See also:

• ANTITHESIS (the Greek for " setting opposite ")

ANTITHESIS (the See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek for " setting opposite ")  , in See also:

• RHETORIC (Gr. psroperctj TEXvq, the art of the orator)

rhetoric, the bringing out of a contrast in the meaning by an obvious contrast in the expression, as in the following:—" When there is need of silence, you speak, and when there is need of speech, you are dumb; when See also:

• PRESENT

present, you wish to be absent, and when absent, you See also:

• DESIRE

desire to be present; in See also:

• PEACE
• PEACE, BREACH OF THE

peace you are for See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

war, and in war you See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long for peace; in See also:

• COUNCIL (Lat. concilium, from cum, together, and the root cal, to call)

council you descant on bravery, and in the See also:

• BATTLE

battle you tremble." See also:

• ANTITHESIS (the Greek for " setting opposite ")

Antithesis is sometimes See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double or alternate, as in the See also:

• APPEAL

appeal of See also:

• AUGUSTUS (a name 1 derived from Lat. augeo, increase, i.e. venerable, majestic, Gr. Ee0avr6s)

Augustus:— " Listen, See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young men, to an old See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man to whom old men were glad to listen when he was young." The force of the antithesis is increased if the words on which the See also:

• BEAT (a word common in various forms to the Teutonic languages; it is connected with the similar Romanic words derived from the Late Lat. battere)

beat of the contrast falls are alliterative, or otherwise similar in See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound, as—" The fairest but the falsest of her See also:

• SEX (Lat. sexes; possibly connected with secure, to cut)

sex." There is nothing that gives to expression greater point and vivacity than a judicious employment of this figure; but, on the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, there is nothing more tedious and trivial than a pseudo-antithetical See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style . Among See also:

• ENGLISH

English writers who have made the most abundant use of antithesis are See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

Pope, Young, See also:

• JOHNSON, ANDREW
• JOHNSON, ANDREW (1808–1875)
• JOHNSON, BENJAMIN (c. 1665-1742)
• JOHNSON, EASTMAN (1824–1906)
• JOHNSON, REVERDY (1796–1876)
• JOHNSON, RICHARD (1573–1659 ?)
• JOHNSON, RICHARD MENTOR (1781–1850)
• JOHNSON, SAMUEL (1709-1784)
• JOHNSON, SIR THOMAS (1664-1729)
• JOHNSON, SIR WILLIAM (1715–1774)
• JOHNSON, THOMAS

Johnson, and See also:

• GIBBON
• GIBBON, EDWARD (1737–1794)

Gibbon; and especially See also:

• LYLY (LILLY, or LYLIE), JOHN (1553–1606)

Lyly in his Euphues . It is, however, a much more See also:

• COMMON

common feature in See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French than in English; while in See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German, with some striking exceptions,.it is conspicuous by its See also:

• ABSENCE (Lat. absentia)

absence .