SIMILE

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.

 

The main uses of simile are four, and are as follows:
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.

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.

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