antithesis transcription

Definition of Antithesis

Examples of antithesis in everyday speech, common examples of antithesis from famous speeches, examples of proverbs featuring antithesis, utilizing antithesis in writing, antithesis and parallelism, antithesis and juxtaposition, use of antithesis in sentences  , examples of antithesis in literature, example 1:  hamlet (william shakespeare).

Give every man thine ear, but few thy voice ; Take each man’s censure, but reserve thy judgment.

Example 2:  Paradise Lost  (John Milton)

Here at least We shall be free; the Almighty hath not built Here for his envy, will not drive us hence: Here we may reign secure, and in my choice To reign is worth ambition though in Hell: Better to reign in Hell, than serve in Heaven.

Example 3:  Fire and Ice  (Robert Frost)

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.

Example 4: The Gettysburg Address by Abraham Lincoln

We have come to dedicate a portion of that field, as a final resting place for those who here gave their lives so that nation might live.

The brave men, living and dead, who struggled here, have consecrated it, far above our poor power to add or detract.

The world will little note, nor long remember what we say here, but it can never forget what they did here.

Function of Antithesis

Synonyms of antithesis, post navigation.

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Antithesis Definition

What is antithesis? Here’s a quick and simple definition:

Antithesis is a figure of speech that juxtaposes two contrasting or opposing ideas, usually within parallel grammatical structures. For instance, Neil Armstrong used antithesis when he stepped onto the surface of the moon in 1969 and said, "That's one small step for a man, one giant leap for mankind." This is an example of antithesis because the two halves of the sentence mirror each other in grammatical structure, while together the two halves emphasize the incredible contrast between the individual experience of taking an ordinary step, and the extraordinary progress that Armstrong's step symbolized for the human race.

Some additional key details about antithesis:

• Antithesis works best when it is used in conjunction with parallelism (successive phrases that use the same grammatical structure), since the repetition of structure makes the contrast of the content of the phrases as clear as possible.
• The word "antithesis" has another meaning, which is to describe something as being the opposite of another thing. For example, "love is the antithesis of selfishness." This guide focuses only on antithesis as a literary device.
• The word antithesis has its origins in the Greek word antithenai , meaning "to oppose." The plural of antithesis is antitheses.

How to Pronounce Antithesis

Here's how to pronounce antithesis: an- tith -uh-sis

Antithesis and Parallelism

Often, but not always, antithesis works in tandem with parallelism . In parallelism, two components of a sentence (or pair of sentences) mirror one another by repeating grammatical elements. The following is a good example of both antithesis and parallelism:

To err is human , to forgive divine .

The two clauses of the sentence are parallel because each starts off with an infinitive verb and ends with an adjective ("human" and "divine"). The mirroring of these elements then works to emphasize the contrast in their content, particularly in the very strong opposite contrast between "human" and "divine."

Antithesis Without Parallelism

In most cases, antitheses involve parallel elements of the sentence—whether a pair of nouns, verbs, adjectives, or other grammar elements. However, it is also possible to have antithesis without such clear cut parallelism. In the Temptations Song "My Girl," the singer uses antithesis when he says:

"When it's cold outside , I've got the month of May ."

Here the sentence is clearly cut into two clauses on either side of the comma, and the contrasting elements are clear enough. However, strictly speaking there isn't true parallelism here because "cold outside" and "month of May" are different types of grammatical structures (an adjective phrase and a noun phrase, respectively).

Antithesis vs. Related Terms

Three literary terms that are often mistakenly used in the place of antithesis are juxtaposition , oxymoron , and foil . Each of these three terms does have to do with establishing a relationship of difference between two ideas or characters in a text, but beyond that there are significant differences between them.

Antithesis vs. Juxtaposition

In juxtaposition , two things or ideas are placed next to one another to draw attention to their differences or similarities. In juxtaposition, the pairing of two ideas is therefore not necessarily done to create a relationship of opposition or contradiction between them, as is the case with antithesis. So, while antithesis could be a type of juxtaposition, juxtaposition is not always antithesis.

Antithesis vs. Oxymoron

In an oxymoron , two seemingly contradictory words are placed together because their unlikely combination reveals a deeper truth. Some examples of oxymorons include:

• Sweet sorrow
• Cruel kindness
• Living dead

The focus of antithesis is opposites rather than contradictions . While the words involved in oxymorons seem like they don't belong together (until you give them deeper thought), the words or ideas of antithesis do feel like they belong together even as they contrast as opposites. Further, antitheses seldom function by placing the two words or ideas right next to one another, so antitheses are usually made up of more than two words (as in, "I'd rather be among the living than among the dead").

Antithesis vs. Foil

Some Internet sources use "antithesis" to describe an author's decision to create two characters in a story that are direct opposites of one another—for instance, the protagonist and antagonist . But the correct term for this kind of opposition is a foil : a person or thing in a work of literature that contrasts with another thing in order to call attention to its qualities. While the sentence "the hare was fast, and the tortoise was slow" is an example of antithesis, if we step back and look at the story as a whole, the better term to describe the relationship between the characters of the tortoise and the hare is "foil," as in, "The character of the hare is a foil of the tortoise."

Antithesis Examples

Antithesis in literature.

Below are examples of antithesis from some of English literature's most acclaimed writers — and a comic book!

Antithesis in Charles Dickens' A Tale of Two Cities

In the famous opening lines of A Tale of Two Cities , Dickens sets out a flowing list of antitheses punctuated by the repetition of the word "it was" at the beginning of each clause (which is itself an example of the figure of speech anaphora ). By building up this list of contrasts, Dickens sets the scene of the French Revolution that will serve as the setting of his tale by emphasizing the division and confusion of the era. The overwhelming accumulation of antitheses is also purposefully overdone; Dickens is using hyperbole to make fun of the "noisiest authorities" of the day and their exaggerated claims. The passage contains many examples of antithesis, each consisting of one pair of contrasting ideas that we've highlighted to make the structure clearer.

It was the best of times , it was the worst of times , it was the age of wisdom , it was the age of foolishness , it was the epoch of belief , it was the epoch of incredulity , it was the season of Light , it was the season of Darkness , it was the spring of hope , it was the winter of despair , we had everything before us, we had nothing before us, we were all going direct to Heaven , we were all going direct the other way —in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only.

Antithesis in John Milton's Paradise Lost

In this verse from Paradise Lost , Milton's anti-hero , Satan, claims he's happier as the king of Hell than he could ever have been as a servant in Heaven. He justifies his rebellion against God with this pithy phrase, and the antithesis drives home the double contrast between Hell and Heaven, and between ruling and serving.

Better to reign in Hell than serve in Heaven.

Antithesis in William Shakespeare's Othello

As the plot of Othello nears its climax , the antagonist of the play, Iago, pauses for a moment to acknowledge the significance of what is about to happen. Iago uses antithesis to contrast the two opposite potential outcomes of his villainous plot: either events will transpire in Iago's favor and he will come out on top, or his treachery will be discovered, ruining him.

This is the night That either makes me or fordoes me quite .

In this passage, the simple word "either" functions as a cue for the reader to expect some form of parallelism, because the "either" signals that a contrast between two things is coming.

Antithesis in William Shakespeare's Hamlet

Shakespeare's plays are full of antithesis, and so is Hamlet's most well-known "To be or not to be" soliloquy . This excerpt of the soliloquy is a good example of an antithesis that is not limited to a single word or short phrase. The first instance of antithesis here, where Hamlet announces the guiding question (" to be or not to be ") is followed by an elaboration of each idea ("to be" and "not to be") into metaphors that then form their own antithesis. Both instances of antithesis hinge on an " or " that divides the two contrasting options.

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 ...

Antithesis in T.S. Eliot's "Four Quartets"

In this excerpt from his poem "Four Quartets," T.S. Eliot uses antithesis to describe the cycle of life, which is continuously passing from beginning to end, from rise to fall, and from old to new.

In my beginning is my end . In succession Houses rise and fall , crumble, are extended, Are removed, destroyed, restored, or in their place Is an open field, or a factory, or a by-pass. Old stone to new building , old timber to new fires ...

Antithesis in Green Lantern's Oath

Comic book writers know the power of antithesis too! In this catchy oath, Green Lantern uses antithesis to emphasize that his mission to defeat evil will endure no matter the conditions.

In brightest day , in blackest night , No evil shall escape my sight. Let those who worship evil's might Beware my power—Green lantern's light!

While most instances of antithesis are built around an "or" that signals the contrast between the two parts of the sentence, the Green Lantern oath works a bit differently. It's built around an implied "and" (to be technical, that first line of the oath is an asyndeton that replaces the "and" with a comma), because members of the Green Lantern corps are expressing their willingness to fight evil in all places, even very opposite environments.

Antithesis in Speeches

Many well-known speeches contain examples of antithesis. Speakers use antithesis to drive home the stakes of what they are saying, sometimes by contrasting two distinct visions of the future.

Antithesis in Patrick Henry's Speech to the Second Virginia Convention, 1775

This speech by famous American patriot Patrick Henry includes one of the most memorable and oft-quoted phrases from the era of the American Revolution. Here, Henry uses antithesis to emphasize just how highly he prizes liberty, and how deadly serious he is about his fight to achieve it.

Is life so dear, or peace so sweet, as to be purchased at the price of chains and slavery? Forbid it, Almighty God! I know not what course others may take: but as for me, give me liberty or give me death .

Antithesis in Martin Luther King Jr.'s Oberlin Commencement Address

In this speech by one of America's most well-known orators, antithesis allows Martin Luther King Jr. to highlight the contrast between two visions of the future; in the first vision, humans rise above their differences to cooperate with one another, while in the other humanity is doomed by infighting and division.

We must all learn to live together as brothers —or we will all perish together as fools .

Antithesis in Songs

In songs, contrasting two opposite ideas using antithesis can heighten the dramatic tension of a difficult decision, or express the singer's intense emotion—but whatever the context, antithesis is a useful tool for songwriters mainly because opposites are always easy to remember, so lyrics that use antithesis tend to stick in the head.

Antithesis in "Should I Stay or Should I Go" by The Clash (1981)

In this song by The Clash, the speaker is caught at a crossroads between two choices, and antithesis serves as the perfect tool to express just how confused and conflicted he is. The rhetorical question —whether to stay or to go—presents two opposing options, and the contrast between his lover's mood from one day (when everything is "fine") to the next (when it's all "black") explains the difficulty of his choice.

One day it's fine and next it's black So if you want me off your back Well, come on and let me know Should I stay or should I go ? Should I stay or should I go now? Should I stay or should I go now? If I go, there will be trouble If I stay it will be double ...

Antithesis in "My Girl" by the Temptations (1965)

In this song, the singer uses a pair of metaphors to describe the feeling of joy that his lover brings him. This joy is expressed through antithesis, since the singer uses the miserable weather of a cloudy, cold day as the setting for the sunshine-filled month of May that "his girl" makes him feel inside, emphasizing the power of his emotions by contrasting them with the bleak weather.

I've got sunshine on a cloudy day When it's cold outside I've got the month of May Well I guess you'd say, What can make me feel this way? My girl, my girl, my girl Talkin' bout my girl.

Why Do Writers Use Antithesis?

Fundamentally, writers of all types use antithesis for its ability to create a clear contrast. This contrast can serve a number of purposes, as shown in the examples above. It can:

• Present a stark choice between two alternatives.
• Convey magnitude or range (i.e. "in brightest day, in darkest night" or "from the highest mountain, to the deepest valley").
• Express strong emotions.
• Create a relationship of opposition between two separate ideas.
• Accentuate the qualities and characteristics of one thing by placing it in opposition to another.

Whatever the case, antithesis almost always has the added benefit of making language more memorable to listeners and readers. The use of parallelism and other simple grammatical constructions like "either/or" help to establish opposition between concepts—and opposites have a way of sticking in the memory.

Other Helpful Antithesis Resources

• The Wikipedia page on Antithesis : A useful summary with associated examples, along with an extensive account of antithesis in the Gospel of Matthew.
• Sound bites from history : A list of examples of antithesis in famous political speeches from United States history — with audio clips!
• A blog post on antithesis : This quick rundown of antithesis focuses on a quote you may know from Muhammad Ali's philosophy of boxing: "Float like a butterfly, sting like a bee."

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What is Antithesis? Definition, Examples of Antitheses in Writing

Home » The Writer’s Dictionary » What is Antithesis? Definition, Examples of Antitheses in Writing

Antithesis definition: Antithesis is a literary and rhetorical device where two seemingly contrasting ideas are expressed through parallel structure.

What is Antithesis?

What does antithesis mean? An antithesis is just that—an “anti” “thesis.” An antithesis is used in writing to express ideas that seem contradictory.

An antithesis uses parallel structure of two ideas to communicate this contradiction.

Example of Antithesis:

• “Float like a butterfly, sting like a bee.” –Muhammad Ali

First, the structure is parallel. Each “side” of the phrase has the same number of words and the same structure. Each uses a verb followed by a simile.

Second, the contracting elements of a butterfly and a bee seem contradictory. That is, a butterfly is light and airy while a bee is sharp and stinging. One person (a boxer, in this case) should not be able to possess these two qualities—this is why this is an antithesis.

However, Ali is trying to express how a boxer must be light on his feet yet quick with his fist.

Modern Examples of Antithesis

• “That’s one small step for man, one giant leap for mankind.”

Through parallel structure, this quotation presents an antithesis. It seems contradictory that one action could be a “small step” and a “giant leap.”

However, this contradiction proposes that the action of landing on the moon might have just been a small physical step for the man Neil Armstrong, but it was a giant leap for the progress of mankind.

The Function of Antithesis

An antithesis stands out in writing. Because it uses parallel structure, an antithesis physically stands out when interspersed among other syntactical structures. Furthermore, an antithesis presents contrasting ideas that cause the reader or audience to pause and consider the meaning and purpose.

Oftentimes, the meaning of an antithesis is not overtly clear. That is, a reader or audience must evaluate the statement to navigate the meaning.

Writers utilize antitheses very sparingly. Since its purpose is to cause an audience to pause and consider the argument, it must be used with purpose and intent.

Antithesis Example from Literature

• “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity…”

From the beginning, Dickens presents two contradictory ideas in this antithesis.

How can it be the “best” and the “worst” of times? These two “times” should not be able to coexist.

Similarly, how can the setting of this novel also take place during an “age of wisdom” and an “age of foolishness?”

The antithesis continues.

Dickens opens his with these lines to set the tone for the rest of the novel. Clearly, there are two sides to this story, two tales of what is the truth. These two “sides” should not function peacefully. And, in fact, they do not. That, after all, is the “tale of two cities.”

Dickens sets up this disparity to set the tone for his novel, which will explore this topic.

Summary: What is an Antithesis?

Define antithesis: An antithesis consists of contrasting concepts presented in parallel structure.

Writers use antithesis to create emphasis to communicate an argument.

• Note: The plural form of antithesis is antitheses.

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Antithesis – Definition With Usage & Examples

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In the world of academic writing , mastering the art of constructing antithesis is like discovering a secret weapon for compelling arguments. Antithesis, a rhetorical device , involves juxtaposing two contrasting ideas close to highlight their differences or to create a striking contrast. Whether you’re crafting academic essays , dissertations, or research papers , integrating this figure of speech can elevate your writing.

Inhaltsverzeichnis

• 1 Antithesis in a nutshell
• 2 Definition: Antithesis
• 3 Using antithesis in writing
• 4 Examples of antithesis
• 5 Antithesis vs. juxtaposition
• 6 Antithesis vs. parallelism

Antithesis in a nutshell

Antithesis is a literary and rhetorical device where two opposite ideas are put together in a sentence to achieve a contrasting effect. This technique highlights the difference between the two ideas and can make the contrast between them more striking, emphasizing the diversity of perspectives on a subject. It’s often used to add depth to an argument or to draw attention to the nuances of a discussion.

Definition: Antithesis

Antithesis is a noun that refers to a literary device where two opposite ideas are juxtaposed in a sentence structure or phrase to highlight their contrast. This technique is used to emphasize the difference between the ideas, typically bringing out a more in-depth meaning or highlighting the complexity of an issue. This creates a memorable impact on the reader or listener. According to Aristotle, the use of an antithesis in rhetoric makes the audience better understand the point the speaker is trying to make. The parallelism of expression serves to emphasize the contradiction of ideas. For instance, in the phrase “It was the best of times, it was the worst of times,” the juxtaposition of “best” and “worst” serves to emphasize the extremes of a situation.

The pronunciation of “antithesis” can be broken down phonetically as /ænˈtɪθ.ə.sɪs/. It has four syllables, with the stress on the second syllable: an-TITH-uh-sis.

• Out of sight, out of mind.
• All’s fair in love and war.
• Absence makes the heart grow fonder.

The word “antithesis” comes from the Greek “antitithenai,” meaning “to oppose” or “to set against.” It breaks down into two parts:

• “anti-” – meaning “against”
• “tithenai” – meaning “to place”

The literal meaning and the root word “anti-” capture the essence of antithesis as a figure of speech where contrasting ideas are placed close to each other for emphasis, reflecting the notion of opposition or contrast inherent in its Greek roots.

Synonyms of antithesis and closely related words include:

• Contradiction
• Counterpoint
• Contraposition

These words share the theme of opposition or contrasting elements being compared or placed together to highlight differences.

Note: Juxtaposition and antithesis are related literary devices, but they are not the same thing. Both involve placing two elements close together for effect, but they serve different purposes and are used in different ways. However, the differences will be explained further below.

Using antithesis in writing

To use antithesis effectively in writing, you have to consider a few points.

• Identify contrasting ideas relevant to your argument or narrative
• Balance your phrasing to make the comparison clear and striking
• Purposeful placement for the most impact
• Keep it clear so the contrast is understandable and contributes to your argument
• Use in moderation to avoid overcomplicating your text or diluting its effect

Antithesis in academic writing

Antithesis helps to clarify contrasts and contradictions within the subject, making complex arguments more accessible to readers. By presenting opposing viewpoints or theories side by side, it can highlight the strengths and weaknesses of each position, thereby deepening the reader’s understanding of the topic discussed.

“While technology has the power to connect us across vast distances, fostering an unprecedented level of global interaction, it simultaneously isolates individuals, as face-to-face communication becomes less frequent. This paradox illustrates the dual nature of technological advancement: it bridges geographical divides but deepens social ones.”

Here, the literary device is used to contrast the positive and negative impact of technology on human interaction. This is a well-done implementation of the stylistic device in academic writing.

However, it’s important to use antithesis sparingly and in an appropriate context. Using classic antitheses is inappropriate in academic writing as they lack precision, clarity, evidence, and a formal tone – qualities that are valued in academic writing. Below, you’ll find examples that should be avoided when writing a dissertation .

• Better late than never.
• Actions speak louder than words.
• Easy come, easy go.

Examples of antithesis

Antitheses are used across various fields and contexts, ranging from everyday conversations to poetry and political speeches. Below, we provide a series of examples of antithesis in said fields.

Save now to spend later.

This emphasizes the importance of saving money for future expenditures, highlighting the contrast between immediate sacrifice and future benefit. It’s commonly used to teach financial responsibility.

The more you learn, the more you realize how little you know.

Often used in educational contexts, this statement contrasts the accumulation of knowledge with the growing awareness of one’s ignorance, illustrating the endless journey of learning.

Political speeches

“Ask not what your country can do for you—ask what you can do for your country.”

— John F. Kennedy

This famous antithesis from JFK’s inaugural address contrasts citizens’ demands of their country with their civic duties, inspiring a sense of responsibility and service.

“We are caught in an inescapable network of mutuality, tied in a single garment of destiny. Whatever affects one directly, affects all indirectly.”

— Martin Luther King Jr.

Here, MLK uses antithesis to highlight the contrast between individual actions and their broader social impacts, emphasizing interconnectedness in the struggle for civil rights.

“It was the best of times, it was the worst of times.”

— Charles Dickens, “A Tale of Two Cities”

Dickens opens his novel with this parallel structure to contrast the simultaneous hope and despair of the French Revolution, setting the stage for a story of contrast and conflict.

“All animals are equal, but some animals are more equal than others.”

— George Orwell, “Animal Farm”

Orwell employs antithesis to critique the corruption of socialist ideals, contrasting the supposed equality of all animals with the reality of a new hierarchy.

“To err is human; to forgive, divine.”

— Alexander Pope

Pope uses antithesis to contrast human fallibility with the godly act of forgiveness, encapsulating a moral lesson within a succinct phrase.

“Love is an ideal thing, marriage a real thing.”

— Johann Wolfgang von Goethe

This juxtaposition contrasts the abstract, idealized concept of love with the tangible, often complicated reality of marriage.

“You can’t always get what you want, but if you try sometimes, you find you get what you need.”

— The Rolling Stones, “You Can’t Always Get What You Want”

The Rolling Stones contrast desires with needs, emphasizing the idea that not getting what we want might actually fulfill our true needs.

“And in the end, the love you take is equal to the love you make.”

— The Beatles, “The End”

This lyric from the Beatles contrasts the act of receiving love with the act of giving it, encapsulating the idea of love’s reciprocal nature in a beautifully simple mathematical equation.

Advertising

“Just Do It”

Nike’s slogan can be considered a subtle antithesis, juxtaposing the common human experience of hesitation with the decisive act of moving forward and accomplishing goals, regardless of the challenges faced.

“Think different.”

Apple’s iconic slogan contrasts the act of thinking with the notion of conformity, encouraging individuality and innovation.

Bitter-sweet.

This oxymoron directly contrasts the tastes of bitterness and sweetness, often used as a metaphor to describe mixed feelings or experiences that are both pleasant and painful.

None but the brave deserve the fair.

This phrase contrasts bravery with reward, suggesting that courage is a prerequisite for deserving beauty or goodness.

Man proposes, God disposes.

— Anonymous

This is a proverb where a double antithesis is placed. “Man” is opposed to “God”, and “proposes” is contrasted with “disposes.”

Speech is silver, but silence is golden.

By placing these opposites together, the phrase highlights the value of silence over speech. The parallel structure of the statement emphasizes the contrast by comparing the worth of speech (silver) to the greater value placed on silence (golden). Here, this literary device serves to make the point that while speaking can be valuable, there are times when not speaking is even more precious.

Antithesis vs. juxtaposition

While antithesis is a form of juxtaposition that explicitly highlights the contrast between opposing elements, juxtaposition itself is broader, including any side-by-side placement for comparison or contrast without necessarily implying opposition. The two concepts do overlap in that antithesis can be considered a specific, contrasting type of juxtaposition. ​​

Antithesis vs. parallelism

Antithesis and parallelism are both rhetorical devices, but they serve different purposes. Antithesis contrasts two opposing ideas to highlight differences or create a striking effect, emphasizing opposition. Parallelism, on the other hand, uses similar syntax in a sequence to create rhythm and balance, emphasizing similarity in form. While antithesis focuses on contrasting content, parallelism is about the grammatical structure of the expression. They share similarities in enhancing the impact and readability of text. Antithesis often employs parallelism to present its contrasting ideas in a more coherent and impactful manner, demonstrating how these devices can complement each other in strengthening the message.

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What is antithesis?

Antithesis is a rhetorical device that juxtaposes two contrasting ideas to highlight differences or create a striking contrast.

How are antitheses used in a poem?

In poetry, antitheses are used to create tension, emphasize contrasts in themes or emotions, and enhance the expressive power of the poem, typically adding depth to its meaning or highlighting internal conflicts.

What is a real-life example of antithesis?

A real-life example of antithesis could be the statement regularly heard in decision-making: “I’m torn between following my heart and using my head,” which contrasts emotional decisions with rational ones.

What are some famous antitheses?

Famous antitheses include:

• “Injustice anywhere is a threat to justice everywhere” — Martin Luther King Jr.’s
• “Ask not what your country can do for you—ask what you can do for your country.” — John F. Kennedy

How are antitheses used?

Antitheses are used in various forms of writing and speech, including literature, speeches, and essays, to emphasize contrast, enhance argumentative impact, and create a memorable, striking effect that engages the audience’s attention and facilitates more profound understanding.

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• Literary Terms
• Definition & Examples
• How to Use Antithesis

I. What is an Antithesis?

“Antithesis” literally means “opposite” – it is usually the opposite of a statement, concept, or idea. In literary analysis, an antithesis is a pair of statements or images in which the one reverses the other. The pair is written with similar grammatical structures to show more contrast. Antithesis (pronounced an-TITH-eh-sis) is used to emphasize a concept, idea, or conclusion.

II. Examples of Antithesis

That’s one small step for a man – one giant leap for mankind .  (Neil Armstrong, 1969)

In this example, Armstrong is referring to man walking on the moon. Although taking a step is an ordinary activity for most people, taking a step on the moon, in outer space, is a major achievement for all humanity.

To err is human ; to forgive , divine . (Alexander Pope)

This example is used to point out that humans possess both worldly and godly qualities; they can all make mistakes, but they also have the power to free others from blame.

The world will little note , nor long remember , what we say here, but it can never forget what they did  (Abraham Lincoln, The Gettysburg Address )

In his speech, Lincoln points out that the details of that moment may not be memorable, but the actions would make history, and therefore, never entirely forgotten.

Antithesis can be a little tricky to see at first. To start, notice how each of these examples is separated into two parts . The parts are separated either by a dash, a semicolon, or the word “but.” Antithesis always has this multi-part structure (usually there are two parts, but sometimes it can be more, as we’ll see in later examples). The parts are not always as obvious as they are in these examples, but they will always be there.

Next, notice how the second part of each example contains terms that reverse or invert terms in the first part: small step vs. giant leap; human vs. divine; we say vs. they do. In each of the examples, there are several pairs of contrasted terms between the first part and the second, which is quite common in antithesis.

Finally, notice that each of the examples contains some parallel structures and ideas in addition to the opposites. This is key! The two parts are not simply contradictory statements. They are a matched pair that have many grammatical structures or concepts in common; in the details, however, they are opposites.

For example, look at the parallel grammar of Example 1: the word “one,” followed by an adjective, a noun, and then the word “for.” This accentuates the opposites by setting them against a backdrop of sameness – in other words, two very different ideas are being expressed with very, very similar grammatical structures.

To recap: antithesis has three things:

• Two or more parts
• Reversed or inverted ideas
• (usually) parallel grammatical structure

III. The Importance of Verisimilitude

Antithesis is basically a complex form of juxtaposition . So its effects are fairly similar – by contrasting one thing against its opposite, a writer or speaker can emphasize the key attributes of whatever they’re talking about. In the Neil Armstrong quote, for example, the tremendous significance of the first step on the moon is made more vivid by contrasting it with the smallness and ordinariness of the motion that brought it about.

Antithesis can also be used to express curious contradictions or paradoxes. Again, the Neil Armstrong quote is a good example: Armstrong is inviting his listeners to puzzle over the fact that a tiny, ordinary step – not so different from the millions of steps we take each day – can represent so massive a technological accomplishment as the moon landing.

Paradoxically, an antithesis can also be used to show how two seeming opposites might in fact be similar.

IV. Examples of Verisimilitude in Literature

(adsbygoogle = window.adsbygoogle || []).push({}); Forgive us this day our trespasses as we forgive those who trespass against us . (The Lord’s Prayer)

The antithesis is doing a lot of work here. First, it shows the parallel between committing an evil act and being the victim of one. On the surface, these are opposites, and this is part of the antithesis, but at the same time they are, in the end, the same act from different perspectives. This part of the antithesis is basically just an expression of the Golden Rule.

Second, the antithesis displays a parallel between the speaker (a human) and the one being spoken to (God). The prayer is a request for divine mercy, and at the same time a reminder that human beings should also be merciful.

All the joy the world contains has come through wanting happiness for others . All the misery the world contains has come through wanting pleasure for yourself . (Shantideva, The Way of the Bodhisattva )

The antithesis here comes with some pretty intense parallel structure. Most of the words in each sentence are exactly the same as those in the other sentence. (“All the ___ the world contains has come through wanting ____ for ____.”) This close parallel structure makes the antithesis all the more striking, since the words that differ become much more visible.

Another interesting feature of this antithesis is that it makes “pleasure” and “happiness” seem like opposites, when most of us might think of them as more or less synonymous. The quote makes happiness seem noble and exalted, whereas pleasure is portrayed as selfish and worthless.

The proper function of man is to live , not to exist . I shall not waste my days in trying to prolong  (Jack London, Credo )

The opening antithesis here gets its punch from the fact that we think of living and existing as pretty similar terms. But for London, they are opposites. Living is about having vivid experiences, learning, and being bold; simply existing is a dull, pointless thing. These two apparently similar words are used in this antithesis to emphasize the importance of living as opposed to mere existing.

The second antithesis, on the other hand, is just the opposite – in this case, London is taking two words that seem somewhat opposed (waste and prolong), and telling us that they are in fact the same . Prolonging something is making it last; wasting something is letting it run out too soon. But, says London, when it comes to life, they are the same. If you try too hard to prolong your days (that is, if you’re so worried about dying that you never face your fears and live your life), then you will end up wasting them because you will never do anything worthwhile.

V. Examples of Verisimilitude in Pop Culture

Everybody doesn’t like something, but nobody doesn’t like Sara Lee. (Sara Lee pastry advertisement)

This classic ad uses antithesis to set up a deliberate grammatical error. This is a common technique in advertising, since people are more likely to remember a slogan that is grammatically incorrect. (Even if they only remember it because they found it irritating, it still sticks in their brain, which is all that an ad needs to do.) The antithesis helps make the meaning clear, and throws the grammatical error into sharper relief.

What men must know , a boy must learn . (The Lookouts)

Here’s another example of how parallel structure can turn into antithesis fairly easily. (The structure is noun-“must”-verb. ) The antithesis also expresses the basic narrative of The Lookouts , which is all about kids learning to fend for themselves and become full-fledged adults.

Shut Your Mouth and Open Your Eyes (the band “AFI” – album title)

The antithesis here is a juxtaposition of two different actions (opening and shutting) that are actually part of the same sort of behavior – the behavior of somebody who wants to understand the world rather than be the center of attention. It’s basically a restatement of the old adage that “those who speak the most often have the least to say.”

VI. Related Terms

• Juxtaposition

Antithesis is basically a form of juxtaposition . Juxtaposition, though, is a much broader device that encompasses any deliberate use of contrast or contradiction by an author. So, in addition to antithesis, it might include:

• The scene in “The Godfather” where a series of brutal murders is intercut with shots of a baptism, juxtaposing birth and death.
• “A Song of Ice and Fire” (George R. R. Martin book series)
• Heaven and Hell
• Mountains and the sea
• Dead or alive
• “In sickness and in health”

Antithesis performs a very similar function, but does so in a more complicated way by using full sentences (rather than single words or images) to express the two halves of the juxtaposition.

Here is an antithesis built around some of the common expressions from above

• “ Sheep go to Heaven ; goats go to Hell .”
• “Beethoven’s music is as mighty as the mountains and as timeless as the sea .”
• “In sickness he loved me; in health he abandoned ”

Notice how the antithesis builds an entire statement around the much simpler juxtaposition. And, crucially, notice that each of those statements exhibits parallel grammatical structure . In this way, both Juxtaposition and parallel structures can be used to transform a simple comparison, into antithesis.

List of Terms

• Alliteration
• Amplification
• Anachronism
• Anthropomorphism
• Antonomasia
• APA Citation
• Aposiopesis
• Autobiography
• Bildungsroman
• Characterization
• Circumlocution
• Cliffhanger
• Comic Relief
• Connotation
• Deus ex machina
• Deuteragonist
• Doppelganger
• Double Entendre
• Dramatic irony
• Equivocation
• Extended Metaphor
• Figures of Speech
• Flash-forward
• Foreshadowing
• Intertextuality
• Literary Device
• Malapropism
• Onomatopoeia
• Parallelism
• Pathetic Fallacy
• Personification
• Point of View
• Polysyndeton
• Protagonist
• Red Herring
• Rhetorical Device
• Rhetorical Question
• Science Fiction
• Self-Fulfilling Prophecy
• Synesthesia
• Turning Point
• Understatement
• Urban Legend
• Verisimilitude
• Essay Guide
• Cite This Website

What Is Antithesis, and How Do You Use It in Writing?

Antithesis is a  literary device that positions opposite ideas parallel to each other. Think heroes and villains, hot and cold, bitter and sweet. Antithesis enhances your  writing by illuminating differences and making your point more persuasive.

What is antithesis?

Antithesis (pronounced an-TITH-uh-sis) deals in opposites. The Merriam-Webster definition of antithesis is “the direct opposite,” and in Greek the meaning is “setting opposite.” As a tool for writing, antithesis creates a juxtaposition of qualities using a parallel grammatical structure. In other words, it’s setting opposites next to each other using the same terms or structure. This creates a stark contrast that highlights dramatic qualities and creates a rhythm that’s interesting to the reader. 

What is the function of antithesis?

The repetition of structure in antithesis makes writing more memorable, and its juxtapositions make writing more convincing. 

Take, for example, the opening lines of Charles Dickens’s A Tale of Two Cities : “It was the best of times, it was the worst of times . . . ” You’re probably familiar with this line even if the name Dr. Manette means nothing to you. Dickens took two contrasting qualities (best/worst) and linked them by using a parallel structure (it was . . . of times / it was . . . of times). The contrast is clear, and the sentiment is intriguing. The reader is hooked.

In rhetoric , antithesis calls attention to the differences between two options. For example, in a speech in Saint Louis in 1964, Martin Luther King Jr. said: “We must learn to live together as brothers or perish together as fools.” King is obviously in favor of the former option: living together as brothers. He uses antithesis, placing opposite actions (live/perish) in a parallel structure (. . . together as brothers / . . . together as fools) to make his claim even more convincing.

How to use antithesis in writing

Contrast and parallel structure are the two most important elements for you to think about as you begin using antithesis in your own writing.

Contrast: The main tool of antithesis is its contrast of ideas. Ideally, the two concepts are direct opposites. However, sometimes you can get away with contrasting differences or implied opposites, which are forms of juxtaposition. (We’ll talk about the difference between antithesis and juxtaposition later.) The greater the difference between the two things, the clearer their contrast. Antithesis is more powerful than juxtaposition as it deals in stronger contrasts. 

Parallel structure: Parallel structure in writing, also known as  parallelism , creates a rhythm that draws attention to your contrast. Think about the famous Dickens line we talked about before: “It was the best of times, it was the worst of times . . .” Notice how memorable that rhythm is. If we remove the parallel structure, you end up with something like: “It was the best of times, but not always. It was also the worst of times.” Same sentiment, not nearly as beautiful.

Be careful not to overuse antithesis though. Its effectiveness depends on grabbing your reader’s attention. Used too often, it can change from noteworthy to annoying.

Antithesis vs. juxtaposition

Antithesis, parallelism, and juxtaposition are closely related literary devices that overlap with each other. Just as antithesis reveals two contrary ideas’ qualities by contrasting them, learning the differences between these devices will help you understand each individually.

Juxtaposition means placing two objects side by side to highlight their differences. It is a broader category than antithesis. Antithesis is a type of juxtaposition. Antithesis means placing direct opposites side by side, while juxtaposition uses any sort of difference. Other forms of juxtaposition are foils (differences between specific characters) and  oxymorons (seemingly illogical expressions that use contradictory words).

Antithesis vs. parallelism

This may sound familiar because we just wrote about how antithesis uses parallelism to make its point. Parallelism has to do with  syntax , or the structure of the sentence. Put simply, it’s two or more clauses that have the same grammatical structure. For example, the expression “hope for the best, prepare for the worst” uses the same grammatical structure twice in a row. The difference between antithesis and parallelism is that parallelism does not have to deal in opposites, while antithesis does. Furthermore, antithesis refers to both the content and the structure of a statement, whereas parallelism is just a structure.

Antithesis examples

Once you know what to look for, you’ll see antithesis examples everywhere. Below are some selections that we found in literature, poetry, speeches, music, and advertising.

Antithesis in literature

“It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness . . .” —Charles Dickens, A Tale of Two Cities

“. . . me and you, we got more yesterday than anybody. We need some kind of tomorrow.” —Toni Morrison, Beloved

Antithesis in poetry

“Some say the world will end in fire, Some say in ice” —Robert Frost, “Fire and Ice”

Antithesis in speech

“We observe today not a victory of party, but a celebration of freedom, symbolizing an end as well as a beginning, signifying renewal as well as change.” —John F. Kennedy, presidential inaugural speech

Antithesis in music

“’Cause you’re hot then you’re cold / you’re yes then you’re no / you’re in then you’re out / you’re up then you’re down” —Katy Perry, “Hot N Cold”

Antithesis in advertising

“Everybody doesn’t like something, but nobody doesn’t like Sara Lee.” —Sara Lee slogan

Antithesis phrases

Easy come, easy go. Get busy living or get busy dying. “Float like a butterfly, sting like a bee.” —Muhammad Ali, 1964

Antithesis FAQs

Antithesis is a literary device that places opposite words, ideas, or qualities parallel to each other. The contrast between them creates greater emphasis and clarity. Their parallel structure provides a memorable rhythm.

When is antithesis used?

The effect of antithesis is useful in all kinds of writing and speech, including literature, advertising, rhetoric, and music. It’s best used to make an emphatic point in a catchy way. 

How is antithesis used in writing?

In writing, antithesis combines juxtaposition and parallelism. The pattern created by antithesis allows writers to highlight differences, emphasize qualities, and generate rhythm.

Antithesis as a Figure of Speech: Meaning, Usage & Examples

By: Author Marcel Iseli

Posted on Last updated: September 18, 2022

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Poetry is one of the most sublime art forms imaginable.

It combines the written word with music and has a unique ability to capture our imagination like no other medium.

A love sonnet can raise our spirits and remind us of cherished times, while a soliloquy can let us into a character’s deepest and darkest thoughts.

When a poet sings their verses, there is always a strange sense that they are talking to you, the listener. There is a sense of intimacy, an opportunity to dive into another person’s soul and watch the gears of their mind twist and turn.

But, how does poetry do all of this? How does it leave such an effect on the listener?

For one thing, poets tend to reveal personal parts of themselves, the parts that are usually hidden in everyday interactions yet are always lurking beneath the surface.

But, another reason is that poetry has a bevy of tools in its arsenal.

There is alliteration, assonance, imagery, metaphor, rhyme, and onomatopoeia.

And, then you have unique poetic structures, like couplets, stanzas, and antithesis.

That last one, antithesis, is particularly interesting as it factors in so many aspects of our daily lives. Countless quotes and sayings rely on it for effect.

So, let’s take a closer look at it.

What is antithesis?

Antithesis is a tool that pits two opposing ideas against each other, and the result is a contrasting effect that highlights an overarching meaning. Moreover, this contrast is usually aided by parallelism, or parallel structures, which draws the attention of the listener and engages them.

To better understand what that was all about, let’s take a look at a few classic examples.

That’s one small step for man, one giant leap for mankind.

Those iconic words were spoken by Neil Armstrong when his foot first touched the moon. In fact, they are so iconic that I’m sure you have watched the footage or have heard the recording of Armstrong first uttering these words.

And, if you haven’t watched the footage, I recommend that you do. You can find it on YouTube.

Anyway, one reason this phrase has been immortalized is its use of antithesis.

The two contrasting ideas are “small step for man” and “giant leap for mankind.”

If I were forced to write out exactly what Armstrong meant with his quote, it would be something like this.

Not as eloquent as the original, is it?

So, the use of contrasting elements helps the quote work.

But, you should also notice the use of parallelism. Both parts of the quote are of equal length, use about the same number of words, and contain the same parts of speech.

When using parallelism, you are replicating the same exact sentence structure. This just highlights the contrasting nature of the ideas contained in these sentences.

A closer look at the word “antithesis” itself

“Antithesis” comes from the Greek “antithenai,” which means to oppose.

As a result, in addition to referring to a literary device, “antithesis” also means that something is the opposite of something else.

For instance, you can say that “the antithesis of love isn’t hate; it’s indifference.”

More examples of antithesis the literary device

To really get a feel for antithesis and to see how common it is in everyday life, here are a few common sayings and expressions that rely on this literary device.

To err is human; to forgive divine.

The above quote is from Alexander Pope. It reminds us that people will always make mistakes, but only the best of us will find the strength to forgive and let go.

This is the famous line from Shakespeare’s Hamlet. It is taken from a soliloquy by the main character as he contemplates his next move.

Interestingly, the very next lines, the ones that explain what Hamlet meant by “to be or not to be” also use antithesis. Here they are.

Whether ‘tis nobler in the mind to suffer

The slings and arrows of outrageous fortune

Or to take arms against a sea of trouble.

However, the parallelism in this latter example is not as clear-cut as the earlier phrase.

In brightest day, in blackest night. Anyone who is a DC fan knows that the above phrase is from the oath of the Green Lanterns. It tells us that a Green Lantern’s duty is to fight evil during the best of times and the worst of times.

Give me liberty or give me death.

Patrick Henry, the famous American Patriot, uttered the above words during a speech he gave, highlighting the main objective behind the American Revolution and explaining the lengths they were willing to go to.

By now, I hope you see how common antithesis is.

Can antithesis be used without parallelism?

The answer is yes, but its effect becomes much less potent. It’s like having a boat with a strong motor, but then you shut off the motor and hope the current will be strong enough to take you where you need to go.

To see how big of a difference parallelism plays, let’s take a look at an example that doesn’t use parallel structures.

The Temptations have a song called “My Girl.” There’s a line in it that goes like this.

When it’s cold outside, I’ve got the month of May.

You can clearly see that there are two opposing ideas here being presented in conjunction.

The artist is letting us know that even during the coldest of times, his girl keeps him warm.

However, in my humble opinion, the line doesn’t pop. It doesn’t stand out and demand to be memorable.

A big reason for this is that it comes across as any other line that presents two contrasting ideas.

So, the bottom line is if you want to use antithesis, then try to use parallelism as well.

Related devices

Since we’re on the subject of contrasting ideas, it is worth taking a look at a few other literary devices that are usually confused with antithesis.

Juxtaposition

When you juxtapose two things, you place them next to each other to highlight either their similarities or their differences. Hence, whereas antithesis is always about contrast and difference, juxtaposition can be about difference, but it can also be about similarities. Put differently, every time you use antithesis, you are juxtaposing two opposing ideas, but every juxtaposition does not have to be an antithesis.

Oxymoron is when you combine two opposing and contradictory words to bring out a new, and sometimes unexpected, meaning.

For example, we describe zombies as the “living dead,” which illustrates their contradictory nature.

On the one hand, these are supposedly decaying corpses that belong six feet under. On the other hand, they are alive in every sense of the word.

They feed, they move around, and some of them can think depending on which movie you are watching.

We also describe parting as “sweet sorrow.”

You get the picture.

So, how is this different from antithesis?

First of all, antithesis uses more than a single word. It relies on parallel phrases, remember?

Also, antithesis combines two opposing yet not necessarily contradictory ideas with each other. So, while words in an oxymoron might seem like they shouldn’t belong together, the same cannot be said of antithesis.

Hey fellow Linguaholics! It’s me, Marcel. I am the proud owner of linguaholic.com. Languages have always been my passion and I have studied Linguistics, Computational Linguistics and Sinology at the University of Zurich. It is my utmost pleasure to share with all of you guys what I know about languages and linguistics in general.

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Literary Devices

Literary devices, terms, and elements, definition of antithesis, difference between antithesis and juxtaposition, common examples of antithesis, significance of antithesis in literature, examples of antithesis in literature.

HAMLET: 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?

It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way…

There was only one catch and that was Catch-22, which specified that a concern for one’s own safety in the face of dangers that were real and immediate was the process of a rational mind. Orr was crazy and could be grounded. All he had to do was ask; and as soon as he did, he would no longer be crazy and would have to fly more missions. Orr would be crazy to fly more missions and sane if he didn’t, but if he was sane he had to fly them. If he flew them he was crazy and didn’t have to; but if he didn’t want to he was sane and had to. Yossarian was moved very deeply by the absolute simplicity of this clause of Catch-22 and let out a respectful whistle.

This case is not a difficult one, it requires no minute sifting of complicated facts, but it does require you to be sure beyond all reasonable doubt as to the guilt of the defendant.

( To Kill a Mockingbird by Harper Lee)

Test Your Knowledge of Antithesis

WITCHES: Fair is foul, and foul is fair: Hover through the fog and filthy air.

MACBETH: Is this a dagger which I see before me, The handle toward my hand?

WITCHES: Something wicked this way comes.

4. Which of the following quotes from Heller’s Catch-22 contains an example of antithesis? A. There are now fifty or sixty countries fighting in this war. Surely so many counties can’t all be worth dying for. B. He had decided to live forever or die in the attempt, and his only mission each time he went up was to come down alive. C. You’re inches away from death every time you go on a mission. How much older can you be at your age? [spoiler title=”Answer to Question #4″] Answer: B is the correct answer.[/spoiler]

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What is antithesis? A guide with examples

Find out how to use antithesis to improve your writing and see examples of antithesis being used in literature, poetry and advertising.

Introduction

This blog post is part of the Semantix copywriters’ toolkit, which is a great resource for writing professionals and all those looking to improve their writing, including language and marketing students. Firstly, we’ll discuss the definition of antithesis, including how it differs from similar rhetorical devices . Then, we’ll look at how other writers have used antithesis to set contrast and add impact to their work, including some famous examples of antithesis in literature, poetry and marketing.

What is antithesis?

The word antithesis is sometimes used to mean ‘opposite’. For example, “She is slim and sporty – the very antithesis of her brother”. However, ‘antithesis’ (or ‘antitheses’ if plural) is also the name given to a particular rhetorical or literary device. In this blog post, we’ll be looking at ‘antithesis’ in its role as the rhetorical and literary device.

The word ‘antithesis’ comes from the Greek for ‘setting opposite’. It means to express a concept by creating contrast. This can be done in different ways according to different definitions: either using only the content of the expression, or the content and the grammatical structure. Using the content can be as simple as using words with opposite meanings in close proximity to each other, or more complex by describing concepts that contrast with one another. This draws the reader’s attention to the differences between the two things.

Antithesis often presents opposing ideas and presents those ideas in a parallel grammatical structure. This is unlike general parallelism, which presents a balance of elements in a structure (sentence, clause or other) without necessarily involving the content. Antithesis is usually created in two parts, but can also be formed by three or more opposing clauses.

Writers can use antithesis to communicate a concept that is best expressed through opposites. It’s a simple yet effective way to really drive a point home. As with other literary devices , the rules aren’t set in stone, it’s more about using the device in ways that create impact and bring the words to life.

Examples of antithesis in literature

What makes a good piece of writing truly great? You might argue that the key ingredients include memorability, impact and the beauty of a rhythmical grammatical structure – deliverables that can be served skillfully with antitheses.

When you put two antithetical concepts together in a short phrase, you get drama. And drama is what keeps the reader turning the pages.

In addition, the parallel structure often used in antithesis makes the words stand out from the other text on a page. Working like a mental stop sign, it compels the reader to notice the contrasting ideas and consider the meaning of that contrast.

Using antithesis, writers can present contradictions by balancing opposing words and statements. This builds contrasting images in a reader’s mind and creates a powerful impression of either a character or circumstance.

A good portion of the best-known writers in history have been masters of antithesis. For example, antithesis plays a big part in the language used by William Shakespeare. In fact, nearly every character he created uses it. For example, in Mac beth the witches chant, “Fair is foul, and foul is fair” – a simple but dramatic antithesis. One of the best-known Shakespearean quotes of all time is an antithesis from the play Hamlet , when the prince says, “To be, or not to be...”. In just six words Shakespeare creates a perfect contrast between existing and not existing, inviting the audience to ponder the meaning of life itself.

Another famous use of antithesis is the expression, “To err is human; to forgive, divine”, which was written in 1711 by English poet Alexander Pope in ‘ An Essay on Criticism, Part II ’. After the original creation of the statement, further iterations have added the word ‘is’ so, “To err is human; to forgive is divine”, which, arguably, improves the rhythm by creating an equal number of words in each part of the sentence.

And it’s not just the writers of old who wield the sword of antithesis so well: their modern counterparts are equally aware of its power. For example, the Green Lantern comic writers use antithesis at the start of Green Lantern’s oath in order to emphasise his mission to defeat evil at all costs:

In brightest day , in blackest night , No evil shall escape my sight. Let those who worship evil’s might Beware my power – Green Lantern’s light!

Antithesis in poetry.

Poetry is perhaps the writing genre where we find the most graceful use of words. That’s why there are lots of antitheses used in poetry throughout history.

Take a look at the two-part structures and conceptual contrasts from some of the world’s best-known poems:

"Better to reign in Hell , then serve in Heav’n" – Paradise Lost , John Milton, 1667

“much madness is divinest sense ” – 620, emily dickinson, “some say the world will end in fire / some say in ice ” – fire and ice, robert frost, 1920.

Occasionally, a writer might even make use of a triple antithesis:

“Herein lives wisdom, beauty , and increase ; / Without this, folly, age , and cold decay ” – Sonnet 11, William Shakespeare, 1609

Antithesis in speeches.

Of course, what works on paper often works in its spoken form too. Some of the best speeches of all time can thank, at least in part, antithesis for their success.

“That’s one small step for a man – one giant leap for mankind” – Neil Armstrong, 1969

“we must learn to live together as brothers or perish together as fools ” – martin luther king jr, 1964, “on this day, we gather because we have chosen hope over fear, unity of purpose over conflict and discord ” – barack obama, 2009, antithesis in advertising.

Marketers love to make us remember how truly wonderful their services or products are. Antithesis provides marketers with a powerful tool: contrast to underline a unique selling proposition (USP) and a memorable rhythm. That’s why you’ll find the path to marketing gold is littered with antitheses: the antithesis is the life-blood of the tagline or slogan.

Take a look at how each of these taglines uses a parallel structure and creates opposition:

“ Small business. Big future” – Santander

“ heavy on features. light on price” – apple, “ tough on stains. gentle on skin” – persil, “ less calories; more taste” – so good, “inspired by yesterday , built for tomorrow ” – nokia, “ all of the taste. none of the sugars” – alpro, “ smart listens to the head. stupid listens to the heart” – diesel, antithesis, chiasmus and parallelism – what are the differences.

Parallelism, sometimes called parallel structure or parallel construction, is the repetition of grammatical structures in a piece of writing in order to create a balanced, harmonious effect.

Parallelism requires only the repeated grammatical structure, while antithesis uses the content – you can’t set up opposing concepts by only using the structure!

Look at this example, “They have plundered our seas, ravaged our coasts, burnt our towns – all while caring for their own oceans and cities.” The beginning of this statement repeats the same structure while changing the verbs and nouns. It doesn’t create a contrast between each clause or suggest any form of opposition. That’s the key difference between other forms of parallelism and antithesis: parallelism doesn’t need to present opposites, but antithesis is all about the opposites.

If a similar phrase was written using antitheses, it might read something like this. “They have plundered our seas; but have nurtured their seas. They ravaged our coasts; they cared for their own. They burnt our towns while they built their cities.” In the ‘antithesis version’, each clause is juxtaposed with another concept to create impact. You can hear how much more powerful the second phrase is if you read both versions out loud.

While antithesis is parallelism, not all parallelism is antithesis! For example, chiasmus is also a form of parallelism. In fact, it’s sometimes described as an inverted parallelism and happens when word order or grammatical structure is reversed in two phrases. For example, the phrase, “Do I love you because you are beautiful? Or are you beautiful because I love you?” qualifies as a parallelism and a chiasmus but there’s no opposition so it’s not an antithesis.

Semantix’s copywriting toolkit

Our copywriting toolkit is a valuable resource for anyone aiming to improve their writing skills. It contains definitions and examples of rhetorical devices in action, with guidelines on how and why they are used.

Using rhetorical devices, such as antitheses, is a time-proven method of taking your writing to another level and making sure that your words are impactful, memorable and effective. Whether you’re writing for pleasure or writing for business, they create drama and keep your readers or listeners engaged.

Semantix’s copywriting services

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Our copywriting services are available in more than 200 languages, and we only work with native-speaking translators . By matching you with a multilingual copywriter with experience in your specific industry, we’ll help you make every word work hard for your business in every language.

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Further reading.

• A Handlist Of Rhetorical Terms – Richard Lanham, University of California Press, 2013
• Simplified Glossary Of Literary Terms/Devices: An Easy-To-Use Source Of Definitions, Examples And Exercises For Students And Teachers – Victor Igiri, 2022
• The Oxford Dictionary Of Literary Terms (Oxford Quick Reference) 4th Edition – Chris Baldick, OUP Oxford, 2015
• The Elements Of Eloquence – Mark Forsyth, Icon Books, 2013
• The Elements Of Rhetoric – Ryan N S Topping, Angelico Press, 2016
• The Penguin Dictionary Of Literary Terms And Literary Theory – J A Cuddon, Penguin, 2014
• The Rhetorical Device: Literary Resources For The Writer Vol. 1 of 2 – Paul F Kisak, CreateSpace Independent Publishing Platform, 2016
• Writing With Clarity And Style: A Guide To Rhetorical Devices For Contemporary Writers – Robert A Harris, Routledge, 2017
• The Use Of Rhetorical Devices In Selected Speeches by Clinton & Trump: Discourse From The Electoral Campaign 2016 – Larissa Wolf, AV Akademikerverlag, 2018
• American rhetoric (online) Antithesis blog post
• Studiobinder (online) ‘What is antithesis’ blog post
• The Oxford Dictionary O f Literary Terms (Oxford Quick Reference) 4th Edition – Chris Baldick, OUP Oxford, 2015
• Voltaire, The Project Gutenberg EBook Of A Philosophical Dictionary, Volume 4 (of 10).
• Toastmasters (online) ‘The Crafting of Eloquence’ blog post .

Related content

A guide to the literary device anaphora – for professional wordsmiths

Literary devices list: examples of literary devices and how to use them

Antithesis: Definition, Grammartical Structure and Examples

Antithesis is a rhetorical device that involves contrasting two opposing ideas in a sentence or a paragraph. It is a powerful tool used in literature, speeches, and debates to emphasize the difference between two ideas. The word antithesis is derived from the Greek word “antitithenai,” which means “to oppose” or “to set against.”

Antithesis can be used to create a memorable impact on the audience. It draws attention to the stark contrast between two opposing ideas, making it easier for the audience to understand the message being conveyed. Antithesis can be used in various forms, such as contrasting words, phrases, or entire sentences. It is often used in famous speeches, such as Martin Luther King Jr.’s “I Have a Dream” speech, where he used antithesis to emphasize the difference between segregation and equality.

Antithesis Definitions

Greek Origins

The word “antithesis” has its roots in the Greek word “antithenai,” which means “to oppose.” The Greek word “tithenai” also contributed to the development of “antithesis,” as it means “to put, set, or place.” These Greek words were used to describe the concept of setting something in opposition to another thing, or placing two contrasting ideas side by side for comparison.

Modern Definitions

According to Merriam-Webster, “antithesis” has two primary definitions. The first definition is “the direct opposite,” while the second definition is “the rhetorical contrast of ideas by means of parallel arrangements of words, clauses, or sentences.” This second definition refers to the use of antithesis as a literary device, where contrasting ideas are presented in a parallel structure for emphasis or effect.

Other definitions of “antithesis” include “opposition” and “contrast.” Synonyms for “antithesis” include “contradiction,” “counterpart,” and “inverse.”

Overall, the concept of antithesis has evolved from its Greek origins to become a widely recognized literary device used in various forms of writing and speech. By presenting contrasting ideas in a parallel structure, writers and speakers can create a powerful sense of contrast and emphasis that can capture the attention of their audience.

Understanding Antithesis

In Rhetoric

Antithesis is a rhetorical device that involves the use of contrasting concepts, words, or sentences within parallel grammatical structures to create a balanced and contrasting effect. This literary device is often used to emphasize the differences between two ideas or concepts, thereby creating a more powerful and memorable message.

Antithesis is commonly used in persuasive writing and speeches, as it allows the speaker or writer to highlight the strengths and weaknesses of opposing viewpoints. By presenting two contrasting ideas side by side, the audience is able to see the differences more clearly and make a more informed decision.

In Literature

In literature, antithesis is used to create a sense of tension and drama by contrasting two opposing ideas or concepts. This technique is often used in poetry, where contrasting concepts are used to create a more powerful and memorable image or message.

In literature, antithesis is often used to create a sense of irony or contradiction, as the author juxtaposes two opposing ideas to create a more complex and nuanced message. For example, in Charles Dickens’ A Tale of Two Cities, the opening lines “It was the best of times, it was the worst of times” use antithesis to highlight the stark contrasts between the two cities.

In Speeches

Antithesis is a common rhetorical device used in speeches to create a more powerful and memorable message. By presenting two contrasting ideas side by side, the speaker is able to emphasize the differences between them and create a more persuasive argument.

Antithesis is often used in political speeches, where the speaker may use contrasting concepts to highlight the differences between their own policies and those of their opponents. For example, in John F. Kennedy’s inaugural address, he used antithesis when he said “Ask not what your country can do for you, ask what you can do for your country.”

Overall, antithesis is a powerful literary and rhetorical device that can be used in a variety of contexts to create a more memorable and persuasive message. By presenting two contrasting ideas side by side, the speaker or writer is able to highlight the differences between them and create a more nuanced and complex message that is more likely to be remembered by the audience.

Grammatical Structure

Antithesis is a rhetorical device that uses contrasting ideas in parallel grammatical structures to create emphasis and highlight the differences between them. The grammatical structure of antithesis is essential to its effectiveness, as it creates a balance between the opposing ideas and makes them more memorable to the reader or listener.

Parallelism

Parallelism is a crucial aspect of antithesis. It involves using the same grammatical structure for both contrasting ideas, such as using the same sentence structure for two opposing phrases. This technique creates a rhythmic effect that draws the reader’s attention to the contrasting ideas and emphasizes the differences between them.

For instance, Martin Luther King Jr. used parallelism in his famous “I Have a Dream” speech when he said, “Now is the time to rise from the dark and desolate valley of segregation to the sunlit path of racial justice. Now is the time to lift our nation from the quicksands of racial injustice to the solid rock of brotherhood.”

Contrasting Ideas

Antithesis relies on contrasting ideas to create a powerful effect. These ideas can be expressed through sentences, clauses, phrases, or words. The contrasting ideas must be balanced to create a harmonious effect, which is achieved through the use of parallelism.

For example, in Shakespeare’s play “Julius Caesar,” Mark Antony uses antithesis to compare the honorable Brutus to the treacherous Cassius. He says, “Brutus is an honorable man; so are they all, all honorable men,” emphasizing the contrast between Brutus’s character and his actions.

In conclusion, the grammatical structure of antithesis is crucial to its effectiveness. The use of parallelism and contrasting ideas creates a rhythmic effect that draws the reader’s attention and emphasizes the differences between the opposing ideas. By using a balanced grammatical structure, antithesis creates a memorable effect that enhances the impact of the message being conveyed.

Antithesis Examples

Antithesis is a literary device that positions opposite ideas parallel to each other. This section will explore some examples of antithesis in literature, speeches, and everyday life.

Antithesis is widely used in literature to create a contrast between two different ideas. One of the most famous examples of antithesis is found in Charles Dickens’ “A Tale of Two Cities”: “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair.”

William Shakespeare also used antithesis in his writing. In “Romeo and Juliet,” he writes, “My only love sprung from my only hate! / Too early seen unknown, and known too late!” This example shows how antithesis can create a powerful contrast between love and hate.

Antithesis is also commonly used in speeches to emphasize opposing ideas. Martin Luther King Jr. used antithesis in his famous “I Have a Dream” speech: “We must learn to live together as brothers or perish together as fools.” This example highlights the contrast between living together peacefully and the consequences of not doing so.

Abraham Lincoln’s Gettysburg Address is another famous example of antithesis in speeches. He said, “It is for us the living, rather, to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced. It is rather for us to be here dedicated to the great task remaining before us.” This example contrasts the work of those who fought with the work that still needs to be done.

In Everyday Life

Antithesis is also commonly used in everyday life, often without people realizing it. For example, the famous quote by Neil Armstrong , “That’s one small step for man, one giant leap for mankind,” is an example of antithesis. The contrast between the small step and the giant leap creates a powerful image of the significance of the event.

Another example of antithesis in everyday life is the phrase “no pain, no gain.” This phrase emphasizes the contrast between the discomfort of hard work and the benefits that come from it.

In conclusion, antithesis is a powerful literary device that can be used to emphasize contrasting ideas. It is commonly used in literature, speeches, and everyday life to create a memorable and impactful message.

The Impact of Antithesis

On audience.

Antithesis can have a profound impact on an audience. By presenting contrasting ideas in a balanced grammatical structure, it captures the attention of the audience and creates a sense of tension that keeps them engaged. The use of antithesis can also make content more memorable and effective, as it creates a sense of rhythm and imagery that sticks with the audience long after they have finished reading or listening.

Antithesis can be a powerful tool for writers and speakers looking to convey complex ideas in a clear and concise manner. By juxtaposing opposing ideas, it allows them to highlight the differences between them and make their point more effectively. Antithesis can also be used to create a sense of tension and drama in a piece of content, which can help to keep the audience engaged and interested.

When used effectively, antithesis can be a powerful tool for writers and speakers looking to create memorable and effective content. By capturing the attention of the audience and creating a sense of tension and drama, it can help to convey complex ideas in a clear and concise manner. Whether used for rhetorical effect or simply to create a sense of rhythm and imagery, antithesis is a powerful tool that should not be overlooked.

Antithesis and Other Literary Devices

Antithesis is often used in conjunction with other literary devices to create a more impactful effect. One such device is the oxymoron, which is a figure of speech that combines two contradictory terms. An oxymoron can be used to create a sense of irony or to highlight a paradox. For example, the phrase “bittersweet” is an oxymoron because it combines two opposite terms.

Another literary device that can be used in conjunction with antithesis is the foil. A foil is a character who is used to contrast with another character in order to highlight their differences. This can be used to create a sense of conflict or to highlight the strengths and weaknesses of a particular character. For example, in Shakespeare’s play “Hamlet,” the character of Hamlet is contrasted with the character of Laertes in order to highlight their different approaches to revenge.

While antithesis is often used to highlight contrasts and opposing ideas, it can also be used to create a sense of synthesis. Synthesis is the process of combining two or more ideas in order to create a new and more complex idea. For example, the phrase “the pen is mightier than the sword” combines the idea of writing (which is often associated with intellect) with the idea of physical force (which is often associated with strength) in order to create a new and more complex idea.

Antithesis, oxymorons, foils, and synthesis are all powerful literary devices that can be used to create a sense of comparison and contrast. By using these devices, writers can create more impactful and memorable works that speak to the complexities of mankind.

Common Misconceptions and Overuse

Antithesis is a powerful literary device that can add depth and complexity to writing. However, it is often misunderstood and overused, leading to annoying and cliché writing. In this section, we will address some common misconceptions and overuse of antithesis.

One common misconception is that antithesis must always involve a direct opposition between two ideas or words. While this is often the case, antithesis can also involve a contrast between two related ideas or words. For example, “love and hate” are direct opposites, while “love and indifference” are related but contrasting ideas.

Another misconception is that antithesis should be used in every sentence or paragraph. Overuse of antithesis can lead to annoying and cliché writing. It is important to use antithesis sparingly and only when it adds value to the writing.

Additionally, some writers may try to force antithesis into their writing, resulting in awkward and unnatural phrasing. It is important to use antithesis in a way that flows naturally and enhances the meaning of the writing.

Overall, antithesis is a powerful tool that can add depth and complexity to writing. However, it should be used sparingly and only when it adds value to the writing. Avoid overuse and forcing antithesis into writing, as this can lead to annoying and cliché writing.

In conclusion, antithesis is a rhetorical device that involves the use of contrasting or opposite ideas in a balanced grammatical structure. It is commonly used in literature, speeches, and other forms of communication to create emphasis, contrast, and impact.

Antithesis is often used in conjunction with the thesis-antithesis-synthesis dialectic, a process of logical argumentation that involves presenting a thesis, then presenting its opposite (antithesis), and finally synthesizing the two opposing viewpoints to arrive at a new conclusion.

Through the use of antithesis, writers and speakers can create a sense of tension and drama, as well as emphasize the differences between two opposing ideas. It can also be used to highlight the strengths and weaknesses of different arguments and perspectives, and to help readers or listeners come to their own conclusions about a particular topic.

Overall, antithesis is a powerful tool for writers and speakers who wish to make a strong impression on their audience. By using contrasting or opposite ideas in a balanced structure, they can create a sense of tension and drama, emphasize key points, and help their audience come to their own conclusions about a particular topic.

Frequently Asked Questions

What is the definition of antithesis?

Antithesis is a figure of speech that contrasts two opposing ideas in a sentence or a phrase. It is often used to create a dramatic effect or to emphasize a point. The term comes from the Greek word “antithesis,” which means “opposition.”

Can you give an example of antithesis in literature?

One famous example of antithesis in literature is the opening lines of Charles Dickens’ “A Tale of Two Cities”: “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness.” This sentence contrasts the two opposing ideas of good and bad, wisdom and foolishness, to emphasize the stark differences between the two cities.

How is antithesis different from juxtaposition?

Antithesis and juxtaposition are both figures of speech that involve contrasting two ideas. However, antithesis specifically involves contrasting two opposing ideas, while juxtaposition can contrast any two ideas, regardless of whether they are opposing or not.

What are some common uses of antithesis?

Antithesis is commonly used in literature, speeches, and advertising to create a memorable impact on the audience. It can be used to emphasize a point, create a dramatic effect, or to convey a deeper meaning.

What is the purpose of using antithesis in writing?

The purpose of using antithesis is to create a contrast between two opposing ideas, which can help to emphasize a point or to create a memorable impact on the audience. It can also be used to convey a deeper meaning or to create a dramatic effect.

Can you provide an example of antithesis in a school setting?

An example of antithesis in a school setting could be the phrase “knowledge is power, ignorance is weakness.” This phrase contrasts the two opposing ideas of knowledge and ignorance to emphasize the importance of education.

What is Antithesis? Examples of Antithesis in Literature and Speech

Antithesis is a rhetorical device that has been used for centuries to create contrast and emphasize ideas in speech and writing. It involves placing two contrasting ideas side by side, often using parallel grammatical structures, to highlight their differences. This technique can be used for various purposes, such as to create emphasis, create balance, or to make a point.

Table of Contents

Definition of Antithesis

Antithesis is a literary device that involves contrasting two opposing ideas or concepts in a sentence or passage in order to create a dramatic or rhetorical effect. The word “antithesis” comes from the Greek word “antithenai,” which means “to oppose.”

Antithesis can be used in a variety of ways, including through contrasting words, phrases, or clauses. This technique is often used in poetry, prose, and speeches to create a sense of tension and to emphasize the differences between two ideas.

In antithesis, two contrasting ideas are placed side by side in order to highlight their differences. This technique is often used to create a sense of balance in a sentence or passage. For example, consider the following sentence: “To be or not to be, that is the question.” In this sentence, the opposing ideas of existence and non-existence are contrasted in order to create a sense of tension and to emphasize the importance of the decision at hand.

Examples of Antithesis

Antithesis is a literary device that involves the use of contrasting ideas, words, or phrases in a parallel structure. Here are some examples of antithesis in literature, speeches, and advertising.

Antithesis in Literature

Antithesis is commonly used in literature to highlight the contrast between two opposing ideas or themes. One of the most famous examples of antithesis in literature is found in Charles Dickens’ A Tale of Two Cities . The opening lines of the novel read:

“It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way – in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only.”

The contrasting ideas of “best” and “worst,” “wisdom” and “foolishness,” “belief” and “incredulity,” and others are used to emphasize the stark differences between the two cities.

Antithesis in Speeches

Antithesis is also commonly used in speeches to create a memorable impact on the audience. One of the most famous examples of antithesis in a speech is from Martin Luther King Jr.’s “I Have a Dream” speech:

“We must learn to live together as brothers or perish together as fools.”

The contrasting ideas of “live together” and “perish together” are used to emphasize the importance of unity and brotherhood.

Antithesis in Advertising

Antithesis is also used in advertising to create memorable slogans and taglines. One example is the slogan for the car company BMW:

“The ultimate driving machine.”

The contrasting ideas of “ultimate” and “driving machine” are used to emphasize the high quality and performance of BMW cars.

In conclusion, antithesis is a powerful literary device that can be used in a variety of contexts to create memorable and impactful statements.

Antithesis vs. Juxtaposition

Antithesis and juxtaposition are two rhetorical devices that are often used in literature and speech. While they may seem similar, there are distinct differences between the two.

Antithesis is a rhetorical device that involves placing two contrasting ideas side by side in a sentence or phrase. The purpose of antithesis is to create a stark contrast between the two ideas, often to emphasize a point or to create a sense of tension or conflict.

For example, one famous example of antithesis comes from Charles Dickens’ “A Tale of Two Cities”: “It was the best of times, it was the worst of times.” This sentence contrasts two opposing ideas, highlighting the extreme differences between them.

Antithesis is often used in speeches and persuasive writing to create a memorable and impactful statement. However, it can also be used in more subtle ways to add depth and complexity to a piece of writing.

Juxtaposition

Juxtaposition, on the other hand, involves placing two ideas or objects next to each other in order to highlight their differences or similarities. Unlike antithesis, the two ideas or objects may not necessarily be opposing or contrasting.

For example, a writer might use juxtaposition to describe two characters in a story. By placing their descriptions side by side, the writer can highlight their differences and create a more vivid picture of each character.

Juxtaposition can also be used to create irony or humor. By placing two unlikely ideas or objects next to each other, a writer can create a sense of surprise or amusement.

In conclusion, while antithesis and juxtaposition are both rhetorical devices that involve placing two ideas or objects next to each other, they serve different purposes. Antithesis is used to create a contrast or conflict between two opposing ideas, while juxtaposition is used to highlight the differences or similarities between two ideas or objects.

Antithesis in Communication

Antithesis is a powerful tool in communication that can be used to emphasize contrast, create memorable phrases, and strengthen arguments. By juxtaposing two opposing ideas, antithesis can help to clarify and highlight the differences between them, making them more easily understood and remembered. In this section, we will explore the importance of antithesis in communication and how it can be used effectively.

Emphasizing Contrast

One of the primary functions of antithesis is to emphasize contrast. By placing two opposing ideas side by side, antithesis can draw attention to their differences and make them more apparent. This can be especially useful in situations where it is important to distinguish between two similar but distinct concepts. For example, in political discourse, antithesis can be used to highlight the differences between two competing policy proposals or ideologies.

Creating Memorable Phrases

Another important function of antithesis is to create memorable phrases. By using contrasting ideas in a sentence or phrase, antithesis can create a sense of balance and rhythm that can make the words more memorable. This can be seen in famous quotes such as “To be or not to be” from Shakespeare’s Hamlet, which uses antithesis to create a memorable phrase that encapsulates the play’s central theme.

Strengthening Arguments

Finally, antithesis can be used to strengthen arguments. By using contrasting ideas, antithesis can help to make an argument more persuasive by highlighting the strengths of one idea while pointing out the weaknesses of another. This can be especially useful in situations where it is important to make a convincing case, such as in a legal argument or a political debate.

In conclusion, antithesis is an important tool in communication that can be used to emphasize contrast, create memorable phrases, and strengthen arguments. By using contrasting ideas, antithesis can help to clarify and highlight the differences between two concepts, making them more easily understood and remembered. Whether in literature, politics, or everyday conversation, antithesis can be a powerful tool for effective communication.

Overall, antithesis is a valuable tool for writers and speakers who want to create a sense of contrast and emphasize their point. When used effectively, it can make writing or speech more memorable and impactful. However, it is important to use it in moderation and not rely on it too heavily. By understanding how to use antithesis effectively, writers and speakers can take their communication skills to the next level.

Related Links

• Verbal Irony

Antithesis Definition Antithesis, which literally means “opposite,” is a rhetorical device wherein opposite thoughts are prepare in a sentence to obtain a contrasting effect. Antithesis emphasizes the idea of assessment through parallel structures of the contrasted terms or clauses. The structures of terms and clauses are similar, so that it will draw the attention of the listeners or readers. For example: “Setting foot on the moon may be a small step for a person but a giant step for mankind.” The use of contrasting thoughts, “a small step” and “a massive step,” within the sentence above emphasizes the importance of one of the most important landmarks of human history. Common Antithesis Examples Some well-known antithetical statements have become part of our everyday speech, and are regularly used in arguments and discussions. Below is a listing of some commonplace antithetical statements: Give every man thy ear, however few thy voice. Man proposes, God disposes. Love is a really perfect thing, marriage a actual thing. Speech is silver, but silence is gold. Patience is bitter, however it has a sweet fruit. Money is the foundation of all evil: poverty is the fruit of all goodness. You are smooth on the eyes, but tough on the heart. Examples of Antithesis in Literature In literature, writers rent antithesis not simplest in sentences, but additionally in characters and events. Thus, its use is extensive. Below are a few examples of antithesis in literature: Example #1: A Tale of Two Cities (By Charles Dickens) The establishing lines of Charles Dickens’ novel A Tale of Two Cities provides an unforgettable antithesis example: “It become the first-class of times, it become the worst of times, it became the age of wisdom, it was the age of foolishness, it become the epoch of belief, it turned into the epoch of incredulity, it changed into the season of Light, it was the season of Darkness, it changed into the spring of hope, it was the wintry weather of despair, we had everything before us, we had nothing earlier than us, we were all going direct to Heaven, we were all going direct the opposite way.” The contrasting thoughts, set in parallel structures, markedly spotlight the battle that existed within the time discussed in the novel. Example #2: Julius Caesar (By William Shakespeare) In William Shakespeare’s Julius Caesar, we note antithesis within the characters of Mark Antony and Marcus Brutus. Brutus is portrayed as the “noblest of Romans,” near Caesar, and someone who cherished Rome and Caesar. Antony, at the contrary, is proven as a person with the evil intentions of harming Caesar, and taking charge of Rome. These antithetical characters spotlight the battle inside the play. Example #3: An Essay on Criticism (By Alexander Pope) Alexander Pope, in his An Essay on Criticism, says: “To err is human; to forgive divine.” Fallibility is a trait of humans, and God – the Creator – is most forgiving. Through those antithetical thoughts, Pope exhibits the simple nature of human beings. He wants to say that God is forgiving because his creation is erring. Example #4: Community (By John Donne) We find antithesis in John Donne’s poem Community: “Good we must love, and must hate ill, For unwell is ill, and correct desirable still; But there are things indifferent, Which we may neither hate, nor love, But one, and then another prove, As we shall discover our fancy bent.” Two contrasting words “love” and “hate” are combined within the above lines. It emphasizes that we love right due to the fact it is always top, and we hate bad due to the fact it's far always bad. It is a matter of desire to love or hate things that are neither good nor bad. Example #5: Paradise Lost (By John Milton) John Milton, in Paradise Lost, says: “Better to reign in Hell than serve in Heav’n.” The contrasting thoughts of reign/serve, and Hell/Heav’n are positioned on this sentence to acquire an antithetical effect. Function of Antithesis A literary tool, like antithesis, makes use of phrases to convey ideas in exceptional methods from the commonplace words and expressions of daily life. Thus, it conveys meaning greater vividly than regular speech. When contrasting thoughts are brought together, the concept is expressed extra emphatically. As a literary device, antithesis makes contrasts in an effort to observe pros and cons of a subject below discussion, and facilitates to bring on judgment on that precise subject.

• Alliteration
• Anachronism
• Antimetabole
• Aposiopesis
• Characterization
• Colloquialism
• Connotation
• Deus Ex Machina
• Didacticism
• Doppelganger
• Double Entendre
• Flash Forward
• Foreshadowing
• Internal Rhyme
• Juxtaposition
• Non Sequitur
• Onomatopoeia
• Parallelism
• Pathetic Fallacy
• Personification
• Poetic Justice
• Point of View
• Portmanteau
• Protagonist
• Red Herring
• Superlative
• Synesthesia
• Tragicomedy
• Tragic Flaw
• Verisimilitude

• Scriptwriting

What is Antithesis — Definition & Examples in Literature & Film

I f you’ve ever heard sentence structure, met characters, or witnessed ideas that seem diametrically opposed, you’re actually pretty familiar with the idea of the antithesis. But there is more to it than just juxtaposing ideas. Read on to learn exactly what is antithesis, how this tool is used, and how you can include an antithesis in your next project. 

Antithesis Definition

First, let’s define antithesis.

There are a number of terms often confused for antithesis (like paradox or oxymoron ). But an antithesis has a particular grammatical structure that helps differentiate it from the rest. So, here’s the antithesis definition and then we'll look at specific examples:

ANTITHESIS DEFINITION

What is antithesis.

An antithesis is a rhetorical and literary device with parallel grammar structure but which establishes a nearly complete or exact opposition in ideas or characters. It can be effective in emphasizing drastic differences between opposing concepts.

How to pronounce antithesis: [an-TITH-uh-sis]  

Familiar antithesis examples:

• “That’s one small step for man, one giant leap for mankind.”
• “No pain, no gain.”
• “Out of sight, out of mind.”

The word “antithesis” comes from the Greek word meaning “setting opposite,” which is an idea that has been used in various forms. Let’s look at those various forms in more antithesis examples.

Antitheses Examples

How do we use antithesis today.

The purpose of antithetical language is not just mentioning the existence of opposing ideas, but rather emphasizing the stark differences between them.  The often lyrical and rhythmic nature of this device helps accentuate the parallel grammatical structure.

Watch the video below to learn more about how we use antitheses today. 

Antithesis Definition, Examples and Techniques

We use this device in that pure form today (see the examples above) in everyday turns of phrase. But there are more in-depth ways (in actions and story in general) that fit the antithesis definition. 

People and characters can act in an antithetical manner to their beliefs.

Antithesis Examples in Behavior: 

• A character who says they love animals but wears real fur coats.
• Someone who says they are vegetarian but eats a big steak for dinner.
• A person who uses a “Shop Small” tote bag but does their holiday shopping at Walmart. 

In addition, characters in literary or scripted works, much like people, can be antitheses to each other in and of themselves. In fact, this is often how great villains are created.

Check out the video below to see more on writing great villains , and how antagonists can mirror or juxtapose protagonists . 

Page to Picture: How to Write a Villain  •   Subscribe on YouTube

Protagonists can be an “antihero,” or the villain of a story can be portrayed separately as a parallel to the protagonist; therefore, the protagonist and antagonist highlight each other’s strengths and weaknesses, and evil and benevolent qualities. Some classic examples of this pseudo-mirrored antagonist concept are: 

Snow White and the Queen

Batman and Joker

Dumbledore and Voldemort

As you can see, the antithesis is typically the ultimate antagonist, even if the character they are meant to parallel isn’t the protagonist, as is the case in the Harry Potter series. 

Both a strong example of antithesis and nuanced portrayal of complicated character relationships, the Harry Potter series showcases a number of moral ambiguities as they pertain to Dumbledore and Voldemort.

We imported the script into StudioBinder’s screenwriting software to see exactly how this juxtaposition is first established.

Read Full Harry Potter and the Sorcerer's Stone Script

Harry Potter and the Sorcerer’s Stone masterfully establishes the characteristics that Harry and Voldemort share, but it also establishes similarities between Dumbledore and Voldemort.

Throughout the series, these shared traits influence Dumbledore and Voldemort in their objectives and decisions. 

For instance, in the Sorcerer’s Stone , we are introduced to how Voldemort and Dumbledore move through the world. Hagrid tells Harry early on about Voldemort’s rise to power: he was a wizard “who went as bad as you can go [...] anyone who stood up to him ended up dead.” Hagrid frames Voldemort as a powerful wizard, capable of massive destruction. 

Antithesis Example in Harry Potter  •   Read Full Scene

Alternatively, towards the end of the first film Dumbledore explains his tactics in his work with Nicolas Flamel on the Sorcerer’s Stone . “Only a person who wanted to find the stone—find it, but not use it—would be able to get it.” Dumbledore respects power and the laws of magic, and his actions reflect that. 

Further into the series, in Order of the Phoenix , we see what happens when Dumbledore’s tremendous abilities collide with Voldemort’s formidable power in their epic Ministry of Magic duel.

Voldemort’s spells all aim to destruct, whereas Dumbledore’s are equally amazing, but meant to disarm, distinguish, or defend. 

The series is a remarkable example of how antitheses can be essential to a story, and the respective backstories, unique abilities, and of course choices of Voldemort and Dumbledore prove it.  

Implementing Antitheses

How to use antithesis.

With all the ways you can implement and define antithesis, it’s good to have a number of tricks or rules of thumb to keep in your back pocket. Whether you’re writing a short story or your next feature screenplay, here are some things you can keep in mind. 

1. Aim for Moderation

If you’re using antithesis in the form of a rhetorical device, try to keep the number of antitheses to a minimum unless it’s a crucial character trait of the speaker. Using a similar literary device too often can leave your writing predictable or even annoying. The more you use a tool, like antithetical language, the less meaning it can have. 

2. Similar Structure

Keep the structure of your antithesis as similar as possible if you want to highlight the differences more intensely. And try to keep the phrasing itself balanced. Both variables of the equation don’t have to be exact, but the lyrical phrasing can help your antithesis shine and stick long after the read. 

3. Focus on Differences

Focus on contrast but remember to find ways to draw the parallels. How can the characters be compared to the point where their differences become obvious? How can their differences lead to conversation about how the characters may actually be similar? 

Antitheses via characters and sentence structure can assist in not just interesting writing, but memorable writing. They can make your message more understandable and retainable, which should be a top goal in any written work. You never want to give you reader a reason to stop reading.

So, now that you’ve learned more about how an antithesis can strengthen your work, you can implement it  into your next project like a pro.

After all, no guts, no glory. 

What is Irony?

Antithesis is a rhetorical device you can use in everyday speech. Much like an antithesis, we encounter several types of irony in everyday life, too. Keep reading to learn about the types of irony and how they’re used in TV and Film. 

Up Next: Irony Explained →

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Antithesis: Meaning, Definition and Examples

Figures of speech , otherwise known as rhetorical devices, are used in the English language to beautify and make your language look and sound a lot more effective rather than a literal presentation of information. Each figure of speech has its function and is meant to perform its roles giving the context a unique effect. In this article, you will learn about one such figure of speech called antithesis. Read through the article to learn more about what antithesis is, its definition and how it differs from an oxymoron. You can also check out the examples and analyse how it is written for an in-depth understanding of the same.

Table of Contents

What is antithesis – meaning and definition, what differentiates an antithesis from an oxymoron, some common examples of antithesis, frequently asked questions on antithesis.

An antithesis is a figure of speech that states strongly contrasting ideas placed in juxtaposition. They contain compound sentences with the two independent clauses separated by a comma or a semicolon , in most cases. However, there are also instances where the antithesis is a compound sentence with a conjunction . An antithesis is mainly used to portray the stark difference between the two opposing ideas.

Antithesis, according to the Oxford Learner’s Dictionary, is defined as “a contrast between two things”, and according to the Cambridge Dictionary, “a difference or opposition between two things”. The Merriam-Webster Dictionary gives a more explanatory definition. According to it, antithesis is “the rhetorical contrast of ideas by means of parallel arrangements of words, clauses, or sentences”.

Knowing the difference between an antithesis and an oxymoron will help you comprehend and use both the rhetorical devices effectively. Take a look at the table given below to learn more.

Here are some of the most common examples of antithesis for your reference.

• Hope for the best; prepare for the worst.
• Keep your mouth closed and your eyes open.
• “It was the best of times, it was the worst of times. It was the age of wisdom, it was the age of foolishness.” – Charles Dickens
• “That’s one small step for a man, one giant leap for mankind.” – Neil Armstrong
• “Better to reign in Hell, than to serve in Heaven.” – John Milton
• Speech is silver, but silence is gold.
• “Give every man thy ear, but few thy voice.” – William Shakespeare
• Keep your friends close; keep your enemies closer.
• “To err is human; to forgive divine.” – Alexander Pope
• Money is the root of all evil: poverty is the fruit of all goodness.

What is antithesis?

An antithesis is a figure of speech that states strongly contrasting ideas placed in juxtaposition. They contain compound sentences with the two independent clauses separated by a comma or a semicolon, in most cases. However, there are also instances where the antithesis is a compound sentence with a conjunction.

What is the definition of antithesis?

What is the difference between antithesis and oxymoron.

The main difference between an antithesis and an oxymoron is that antithesis refers to the use of two contrasting ideas or thoughts conveyed in two independent clauses placed in juxtaposition, separated by a comma, a semicolon or a conjunction; whereas, the term ‘oxymoron’ refers to the use of two opposite words within a phrase to create an effect.

Give some examples of antithesis.

Here are a few examples of antithesis for your reference.

• “Love is an ideal thing, marriage a real thing.” – Goethe
• “Folks who have no vices have very few virtues.” – Abraham Lincoln
• “Man proposes, God disposes.”
• Beggars can’t be choosers.
• Be slow in choosing, but slower in changing.

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A Gentleman in Moscow Epigraphary

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To inhabit a place like the Kremlin is not to reside, it is to defend one’s self. Oppression creates revolt, revolt obliges precautions, precautions increase dangers, and this long series of actions and reactions engenders a monster; that monster is despotism, which has built itself a house at Moscow. The giants of the antediluvian world, were they to return to earth to visit their degenerate successors, might still find a suitable habitation in the Kremlin. –Marques de Custine: The Empire of the Czar (1839) And to this day the Russian people, in spite of the stern and prosaic reality around them, like to believe in the seductive legends of long ago – and it may be years and years before they renounce this faith. –Ivan Goncharov: Oblomov (1859) Reasonably intelligent individuals are never hoodwinked individually. But they possess another, equally harmful form of this human frailty: they are subject to mass delusion. A swindler will never be able to lead a single individual by the nose; but as for a large group taken together, their noses are always ready and willing! Meanwhile, the swindlers, weak as individuals and each led by his own nose, when taken together can never be led by their noses. That’s the whole secret of world history. But there’s really no need to delve into world history here. We’re telling a tale, so let’s get on with it. –Nikolai Chernyshevsky: What Is to Be Done? (1863) I knew a gentleman who prided himself all his life on being a fine judge of Lafite. He regarded it as his positive merit and never doubted himself. He died not merely with a serene but with a triumphant conscience, and he was perfectly right. –Fyodor Dostoevsky: Notes from the Underground (1864) Life meanwhile, people’s real life with its essential concerns of health, illness, work, rest, with its concerns of thought, learning, poetry, music, love, friendship, hatred, passions, went on as always, independently and outside of any political closeness or enmity with Napoleon Bonaparte and outside all possible reforms. –Alexander Tolstoy: War and Peace (1869) Nothing, nothing is certain, except the insignificance of everything I can comprehend and the grandeur of something incomprehensible… –Alexander Tolstoy: Prince Andrey in War and Peace (1869) Precisely because we are a broad, Karamazovian nature—and this is what I am driving at—capable of containing all possible opposites and of contemplating both abysses at once, the abyss above us, an abyss of lofty ideals, and the abyss beneath us, an abyss of the lowest and foulest degradation. –Fyodor Dostoevsky: Brothers Karamazov (1880) My mother is a born Muscovite and unites within herself the qualities which to me symbolize Moscow: external, striking beauty, serious and strict through and through; aristocratic simplicity; inexhaustible energy; a unique union of tradition with true free thinking, woven out of great nervousness, imposing majestic calm, and heroic self-mastery. –Wassily Kandinsky: Reminiscences (1913) This curious conglomeration of palaces, towers, churches, monasteries, chapels, barracks, arsenals and bastions, this incoherent jumble of sacred and secular buildings, this complex of functions as fortress, sanctuary, seraglio, harem, necropolis and prison, this blend of advanced civilization and archaic barbarism, this violent contrast of the crudest materialism and the most lofty spirituality – are they not the whole history of Russia, the whole epic of the Russian nation, the whole inward drama of the Russian soul? –Maurice Paléologue: An Ambassador’s Memoirs (1914-1917) The Russian people are like children. One must love them and govern them well. –Vaslav Nijinksy: The Diary of Vaslav Nijinksy (1919) Yes, we have all had to undergo a great deal of change, your country more than any: but even if we do not live to see it at its resurrection, the profound, the real, the other surviving Russia has only fallen back on her secret root system, as she did before, under the Tatar yoke, who could doubt that she is still there and is gathering her forces in that dark place, invisible to her own children, leisurely with her own sacred slowness, on to a possible still-remote future?! –Rainer Maria Rilke: Letter from Rainer Maria Rilke to Leonid Pasternak (1926) (Fearing political consequences, Lydia Pasternak deleted this passage when she sent a transcription of Rilke’s letter to her brother Boris who was still living in Moscow.) The woods fell away in the distance and the river wandered off in another direction. As the lorry drove on the scenery slowly changed: fences, a watchman’s hut, piles of logs, dried and split telegraph poles with bobbins strung on the wires between them, heaps of stones, ditches—in short, a feeling that Moscow was about to appear round the next corner and would rise up and engulf them at any moment. –Mikhail Bulgakov: The Master and Margarita (1928-1940) Only in Russia is poetry respected, it gets people killed. Is there anywhere else where poetry is so common a motive for murder? –Osip Mandelstam (1930s) Poets can never be indifferent to good and evil, and they can never say that all that exists is rational. –Nadezhda Mandelstam: Hope Against Hope (1970) Own only what you can always carry with you: know languages, know countries, know people. Let your memory be your travel bag. Use your memory! Use your memory! It is those bitter seeds alone which might sprout and grow someday. Look around—there are people around you. Maybe you will remember one of them all your life and later eat your heart out because you didn’t make use of the opportunity to ask him questions. And the less you talk, the more you’ll hear. –Alexander Solzhenitsyn: Gulag Archipelago (1973) His advice to prisoners in transit .

antithesis - transcription, translation and pronunciation online

Transcription and pronunciation of the word " antithesis " in British and American variants. Detailed translation and examples.

J. V. Stalin

New Conditions — New Tasks in Economic Construction

Speech delivered at a conference of business executives 1 june 23, 1931.

Source : Works, Vol. 13, 1930 - January 1934 Publisher : Foreign Languages Publishing House, Moscow, 1954 Transcription/HTML Markup : Salil Sen for MIA, 2008 Public Domain : Marxists Internet Archive (2008). You may freely copy, distribute, display and perform this work; as well as make derivative and commercial works. Please credit "Marxists Internet Archive" as your source.

Comrades, the materials presented to this conference show that as regards the fulfilment of the plan our industry presents a rather motley picture. There are branches of industry that have increased their output during the past five months 40 to 50 per cent compared with last year. Other branches have increased their output not more than 20 to 30 per cent. Lastly, there are certain branches that show a very small increase, some 6 to 10 per cent and sometimes even less. Among the latter we must include coal mining and the iron and steel industry. The picture, as you see, is a motley one.

How is this diversity to be explained? Why are certain branches of industry lagging behind? Why is it that certain branches of industry show an increase of only 20 to 25 per cent, while coal mining and the iron and steel industry show an even smaller increase and are trailing behind other branches?

The reason is that lately the conditions of development of industry have radically changed; new conditions demanding new methods of management have arisen; but some of our economic executives, instead of changing their methods of work, are continuing in the old way. The point, therefore, is that the new conditions of development of industry require new methods of work; but some of our economic executives do not understand this and do not see that they must now adopt new methods of management.

That is the reason why certain branches of our industry are lagging behind.

What are these new conditions of development of our industry? How did they arise?

There are at least six such new conditions.

Let us examine them.

First of all, there is the question of the supply of manpower for our factories. Formerly, the workers usually came of their own accord to the factories and mills—to some extent, therefore, things proceeded automatically in this sphere. And this happened because there was unemployment, there was differentiation in the countryside, there was poverty and fear of starvation, which drove people from the country to the town. You remember the formula: "The flight of the peasant from the country to the town"? What compelled the peasant to flee from the country to the town? The fear of starvation, unemployment, the fact that the village was like a stepmother to him, and he was ready to flee from his village to the devil himself, if only he could find some sort of work.

Such, or nearly such, was the state of affairs in the recent past.

Can it be said that the same conditions prevail now? No, it cannot. On the contrary, conditions have now radically changed. And because conditions have changed we no longer have an automatic influx of manpower.

What, in point of fact, has changed during this period? Firstly, we have done away with unemployment — consequently, we have abolished the force that exercised pressure upon the "labour market." Secondly, we have radically undermined differentiation in the countryside —consequently, we have overcome the mass poverty there, which drove the peasant from the country to the town. Lastly, we have supplied the countryside with tens of thousands of tractors and agricultural machines, we have smashed the kulak, we have organised collective farms and have given the peasants the opportunity to live and work like human beings. Now the countryside cannot any longer be termed a stepmother to the peasant. And precisely because it can no longer be termed a stepmother, the peasant has begun to settle down in the countryside; we no longer have "the flight of the peasant from the country to the town," nor an automatic influx of manpower.

As you see, we now have an entirely new situation and new conditions in regard to the supply of manpower for our factories.

What follows from that?

It follows, firstly, that we must no longer count on an automatic influx of manpower. This means that we must pass from the "policy" of letting things proceed automatically to the policy of organised recruiting of workers for industry. But there is only one way of achieving this—that of contracts of economic organisations with collective farms and collective farmers. As you know, certain economic organisations and collective farms have already adopted this method; and experience has shown that this practice yields important advantages both for the collective farms and for the industrial enterprises.

It follows, secondly, that we must pass immediately to mechanisation of the heavier processes of labour and develop this to the utmost (timber industry, building industry, coal mining, loading and unloading, transport, iron and steel industry, etc.). This, of course, does not mean that we must abandon manual labour. On the contrary, manual labour will continue to play a very important part in production for a long time to come. But it does mean that mechanisation of labour processes is for us the new and decisive force, without which neither our tempo nor the new scale of production can be maintained.

There are still quite a number of our economic executives who "do not believe" either in mechanisation or in contracts with collective farms. These are the very executives who fail to understand the new situation, who do not want to work in the new way and sigh for the "good old times" when manpower "came of its own accord" to the enterprises. Needless to say, such economic executives are as remote from the new tasks in economic construction, which are imposed by the new conditions, as the sky from the earth. Apparently they think that the difficulties in regard to manpower are accidental and that the shortage of manpower will disappear automatically, so to speak. That is a delusion, comrades.

The difficulties in regard to manpower cannot disappear of themselves. They can disappear only as the result of our own efforts.

Hence the task is to recruit manpower in an organised way, by means of contracts with the collective farms, and to mechanise labour.

That is how matters stand with regard to the first new condition of development of our industry.

Let us pass to the second condition.

I have just spoken about the organised recruiting of workers for our factories. But recruiting workers is not all that has to be done. In order to ensure manpower for our enterprises we must see to it that the workers are stably connected with their factories and make the composition of the labour force in the factories more or less constant. It scarcely needs proof that without a constant labour force who have more or less mastered the technique of production and have become accustomed to the new machinery it will be impossible to make any headway, impossible to fulfil the production plans. Unless this is achieved, we shall have to keep on training new workers and to spend half the time on training them instead of making use of this time for production. But what is actually happening now? Can it be said that the composition of the labour force at our factories is more or less constant? Unfortunately, this cannot be said. On the contrary, we still have a so-called fluidity of manpower at our factories. More than that, in a number of factories the fluidity of manpower, far from disappearing, is increasing and becoming more marked. At any rate, you will find few factories where the personnel does not change at least to the extent of 30 to 40 per cent of the total in the course of half a year, or even in one quarter.

Formerly, during the period of restoration of our industry, when its technical equipment was not very complex and the scale of production not very large, it was more or less possible to "tolerate" this so-called fluidity of manpower. Now it is another matter. Now the situation is radically different. Now, in the period of intensive reconstruction, when the scale of production has become gigantic and technical equipment has become extremely complex, the fluidity of manpower has become a scourge of production and is disorganising our factories. To "tolerate" the fluidity of manpower now would mean disintegrating our industry, destroying the possibility of fulfilling production plans and ruining any chance of improving the quality of the output.

What is the cause of the fluidity of manpower?

The cause is the wrong structure of wages, the wrong wage scales, the "Leftist" practice of wage equalisation. In a number of factories wage scales are drawn up in such a way as to practically wipe out the difference between skilled and unskilled labour, between heavy and light work. The consequence of wage equalisation is that the unskilled worker lacks the incentive to become a skilled worker and is thus deprived of the prospect of advancement; as a result he feels himself a "visitor" in the factory, working only temporarily so as to "earn a little money" and then go off to "try his luck" in some other place. The consequence of wage equalisation is that the skilled worker is obliged to go from factory to factory until he finds one where his skill is properly appreciated.

Hence, the "general" drift from factory to factory; hence, the fluidity of manpower.

In order to put an end to this evil we must abolish wage equalisation and discard the old wage scales. In order to put an end to this evil we must draw up wage scales that will take into account the difference between skilled and unskilled labour, between heavy and light work. We cannot tolerate a situation where a rolling-mill worker in the iron and steel industry earns no more than a sweeper. We cannot tolerate a situation where a locomotive driver earns only as much as a copying clerk. Marx and Lenin said that the difference between skilled and unskilled labour would exist even under socialism, even after classes had been abolished; that only under communism would this difference disappear and that, consequently, even under socialism "wages" must be paid according to work performed and not according to needs. But the equalitarians among our economic executives and trade-union officials do not agree with this and believe that under our Soviet system this difference has already disappeared. Who is right, Marx and Lenin or the equalitarians? It must be assumed that it is Marx and Lenin who are right. But it follows from this that whoever draws up wage scales on the "principle" of wage equalisation, without taking into account the difference between skilled and unskilled labour, breaks with Marxism, breaks with Leninism.

In every branch of industry, in every factory, in every shop, there is a leading group of more or less skilled workers who first and foremost must be retained if we really want to ensure a constant labour force in the factories. These leading groups of workers are the principal link in production. By retaining them in the factory, in the shop, we can retain the whole labour force and radically prevent the fluidity of manpower. But how can we retain them in the factories? We can retain them only by promoting them to higher positions, by raising the level of their wages, by introducing a system of wages that will give the worker his due according to qualification.

And what does promoting them to higher positions and raising their wage level mean, what can it lead to as far as unskilled workers are concerned? It means, apart from everything else, opening up prospects for the unskilled worker and giving him an incentive to rise higher, to rise to the category of a skilled worker. You know yourselves that we now need hundreds of thousands and even millions of skilled workers. But in order to build up cadres of skilled workers, we must provide an incentive for the unskilled workers, provide for them a prospect of advancement, of rising to a higher position. And the more boldly we adopt this course the better, for this is the principal means of putting an end to the fluidity of manpower. To economise in this matter would be criminal, it would be going against the interests of our socialist industry.

But that is not all.

In order to retain the workers in the factories we must still further improve the supply of goods and the housing conditions of the workers. It cannot be denied that a good deal has been done during the last few years in the sphere of housing construction and supplies for the workers. But what has been done is altogether inadequate compared with the rapidly growing requirements of the workers. It will not do to plead that there were fewer houses before than there are now and that therefore we can be content with the results achieved. Nor will it do to plead that workers’ supplies were far worse before than they are now and therefore we can be satisfied with the present situation. Only those who are rotten to the core can content themselves with references to the past. We must proceed, not from the past, but from the growing requirements of the workers at the present time. We must realise that the conditions of life of the workers have radically changed in our country. The worker today is not what he was previously. The worker today, our Soviet worker, wants to have all his material and cultural needs satisfied: in respect of food, housing conditions, cultural and all sorts of other requirements. He has a right to this, and it is our duty to secure these conditions for him. True, our worker does not suffer from unemployment; he is free from the yoke of capitalism; he is no longer a slave, but the master of his job. But this is not enough. He demands that all his material and cultural requirements be met, and it is our duty to fulfil this demand of his. Do not forget that we ourselves are now making certain demands on the worker—we demand from him labour discipline, intense effort, emulation, shock-brigade work. Do not forget that the vast majority of workers have accepted these demands of the Soviet Government with great enthusiasm and are fulfilling them heroically. Do not be surprised, therefore, if, while fulfilling the demands of the Soviet Government, the workers in their turn demand that the Soviet Government should fulfil its obligations in regard to further improving their material and cultural condition.

Hence, the task is to put an end to the fluidity of manpower, to do away with wage equalisation, to organise wages properly and to improve the living conditions of the workers.

That is how matters stand with regard to the second new condition of development of our industry. Let us pass to the third condition.

III THE ORGANISATION OF WORK

I have said that it is necessary to put an end to the fluidity of manpower, to retain the workers in the factories. But retaining the workers in the factories is not all; the matter does not end there. It is not enough to put an end to the fluidity of manpower. We must provide the workers with such working conditions as will enable them to work efficiently, to increase productivity and to improve the quality of the products. Consequently, we must so organise work in the factories as to bring about an increase in labour productivity from month to month, from quarter to quarter.

Can it be said that the present organisation of work in our factories meets the modern requirements of production? Unfortunately, this cannot be said. At all events, we still have a number of factories where work is organised abominably, where instead of order and co-ordination of work there is disorder and muddle, where instead of responsibility for the work there is absolute irresponsibility, lack of personal responsibility.

What is meant by lack of personal responsibility? It is the absence of any responsibility for work that is entrusted to one, the absence of responsibility for machinery and tools. Naturally, when there is no personal responsibility there can be no question of any important increase in the productivity of labour, of any improvement in the quality of production, of the exercise of care in handling machinery and tools. You know what lack of personal responsibility led to on the railways. It is leading to the same result in industry. We have abolished the system under which there was lack of personal responsibility on the railways and have thus improved their work. We must do the same in industry in order to raise its work to a higher level.

Formerly, we could "manage" somehow or other with the bad organisation of work that goes naturally with lack of personal responsibility, with no worker being responsible for a particular concrete job. Now it is another matter. Now the situation is completely different. With the present vast scale of production and the existence of giant enterprises, lack of personal responsibility has become a scourge of industry that is jeopardising all our achievements in the factories in the sphere of production and organisation.

What enabled lack of personal responsibility to become the rule in a number of our factories? It entered the factories as the illegitimate companion of the uninterrupted working-week. It would be wrong to assert that the uninterrupted working week necessarily leads to lack of personal responsibility in production. If work is properly organised, if each person is made responsible for a definite job, if definite groups of workers are assigned to machines, if the shifts are properly organised so that they are equal in quality and skill—given such conditions, the uninterrupted working-week leads to a tremendous increase in labour productivity, to an improvement in quality of work and to eliminating lack of personal responsibility. Such is the case on the railways, for example, where the uninterrupted working-week is now in force, but where there is no longer lack of personal responsibility. Can it be said that the position in regard to the uninterrupted working-week is equally satisfactory in industrial enterprises? Unfortunately, this can not be said. The fact of the matter is that a number of our factories adopted the uninterrupted working-week too hastily, without preparing suitable conditions for it, without properly organising shifts more or less equal in quality and skill, without making each worker responsible for a particular concrete job. The result is that the uninterrupted working-week, left to itself, has given rise to lack of personal responsibility. The result is that in a number of factories we have the uninterrupted working-week on paper, in words, and lack of personal responsibility not on paper, but in actual operation. The result is that there is no sense of responsibility for the job, machinery is handled carelessly, large numbers of machine tools break down, and there is no incentive for increasing the productivity of labour. It is not for nothing that the workers say: "We could raise the productivity of labour and improve matters; but who is going to appreciate it when nobody is responsible for anything?"

It follows from this that some of our comrades were a little hasty in introducing the uninterrupted working-week, and in their hurry distorted it and transformed it into a system of lack of personal responsibility.

There are two ways of putting an end to this situation and of doing away with lack of personal responsibility. Either change the method of carrying out the uninterrupted working week so that it does not result in lack of personal responsibility, as was done on the railways. Or, where the conditions do not favour this, abandon the nominal uninterrupted working week, temporarily adopt the interrupted, six-day week, as was recently done in the Stalingrad Tractor Works, and prepare the conditions so as to return, should the need arise, to a real, not nominal, uninterrupted working-week; to return eventually to the uninterrupted working-week, but not to lack of personal responsibility.

There is no other way.

There can be no doubt that our economic executives understand all this very well. But they keep silent. Why? Because, evidently, they fear the truth. But since when have Bolsheviks begun to fear the truth? Is it not true that in a number of factories the uninterrupted working-week has resulted in lack of personal responsibility and has thus been distorted to an extreme degree? The question is: Who wants such an uninterrupted working-week? Who dares assert that the preservation of this nominal and distorted uninterrupted working-week is more important than the proper organisation of work, than increased productivity of labour, than a genuine uninterrupted working-week, than the interests of our socialist industry? Is it not clear that the sooner we bury the nominal uninterrupted working-week the sooner shall we achieve a proper organisation of work?

Some comrades think that we can do away with the lack of personal responsibility by means of incantations and high sounding speeches. At any rate, I know a number of economic executives who in their fight against lack of personal responsibility confine themselves to speaking at meetings now and again, hurling curses at the lack of personal responsibility, apparently believing that after such speeches lack of personal responsibility is bound to disappear automatically, so to speak. They are grievously mistaken if they think that lack of personal responsibility can be done away with by speeches and incantations. No, comrades, lack of personal responsibility will never disappear of itself. We alone can and must put an end to it; for it is you and I who are at the helm and it is you and I who are answerable for everything, including lack of personal responsibility. I think that it would be far better if our economic executives, instead of making speeches and incantations, spent a month or two at some mine or factory, studied all details and "trifles" relating to the organisation of work, actually put an end there to lack of personal responsibility and then applied the experience gained at this enterprise to other enterprises. That would be far better. That would be really fighting against lack of personal responsibility, fighting for the proper, Bolshevik organisation of work, for the proper distribution of forces in our enterprises.

Hence, the task is to put an end to lack of personal responsibility, to improve the organisation of work and to secure the proper distribution of forces in our enterprises.

That is how matters stand with regard to the third new condition of development of our industry. Let us pass to the fourth condition.

IV A WORKING-CLASS INDUSTRIAL AND TECHNICAL INTELLIGENTSIA

The situation has also changed in regard to the administrative staff of industry in general, and in regard to the engineering and technical personnel in particular.

Formerly, the situation was that the main source of supply for all our industry was the coal and metallurgical base in the Ukraine. The Ukraine supplied metal to all our industrial regions: both to the South and to Moscow and Leningrad. It also supplied coal to the principal enterprises in the U.S.S.R. I leave out the Urals because the relative importance of the entire Urals was very small compared with the Donets Basin. Accordingly, we had three main centres for training an administrative staff for industry: the South, the Moscow district and the Leningrad district. Naturally, under those conditions we could somehow manage with the very small engineering and technical forces that were all that our country could have at its disposal at that time.

That was the position in the recent past.

But the situation is now quite different. Now it is obvious, I think, that with the present rate of development and gigantic scale of production we are already unable to make do with the Ukrainian coal and metallurgical base alone. As you know, the supply of Ukrainian coal and metal is already in adequate, in spite of the increase in their output. As you know, we have been obliged, as a result of this, to create a new coal and metallurgical base in the East—the Urals-Kuznetsk Basin. As you know, our work to create this base has been not without success. But that is not enough. We must, further, create a metallurgical industry in Siberia itself to satisfy its own growing requirements. And we are already creating it. Besides this, we must create a new base for non-ferrous metals in Kazakhstan and Turkestan. Finally, we must develop extensive railway construction. That is dictated by the interests of the U.S.S.R. as a whole—by the interests of the border republics as well as of the centre.

But it follows from this that we can no longer make do with the very small engineering, technical and administrative forces of industry with which we managed formerly. It follows that the old centres for training engineering and technical forces are no longer adequate, that we must create a whole network of new centres—in the Urals, in Siberia and in Central Asia. We must now ensure the supply of three times, five times the number of engineering, technical and administrative forces for industry if we really intend to carry out the programme of the socialist industrialisation of the U.S.S.R.

But we do not need just any kind of administrative, engineering and technical forces. We need such administrative, engineering and technical forces as are capable of understanding the policy of the working class of our country, capable of assimilating that policy and ready to carry it out conscientiously. And what does this mean? It means that our country has entered a phase of development in which the working class must create its own industrial and technical intelligentsia, one that is capable of upholding the interests of the working class in production as the interests of the ruling class.

No ruling class has managed without its own intelligentsia. There are no grounds for believing that the working class of the U.S.S.R. can manage without its own industrial and technical intelligentsia.

The Soviet Government has taken this circumstance into account and has opened wide the doors of all the higher educational institutions in every branch of national economy to members of the working class and labouring peasantry. You know that tens of thousands of working-class and peasant youths are now studying in higher educational institutions. Whereas formerly, under capitalism, the higher educational institutions were the monopoly of the scions of the rich—today, under the Soviet system, the working-class and peasant youth predominate there. There is no doubt that our educational institutions will soon be turning out thousands of new technicians and engineers, new leaders for our industries.

But that is only one aspect of the matter. The other aspect is that the industrial and technical intelligentsia of the working class will be recruited not only from those who have had higher education, but also from practical workers in our factories, from the skilled workers, from the working-class cultural forces in the mills, factories and mines. The initiators of emulation, the leaders of shock brigades, those who in practice inspire labour enthusiasm, the organisers of operations in the various sectors of our work of construction—such is the new stratum of the working class that, together with the comrades who have had higher education, must form the core of the intelligentsia of the working class, the core of the administrative staff of our industry. The task is to see that these "rank-and-file" comrades who show initiative are not pushed aside, to promote them boldly to responsible positions, to give them the opportunity to display their organising abilities and the opportunity to supplement their knowledge, to create suitable conditions for their work, not stinting money for this purpose.

Among these comrades there are not a few non-Party people. But that should not prevent us from boldly promoting them to leading positions. On the contrary, it is particularly these non-Party comrades who must receive our special attention, who must be promoted to responsible positions so that they may see for themselves that the Party appreciates capable and gifted workers.

Some comrades think that only Party members may be placed in leading positions in the mills and factories. That is the reason why they not infrequently push aside non-Party comrades who possess ability and initiative and put Party members at the top instead, although they may be less capable and show no initiative. Needless to say, there is nothing more stupid and reactionary than such a "policy," if one may call it such. It scarcely needs proof that such a "policy" can only discredit the Party and repel non-Party workers from it. Our policy does not by any means lie in converting the Party into an exclusive caste. Our policy is to ensure that there is an atmosphere of "mutual confidence," of "mutual control" ( Lenin ), among Party and non-Party workers. One of the reasons why our Party is strong among the working class is that it pursues this policy.

Hence, the task is to see to it that the working class of the U.S.S.R. has its own industrial and technical intelligentsia .

That is how matters stand with regard to the fourth new condition of development of our industry. Let us pass to the fifth condition.

V SIGNS OF A CHANGE OF ATTITUDE AMONG THE OLD INDUSTRIAL AND TECHNICAL INTELLIGENTSIA

The question of our attitude towards the old, bourgeois industrial and technical intelligentsia is also presented in a new light.

About two years ago the situation was that the more highly skilled section of the old technical intelligentsia was infected with the disease of wrecking. More than that, at that time wrecking was a sort of fashionable activity. Some engaged in wrecking, others shielded the wreckers, others again washed their hands of what was going on and remained neutral, while still others vacillated between the Soviet regime and the wreckers. Of course, the majority of the old technical intelligentsia continued to work more or less loyally. But we are not speaking here of the majority, but of the most highly skilled section of the technical intelligentsia.

What gave rise to the wrecking movement? What fostered it? The intensification of the class struggle in the U.S.S.R., the Soviet Government’s policy of offensive against the capitalist elements in town and country, the resistance of these elements to the policy of the Soviet Government, the complexity of the international situation and the difficulties of collective-farm and state-farm development. While the activities of the militant section of the wreckers were augmented by the interventionist intrigues of the imperialists in the capitalist countries and by the grain difficulties within our country, the vacillations of the other section of the old technical intelligentsia towards the active wreckers were encouraged by utterances that were in fashion among the Trotskyite-Menshevik windbags to the effect that "nothing will come of the collective farms and state farms anyway," that "the Soviet power is degenerating anyway and is bound to collapse very soon," that "the Bolsheviks by their policy are themselves facilitating intervention," etc., etc. Besides, if even certain old Bolsheviks among the Right deviators could not resist the "epidemic" and swung away from the Party at that time, it is not surprising that a certain section of the old technical intelligentsia who had never had any inkling of Bolshevism should, with the help of God, also vacillate.

Naturally, under such circumstances, the Soviet Government could pursue only one policy towards the old technical intelligentsia—the policy of smashing the active wreckers, differentiating the neutrals and enlisting those who were loyal.

That was a year or two ago.

Can we say that the situation is exactly the same now? No, we cannot. On the contrary, an entirely new situation has arisen. To begin with, there is the fact that we have routed and are successfully overcoming the capitalist elements in town and country. Of course, this cannot evoke joy among the old intelligentsia. Very probably they still express sympathy for their defeated friends. But sympathisers, still less those who are neutral or vacillating, are not in the habit of voluntarily agreeing to share the fate of their more active friends when the latter have suffered severe and irreparable defeat.

Further, we have overcome the grain difficulties, and not only have we overcome them but we are now exporting a larger quantity of grain than has ever been exported since the existence of the Soviet power. Consequently, this "argument" of the vacillators also falls to the ground.

Furthermore, even the blind can now see that as regards the front of collective-farm and state-farm development we have gained a definite victory and achieved tremendous successes.

Consequently, the chief weapon in the "arsenal" of the old intelligentsia has gone by the board. As for the bourgeois intelligentsia’s hopes of intervention, it must be admitted that, for the time being at least, they have proved to be a house built on sand; Indeed, for six years intervention has been promised, but not a single attempt at intervention has been made. The time has come to recognise that our sapient bourgeois intelligentsia has simply been led by the nose. That is apart from the fact that the conduct of the active wreckers at the famous trial in Moscow was bound to discredit, and actually did discredit, the idea of wrecking.

Naturally, these new circumstances could not but influence our old technical intelligentsia. The new situation was bound to give rise, and did actually give rise, to new sentiments among the old technical intelligentsia. This, in fact, explains why there are definite signs of a change of attitude in favour of the Soviet regime on the part of a certain section of this intelligentsia that formerly sympathised with the wreckers. The fact that not only this stratum of the old intelligentsia, but even definite wreckers of yesterday, a considerable number of them, are beginning in many factories and mills to work hand in hand with the working class—this fact shows without a doubt that a change of attitude among the old technical intelligentsia has already begun. This, of course, does not mean that there are no longer any wreckers in the country. No, it does not mean that. Wreckers exist and will continue to exist as long as we have classes and as long as capitalist encirclement exists. But it does mean that, since a large section of the old technical intelligentsia who formerly sympathised, in one way or another, with the wreckers have now made a turn to the side of the Soviet regime, the active wreckers have become few in number, are isolated and will have to go deeply under ground for the time being.

But it follows from this that we must change our policy towards the old technical intelligentsia accordingly. Whereas during the height of the wrecking activities our attitude towards the old technical intelligentsia was mainly expressed by the policy of routing them, now, when these intellectuals are turning to the side of the Soviet regime, our attitude towards them must be expressed mainly by the policy of enlisting them and showing solicitude for them. It would be wrong and un-dialectical to continue our former policy under the new, changed conditions. It would be stupid and unwise to regard practically every expert and engineer of the old school as an undetected criminal and wrecker. We have always regarded and still regard "expert-baiting" as a harmful and disgraceful phenomenon.

Hence, the task is to change our attitude towards the engineers and technicians of the old school, to show them greater attention and solicitude, to enlist their cooperation more boldly.

That is how matters stand with regard to the fifth new condition of development of our industry.

Let us pass to the last condition.

VI BUSINESS ACCOUNTING

The picture would be incomplete if I did not deal with one more new condition. I refer to the sources of capital accumulation for industry, for the national economy; I refer to the need for increasing the rate of accumulation.

What is the new and special feature of the development of our industry from the point of view of accumulation? It is that the old sources of accumulation are already beginning to be inadequate for the further expansion of industry; that it is necessary, therefore, to seek new sources of accumulation and to reinforce the old sources if we really want to maintain and develop the Bolshevik tempo of industrialisation.

We know from the history of the capitalist countries that not a single young state that desired to raise its industry to a higher level was able to dispense with external aid in the form of long-term credits or loans. For this reason the capitalists in the Western countries point-blank refused credits or loans to our country, in the belief that the lack of credits and loans would certainly prevent the industrialisation of our country. But the capitalists were mistaken. They failed to take into account the fact that our country, unlike the capitalist countries, possesses certain special sources of accumulation sufficient to restore and further develop our industry. And indeed, not only have we restored our industry, not only have we restored our agriculture and transport, but we have already managed to set going the tremendous work of reconstructing heavy industry, agriculture and transport. Of course, this work has cost us many thousand million rubles. Where did we get these thousands of millions from? From light industry, from agriculture and from budget accumulations. This is how we managed until recently.

But the situation is entirely different now. Whereas previously the old sources of capital accumulation were sufficient for the reconstruction of industry and transport, now they are obviously becoming inadequate. Now it is not a question of reconstructing our old industries. It is a question of creating new, technically well-equipped industries in the Urals, in Siberia, in Kazakhstan. It is a question of creating new, large scale farming in the grain, livestock and raw material regions of the U.S.S.R. It is a question of creating a new network of railways connecting the East and West of the U.S.S.R. Naturally, the old sources of accumulation cannot suffice for this gigantic task.

But that is not all. To it must be added the fact that owing to inefficient management the principles of business accounting are grossly violated in a large number of our factories and business organisations. It is a fact that a number of enterprises and business organisations have long ceased to keep proper accounts, to calculate, to draw up sound balance-sheets of income and expenditure. It is a fact that in a number of enterprises and business organisations such concepts as "regime of economy," "cutting down unproductive expenditure," "rationalisation of production" have long gone out of fashion. Evidently they assume that the State Bank "will advance the necessary money anyway." It is a fact that production costs in a number of enterprises have recently begun to increase. They were given the assignment of reducing costs by 10 per cent and more, but instead they are increasing them. Yet what does a reduction in the cost of production mean? You know that reducing the cost of production by one per cent means an accumulation in industry of 150,000,000 to 200,000,000 rubles. Obviously, to raise the cost of production under such circumstances means to deprive industry and the entire national economy of hundreds of millions of rubles.

From all this it follows that it is no longer possible to rely solely on light industry, on budget accumulations and on revenue from agriculture. Light industry is a bountiful source of accumulation, and there is every prospect of its continuing to expand; but it is not an unlimited source. Agriculture is a no less bountiful source of accumulation, but now, during the period of its reconstruction, agriculture itself requires financial aid from the state. As for budget accumulations, you know yourselves that they cannot and must not be unlimited. What, then, remains? There remains heavy industry. Consequently, we must see to it that heavy industry —and above all its machine-building section—also provide accumulations. Consequently, while reinforcing and expanding the old sources of accumulation, we must see to it that heavy industry—and above all machine-building—also provide accumulations. That is the way out.

And what is needed for this? We must put an end to inefficiency, mobilise the internal resources of industry, introduce and reinforce business accounting in all our enterprises, systematically reduce production costs and increase internal accumulations in every branch of industry without exception.

That is the way out.

Hence, the task is to introduce and reinforce business accounting, to increase accumulation within industry.

VII NEW METHODS OF WORK, NEW METHODS OF MANAGEMENT

Such, comrades, are the new conditions of development of our industry.

The significance of these new conditions is that they are creating a new situation for industry, one which demands new methods of work and new methods of management.

a) It follows, therefore, that we can no longer count, as of old, on an automatic influx of manpower. In order to secure manpower for our industries it must be recruited in an organised manner, and labour must be mechanised. To believe that we can do without mechanisation, in view of our tempo of work and scale of production, is like believing that the sea can be emptied with a spoon.

b) It follows, further, that we cannot any longer tolerate the fluidity of manpower in industry. In order to do away with this evil, we must organise wages in a new way and see to it that the composition of the labour force in the factories is more or less constant.

c) It follows, further, that we cannot any longer tolerate lack of personal responsibility in industry. In order to do away with this evil, work must be organised in a new way, and the forces must be so distributed that every group of workers is responsible for its work, for the machinery, and for the quality of the work.

d) It follows, further, that we can no longer manage, as of old, with the very small force of old engineers and technicians that we inherited from bourgeois Russia. In order to increase the present rate and scale of production, we must ensure that the working class has its own industrial and technical intelligentsia.

e) It follows, further, that we can no longer, as of old, lump together all the experts, engineers and technicians of the old school. In order to take into account the changed situation we must change our policy and display the utmost solicitude for those experts, engineers and technicians of the old school who are definitely turning to the side of the working class.

f) It follows, lastly, that we can no longer, as of old, manage with the old sources of accumulation. In order to ensure the further expansion of industry and agriculture we must tap new sources of accumulation; we must put an end to inefficiency, introduce business accounting, reduce production costs and increase accumulation within industry.

Such are the new conditions of development of industry, which demand new methods of work and new methods of management in economic construction.

What is needed in order to ensure management along new lines?

First of all, our economic executives must understand the new situation; they must study concretely the new conditions of development of industry and reform their methods of work to meet the requirements of the new situation.

Further, our economic executives must direct their enterprises not "in general," not "in the abstract," but concretely, specifically; they must approach every question not from the standpoint of general phrases, but in a strictly business-like manner; they must not confine themselves to formal written instructions or general phrases and slogans, but study the technique of the business and enter into details, into "trifles," for it is out of "trifles" that great things are now being built.

Further, our present unwieldy combines, which sometimes consist of as many as 100 to 200 enterprises, must each be immediately split up into several combines. Obviously, the chairman of a combine who has to deal with a hundred or more factories cannot really know those factories, their potentialities and their work. Obviously, if he does not know those factories he is not in a position to direct them. Hence, to enable the chairman of a combine to study the factories thoroughly, and direct them, he must be relieved of some of the factories; the combine must be split up into several smaller ones, and the combine headquarters must be brought into closer contact with the factories.

Further, our combines must substitute one-man management for board management. The position at present is that there are from 10 to 15 persons on the board of a combine, drawing up documents and carrying on discussions. We cannot go on managing in this way, comrades. We must put a stop to paper "management" and switch to genuine, business like, Bolshevik work. Let one chairman and several vice-chairmen remain at the head of a combine. That will be quite enough for its management. The other members of the board should be sent to the factories and mills. That will be far more useful, both for the work and for themselves.

Further, the chairmen and vice-chairmen of combines must pay more frequent visits to the factories, stay and work there for longer periods, acquaint themselves more closely with the personnel in the factories and not only teach the local people, but also learn from them. To think that you can now direct by sitting in an office, far away from the factories, is a delusion. In order to direct the factories you must come into more frequent contact with the staffs in those factories, maintain live contact with them.

Finally, a word or two about our production plan for 1931. There are certain near-Party philistines who assert that our production programme is unrealistic, that it cannot be fulfilled. They are somewhat like Shched-rin’s "sapient gudgeons" who are always ready to spread "a vacuum of ineptitude" around themselves. Is our production programme realistic or not? Most certainly, it is. It is realistic if only because all the conditions necessary for its fulfilment are available. It is realistic if only because its fulfilment now depends solely on ourselves, on our ability and willingness to take advantage of the vast opportunities at our disposal. How else can we explain the fact that a whole number of enterprises and industries have already overfulfilled their plans? That means that other enterprises and industries, too, can fulfil and overfulfil their plans.

It would be foolish to think that the production plan is a mere enumeration of figures and assignments. Actually, the production plan is the living and practical activity of millions of people. The reality of our production plan lies in the millions of working people who are creating a new life. The reality of our programme lies in living people, you and I, our will to work, our readiness to work in the new way, our determination to fulfil the plan. Have we that determination? Yes, we have. Well then, our production programme can and must be fulfilled. (Prolonged applause.)

Pravda, No. 183, July 5, 1931

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