Today,
i want to give you so important information. Its about simile. That we know a
simile is an easy way to compare two things, so exampe of simile poems include
any poem that makes comparisions using the words “ like, as,so, than,or
variousverbs such as resemble”. As long as the comparison is one
thing to another, whether or not th two things being compared are actually
alike or not, you can consider it a simile poem.
Based
Book i have read, Simile is usually used in forms of poetry, is sometimes
divorced from its proper relationshipand forced into the association of prose.
Smile is always the product either of the fancy or of the imagination, and is
therefore a poetic attribute.
On
the page four said that sometime the author to do a mistake. I mean the danger
of simile. the danger of simile are many, the first thing to do is to
make sure that you have such an understanding of these that you do not fall
into ny one of the many pitfalls they present; that once done, you should
consider their value, both as a means of ornament and as a means of implying a
secondary meaning through association of ideas; and then you will be able to
make use of them fearlessy and efectively.
We will take these dangers in order, and see how they affect style and see if
we can discover
any means of certainly avoiding them.
1.
Artificiality. This is nearly always
due to what I may call the deliberateuse of similethat is, to a trick too often
used by inexperienced authors of imitating deliberately the type of simile
used by authors whose style they admire.
2.
Floridness. This is a horrible word, but it
is the only one that adequately expresses my meaning. I mean by it the
overloading of ornament the employment of so much simile that it cloys the
imagination and wearies it unnecessarily. For you must not forget that the
realization of a simile does necessitate the use of quite a considerable amount
of imaginative power, and that if you force your reader to a rapid series of
such realizations, he will have none left for the more important realization of
your story.
a. Purely descriptive
b. Associative
c. Ornamental only
d. To give an effect proverbial wisdom.
PURELY DESCRIPTIVE. The useof simile for description is, as said
at the beginnng, the chief use tto which it is put; it behooves you, therefore,
to be especially careful in your use of it, so that you employ it to the very
best advantage in this capacity. Take this, from a novel of last year’s date:
“ her face was like a large and limpl stuffed
cushion on which the features have been carelessly grouped and fastened on by
means of a pair of glasses like a safety pin.”
Or this
from a rather older novel
“ her skin was like the skin of a sucked
grape, soft and wrinkled”
To
acquire a free, bold and good use of simile, you should to do three things;
first, and most important, to watch the similes that occur to you
instinctively, rejecting the bad and stoping up the good for future use.
Associative.
The second use of simile is nearly as important as that of pure direct
description; it is this, to suggest by means of the simile employed the hidden
character of the thing you are describing. Thus Dickens, describing a fire
which is going to cause an incendiary blaze, says:
“The fire glowed sullenly, like the eye of a savage beast half asleep.”
That prepares you for the fact that it is going to do harm. If you read that a character in a book has eyes “like a wolf’s,” you know that he will have something of the wolf in his nature; if, on the other hand, he has eyes “like a dog’s,” you understand that he will probably be faithful as a dog is; and yet a wolf’s eyes are very like a dog’s. You can thus use simile to insinuate a characteristic which you do not wish to put into so many words. This is very useful—if you do not allow it to lead you into making obvious similes and indicating stock characteristics, as is the case in this second example. The first example is good, for the simile is not too commonplace, and the intention of implying evil is clear; the second is both a commonplace simile and depends for any truth it may have on the stock idea of the natures of dogs and wolves.
“The fire glowed sullenly, like the eye of a savage beast half asleep.”
That prepares you for the fact that it is going to do harm. If you read that a character in a book has eyes “like a wolf’s,” you know that he will have something of the wolf in his nature; if, on the other hand, he has eyes “like a dog’s,” you understand that he will probably be faithful as a dog is; and yet a wolf’s eyes are very like a dog’s. You can thus use simile to insinuate a characteristic which you do not wish to put into so many words. This is very useful—if you do not allow it to lead you into making obvious similes and indicating stock characteristics, as is the case in this second example. The first example is good, for the simile is not too commonplace, and the intention of implying evil is clear; the second is both a commonplace simile and depends for any truth it may have on the stock idea of the natures of dogs and wolves.
Ornament.
This is a quite legitimate, tho very dangerous, way of employing simile.
Sometimes a simile put in merely to improve the rhythm of a sentence, or to
enhance the effect of a description already given, is justified by its result;
but the dangers are obvious. You run the risk of creating an impression of
artificiality or of over¬loading. However, when you have really mastered the
diffi¬cult art of creating good simile, either by careful compari¬son in your
mind’s eye or by the study of the means em¬ployed by such creators of simile as
Conrad and Mr. Ches¬terton, you can well experiment with the ornamental use of
simile. It is particularly effective in a story written in a rather bare,
straightforward style; the sudden introduction of a particularly apt simile
arrests the attention, and forces the reader to take particular note of the
passage in which it occurs. So, too, it is often very effective to recur to a
simile already made in order to recall the circumstances under which it was
first made. For instance, in “Lord Jim,” when the author wishes to remind the
reader of the state of mind of his hero on an earlier occasion without putting
it before him in so many words, he again makes use of the simile employed on
the earlier occasion. He again refers to the “thin gold shaving” of the moon
and the sea “like a sheet of ice,” and immediately the reader thinks of the
first occasion on which the similes were used—the time before the desertion of
the Patna—and instinctively com¬pares the old Jim with the new. Dickens uses
this artifice, too, but less delicately; he repeats his simile again and again,
and at intervals so short that he uses the device as a hammer to drive in his
intention.
The ornamental use of simile in sentence-rhythm is a very subtle one. It is too vast a subject to be entered into here; I will just say that sometimes the whole balance of a sentence depends upon the effective use of simile—a sonor¬ous or impressive sentence depending on a dignified simile taken from a vast fact of creation, such as time, life, death, or eternity; a musical sentence requiring something daintier and lighter, such as a simile taken from birds or flowers or running water; and a rugged style needing yet a different type, more abrupt and startling, less polished, more paradoxical.
The ornamental use of simile in sentence-rhythm is a very subtle one. It is too vast a subject to be entered into here; I will just say that sometimes the whole balance of a sentence depends upon the effective use of simile—a sonor¬ous or impressive sentence depending on a dignified simile taken from a vast fact of creation, such as time, life, death, or eternity; a musical sentence requiring something daintier and lighter, such as a simile taken from birds or flowers or running water; and a rugged style needing yet a different type, more abrupt and startling, less polished, more paradoxical.
Proverbid.
The air of ancient and elemental wisdom that some authors strive so hard and so
unsuccessfully to attain can often be gained by the right use of simile; but
here your effect will depend entirely on the choice of the kind of simile.
Simile is used very largely by country folk and peasants of all lands,
particularly Celts; but their similes are of a very particular kind, and to get
your effect you must know exactly the kind of thing that peasants say. “As cold
as charity,” for instance, is a peasant saying as old as the fourteenth century
at least, and it has the true ele¬mental ring; it might be found in the Bible,
or in any book that contains a true rendering of the thought of a simple
people. In Ireland you hear people saying such things as “the two hands of him
were as cold and as wet as a mile¬stone and the rain streaming over it,” or,
“sure, he’s no more, good than a feather in a storm of wind.” You do not hear
them saying (as a certain Irish private, famous in modern literature, is made
to say): “Their little bare feet were better than the white hands of a Lord’s
lady, and their mouths were like puckered roses.” Simile is a good way of
achieving your effect if you are speaking of peasant life, for it is one of the
poetic beauties of genuine peasant speech; but it must be such simile as would
naturally occur to a cowherd or a fisherman or a washerwoman.
the kind of simile :
PROSE SIMILE
1.
Like an eagle at sea, he was
alone.
2.
Ambition is like hunger; it
obeys no law but its appetite
3.
Ambition is like love, impatient
both of delays and rivals
4.
You are still as straight asan
arrow.
5.
She was beautifull as a morning
in spring time
6.
She explored new minds, like a
travel in uknown lands
7.
Broken bubbles are like Humpty
Dumpty: they can’t be put together again
8.
The castle was gray and grim
like a brooding sentinel
9.
The city was like a fairyland or
a nightmare, as the mind chose to take it.
10.
He ruled audiences like an
uncrowded king.
POETIC SIMILE
April
For
April sobs while these are so glad;
April
weeps while these are so gay,-
Weeps
like a tired child who had,
Playing
with flowers, lost its way
Emotion
For
there aremoments in life, when the heartis so full of emotion,
That
if by chance it be shacken, or into its dephts like a pebble
Drops
some careles word, it foverflows, and it secret,
Spilt
on the ground like water, can never be gathered together
Grass
The
green grass floweth like a stream
Into
the ocean’s blue
