By Michael Ferber
This is often the 1st dictionary of symbols to be according to literature, instead of 'universal' mental archetypes or myths. It explains and illustrates the literary symbols that all of us often come across (such as swan, rose, moon, gold), and offers countless numbers of cross-references and quotations. The dictionary concentrates on English literature, yet its entries variety extensively from the Bible and classical authors to the 20th century, taking in American and ecu literatures. For this re-creation, Michael Ferber has integrated over twenty thoroughly new entries (including endure, holly, sunflower and tower), and has extra to some of the latest entries. Enlarged and enriched from the 1st variation, its educated kind and wealthy references make this e-book a necessary instrument not just for literary and classical students, yet for all scholars of literature.
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Extra resources for A Dictionary of Literary Symbols
See Purple. 10). ‘‘Blue! -- ’Tis the life of heaven -- the domain / Of Cynthia,’’ Keats begins a sonnet; ‘‘Blue! ’’ ‘‘The blue of sky and sea, the green of earth,’’ according to Tennyson’s ‘‘Ancient Sage’’ (41), are the two great colors of the surface of things. Because it is the color of the sky (and perhaps because the sea is blue only on sunny days), blue is traditionally the color of heaven, of hope, of constancy, of purity, of truth, of the ideal. In Christian color-symbolism blue belongs to the Virgin.
Lyly’s Euphues has ‘‘The bee that hath honey in her mouth, hath a sting in her tail’’ (79). ’’ It is erotic, but also aesthetic: the bee is also the Muses’ bee. A swarm of bees was considered an unlucky omen. 65--70), it is a sign that the Trojans will occupy the citadel. 8--18. 436; etc. 3). Theocritus had already written that thyme belongs to the Muses (Epigram 1), no doubt because poets are like bees. By his date Spenser could make ‘‘bees-alluring’’ a routine epithet for thyme (Muiopotmos 191).
3); Ralegh’s nymph argues ‘‘A honey tongue, a heart of gall, / Is fancy’s spring, but sorrow’s fall’’ (‘‘The Nymph’s Reply’’ 11--12). Even more common is ‘‘spleen’’ (from Greek and Latin splen), which by Shakespeare’s day could mean violent ill-humor or irascible temper. 35). 155--56). But its earlier and nearly opposite sense of ‘‘merriment’’ or ‘‘gaiety’’ is also found in Shakespeare, as in the phrase ‘‘over-merry spleen’’ (Shrew Ind. 136). ’’ In the seventeenth and eighteenth century ‘‘spleen’’ tended to mean ‘‘dejection’’ or ‘‘melancholy,’’ but with a connotation of oversensitivity or deliberate posturing.
A Dictionary of Literary Symbols by Michael Ferber