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Epic Simile, Epigram, Epiphany, Episode

Epic Simile:
An open comparison between two dissimilar objects of which one is fairly elaborated. It is called epic simile because the epic poets introduced the tradition of this kind of simile. For example, in the following example Hector has been compared to a boar and a lion:
He was like a wild-boar or a lion when he turns this way and that among the hounds and huntsmen to defy them in his
strength.
(Homer: The Iliad, Book-XII)

In this simile the qualities of a boar and a lion are elaborated to suggest Hector's strength and bravery. Similarly, in the following epic simile from Virgil's Aeneid, Book IV, Dido has been compared to a wounded deer:
Sick with desire, and seeking him she loves,
From street to street the raving Dido roves.
So when the watchful shepherd, from the blind, 
Wounds with a random shaft the careless hind, 
Distracted with her pain she flies the woods, 
Bounds o'er the lawn, and seeks the silent floods, 
With fruitless care; for still the fatal dart 
Sticks in her side, and rankles in her heart.

The restless wandering of the wounded deer has been elaborated in detail to suggest the agony of love-sick Dido.

Milton uses the following epic simile to suggest the huge number of the fallen angels assembled at Pandemonium:
Thick swarm'd both on the ground and in the air, 
Brush'd with the hiss of rustling wings. As bees 
In spring time, when the sun with Taurus rides, 
Pour forth their populous youth about the hive
In clusters; they among fresh dews' and flowers 
Fly to and fro, or on the smoothed plank, 
The suburb of their straw-built citadel,
New rubb'd with balm, expatiate, and confer Their state affairs: So thick the aery crowd
Swarm'd and were straiten'd; till the signal given,
(Milton: Paradise Lost, Book I)
 
Main features of an epic simile:
1) It is elaborated in considerable detail. It is complete in itself.
2)  It is mainly drawn from nature and the primary qualities of the physical nature are suggested by it. In some exceptional cases, however, history or mythology is used for its source.
3)  It is functional and integrated with the narrative.
4)  It is mainly used in epics.



Epigram:
A brief and witty statement which is apparently self-contradictory Examples:
"Our sweetest songs are those that tell of saddest thought."
(Shelley: "To a Skylark")

Here "sweetest" and "saddest" oppose each other but as we go beneath the surface level, we find that the sadder the song the deeper the impression it makes.
So all my best is dressing old words new,
Spending again what is already spent; 
For as the sun is daily new and old, 
So is my love still telling what is told.
(Shakespeare: "Sonnet LXXVI")

"The rising unto place is laborious; and by pains men come to greater pains;" (Bacon: "Of Great Place")
 
Epigrams lead readers or listeners to think and discover the meaning of the paradox in the statement, and thus, provide the intended pleasure. They sometimes offer humour, attack the target subject and create lasting impression on the readers.
Note: It is difficult to distinguish an epigram from an aphorism because both of them are witty and concise. However, an epigram is a paradoxical statement while an aphorism is a statement of a principle and truth. An aphorism is didactic but an epigram is often ironic. [see Aphorism]

Epigram also means a kind of short, witty poem.


Epiphany:
A moment of sudden revelation or awareness that changes the course of life of the major character of a novel or short story. James Joyce defined epiphany as the moment when the "soul of the commonest object . . . seems to us radiant".
Example:
Stephen, the hero of A Portrait of the Artist as a Young Man, once saw a young wading girl on the shore of the sea. The girl looked like a seabird: "She seemed like one whom magic had changed into the likeness of a strange and beautiful seabird." (Chapter 4) The image of the wading girl manifested to him as a hawk like seabird soaring high. In a flash, the sight created in him awareness of imagination— the real vocation of an artist. An artist's imagination soaring higher and higher also reflects absolute freedom. So, later in the novel (Chapter 5) Stephen rejects all that dominated him so far— his
family, homeland and religion—in order to be an artist. The wading girl is an epiphany that finally changes the course of Stephen's life.
An epiphany signals a turning point in the plot. Sometimes it is used to change the opinion of one character about other characters, events and places after a sudden awareness of the situation. It may also be a sign of a conclusion in the story.



Episode:
A part of a longer story or a larger sequence.
For example, in Jane Austen's Pride and Prejudice, the part that narrates Lydia's elopement and its impacts on the Bennet family is an episode. in Bernard Shaw's Arms and the Man, the part that describes Bluntschli's visit to Petkoff's house to return the coat is an episode. In Aeneid, the part which deals with the love of Dido for Aeneas is an episode. TV serials are divided into episodes which are shown in succession. Though an episode appears complete in itself, it leaves behind some clues on which the next episode is developed. An episode contributes to the total design of the story.

Related Posts:

  • Imagery, Innuendo, Internal Rhyme, Invocation, Irony ImageryThe collective use of images. Look at the title of the book Caroline Spurgeon wrote on all the images that Shakespeare has used in all of his pâ€Ļ Read More
  • AllusionAn implicit or indirect reference to another work of literature, historical or mythical person or event.Example:Not half so fixed the Trojan could remâ€Ļ Read More
  • Hamartia, Heroic Couplet, Humours, Hyperbole Hamartia An error or a flaw in the character of the protagonist of a tragedy. It causes the hull or the protagonist from the zenith of his succeâ€Ļ Read More
  • Anti-climax or BathosA statement in which there is a sudden fall from the serious to the trivial or from the sublime to the ridiculous. Examples:Not louder shrieks toâ€Ļ Read More
  • Consonance, Couplet Consonance:Repetition of consonants without similar vowels for two or more times at the end of accented syllables. For examples in "shock", "luck" andâ€Ļ Read More
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#āĻ“āĻ¸āĻŽāĻžāĻ¨āĻŋ #āĻ†āĻ¤ā§āĻŽāĻ¸āĻŽāĻ°ā§āĻĒāĻŖ āĻ…āĻ¨ā§āĻˇā§āĻ āĻžāĻ¨ #āĻŽāĻŋāĻļāĻ° #Egypt ā§§. āĻŦāĻžāĻ‚āĻ˛āĻž āĻ­āĻžāĻˇāĻž āĻ“ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ ā§§. āĻšā§āĻ¯āĻžāĻ¨ā§āĻĄāĻ¨ā§‹āĻŸ āĻāĻŦāĻ‚ āĻ¤āĻĨā§āĻ¯āĻŦāĻšā§āĻ˛ āĻšāĻŋāĻ¤ā§āĻ° ā§§ā§Ļ. āĻ¨ā§ˆāĻ¤āĻŋāĻ•āĻ¤āĻž āĻŽā§‚āĻ˛ā§āĻ¯āĻŦā§‹āĻ§ āĻ“ āĻ¸ā§āĻļāĻžāĻ¸āĻ¨ ā§§ā§§. āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āĻ¨ āĻĒāĻ°ā§€āĻ•ā§āĻˇāĻžāĻ° āĻĒā§āĻ°āĻļā§āĻ¨ āĻ“ āĻ¸āĻŽāĻžāĻ§āĻžāĻ¨ ā§¨. āĻ‡āĻ‚āĻ°ā§‡āĻœāĻŋ āĻ­āĻžāĻˇāĻž āĻ“ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ ā§Š. āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļ āĻŦāĻŋāĻˇāĻ¯āĻŧāĻžāĻŦāĻ˛āĻŋ ā§Ē. āĻ†āĻ¨ā§āĻ¤āĻ°ā§āĻœāĻžāĻ¤āĻŋāĻ• āĻŦāĻŋāĻˇāĻ¯āĻŧāĻžāĻŦāĻ˛āĻŋ ā§Ēā§Ļā§ĻāĻŸāĻŋ āĻĒā§āĻ°āĻļā§āĻ¨ā§‹āĻ¤ā§āĻ¤āĻ°: āĻ•āĻŽā§āĻĒāĻŋāĻ‰āĻŸāĻžāĻ° āĻāĻŦāĻ‚ āĻ•āĻŽā§āĻĒāĻŋāĻ‰āĻŸāĻžāĻ°-āĻĒā§āĻ°āĻ¯ā§āĻ•ā§āĻ¤āĻŋ 43rd BCS ā§Ģ. āĻ­āĻžāĻ‡āĻ­āĻž āĻŦā§‹āĻ°ā§āĻĄ ā§Ģ. āĻ­ā§‚āĻ—ā§‹āĻ˛ (āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļ āĻ“ āĻŦāĻŋāĻļā§āĻŦ) āĻĒāĻ°āĻŋāĻŦā§‡āĻļ āĻ“ āĻĻā§āĻ°ā§āĻ¯ā§‹āĻ— āĻŦā§āĻ¯āĻŦāĻ¸ā§āĻĨāĻžāĻĒāĻ¨āĻž ā§Ģā§¨ āĻĨā§‡āĻ•ā§‡ ā§­ā§§ ā§Ŧ. āĻ¸āĻžāĻ§āĻžāĻ°āĻŖ āĻŦāĻŋāĻœā§āĻžāĻžāĻ¨ ā§­ āĻŽāĻžāĻ°ā§āĻš ā§­. āĻ•āĻŽā§āĻĒāĻŋāĻ‰āĻŸāĻžāĻ° āĻ“ āĻ¤āĻĨā§āĻ¯āĻĒā§āĻ°āĻ¯ā§āĻ•ā§āĻ¤āĻŋ ā§Ž. āĻ—āĻžāĻŖāĻŋāĻ¤āĻŋāĻ• āĻ¯ā§āĻ•ā§āĻ¤āĻŋ ā§¯. āĻŽāĻžāĻ¨āĻ¸āĻŋāĻ• āĻĻāĻ•ā§āĻˇāĻ¤āĻž āĻ…āĻ¨ā§āĻĒā§āĻ°ā§‡āĻ°āĻŖāĻž āĻ…āĻ¨ā§āĻĒā§āĻ°ā§‡āĻ°āĻŖāĻž - Motivation āĻ†āĻ‡āĻ¨āĻ•āĻžāĻ¨ā§āĻ¨ āĻ†āĻ¨ā§āĻ¤āĻ°ā§āĻœāĻžāĻ¤āĻŋāĻ• āĻ†āĻ¨ā§āĻ¤āĻ°ā§āĻœāĻžāĻ¤āĻŋāĻ• āĻšā§āĻ•ā§āĻ¤āĻŋ āĻ†āĻ¨ā§āĻ¤āĻ°ā§āĻœāĻžāĻ¤āĻŋāĻ• āĻŦāĻŋāĻˇā§Ÿ: āĻ¸ā§€āĻŽāĻžāĻ°ā§‡āĻ–āĻž āĻ†āĻ¨ā§āĻ¤āĻ°ā§āĻœāĻžāĻ¤āĻŋāĻ• āĻ¸ā§€āĻŽāĻžāĻ°ā§‡āĻ–āĻž āĻ†āĻĒāĻĄā§‡āĻŸ āĻ†āĻĒāĻĄā§‡āĻŸ āĻ¤āĻĨā§āĻ¯ āĻ†āĻŦāĻŋāĻˇā§āĻ•āĻžāĻ° āĻ“ āĻ†āĻŦāĻŋāĻˇā§āĻ•āĻžāĻ°āĻ• āĻ†āĻ˛ā§‹āĻšāĻŋāĻ¤ ā§§ā§§ āĻœāĻ¨ āĻ•āĻŦāĻŋ-āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯āĻŋāĻ• āĻ“ āĻ¤āĻžāĻāĻĻā§‡āĻ° āĻ°āĻšāĻ¨āĻžāĻŦāĻ˛ā§€ āĻ‡āĻ‚āĻ°ā§‡āĻœāĻŋ āĻ‡āĻ‚āĻ°ā§‡āĻœāĻŋ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ āĻ‰āĻĒāĻžāĻ§āĻŋ āĻ“ āĻ›āĻĻā§āĻŽāĻ¨āĻžāĻŽ āĻāĻŸāĻ°ā§āĻ¨āĻŋ āĻœā§‡āĻ¨āĻžāĻ°ā§‡āĻ˛ āĻāĻŦāĻžāĻ° āĻ¯āĻžāĻĻā§‡āĻ° āĻĒā§āĻ°āĻĨāĻŽ āĻŦāĻŋāĻ¸āĻŋāĻāĻ¸ āĻ•āĻŽā§āĻĒāĻŋāĻ‰āĻŸāĻžāĻ° āĻ•āĻŽā§āĻĒāĻŋāĻ‰āĻŸāĻžāĻ° āĻ“ āĻ¤āĻĨā§āĻ¯ āĻĒā§āĻ°āĻ¯ā§āĻ•ā§āĻ¤āĻŋ āĻ—āĻŖāĻŋāĻ¤ āĻ—ā§āĻ°ā§āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻĒā§āĻ°āĻļā§āĻ¨ āĻ—ā§āĻ°ā§āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻŦā§ˆāĻœā§āĻžāĻžāĻ¨āĻŋāĻ• āĻ¨āĻžāĻŽ āĻ—ā§āĻ°ā§āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻļāĻŦā§āĻĻ āĻĒāĻ°āĻŋāĻšāĻŋāĻ¤āĻŋ āĻšāĻ°ā§āĻ¯āĻžāĻĒāĻĻ āĻšāĻ°ā§āĻ¯āĻžāĻĒāĻĻā§‡āĻ° āĻ•āĻŦāĻŋāĻ—āĻŖ āĻœāĻžāĻ¤ā§€āĻ¯āĻŧ āĻœā§āĻžāĻžāĻ¨-āĻŦāĻŋāĻœā§āĻžāĻžāĻ¨ā§‡āĻ° āĻļāĻžāĻ–āĻž āĻāĻŦāĻ‚ āĻœāĻ¨āĻ• āĻœā§āĻ¯āĻžāĻŽāĻŋāĻ¤āĻŋāĻ• āĻ¸ā§‚āĻ¤ā§āĻ° āĻĻā§‡āĻļā§€ āĻŦāĻŋāĻœā§āĻžāĻžāĻ¨ā§€āĻ°āĻž āĻ¨āĻĻ-āĻ¨āĻĻā§€ āĻ¨āĻŦāĻŽ-āĻĻāĻļāĻŽ āĻļā§āĻ°ā§‡āĻŖāĻŋāĻ° āĻŦāĻžāĻ‚āĻ˛āĻž āĻŦā§āĻ¯āĻžāĻ•āĻ°āĻŖ āĻĒāĻ¤ā§āĻ°āĻŋāĻ•āĻž āĻāĻŦāĻ‚ āĻ›āĻĻā§āĻŽāĻ¨āĻžāĻŽ āĻĒāĻĻ āĻĒā§āĻ°āĻ•āĻ°āĻŖ āĻĒāĻ°āĻ°āĻžāĻˇā§āĻŸā§āĻ°āĻ¨ā§€āĻ¤āĻŋ āĻĒāĻ°āĻžāĻŽāĻ°ā§āĻļ āĻĒāĻ°āĻžāĻŽāĻ°ā§āĻļ V. V. V. I. āĻĒāĻ°āĻŋāĻŦā§‡āĻļ āĻ“ āĻĻā§āĻ°ā§āĻ¯ā§‹āĻ— āĻŦā§āĻ¯āĻŦāĻ¸ā§āĻĨāĻžāĻĒāĻ¨āĻž āĻĒāĻ°āĻŋāĻŽāĻŋāĻ¤āĻŋāĻ° (Mensuration) āĻ¸ā§‚āĻ¤ā§āĻ°āĻžāĻŦāĻ˛āĻŋāĻ¸āĻŽā§‚āĻš āĻĒāĻžāĻāĻšāĻŽāĻŋāĻļāĻžāĻ˛ā§€ āĻ¤āĻĨā§āĻ¯ + āĻ¸āĻžāĻ§āĻžāĻ°āĻŖ āĻœā§āĻžāĻžāĻ¨ āĻĒāĻžāĻ°āĻŋāĻ­āĻžāĻˇāĻŋāĻ• āĻļāĻŦā§āĻĻ āĻĒā§āĻ°āĻžāĻ¤āĻ¨ āĻ“ āĻ¨āĻ¤ā§āĻ¨ āĻ¨āĻžāĻŽ āĻĒā§āĻ°āĻ¤āĻŋāĻļāĻŦā§āĻĻ āĻĒā§āĻ°āĻĨāĻŽ āĻĒā§āĻ°āĻ•āĻžāĻļāĻŋāĻ¤ āĻĒā§āĻ°āĻ¸ā§āĻ¤ā§āĻ¤āĻŋāĻšā§€āĻ¨ āĻŦāĻŋāĻ¸āĻŋāĻāĻ¸ āĻ¯āĻžāĻ¤ā§āĻ°āĻž āĻĢāĻ˛āĻž āĻāĻŦāĻ‚ āĻ¯ā§āĻ•ā§āĻ¤āĻžāĻ•ā§āĻˇāĻ° āĻĢāĻžāĻāĻĻ āĻĒā§āĻ°āĻļā§āĻ¨ āĻĢāĻŋāĻ˛āĻŋāĻ¸ā§āĻ¤āĻŋāĻ¨ Palestine āĻĢā§āĻ°āĻžāĻ¨ā§āĻ¸ā§‡āĻ° āĻ‡āĻ¸āĻ˛āĻžāĻŽ-āĻŦāĻŋāĻĻā§āĻŦā§‡āĻˇ āĻŦāĻ™ā§āĻ—āĻŦāĻ¨ā§āĻ§ā§ āĻ¸ā§āĻ¯āĻžāĻŸā§‡āĻ˛āĻžāĻ‡āĻŸ āĻŦāĻžāĻ‚āĻ˛āĻž āĻŦāĻžāĻ‚āĻ˛āĻž āĻ“ āĻ‡āĻ‚āĻ°ā§‡āĻœāĻŋ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§‡āĻ° āĻŽāĻŋāĻ˛āĻŦāĻ¨ā§āĻ§āĻ¨ āĻŦāĻžāĻ‚āĻ˛āĻž āĻŦā§āĻ¯āĻžāĻ•āĻ°āĻŖ āĻŦāĻžāĻ‚āĻ˛āĻž āĻ­āĻžāĻˇāĻž āĻ“ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ āĻŦāĻžāĻ‚āĻ˛āĻž āĻļāĻŦā§āĻĻāĻžāĻ°ā§āĻĨ āĻŦāĻžāĻ‚āĻ˛āĻž āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ āĻŦāĻžāĻ‚āĻ˛āĻž āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§‡āĻ° āĻĻā§āĻ‡ āĻŽāĻšāĻžāĻ°āĻĨā§€ āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļ āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļ āĻ“ āĻŦāĻŋāĻļā§āĻŦāĻĒāĻ°āĻŋāĻšāĻ¯āĻŧ āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļ āĻŦāĻŋāĻˇāĻ¯āĻŧāĻžāĻŦāĻ˛āĻŋ āĻŦāĻžāĻ—āĻ§āĻžāĻ°āĻž āĻŦāĻžāĻ¨āĻžāĻ¨ āĻļā§āĻĻā§āĻ§āĻŋāĻ•āĻ°āĻŖ āĻŦāĻŋāĻ—āĻ¤ āĻĒāĻ°ā§€āĻ•ā§āĻˇāĻžāĻ¸āĻŽā§‚āĻš āĻŦāĻŋāĻĒā§āĻ˛āĻŦ āĻŦāĻŋāĻ­āĻ•ā§āĻ¤āĻŋ āĻŦāĻŋāĻ¸āĻŋāĻāĻ¸ āĻĒāĻ°āĻžāĻŽāĻ°ā§āĻļ āĻŦāĻŋāĻ¸āĻŋāĻāĻ¸ āĻ­āĻžāĻ‡āĻ­āĻž āĻĒā§āĻ°āĻ¸ā§āĻ¤ā§āĻ¤āĻŋ āĻŦā§āĻĻā§āĻ§āĻŋāĻœā§€āĻŦā§€ āĻšāĻ¤ā§āĻ¯āĻžāĻ•āĻžāĻŖā§āĻĄ āĻ­āĻžāĻˇāĻž āĻ†āĻ¨ā§āĻĻā§‹āĻ˛āĻ¨ āĻ­ā§‚āĻ—ā§‹āĻ˛ āĻ­ā§ŒāĻ—ā§‹āĻ˛āĻŋāĻ• āĻ‰āĻĒāĻ¨āĻžāĻŽ āĻ­ā§āĻ¯āĻžāĻ•āĻ¸āĻŋāĻ¨ āĻ•ā§‚āĻŸāĻ¨ā§€āĻ¤āĻŋ āĻāĻŦāĻ‚ āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļ āĻŽāĻĄā§‡āĻ˛ āĻŸā§‡āĻ¸ā§āĻŸ āĻŽāĻĄā§‡āĻ˛āĻŸā§‡āĻ¸ā§āĻŸ āĻŽāĻšāĻžāĻ•āĻžāĻļ āĻŽā§āĻ•ā§āĻ¤āĻŋāĻ¯ā§āĻĻā§āĻ§ āĻŽā§āĻ•ā§āĻ¤āĻŋāĻ¯ā§āĻĻā§āĻ§ āĻ­āĻŋāĻ¤ā§āĻ¤āĻŋāĻ• āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯āĻ•āĻ°ā§āĻŽ āĻŽā§āĻ•ā§āĻ¤āĻŋāĻ¯ā§āĻĻā§āĻ§ā§‡āĻ° āĻŦā§€āĻ°āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻ–ā§‡āĻ¤āĻžāĻŦ āĻŽā§āĻ•ā§āĻ¤āĻŋāĻ¯ā§āĻĻā§āĻ§ā§‡āĻ° āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯āĻ­āĻžāĻŖā§āĻĄāĻžāĻ° āĻ¯ā§āĻ•ā§āĻ¤ āĻŦāĻ°ā§āĻŖ āĻ˛āĻŋāĻ–āĻŋāĻ¤ āĻ—āĻžāĻ‡āĻĄāĻ˛āĻžāĻ‡āĻ¨ āĻ˛āĻŋāĻ–āĻŋāĻ¤ āĻĒāĻ°ā§€āĻ•ā§āĻˇāĻž āĻ˛ā§‡āĻ–āĻž āĻ“ āĻ˛ā§‡āĻ–āĻ• āĻļā§‡āĻˇ āĻŽā§āĻšā§āĻ°ā§āĻ¤ā§‡āĻ° āĻĒā§āĻ°āĻ¸ā§āĻ¤ā§āĻ¤āĻŋ āĻ“ āĻĒāĻ°āĻžāĻŽāĻ°ā§āĻļ āĻļā§āĻ°ā§‡āĻˇā§āĻ  āĻŦāĻžāĻ™āĻžāĻ˛āĻŋ ✏ī¸âœī¸ āĻ¸āĻ‚āĻŦāĻŋāĻ§āĻžāĻ¨ āĻ¸āĻ‚āĻŦāĻŋāĻ§āĻžāĻ¨ āĻ¸āĻ‚āĻļā§‹āĻ§āĻ¨ā§€ āĻ¸āĻĻāĻ°-āĻĻāĻĒā§āĻ¤āĻ° āĻ¸āĻ­ā§āĻ¯āĻ¤āĻž āĻ¸āĻŽāĻžāĻ¸ āĻ¸āĻžāĻœā§‡āĻļāĻ¨ āĻ¸āĻžāĻ§āĻžāĻ°āĻŖ āĻœā§āĻžāĻžāĻ¨ āĻ¸āĻžāĻ§āĻžāĻ°āĻŖ āĻŦāĻŋāĻœā§āĻžāĻžāĻ¨ āĻ¸āĻžāĻŽā§āĻĒā§āĻ°āĻ¤āĻŋāĻ• āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯-āĻ‰ā§ŽāĻ¸āĻ°ā§āĻ— āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯āĻŋāĻ• āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§‡ āĻ•āĻ¨āĻĢāĻŋāĻ‰āĻļāĻ¨ āĻ¸ā§āĻĨāĻžāĻĒāĻ¤ā§āĻ¯ āĻ“ āĻ¸ā§āĻĨāĻĒāĻ¤āĻŋ āĻ¸ā§āĻĒā§‹āĻ•ā§‡āĻ¨ āĻ‡āĻ‚āĻ˛āĻŋāĻļ All Things Review Bangladesh Constitution BCS Preliminary Question Analysis BCS Preparation Special Episodes BCS Questions Earn Money Eat Chew Drink Take Have ? English Grammar English Grammar Exercises with Answers English Grammar Test English Literature Essay Writing General Science ICT Idioms and Phrases International financial institutions Love Stories in Literature Nobel Prize One Word Substitution Preposition Quiz Redundancy āĻŦāĻžāĻšā§āĻ˛ā§āĻ¯ (āĻĻā§‹āĻˇ) Shortcut to Preposition Spoken English Terrorism Transformation of Sentences 👍 Translation United Nations Vocabulary Warrant of Precedence World Wars

āĻāĻŸāĻŋ āĻŦāĻŋāĻ¸āĻŋāĻāĻ¸ āĻĒāĻ°ā§€āĻ•ā§āĻˇāĻžāĻ° āĻœāĻ¨ā§āĻ¯ āĻ…āĻ¨ā§‡āĻ• āĻ—ā§āĻ°ā§āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ:


Literary Terms 


1. Simile (āĻ‰āĻĒāĻŽāĻž):

āĻĻā§āĻŸāĻŋ āĻ†āĻ˛āĻžāĻĻāĻž āĻŦāĻ¸ā§āĻ¤ā§ āĻŦāĻž āĻĻā§āĻ‡āĻœāĻ¨ āĻŦā§āĻ¯āĻ•ā§āĻ¤āĻŋāĻ° āĻŽāĻ§ā§āĻ¯ā§‡ as, like, resemble, the same as āĻ‡āĻ¤ā§āĻ¯āĻžāĻĻāĻŋ āĻļāĻŦā§āĻĻāĻ—ā§āĻ˛āĻžā§‡āĻ° āĻ‰āĻ˛ā§āĻ˛ā§‡āĻ– āĻ•āĻ°ā§‡ āĻ¸āĻ°āĻžāĻ¸āĻ°āĻŋ āĻ¤ā§āĻ˛āĻ¨āĻž āĻ•āĻ°āĻžāĻ•ā§‡ simile āĻŦāĻ˛ā§‡āĨ¤ 

Example -

â€ĸ I wandered lonely as a cloud. 

â€ĸ Youth (is) like summer morn.

â€ĸ My heart is like a singing bird. 

â€ĸ He is as cunning as a fox. 


2. Metaphor (āĻ°ā§‚āĻĒāĻ•):

āĻĻā§āĻŸāĻŋ āĻ†āĻ˛āĻžāĻĻāĻž āĻŦāĻ¸ā§āĻ¤ā§ āĻŦāĻž āĻĻā§āĻ‡āĻœāĻ¨ āĻŦā§āĻ¯āĻ•ā§āĻ¤āĻŋāĻ° āĻŽāĻ§ā§āĻ¯ā§‡ comparision āĻāĻ° āĻļāĻŦā§āĻĻāĻ¸āĻŽā§‚āĻš (āĻ¯ā§‡āĻŽāĻ¨: as, such, like āĻ‡āĻ¤ā§āĻ¯āĻžāĻĻāĻŋ) āĻŦā§āĻ¯āĻŦāĻšāĻžāĻ° āĻ¨āĻž āĻ•āĻ°ā§‡āĻ‡ āĻ¤ā§āĻ˛āĻ¨āĻž āĻ•āĻ°āĻžāĻ•ā§‡ metaphor āĻŦāĻ˛ā§‡āĨ¤ 

Example -

â€ĸ Liza is a rose.

â€ĸ Life is but a walking shadow. 

â€ĸ Nazrul is fire.

â€ĸ My brother was boiling mad. 


Note: āĻāĻ•āĻ‡ āĻœāĻžāĻ¤ā§€āĻ¯āĻŧ āĻŦāĻŋāĻˇāĻ¯āĻŧāĻŦāĻ¸ā§āĻ¤ā§āĻ° āĻŽāĻ§ā§āĻ¯ā§‡ āĻ¤ā§āĻ˛āĻ¨āĻž āĻšāĻ˛ā§‡ ......... Read More 


📓 āĻĒā§āĻ°ā§‹ āĻ†āĻ°ā§āĻŸāĻŋāĻ•ā§‡āĻ˛/āĻĒā§‹āĻ¸ā§āĻŸāĻŸāĻŋ āĻĒāĻĄāĻŧā§āĻ¨