Figurative Language

1
Figurative Language

• The Language of Literature

2
Figurative language

• Language which uses figures of speech for
  example, metaphor, metonymy, synecdoche, simile,
  alliteration, hyperbole, etc.
• Figurative language must be distinguished from
  literal language.

3
Literal language

• Language use that takes the meaning of
• words in their primary and non-figurative
• sense, as in literal interpretation.

4
Literal / Literary

• Literary of, relating to, or having the
  characteristics of letters, humane learning, or
  literature
• Literal adhering to fact or to the ordinary
  construction or primary meaning of a term of
  expression
• From the Merriam-Webster Dictionary

5
Literal / Figurative

• Its heavily raining / pouring with rain / the
  rain is pouring
• It is raining cats and dogs / the rain is coming
  down in buckets
• Youre a pretty sight You look awful
• Youve got slightly wet, didnt you? Youve got
  drenched with rain

6
Speaking figuratively

• you say less than what you mean
• or more than what you mean
• or the opposite of what you mean
• or something other than what you mean

7
Figurative speech

• Broadly defined
• Any way of saying something other than the
  ordinary (literal) way.
• (From the antiquity on rhetoricians have defined
  over 250 separate figures.)
• Narrowly defined
• A way of saying one thing and meaning another.
  Language that cannot be taken literally.

8
Literary texts

• A work of literature is always a coded text,
• in parts it may use figurative language (figures
  of speech or tropes),
• and as a whole it always communicates ideas
  different from its literal meaning.
• Therefore the student of literature must learn
  the various techniques of decoding literary texts.

9
Thomas Hardy and Emma Lavinia Gifford
10
Thomas HardyThe Walk

• You did not walk with me
• Of late to the hill-top tree
• By the gated ways,
• As in earlier days
• You were weak and lame,
• So you never came,
• And I went alone, and I did not mind,
• Not thinking of you as left behind.

11
Hardy cont.

• I walked up there to-day
• Just in the former way
• Surveyed around
• The familiar ground
• By myself again
• What difference, then?
• Only that underlying sense
• Of the look of a room on returning thence.

12
William Butler Yeats (1865-1939)
13
W. B. YeatsDown by the Salley Gardens

• Down by the salley gardens my love and I did
  meet
• She passed the salley gardens with little
  snow-white feet.
• She bid me take love easy, as the leaves grow on
  the tree
• But I, being young and foolish, with her would
  not agree.
•  
• In a field by the river my love and I did stand,
• And on my leaning shoulder she laid her
  snow-white hand.
• She bid me take life easy, as the grass grows on
  the weirs
• But I was young and foolish, and now am full of
  tears.

14
A willow (salley) tree
15
Another one
16
Robert Frost (1874-1963)American poet with an
axe on his shoulder
17
Robert FrostStopping by Woods on a Snowy Evening

• Whose woods these are I think I know.
• His house is in the village though
• He will not see me stopping here
• To watch his woods fill up with snow.
• My little horse must think it queer
• To stop without a farmhouse near
• Between the woods and frozen lake
• The darkest evening of the year.

18
Frost cont.

• He gives his harness bells a shake
• To ask if there is some mistake.
• The only other sound's the sweep
• Of easy wind and downy flake.
• The woods are lovely, dark and deep.
• But I have promises to keep,
• And miles to go before I sleep,
• And miles to go before I sleep.
•  

19
Two manuscripts of the poem
20
Imagery

• Representation through language of sense
  experience
• Image
• - visual imagery (mental image)
• - auditory imagery (sound)
• - olfactory imagery (smell)
• - gustatory imagery (taste)
• - tactile imagery (touch)
• - organic imagery (internal sensation, hunger,
• fatigue)
• - kinesthetic imagery (movement, tension in the
• muscles)

21
A figure of speech

• An expression extending language beyond its
  literal meaning, either pictorially through
  metaphor, simile, allusion, personification, and
  the like, or rhetorically through repetition,
  balance, antithesis and the like. A figure of
  speech is also called a trope.
• The Harper Handbook to Literature, ed. by
  Northrop Frye, Sheridan Baker, George Perkins.
  New York Harper Row, 1984

22
Figures of speech / Tropes

• Figures of speech tropes
• Trope (Greek turn) denotes any rhetorical or
  figurative device

23
Figurative language

• Metaphor (Greek 'to transfer') /'m?t?f?r, -f?r/
• How to spot metaphor textual and contextual
• signals
• Metaphor and simile /'s?m?li/ in poetry
• figurative language with a purpose
• The effects of metaphor denotation /connotation
  denotation what is referred to
• connotation associations, connecting
  images, ideas, moods, etc.
• IPA transcriptions http//dictionary.reference.co
  m
• Audio http//howjsay.com

24
Metaphor and simile

• The analysis of metaphor
• tenor (the concept, idea, new element)
• vehicle (the image to illuminate the tenor)
• grounds (the basis of comparison their
  similarity)
• O Rose, thou art sick. (Blake)
• No sign of comparison vehicle stands for
  tenor
• SimileO my luve's like a red, red rose
  (Burns)
• luvetenor red, red rosevehicle
• likegrammatical indicator of similarity

25
Figures of speech metaphor, simile

• Used as means of comparing things that are
• essentially unlike
• Metaphor the comparison is implied, implicit,
  i.e. the figurative term is substituted for or
  identified with the literal term
• Simile the comparison is expressed, explicit
  (like, as)

26
Metaphor

• A figure of speech in which one thing is
  described in terms of another.
• I. A. Richards (1893-1979), English literary
  critic, by 'tenor meant the purport or general
  drift of thought regarding the subject of a
  metaphor by 'vehicle' the image which embodies
  the tenor.

27
Types of metaphor I

• A dead metaphor (cliché) is one in which
• the sense of a transferred image is absent.
• Example "to grasp a concept" uses
• physical action as a metaphor for
• understanding. Dead metaphors normally go
• unnoticed.

28
Carol Ann Duffy (1955)Sit at Peace(excerpt)

• When they gave you them to shell and you sat
• on the back-doorstep, opening the small green
  envelopes
• with your thumb, minding the queues of peas, you
  were
• sitting at peace. Sit at peace, sit at peace, all
  summer.
• Nip was a dog. Fluff was a cat. They sat at peace
• on a coloured-in mat, so why couldnt you?
• But the day you fell from the Parachute Tree,
  they came
• from nowhere running, carried you in to a quiet
  room
• you were glad of. A long silent afternoon,
  dreamlike.
• A voice saying peace, sit at peace, sit at peace.

29
Carol Ann DuffyMrs Lazarus(excerpts)

• I had grieved. I had wept for a night and a day
• over my loss, ripped the cloth I was married in
• from my breasts, howled, shrieked, clawed
• at the burial stones until my hands bled, retched
• his name over and over again, dead, dead.
• (Also allusion to John 11,1-46)

30
Types of metaphor II

• An extended metaphor (conceit, concetto)
• establishes a principal subject (comparison)
• and subsidiary subjects (comparisons).
• Used extensively by English metaphysical
• poets of the seventeenth century.

31
John Donne (1572-1631)A Valediction Of
Weeping(excerpt)

• Let me pour forthMy tears before thy face,
  whilst I stay here,For thy face coins them, and
  thy stamp they bear,And by this mintage they are
  something worth. For thus they be Pregnant of
  thee Fruits of much grief they are, emblems of
  moreWhen a tear falls, that thou fall'st which
  it boreSo thou and I are nothing then, when on
  a divers shore.

32
Types of metaphor III

• A mixed metaphor (catachresis) is one that leaps
  from one identification to a second
  identification inconsistent with the first. It
  can be deliberate or unintentional.
• Example
• To be, or not to be, that is the
  questionWhether 'tis nobler in the mind to
  sufferThe slings and arrows of outrageous
  fortune,Or to take arms against a sea of
  troubles,And by opposing end them?
• (Shakespeare Hamlet, Act III, Scene I)

33
Further figures of speech

• Synaesthesia /s?nis?iz??/ the mixing of
  sensations, the concurrent appeal to more than
  one sense (e.g. hearing a colour, seeing a smell)
• Personification give the attributes of a human
  being to an animal, an object or a concept
• Metonymy /m?t?n?mi/ the use of something
  closely related for the thing actually meant
• Synecdoche /s?n?kd?ki/ the use of the part for
  the whole

34
Metonymy / Synecdoche

• Metonymy substitute naming an associated
  idea names the item
• The pen is mightier than the sword.
• Synecdoche a part stands for the whole or the
  whole for a part
• Listen, you've got to come take a look at my new
  set of wheels. (One refers to a vehicle in terms
  of some of its parts, "wheels.)

35
Even further figures of speech

• Symbol something that means more than what it
  is
• Allegory a narrative or description that has a
  second meaning, with more emphasis on the
  ulterior meaning than on the surface story
• Unlike metaphors, it involves a system of
  related correspondences.
• Unlike symbols, it puts less emphasis on the
• images for their own sake

36
Allegory / Symbol

• A narrative that serves as an extended metaphor.
• Allegories are written in the form of fables,
  parables,
• poems, stories, and almost any other style or
  genre.
• The main purpose of an allegory is to tell a
  story that
• has characters, a setting, as well as other types
  of
• symbols, that have both literal and figurative
• meanings. The difference between an allegory and
• a symbol is that an allegory is a complete
  narrative
• that conveys abstract ideas to get a point
  across,
• while a symbol is a representation of an idea or
• concept that can have a different meaning
  throughout
• a literary work.

37
Examples of allegory

• Platos Cave allegory (The Republic, Book VII)
• Aesops Fables
• Dante Alighieris The Divine Comedy
• Edmund Spensers The Faerie Queene
• George Orwells Animal Farm

38
Platos Allegory of the Cave

• The Allegory of the Cave can be found in
• Book VII of Plato's The Republic.

39
Platos Allegory of the Cave

• In the allegory, Plato likens people untutored in
  the Theory
• of Forms to prisoners chained in a cave, unable
  to turn
• their heads. All they can see is the wall of the
  cave. Behind
• them burns a fire.  Between the fire and the
  prisoners there
• is a parapet, along which puppeteers can walk.
  The
• puppeteers, who are behind the prisoners, hold up
  puppets
• that cast shadows on the wall of the cave. The
  prisoners
• are unable to see these puppets, the real
  objects, that pass
• behind them. What the prisoners see and hear are
• shadows and echoes cast by objects that they do
  not see.

40
An illustration of Platos Cave from Great
Dialogues of Plato (Warmington and Rouse, eds.)
New York, Signet Classics 1999. p. 316.
41
Platos Allegory of the Cave

• Such prisoners would mistake appearance
• for reality. They would think the things they
• see on the wall (the shadows) were real
• they would know nothing of the real causes
• of the shadows.
• Source http//faculty.washington.edu/smcohen/320/
  cave.htm

42
George Herbert (1593-1633)Redemption

• Having been tenant long to a rich Lord,
• Not thriving, I resolved to be bold,
• And make a suit unto him, to afford
• A new small-rented lease, and cancell th old.
• In heaven at his manour I him sought
• They told me there, that he was lately gone
• About some land, which he had dearly bought
• Long since on earth, to take possession.

43
Herbert cont.

• I straight returnd, and knowing his great birth
• Sought him accordingly in great resorts
• In cities, theatres, gardens, parks, and courts
• At length I heard a ragged noise and mirth
• Of theeves and murderers  there I him espied,
• Who straight, Your suit is granted, said, and
  died.

44
Allegorical figures inThomas Grays
(1716-1771)Elegy Written in a Country
Churchyard(excerpt)

• Let not Ambition mock their useful toil,
• Their homely joys, and destiny obscure
• Nor Grandeur hear with a disdainful smile
• The short and simple annals of the Poor.
• The boast of heraldry, the pomp of power,
• And all that beauty, all that wealth e'er gave,
• Awaits alike th' inevitable hour-
• The paths of glory lead but to the grave.

45
Gray cont.

• Nor you, ye Proud, impute to these the fault
• If Memory o'er their tomb no trophies raise,
• Where through the long-drawn aisle and fretted
  vault
• The pealing anthem swells the note of praise.
• Can storied urn or animated bust
• Back to its mansion call the fleeting breath?
• Can Honour's voice provoke the silent dust,
• Or Flattery soothe the dull cold ear of Death?

46
The portrait of Thomas Grayby John Giles Eccart
(1747-1748)
47
Grays MonumentStoke Poges, Buckinghamshire
48
St Giles Church, Stoke Poges
49
Churchyard, Stoke Poges
50
Southwell Minster
51
Carvings in the Chapter Houseof Southwell Minster
52
Carving in the Chapter House
53
Statues in Salisbury Cathedral
54
Figures of speech easy to confuse

• Image, metaphor, and symbol are
• sometimes difficult to distinguish.
• An image means only what it is.
• A metaphor means something other than what it is.
• A symbol means what it is and something more,
  too. It functions literally and
  figuratively
• at the same time.

55
Rhetorical figures

• simple repetition /'r?p?'t???n/
• parallelism /'pær?l??l?z?m, -l?'l?z-/
• antithesis /æn't???s?s/
• climax /'kla?mæks/
• hyperbole /ha?'p?rb?li/ 
• apostrophe /?'p?str?fi/
• irony /'a?r?ni, 'a??r-/ 
• Find examples for each in the quotation from
• Alexander Popes An Essay on Man (1732-1734)

56
Cease then, nor Order imperfection nameOur
proper bliss depends on what we blameKnow thy
own point this kind, this due degreeOf
blindness, weakness, Heaven bestows on thee.
Submit. - In this, or any other sphere,Secure
to be as blest as thou canst bearSafe in the
hand of one disposing Power,Or in the natal, or
the mortal hour.All nature is but art, unknown
to theeAll chance, direction, which thou canst
not seeAll discord, harmony not understoodAll
partial evil, universal goodAnd, spite of
pride, in erring reason's spite,One truth is
clear, WHATEVER IS, IS RIGHT.
57
Repetition

• All nature is but art, unknown to theeAll
  chance, direction, which thou canst not seeAll
  discord, harmony not understoodAll partial
  evil, universal good

58
Parallelism

• A matter of grammar and rhetoric the writer
  expresses in parallel grammatical form equivalent
  elements of content framing words, sentences,
  and paragraphs to give parallel weight to
  parallel thoughts
• All nature is but art, unknown to thee All
  chance, direction, which thou canst not see
  All discord, harmony not understood All
  partial evil, universal good

59
Antithesis

• a direct contrast or opposition
• a rhetorical figure sharply contrasting ideas in
  balanced parallel structure
• Cease then, nor Order imperfection name
• Safe in the hand of one disposing Power,Or in
  the natal, or the mortal hour.
• (and lots more in the text)

60
Climax

• A point of high emotional intensity, a turning
  point or crisis.
• The high point of an argument, reached by
  arranging ideas in the order of least to most
  importance
• The point of greatest interest in any piece of
  writing
• Repeating the same sound or word
• Climax after all the repetition, parallelism,
  antitheses
• One truth is clear, Whatever is, is right.

61
Hyperbole

• Overstatement, to make a point, either direct or
  ironical
• Our proper bliss depends on what we blameKnow
  thy own point this kind, this due degreeOf
  blindness, weakness, Heaven bestows on thee.
  Submit. - In this, or any other sphere,Secure
  to be as blest as thou canst bearSafe in the
  hand of one disposing Power,Or in the natal, or
  the mortal hour.
• (and the rest of the excerpt as well)

62
Apostrophe

• An address to an imaginary or absent person (or
  as if the person were absent), a thing or a
  personified abstraction
• Cease then, nor Order imperfection name
• Know thy own point this kind, this due degree
  Of blindness, weakness, Heaven bestows on thee.
  Submit. - In this, or any other sphere,
  Secure to be as blest as thou canst bear All
  nature is but art, unknown to thee All chance,
  direction, which thou canst not see

63
Further rhetorical figures

• Paradox an apparent contradiction that is
• nevertheless somehow true
• Hyperbole (overstatement) exaggeration,
• adding emphasis to what is really meant
• Understatement saying less than what is
• meant

64
Emily Dickinson (1830-1886)
65
ParadoxEmily Dickinson 1732

• My life closed twice before its close -
• It yet remains to see
• If Immortality unveil
• A third event to me
• So huge, so hopeless to conceive
• As these that twice befell.
• Parting is all we know of heaven,
• And all we need of hell.

66
The manuscript of a poem by Emily Dickinson
67
ParadoxJohn Donne The Legacy(excerpt)

• When last I died (and, dear, I die
• As often as from thee I go),
• Though it be but an hour ago,
• And lovers' hours be full eternity,
• I can remember yet, that I
• Something did say, and something did bestow
• Though I be dead, which sent me, I should be
• Mine own executor and legacy.

68
Two portraits of John Donne (1572-1631)
69
Irony

• a trope, a non-literal use of language like
  metaphor, metonymy, etc, also can be conceived as
  a rhetorical figure
• a type of tone, a particular way of
  speaking/writing, a matter of style,
• can be widespread in text
• (unlike metaphors which are usually discrete
  parts of text)

70
Irony

• ironic meaning WE have to construct
• DIFFERENCE between apparent meaning and true
  meaning
• the text as a whole or a large part of it is
  unreliable if taken literally
• an implied (vs explicit) interpretation is true
• Example
• difference between text and situation
• WHATEVER IS, IS RIGHT. when all sorts
  of things go wrong

71
Mechanisms and techniques of irony

• overemphasis of inverted meaning
• Yes! I'd really like that!
• internal inconsistency
• - in narrative narrator is shown not to
  have seen the truth
• - in style unexpected change in register
  unexpected change of rhythm
  unexpected alliteration
  rhyme fails to appear

72
Effects of irony

• Irony which destabilizes
• where the intended meaning is difficult to
  pinpoint
• internally inconsistent text
• literal meaning is insufficient
• no specific, authoritative or unified worldview
  a final, implied meaning remains elusive

73
Types of irony

• Verbal irony saying the opposite of what is
  meant
• Dramatic irony discrepancy between what the
  speaker says and what the author means
• Irony of situation discrepancy between the
  actual
• circumstances and those that would seem
  appropriate
• or discrepancy between what one
  anticipates and what actually comes to pass

74
William Blake The Chimney Sweeper

• When my mother died I was very young,And my
  father sold me while yet my tongueCould scarcely
  cry 'weep! 'weep! 'weep! 'weep!So your chimneys
  I sweep, and in soot I sleep.There's little Tom
  Dacre, who cried when his head,That curled like
  a lamb's back, was shaved so I said,"Hush, Tom!
  never mind it, for when your head's bare,You
  know that the soot cannot spoil your white
  hair."And so he was quiet and that very
  night,As Tom was a-sleeping, he had such a
  sight, - That thousands of sweepers, Dick, Joe,
  Ned, and Jack,Were all of them locked up in
  coffins of black.

75
Blake cont.

• And by came an angel who had a bright key,And
  he opened the coffins and set them all freeThen
  down a green plain leaping, laughing, they
  run,And wash in a river, and shine in the
  sun.Then naked and white, all their bags left
  behind,They rise upon clouds and sport in the
  windAnd the angel told Tom, if he'd be a good
  boy,He'd have God for his father, and never want
  joy.And so Tom awoke and we rose in the
  dark,And got with our bags and our brushes to
  work.Though the morning was cold, Tom was happy
  and warmSo if all do their duty they need not
  fear harm.

76
The Portrait of William Blake (1757-1827)by
Thomas Phillips
77
William Blake The Chimney Sweeperfrom Songs of
Innocence and Songs of Experience
78
Situational irony

• The Gift of the Magi (1906) is a short story
• written by OHenry (William Sydney Porter,
• 1862-1910) about a young married couple
• and how they deal with the challenge of
• buying secret Christmas gifts for each other
• with very little money. The plot and its "twist
• ending" are well-known, and the ending is
• generally considered an example of situational
• irony.

79
The photo of OHenry and the cover of the
illustrated edition of The Gift of the Magi
80
OHenry, The Gift of the MagiPlot

• Young married couple Della and James "Jim"
  Dillingham
• Young are very much in love with each other but
  can barely
• afford their one-room apartment due to their very
  bad
• economic situation. For Christmas, Della decides
  to buy
• Jim a chain for his prized pocket watch given to
  him by his
• father's father. To raise the funds, she has her
  long,
• beautiful hair cut off and sold to make a wig.
  Meanwhile,
• Jim decides to sell his watch to buy Della a
  beautiful set of
• combs made out of tortoiseshell and jewels for
  her lovely,
• knee-length brown hair. Although each is
  disappointed to
• find the gift they chose rendered useless, each
  is pleased
• with the gift that they received, because it
  represents their
• love for one another.

81
OHenry, The Gift of the Magi

• The story ends with the narrator comparing the
  pair's
• mutually sacrificial gifts of love with those of
  the Biblical
• Magi
• The magi, as you know, were wise men
  wonderfully wise men who brought gifts to the
  new-born Babe in the manger. They invented the
  art of giving Christmas presents. Being wise,
  their gifts were no doubt wise ones, possibly
  bearing the privilege of exchange in case of
  duplication. And here I have lamely related to
  you the uneventful chronicle of two foolish
  children in a flat who most unwisely sacrificed
  for each other the greatest treasures of their
  house. But in a last word to the wise of these
  days let it be said that of all who give gifts
  these two were the wisest. Of all who give and
  receive gifts, such as they are wisest.
  Everywhere they are wisest. They are the magi.
• (Based on Wikipedia)

82
Robert FrostFire and Ice (1920)

• Some say the world will end in fire Some say
  in ice. From what I've tasted of desire I hold
  with those who favor fire. But if it had to
  perish twice, I think I know enough of hate To
  say that for destruction ice Is also great And
  would suffice.

83
Robert Frost Fire and IceBackground

• It discusses the end of the world, likening the
  elemental
• force of fire with the emotion of desire, and ice
  with hate.
• According to one of Frost's biographers, Fire and
  Ice was
• inspired by a passage in Canto 32 of Dantes
  Inferno, in
• which the worst offenders of hell, the traitors,
  are
• submerged, while in a fiery hell, up to their
  necks in ice
• "a lake so bound with ice,
• It did not look like water, but like a glass ...
  right clear
• I saw, where sinners are preserved in ice."

84
Robert Frost Fire and IceBackground

• In an anecdote he recounted in 1960 in a
  "Science and the Arts" presentation, prominent
  astronomer Harlow Shapley claims to have inspired
  "Fire and Ice". Shapley describes an encounter he
  had with Robert Frost a year before the poem was
  published in which Frost, noting that Shapley was
  the astronomer of his day, asks him how the world
  will end. Shapley responded that either the sun
  will explode and incinerate the Earth, or the
  Earth will somehow escape this fate only to end
  up slowly freezing in deep space. Shapley was
  surprised at seeing "Fire and Ice" in print a
  year later, and referred to it as an example of
  how science can influence the creation of art, or
  clarify its meaning.

85
Frosts Fire and Ice // Dantes InfernoComparison

• The nine lines of Frosts poem //
• the nine rings of Dantes Hell
• The narrowing of the poem //
• the downward funnel of the rings of Hell
• The rhyme scheme of Frosts poem,
• aba / abc / bcb,
• vaguely resembles Dantes tercets, aba
  bcb cdc etc

86
Giovanni Stradano (Jan Van der Straet,
1523-1605), Flanders-born artist active mainly in
Florence. From his illustrations to Dantes
Inferno
87
Allusion

• A reference to something in history or
• previous literature.
• It is like a richly connotative word or a
• symbol, a means of suggesting more
• than it says.

88
John Milton (1608-1674)Sonnet XIX

• WHEN I consider how my light is spent  
• E're half my days, in this dark world and wide, 
• And that one Talent which is death to hide, 
• Lodg'd with me useless, though my Soul more bent
• To serve therewith my Maker, and present
• My true account, least he returning chide,
• Doth God exact day-labour, light deny'd,
• I fondly ask But patience to prevent
• That murmur, soon replies, God doth not need
• Either man's work or his own gifts, who best
• Bear his milde yoak, they serve him best, his
  State
• Is Kingly. Thousands at his bidding speed
• And post o're Land and Ocean without rest
• They also serve who only stand and waite. 

89
Miltons Sonnet

• He puns the term talent alluding to the
• parable of the talent told in Matthew
• 25,14-30

90
Milton Dictates the Lost Paradise to His Three
Daughters, by Eugéne Delacroix c. 1826)
91
The Holy Bible King James VersionThe Gospel
according to St. Matthew 25

• 14  For the kingdom of heaven is as a man
  traveling into a
• far country, who called his own servants, and
  delivered
• unto them his goods. 15  And unto one he gave
  five
• talents, to another two, and to another one to
  every man
• according to his several ability and
  straightway took his
• journey. 16  Then he that had received the five
  talents
• went and traded with the same, and made them
  other
• five talents. 17  And likewise he that had
  received two,
• he also gained other two. 18  But he that had
  received one
• went and digged in the earth, and hid his lord's
  money.
• 19  After a long time the lord of those servants
  cometh,
• and reckoneth with them.

92
Matthew cont.

• 20  And so he that had received five talents came
  and
• brought other five talents, saying, Lord, thou
  deliveredst
• unto me five talents behold, I have gained
  beside them five
• talents more. 21  His lord said unto him, Well
  done, thou
• good and faithful servant thou hast been
  faithful over a
• few things, I will make thee ruler over many
  things enter
• thou into the joy of thy lord. 22  He also that
  had received
• two talents came and said, Lord, thou deliveredst
  unto me
• two talents behold, I have gained two other
  talents beside
• them.

93
Matthew cont.

• 23  His lord said unto him, Well done, good and
  faithful
• servant thou hast been faithful over a few
  things, I will
• make thee ruler over many things enter thou into
  the
• joy of thy lord. 24  Then he which had received
  the one
• talent came and said, Lord, I knew thee that thou
  art a
• hard man, reaping where thou hast not sown, and
• gathering where thou hast not strewed 25  and I
  was
• afraid, and went and hid thy talent in the earth
  lo, there
• thou hast that is thine. 26  His lord answered
  and said
• unto him, Thou wicked and slothful servant, thou
• knewest that I reap where I sowed not, and gather
  where
• I have not strewed

94
Matthew cont.

• 27  thou oughtest therefore to have put my money
  to the
• exchangers, and then at my coming I should have
• received mine own with usury. 28  Take therefore
  the
• talent from him, and give it unto him which hath
  ten
• talents. 29  For unto every one that hath shall
  be given,
• and he shall have abundance but from him that
  hath not
• shall be taken away even that which he hath 30 
  And
• cast ye the unprofitable servant into outer
  darkness
• there shall be weeping and gnashing of teeth.

95
The title page of the 1611 first edition of the
King James Bible