Literary Tropes Quotes & Sayings

I admired how perfectly matched they seemed to be, and I started to wonder about my own, personal definition of love. Had it been wrong? Had it been the cause of my misery all these years? Was it possible that I had somehow adopted a skewed version somewhere along the way? — Morgan Parker

Old English poetry is characterised by a number of poetic tropes which enable a writer to describe things indirectly and which require a reader imaginatively to construct their meaning. The most widespread of these figurative descriptions are what are known as kennings. Kennings often occur in compounds: for example, hronrad (whale-road) or swanrad (swan- road) meaning 'the sea'; banhus (bone-house) meaning the 'human body'. Some kennings involve borrowing or inventing words; others appear to be chosen to meet the alliterative requirement of a poetic line, and as a result some kennings are difficult to decode, leading to disputes in critical interpretation. But kennings do allow more abstract concepts to be communicated by using more familiar words: for example, God is often described as moncynnes weard ('guardian of mankind'). — Ronald Carter

Being in the neighborhood and the poverty stricken environment that I grew up in, I took a detour. I gravitated towards some of the individuals that did a lot of the wrong things with the right intentions. — Kevin Gates

Was enough to know they had no Devil on their backs. Just old humanity, cheated of love, and ready to pull down the world on its head. — Clive Barker

The pessimist can be enraged at wrong; but only the optimist can be surprised at it. — G.K. Chesterton

The strength of survival in life lies in strong-minded soul. — Lailah Gifty Akita

All that attacks is memory, all I suffer is regret. — Jean Hegland

One of the things that bugs me about the Western Literary Tradition is that the conventions of narrative in particular seem to confine the stories you can tell about characters to tropes of bone-headed action and old models of psychological realism. And as readers, too, we have been conditioned to understand characters as - and forgive me for saying it out loud - what the market says they should be. Namely, safe, clean, proper. — Lidia Yuknavitch

Pity the poor screenwriter, for he cannot be a poet. He cannot use metaphor and simile, assonance and alliteration, rhythm and rhyme, synecdoche and metonymy, hyperbole and meiosis, the grand tropes. Instead, his work must contain all the substance of literature but not be literary. A literary work is finished and complete within itself. A screenplay waits for the camera. If not literature, what then is the screenwriter's ambition? To describe in such a way that as a reader turns pages, a film flows through the imagination. — Robert McKee

The ultimate act of heroism shouldn't be death. You're always saying you want to give Baz the stories he deserves ... So you're going to kill him off? Isn't the best revenge supposed to be a life well-lived? The punk-rock way to end it would be to let them live happily ever after. — Rainbow Rowell

It is in hope, therefore, that a man lives, as the 'son of the resurrection'; it is in hope that the City of God lives, during its pilgrimage on earth, that City which is brought into being by faith in Christ's resurrection. For Abel's name means 'lamentation',109 and the name of Seth, his brother, means 'resurrection'. And so in those two men the death of Christ and his life from among the dead, are prefigured. As — Augustine Of Hippo

For the second time since meeting her, Echo looked as if I'd slapped her. Water pooled at the bottom edges of her eyes, her cheeks flushed red and she blinked rapidly. She'd succeeded in making me feel like a d*ck ... again. — Katie McGarry

In general, when a novel manipulates its material to conform to the pieties of the day, or alternatively to attack those pieties for no other reason than the visibility such an attack will generate, when its literary tropes are all too familiar, its clever prose reminiscent of other clever prose, then the compass needle is slipping away from true north ... When, on the other hand, the author renounces some easy twist, some expected payoff, to take us into territory we didn't expect but that nevertheless fits with the drift of the story, then the novel gains force and conviction. And when he or she does it again, telling quite a different story that is nevertheless driven by the same urgent tensions, then we are likely moving into the zone of authenticity. — Tim Parks