Figurative Language
The Language of Literature
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.
Literal language
Language use that takes the meaning of
words in their primary and non-figurative
sense, as in literal interpretation.
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
Literal / Figurative
• It’s heavily raining / pouring with rain /
the rain is pouring
• It is raining cats and dogs / the rain is
coming down in buckets
• You’re a pretty sight = You look awful
• You’ve got slightly wet, didn’t you? =
You’ve got drenched with rain
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
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.
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.
Thomas Hardy and Emma Lavinia Gifford
Thomas Hardy
The 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.
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.
William Butler Yeats (1865-1939)
W. B. Yeats
Down 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.
A willow (salley) tree
Another one
Robert Frost (1874-1963)
American poet with an axe on his shoulder
Robert Frost
Stopping 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.
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.
Two manuscripts of the poem
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)
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
Figures of speech / Tropes
Figures of speech = tropes
Trope (Greek ‘turn’) denotes any
rhetorical or figurative device
Figurative language
Metaphor (Greek 'to transfer') /'mɛtəfɔr, -fər/
How to spot metaphor: textual and contextual
signals
Metaphor and simile /'sɪməli/ 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.com
Audio: http://howjsay.com
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
Simile:“O my luve's like a red, red rose” (Burns)
luve=tenor
red, red rose=vehicle
like=grammatical indicator of similarity
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)
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.
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.
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 couldn’t 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.
Carol Ann Duffy
Mrs 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)
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.
John Donne (1572-1631)
A Valediction: Of Weeping
(excerpt)
Let me pour forth
My 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 more;
When a tear falls, that thou fall'st which it bore;
So thou and I are nothing then, when on a divers shore.
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 question:
Whether 'tis nobler in the mind to suffer
The 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)
Further figures of speech
Synaesthesia /sɪni:s’θi:zɪə/ – 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 /mɪ’tɒnəmi/ – the use of something
closely related for the thing actually meant
Synecdoche /sɪ’nɛkdəki/ – the use of the part for
the whole
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“.)
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
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.
Examples of allegory
Plato’s Cave allegory (The Republic, Book VII)
Aesop’s Fables
Dante Alighieri’s The Divine Comedy
Edmund Spenser’s The Faerie Queene
George Orwell’s Animal Farm
Plato’s Allegory of the Cave
The Allegory of the Cave can be found in
Book VII of Plato's The Republic.
Plato’s 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.
An illustration of Plato’s Cave from Great Dialogues of
Plato (Warmington and Rouse, eds.) New York, Signet
Classics: 1999. p. 316.
Plato’s 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
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.
Herbert cont.
I straight return’d, 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.
Allegorical figures in
Thomas Gray’s (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.
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?
The portrait of Thomas Gray
by John Giles Eccart (1747-1748)
Gray’s Monument
Stoke Poges, Buckinghamshire
St Giles Church, Stoke Poges
Churchyard, Stoke Poges
Southwell Minster
Carvings in the Chapter House
of Southwell Minster
Carving in the Chapter House
Statues in Salisbury Cathedral
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.
Rhetorical figures
•
•
•
•
•
•
•
simple repetition /'rɛpɪ'tɪʃən/
parallelism /'pærəlɛˌlɪzəm, -lə'lɪz-/
antithesis /æn'tɪθəsɪs/
climax /'klaɪmæks/
hyperbole /haɪ'pɜ:rbəli/
apostrophe /ə'pɒstrəfi/
irony /'aɪrəni, 'aɪər-/
Find examples for each in the quotation from
Alexander Pope’s An Essay on Man (1732-1734):
Cease then, nor Order imperfection name:
Our proper bliss depends on what we blame
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:
Safe in the hand of one disposing Power,
Or in the natal, or the mortal hour.
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:
And, spite of pride, in erring reason's spite,
One truth is clear, WHATEVER IS, IS RIGHT.
Repetition
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:
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”
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)
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.”
Hyperbole
Overstatement, to make a point, either direct or ironical:
“Our proper bliss depends on what we blame
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:
Safe in the hand of one disposing Power,
Or in the natal, or the mortal hour.”
(and the rest of the excerpt as well)
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”
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
Emily Dickinson (1830-1886)
Paradox
Emily 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.
The manuscript of a poem by Emily Dickinson
Paradox
John 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.
Two portraits of John Donne (1572-1631)
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)
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
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
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
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
William Blake: The Chimney Sweeper
When my mother died I was very young,
And my father sold me while yet my tongue
Could 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.
Blake cont.
And by came an angel who had a bright key,
And he opened the coffins and set them all free;
Then 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 wind;
And 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 warm;
So if all do their duty they need not fear harm.
The Portrait of William Blake (1757-1827)
by Thomas Phillips
William Blake: The Chimney Sweeper
from Songs of Innocence and Songs of Experience
Situational irony
“The Gift of the Magi “(1906) is a short story
written by O’Henry (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.
The photo of O’Henry and the cover of the
illustrated edition of “The Gift of the Magi”
O’Henry, “The Gift of the Magi”
Plot
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.
O’Henry, “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)
Robert Frost
Fire 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.
Robert Frost: Fire and Ice
Background
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 Dante’s 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."
Robert Frost: Fire and Ice
Background
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.
Frost’s Fire and Ice // Dante’s Inferno
Comparison
The nine lines of Frost’s poem //
the nine rings of Dante’s Hell
The narrowing of the poem //
the downward funnel of the rings of Hell
The rhyme scheme of Frost’s poem,
aba / abc / bcb,
vaguely resembles Dante”s tercets,
aba bcb cdc etc
Giovanni Stradano (Jan Van der Straet, 1523-1605),
Flanders-born artist active mainly in Florence.
From his illustrations to Dante’s Inferno
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.
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.
Milton’s Sonnet
He puns the term “talent” alluding to the
parable of the talent told in Matthew
25,14-30
Milton Dictates the Lost Paradise to His Three
Daughters, by Eugéne Delacroix c. 1826)
The Holy Bible: King James Version
The 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.
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.
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:
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.
The title page of the 1611 first edition of the
King James Bible