Metonymy
Personification
Simile
Paradox
Before we can decide which of the above literary devices Milton used in his poem, On His Being Arrived to the Age of Twenty-Three (1631), we must first understand all of our options.
First, let's consider metonymy. Metonymy means to substitute one word for another which has attributes associated with the overall idea being conveyed. For example, when we say, "He was fishing for information," the word "fishing" represents stealth and the idea of someone slyly collecting information by luring out what they want to know. Other examples of metonymy are, "She really hogged the microphone!" and, "The pen is mightier than the sword."
The second option, personification, is a technique whereby an author turns a thing or an idea into a person by giving it human qualities or personality traits. Things in nature are oftentimes personified in poetry and prose. Some good examples of personification are, "The sun smiled upon the fields," and "The angry ocean swallowed the ship whole."
Answer:
The shaping of new sound effects in impressionist music was greatly influenced by the color factor in impressionist art. Some of the unique effects in impressionist music include the accelerated piano dynamics and the long accords.
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Answer
uho uho uho ummm ummm i finnie cry my cactus just die
Explanation:
Answer:
Explanation:
Leonardo’s fascination with anatomical studies reveals a prevailing artistic interest of the time. In his own treatise Della pittura (1435; “On Painting”), theorist Leon Battista Alberti urged painters to construct the human figure as it exists in nature, supported by the skeleton and musculature, and only then clothed in skin. Although the date of Leonardo’s initial involvement with anatomical study is not known, it is sound to speculate that his anatomical interest was sparked during his apprenticeship in Verrocchio’s workshop, either in response to his master’s interest or to that of Verrocchio’s neighbor Pollaiuolo, who was renowned for his fascination with the workings of the human body. It cannot be determined exactly when Leonardo began to perform dissections, but it might have been several years after he first moved to Milan, at the time a centre of medical investigation. His study of anatomy, originally pursued for his training as an artist, had grown by the 1490s into an independent area of research. As his sharp eye uncovered the structure of the human body, Leonardo became fascinated by the figura istrumentale dell’ omo (“man’s instrumental figure”), and he sought to comprehend its physical working as a creation of nature. Over the following two decades, he did practical work in anatomy on the dissection table in Milan, then at hospitals in Florence and Rome, and in Pavia, where he collaborated with the physician-anatomist Marcantonio della Torre. By his own count Leonardo dissected 30 corpses in his lifetime.
