence of one of two words: “like” and “as.” Metaphors
create direct comparisons without using either of these words, whereas
similes feature either like or as in making a comparison.

The following lyrics from a song featured in Walt Disney’s “Bambi” is an

example that illustrates the difference between simile and metaphor:

Love is a song that never ends

One simple theme repeating
Like the voice of a heavenly choir
Love’s sweet music flows on
The first two lines feature a metaphor. Love is directly compared to a “song
that never ends.” Though love and a song are seemingly unlike entities, the
metaphor connects them such that the comparison makes sense to
the audience. By linking love to a song that never ends, the metaphor
enhances the meaning and audience understanding of love as a concept.

The last two lines of these lyrics feature a simile. The way “love’s sweet
music” flows is compared to the “voice of a heavenly choir.” The previous
metaphor has established love as a song. Therefore, the simile advances this
meaning by comparing love’s music to a choir voice. Rather than stating that
love’s music is a choir voice and creating another metaphor, the simile
indicates that love’s music is like a choir voice. The simile enhances
the imagery and audience understanding of love, established by the
metaphor, with further use of figurative language.

Writing Simile
Overall, as a literary device, simile functions as a means of creating an
equivalent comparison or establishing similarity between two seemingly
different things. This is an effective figure of speech for readers in that simile
can create an association between two dissimilar entities or ideas that
illuminate each other and enhance the meaning of both. Simile is an essential
literary device for writers of both poetry and prose.

It’s important that writers construct proper similes so that the comparative
meaning is not lost for the reader. In fact, like metaphors, similes are
dependent on the understandable combination of a principal term and a
secondary term. The principal term conveys the literal entity to be described,
and the secondary term is used figuratively to add meaning. For example, in
the simile “the cat’s fur felt smooth as silk,” the principal term is “cat’s fur” and
the secondary term is “silk.” By comparing the smooth feel of the cat’s fur to
the feel of silk, the reader’s understanding of the texture of both things is
enhanced through figurative language.

Here are some ways that writers benefit from incorporating simile into their
work:

Create Imagery

Similes allow writers to create imagery for readers through figurative language

that might otherwise be limited by just descriptive language. In other words,
an effective simile eliminates the need for excessive explanation or
description on the part of the writer. Instead, by creating similarity through
comparing two different things, an image is created for the reader to allow for
greater meaning and understanding. This imagery is a powerful result of using
simile as a literary device.

Generate Thought and Emotion

When writers utilize simile as a literary device, it generates thought on the part
of the reader regarding the “logic” or truth in such a comparison. These
thoughts, in turn, can evoke emotion in the reader through the realization that
the comparison is valid and reflects a level of truth they may not have
understood before. Similes are especially effective in poetry as a means of
portraying truths in a lyrical yet concise manner.

Examples of Simile in Literature

Simile is a very effective and widely used literary device. Here are some
examples of simile and how it adds to the significance of literary works:

Example 1: Horseradish (Lemony Snicket)

A library is like an island in the middle of a vast sea of ignorance, particularly if

the library is very tall and the surrounding area has been flooded.

Lemony Snicket is well-known for his brilliant use of simile as a means of

describing concepts, especially for children. In this line, he demonstrates not
only the power of simile as a comparison between a library and an island with
figurative language, but he also invokes a literal image of a library as an
island. This reinforces the significance of a library as a refuge and protective
haven against ignorance and other potentially destructive forces.

Example 2: A Red, Red Rose (Robert Burns)

O my Luve’s like a red, red rose,

That’s newly sprung in June;
O my Luve’s like the melodie
That’s sweetly play’d in tune.

In this stanza, the poet compares the person he loves both to a rose and
melody. In poetry, the concept of love is often compared to a rose and/or a
song. However, in this poem, Burns enhances those similes by comparing his
“Luve,” an actual person rather than an abstract concept, to a rose and a
song. This allows the reader to understand that the poet views the person he
loves as a symbol of love itself.

Example 3: Spring is like a perhaps hand (e.e. cummings)

Spring is like a perhaps hand

(which comes carefully
out of Nowhere)arranging
a window,into which people look(while
people stare
arranging and changing placing
carefully there a strange
thing and a known thing here)and

changing everything carefully

spring is like a perhaps

Hand in a window
(carefully to
and fro moving New and
Old things,while
people stare carefully
moving a perhaps
fraction of flower here placing
an inch of air there)and

without breaking anything.

In this poem, Cummings creates an unusual simile in that the literary device
compares dissimilar things in a tentative way. Most poets utilize simile as a
means of asserting similarities through comparisons. However, by comparing
Spring to a “perhaps” hand, the poet leaves a sense of the indefinite, and
creates less of an absolute assertion of the association between Spring and a
hand.

However, rather than being weak or ineffective, this “approximate” simile

reinforces the meaning and imagery of the poem itself. The poem’s theme is
that the changes brought about by Spring are so gentle and subtle that they
are nearly unnoticeable as they are happening. Therefore, the comparison to
a “perhaps” hand invokes the association between Spring and something that
is all but unseen, and therefore elusive or ephemeral.
 Soliloquy
Definition of Soliloquy
A soliloquy is a literary device in the form of a speech or monologue spoken
by a single character in a theatrical play or drama. The purpose of a soliloquy
is for the character to express their inner thoughts and feelings that are not
intended to be heard or known by other characters in the play or
the audience members. Essentially, during a soliloquy, the action of the play
stops, as if time has paused for the audience to be “inside” the speaker’s head
for a moment while they articulate what they are thinking. This is effective as a
literary device in terms of providing insight into a character’s emotions and
reflections.

One of the most famous soliloquies in literature is Hamlet’s private monologue

beginning with “To be, or not to be…”

 To be, or not to be–that is the question:

Whether ’tis nobler in the mind to suffer
The slings and arrows of outrageous fortune
Or to take arms against a sea of troubles
And by opposing end them. To die, to sleep–
No more–and by a sleep to say we end
The heartache, and the thousand natural shocks
That flesh is heir to. ‘Tis a consummation
Devoutly to be wished. To die, to sleep–
To sleep–perchance to dream: ay, there’s the rub,
For in that sleep of death what dreams may come
When we have shuffled off this mortal coil,
Must give us pause.

Hamlet’s soliloquy allows the reader/viewer to know his thoughts and feelings
about whether to remain alive and face human suffering or end his life and
face the unknown experience of death. By incorporating this soliloquy
into Hamlet, Shakespeare allows his audience to understand Hamlet’s
inner conflict and confront their own feelings about his situation.

Purpose of Soliloquy
As a literary device, soliloquy is not utilized very often since Shakespeare’s
time. In most modern works, when a theatrical character gives a speech, it is
primarily categorized as monologue rather than soliloquy. However, soliloquy
does serve some purposes when it comes to drama and plays.

For example, a soliloquy can reveal a character’s state of mind. This is

particularly effective when it comes to soliloquies delivered by villains as a
means of revealing their plans and why they wish to take such action. This
literary device can also provide details and information to influence
the plot and course of action. In addition, soliloquy can create irony in a play
by revealing something about a character that others don’t know.

Examples of Soliloquy in Shakespearean Works

William Shakespeare utilizes soliloquy in many of his plays as a means for his
characters to express what they are thinking and feeling. During a soliloquy, a
character on stage is not speaking to any other character nor the audience
members. Instead, this literary device functions like a stream of
consciousness to allow the audience to “hear” what a character is thinking or
feeling in order to further the plot or provide information and opinions without
any filter due to listeners.

Here are some well-known examples of soliloquy lines in Shakespearean

works:

Othello
Haply, for I am black

And have not those soft parts of conversation

That chamberers have, or for I am declined

Into the vale of years—yet that’s not much—

She’s gone, I am abused, and my relief

Must be to loathe her. Oh, curse of marriage

That we can call these delicate creatures ours

And not their appetites! (spoken by Othello)

Julius Caesar

It must be by his death: and for my part,

I know no personal cause to spurn at him,

But for the general. He would be crown’d

How that might change his nature, there’s the question. (spoken by Brutus)

Romeo and Juliet

O, she doth teach the torches to burn bright!

It seems she hangs upon the cheek of night
Like a rich jewel in an Ethiope’s ear;
Beauty too rich for use, for earth too dear! (spoken by Romeo)

The Tempest

Set roaring war: to the dread rattling thunder

Have I given fire and rifted Jove’s stout oak
With his own bolt; the strong-based promontory
Have I made shake and by the spurs pluck’d up
The pine and cedar: graves at my command
Have waked their sleepers, oped, and let ’em forth
By my so potent art. (spoken by Prospero)

Macbeth
Tomorrow, and tomorrow, and tomorrow,

Creeps in this petty pace from day to day,

To the last syllable of recorded time;

And all our yesterdays have lighted fools

The way to dusty death. Out, out, brief candle!

Life’s but a walking shadow, a poor player,

That struts and frets his hour upon the stage,

And then is heard no more. It is a tale

Told by an idiot, full of sound and fury,

Signifying nothing. (spoken by Macbeth)

Difference Between Soliloquy, Monologue, and Aside
When it comes to understanding certain elements of literary drama and
theater, it can be difficult to distinguish between some terms and their
functions. For example soliloquy, monologue, and aside are all literary devices
that allow characters in a play to speak without interruption. They are effective
in giving characters an opportunity to express themselves on stage. However,
these devices are different in their purpose and function within a drama.

A soliloquy is a rather long speech made by a single character in a theatrical

production. The speech is not intended to be heard by any other character, on
or off stage. Therefore, if another character is on stage during a soliloquy, the
audience is made to understand that the presence of that character does not
affect the “privacy” of the speech. This is due to the purpose and function of a
soliloquy in a play, which is to allow a character to articulate their internal
thoughts and feelings, as if they are speaking aloud during a paused moment
in the action. A soliloquy is not directed at any listener, including the audience
members.

A monologue is also spoken by a single character, but it is addressed to the

fellow characters on stage and meant to be heard by them. A monologue can
also be addressed to the audience. Therefore, unlike soliloquy, a monologue
does not function as a character’s fully private expression. An aside is a
literary device that is similar to soliloquy in the sense that it is not spoken to
other characters on stage. However, an aside is typically very short and more
like a comment than a speech.

Writing Soliloquy
It can be difficult for playwrights to effectively portray a character’s true and
private thoughts and feelings. This is due to the nature of dramatic literary
works and the rare presence of a narrator. Unlike novels and short fiction,
plays do not have an omniscient narrator through which to indicate a
character’s innermost plans and/or state of mind to the audience. Therefore,
the audience is often left to ascertain cues and subtext in a dramatic
character’s actions.

Soliloquy can be an effective literary device in its impact. For example, in

many Shakespearean plays, a character speaks alone on the stage while
facing the audience, but with no “awareness” of their presence. During
soliloquy, characters are essentially trapped in their thoughts while the play’s
action ceases. They may reveal or share their emotions, motivations, or
desires in a soliloquy that would never be spoken if they were “aware” of
anyone to be listening.

It can be difficult for writers to effectively incorporate true soliloquy into their
dramatic works. More often than not, what appears to be soliloquy becomes a
monologue. For example, in Tennessee Williams’ play The Glass Menagerie,
many people view the character Tom’s speech at the end as a soliloquy.
Tom’s speech is definitely a monologue, in that he is speaking uninterrupted.
In addition, there are no other characters present to hear his words. However,
Tom addresses the audience in his speech, meaning it is not truly a soliloquy.
Therefore, writers must be aware of these distinctions.

Examples of Soliloquy in Literature

Most soliloquy appears in literary works from the Elizabethan age, particularly
in the plays of William Shakespeare and his contemporary
dramatist Christopher Marlowe. However, there are some modern plays that
feature this literary device. Here are some examples of soliloquy in literature
and their importance to literary works:

Example 1: Othello (William Shakespeare)

 I hate the Moor,

And it is thought abroad that ’twixt my sheets

He’s done my office. I know not if ’t be true,

But I, for mere suspicion in that kind,

Will do as if for surety. He holds me well.

The better shall my purpose work on him.

In this soliloquy, Iago expresses his innermost thoughts about his hatred for
and jealousy of Othello. Iago’s character is alone on stage when he delivers
this soliloquy and he has no awareness of an audience. Therefore, the words
Iago speaks are his private thoughts and feelings.

In this portion of his soliloquy, Iago expresses his hatred for Othello (“the
Moor”) and his awareness of the rumor that Othello has slept with his wife.
Though Iago has not proof of this adultery, the existence of the rumor is
enough in his mind for the act to be true. This indicates for the audience of the
play some of Iago’s motives and plans for bringing Othello to ruin, which may
have been less clear without Iago’s soliloquy.

Example 2: Doctor Faustus (Christopher Marlowe)

  Ah, Faustus.
Now hast thou but one bare hour to live,
And then thou must be damn’d perpetually!
Stand still, you ever-moving spheres of heaven,
That time may cease, and midnight never come;
Fair Nature’s eye, rise, rise again, and make
Perpetual day; or let this hour be but
A year, a month, a week, a natural day,
That Faustus may repent and save his soul!

In Marlowe’s play, the character of Faustus recites a soliloquy as his life is

coming to an end. Without repentance, Faustus is doomed to hell in the
afterlife. In this portion of his soliloquy, Faustus reveals not so much that he is
ready to repent and save his soul, but more that he wishes time to stop so that
he will not face the moment of his death. This is a revealing sentiment when it
comes to the character of Faustus and his unwillingness to repent and be
saved.

Example 3: The Crucible (Arthur Miller)

Because it is my name! Because I cannot have another in my life! Because I

lie and sign myself to lies! Because I am not worth the dust on the feet of them
that hang! How may I live without my name? I have given you my soul; leave
me my name!

In Miller’s play, John Proctor delivers a soliloquy about his signature as a

confession to witchcraft. With this speech, Proctor indicates that he does not
want to dishonor the other convicted prisoners by signing the confession since
it is a lie to save himself. However, his words also demonstrate the power of
one’s “name” as a symbol of their reputation in this society. This allows the
reader to understand, through Proctor’s words, that public and private morality
are equal in the play.

A prop, formally known as (theatrical) property,[1] is an object used on stage or screen

by actors during a performance or screen production.[2] In practical terms, a prop is considered to be
 anything movable or portable on a stage or a set, distinct from the actors, scenery, costumes, and
electrical equipment. Consumable food items appearing in the production are also considered props.
[3][4][5][6]

Contents

 1Term
 2On stage and backstage
 3Types of props
o 3.1Prop weapons
o 3.2Stunt props
o 3.3Hero props
o 3.4Prop money
 4References
 5Further reading
 6External links

Term[edit]
The earliest known use of the term "properties" in English to refer to stage accessories is in the 1425
CE morality play, The Castle of Perseverance.[7][8] The Oxford English Dictionary finds the first usage
of "props" in 1841, while the singular form of "prop" appeared in 1911. [9] During
the Renaissance in Europe, small acting troupes functioned as cooperatives, pooling resources and
dividing any income. Many performers provided their own costumes, but special items—stage
weapons, furniture or other hand-held devices—were considered "company property"; hence the
term "property."[10][11] Some experts however seem to think that the term comes from the idea that
stage or screen objects "belong" to whoever uses them on stage. [6]
There is no difference between props in different media, such as theatre, film, or television. Bland
Wade, a properties director, says, "A coffee cup onstage is a coffee cup on television, is a coffee cup
on the big screen." He adds, "There are definitely different responsibilities and different
vocabulary."[12]

On stage and backstage[edit]

Props storage room of the Mannheim National Theatre, Germany

The term "theatrical property" originated to describe an object used in a stage play and similar
entertainments to further the action. Technically, a prop is any object that gives the scenery, actors,
or performance space specific period, place, or character. [inconsistent] The term comes from live-
performance practice, especially theatrical methods, but its modern use extends beyond the
traditional plays and musical, circus, novelty, comedy, and even public-speaking performances, to
film, television, and electronic media.
Props in a production originate from off stage unless they have been preset on the stage before the
production begins. Props are stored on a prop table backstage near the actor's entrance during
production then generally locked in a storage area between performances. The person in charge of
handling the props is generally called the "props master". Other positions also include coordinators,
production assistants and interns as may be needed for a specific project.

Types of props[edit]
The term has readily transferred to television, motion picture and video game production, where they
are commonly referred to by the phrase movie prop, film prop or simply prop. In recent years, the
increasing popularity of movie memorabilia (a broader term that also includes costumes) has added
new meaning to the term "prop", broadening its existence to include a valuable after-life as a prized
collector's item. Typically not available until after a film's premiere, movie props appearing on-screen
are called "screen-used", and can fetch thousands of dollars in online auctions and charity benefits.
[13][14]

Many props are ordinary objects. However, a prop must "read well" from the house or on-screen,
meaning it must look real to the audience. Many real objects are poorly adapted to the task of
looking like themselves to an audience, due to their size, durability, or color under bright lights, so
some props are specially designed to look more like the actual item than the real object would look.
In some cases, a prop is designed to behave differently from how the real object would, often for the
sake of safety.

Prop weapons[edit]
"Prop weapon" redirects here. For weapons used for simulated combat in LARPs, see Foam
weapon.
A prop weapon, such as a gun or sword, looks functional, but lacks the intentional harmfulness of
the corresponding real weapon. In the theater, prop weapons are almost always either non-operable
replicas, or have safety features to ensure they are not dangerous. Guns fire caps or noisy blanks,
swords are dulled, and knives are often made of plastic or rubber. In film production, fully functional
weapons are mostly used, but typically only with special smoke blanks with blank adapted guns
instead of real bullets. Real cartridges with bullets removed are still dangerously charged which has
caused several tragic instances when used on stage or film. The safety and proper handling of real
weapons used as movie props is the premiere responsibility of the prop master. ATF and other law
enforcement agencies may monitor the use of real guns for film and television, but this is generally
not necessary with stage props as these guns are permanently "plugged".

Stunt props[edit]
Breakaway objects, or stunt props, such as balsa-wood furniture, or sugar glass (mock-glassware
made of crystallized sugar) whose breakage and debris look real but rarely cause injury due to their
light weight and weak structure. Even for such seemingly safe props, very often a stunt double will
replace the main actor for shots involving use of breakaway props. Rubber bladed-weapons and
guns are examples of props used by stuntmen to minimize injury, or by actors where the action
requires a prop which minimizes injury.[15]

Hero props[edit]
"Hero" props are the more detailed pieces intended for close inspection by the camera or audience.
The hero prop may have legible writing, lights, moving parts, or other attributes or functions missing
from a standard prop; a hero prop phaser from the Star Trek franchise, for example, might include a
depressible trigger and a light-up muzzle and display panel (all of which would make the hero prop
more expensive and less durable). The term is also used on occasion for any of the items that a
main character would carry in film and television (which are often hero props in the first sense as
well). The term may sometimes be used in stage production, as many props from film find their way
into theatre from common rental and purchase shops.

Prop money[edit]
Prop money must comply with local counterfeit money regulations.[16]