Oxymoron and Paradox (Figurative Language)

Oxymoron and Paradox

Whereas many aspects of figurative language, like simile and metaphor, are rooted in similarity, many others produce their effects based on oppositions and tensions. Oxymoron and paradox fall into the latter category, producing contrast and difference on the semantic level. What is often missed about both of these terms is that, although tension must be present in each, neither is simply an actual contradiction. Based on the way each is used, there is an apparent contradiction which is understood as such.

Beginning with the more direct and uncomplicated oxymoron, we get an excellent idea of the term's definition by examining its linguistic roots; the two halves of the word, "oxy" and "moron" come from Greek roots meaning "sharp" and "dull" (note how appropriate this is for our current use of the word "moron" as well). These terms are obviously opposites placed in close proximity, and that is a fair definition of oxymoron, except that the two terms must be placed side-by-side rather than being contained in the same word. A favorite example of this device is "jumbo shrimp." The words contain an opposition to each other, because "jumbo" indicates something large, while "shrimp" is associated with being very small (for example, if I call my boxing opponent a shrimp, it is an insult suggesting that he is too small and weak to win). However, note that the contradiction here only exists on one level; the terms themselves suggest an opposition, but the words together still make sense. A jumbo shrimp is a shrimp that happens to be very large compared to other shrimp. So, the words do make sense together, even though they seem to contradict each other.

Oxymoron is considered by some to be a sub-class of paradox, although I believe this classification leads to more confusion than unity, despite that fact that the terms do share a common root in oppositions. A paradox is an apparent contradiction that seems logically impossibly but which demands further examination, and reveals some truth on a different level of meaning. Unlike oxymoron, a paradox can be developed over a far greater length, be it a sentence or even a paragraph. George Orwell's famous novel 1984 features a great number of paradoxes, including such gems as "war means peace" and "slavery means freedom." On the surface, neither of these statements seems to make any sense, as war is considered the opposite of peace, and slavery as the opposite of freedom. However, once these oppositions are shown to be more closely related than we usually assume, we can see that the contradictions are merely apparent.

In the first example, "war means peace," we need to consider how war and peace are related to each other, and how one could lead to the other. War consists of battles and violence, certainly nothing like peace, but through warfare, it is possible that peace can be achieved. If two rival nations are constantly squabbling with each other, there is no real peace, even though there might be no official declaration of war. In this case, a large-scale war might be just the thing to thoroughly defeat one nation, and put an end to the constant unrest. Thus, war is the path to peace, and war indicates or means that peace is not far off. The second example seems equally contradictory, but it can also be seen as only an apparent contradiction. In Orwell's novel, slavery is basically the state in which the people find themselves, severely controlled and oppressed by a totalitarian government. This government believes that by enslaving the people, it frees them from natural but undesirable human emotions and failings like violence, crime, misdirected anger, and dissenting actions and thoughts. By keeping the people under an iron heel, the government states that it is making life better for everyone, freeing them from decision and worry. As is often the case with paradox, there is some irony apparent here; Orwell does not believe either of these terms or explanations is true, but by presenting the paradoxes, Orwell challenges us to decide for ourselves whether the contradiction is apparent or actual, hopefully seeing more clearly than many of the citizens of the story.