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| : repetition of a prominent and usually the last word in one phrase or clause at the beginning of the next (as in “rely on his honor—honor such as his?”) |
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| : repetition of a word or expression at the beginning of successive phrases, clauses, sentences, or verses especially for rhetorical or poetic effect |
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| reversing the order of repeated words or phrases (a loosely chiastic structure, AB-BA) to intensify the final formulation, to present alternatives, or to show contrast: |
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| establishes a clear, contrasting relationship between two ideas by joining them together or juxtaposing them, often in parallel structure. Human beings are inveterate systematizers and categorizers, so the mind has a natural love for antithesis, which creates a definite and systematic relationship between ideas: |
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| a noun or noun substitute placed next to (in apposition to) another noun to be described or defined by the appositive. Don't think that appositives are for subjects only and that they always follow the subject. The appositive can be placed before or after any noun: |
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| consists of omitting conjunctions between words, phrases, or clauses. In a list of items, asyndeton gives the effect of unpremeditated multiplicity, of an extemporaneous rather than a labored account: |
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| might be called "reverse parallelism," since the second part of a grammatical construction is balanced or paralleled by the first part, only in reverse order. Instead of an A,B structure (e.g., "learned unwillingly") paralleled by another A,B structure ("forgotten gladly"), the A,B will be followed by B,A ("gladly forgotten"). |
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| consists of arranging words, clauses, or sentences in the order of increasing importance, weight, or emphasis. Parallelism usually forms a part of the arrangement, because it offers a sense of continuity, order, and movement-up the ladder of importance. But if you wish to vary the amount of discussion on each point, parallelism is not essential. |
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| the omission from a sentence or other construction of one or more words that would complete or clarify the construction, as the omission of who are, while I am, or while we are from I like to interview people sitting down. |
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| repeats the beginning word of a clause or sentence at the end. The beginning and the end are the two positions of strongest emphasis in a sentence, so by having the same word in both places, you call special attention to it |
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| forms the counterpart to anaphora, because the repetition of the same word or words comes at the end of successive phrases, clauses, or sentences |
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| he counterpart of understatement, deliberately exaggerates conditions for emphasis or effect. In formal writing the hyperbole must be clearly intended as an exaggeration, and should be carefully restricted. That is, do not exaggerate everything, but treat hyperbole like an exclamation point, to be used only once a year. Then it will be quite effective as a table-thumping attention getter, introductory to your essay or some section thereof |
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| A rhetorical term for a succession of clauses or sentences of approximately equal length and corresponding structure. |
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| is recurrent syntactical similarity. Several parts of a sentence or several sentences are expressed similarly to show that the ideas in the parts or sentences are equal in importance. Parallelism also adds balance and rhythm and, most importantly, clarity to the sentence. |
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| a final form of hyperbaton, consists of a word, phrase, or whole sentence inserted as an aside in the middle of another sentence |
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| A rhetorical term for repetition of words derived from the same root but with different endings. |
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| is the use of a conjunction between each word, phrase, or clause, and is thus structurally the opposite of asyndeton. The rhetorical effect of polysyndeton, however, often shares with that of asyndeton a feeling of multiplicity, energetic enumeration, and building up. |
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| A sentence that makes a statement |
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| A sentence that asks a question. |
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| A sentence that gives a command. |
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| A sentence that expresses a strong feeling. |
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| Contains a single, independent clause. |
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| Contains two independent clauses that are joined by a coordinating conjunction. |
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| Contains an independent clause plus one or more dependent clauses. |
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| Contains 3 or more clauses (of which at least two are independent and one is dependent). |
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| Details given before the subject and verb. |
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| Details given after the subject and verb. |
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| The choice and use of words and phrases in speech or writing. |
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| The arrangement of words and phrases to create well-formed sentences in a language. |
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| Visually descriptive or figurative language, esp. in a literary work: "Tennyson uses imagery to create a lyrical emotion". |
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| Literal and figurative language is a distinction in traditional systems for analyzing language. |
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| the relationship or organization of the component parts of a work of art or literature |
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| a particular quality, way of sounding, modulation, or intonation of the voice as expressive of some meaning, feeling, spirit, etc. |
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| to maintain by argument, evidence, etc. |
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| to prove to be false or erroneous, as an opinion or charge. |
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| to prove to be false or erroneous, as an opinion or charge. |
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| to attribute some quality or qualities to; characterize, call, or name: |
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| the separating of any material or abstract entity into its constituent elements |
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| a comprehensive and usually brief abstract, recapitulation, or compendium of previously stated facts or statements. |
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| Analyze the purpose, audience, persona, and argument. Create thesis and go through the piece connecting rhetorical devices to the four elements of the PAPA. |
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| An assertion of the truth of something, typically one that is disputed or in doubt. |
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| The available body of facts or information indicating whether a belief or proposition is true or valid. |
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| Justify or necessitate (a certain course of action). |
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| Used for giving the title of an entire book or piece. |
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| Uses for smaller subtitles within a piece or book. (Chapters) |
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| Used at the beginning of sentences or in titles/names. |
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| The whole system and structure of a language or of languages in general, usually taken as consisting of syntax and morphology |
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| The marks, such as period, comma, and parentheses, used in writing to separate sentences and their elements and to clarify meaning. |
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| Truthful and straightforward; frank. |
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| Having or showing intense and eager enjoyment, interest, or approval. |
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| Used in ordinary conversation; not formal or literary. |
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| containing or imposing condemnation or censure; "a condemnatory decree". |
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| An extremely strong reaction of anger, shock, or indignation. |
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| Deriving from or affected by uncontrolled extreme emotion: "hysterical laughter". |
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| Comfort at a time of grief or disappointment. |
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| Providing encouragement or help. |
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| Showing approval of or favor toward an idea or action: |
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| Smile or speak in a contemptuous or mocking manner: "she sneered at my decor". |
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| Acting in a way that betrays a feeling of patronizing superiority. |
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| Having or displaying an excessively critical point of view. |
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