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| the repetition of a key word, especially the last one, at the beginning of a word, phrase, sentence or passage: "He gave his life; life was all he could give." |
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| regular repetition of the same words or phrases at the beginning of successive phrases or clauses: "I have a dream..., I have a dream..., I have a dream..." |
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| a syntactical structure in which conjunctions are omitted in a series, usually producing more rapid prose: "Vini, vidi, (*et*) vici." (I cam, I saw, "and" I conquered) |
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| repeating words in reverse order, for surprise or emphasis: "I do not live to eat, but eat to live." |
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| a figure of speech and generally a syntactical structure wherein the order of the terms in the first half of a parallel clause is reveresed in the second: "He thinks I am but a fool. A fool, perhaps I am." |
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| the omission of a word or words necessary for complete grammatical construction but understood in the context: "If possible" for "If it is possible"; an intentional omission of words or letters or an abrupt change of thought, lapse of time, incomplete statement, and so on. |
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| opening and closing a sentence with the same word or phrase for surprise and emphasis: "Buster is deeply concerned to promote the health and well-being of Buster." |
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| the repetition of a word or phrase at the end of successive sentences: "... their families will flourish, ... their families will flourish, ... their families will floursh." |
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| the appeal of a text to the credibility and character of the speaker, writer, or narrator |
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| the quality of having a pleasing sound |
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| parallel structure in which the parallel elements are similar not only in grammatical structure, but also in length: "Many are called, but few are chosen." |
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| the way in which information is presented in written or spoken form: description, argumentation, personal observation |
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| the appeal to the emotion of the audience: "poor starving children" |
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| a figure of speech in which a part signifies the whole or a whole represents a part: "Lend me your ears," "Canada played United States in the Hockey finals." |
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| is applied to something, especially an expression or idea, which through repeated use of application has lost its original freshness; cliche |
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| a grammatically correct construction in which a word, usually a verb or adjective, is applied to two or moure nouns without being repeated: "the theif took my wallet and the Fifth Avenue bus" |
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| repetition of words or grammatical elements to achieve cumulative force and rhythm |
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| a sentence that begins with the supporting clause |
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| a sentence which ends with the subordinate clause |
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| a sentence where the subordinate clause is in the middle of the sentence |
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| a sentence in which two parallel elements are set off against each other like equal weights on a scale. Both pars of the sentence have the same form |
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| Latin "to or against the man," an argument that appeals to emotion, to feeling rather than intellect |
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| using character and/or story elements symbolically to represent an abstraction in addition to the literal meaning |
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| the multiple meanings, intentional or not, of a word, phrase, sentence, or passage |
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| a similarity or comparison between two different things or the relationship between them; used to explain something unfamiliar with something familiar. |
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| the word, phrase, or clause referred to by a pronoun |
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| a figure of speech involving a seeming contradiction of ideas, words, clauses, or sentences within a balanced grammatical structure |
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| a terse statement of known authorship that expresses a general truth or principle |
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| a figure of speech that directly addresses an absent or imaginary person or personified abstraction |
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| the emotional mood created by the entirety of a literary work, established partly by the setting and partly by the author's choice of objects that are described |
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| a representation in which the subject's distinctive features or peculiarities are deliberately exaggerated to produce a comic or grotesque effect |
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| a grammatical unit that contains both a subject and a verb |
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| slang or informality in speech or writing |
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| a fanciful expression, usually in the form of an extended metaphor or surprising analogy between seemingly dissimilar objects |
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| the nonliteral, associative meaning of a word; the implied, suggested meaning |
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| the strict, literal, dictionary definition of a word, devoid of any emotion, attitude or color. |
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| related to style; the writer's word choices especially with regard to their correctness, clearness or effectiveness |
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| Greek "instructive"; works with the primary aim of teaching or instructing, especially moral principles |
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