manipulative/deceptive language Flashcards

1
Q

more glad is the

A

“more glad than is the teeming earth to see the longed for sun”

Author misleads audience by making us appeal to this vice character through lyrical, poetic language.

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2
Q

letting a cherry

A

letting a cherry knock against their lips, then draw it by their mouths and back again

visually exotic metaphors manipulates audience to like the character

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3
Q

loaded with fruit

A

loaded with fruit of fairest colours mixed

visually exotic imagery. appealing fricative sounds.

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4
Q

the space of seven

A

the space of seven continued nights he rode

Milton misleads reader by giving satan admirable determination. heroic.

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5
Q

from inward grief

A

“from inward grief, his bursting passion into plaints thus poured”

mislead to like Satan

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6
Q

“if i could joy in

A

if i could joy in aught, sweet interchange of hill and valley”

He appreciates the garden and recognises its beauty. unlike Eve and Adam who only see is as labour.

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7
Q

Why then was this

A

Why then was this forbid?… to keep thee low and ignorant

USE OF HIPOPHORA
Satan uses persuasive rhetoric devices. BETRAYAL
Eve is easily manipulated because she is unfallen and has not encountered the vice of manipulation, therefore we cannot totally blame her for what she does. this makes Milton’s aim “to justify the ways of God to man” slightly awkward - if Eve is so innocent, then she is more innocent of blame than gods eventual punishment assumes… another reason why he is of the devils party?

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8
Q

Nor can i think that god

A

Nor can i think that god, creator wise, though threatening, will in earnest so destroy”

Adam persuades himself through his own eloquence

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9
Q

“of my celestial

A

of my celestial patroness, who designs her nightly visitation unimpaired, and dictates to me slumbering

claims made by the narrative voice - personifying his inspiration to Urania: the muse of astrology.

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10
Q

Wanton growth

A

wanton growth and wanton ringlets

Milton manipulates reader with subtle hints. anti pun.

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11
Q

see, here, a rope of pearl

A

see, here, a rope of pearl; and each more orient than that the brave Egyptian queen caroused: dissolve and drink ‘em.

use of synaesthesia.

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12
Q

i have no wife,

A

“I have no wife, no parent, child, ally, to give my substance to”

the power of this phrase is in jonson’s use of asyndeton - the way the different family members are named makes them heap up so that the overall effect is to isolate Volpone by implying that everybody else is together and has the comfort of a famiy. But even then he undermines this reading by suggesting that the only reason he wants these people is so that he has someone ‘to give my substance to’ – i.e. even the absence of family is felt only in the fact that he wil therefore have to bequeath his worldy goods to someone outside the family.
we are mislead from this as we do not completely condemn the character - we can’t help feeling intrigued and attracted in some way.

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13
Q

quote from paradise regained on god and his actions

A

“thy actions to thy words accord” - god speaks the truth ygm.

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14
Q

“as when a ship

A

“as when a ship by skilful steersman wrought”

Epic simile (Milton studied rhetoric at cambridge). Positive adjective ‘skilful’ makes us respect his skill of deception. Yet sibilance reminds us it is satan and so we must compel.

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15
Q

“evil, if evil

A

Evil, if evil be real, why not known?

use of traditional rhetoric technique (milton studied rhetoric at cambridge) is rhetorical questions. Use of subordinate clause ‘if evil be real’ allows Satan to cast doubt on gods message, key to the art of deception.

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16
Q

“mischief doth

A

Mischief doth ever end, where it begins”

Volture deceives the court. His mastery of language extends into the use of aphorism.

17
Q

Volture labels Celia and Bonario

A

“lewd woman” “lascivious youth”

Volture is practiced in the art of deception. uses rhetorical technique of characature, using single-worded epithets to label Celia and Bonario.

Arguably element of Metatheatre here: Volture takes the role of the Director, casting Celia and Bonario into their respective roles. In renaissance England, the figure of the playwright was respected - a contemporary audience would have thus respected Volture’s mastery of deceptive language. The text glorifies deceptive language.