Conceits in Literature

Conceits in literature aim to create fresh and vivid imagery by juxtaposing disparate elements.

Introduction: Conceits in Literature

Conceits in literature are literary devices used to draw unexpected and often elaborate comparisons between two seemingly unrelated things. They were commonly employed during the Baroque period in literature and poetry.

Conceits in literature aim to create fresh and vivid imagery by juxtaposing disparate elements. They often require readers to think abstractly and make unusual connections between concepts, enriching the depth and complexity of a text.

Literary Examples of Conceits in Literature
ReferenceConceitExplanation
John Donne’s “A Valediction: Forbidding Mourning”Compasses as a metaphor for loveIn this conceit, Donne compares the connection between lovers to the legs of a compass. Just as one leg remains fixed while the other roams, lovers can be physically apart but still spiritually connected.
William Shakespeare’s “Sonnet 18”The beloved as a summer’s dayShakespeare’s famous sonnet employs the conceit of comparing the beauty and enduring nature of his beloved to the transient and sometimes harsh qualities of a summer’s day.
Metaphysical poetry in generalBlending of secular and sacred themesMany metaphysical poets, like John Donne and George Herbert, often used conceits to connect religious or spiritual ideas with everyday experiences. For example, Donne’s “Batter my Heart” compares God’s love to a violent assault, creating a striking and paradoxical image.
Emily Dickinson’s “Because I could not stop for Death”Death as a carriage rideDickinson’s conceit portrays Death as a gentlemanly figure who comes to pick her up in a carriage, making the idea of death less frightening and more like a tranquil journey.
John Milton’s “Paradise Lost”Satan’s shield compared to the moonIn this epic poem, Milton employs the conceit of comparing Satan’s shield to the moon to emphasize its size and his fallen, weakened state.
George Herbert’s “The Collar”The speaker as a bird in a cageHerbert uses the conceit of a bird in a cage to symbolize the speaker’s internal struggle and desire for spiritual liberation.
How to Create Conceits in Literature
StepExplanationExample How to Do It
Identify Dissimilar ElementsChoose two unrelated concepts, objects, or ideas that will form the basis of your conceit, creating a surprising and contrasting comparison.For a love poem, select love and a compass as dissimilar elements.
Establish a Central ThemeDetermine the primary theme or message you want to convey through the conceit. Ensure that the conceit aligns with and reinforces your writing’s purpose.If your theme is enduring love, the conceit should reflect this theme.
Draw ParallelsFind imaginative and unexpected similarities or connections between the chosen elements. These connections should create a unique and thought-provoking comparison.Identify how the fixed leg of a compass relates to the constancy of love.
Craft Vivid ImageryUse descriptive and metaphorical language to vividly illustrate the conceit, aiming to create a clear and engaging mental image for the reader.Describe how love, like the compass, remains connected even when apart.
Reinforce the NarrativeEnsure that the conceit contributes to the overarching narrative or theme of your writing, adding depth and meaning without feeling forced.Integrate the conceit seamlessly into the love poem, enhancing its depth.
Benefits of Using a Conceits in Literature
  1. Enhanced Creativity and Imagination: Conceits encourage writers to think beyond traditional comparisons, fostering creativity and imaginative thinking in their work.
  2. Vivid and Memorable Imagery: Conceits create striking and memorable imagery, making it easier for readers to visualize complex concepts and relationships.
  3. Engagement and Emotional Impact: Conceits captivate readers by presenting familiar ideas in fresh and unexpected ways, thereby evoking stronger emotional responses and engagement.
  4. Nuanced Expression of Ideas: Conceits allow writers to convey abstract or complex concepts with clarity and depth, making it easier to explore nuanced themes and emotions.
  5. Intellectual Stimulation: The use of conceits challenges readers to think critically and make connections between seemingly unrelated elements, enhancing the intellectual and interpretive aspects of a text.
Conceits in Literature and Literary Theory
  1. Formalism/New Criticism:
    • Focus on the structural elements of the conceit, such as its placement in the text, its impact on the overall structure, and its role in shaping the narrative.
    • Examine how the conceit contributes to the unity and coherence of the work, paying attention to its themes, symbols, and motifs.
    • Evaluate the effectiveness of the conceit in terms of its ability to create a complex and well-crafted piece of literature.
  2. Reader-Response Theory:
    • Consider how readers engage with the conceit and how their interpretations may vary based on individual experiences and perspectives.
    • Analyze how the conceit influences the reader’s emotional responses, cognitive engagement, and overall experience of the text.
    • Explore the subjective and personal reactions of readers to the conceit and how it may change over time or with different audiences.
  3. Historical/Cultural Criticism:
    • Investigate the cultural, historical, and social contexts in which the conceits in literature was created and how it reflects or challenges the values and norms of its time.
    • Examine how the conceit may be linked to specific cultural or historical events, movements, or ideologies.
    • Assess the conceit’s relevance and significance within its cultural and historical context and how it may have evolved over time.
  4. Feminist Criticism:
    • Analyze how the conceit portrays gender roles, identities, or relationships and how it may reinforce or subvert traditional gender norms.
    • Examine the conceit’s treatment of female characters and their agency, as well as its impact on female readers and their perspectives.
    • Consider how the conceit contributes to or challenges feminist themes, such as power dynamics, agency, and the representation of women.
  5. Postcolonial Criticism:
    • Investigate how the conceits in literature may reflect colonial or postcolonial themes, including issues of power, identity, and cultural hybridity.
    • Examine how the conceit portrays characters or situations that relate to colonial or postcolonial contexts.
    • Consider how the conceits in literature may highlight the experiences of marginalized or colonized peoples and the impact of colonization on their identities and cultures.
  6. Psychoanalytic Criticism:
    • Explore the psychological dimensions of the conceits in literature, such as how it represents unconscious desires, fears, or conflicts within characters or the author.
    • Analyze the conceit’s use of symbolism and imagery to uncover hidden or repressed emotions and motives.
    • Consider the psychological impact of the conceit in literature on readers and how it may resonate with universal aspects of the human psyche.

By applying these various literary theories to the analysis of conceits in literature, you can gain a deeper and more multifaceted understanding of how this literary device operates within a text and its broader implications.

Suggested Readings
  1. Abrams, M. H. “The Function of Criticism: A Study of ‘Dissociation of Sensibility’.” In The Norton Anthology of Theory and Criticism, edited by Vincent B. Leitch, 2nd ed., W. W. Norton & Company, 2010, pp. 797-808.
  2. Altieri, Charles. The Particulars of Rapture: An Aesthetics of the Affects. Cornell University Press, 2003.
  3. Donne, John. Selected Poems and Prose. Edited by Charles M. Coffin, Penguin Classics, 2006.
  4. Hollander, John. The Figure of Echo: A Mode of Allusion in Milton and After. University of California Press, 1981.
  5. Shakespeare, William. Sonnets. Edited by Stephen Booth, Yale University Press, 1977.
  6. Vendler, Helen. The Art of Shakespeare’s Sonnets. Harvard University Press, 1997.

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