(melos, as defined by Plato, 'consists of three elements, language, harmony, and rhythm'4), music composition is an integral part of the poetic (lyric) text and, if we may paraphrase what Aristotle says about the opsis, it has most to do with the art of poetry. It at once surprises us. Frye's concepts of "melos" and "opsis," Jonathan Culler points to sound and visual patterns as elements that undermine the view of the lyric as speech overheard (Culler, 1985: 38). Any notion of purity seems out of the question with these The other three, melos, lexis, and opsis [spectacle], deal with this second aspect of the same diagram. it is theory in what Culler describes as the desiring or optative mode of lyric itself (“what would a … This is at once a … his is at once a modest proposal t and an ambitious one. -- Two ways of metaphor and From metaphor to symbol / Philip Wheelwright -- 'The eternal spirits eternal pastime' (from The poetic image) / C. Day Lewis -- The rhythm of recurrence: epos (melos and opsis) / Northrop Frye -- The concept of meter: an exercise in abstraction / … Considered as verbal structure, literature presents a lexis which combines two other elements: melos, an element analogous to or otherwise connected with music, and opsis, which has a … After discussing shortly Frye's concepts of dianoia, melos, and opsis as an example rather easy to catch of manipulating with Aristotle's authority, I will analyse Ricoeur's comments on metaphor and Genette's critique of the theory of literary genres. vation that drama combines the three orders of lexis, melos and opsis (words, music and spectacle) to Barthes’ survey of the ‘image/music/text’ divisions of the semiotic field, the mixed character of media has been a central postulate. These include much of lyric poetry’s formal patterning (rhythm, rhyme, and repetition as melos and opsis), its peculiar temporality, and its varied forms of address. Instead of considering sound patterns, including rhythm, rhyme, and alliteration, as evidence of the All the aforementioned quoted approaches take on one or two elements. (diction), ‘melos’(song), and ‘opsis’(spectacle). Rhetorical criticism, then, is the exploration of literature in the light of melos, opsis, and their interplay. You will be redirected to the full text document in the repository in a few seconds, if not click here.click here. Consequently, the difference between melos and opsis is not based on the sensory effect they create, since both are elements of poetry (literature) and as such primarily appeal to the ear (243-244). poetry’s formal patterning (rhythm, rhyme, and repetition as melos and opsis), its pe-culiar temporality, and its varied forms of address. Now he sweeps Aristotle’s three remaining terms, Melos (melody), lexis (imagery) and opsis (spectacle), into one topic, rhetoric. For instance, ‘forma-lists’ put premium on ‘lexis’, ‘genre critics’ on ‘mythos’, and ‘psychoanalysts’ on ‘dianoia’. Rhetorical criticism, then, is the exploration of literature in the light of melos, opsis, and their interplay. We are not allowed to display external PDFs yet.