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In this essay on \"what the imagination has made of the phenomenon of echo,\" John Hollander examines aspects of the figure of echo in light of their significance for poetry. Looking at echo in its literal, acoustic sense, echo in myth, and echo as literary allusion, Hollander concludes with a study of the rhetorical status of the figure of echo and an examination of the ancient and newly interesting trope of metalepsis, or transumption, which it appears to embody. Centered on ways in which Milton's poetry echoes, and is echoed by, other texts, The Figure of Echo also explores Spenser and other Renaissance writers; romantic poets such as Keats, Shelley, and Wordsworth; and modern poets including Hardy, Eliot, Stevens, Frost, Williams, and Hart Crane. This book has implications for literary theory and holds great practical interest for students and teachers of American and English literature of all periods. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1981.

Abstract In this paper an intertextual relationship between Ammianus' Res gestae and Xenophon's Anabasis is proposed and contextualized. This intertextuality, which occurs in the form of a narrative allusion, is founded upon the thematic and structural similarities shared between the death narratives of Julian in book 25.3.3-6 of the Res gestae and that of Cyrus in book 1.8.6, 19, 24-27 of the Anabasis. An attempt at interpreting this particular narrative allusion reveals that Ammianus constructed this allusion intentionally with two specific goals in his mind. First, he made a subtle retort to Gregory of Nazianzus' negative comparison between Julian and Cyrus (Or. 5.13-14) by reversing Gregory's comparison into a positive one, and second, which is of a more personal note, he cast himself by implication as Julian's Xenophon in the Persian campaign of 363 CE, with whom he shares several loci of contact.

The methodology analyzes a (seemingly) unidentified allusion in Psalm 115:4 to Hosea 8:4. Since the psalmist thrice exhorts worshipers to place security in YHWH (vv. 9-11), the psalm deepens the rhetorical force of the exhortations by hinting at Israel's tragic hktory of placing security elsewhere. \"1 By introducing and then applying a composite innerbiblical allusion methodology to Psalm 115:4 and its role in the psalm, this study argues that the psalm alludes to an anti-idol polemic in Hosea for a nuanced theological purpose. By contrast, the content of Hosea 8 is not among what historical-critical scholars attribute to redactors.22 Even on the typical postexilic dating of Psalm 115 or the earlier suggestion below, Hosea 8:4 was probably available to the psalmist. [...]the proposed allusion provides a viable, concrete link between the polemic in Psalm 115 and a specific prophetic text strengthened by the thematic and rhetorical analysis below. When the term refers to making idols, it implies a jab at idols as mere craftsmanship.29 Unsurprisingly then, ... (craftsman) occurs in four of the six prophetic contexts that Roth labels as anti-idol polemics.30 In form and terminology, then, Hosea 8:4 is an anti-idol polemic. [...]for Psalm 115 to share an ideological strategy found in only a handful of texts and to possess a rare cluster of terms further commends the proposed allusion as probable. [...]Hosea generally and the unauthorized royal installment in 8:4 specifically relate to the northern kingdom,32 and Psalm 115's \"O Israel\" (MT) or \"O house of Israel\" (versions) is probably \"a holistic term for the entire covenant nation.

Elle procède ainsi selon une double orientation, l'une de nature sémantique, l'autre de nature pragmatique : « elle pointe vers un surplus significatif lié à l'addition-divergence de l'énoncé effectif et de l'énoncé démarqué, et tente d'établir un rapport particulier de l'énonciateur au lecteur, sollicité comme bon entendeur. » (p.14) En outre, l'allusion fait entendre, insinue, réveille des latences du grand répertoire non clos du Discours commun. L'auteur estime que dans les comédies de Musset, les traits d'esprit sont avant tout des flèches, des paroles agressives qui permettent de sentir ce qui ne peut directement se dire : la cruauté, la violence des rapports humains. A en croire Drouet, « ce qui est drôle, c'est qu'Elbow ne prend pas seulement un mot pour un autre, il en prend un de sens contraire selon un principe de renversement au coeur du comique. » (p.121) Ainsi commence-t-il par confondre les mots radicalement opposés que sont benefactors et malefactors. Une première expression de ce jeu dans les mots s'exprime par un système complexe et élaboré de corruption de l'orthographe, d'inversion des lettres ou de décalage des syllabes, comme une saturation du langage dans sa phonation et sa signification.

Allusions (kenāyeh) are imaginary elements shared between literary and everyday language. It is natural that, as the contexts for the formation of allusions disappear and the philosophy behind their creation is forgotten, understanding some of them becomes difficult. The allusions that have formed regarding the word \"pustin\" (a fur or sheepskin garment) belong to this category. The present study, using a descriptive-analytical method, investigates some of the ambiguous allusions centered on \"pustin\" that have taken shape in Persian literary texts. Deciphering these allusions is instrumental in resolving ambiguity in certain texts. The findings of the research show that imprecision in the critical editing of texts, incorrect readings of texts, the copying and imitation between dictionaries and commentaries, inaccuracy in the reporting of these allusions in dictionaries, and a lack of attention to the specific context of the texts when reporting these allusions have led to the ambiguity and a failure to accurately grasp the meaning of texts that contain this word. Therefore, to resolve these ambiguities, a precise and scientific revision of commentaries and dictionaries, even a lexicon as prominent as the Dehkhoda Dictionary, is necessary and essential. Meanwhile, given the critical editions available for many of the texts from which these allusions were sourced, some of the paths to resolving the ambiguity of these allusions have been cleared. Consequently, it is necessary to rely on these texts to undertake a serious revision of the meaning of existing allusions in reference works and dictionaries. Keywords: Imagery, Allusion (Kenāyeh), Persian Texts, Dictionaries, Pustin. IntroductionThe use of the word \"pustin\" (fur garment) has a history as long as human history itself and has long served various functions in people’s lives. It is for this reason that diverse manifestations of \"pustin\" can be seen in the Persian language and literature. In the use of \"pustin\", a progression from a literal meaning to a symbolic one is evident. In a general overview, \"pustin\" has functions in various fields of Persian culture, civilization, and literature, the most important of which include: 1) As a type of attire for both war and festivity, which has been prominent from the most ancient historical periods to the present day; 2) As a theme-building element in various literary genres such as mystical, epic, lyrical, didactic, and other literary forms; and 3) It is the raw material for countless literary expressions that manifests itself in the form of various Imagery. What stands out most among the figurative and poetic elements when discussing \"pustin\" are the allusions that have been formed around it. In this study, several ambiguous allusions in this domain, which have been defined with uncertainty in dictionaries and whose decipherment is useful for understanding some ambiguous sentences and verses in texts, have been examined. Materials and MethodsIn this research, first, the allusions of the word \"pustin\" in Persian literature were identified by consulting Persian literary texts, dictionaries, and dictionaries of allusions. Then, several allusions that were subjects of debate and for which a precise meaning had not been mentioned in sources and references were examined and analyzed. The description, analysis, and critique of these allusions made a descriptive, analytical, and critical research method unavoidable. Therefore, a combined method was employed to investigate these allusions. Research FindingsPart of the ambiguity in the compounds and allusions recorded in dictionaries, which are sourced from Persian literary texts, is related to the reading of the verse; if the problem in reading the compound is resolved, the issue with the text will also be solved. This is the case of the ambiguity in the compounds \"pīl-e postīn\", \"postīn kardan\", and \"sūkhtah-ye postīn\" (the burnt fur garment). The allusive phrase \"postīn be gāzor dādan\" (to give the fur garment to the Laundress) and similar constructions are used to mean performing a wrong and inappropriate action. This meaning is expanded in Anvari's poetry, where its individual and social undertones are highlighted. In the poetry of Sanai, within the context of mystical poetry, \"pustin\" takes on a mystical semantic load and becomes a symbol of material attachments and dependencies. Therefore, in his poetry, \"postīn be gāzor dādan\", in light of this symbolic meaning, is used in the allusive sense of renouncing attachments, releasing materialism and worldly dependencies. This meaning is also used by Rumi.The allusive phrase \"postīn be gāzor dādan\" has been used in two different contexts. The first instance is in the works of Amir Mo'ezzi and Anvari, and the second is in Sanai and Rumi, after which this allusive phrase was forgotten in Persian literature. This represents a movement from the material to the metaphysical aspects, for various reasons, including the diminishing relationship between the fur garment and the Laundress. Discussion of Results and ConclusionsAllusion is more closely related to the daily life of humankind than other imagery elements. It is for this reason that as human lifestyles evolve and their perspective on surrounding elements and phenomena changes, the allusions in a language also transform. This point, alongside the freedom of perspective on phenomena in literature, increases the speed at which allusions change. Therefore, to understand texts that deal with allusions, awareness of culture, history, civilization, and human ways of life, and attention to the transformations in these areas, is essential. Inattention to these characteristics, carelessness in the editing and printing of Persian literary texts, imprecision in recording allusions and their meanings in dictionaries, and inattention to the literary genre and the author’s intended goals have caused more errors to occur in the explanation of allusions than in other parts of language and literature.The mentioned mistakes create obstacles for the reader in understanding the precise meaning of texts where an allusion directs its meaning. The examination of several ambiguous allusions centered on \"pustin\" has shown that to resolve the ambiguity in this area, it is necessary first to provide a correct and reliable edition of the texts, and then, based on these texts and with attention to the context, to provide a precise meaning for the allusions. This meaning should not create complexity in conveying the author’s thought to the audience but should lead to their conviction and, of course, be useful in the scientific analysis of the text and its subtleties.

Among the various devices that conform a given writer’s style (i.e. syntactic, semantic, and so on), we will ll analyse in this paper two of them, allusion and euphemism. And so, in order to illustrate how, by means of these stylistic devices, A. Machado gets cognitive effects and criticizes two given philosophical systems in two extremely short poems. Euphemisms and allusions do perform meanings in cognitive domains not merely aesthetic or rhetorical ones. And this function is related to previous knowledge and presuppositions of the speakers. For that reason several levels of readings are possible according to the different levels of presuppositions made by speakers.

The theme of the transformation of reality is one of the unifying themes in Jeremiah 30-31. A past-future tension is notably present in 31:31-34, with the promise of a new covenant. This article considers the contrast between the new covenant pericope and the poetic doom oracles and the prose discourses in the book of Jeremiah. Since the book of Deuteronomy seemingly had a profound influence on the book of Jeremiah, Jeremiah 31:31-34 is also read against the background of Deuteronomy. Allusions in Jeremiah 31:31-34 to these texts are especially significant. It is argued that these allusions demonstrate that the new covenant passage attained a distinct identity by the promise of a radical transformation. In addition, the application of utopian literary theory suggests that Jeremiah’s utopian vision enflamed possibility and awakened emotional yearning for a better world.

In the era of digital intelligence empowerment, the data-driven approach to the mining and organization of humanistic knowledge has ushered in new development opportunities. However, current research on allusions, an important type of humanities data, mainly focuses on the adoption of a traditional paradigm of humanities research. Conversely, little attention is paid to the application of auto-computing techniques to allusive resources. In light of this research gap, this work proposes a model of allusive word sentiment recognition and application based on text semantic enhancement. First, explanatory texts of 36,080 allusive words are introduced for text semantic enhancement. Subsequently, the performances of different deep learning-based approaches are compared, including three baselines and two optimized models. The best model, ERNIE-RCNN, which exhibits a 6.35% improvement in accuracy, is chosen for the sentiment prediction of allusive words based on text semantic enhancement. Next, according to the binary relationships between allusive words and their source text, explanatory text, and sentiments, the overall and time-based distribution regularities of allusive word sentiments are explored. In addition, the sentiments of the source text are inferred according to the allusive word sentiments. Finally, the LDA model is utilized for the topic extraction of allusive words, and the sentiments and topics are fused to construct an allusive word-sentiment theme relationship database, which provides two modes for the semantic association and organization of allusive resources. The empirical results show that the proposed model can achieve the discovery and association of allusion-related humanities knowledge.