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| repetition of a letter, usually at the beginnings of a words: Interea magno misceri murmure pontum |
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| repetition of a word at the beginning of successive clauses: Sternitur Arcadiae proles, sternuntur Etrusci (often enhanced by asyndeton) |
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| inversion of the normal order of words |
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| breaking off in the middle of a sentence, which is never - Why I oughta... (Quos ego - sed motos praestat componere fluctus) |
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| address that deviates from the normal narrative, typically addressed to someone or something that cannot reply (See also: insanity) |
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| the repetition of similar vowels in the stressed syllables of successive word: Do you like blue? |
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| arrangement of words in a mirroring (ABBA) pattern: Navem in conspectu nullam, tres litore cervos |
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| the repetition of consonants (or consonant patterns) especially at the ends of words |
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| extended and elaborate description of a work of art, a building, or a natural setting |
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| omission of one or more words which must be logically supplied in order to create a grammatically complete expression |
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| transferred epithet (High walls of lofty Rome) |
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| continuation of a thought beyond the end of a line of poetry |
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| repetition of a word (often a proper name) in successive clauses or lines of verse |
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| avoidance of a direct manner of speaking in favor of more subtle and diluted circumlocutions |
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| expression of an idea by two nouns coordinated by a conjunction instead of a noun and an adjective: fortunam atque viam = fortunam viae |
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| avoidance in meter of elision between one word ending in a vowel and other beginning with a vowel (often to enhance onomatopoeia): femineo ululatu |
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| distanced placement of two words which are logically meant to be understood together (See also: Vergil hates you) |
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| exaggeration for rhetorical effect |
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| reversal of the natural or logical order of ideas: inclusos utero Danaos et pinea furtim / laxat claustra Sinon |
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| understatement, often enhanced by the use of the negative |
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| substitution of one word for another it suggests |
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| attribution of human emotion to inanimate objects |
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| exceptional (and usually unnecessary) fullness of expression, typical of archaic Latin style (See also: the entire Aeneid) |
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| repetition of a noun or pronoun in different cases at the beginning of successive phrases or clauses (a form of anaphora) |
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| overabundance of conjunctions |
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| inclusion in the main story of references to events which will occur after the dramatic time of the poem: Anchises' description of the Roman race |
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| question that anticipates no real answer: "Quae iam finis erit, coniunx?" |
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| figure of speech which likens or asserts an explicit comparison between two different things, usually epic in the Aeneid |
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| interlocking word order; many variations on the pattern abAB exist: his medium dictis sermonem |
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| substitution of a part for the whole, or the reverse |
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| two contiguous vowels within the same word that are normally pronounced separately are slurred into one syllable |
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| "splitting" - separation into two parts of a word normally written as one: bis collo squamea circum / terga dati (terga is literally surrounded by circumdati) |
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| accumulation of three parallel phrases or clauses, each of which is at least one syllable longer than that preceding it (often used to enhance anaphora) |
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| joining of two words by a modifying or governing word which strictly applies to only one of them |
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