is a term that does not have a universally accepted definition, but which has variably included all written work; writing that possesses literary merit; and language that foregrounds literariness, as opposed to ordinary language
the term derives from Latin literatura/litteratura
"writing formed with letters", although some definitions include spoken or sung texts
. Literature can be classified according to whether it is fiction
, and whether it is poetry
; it can be further distinguished according to major forms such as the novel
, short story
; and works are often categorised according to historical periods, or according to their adherence to certain aesthetic
features or expectations (genre
Literature may consist of texts based on factual information (journalistic or non-fiction), a category that may also include polemical works, biographies, and reflective essays, or it may consist of texts based on imagination (such as fiction, poetry, or drama). Literature written in poetry emphasizes the aesthetic and rhythmic qualities of language—such as sound, symbolism, and metre—to evoke meanings in addition to, or in place of, ordinary meanings, while literature written in prose applies ordinary grammatical structure and the natural flow of speech. Literature can also be classified according to historical periods, genres, and political influences. While the concept of genre has broadened over the centuries, in general, a genre consists of artistic works that fall within a certain central theme; examples of genre include romance, mystery, crime, fantasy, erotica, and adventure, among others.
More about literature…
La Cousine Bette
is an 1846 novel by French author Honoré de Balzac
. Set in mid-19th century Paris, it tells the story of an unmarried middle-aged woman who plots the destruction of her extended family. Bette works with Valérie Marneffe, an unhappily married young lady, to seduce and torment a series of men. One of these is Baron Hector Hulot, husband to Bette's cousin Adeline. He sacrifices his family's fortune and good name to please Valérie, who leaves him for a tradesman named Crevel. The book is part of the Scènes de la vie parisienne
section of Balzac's novel sequence La Comédie humaine
("The Human Comedy").
The novel's characters represent polarities of contrasting morality. The vengeful Bette and disingenuous Valérie stand on one side, with the merciful Adeline and her patient daughter Hortense on the other. The patriarch of the Hulot family, meanwhile, is consumed by his own sexual desire. Hortense's husband, the Polish exile Wenceslas Steinbock, represents artistic genius, though he succumbs to uncertainty and lack of motivation. Balzac based the character of Bette in part on his mother and the poet Marceline Desbordes-Valmore. At least one scene involving Baron Hulot was likely based on an event in the life of Balzac's friend, the novelist Victor Hugo.
Sir William Schwenck Gilbert
(18 November 1836 – 29 May 1911) was an English dramatist
, poet and illustrator best known for the fourteen comic operas
(known as the Savoy operas
) produced in collaboration
with the composer Sir Arthur Sullivan
. The most famous of these include H.M.S. Pinafore
, The Pirates of Penzance
, and one of the most frequently performed works in the history of musical theatre, The Mikado
. These, as well as several of the other Savoy operas, continue to be frequently performed in the English-speaking world and beyond by opera companies, repertory companies, schools and community theatre groups. Lines from these works have become part of the English language, such as "short, sharp shock
", "What, never? Well, hardly ever!", and "Let the punishment fit the crime".
Gilbert also wrote the Bab Ballads, an extensive collection of light verse accompanied by his own comical drawings. His creative output included over 75 plays and libretti, numerous stories, poems, lyrics and various other comic and serious pieces. His plays and realistic style of stage direction inspired other dramatists, including Oscar Wilde and George Bernard Shaw. According to The Cambridge History of English and American Literature, Gilbert's "lyrical facility and his mastery of metre raised the poetical quality of comic opera to a position that it had never reached before and has not reached since".
||Words! Mere words! How terrible they were! How clear, and vivid, and cruel! One could not escape from them. And yet what a subtle magic there was in them! They seemed to be able to give a plastic form to formless things, and to have a music of their own as sweet as that of viol or of lute. Mere words! Was there anything so real as words?
—Oscar Wilde, The Picture of Dorian Gray
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