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More loosely, Tolkien relies on structural twinning or duplication to create parallels such as doubles, conflicting aspects of personality, and through The Lord of the Rings, even if the oppositions are not essentially necessary to define each other in strict structuralist terms. Marjorie Burns notes several examples of this. For "doubles," she points to the similar roles Goldberry and Galadriel play in their respective domains. Minas Tirith and Minas Morgol, the two towers echo each other. For conflicting aspects of personality, Burns shows how Tolkien creates oppositions between the staid Baggins and the adventurous Took sides of Frodo's family, showing a split or internal division in Frodo himself. A more schizophrenic split between Sméagol and Gollum serve as manifestations of his split desires. For foils, she points to the way Gandalf contrasts with the Balrog in Moria. There, he declares himself a "servant of the secret fire" and a "wielder of the flame of Anor," but he faces his opposite in the Balrog, "the flame of Udûn," a "worker of dark fire." Trolls and Ents serve as opposites for each other, and both Trolls and Ents in their massive size serve as foils to the little people of the hobbits during battle scenes. Boromir and Farmir contrast, with Boromir being proud and rash in his desire for glory while Faramir is "wiser, more restrained, and more peaceable," and so forth. For extended discussion, see Burns' entry on "double" in Drout 127-128).

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In more recent examples, in Richard Connell's short story, "The Most Dangerous Game," the reader is in suspense regarding whether or not the hero or the villainous hunter will survive as the two face off in a final battle. In Hamlet, much of the suspense arises from the protagonist's continuing procrastination--will he or won't he take up the task of killing his uncle? The more Hamlet delays, the more bodies pile up until the final climactic scene in which swordfights, poison, and invading foreign army all collide on stage practically simultaneously. Other authors might frustrate the reader's desires deliberately, as in Frank Stockton's "The Lady or the Tiger," in which a somewhat sadistic narrator describes a thought-provoking scenario. In this scenario, a young man is to be put to death. He is locked in an arena with two adjourning gates, and his young lover must decide his fate. This jealous young girl must choose whether to open a gate releasing a starving tiger into the arena from one gate, or instead open a second gate that would release a beautiful girl into the arena with him, a sexual competitor for the young man's attentions. The narrator describes at length why she might open one gate or the other, either saving her lover but throwing him in the arms of another woman, or killing her lover but blocking the advances of her rival. In the final lines, however, the narrator declares he is not a position to know what happened "historically," and thus leaves it to the reader to determine, "which came out of the open door--the lady, or the tiger?"

 

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Compare And Contrast Poem Essay How to write an A+ Comparison essay on any topic
The music was also used as a way to convey messages and stories to other slaves.
African-American spirituals and Anglo-American hymns served the same purpose
--
To send a message and serve a higher power.
Social significance and Relevance
Lyrics and Musical Characterisitcs
African American spirituals music also inspired the
minstrel shows, blues, the ragtime, and tango
.African Americans of colonial era defined music as an independent folk song, born of the union of African tradition and American socio-religious elements
Anglo- American Hymns, Gospel music and praised God
Compare and contrast Anglo-American hymns and African-American spirituals
Great Gettin' UpMornin

In comparison to African-American spirituals, the Anglo-American Hymns were inspired by African American spirituals.


SERIALIZATION: Publication of a longer work piecemeal over a series of weeks or months (or years), often in periodicals like newspapers or magazines. Publishers might find specific works suitable for serial publication for a number of economic or practical reasons, ranging from maximizing sales profits (by charging more per unit than they could feasibly charge for the collective work--spreading out the purchase cost for the reader over time), minimizing risk (so publishers can terminate the literary project with only one or two short publications rather than the expense of publishing one massive tome if it proves unpopular), or simply allowing the author of unfinished works a chance to test the waters before completing the work. Examples of serialized works include Lewis' The Great Divorce, The Screwtape Letters, and Stephen King's The Green Mile.


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Many of those groups (such as the Anglo-Saxons and the Goths) left very little evidence behind in the way of complete mythologies, but in the Icelandic sagas and Old Norse tradition, we have extensive records of a mythology surrounding the Aesir and Vanir deities in the Poetic Edda. In these legends, the Germanic or Teutonic gods embodied in Old Norse were, as Tom Shippey states, "" (see Drout 449). Many 19th century scholars (and later Tolkien himself) explored whether this worldview was unique to the Norse, or whether it permeated the other branches of the Germanic tribes. Linguistic evidence suggested it did. For instance, the names of cognate deities appear in toponyms in Britain and continental Germany. Thus, the one-eyed all-father Odin in Old Norse has analogues in Woden in Anglo-Saxon and Wotan in pagan Germany, etc. On the other hand, the counter-argument was that similarities in names might not correspond with similarities in worldview. For example, just because Old English had the term Middan-Geard (Middle Earth), and Old Norse had Mithgarthr (Middle Earth), it does not necessarily follow that the Anglo-Saxons had an identical cosmology to the Vikings in which nine different worlds centered on the human one (See Shippey in Drout 449). Other evidence circumstantially was available in what the mythographers called "survivor-genres" (fairy tales, riddles, oral ballads, and nursery rhymes), and philologists argued that skilled investigators could recover or reconstruct missing parts of the lost mythoi from these later texts (449-450).

Literary Terms and Definitions D - Carson-Newman College

DOSBARTH GWYNEDD: Also known as the Venodotian Code or the "four and twenty measures," the Dosbarth Gwynedd are an ancient and complex set of metrical rules for Welsh poetry associated with the Gwynedd region (north Wales) in contrast with the newer Dosbarth Morgannwg, a newer tradition (15th century) associated with the region of Glamorganshire. In general, the Dosbarth Gwynedd are considered the standard or "authentic" verse tradition, even though most modern Welsh poets tend to ignore this incredibly complex tradition and concentrate on smaller, simpler forms like the and the .