Vickers, Rhetorical Devices

APPENDIX Definitions of Rhetorical Figures and Tropes Note: further illustrations and discussions of the figures and tropes may be found in Taylor (1937); Rubel (1941); Joseph (1947); Heinrich Lausberg, Handbuch der literarischen Rhetorik, 2 vols. (Munich, 1960) and Elemente der literarischen Rhetorik (Munich, 1963); L. A. Sonnino, A Handbook to Sixteenth-Century Rhetoric (London, 1968); Richard A. Lanham, A Handlist of Rhetorical Terms: A Guide for Students of English Literature (Berkeley and Los Angeles, 1968); Arthur Quinn, Figures of Speech: 60 Ways to Turn a Phrase (Salt Lake City, Utah, 1982); Bernard Dupriez, Gradus: Les procedes litteraires (Dictionnaire) (Paris, 1984). All the illustrations are from Shakespeare's works. Adynaton, the impossibility of expressing oneself adequately to the topic: 3 Gent. Did you see the meeting of the two kings? 2 Gent. No. 3 Gent. Then have you lost a sight which was to be seen, cannot be spoken of. Winter's Tale,. 5. 2. 39 Anadiplosis (or reduplicatio), where the last word(s) of one clause or sentence become(s) the first of the one following: Wishing me like to one more rich in hope, Featur'd like him, like him with friends possess'd. Sonnet 29 Anaphora (or repetitio), where the same word is repeated at the beginning of a sequence of clauses or sentences: Some glory in their birth, some in their skill, Some in their wealth, some in their body's force ... Sonnet 91 Antanaclasis, where a word is used twice (or more) in two (or more) of its senses: Put out the light, and then put out the light. Othello, 5. 2. 7

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Anthypophora (or rogatio), to ask a q u e s t i o n a n d to a n s w e r it oneself: What is in that word honour? What is that honour? Air. A trim reckoning! Who hath it? He that died a' Wednesday. Doth he feel it? No. Doth he hear it? No. 1 Henry IV, 5. 1. 131 Antimetabole (or commutatio), w h e r e t w o or m o r e w o r d s are r e p e a t e d in i n v e r s e order: Music to hear, why hear'st thou music sadly? Sonnet 8 Antithesis' (or distinguished:

comparatio),

where

contraries

are

opposed

Antonomasia (or pronominatio), s u b s t i t u t i o n of n a m e , e i t h e r (1) of a d e s c r i p t i v e p h r a s e for a p r o p e r n a m e ; or (2) of a p r o p e r n a m e for a quality associated w i t h it: (1) Cupid is 'that same wicked bastard of Venus. . . . that blind rascally boy.' As You Like It, 4. 1. 211 (2) I am no great Nebuchadnezzar, sir; I have not much skill in grass. breaking

Sonnet n o Auxesis (or incrementum), w h e r e w o r d s are a r r a n g e d in a s c e n d i n g o r d e r of i m p o r t a n c e : Since brass, nor stone, nor earth, nor boundless sea, But sad mortality o'er-sways their power . . . Sonnet 65 Brachylogia (or articulus), the a b s e n c e of c o n n e c t i n g particles b e t w e e n single w o r d s , w h i c h are t h u s s e p a r a t e d only b y c o m m a s :

Sonnet 129

Aposiopesis (or praecisio), incomplete.

Gor'd mine own thoughts, sold cheap what is most dear, Made old offences of affections new.

and

A bliss in proof; and prov'd, a very woe; Before, a joy propos'd; behind, a dream.

493

Asyndeton (or dissolutio), the a b s e n c e of c o n n e c t i n g particles b e t w e e n clauses:

. . . till action, lust Is perjur'd, murd'rous, bloody, full of blame, Savage, extreme, rude, cruel, not to trust. . . Sonnet 129 Chiasmus, r e p e a t i n g i d e a s (not necessarily in t h e s a m e w o r d s , c o n t r a s t antimetabole) in i n v e r t e d order: But O, what damned minutes tells he o'er Who dotes, yet doubts; suspects, yet strongly loves.

off a

sentence

Othello, 3. 3. 169

All's Well, 4. 5. 21 with the sense

Climax (or gradatio), w h e r e t h e last w o r d of o n e c l a u s e or s e n t e n c e b e c o m e s the first of t h e o n e following, as in anadiplosis, b u t c o n t i n u e d t h r o u g h three or m o r e stages—like t h e r u n g s of a l a d d e r :

I will have such revenges on you both, That all the world shall — I will do such things — What they are yet I know not, but they shall be The terrors of the earth! King Lear, 2. 4. 281

My conscience hath a thousand several tongues, And every tongue brings in a several tale, And every tale condemns me for a villain. . . . Richard III, 5. 3. 193 ,

Apostrophe (or aversio), a t u r n i n g of s p e e c h from o n e topic or p e r s o n to a n o t h e r , often for e m o t i o n a l e m p h a s i s :

Ecphonesis (or exclamatio), the e x c l a m a t i o n of e x t r e m e e m o t i o n s u c h as a n g e r , grief, a d m i r a t i o n :

Within a month . . . She married—O most wicked speed: to post With such dexterity to incestuous sheets . . . Hamlet, 1.2. 153

O sides, you are too tough! Will you yet hold? King Lear, 2. 4. 197

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Epanalepsis (or resumptio), w h e r e t h e s a m e w o r d is r e p e a t e d at t h e b e g i n n i n g a n d e n d of c l a u s e , a line, or s e n t e n c e :

Homoioptoton (or similiter cadens), w h e r e c o r r e s p o n d i n g w o r d s (often at the e n d of a s e q u e n c e of c l a u s e s or sentences) h a v e similar case e n d i n g s (not p o s s i b l e in uninflected l a n g u a g e s ) :

Kind is my love today, tomorrow kind . . . Sonnet

. 105

Epanodos (or regressio), w h e r e t h e m a i n t e r m s in an a r g u m e n t are r e p e a t e d in t h e c o u r s e of it: Mine eye and heart are at a mortal war How to divide the conquest of thy sight: Mine eye my heart thy picture's sight would bar, My heart mine eye the freedom of that right.

495

Veni, vidi, vici. Homoioteleuton (or similiter desinens), w h e r e c o r r e s p o n d i n g w o r d s (often at t h e e n d of a s e q u e n c e of c l a u s e s or s e n t e n c e s ) h a v e similar e n d i n g s : My mother weeping, my father wailing, my sister crying, our maid howling, our cat wringing her hands . . . Two Gentlemen of Verona, 2 . 3 . 6

Sonnet 46 Epanorthosis (or correctio), w h e r e a w o r d or i d e a is c o r r e c t e d a n d r e p l a c e d b y o n e m o r e suitable: A good heart, Kate, is the sun and the moon, or rather the sun and not the moon; for it shines bright and never changes, but keeps his course truly. Henry V, 5. 2. 162 Epiphonema (or acclamatio), a p i t h y s u m m i n g - u p of an a r g u m e n t , often in t h e form of an e p i g r a m or sentential This I do vow and this shall ever be: I will be true despite thy scythe and thee. Sonnet 123 Epistrophe (or conversio), w h e r e t h e s a m e w o r d is r e p e a t e d at t h e e n d of a s e q u e n c e of clauses or s e n t e n c e s : Is this nothing? Why then the world and all that's in't is nothing, My wife is nothing, nor nothing have these nothings, If this be nothing.

Hypallage (or submutatio), 'changing the true construction and application o f t h e w o r d s w h e r e b y t h e s e n s e i s p e r v e r t e d a n d m a d e v e r y absurd' (Puttenham): The eye of man hath not heard, the ear of man hath not seen, man's hand is not able to taste, his tongue to conceive, nor his heart to report, what my dream was. Midsummer Night's Dream, 4 . 1 . 211 Hyperbaton (or transgressio), t h e alteration of w o r d o r d e r for p u r p o s e s of emphasis: Yet I'll not shed her blood, Nor scar that whiter skin of hers than snow . . . Othello, 5.2.3 Hyperbole (or superlatio), e x a g g e r a t i o n of scale in o r d e r to describe o u t s t a n d i n g qualities: His legs bestrid the ocean, his rear'd arm Crested the world, his voice was propertied As all the tuned spheres, and that to friends . . . Antony and Cleopatra, 5. 2. 82

Winter's Tale, 1.2. 292 Epizeuxis (or subjunctio), w h e r e a w o r d is r e p e a t e d t w o or m o r e t i m e s with no other word intervening: Howl, howl, howl! King Lear, 5. 3. 257 Euphemismos, s u b s t i t u t i n g a m o r e favourable for a pejorative t e r m : Falstaff . . . when thou art king, let not us that are squires of the night's body ['we that take purses'] be call'd thieves of the day's beauty. Let us be Diana's foresters, gentlemen of the shade, minions of the moon . . . 1 Henry IV, 1. 2. 13 ff.

Hypotyposis (or demonstratio, t h e s e n s e of sight:

evidentia), vivid d e s c r i p t i o n a p p e a l i n g to

Think, when we talk of horses, that you see them Printing their proud hoofs i'th' receiving earth . . .

Henry V, 1. Pro. 26

Hysteron proteron (or praeposteratio), t h e p l a c i n g first in a s e n t e n c e or clause of w o r d s w h i c h , in t e r m s of s e n s e , o u g h t to c o m e later: : Th'Antoniad, the Egyptian admiral, With all their sixty, fly and turn the rudder. Antony and Cleopatra, 3. 10. 2

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Isocolon (or compar), w h e r e a s e q u e n c e of clauses or s e n t e n c e s is of an identical l e n g t h ( a n d often of an identical s t r u c t u r e : s e e parison):

497

And they would go and kiss dead Caesar's wounds . . . Have patience, gentle friends; I must not read it. It is not meet you know how Caesar loved you . . .

Was ever woman in this humour woo'd? Was ever woman in this humour won?

Julius Caesar, 3. 2. 130 Richard III, 1. 2. 227

Meiosis (or extenuatio), a form of ' d i m i n i s h i n g ' a t o p i c by belittling it: But when my glass shows me myself indeed, Beated and chopp'd with tann'd antiquity . . .

Parison (or compar), c o r r e s p o n d i n g s e q u e n c e of c l a u s e s or s e n t e n c e s :

or s y m m e t r i c a l s t r u c t u r e

of a

As Caesar lov'd me, I weep for him; as he was fortunate, I rejoice at it; as he was valiant, I honour him; but as he was ambitious, I slew him. Julius Caesar, 3. 2. 24

Sonnet 62 Metalepsis, a t t r i b u t i n g a p r e s e n t effect to a r e m o t e c a u s e :

Paronomasia (agnominatio or allusio), w h e r e , t w o or m o r e w o r d s are u s e d i n p r o x i m i t y w h i c h are similar i n s o u n d b u t different i n s e n s e : Mad in pursuit and in possession so.

There spake my brother! There my father's grave Did utter forth a voice.

Sonnet 129 Measure for Measure, 3. 1. 86

Metaphor (or translatio), w h e n a w o r d is t r a n s f e r r e d from o n e t h i n g to a n o t h e r , for i l l u m i n a t i o n a n d for e m o t i o n a l e m p h a s i s : That time of year thou mayst in me behold When yellow leaves, or none, or few, do hang Upon those boughs which shake against the cold, Bare ruin'd choirs, where late the sweet birds sang.

. . . when that fell arrest Without all bail shall carry me away . . . Sonnet 74 Sonnet 73

Metonymy (or transmutatio), t h e s u b s t i t u t i o n of o n e n a m e for a n o t h e r , as of an a u t h o r for h i s w o r k , t h e s i g n for t h e signified: O thou, my lovely boy, who in thy power Dost hold Time's fickle glass, his sickle, hour . . .

Ploche (or conduplicatio, diaphora), t h e repetition of t h e s a m e w o r d or words: Music to hear, why hear'st thou music sadly? Sweets with sweets war not, joy delights in joy. Sonnet 8

Sonnet 126 Onomatopoeia (or nominatio), w h e r e l a n g u a g e is u s e d to imitate t h e s o u n d of t h e a n i m a l ('Tu-whit t u - w h o o ' ) or t h i n g d e s c r i b e d :

Polyptoton (paragmenon, traductio, or adnominatio), r e p e a t i n g a w o r d in a different form: And death once dead, there's no more dying then. Sonnet 146

Blow, winds, and crack your cheeks! rage, blow! ., You cataracts and hurricanoes, s p o u t . . . King Lear, 3. 2. 1 Paralipsis (or occupatio), w h e n o n e p r e t e n d s to p a s s o v e r a m a t t e r a n d so d r a w s a t t e n t i o n to it: Let but the commons hear this testament [Caesar's will] — Which, pardon me, I do not mean to read —

Periphrasis (or circumlocutio), t h e u s e of a n u m b e r of w o r d s to describe at g r e a t e r l e n g t h a n d w i t h fuller e m p h a s i s s o m e t h i n g w h i c h c o u l d b e s t a t e d m u c h m o r e briefly:

Polysyndeton (or acervatio), b e t w e e n clauses:

the

profusion

of

connecting

particles

Then, in the blazon of sweet beauty's best, Of hand, of foot, of lip, of eye, of brow, I see their antique pen would have express'd Even such a beauty as you master now. Sonnet 106

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Prosopopoeia (or confirmatio), r e p r e s e n t i n g an i m a g i n a r y or a b s e n t p e r s o n as s p e a k i n g or acting; a t t r i b u t i n g life, s p e e c h or h u m a n qualities to d u m b o r i n a n i m a t e objects: Methinks I hear Antony call; I see him rouse himself To praise my noble act. I hear him mock The luck of Caesar . . . Husband, I come! Antony and Cleopatra, 5. 2. 283 Syllepsis (or conceptio), w h e r e a w o r d is u s e d o n c e o n l y b u t w h e r e by t h e context a n d t o n e t w o different m e a n i n g s are s u g g e s t e d : Therefore I lie with her, and she with me . . . Sonnet 138 Synecdoche (or subintellectio), w h e r e o n e t h i n g is s u b s t i t u t e d for a n o t h e r , p a r t for w h o l e , g e n u s for s p e c i e s , a n d vice-versa: These are the ushers of Martius: before him he carries noise, and behind him he leaves tears. . . Coriolanus, 2. 1.158 Synoeciosis (oxymoron or contrapositum), u n i t i n g (not o p p o s i n g , antithesis) c o n t r a r y a n d i n c o m p a t i b l e - s e e m i n g t e r m s or states:

as in

Have we, as 'twere with a defeated joy, With an auspicious and a dropping eye, With mirth in funeral, and with dirge in marriage, In equal scale weighing delight and dole, Taken to wife. Hamlet, 1. 2. 10

Zeugma (or adjunctio), w h e r e o n e v e r b serves t w o or m o r e clauses: Since saucy jacks so happy are in this, Give them thy fingers, me thy lips to kiss. Sonnet 128