Definition of Antithesis

Antithesis is a literary device that refers to the juxtaposition of two opposing elements through the parallel grammatical structure. The word antithesis, meaning absolute opposite, is derived from Greek for “ setting opposite,” indicating when something or someone is in direct contrast or the obverse of another thing or person.

Antithesis is an effective literary and rhetorical device , as it pairs exact opposite or contrasting ideas by utilizing the parallel grammatical structure. This helps readers and audience members define concepts through contrast and develop an understanding of something through defining its opposite. In addition, through the use of parallelism , antithesis establishes a repetitive structure that makes for rhythmic writing and lyrical speech.

For example, Alexander Pope states in  An Essay on Criticism , “ To err is human ; to forgive divine.” Pope’s use of antithesis reflects the impact of this figure of speech in writing, as it creates a clear, memorable, and lyrical effect for the reader. In addition, Pope sets human error in contrast to divine forgiveness, allowing readers to understand that it is natural for people to make mistakes, and therefore worthy for others to absolve them when they do.

Examples of Antithesis in Everyday Speech

Antithesis is often used in everyday speech as a means of conveying opposing ideas in a concise and expressive way. Since antithesis is intended to be a figure of speech, such statements are not meant to be understood in a literal manner. Here are some examples of antithesis used in everyday speech:

  • Go big or go home.
  • Spicy food is heaven on the tongue but hell in the tummy.
  • Those who can, do; those who can’t do, teach.
  • Get busy living or get busy dying.
  • Speech is silver but silence is gold.
  • No pain, no gain.
  • It’s not a show, friends; it’s show business.
  • No guts, no glory.
  • A moment on the lips; a lifetime on the hips.
  • If you fail to plan, then you plan to fail.

Common Examples of Antithesis from Famous Speeches

Antithesis can be an effective rhetorical device in terms of calling attention to drastic differences between opposing ideas and concepts. By highlighting the contrast side-by-side with the exact same structure, the speaker is able to impact an audience in a memorable and significant way. Here are some common examples of antithesis from famous speeches:

  • “I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character .” (Martin Luther King, Jr. “I Have a Dream”)
  • “The world will little note, nor long remember what we say here, but it can never forget what they did here.” (Abraham Lincoln “The Gettysburg Address”)
  • “‘Some men see things as they are and say why. I dream things that never were and say why not.'” (Edward Kennedy quoting Robert F. Kennedy during eulogy )
  • “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”)
  • “You see, for any champion to succeed, he must have a team — a very incredible, special team; people that he can depend on, count on, and rely upon through everything — the highs and lows, the wins and losses, the victories and failures, and even the joys and heartaches that happen both on and off the court.” (Michael Chang “ Induction Speech for Tennis Hall of Fame”)

Examples of Proverbs Featuring Antithesis

Proverbs are simple and often traditional sayings that express insight into truths that are perceived, based on common sense or experience. These sayings are typically intended to be metaphorical and therefore rely on figures of speech such as antithesis. Proverbs that utilize antithetical parallelism feature an antithesis to bring together opposing ideas in defined contrast. Therefore, antithesis is effective as a literary device in proverbs by allowing the reader to consider one idea and then it’s opposite. It also makes for lyrical and easily remembered sayings.

Here are some examples of proverbs featuring antithesis:

  • Cleanliness is next to godliness.
  • Beggars can’t be choosers.
  • Easy come, easy go.
  • Hope for the best; prepare for the worst.
  • Keep your friends close; keep your enemies closer.
  • Like father, like son.
  • Where there’s smoke, there’s fire.
  • An ounce of protection is worth a pound of cure.
  • Be slow in choosing, but slower in changing.
  • Give them an inch and they’ll take a mile.
  • If you can’t beat them, join them.
  • Keep your mouth closed and your eyes open.
  • One man’s junk is another man’s treasure.
  • Out of sight, out of mind.
  • Where there’s a will, there’s a way.

Utilizing Antithesis in Writing

As a literary device, antithesis allows authors to add contrast to their writing. This is effective in terms of comparing two contrasting ideas, such as a character’s conflicting emotions or a setting’s opposing elements. In literature, antithesis doesn’t require a pairing of exact opposites, but rather concepts that are different and distinct. In addition, since antithesis creates a lyrical quality to writing through parallel structure , the rhythm of phrasing and wording should be as similar as possible. Like most literary and rhetorical devices, overuse of antithesis will create confusion or invoke boredom in a reader as well as make the writing seem forced.

Antithesis and Parallelism

Both terms demonstrate a fundamental difference. An antithesis comprises two contradictory ideas and parallelism does not necessarily comprise opposite ideas or persons. It could have more than two ideas or persons. As the name suggests that parallelism is a condition where is an antithesis is an opposition. For example, man proposes, God disposes, has two contradictory ideas. However, it is also a parallel sentence . Furthermore, parallelism occurs mostly in structure and less in ideas. Even similar ideas could occur in parallelism, while an antithesis has only dissimilar ideas.

Antithesis and Juxtaposition

As far as juxtaposition is concerned, it means placing two ideas together that are dissimilar. They need not be opposite to each other. In the case of antithesis, they must be opposite to each other as in the case of man proposes, God disposes. Not only these two ideas are dissimilar, but also they are opposite. In the case of juxtaposition, a poet only puts two ideas together and they are not opposed to each other.

Use of Antithesis in Sentences  

  • As soon he dies, he becomes a dead living.
  • Most people do not understand the value of money when the poor put money ahead of them.
  • Some people make money, while some waste it.
  • Although they have gone leaps ahead, they have also stepped back just in the nick of time.
  • The public comes forward when there is prosperity and moves back when there is adversity.

Examples of Antithesis in Literature

Antithesis is an effective literary device and figure of speech in which a writer intentionally juxtaposes two contrasting ideas or entities. Antithesis is typically achieved through parallel structure, in which opposing concepts or elements are paired in adjacent phrases , clauses , or sentences. This draws the reader’s attention to the significance or importance of the agents being contrasted, thereby adding a memorable and meaningful quality to the literary work.

Here are some examples of antithesis in well-known works of literature:

Example 1:  Hamlet (William Shakespeare)

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

In Shakespeare’s well-known play , he utilizes antithesis as a literary device for Polonius to deliver fatherly advice to his son before Laertes leaves for France. In these lines, Polonius pairs contrasting ideas such as listening and speaking using parallel structure. This adds a lyrical element to the wording, in addition to having a memorable and foreboding impact on the characters and audience members with the meaning of each line.

Despite the attempt by Polonius to impart logical thinking, measured response, and wise counsel to his son through antithesis, Laertes becomes so fixated on avenging his father’s death that his actions are impulsive and imprudent. Polonius’s antithetical words are not heeded by his son, resulting in the death of several characters including Hamlet and Laertes himself.

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.

In Milton’s epic poem , he explores the Fall of Satan as well as the temptation and subsequent Fall of Man. This passage is spoken by Satan after he has been condemned to Hell by God for attempting to assume power and authority in Heaven. Satan is unrepentant of his actions, and wants to persuade his followers that Hell is preferable to Heaven.

Satan utilizes antithesis in the last line of this passage to encourage his rebellious followers to understand that, in Hell, they are free and rule their own destiny. In this line, Milton contrasts not just the ideas of Hell and Heaven, but also of reign and servitude as concepts applied to the angels , respectively. Pairing these opposites by using this literary device has two effects for the reader. First, Satan’s claim foreshadows his ability to use his words describing independence to tempt Eve, resulting in her and Adam’s expulsion from the Garden of Eden. Second, this antithesis invites the reader to consider Satan’s thought-process and experience to gain a deeper understanding of his motives in the poem.

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.

In his poem, Frost utilizes antithesis to contrast fire and ice as elements with devastating and catastrophic potential to end the world. Frost effectively demonstrates the equal powers for the destruction of these elements, despite showcasing them as opposing forces. In this case, the poet’s antithesis has a literal as well as figurative interpretation. As the poem indicates, the world could literally end in the fire as well as ice. However, fire and ice are contrasting symbols in the poem as well. Fire represents “desire,” most likely in the form of greed, the corruption of power, domination, and control. Conversely, ice represents “hate” in the form of prejudice, oppression, neglect, and isolation.

The presence of antithesis in the poem is effective for readers in that it evokes contrasting and powerful imagery of fire and ice as opposing yet physically destructive forces. In addition, the human characteristics associated with fire and ice, and what they represent as psychologically and socially destructive symbols, impact the reader in a powerful and memorable way as well. Antithesis elevates for the reader the understanding that the source of the end of the world may not be natural causes but rather human action or behavior; and that the end of the world may not be simply the destruction of the earth, but rather the destruction of humankind.

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.

These three examples from the address of Abraham Lincoln show the use of contradictory ideas put together in one sentence. They show how he mentions living and dead putting them side by side. This antithesis has helped Lincoln as well as America to come out of the ravages of the Civil War.

Function of Antithesis

An antithesis helps make an idea distinct and prominent when it contradicts another idea in the first part of the argument . This contrastive feature helps make readers make their argument solid, cogent, and eloquent. Sentences comprising anthesis also become easy to remember, quote, and recall when required. When an antithesis occurs in a text, it creates an argumentative atmosphere where a dialectic could take place and helps writers and speakers hook their audience easily with antithetical statements.

Synonyms of Antithesis

Antithesis has no exact synonyms but several words come closer in meanings such as opposite, reverse, converse, reversal, inverse, extreme, another side of the coin, or flip side or contrast.

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antithesis is the opposite of

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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Synonyms of antithesis

  • as in opposite
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Thesaurus Definition of antithesis

Synonyms & Similar Words

  • counterpoint
  • mirror image

Antonyms & Near Antonyms

  • counterpart
  • carbon copy

Thesaurus Entries Near antithesis

antithetical

Cite this Entry

“Antithesis.” Merriam-Webster.com Thesaurus , Merriam-Webster, https://www.merriam-webster.com/thesaurus/antithesis. Accessed 10 Apr. 2024.

More from Merriam-Webster on antithesis

Nglish: Translation of antithesis for Spanish Speakers

Britannica English: Translation of antithesis for Arabic Speakers

Britannica.com: Encyclopedia article about antithesis

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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

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Meaning of antithesis in English

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  • antithetical
  • anything but idiom
  • diametrical
  • dichotomist
  • dichotomous
  • or otherwise idiom
  • poles apart idiom

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ESL Grammar

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 The Art of Contrasting Ideas

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.

Related Posts:

Ironic Irony Understanding the Art of Contradiction

What is Antithesis? Definition, Usage, and Literary Examples

Antithesis definition.

Antithesis  (ann-TIH-thuh-suhs), put simply, means the absolute opposite of something. As a literary term, it refers to the juxtaposition of two opposing entities in parallel structure. Antithesis is an effective literary device because humans tend to define through contrast. Therefore, antithesis can help readers understand something by defining its opposite.

Antithesis  comes from the Latin word, via Greek, for “to place against.” It was first used in English in the 1520s as rhetorical term, but the concept goes back at least as far as Aristotle, who believed an argument could be strengthened by illustrating it with contrast.

Examples of Antithesis

  • “Spicy food is heaven on the tongue but hell in the tummy.” The concepts of heaven and hell are opposites—the former being very pleasant and ideal, the latter being highly undesirable. This antithetical statement is using these concepts to convey that spicy food is delicious, but it can lead to an unfortunate digestive reaction.
  • “I’m either an impressive vegetarian or a disappointing vegan.” On the scale between vegetarianism and the stricter veganism, the speaker’s current diet lies somewhere in the middle. So, while a vegetarian might applaud their efforts, a vegan might berate them for being so lax.
  • “Psychiatrists write prescriptions, therapists prescribe writing.” This example includes a humorous inversion to explain the difference between psychiatrists and therapists. The former prescribes medicine to address mental issues on a biological level, while the latter might suggest a more psychologically focused approach, like journaling, as a way of easing mental stress.

Antithesis vs. Other Comparative Terms

There are several literary terms that, like antithesis, make comparisons between two things or concepts that are opposites or contrast in some way. Three such terms are  dichotomy ,  oxymoron , and foil.

Dichotomy is a division between two entities, whereas antithesis pits two opposing entities against each other. For example, the colors black and white are considered opposites, but they are not in opposition; they can’t be in conflict nor do they cancel each other out. The concepts of war and peace, on the other hand, are at odds and can’t be reconciled.

An oxymoron is a contradiction in terms, but unlike antithesis, these terms are working together. The basic oxymoron construction is a word + an antonymic modifier, and the two essentially function as a single unit. For example, calling something a “minor crisis” is an oxymoron because  minor  implies something insignificant, while  crisis  means it requires immediate attention. Based on this, an oxymoron can’t be a component of antithesis because the point of the latter is to pit two things against each other.

Where antithesis is a verbal or written opposition, a foil is a literary opposition, usually embodied by a character in a narrative. For example, Draco Malfoy can be considered Harry Potter’s foil in the  Harry Potter  series because where Harry is honorable and loyal, Draco is somewhat corrupt and unfaithful.

Antithesis Outside of Literature

A common theme in American popular music is the difference between the middle and lower classes. In “Men of Good Fortune” by Lou Reed, the singer describes all the things rich men can do that poor men cannot:

Men of good fortune
Often cause empires to fall
While men of poor beginnings
Often can’t do anything at all

Antithesis is common in political speeches, particularly when it comes to the underrepresented pushing for equitable policies. In Malcolm X’s famous “ Ballot or the Bullet ”  speech, he discusses how America was built by Black and indigenous people for white people’s benefit, saying, “We didn’t land on Plymouth Rock; the rock was landed on us.”

Examples of Antithesis in Literature

1. Charles Dickens,  A Tale of Two Cities

This classic tale of love and sacrifice features the French Revolution as its backdrop. In this tumultuous era, where the differences between the haves and the have-nots was at its starkest, Dickens illustrates the antithetical concepts that existed simultaneously:

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 […]

2. William Shakespeare,  The Merchant of Venice

At the beginning of this romantic comedy, chatty lout Gratiano wants to understand why his friend Antonio is so down—and why anyone would ever be down at all:

And let my liver rather heat with wine
Than my heart cool with mortifying groans.

Gratiano is implying that he’d rather experience life through a chemically altered (and therefore unreliable) lens than face any ordeals, even though they would be truer to reality.

3. John Milton,  Paradise Lost

Milton’s epic poem explores many facets of the Christian bible and belief systems—including the concept of free will. When Lucifer, once one of God’s brightest angels, is cast into Hell, he says, “Better to reign in Hell than serve in Heaven.” This leads the reader to question whether anyone is truly free, though ultimately the Bible’s core argument is that willingly giving over control to God is what will leads to a happy life.

Further Resources on Antithesis

MasterClass’s  How to Use Antithesis in Your Writing  course is a concise guide on the mechanics of antithesis and when to use it.

This excerpt from  Hegel for Beginners  by Lloyd Spencer is a handy introduction to antithesis as a component of dialectics (a system for pursuing truth by way of logical argument).

Related Terms

  • Juxtaposition

antithesis is the opposite of

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noun as in exact opposite

Strong matches

  • contradictory

Weak matches

noun as in contrast, opposition

  • contradiction
  • contradistinction
  • contrariety
  • contraposition

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Related words.

Words related to antithesis are not direct synonyms, but are associated with the word antithesis . Browse related words to learn more about word associations.

noun as in causing problem; opposition

  • competition
  • disagreement
  • incongruity

noun as in opposite

noun as in equilibrium

  • correspondence
  • counterbalance
  • equivalence
  • even-steven

noun as in opposition

  • contrariness
  • oppositeness

Viewing 5 / 26 related words

Example Sentences

In the Democratic primary in his home state, he was humiliated by his old antithesis Wallace, who beat him decisively.

It cannot be stressed enough that the behavior of the sitting president is the antithesis of the ideals of American democracy, institutions or peaceful transitions.

American Christians may have chosen cynicism in 2016, but cynicism is the antithesis of the Christian faith, and cynicism won’t have the final word in America, either.

The transhuman cannot exist outside of ubuntu, of course, which is the antithesis of the colonial order for a number of reasons.

Tesla’s being touted as a go-go player in the antithesis of a go-go sector.

Belle Knox is the antithesis of Jenna Jameson—and not just in looks.

To me this is the antithesis of what travel should be about.

Married at First Sight is the antithesis of The Bachelor and The Bachelorette.

Yet its sound is the musical antithesis of a blended Frappuccino.

Now Joffrey, the Starks' black-hearted antithesis, has met a similar fate.

If you did fail, you would try Exclusion, and you would find nothing which is the antithesis of the area of New York.

Thus seen, socialism appeared as the very antithesis of law and order, of love and chastity, and of religion itself.

There is, however, but little danger of overdoing the parallel construction where there is no antithesis.

Nor is it to be wondered at, if we consider the antithesis which is presented to their usual mode of life.

He is a sentimental Classicist, and his subjects the antithesis of the Grco-Roman ideal to which he does homage in his technique.

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On this page you'll find 50 synonyms, antonyms, and words related to antithesis, such as: antipode, contra, contradictory, contrary, contrast, and converse.

From Roget's 21st Century Thesaurus, Third Edition Copyright © 2013 by the Philip Lief Group.

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Definition of antithesis noun from the Oxford Advanced Learner's Dictionary

  • Love is the antithesis of selfishness.
  • Students finishing their education at 16 is the very antithesis of what society needs.
  • The current establishment is the antithesis of democracy.
  • antithesis between
  • antithesis of

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  • There is an antithesis between the needs of the state and the needs of the people.
  • the sharp antithesis between their views

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antithesis is the opposite of

It was the best of literary devices ; it was the worst of literary devices.

Well, antithesis isn’t actually the worst. Antithesis means “opposite.” It is a powerful rhetorical device, but it can be difficult to understand and even harder to spot in writing.

Fear antithesis no more! Today we’re breaking down everything you need to know about this literary device, including what it is, how it’s used, and where you can find examples of it.

Antithesis Definition

Antithesis is a literary device, but it’s also a word used in contexts outside of literature. Before we understand how it’s used in literature and rhetoric, we need to understand its dictionary definition.

Merriam-Webster defines antithesis as “the direct opposite.” What does this mean in a real-life setting?

Antithesis definition

Let’s say you meet someone on a dating app who is the exact opposite of everything you want in a partner. You might say they are “the antithesis of who I thought I’d end up with.”

Antithesis comes from the Greek word antitithenai , which means “to oppose.” The root tithenai means “to set or put,” while anti originally meant “against.”

The meaning of antithesis as a literary term is more nuanced and specific, however. It’s more than a matter of two things that are exact opposites. Let’s take a look at what antithesis means in terms of literature and rhetoric.

Antithesis Definition in Literature and Poetry

As a literary device, antithesis is two contrasting ideas juxtaposed against each other using parallel sentence structure. We’ll talk more about what parallel structure is in a later section.

The contrasting ideas in antithesis do not need to be the exact opposite of one another, but they do need to be dissimilar enough to show opposition. Here’s an example from Shakespeare’s Hamlet to illustrate this idea.

“Give every man thine ear, but few thy voice.”

The exact opposite of “every” is not “few,” and the direct opposite of “ear” is not “voice,” but they contrast enough to be antithetical.

Antithesis Meaning

Antithesis meaning

Antithesis has several purposes as a rhetorical device. Placing two contrasting concepts together helps the audience define and comprehend complex ideas.

The contrast, as well as the parallel structure, often creates a rhythmic statement that sticks in a reader’s mind. This helps draw emphasis to important ideas.

Let’s look at this figure of speech: “Go big or go home.”

“Big” and “home” aren’t direct opposites. But the antithesis helps us understand that the opposite of doing something big is just sitting at home. Plus, it’s a catchy phrase, so it sticks with us.

Antithesis and Parallel Structure

It’s impossible to fully understand antithesis without understanding parallel structure, which is sometimes called parallelism .

Parallel structure is the repetition of a grammatical structure in a phrase. It’s used with many different types of literary devices, such as anaphora and epistrophe.

Parallelism isn’t necessarily repeating words. Instead, you are repeating a structure. This might mean word forms, like infinitives or gerunds , or patterns of words.

Here’s a common proverb that illustrates the parallel structure of antithesis: “Where there’s a will, there’s a way.”

The parallelism is the pattern of “there’s a [blank].” The opposing ideas are “will” and “way.” One is something you desire, the other is how it happens. Together, this forms an example of antithesis.

Examples of Antithesis

You have probably encountered antithesis regularly without even knowing it! Many clichés , proverbs, and figures of speech are examples of antithesis.

Antithesis is a powerful tool in writing, but beware of overused examples. Clichés, like some of the examples below, can make your writing feel contrived and dull. Use ProWritingAid’s Clichés Report to find overdone antitheses.

ProWritingAid detecting an instance of antithesis as a cliché

Here are some everyday examples of antithesis.

  • Where there’s smoke, there’s fire.
  • Like father, like son.
  • Out of sight, out of mind.
  • Easy come, easy go.
  • Beggars can’t be choosers.

Antithesis isn’t just for proverbs and clichés, however. Many great writers and speakers use antithesis.

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Antithesis Examples in Literature

Antithesis is often used in literature, and there are many excellent examples of it. Let’s look at a few of the most famous antithesis quotes from prose, plays, and poetry.

“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 through in Hell:/Better to reign in Hell, than serve in Heaven.”—John Milton, Paradise Lost

Milton uses several examples of parallelism in this quote, and the last line uses that repetitive structure to create antithesis.

Here’s another great example. How many examples of antitheses can you spot in this quote?

“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 Life, 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.”—Charles Dickens, A Tale of Two Cities

Antithesis in a tale of two cities

The opening line of this novel has seven examples of antithesis!

Shakespeare’s most famous soliloquy also features antithesis.

“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.”—William Shakespeare, Hamlet

The opening line of this soliloquy is an example of antithesis. He also uses contrasting ideas in the next lines, where he pits suffering in fortune against fighting his suffering.

Antithesis Examples in History

Throughout history, many famous people have used antithesis. Let’s check out a few examples.

“The world will little note, nor long remember what we say here, but it can never forget what they did here.”—Abraham Lincoln, The Gettysburg Address, 1863

Lincoln uses two antithesis back to back in his speech after the Battle of Gettysburg. First, he contrasts the idea of “little note” with “long remember.” Then he contrasts “what we say” with “what they did.”

“We must learn to live together as brothers or perish together as fools.”—Martin Luther King, Jr., St. Louis, 1964

Dr. King also uses two examples of antithesis in this quote from his speech in St. Louis, Missouri. He contrasts living with perishing, and brothers with fools.

“Float like a butterfly, sting like a bee.”—Muhammed Ali, 1964

Antithesis for Muhammad Ali

The world-famous boxer Muhammed Ali used this antithesis to describe his fighting style. Floating like a butterfly and stinging like a bee are very different, yet it’s how he became a world champion!

Conclusion: Antithesis Is the Literary Term for Opposite

In short, antithesis is the idea of contrasting two opposing ideas, whether as words or phrases, with a parallel structure in writing. It’s a powerful literary device when done well, and can explain and emphasize complicated concepts in a lyrical way.

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Whether you are writing a novel, essay, article, or email, good writing is an essential part of communicating your ideas., this guide contains the 20 most important writing tips and techniques from a wide range of professional writers., common questions about antithesis, no articles found, learn more about techniques:, your personal writing coach.

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opposition; contrast: the antithesis of right and wrong.

the direct opposite (usually followed by of or to ): Her behavior was the very antithesis of cowardly.

the placing of a sentence or one of its parts against another to which it is opposed to form a balanced contrast of ideas, as in “Give me liberty or give me death.”

the second sentence or part thus set in opposition, as “or give me death.”

Philosophy . See under Hegelian dialectic .

Origin of antithesis

Other words for antithesis, other words from antithesis.

  • self-an·tith·e·sis, noun

Words that may be confused with antithesis

  • antithesis , synthesis , thesis

Words Nearby antithesis

  • antisway bar
  • antisymmetric
  • antiterrorist
  • antithetical
  • antithrombin
  • antithrombotic
  • antitorque rotor

Dictionary.com Unabridged Based on the Random House Unabridged Dictionary, © Random House, Inc. 2024

How to use antithesis in a sentence

In the Democratic primary in his home state, he was humiliated by his old antithesis Wallace, who beat him decisively.

It cannot be stressed enough that the behavior of the sitting president is the antithesis of the ideals of American democracy, institutions or peaceful transitions.

American Christians may have chosen cynicism in 2016, but cynicism is the antithesis of the Christian faith, and cynicism won’t have the final word in America, either.

The transhuman cannot exist outside of ubuntu, of course, which is the antithesis of the colonial order for a number of reasons.

Tesla’s being touted as a go-go player in the antithesis of a go-go sector.

Belle Knox is the antithesis of Jenna Jameson—and not just in looks.

To me this is the antithesis of what travel should be about.

Married at First Sight is the antithesis of The Bachelor and The Bachelorette.

Yet its sound is the musical antithesis of a blended Frappuccino.

Now Joffrey, the Starks' black-hearted antithesis , has met a similar fate.

If you did fail, you would try Exclusion, and you would find nothing which is the antithesis of the area of New York.

Thus seen, socialism appeared as the very antithesis of law and order, of love and chastity, and of religion itself.

There is, however, but little danger of overdoing the parallel construction where there is no antithesis .

Nor is it to be wondered at, if we consider the antithesis which is presented to their usual mode of life.

He is a sentimental Classicist, and his subjects the antithesis of the Grco-Roman ideal to which he does homage in his technique.

British Dictionary definitions for antithesis

/ ( ænˈtɪθɪsɪs ) /

the exact opposite

contrast or opposition

rhetoric the juxtaposition of contrasting ideas, phrases, or words so as to produce an effect of balance, such as my words fly up, my thoughts remain below

philosophy the second stage in the Hegelian dialectic contradicting the thesis before resolution by the synthesis

Collins English Dictionary - Complete & Unabridged 2012 Digital Edition © William Collins Sons & Co. Ltd. 1979, 1986 © HarperCollins Publishers 1998, 2000, 2003, 2005, 2006, 2007, 2009, 2012

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Meet the Cast Making a Splash on Grand Cayman: Secrets in Paradise (Exclusive)

The new reality series 'Grand Cayman: Secrets in Paradise' airs Tuesdays on Freeform and streams on Hulu

Disney/Jeff Daly

Drama hits different on the island. 

On the new Freeform reality series Grand Cayman: Secrets in Paradise , the sunny beaches of the Caribbean hotspot serve as the backdrop for high stakes and confrontation. That, and lively parties, of course. 

The cast of locals and expats, including Elizabeth Chambers and Selita Ebanks, welcomed PEOPLE to the scenic island ahead of the April 9 premiere, teasing exactly what juicy secrets come to light in this paradise during season 1. 

Read on for what to know about the stars of Grand Cayman: Secrets in Paradise , which airs new episodes Tuesdays at 9:30 p.m. ET on Freeform and streams the next day on Hulu.

Elizabeth Chambers

Chambers , 41, takes her BIRD Bakery international while on the show, opening a location on the island in collaboration with the restaurant Mykonos Steak Club. Her history with ex-husband Armie Hammer and his scandals , though, becomes a point of contention with her costars .

With a journalism background, Chambers admits of joining the reality series, "This is absolutely the antithesis of everything I've ever done, professionally speaking."

Still, she says she's "grateful" for the opportunity and for establishing a home for her family (including daughter Harper, 9, and son Ford, 7) on Grand Cayman. "Maybe this is something I never anticipated doing, but why not?"

How will she shake things up on the show? "What you see is exactly what you get," says Chambers, who confesses to having "no filter" on the show. "I always have a point of view."

Selita Ebanks

A former Victoria’s Secret Angel, Ebanks leans back into her Caymanian roots on the show and wears multiple hats in her career. There’s modeling, fashion show–planning, sommelier training and more avenues filling her busy schedule. Still, she finds time to let loose with her costars. 

Ebanks, whose famous exes include Nick Cannon and Kanye West , jokes she "wasn't prepared for the tequila intake" filming with the cast.

"I tried really hard not to be Mama Selita," says Ebanks, 41, "because I didn't want to be Debbie Downer. I wanted everybody to have a good time — just responsibly."

Before signing on, the supermodel says she was "going through a lot of insecurities about being on the show." She was "nitpicking" herself, says Ebanks, until she was able to "accept and love myself enough" to participate.

Courtney McTaggart

McTaggart , 34, was born and raised on the island, and she "developed a thick skin" because of the "small-town" feel. Therefore, she won’t back down from a fight, especially when her name is brought into a narrative she wants no part in.

The star, who denies those Armie Hammer rumors brought up on the show, describes herself as being "very up-front."

"It's actually not because I like drama, it's the opposite. I don't like it," she says. "But I'm also very to-the-point. If there's an elephant in the room, the best thing to do in such a small place like Cayman is to discuss it, to have a mature conversation."

Adds McTaggart, "I've never had a problem with being that person. Sometimes there's good results and sometimes there's bad ones." Still, "at least there's honesty," she says.

Chelsea Flynn

Mom-of-three Flynn learned a lot about herself while filming season 1, which starts with her trying to make a relationship work as she defends her boyfriend, Tyson, to her friends and mother.

"I discovered that I'm more resilient than I thought,” says Flynn, who's originally from the U.K. "I was able to show up every day despite what was going on behind the scenes as well as on the scenes, and I'm really proud of that." (More on that as the season unravels.)

As for other drama on camera, Flynn says there's "nothing worse than being lukewarm." She adds, "Don't sit on the fence. Say how you feel, and act accordingly."

Cass Lacelle

Now the owner of a marketing agency, Lacelle , 32, grew up in Vancouver, Canada, and later lived in Australia and New Zealand — before moving to the wealthy Grand Cayman with barely $100 to her name.

"I stayed on a couch almost a full month until I started earning some money," she recalls. "I eventually started saving up money, and now here I am. It was crazy."

Lacelle, who says the cast consists of "big personalities," admits, "I actually love the drama — but hate being in it."

Craig Jervis

Nicknamed Craigyboo, Jervis is the life of the party on the island, and happily so. But what does the 32 year old, who has both Jamaican and Caymanian roots, do to unwind when he needs? "Phone on do-not-disturb," he says.

Once he's recharged, though, it's back to living it up on an "epic" scale, drama and all.

"You put together personalities like this friend group and [drama] is inevitable. As a matter of fact, I would suggest that we have cameras 24/7, 365. That would be some great content."

Aaron Bernardo

Bernardo , who moved to Cayman in 1991, turns 40 later this year, and he says "one hell of a party" will happen to celebrate the milestone. What's the secret to Bernardo (who is also dad to two kids, 19 and 13) maintaining his youthful outlook?

"Moisturize and a good life, bro," he says with a laugh. "I try not to stress, man. I'm just easygoing. Whatever happens, if it's gonna be, it's gonna be. I sleep good at night no matter what."

About his newfound reality TV stardom, the tattooed entrepreneur says, "I was born for this. It just came naturally."

Julian Foster

Foster , 33, was born and raised in the Cayman Islands, where he got his start in marketing at the family-run local supermarket chain, Foster's. Now, he co-owns Heights The Agency.

On the show, he says he "leaned very much into" his "authentic self," all while balancing conflicts between friends.

"I didn't think I'd ever be prepared to watch myself on camera," says Foster. But, after the experience, "I think you just kind of have a new appreciation for who you are."

Victoria Coleman

Coleman moved to Grand Cayman in 2017 after growing up in Ontario, Canada, seeking a life change after earning a nursing degree. "Everything is so close-knit here," she says of the island and its "zen" lifestyle. "Everyone knows each other and hears all the stories."

Over the course of filming, she says she "learned to let go and just be myself."

Today, the star, 30, is married to costar Trevor, though this season showcases the ups and downs of the couple's engagement before their nuptials. "Our love and willingness to fight for each other" helped them keep their bond strong, she says.

Trevor Coleman

"The grapevine is very strong on this island," says Coleman , 34. Originally from Southern California, he moved to Grand Cayman to be closer to his parents. (His mom appears on the show.)

Coleman is now married to costar Victoria, with whom he's launching the activewear company VIVE Collection alongside her designer sister.

He says the unique experience of starring on a reality show inspired him to work on himself. "It was a very eye-opening and positive experience," he says, "but going through it was tough, to be honest."

"You're literally holding a mirror up to yourself; it's just a mirror that everyone else is looking through too," says Coleman. "I saw parts of me that I liked and other parts of me that I decided I needed to work on."

Connor Bunney

A DJ who goes by the stage name Decades of Perfume , Bunney, 31, is single but says finding romance on the island can be complicated.

"It's so hard here," says the artist, who grew up in Essex, England, before making the move to Caymn in 2018. "Who doesn't want to find romance? Who doesn't want to be loved and love? [But] the dating pool is very small, and that has it's natural issues."

Bunney says "we're all being ourselves" on the series, and "you can never regret being yourself" in the moment.

Teri Bilewitch

Bilewitch made the leap from Canada to Cayman in 2006, and soon enough, the star, who has held jobs as a waitress and high school teacher, eventually became a recognizable voice on the island as a radio personality on Z99 Grand Cayman.

Here on this reality show, she's alongside husband Dillon. Their marriage was "solid going in and solid coming out," she says.

"If things had been rocky, there's no way we would've ever done a show like this," says Bilewitch. "Because you know that they're gonna put your relationship to a test. They're going to try to challenge you, to shake things up."

She adds, "And there's literally nothing that could rock our relationship. We were like, 'Bring it on.' "

Dillon Claassens

Claassens , 45, works in realty (he previously appeared on House Hunters International: Cozy in the Cayman Islands ) and costars on this show with wife Teri. "We had each other as a support system throughout," he says.

Based on their "stable" marriage, Claassens says he was able to offer relationship "wisdom" to some of his cast mates when "red flags" popped up.

"You can only speak if you have the experience," he says. "If you've gone through your trials and tribulations and you are at a certain point in your life, you can give the advice. If our friends want to take it, then great."

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HBR On Strategy podcast series

Merging Competitors: U.S. Airways and American Airlines

If you’re navigating a merger, this episode is for you.

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In February 2013, U.S. Airways announced that it would merge with American Airlines to create the world’s largest airline. During the acquisition, then-CEO Doug Parker and his board had transformative decisions to make.

How should two large corporations merge their operations? Which members of each company’s C-suites should stay? How fast should they move on these changes? Parker knew that these strategic decisions would send important signals to employees, customers, and competitors.

In this episode, Harvard Business School senior lecturer David Fubini breaks down the strategy underlying this historic airline industry merger. He explains how Parker approached each of these strategic decisions — especially in areas, like culture and operations, where American and U.S. Airways had huge differences.

Key episode topics include: strategy, corporate governance, mergers and acquisitions, operations strategy, aerospace sector, airlines, leadership.

HBR On Strategy curates the best case studies and conversations with the world’s top business and management experts, to help you unlock new ways of doing business. New episodes every week.

  • Listen to the original HBR Cold Call episode: How to Lead through a Merger: U.S. Airways and American Airlines (2021)
  • Find more episodes of Cold Call
  • Discover 100 years of Harvard Business Review articles, case studies, podcasts, and more at HBR.org

HANNAH BATES: Welcome to HBR On Strategy , case studies and conversations with the world’s top business and management experts, hand-selected to help you unlock new ways of doing business.

In February 2013,   Airways announced that it would merge with American Airlines to create the  . During the acquisition, then-CEO Doug Parker and his board had transformative decisions to make. How should two large corporations merge their operations? Which members of the C-suite should stay? And how fast should they move on these changes? Parker knew that these strategic decisions would send important signals to employees, customers, and competitors.

Today, we bring you a conversation that breaks down the strategy for US Airways’ merger with American Airlines with Harvard Business School senior lecturer David Fubini.  

In this episode, you’ll learn how Parker approached each of these strategic decisions – especially in areas like culture and operations, where American and US Airways had huge differences.

This episode originally aired on Cold Call in September 2021. Here it is.

BRIAN KENNY: Hollywood has never been kind in its portrayal of business-people, and that’s doubly true when it comes to the deal-makers, those heartless, wing-tipped, pinstriped brokers who see finance as blood sport and workers as pawns. Think Gordon Gekko in Wall Street, or Richard Gere in Pretty Woman. In American Psycho, Christian Bale took the stereotype to new lows, playing a high-flying banker who specialized in mergers and acquisitions during the day and morphed into a murdering sociopath in the evening. Fortunately, there are no such villains to be found in real-life mergers, but there can be a lot of drama, and depending on the firms involved, a lot of headlines. Leading firms through a merger is a complex, daunting, and emotionally charged undertaking. The stakes are sky-high, and careers and livelihoods often hang in the balance. But done well, the results can lead to a happy ending for all involved. Today on Cold Call , we welcome Professor David Fubini to discuss the case entitled, Merging American Airlines and US Airways. I’m your host, Brian Kenny, and you’re listening to Cold Call on the HBR Presents network.

BRIAN KENNY: David Fubini teaches in the MBA and Executive Education programs at Harvard Business School. Before teaching, he had a long career at McKinsey Consulting, where he helped clients with major transformation programs stemming from acquisitions and mergers, which is perfect for today’s conversation. And he is the author of Hidden Truths: What Leaders Need to Hear but Are Rarely Told. David, maybe you’ll tell them some of that stuff today during our conversation. Great to have you back.

DAVID FUBINI: Great to be back, and thank you for having me back. I very much appreciate the opportunity.

BRIAN KENNY: The last time we met, we were talking about the Big Apple Circus and creepy clowns and stuff. So, I thought I would start out with just a nod to American Psycho in the beginning of this one.

DAVID FUBINI: Indeed, you did, and thankfully, I’m none of those things, either by vocation or by looks, in terms of being any of those movie stars, but nonetheless, great setting.

BRIAN KENNY: Yeah. It sells movies, but it’s not really true to life, I think, which is great.

DAVID FUBINI: Not true to life. no.

BRIAN KENNY: Maybe you can start just by telling us what would your cold call be to start this case in the classroom?

DAVID FUBINI: Well, the cold call would be: Is this a merger of equals, or is this a takeover? Because it is a little bit of both, and therein lies the debate. Takeover, because this was an acquisition of American Airlines by US Airways out of bankruptcy. So, you don’t get any more hostile than that one because, of course, American had hoped to emerge from bankruptcy following its own plan. US Airways thought otherwise. So, for that context, it’s clearly a takeover. On the other hand, no way you can actually take over such a big airline being such a small airline, as US Airways was. So, in many ways it has to be a merger, and it has to be a merger in every dimension because there’s so many pieces that have to be put together. So, students should have to ask, “Well, which is it?”

BRIAN KENNY: Why was it important to you to write this case? And more importantly, how does it relate to the ideas in your book?

DAVID FUBINI: This case came about because David Garvin, who of course we’ve lost, but was just a pillar of this place, and it was a great opportunity to be able to write a case with David. And he wanted to talk about the process of putting together a merger and acquisition properly. There are many, many books, and for that matter, cases written about mergers, but David thought and I thought it would be a great thing to help him, actually illustrate, in a much more definitive way, the trade-offs that go into a merger process. So, that was really the genesis of the case. Why it’s important to my book is because while Doug Parker is certainly not a new CEO to the US Airways folks, he is certainly a very new CEO to the American Airlines folks, and therefore has to apply many of the lessons learned that come in this book about the hidden truths because, for many CEOs taking over a new organization, they’re like a brand new CEO, and they do face all those hidden truths that I try to illustrate in the book.

BRIAN KENNY: And you saw how many of these when you were working at McKinsey? You probably don’t have the exact number, but a lot, I’m going to guess.

DAVID FUBINI: A lot. I probably was involved in as many as 50 major transactions of some note, also involved in a fair number of divestitures as well – how you actually roll out something from an organization as opposed to rolling in something to an organization.

BRIAN KENNY: So why don’t you just set the stage for us? What led up to the discussions about the merger?

DAVID FUBINI: First of all, we should note that in the American airlines industry, every major airline had been through a bankruptcy. American Airlines had held off, had been the last remaining airline to not slip into bankruptcy, but it couldn’t eventually avoid the fate that had fallen to others. US Airways has always wanted to acquire and become a bigger airline, and they saw in the bankruptcy of American an opportunity to really pounce, and did so. So, that was the foundational element of the deal itself. The reason for a lot of this consolidation is because, as we’ve observed in the airline industry, there’s real value in having scale, and scale was really important – and also because US Airways wanted to apply its approach to managing an airline to a broader airline. And so, they saw this as a real opportunity as well. That’s the institutional view. The individual view here is also important. Doug Parker started his career at American, had worked in the finance operation, actually worked alongside of the chairman of American Airlines. So, they were colleagues. So, he’d always eyed American Airlines as a possible airline he would love to own because he had begun there.

BRIAN KENNY: How often does it happen in the reverse order, I guess, with the little fish gobbling the big fish?

DAVID FUBINI: It’s rare because it’s very difficult. It’s very difficult, one, to convince shareholders that this is a good thing to do, because of the scale differences. Then there’s the capital formation questions, which are obviously always challenging when you’re talking about the scale differences. And finally, it’s really hard to actually outbid a larger company for an asset if you are the smaller company.

BRIAN KENNY: So, let’s talk a little bit about Doug. You mentioned that he worked at American Airlines early on. How did he come into his role at US Airways, and what’s his leadership style?

DAVID FUBINI: Well, he had been the CEO of US Airways for some time, actually, ever since they bought America West, if you’re old enough to remember that there was a former airline called America West.

BRIAN KENNY: Indeed I am.

DAVID FUBINI: Yes, indeed. Many of us are. And US Airways itself is a product of lots of other airlines being rolled up. So, both of these are all products of other consolidations. Doug had taken over as the head of US Airways, and one, he’s remarkably smart and obviously incredibly engaging. But he has a very low-key approach to being a CEO, not like the Hollywood version of the all-seeing, all-knowing, sitting on a pedestal type CEO. That’s not Doug. Doug is very down to earth, loves talking to everybody in the building, from the person who might be at the front desk greeting people to his most senior executives. So, he was very open, engaging, very informal in his approach and his style with people, which played very well in the airline industry, as you might imagine.

BRIAN KENNY: But that sets up an interesting dynamic because the case does a good job of talking about the differences and the personalities of the two companies, right? So American Airlines is the antithesis of what you just described.

DAVID FUBINI: It is indeed, in many ways. First of all, American Airlines viewed themselves, maybe rightfully so, as the airline of the Americas. I mean, it was America’s airline. It was the representative of business travelers everywhere, and it was viewed itself as such. It was quite proud, and internally ran itself in a very, very hierarchical way, committee on top of committee on top of committee, and then eventually to the senior executives. Things moved quite slowly, really driven by marketing and branding more so than operations. I would say that US Airways was just the opposite of all of that. So, you have two radically different cultures and then you have the scale difference as well when you’re doing the acquisition, and you can see that this would be a big challenge.

BRIAN KENNY: And we’ll get into some of those differences a little bit further on in our conversation, but let’s start at least if you can describe the issues that Parker found himself contending with as he’s starting to move down this path to the merger.

DAVID FUBINI: The very first and largest challenge is one of scale. I mean, it is truly, and we discussed it as being the minnow trying to eat the whale. So, the scale differences were quite significant. If you think about the number of anything between city pair routings to number of planes and the different planes that American had in their fleet than that of US Airways, you’d understand just how radically different and challenging this would be when you look at the scale differences between the two. Second, the culture of running the airlines were quite different, as we were just already indicating. American Airlines was very focused on customer service and its service to business travelers in particular. For example, it was quite famous for the fact that it allowed its captains to hold the plane, if indeed it felt it was appropriate to accommodate a business traveler or a set of travelers who might be coming in on an airline that had been delayed, and so therefore they would hold the plane. US Airways was, “No, we fly when it said we’re going to fly and not a minute later,” because their theory was that they ran such a tight network that a 10-minute delay at the beginning of the day would turn out to be a two-and-a-half-hour delay by the end of the day, and they were probably right. Nonetheless, you have this incredible difference in operational philosophy between the two. So that’s the second major challenge. And the third is dealing with the sheer volume of transactional decisions that have to be made when you think about putting together airlines. Just think about it for a moment and we understand just how complicated they can be from what we observed. Then you have to think about all the things you can’t observe that are also very complicated, not the least of which was the questions around things that you don’t often think about, like cargo, for example. Cargo is a huge part of the airline, and yet you really don’t ever think about it, but merging the cargo parts of it on top of the passenger part is really quite difficult. The sheer preponderance of issues here on an airline are pretty dramatic, even more so than a make-and-sell business.

BRIAN KENNY: So, in your experience, how complicated is it to sustain a business while you’re going through a merger like this? How do you continue to operate as if things are normal? We always use that expression of fixing the plane while it’s in flight. I guess it’s apropos here.

DAVID FUBINI: It is apropos here. It’s incredibly apropos here and incredibly tough. It’s probably the number one challenge in the work that I used to do advising companies on their mergers is how to actually make sure that during the time post the announcement, pre the regulatory approval process, which can be as long as six months, how do you actually maintain your base business and not have it suffer? And the truth is it’s ridiculously difficult because the norm for most organizations as they’re going through a transaction for them to lose focus on their base business and have, frankly, their revenue drop. One, there’s something called the “shiny object phenomenon”, which is everybody wants to be involved in that which is going on, which is the new thing, which is the merger, and so that takes time and attention away from the base business. So, the first thing you have to tell everybody is, “Do your job, and don’t worry about the merger. Some of us will worry about that on your behalf.” That’s a very difficult message for some. Second, every competitor out there knows that you’re going through this process and there’s disruption. And they, by the way, add to that disruption quite willingly and fully. And then finally, there’s just the sheer anxiety that everybody has. By the way, that anxiety is not just in those who you’re acquiring, in this case, American Airlines. It’s also for those who are the acquiring company because, as US Airways is seeing, they’re saying, “Wow, maybe I won’t have a job when this gets all done, even though we bought these guys.” So, there’s big problems everywhere.

BRIAN KENNY: One of the first decisions that Parker has to make is who his leadership team is going to be, and that seemed like it was fraught with all kinds of peril and sending all kinds of signals.

DAVID FUBINI: Well, the leadership team decision is incredibly important because it is your indication to the rest of the organization of how you’re going to run this company. Additionally difficult here is because Doug had a team around him that had been with him as a leadership team since the America West days. And they know each other very well. I mean, these were close, close friends. They would talk about it being a familial relationship amongst the five of them. And there were five gentlemen and then Elise Eberwein, who was the glue that held them all together because she was the disciplinarian, by the way, amongst this group. And she turns out to be, by the way, one of the true stars of this story. And Doug would be the first to tell you that he couldn’t have done what was done here without her help. So, you have this group of five that have been together forever, and they’re now taking over American Airlines. And the question is, will you actually break up the group and include other American Airlines executives as would be appropriate if this was going to be a merger. If it was going to be a takeover, you wouldn’t have to worry so much about that.

BRIAN KENNY: Yeah. But it’s obviously positioned as a merger, so they are looking at co-leadership. What are some of the pros and cons of doing that? And how do you make it work, I guess?

DAVID FUBINI: The place where they’re really looking for a co-leadership was how to lead the integration itself. There, the decision was, are you going to have an American Airlines person lead it or a US Airways person lead it or a co-leadership? And that decision speaks volumes to those who are watching to say, “Well, if there’s only going to be one leader, and it’s going to be a US Airways leader…” In this case, it was going to be Robert Isom, who at the time was the US Airways head of operations, run the integration, everybody will say, “Well, fine. We know what’s happening here. This is going to be US Airways taking over us. We’re going to be doing everything US Airways’ way. That’s just the way it’s going to be.” If you have co-leaders, in this case, Bev Goulet, who is the former treasurer and CFO at American Airlines, and you have her be a co-leader, it’s a way of saying, “Oh, good, look, see, we’re going to actually decide what’s best from both groups.” On the one hand, that’s a very positive message. On the other hand, it takes more time because now everything is debate. Now every decision then becomes a question about, is it the US airways way or the American Airlines way?

BRIAN KENNY: But you have to make a decision at the end of the day. Decisions have to be made. Consultants get involved in these things, inevitably, and what’s the role of the consultant in a situation like this?

DAVID FUBINI: Usually it’s three things. One is pattern recognition. Coming in and being able to say, “Look, I can tell you what’s going to happen this week and next week and the week after, and so let’s just talk about what needs to get done given what’s going to go on.” And so just having a sense of, “It’s base camp. I’ve climbed this mountain before. I don’t quite know what the weather is going to be. I don’t know how great climbers you all are, but this is camp one, two, and three. Follow me.” That’s a little bit the first role that we tend to play because we’ve done this before, and many managements haven’t done transactions of this scale or this type. Two, we basically try and help staff some of the more core teams, the teams that are really central to the value propositions that underlie the deal. There we could be deployed and be helpful and try and move things along. And third, we become the honest broker, if you will, sometimes, in these integration teams, in that we can not necessarily make the call, because that’s not the role of the consultants. It is, though, to make sure that we have all the data to actually enable the call to get made. So those are the major roles that we tend to play.

BRIAN KENNY: Yeah. And does this start to get into some of the things that you would tell a leader that they need to hear, but probably aren’t told?

DAVID FUBINI: Yes, we would be. This is where all the hidden truths come to play, right? So for example, Doug is taking over this big, huge airline. US Airways was headquartered in Phoenix. American Airlines is, probably no surprise to anybody, headquartered in Dallas. And so the very first question is how does Doug indicate, by virtue of his own actions, the power of role modeling, if you will? Which is an incredibly important part of the repertoire of a CEO and something, as I say in the Hidden Truth, that very few CEOs do well. And so, Doug, one of his very first acts was to say, “Look, I’m moving to Dallas. Not only am I moving to Dallas. Here is where my kids are going to school, and here’s what church I have joined.” And he literally said that was one of his first announcements. And all the people in Dallas went, “Oh, okay. Now we understand. He understands what it means to be in our environment.” So very important role modeling. A second part of the book talks a lot about the fact that you are often, as a leader, not told the entire truth. I tell this story that an admiral who used to be the NATO Supreme Commander told me, once he goes onto a battleship, he’d know two things with certainty when he got to the bridge. One, he would never be handed a cold cup of coffee, and he would never get the entire truth about what was happening on the boat. And this is what CEOs, I think, need to understand, and certainly Doug came to understand, was that he wasn’t going to get the full story about the quality and nature of the issues at American Airlines from one individual. That just wasn’t going to happen. It required a fairly robust amount of reaching out to large numbers of different people. That’s where consultants can certainly help play as well. He also would talk to people who used to previously work for American Airlines, and he’d actually go and talk to others, even competitors, to talk about what the truth really was of the operations he was now inheriting.

BRIAN KENNY: I would imagine there’s a fair amount of distrust, particularly on the part of American Airlines, and that probably extends through the organization. With things churning at this point. And people are suspecting motives that maybe aren’t there.

DAVID FUBINI: Absolutely. You can’t imagine the amount of concern, debate, rumors that go on here. So, part of the challenge that we spoke about earlier about keeping the focus on the base business, when all of that is going on, it’s really hard to go out and make the sales calls and ensure the planes arrive serviced and on time. There’s a huge issue there, certainly. The other thing to remember about these sorts of situations is that you’re unable to announce, as a CEO, your decisions, because you are only in this period where you’ve announced the deal, but you don’t have legal close and you don’t have regulatory approval. So, you’re not allowed, because of FTC and justice rules, to say, “This is what we plan to do.” I mean, you can do some of that, but the regulatory lawyers would say, “Please do none of that,” because anything you do there could cause concerns, in now this case with the bankruptcy court and with regulators. So, you’re left, as a leader, to have to talk about the process you’re going to use to make decisions rather than the actual decisions.

BRIAN KENNY: What are some of the mistakes that firms make when they’re going through this process?

DAVID FUBINI: Well, we’ve already covered one in great detail, which is losing the base businesses. Really, that’s almost one of the key elements. The second is forgetting, in some strange way, why you did the deal. One of the first things I would often do when I was asked to join two CEOs and talk about the transaction they’re about to do, I would say, “Well, please tell me the reason you did the deal.” And they’d all roll their eyes and go, “My heavens, did you not even read the PR statements?” And I said, “Of course I’ve read all that. That’s not what I’m asking you. What’s the real reason you did the deal? Not what you said publicly. What is it you’re really trying to achieve here?” And when you actually understood the real reasons for the deal, you have to make sure that your integration architecture matches that aspiration. So, if you’re a pharmaceutical firm buying another pharmaceutical firm, if you’re really buying it for the R&D operations, then make sure that you are integrating the R&D operations in a thoughtful manner. So, keeping focused on the real reason you did the deal was quite important. And here, the real reason for the deal was to get scale and get it fast and get it into the marketplace so that operationally you brought real effectiveness to the American Airlines system, which was missing. So that would be the second thing you really have to focus in on. And then most people really do undervalue the cultural challenges here, which are quite significant. Not the least of which was that American Airlines was just so much bigger than US Airways and saw US Airways as a little bit of a vacation airline or not a serious airline, not the way they were. And of course, the US Airways people would say, “Look at those American Airlines people. All they care about is wealthy business leaders who can afford their inefficiencies, and we have just got to fix this thing.”

BRIAN KENNY: So how do you do that? How do you even broach something like that?

DAVID FUBINI: Well, the first is to be transparent and open with each other, you do have this differences of opinion. Doug Parker, when he came to class, which he was very kind to do, he said, “Look, we thought they were crazy and they thought we were crazy. And we just had to sit back and say, ‘Look, we both can’t be right, so let’s try and better understand each other.’” So, one was transparency and openness is absolutely incredibly important, and there’s another hidden truth that you don’t see enough of in communication and with openness to your communication. So, one, being open to, and being willing to be challenged. That’s something many CEOs are not willing to do. Doug said, “Look, I’m here to be challenged. Tell me where I’m wrong.” Second, a lot of symbolic activity. One of the first acts Doug Parker did was he walked in, was surprised to see security in the lobby, and he just said, “Look, this is silly. We don’t need all this.” So, he took all that down. He did away with executive parking, he did away with the executive dining rooms, he did away with this huge office structure that prevented the senior team from being seen by others. So, he broke all those barriers literally physically down and said, “Look, I’m not the former management here. I’m a different management.” The last thing he did was great, as many of your listeners will remember, American Airlines had these iconic silver airplanes, and they had decided to change what’s called the livery, which is the entire look of the airline. And they’d spent a lot of money actually developing the new look of the American Airlines. And Doug Parker said, “Look, before we go ahead with this, let’s put this to a vote of the entire employee population.” And people are slightly aghast because they’d spent fortunes actually developing this new livery. But he said, “No, no, I want us to see if this is one airline. So I’m going to put it to a vote.” And of course, the new airline livery was voted on positively, and that’s why every American Airlines plane now you see has this white look in a different, much more up-to-date logo.

BRIAN KENNY: I liked the silver, but that was just my opinion.

DAVID FUBINI: Well, I’m sorry. You would have been out-voted.

BRIAN KENNY: I didn’t get a vote. I was going to say, so many of the things that he did, I would think would make him a hero with the rank-and-file people, probably with the unions as well. But I would imagine it would cause a lot of strain on the relationship with the management folks at American Airlines. Is that something that you have to address head-on? How do you tackle that?

DAVID FUBINI: Well, it is inevitable. I mean, as your opening suggested, there is a little bit of some Machiavellian elements to mergers and acquisitions. There’s just no doubt that when you put two organizations together, certainly ones of this scale, you have two corporate centers, which you don’t need. So, there are going to be people that were not going to be necessary for the going forward organization. That does mean choices have to get made and people will have to leave. That’s unfortunate, but that’s the reality of just not needing two corporate centers. So, clearly that was the first choice that was made. And there, Doug decided that he would keep his five close colleagues with him, with Elise, and that they would layer in a few American Airlines people to the most senior level. But that was, frankly, something he had decided early on. He wasn’t going to do this transaction if he couldn’t do it with his team. And one of the reasons he did this transaction that he did was he could bring along his team. The first level of management reporting to Doug was pretty much the US Airways team. But below that, it was probably much more equitable between the two airlines. And if anything, American Airlines people probably dominated because it’s at that level where their skills were most necessary to have, given the scale differences between the two airlines.

BRIAN KENNY: And some of the really hard decisions, I would imagine, come down to things like operations and technology systems, and where are you going to place your bets on those things?

DAVID FUBINI: Huge issues. All the other airlines who had gone into bankruptcy had struggled to come out of bankruptcy without major troubles to their IT systems, to their operational systems, their reservation systems, and most importantly for most of the flyers, their frequent flyer programs. And so, this became a huge issue going forward was how to actually come back out of the bankruptcy of American Airlines and now the merger with US Airways, with systems that were operative and not go down. Several of the other airlines actually had to stop operations for a day or two because their reservation systems failed. So, we learned from the failure of others that had gone before us and made sure that the IT system changed in a very slow, very methodical, very risk adverse based way. I’m probably not the one to be talking about the details of this, but the fact is that that was the fundamental view of the team. And so probably, what would normally you would think to try and do in a year to 18 months, some of the IT transitions took as long as four to five years to make.

BRIAN KENNY: Wow. David, this has been a great conversation, as usual. Thank you for sharing your insights about this really interesting merger with us. I have one more question before we let you go, and that would be, if there’s one thing you want people to take away from this case and from the Hidden Truths book, what would that be?

DAVID FUBINI: Well, I think the first thing is how difficult it really is to be a new leader of a new organization. The whole Hidden Truths book talks about the challenge of doing that. Particularly if you’ve not been a CEO before and a leader before, you realize that all of the things you learn to do to get to that position and be given that opportunity to be a leader don’t actually work and they’re not that much value now that you’re at that senior most level position, and you have to learn a whole new set of skills. And so that hidden truth is something that should really motivate people. And certainly Doug, in this case because he had been a former CEO, actually employed many of those approaches really well. The other important thing about mergers and acquisitions is to realize, we talk a lot about corporate strategy here at Harvard. Well, corporate strategy these days, for the most part, always includes some acquisition-oriented approach. And so, it’s a fundamental part of corporate strategy now to do mergers and to do acquisitions. This is a learned skill that we all have to develop because in today’s world, organic growth alone is not going to be sufficient to drive the needs of shareholders. You have to also acquire.

BRIAN KENNY: It sounds like people would be lucky to have you on the merger team if they attempt to go down this path. David, thank you so much for joining us today.

DAVID FUBINI: Thank you. It’s been just a joy to be with you. Thank you.

HANNAH BATES: You just heard Harvard Business School senior lecturer David Fubini in conversation with Brian Kenny on Cold Call .

We’ll be back next Wednesday with another hand-picked conversation about business strategy from Harvard Business Review. If you found this episode helpful, share it with your friends and colleagues, and follow our show on Apple Podcasts, Spotify, or wherever you get your podcasts. While you’re there, be sure to leave us a review.

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This episode was produced by Anne Saini, and me, Hannah Bates. Ian Fox is our editor. Special thanks to Maureen Hoch, Nicole Smith, Erica Truxler, Ramsey Khabbaz, Anne Bartholomew, and you – our listener. See you next week.

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NHL

Why Utah Jazz owner Ryan Smith is hellbent on bringing an NHL team to Salt Lake City

SALT LAKE CITY — It does not require a lot of imagination to picture Ryan Smith as a roller hockey player.

Three hours before his Utah Jazz host the Boston Celtics at the Delta Center, Smith is inside the team’s practice facility wearing a turquoise hoodie, white pants and white sneakers — without socks. He completes his signature, laid-back ensemble by placing a backwards black ballcap on his head.

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Smith, 45, is the antithesis of the stodgy old conservative owner of a professional sports franchise in North America. And so it comes as no surprise that he dabbled in roller hockey in the early 1990s, while he was a 16-year-old working for an internet startup in Utah.

“The older gentlemen in the company would rent out a roller rink because there was no ice,” says Smith. “And we would play roller hockey.”

For almost two years, the group would get together for a weekly 10 p.m. hockey game. Smith describes himself as a “reckless” roller hockey forward who had a penchant for scoring goals.

“I was one of the younger ones, so I could go faster than everybody else,” Smith says with a laugh. “It was so much fun, but I also got hurt.”

He remembers crashing heavily into the end boards one night, where he says his knee “exploded.” But the most painful hockey-related injury Smith sustained actually occurred on the ice. On one occasion, the roller hockey group was able to secure a rink for a pickup game.

“Somebody left the bench door open and I got checked into it,” Smith says. “I ended up with two broken ribs.”

Smith’s passion for basketball is well documented. Growing up, he played in the Junior Jazz youth basketball program. He’s played pickup basketball into his 40s. Qualtrics — the software company he launched — designed its entrance and main lobby to resemble the hardwood of an NBA court.

But if you poke deep enough, you will also discover Smith’s genuine affection for hockey. In addition to his brief roller hockey career, Smith grew up going to IHL games with his family featuring the Salt Lake Golden Eagles . He wore black and silver Los Angeles Kings gear around Utah during his adolescence.

“It was pop culture at the time,” Smith says. “It was the Gretzky era.”

Smith even has some of the biggest names in hockey in his phone.

“One of my favorites is Jon Cooper,” explains Smith. “He’s like Ted Lasso.”

Smith is so fond of the Tampa Bay Lightning bench boss’s approach to coaching that he connected him directly to 36-year-old Jazz head coach Will Hardy for some advice on how to motivate NBA athletes.

“I like his detail in leadership. So any time you can get coaches to communicate, it’s pretty awesome,” says Smith. “They text each other, and it’s a cool mentorship.”

Connecting his NBA coach to Cooper is a microcosm of what Smith wants to accomplish in Salt Lake City: He wants to marry the NBA and NHL worlds. Smith is hellbent on bringing the NHL to his city and using the blueprint of his wildly successful basketball team to launch hockey into a different stratosphere. Earlier this week, Smith publicly displayed his passion for the idea by using his social media channels to post a link to an online survey asking fans to submit their preferred name for an NHL team in Salt Lake City.

“Hockey has always been huge here,” says Smith. “It just hasn’t been elevated to the NHL level.”

One of the most unique hockey souvenirs in Salt Lake City is hidden behind a Shop Vac hanging on the wall inside a utility room in the Maverik Center.

Back in February 2002, this space served as the dressing room for Team Canada as they celebrated their first Olympic gold medal in men’s hockey in 50 years. To mark the occasion, players were handed Sharpies and signed their names onto the walls inside the room.

Today, however, Steve Yzerman’s autograph can be seen only if you pull one of the three Shop Vacs hanging on the wall to the side.

antithesis is the opposite of

The echoes of that moment might be hard to find, but hockey is alive and well inside the Maverik Center.

The Utah Grizzlies of the ECHL play their home games in this facility, which was originally built to host the men’s hockey tournament for the 2002 Olympic Games. Attendance has soared in recent weeks, as the Grizzlies have eclipsed 8,500 in five separate home games since January.

There is certainly a buzz around hockey in this city, but the Grizzlies are not concerned with Smith’s aggressive pursuit to bring an NHL team into the market.

“It’s great for hockey in Utah, period. We think there is room for us regardless,” says Grizzlies CEO Kevin Bruder. “We’d have to make some modifications because we won’t be the only hockey game in town anymore.”

Bruder is hoping that fans won’t simply abandon the rich history of minor league hockey in Salt Lake City if the NHL rolls in. When the Jazz first relocated to Salt Lake City from New Orleans in 1979, they did not automatically ascend to the status of the most prestigious professional team in town. That distinction belonged to the Golden Eagles of the Central Hockey League. And in their shared home of the old Salt Palace, the Golden Eagles often outdrew the Jazz at the box office.

antithesis is the opposite of

“It was hard to get a ticket for hockey. And they were giving away tickets to the Jazz,” says Marty Phelps, who has attended pro hockey games in Salt Lake City since 1969.

Adds Nate Barton, who worked as an usher at the Salt Palace in 1980, “When I ushered to the Jazz, we could go sit in the first couple of rows. The hockey team easily outdrew the Jazz.”

What doomed the Golden Eagles, ironically, was a shift to the Delta Center in 1991. That venue was built as a basketball-specific arena, which created poor sight lines for hockey. By March 1994, with attendance dwindling to just 4,600 fans per night in the cavernous 19,000-seat Delta Center, the franchise was sold and relocated to Michigan.

A couple of years later, the Grizzlies filled the hockey void, eventually moving into the Maverik Center. A fun tradition started in the mid 1990s, as hockey fans would toss fresh fish — often a trout — onto the ice after the team scored their first goal in the playoffs.

“It was their way of feeding the Grizzlies,” laughs Bruder.

The tradition was halted just after the COVID-19 pandemic, as club officials cited safety concerns. (Some fans were bringing frozen fish into the arena, which presented a dangerous throwing hazard.)

But if the NHL does make its way to Salt Lake City, there is a good chance some fans will toss fish onto the ice after the team scores its first-ever goal on home ice as an homage to the colorful history of this market.

“That’s been a great tradition here and they’ll figure out something for that first game,” says Roger Orn, a longtime hockey fan who estimates he’s watched more than 1,200 live pro games in Salt Lake City. “Tossing a fish would be great. And you know they’re just waiting for an opportunity.”

When and where that first NHL game takes place in Salt Lake City is up for debate. But since the Maverik Center was built with hockey in mind and can comfortably seat about 10,000 fans, Bruder says they would be eager to host NHL games as a short-term solution.

“Absolutely. This was built for hockey,” says Bruder. “If they asked us to host some games, we’d be more than happy to.”

But when Smith publicly signaled in January that Salt Lake City is ready to host NHL games as early as next season, he was thinking of the Delta Center as the venue of choice.

“We are interested. We are ready, and we’re a partner,” says Smith. “The arena is done. We think we have a solution. And that’s my message to the NHL.”

Ryan Smith does not shy away from a direct question.

As he is aggressively pushing for an NHL franchise for Salt Lake City, Smith is keenly aware the Coyotes have a tumultuous situation occurring in Arizona. And if they cannot sort out their arena issues in that market, they could become fodder for immediate relocation. At the general managers meetings in Florida last month, NHL deputy commissioner Bill Daly indicated it might be too late to relocate the Coyotes franchise for the start of the 2024-25 NHL season.

go-deeper

LeBrun: Ryan Smith exclusive on taking the next step in bringing NHL to Utah — 'We’re absolutely serious about this'

“Probably not. I don’t believe so,” Daly said when asked directly if there was enough time to move the team.

But when the NHL relocated the Atlanta Thrashers to Winnipeg in the spring of 2011, there were similar denials from league officials in the weeks leading up to the sale of the team. On May 20, 2011, NHL commissioner Gary Bettman denied a published report that stated the Thrashers were bound for Winnipeg. Eleven days later, however, Bettman attended a news conference in Winnipeg to confirm the sale of the Thrashers and a relocation to their new Canadian home.

Smith does not want his pursuit of an NHL team to come off as though he’s poaching the Coyotes from afar.

“People who know me know I’m pretty direct. If that were the intention, I would just come out and say that,” Smith says when asked if it appears he is targeting the Coyotes. “We’re not about trying to mess with anybody else’s world. I know what it’s like to be in a partnership like we are in the NBA. There is a way to go about it.”

Smith maintains an open line of dialogue with NHL officials, but he’s mindful not to step over any lines.

“I don’t want to get involved with how they deliver a team. We’re showing that we’re ready and that’s what we’re putting forward,” says Smith. “We talk to them frequently. They know our interest. They see what’s going on. They see the value, and they’re intrigued.”

antithesis is the opposite of

Smith’s vision for the NHL in Salt Lake City — whether it’s inheriting the Coyotes or landing an expansion franchise — is quite straightforward.

The team would initially play out of the Delta Center. While the extremely steep curvature of the arena bowl is more conducive to basketball than hockey, at least 11,000 fans can comfortably watch a hockey game inside Delta Center with its current configuration. Team officials say they are aggressively pursuing solutions to add as many new seats as possible for future NHL games.

This would only be a stopgap measure. The eventual plan for Salt Lake City is to move into a state-of-the-art arena that would serve as the anchor point in the downtown core for a region that is experiencing a population boom . Smith grabs his tablet and excitedly points to a map of the Wasatch Front, a narrow corridor that contains the most populous stretch in Utah, and is protected by the Wasatch Mountain Range to the east.

“This used to be farmland when I was growing up,” Smith says, tapping on the screen to an area just south of Salt Lake City. “Now it’s wall to wall and growing rapidly.”

The region is affectionately nicknamed “Silicon Slopes,” a nod to an exploding tech industry that has made Utah the fastest-growing state in America, according to the 2020 census.

Utah also was the top-ranking state in America in a recent study that analyzed various categories including economy, infrastructure and fiscal stability.

The financial clout in Salt Lake City is evident by the fact the Jazz boast about being inside the top seven teams in the NBA in attracting corporate sponsorships — despite being one of the smallest markets in the league. The Jazz have also sold out 289 straight NBA games.

And so city officials believe the environment is perfect to greenlight a project to bring the NHL to Salt Lake City while building a downtown arena that will be funded by a mix of private and public money. Earlier this month, the Utah State Senate advanced a plan to fund an NHL arena and a “sports and entertainment” district downtown, which includes a sales tax increase of up to 0.5 percent in Salt Lake City.

“We’re eager. We are able to leverage two or three times private money with taxpayer money,” says Salt Lake City Mayor Erin Mendenhall.

Smith rattles off a series of statistics that paint Utah in a shining light. He mentions a robust tech ecosystem that is enhanced by more than 200,000 college students living within a stone’s throw of Salt Lake City. He speaks glowingly about the proximity of the airport to the downtown core and the ski hills. He challenges people to name a city that provides a better balance between work and play in North America. “You have a way of life, and you have wellness,” explains Smith. “But you’re also not living in the woods. There are jobs and industry.”

It’s as if Smith, and the rest of Salt Lake City, are willing to share their well-hidden municipal gem with the rest of North America if it means it will land them an NHL franchise.

One of the most breathtaking views of downtown Salt Lake City is from the observation deck at the conference center of the Church of Jesus Christ of Latter-day Saints.

There are the snowcapped mountains and the city skyline, and … the cranes.

“I judge a city by a number of cranes,” says Smith. “And our skyline is full of cranes.”

The Church of Jesus Christ of Latter-day Saints, who own some of the largest buildings in the downtown core, recently voiced its support for the idea of bringing an NHL franchise and a new downtown arena to Salt Lake City.

“We’re pleased with the potential this has to refresh and revitalize downtown Salt Lake City while presenting a safe and family-friendly gathering place for generations to come,” the statement read.

While that endorsement for an NHL club is important, there is a concerted effort toward a separation of church and skate in Salt Lake City. As NHL fans suddenly focus on Salt Lake City, Mendenhall wants people to understand her city is not a community with rigid, traditional values.

“Whatever people think of Salt Lake City and Utah, if they don’t live here or they don’t come here, they probably have misconceptions,” Mendenhall says. “Salt Lake is a blue dot in a red state. We are different political animal here. We’re a safe space for people. We celebrate diversity, and we have a kickass Pride parade.”

Mendenhall has never even tried sipping a “dirty soda” — a quirky concoction of Coca-Cola or Dr. Pepper mixed with a combination of syrups, dairy products, coffee creamer and other flavorings. Dirty sodas have become a G-rated local phenomenon that was likely fueled by the large population of Latter-day Saints seeking an alternative to alcoholic beverages.

As Mendenhall likes to point out: “We make great beer in Salt Lake.”

Concession lineups for beer at Jazz and Grizzlies games are just as long as you would see in other venues in North America. Salt Lake City is a forward-thinking, beer-guzzling community like many other major hubs in North America.

Smith sits on the social justice committee with the NBA and wants to bring that same forward-thinking passion and energy to the NHL.

In their first two years of owning the Jazz, Smith and his wife, Ashley, pledged to provide a full-ride college scholarship to Utah high school students from an underrepresented background for every Jazz victory. The Smith family helped fund an expansion for a program called Encircle, which houses family and youth resource centers aimed at providing a safe space for members of the LGBTQ+ community.

“You have to use the platform to impact people. That’s what we’re trying to do,” Smith says. “How do we impact people and how do we change lives?”

Smith wants the rest of North America to realize that while Salt Lake City is relatively new to the NHL conversation — not having been rumored to be an interested city as long as Houston, Quebec City or Atlanta — they are a viable candidate to host a franchise. His city may have the polar opposite reputation of the reigning Stanley Cup champions in Las Vegas, but Smith believes Salt Lake City can enjoy the same type of instant success in the NHL.

“This isn’t an overnight thing here. We’ve thought about this for a long time. Nobody would have thought Vegas and hockey went together,” says Smith. “But the people I’ve met here who grew up playing hockey, they are the biggest evangelists of any sport I’ve seen. They want to go share the message of hockey to everyone. We can work with that. It’s really cool.”

You can buy tickets to every NHL game  here .

(Illustration: Dan Goldfarb / The Athletic . Photos: Rick Bowmer / AP, Universal Images Group via Getty Images)

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Ian Mendes

Ian Mendes is a senior writer covering the NHL. Prior to joining The Athletic in 2021, he spent seven years as an afternoon talk show host for TSN 1200 in Ottawa and as a contributing writer for TSN.ca. He also worked as a television reporter and host with Rogers Sportsnet for 12 years and has served as a feature columnist for both The Ottawa Citizen and Today’s Parent magazine. Follow Ian on Twitter @ ian_mendes

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Kirsten Dunst Confronts ‘Civil War’ Hysteria, Hollywood Pay Gaps and the Media Dividing America: ‘Everything Is Broken’

Before I watched “ Civil War ,” two publicists working on the dystopian thriller assured me that it isn’t a political film.

In the movie, Kirsten Dunst plays a dogged photojournalist muscling her way through a smoldering Washington D.C., trying to document the bitter conflict between two heavily armed factions tearing America apart. I didn’t buy that it didn’t have something to say about this moment. And neither does Dunst.

We’re having lunch in Toluca Lake, where Dunst is sipping a bottle of apple juice she’s been carrying in her purse (“Moms always need to keep it on hand,” she whispers conspiratorially) and gearing up for what may be her most controversial movie since, at 11, she upstaged Tom Cruise and kissed Brad Pitt in “Interview With the Vampire.” “Civil War” is going to be debated, all right — on cable news, in op-eds and across social media. When the film premiered at SXSW in March, audience members were groaning and cheering at its bloody, shocking finale.

The buzzy film represents a high-stakes gamble for A24. The company will unleash “Civil War” in 3,000 theaters on April 12, marking A24’s widest release ever, and with a $55 million budget, it’s the most expensive feature yet for the indie studio behind “Everything Everywhere All at Once” and “Hereditary.” It’s a risk, too, for Dunst, who hasn’t been in a movie since her Oscar-nominated turn in Jane Campion’s 2021 drama “The Power of the Dog.” Now 41, Dunst is that rare child star of the ’90s with career longevity and not too much heavy baggage. (Her peers in this include Scarlett Johansson and Natalie Portman.)

But it’s impossible to watch “Civil War” without being reminded of this year’s presidential election — you know, the one where democracy and maybe the fate of the free world hangs in the balance? As we sit in a crowded café about a mile from the home Dunst shares with husband Jesse Plemons and their children, she sometimes struggles to accept that she and and director Alex Garland are lobbing a cinematic stick of dynamite. For instance, Dunst won’t admit that the film’s president, played by Nick Offerman as a narcissist with an authoritarian streak, resembles the 45th, and perhaps 47th, Oval Office occupant.

“It feels fictitious to me,” she says of any connection between Offerman’s character and Donald Trump. “I don’t want to compare because that’s the antithesis of the film. It’s just a fascist president. But I didn’t think about Nick’s character being any certain political figure. I just thought this is this president, in this world, who will not abide by the Constitution and democracy.”

Still, “Civil War” contains plenty of parallels to the characters that dominate our national drama. Take the defiant president who disbands the FBI and refuses to leave the White House, or the gun-toting soldiers of fortune who wear crosses (shades of the Proud Boys, perhaps?).

Garland didn’t fill in the blanks for the cast. “I have my own answers to these questions. And if someone asked me, I’d answer it,” says the director, who conceived the film as Trump left office. “But if Kirsten didn’t ask me, I wouldn’t answer.”

For her part, Dunst isn’t shy about answering questions about real-world politics. On the looming election: “I’m gonna vote for Biden. That’s my only option. Right?” (Though she laments that Democratic candidate Beto O’Rourke, a home-state politician for her Dallas-born husband, didn’t go the distance in the 2020 presidential primary.) Or take her stance on Jonathan Glazer’s polarizing Oscar speech, which Dunst watched from the Dolby Theatre audience. In an open letter, more than 1,000 Jewish creatives slammed “The Zone of Interest” director’s remarks, which faulted Israel’s government for its conduct in Gaza. But Dunst was more receptive. “My interpretation was he was saying that genocide is bad,” she says. On religion, a subject many in Hollywood try to avoid, she doesn’t hide that she’s a practicing Christian: “I did have both my children baptized because I love the tradition. I believe in God.”

While Dunst insists “Civil War” is entirely fictional, the great divide in America that it dramatizes is all too real. “Media really stokes it big time,” she says. “The media is forcing us to choose a side. Everything’s a lot more complicated than that.”

As for “Civil War,” it’s possible — even likely — that the movie will be seen as another example of liberal Hollywood banging on about how fringe conservatives are torching America. The world premiere was met with a rapturous standing ovation. But that was in Austin, a blue dot in the sea of red that is Texas. Regardless of the reception, the film offered Dunst another chance to act opposite Plemons, who has a small role in “Civil War,” after they worked together in “The Power of the Dog” and the second season of FX’s “Fargo,” where they met in 2015.

“I’m very picky,” Dunst says as she stabs a poached egg with her fork. “But that also means I have long breaks where I don’t work. Like, I can’t do a project for the money. It’s just very hard for me to be like, ‘Yes!’ If it’s not in my heart, I can’t do it because I’ve been doing this for so long.”

Thirty-six years, to be exact. In 1988, at the age of 6, Dunst shot her first movie, Woody Allen’s “Oedipus Wrecks,” one-third of the anthology “New York Stories.” The middle segment, “Life Without Zoë,” was directed by Francis Ford Coppola and written with his daughter, Sofia Coppola, who became Dunst’s frequent collaborator years later.

“I remember they wanted to send a car down to New Jersey to pick me up to play with Dylan [Farrow],” Dunst recalls, referencing Allen’s daughter, who later accused him of sexual abuse. “My mom was like, ‘I’m not sending my daughter in a town car to go on some play date without me.’”

Although some of Dunst’s early roles placed her in adult-sounding situations, her mother and “an acting teacher who was like my father” made sure she was insulated. She played a child prostitute in 1996 on “ER,” but to this day, she doesn’t realize that her character was presented to audiences as such. “I thought I was like a street kid. I didn’t know I was a prostitute. Really?” When asked about being 11 and getting to kiss Pitt in “Interview With the Vampire,” Dunst spins the question. “How about Brad Pitt got to kiss me?” she says with a laugh.

But Dunst’s mom couldn’t safeguard her entirely from Hollywood’s darker side. She shares an unsettling encounter that took place when she was 16. “I did one meeting once with a director, and he asked me an inappropriate question. And that was the only time. I was like, ‘That’s not cool.’ But I didn’t say that [to him]. I was freaked out. I didn’t know if I should answer or not.” (She declines to name the director.)

That close call reminds Dunst of the thin line separating her from the child stars depicted in the recent Max docuseries “Quiet on Set,” which examines the abuse suffered by young Nickelodeon actors in the ’90s and early aughts. Dunst brings up the show. “It sounds real bad,” she says. “A lot of grooming and weird stuff going on.” She already was familiar with the hardships faced by actress Jennette McCurdy, who is featured in “Quiet on the Set.” “I read [her] book ‘I’m Glad My Mom Died.’ Good book.”

“We didn’t know my mom would follow us in the car,” she says. “We were into the Psychic Eye, a store on Ventura Boulevard, and doing angel cards and lighting candles. We’d write like, ‘An angel is watching over you’ on little pieces of paper and then put a penny in it, throw it off the balcony of the apartment building we were staying at and watch for people to pick them up.”

It was the mild rebellion of kids acting out just a little (Dunst attended a traditional Catholic high school in Sherman Oaks). But there were reminders that she wasn’t an average teenager.

“I was walking to like the convenience store and talking to some kids, and they’re like, ‘Well, my agent says I’m the next Kirsten Dunst.’ I just thought, ‘Y’all crazy. I have a Jersey mother. Very East Coast.’ I never thought, ‘I’m famous.’ Like, I went to normal schools.”

But most of her classmates didn’t enjoy the perks that came with Dunst’s extracurricular activities. “There’d be a gorgeous Christmas tree fully decorated in my dressing room from Tom. He treated me like a princess,” she says of Cruise. As a wrap gift for “Jumanji,” Williams bought a 13-year-old Dunst her first computer. “It was an Apple, the ones that came in all those different colors. He was like the most generous, kind, funny person.” While shooting “Little Women” in the dead of summer, Dunst and Sarandon’s daughter, Eva Amurri, ran a lemonade stand that attracted co-stars Winona Ryder and Christian Bale as customers.

The alternate history of Dunst’s career is nearly as intriguing as the string of films that elevated her to the A-list. She was approached for a role in “American Beauty” where her naked body would be covered in red roses (a part eventually played by Mena Suvari). Dunst wasn’t interested in playing the teenager lusted after by her middle-aged neighbor (Kevin Spacey). “I don’t know if I necessarily turned it down,” she says. “I think I just turned down the meeting or something. But yeah, I just didn’t feel comfortable with the sexuality.”

Dunst instead took on a lead role in Coppola’s “The Virgin Suicides,” an offbeat, sexually charged coming-of-age story. “I was very nervous,” Dunst says. “Because there’s a sequence where I’m making out with all these boys on a roof of the house. [Sofia] was like, ‘Don’t worry. You don’t have to make out with any of them. Just cover your hair and nestle into their neck. We’ll make it all work.’”

For Dunst, the most stressful part of the scene was having to jump on Josh Hartnett. “His wig fell off one take,” she remembers. “I was just like, ‘I’ve never done anything like that — you know what I mean? — in real life. Josh was very sweet, but it still was … you know?” She trails off, growing shy as she thinks about shooting a love scene from more than 25 years ago.

“The Virgin Suicides,” released in 2000, established Dunst as an art-house leading lady and critical favorite. Later that year, she proved that she could carry a studio film with the cheerleader comedy “Bring It On,” a hit that spawned six sequels — none of them involving Dunst. “I didn’t even think about it then, but these days, I would have been a producer on ‘Bring It On,’” she says ruefully. “But I wasn’t.” She has no desire to revisit the franchise. “People keep saying we should do another ‘Bring It On.’ I’m like, ‘No. What would we do?’”

No amount of success, though, could have prepared Dunst for “Spider-Man” and her role as Mary Jane in the first (and arguably best) of the many iterations of the web-spinning franchise. Dunst was filming the teen romance “Crazy/Beautiful” when she had her first meeting with director Sam Raimi. “It was so innocent, the reasons I wanted to be in that film,” she says, sounding nostalgic. “The story lived within Sam in such a deep way that I needed to be a part of that feeling, I guess.”

Dunst did her screen test with her eventual co-star Tobey Maguire in a hotel banquet hall in Berlin. (She was shooting Peter Bogdanovich’s “The Cat’s Meow” in the city.) “Tobey and I immediately had a connection,” she recalls.

When the film became a massive blockbuster, grossing $825 million globally and kicking off the modern era of superhero films, a sequel became a fait accompli. That’s where things get messy. Maguire pulled down a reported $17 million to reprise his role. “It might have been more, actually,” Dunst speculates. As for her salary, “It was different. A lot different. And I was in ‘Bring It On’ and had a track record.” It was another example of how, in Hollywood, young women didn’t receive pay parity.

Despite Dunst’s frustration over the salary gap, money wasn’t — and isn’t — a big motivator for her. When she’s prioritized big paydays, it’s been a mistake. “When I was younger, in my 20s, I didn’t have the best guidance, I would say, and I did a couple of duds for money reasons, but nothing that I would have actually done otherwise,” she says. “I get offered the most money on things I don’t want to do. As soon as I took the reins and started to develop my tastes and who I wanted to work with, everything shifted.”

That meant collaborating with unconventional auteurs, from Michel Gondry (“Eternal Sunshine of the Spotless Mind”) to Lars von Trier (“Melancholia”), along with a pair of Coppola reunions (“Marie Antoinette” and “The Beguiled”). As she moved from one challenging project to the next, she kept growing as an actress. Coppola remembers being struck by the depth Dunst displayed as the sexually repressed schoolteacher in “The Beguiled.”

When Garland was looking for his “Civil War” heroine in 2021, Dunst raised her hand, months ahead of her first Oscar nomination for “The Power of the Dog.” As she tore through the script, she wasn’t just reading it to see how meaty her part would be. She wanted to know how the story unfolded. “I was fully immersed. I just remember feeling like I had never read anything like this before,” she says. “I haven’t done anything like this. And I know it was between me and another actress.” As for the other actress, Dunst won’t divulge her name — but says they are very different.

Then again, is there anyone else quite like Dunst? Garland had been watching her movies for years and was familiar with what she could do — to the extent that he never asked her to audition to play Lee, a stoic war photographer carrying the grief of capturing mass death and suffering in the streets. “I know people are skeptical about actors. Like ‘That’s an easy job. You roll out of your trailer, and you kind of make-believe in front of a lens for a bit and then go back,’” Garland says. “It’s harder than that. And one of the things Kirsten had to be was tough and vulnerable on camera, and I think also in herself, and I think that she just did it very brilliantly.”

Plemons came along for the ride, appearing opposite Dunst in one pivotal scene in which he plays a frightening xenophobe in fatigues (it’s never clear which team he’s on). “Civil War” was shot in Atlanta, with the final act unfolding in and around the replica White House at Tyler Perry’s studio — the same place Madea once held a satirical press conference to announce she was Trump’s new communications director. “We fell in love working together, and we will always have that check and balance with each other,” she says of Plemons. “And honestly, he did us a favor, because Alex had another actor for Jesse’s role and that actor couldn’t do it. So I feel like we lucked out.”

Co-star Wagner Moura was struck by the ease with which the couple navigated their tense scene together. “They gave each other lots of space, and they didn’t invade each other’s moment as actors,” Moura recalls. “Kirsten is just very cool, and I don’t say that about many people.”

When they’re not working, Dunst and Plemons are focused on raising their two sons, ages 5 and 2. Theirs is an analog lifestyle. “We’ve got record players,” Dunst says. “We’re just not a ‘Siri, play whatever’ household. Our kids don’t have iPads either. If they want to use an iPad on the plane, it’s Dad’s iPad. And we’re not phone-at-restaurant kind of people.” She glances down at her own device for the first time in two hours. “I’m not raising a kid that can’t have conversations at the table.” As for the two subsequent “Spider-Man” trilogies, she never bothered to check them out — or any Marvel movies for that matter. “It’s just not my thing. But I did see ‘Paw Patrol,’” she says with a classic, deflating, Coppola-heroine eye roll.

The Dunst-Plemons clan doesn’t hang out with a lot of Hollywood types outside of Plemons’ fellow Texas pal Glen Powell. Her closest friend in the business is Gloria Sanchez Productions co-founder Jessica Elbaum, whom she met while filming 2012’s “Bachelorette.” The pair are developing a dark comedy together; Dunst plans to meet with writers after our lunch. She’s juggling some other potential projects. Margot Robbie is developing a movie for Dunst via her LuckyChap production company. It’s easy to see in Robbie a sort of heir to Dunst — ebullient but wickedly clever, slyly in on the joke. Robbie, who has produced “Barbie” and “I, Tonya,” has had opportunities that Dunst, eight years her senior, is only now seizing. Dunst credits Robbie as a trailblazer, who has “done so much for all of us” by becoming a power broker as well as a star. “I’m wildly impressed,” she says.

“It feels like I have to be on guard,” Dunst says. “The fact that people are losing their agents because they have a political standpoint — it feels scary.” She pauses for what feels like a full minute, exploiting the tension, turning it into a crafty dodge. “Now I’m, like, so tired of talking,” she says before looking back at me and hitting the table. “Your turn!”

Set Design: Peter Gueracague; Styling: Samantha McMillen/The Wall Group; Makeup: Nina Park/Kalpana; Hair: Bryce Scarlett/The Wall Group; Manicure: Emi Kudo/A Frame Agency; Look 1 (lead image): Dress: Jil Sander; Earrings: Sophie Bille Brahe; Look 2 (cover): Dress: Jil Sander; Earrings: Anita Ko; Look 3 (green dress): Dress and shoes: Bottega Veneta; Earrings: Grace Lee; Ring: Starling; Look 4 (blue background with red shoes): Dress and shoes: Prada; Earrings and Ring: Irene Neuwirth;

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COMMENTS

  1. Antithesis Definition & Meaning

    antithesis: [noun] the direct opposite. the rhetorical contrast of ideas by means of parallel arrangements of words, clauses, or sentences (as in "action, not words" or "they promised freedom and provided slavery"). opposition, contrast. the second of two opposing words, clauses, or sentences that are being rhetorically contrasted.

  2. Antithesis

    Definition of Antithesis. Antithesis is a literary device that refers to the juxtaposition of two opposing elements through the parallel grammatical structure. The word antithesis, meaning absolute opposite, is derived from Greek for "setting opposite," indicating when something or someone is in direct contrast or the obverse of another thing or person.

  3. 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.

  4. ANTITHESIS Synonyms: 21 Similar and Opposite Words

    Synonyms for ANTITHESIS: opposite, contrary, counter, obverse, reverse, antipode, negative, counterpoint; Antonyms of ANTITHESIS: synonym, counterpart, analog ...

  5. Antithesis: Definition and Examples

    "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 ...

  6. What is the opposite of antithesis?

    Opposite of the statement of a position opposite to one already made. (typically an unpleasant or undesirable form) Opposite of something that is in opposition to something else. Opposite of that which is totally different from or the reverse of someone or something else. Opposite of the state of being unlike.

  7. ANTITHESIS

    ANTITHESIS meaning: 1. the exact opposite: 2. a difference or opposition between two things: 3. the exact opposite: . Learn more.

  8. Antithesis

    antithesis: 1 n exact opposite "his theory is the antithesis of mine" Type of: oppositeness , opposition the relation between opposed entities n the juxtaposition of contrasting words or ideas to give a feeling of balance Type of: rhetorical device a use of language that creates a literary effect (but often without regard for literal significance)

  9. ANTITHESIS

    ANTITHESIS definition: 1. the exact opposite: 2. a difference or opposition between two things: 3. the exact opposite: . Learn more.

  10. Antithesis

    Antithesis ( pl.: antitheses; Greek for "setting opposite", from ἀντι- "against" and θέσις "placing") is used in writing or speech either as a proposition that contrasts with or reverses some previously mentioned proposition, or when two opposites are introduced together for contrasting effect. This is based on the logical phrase or term.

  11. 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.".

  12. Antithesis vs Opposite: How Are These Words Connected?

    Antithesis: Create a sentence that contrasts two ideas or concepts. For example: "The pen is mightier than the sword.". Opposite: Create a sentence that uses two words that are opposite in meaning. For example: "The sun is shining, but it's still cold outside.". Answer Key:

  13. Antithesis in Literature: Definition & Examples

    Antithesis (ann-TIH-thuh-suhs), put simply, means the absolute opposite of something. As a literary term, it refers to the juxtaposition of two opposing entities in parallel structure. Antithesis is an effective literary device because humans tend to define through contrast. Therefore, antithesis can help readers understand something by defining its opposite.

  14. 24 Synonyms & Antonyms for ANTITHESIS

    Find 24 different ways to say ANTITHESIS, along with antonyms, related words, and example sentences at Thesaurus.com.

  15. What Is Antithesis? Learn How It Is Used To Create Emphasis

    Antithesis is the juxtaposition of two diametrically opposite or strongly contrasting elements contained within a parallel grammatical structure. It comes from the Greek word antitheton, meaning "opposition.". Antithesis is not only used to emphasize the difference between two things but also to define them.

  16. antithesis noun

    Definition of antithesis noun from the Oxford Advanced American Dictionary antithesis noun. noun. NAmE / / ænˈtɪθəsəs / / [countable, uncountable] (pl. antitheses. NAmE / / ænˈtɪθəsiz / / ) (formal) jump to other results. 1 the opposite of something Love is the antithesis of selfishness.

  17. antithesis noun

    the opposite of something. Love is the antithesis of selfishness. Students finishing their education at 16 is the very antithesis of what society needs. The current establishment is the antithesis of democracy. Topics Language c2

  18. Antithesis antonyms

    155 opposites of antithesis- words and phrases with opposite meaning. Lists. synonyms

  19. Antithesis

    Antithesis means "opposite." It is a powerful rhetorical device, but it can be difficult to understand and even harder to spot in writing. Fear antithesis no more! Today we're breaking down everything you need to know about this literary device, including what it is, how it's used, and where you can find examples of it. ...

  20. ANTITHESIS Definition & Meaning

    Antithesis definition: opposition; contrast. See examples of ANTITHESIS used in a sentence.

  21. Antithesis Definition & Meaning

    1. : the exact opposite of something or someone. poverty and its antithesis [= opposite ], wealth. — often + of. She is the antithesis of a politician. [=her character is the opposite of a politician's] His lifestyle is the antithesis of healthy living. 2. : the state of two things that are directly opposite to each other — often + of or ...

  22. Antithesis vs Antithetical: Which One Is The Correct One?

    Antithesis refers to a rhetorical device that uses contrasting ideas in a balanced sentence structure. Antithetical, on the other hand, describes something that is in direct opposition or contrast to something else. For example, "It was the best of times, it was the worst of times" is an example of antithesis, where contrasting ideas are ...

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    "No, I mean, in the opposite," Isaac answered. "We continue to be horrified by what we hear from Congress, with of course some exceptions. There are some on the Democratic side, of course Rashida Talib comes from a Palestinian heritage. But when you look at the so-called religious right, we receive no sympathy whatsoever.

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    Smith, 45, is the antithesis of the stodgy old conservative owner of a professional sports franchise in North America. And so it comes as no surprise that he dabbled in roller hockey in the early ...

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    Regardless of the reception, the film offered Dunst another chance to act opposite Plemons, who has a small role in "Civil War," after they worked together in "The Power of the Dog" and ...