Figures of speech and figurative, or
non-literal language, can help you clarify your
meaning in an essay. Analogy, simile, metaphor
and allusion are just a few of the more useful
devices. Here is a description of some of
the rhetorical devices you can use in your essays. Do not let the obscure terms scare you away! They are Latin or Latin derivatives, but their meanings, as you shall see, are not complex. Knowing how to use the device is far more important than identifying the terminology itself. We have all heard of "metaphor" but the term "anadiplosis" is foreign to the average person. Observe the examples and try a few in your essay or, first, just practice with sentences using the device.
ANALOGY:
Analogy compares two things, which are alike in
several respects, for the purpose of explaining
or clarifying some unfamiliar or difficult idea
or object by showing how the idea or object is
similar to some familiar one. While simile and
analogy often overlap, the simile is generally
a more artistic likening, done briefly for
effect and emphasis, while analogy serves the
more practical end of explaining a thought
process or a line of reasoning or the abstract
in terms of the concrete, and may therefore be
more extended.
"You may abuse a tragedy, though you cannot
write one. You may scold a carpenter who has
made you a bad table, though you cannot make a
table. It is not your trade to make tables."
--Samuel Johnson
"He that voluntarily continues ignorance is
guilty of all the crimes which ignorance
produces, as to him that should extinguish the
tapers of a lighthouse might justly be imputed
the calamities of shipwrecks." --Samuel Johnson
". . . For answers successfully arrived
at are solutions to difficulties previously
discussed, and one cannot untie a knot if he is
ignorant of it." --Aristotle
Notice in these examples that the analogy is
used to establish the pattern of reasoning by
using a familiar or less abstract argument
which the reader can understand easily and
probably agree with.
Some analogies simply offer an explanation for
clarification rather than a substitute
argument:
"Knowledge always desires increase: it is
like fire, which must first be kindled by some
external agent, but which will afterwards
propagate itself." --Samuel Johnson
"The beginning of all evil temptations is
inconstancy of mind, and too little trust in
God. For as a ship without a guide is driven
hither and thither with every storm, so an
unstable man, that anon leaveth his good
purpose in God, is diversely tempted. The fire
proveth gold, and temptation proveth the
righteous man." --Thomas a Kempis
When the matter is complex and the analogy
particularly useful for explaining it, the
analogy can be extended into a rather long,
multiple-point comparison:
"The body is a unit, though it is made up of
many parts; and though all its parts are many,
they form one body. So it is with Christ." (And
so forth, to the end of the chapter.] --l Cor.
12:12 (NIV)
The importance of simile and analogy for
teaching and writing cannot be overemphasized.
To impress this upon you better, I would like
to step aside a moment and offer two persuasive
quotations:
"The country parson is full of all knowledge.
They say, it is an ill mason that refuseth any
stone: and there is no knowledge, but, in a
skilful hand, serves either positively as it
is, or else to illustrate some other knowledge. He condescends even to the knowledge of
tillage, and pastorage, and makes great use of
them in teaching, because people by what they
understand are best led to what they understand
not." --George Herbert
"To illustrate one thing by its resemblance
to another has been always the most popular and
efficacious art of instruction. There is indeed
no other method of teaching that of which
anyone is ignorant but by means of something
already known; and a mind so enlarged by
contemplation and enquiry that it has always
many objects within its view will seldom be
long without some near and familiar image
through which an easy transition may be made to
truths more distant and obscure." --Samuel
Johnson
METAPHOR
Metaphor is a comparison which imaginatively
identifies one thing with another, dissimilar
thing, and transfers or ascribes to the first
thing (the tenor or idea) some of the qualities
of the second (the vehicle, or image). Unlike a
simile or analogy, metaphor asserts that one
thing is another thing, not just that one is
like another. Very frequently a metaphor is
invoked by the to be verb:
"Affliction then is ours; / We are the trees
whom shaking fastens more." --George
Herbert
"Then Jesus declared, "I am the bread of
life." --John 6:35 [And compare the use of
metaphor in 6:32-63]
"Thus a mind that is free from passion is a
very citadel; man has no stronger fortress in
which to seek shelter and defy every assault.
Failure to perceive this is ignorance; but to
perceive it, and still not to seek its refuge,
is misfortune indeed."--Marcus Aurelius
"The mind is but a barren soil; a soil which
is soon exhausted and will produce no crop, or
only one, unless it be continually fertilized
and enriched with foreign matter." --Joshua
Reynolds
Just as frequently, though, the comparison is
clear enough that the a-is-b form is not
necessary:
"The fountain of knowledge will dry up unless
it is continuously replenished by streams of
new learning.
This first beam of hope that had ever darted
into his mind rekindled youth in his cheeks and
doubled the lustre of his eyes." --Samuel
Johnson
"I wonder when motor mouth is going to run
out of gas."
"When it comes to midterms, it's kill or be
killed. Let's go in and slay this test."
"What sort of a monster then is man? What a
novelty, what a portent, what a chaos, what a
mass of contradictions, what a prodigy! Judge
of all things, a ridiculous earthworm who is
the repository of truth, a sink of uncertainty
and error; the glory and the scum of the world."
--Blaise Pascal
"The most learned philosopher knew little
more. He had partially unveiled the face of
Nature, but her immortal lineaments were still
a wonder and a mystery. . . . I had gazed upon
the fortifications and impediments that seemed
to keep human beings from entering the citadel
of nature, and rashly and ignorantly I had
repined." --Mary Shelley
"The furnace of affliction had softened his
heart and purified his soul.
Compare the different degrees of direct
identification between tenor and vehicle. There
is fully expressed:
"Your eye is the lamp of your body; when your
eye is sound, your whole body is full of light;
but when it is not sound, your body is full of
darkness." --Luke 11:34 (RSV)
There is semi-implied:
"And he said to them, "Go and tell that fox,
'Behold, I cast out demons and perform cures
today and tomorrow, and the third day I finish
my course."' --Luke 13:32 (RSV)
There is implied:
". . . For thou hast been my help, and in the
shadow of thy wings I sing for joy." --Psalm
63:7 (RSV)
And there is very implied:
"For if men do these things when the tree is
green what will happen when it is dry?" --Luke
23:31 (NIV)
Like simile and analogy, metaphor is a
profoundly important and useful device.
Aristotle says in his Rhetoric, "It is metaphor
above all else that gives clearness, charm, and
distinction to the style." And Joseph Addison
says of it:
"By these allusions a truth in the
understanding is as it were reflected by the
imagination; we are able to see something like
color and shape in a notion, and to discover a
scheme of thoughts traced out upon matter. And
here the mind receives a great deal of
satisfaction, and has two of its faculties
gratified at the same time, while the fancy is
busy in copying after the understanding, and
transcribing ideas out of the intellectual
world into the material."
So a metaphor not only explains by making the
abstract or unknown concrete and familiar, but
it also enlivens by touching the reader's
imagination. Further, it affirms one more
interconnection in the unity of all things by
showing a relationship between things seemingly
alien to each other.
And the fact that two very unlike things can be
equated or referred to in terms of one another
comments upon them both. No metaphor is "just a
metaphor." All have significant implications,
and they must be chosen carefully, especially
in regard to the connotations the vehicle
(image) will transfer to the tenor. Consider,
for example, the differences in meaning
conveyed by these statements:
That club is spreading like wildfire.
That club is spreading like cancer.
That club is really blossoming now.
That club, in its amoebic motions, is engulfing
the campus.
And do you see any reason that one of these
metaphors was chosen over the others?
"The harvest is plentiful, but the laborers
are few." --Luke 10:2
"The pile of dirt is high, but we do not have
many shovels."
"The diamonds cover the ground, but we need
more people to pick them up."
So bold and striking is metaphor that it is
sometimes taken literally rather than as a
comparison. (Jesus' disciples sometimes failed
here--see John 4:32ff and John 6:46-60; a few
religious groups like the Jehovah's Witnesses
interpret such passages as Psalm 75:8 and
118:15 literally and thus see God as
anthropomorphic; and even today a lot of
controversy surrounds the interpretation of
Matthew 26:26.) Always be careful in your own
writing, therefore, to avoid possible confusion
between metaphor and reality. In practice this
is usually not very difficult.
ALLUSION
Allusion is a casual and brief reference to a
famous historical or literary figure or event:
"You must borrow me Gargantua's mouth
first. 'Tis a word too great for any mouth of
this age's size." --Shakespeare
"If you take his parking place, you can
expect World War II all over again."
"Plan ahead: it wasn't raining when Noah
built the ark." --Richard Cushing
"Our examination of the relation of the
historian to the facts of history finds us,
therefore, in an apparently precarious
situation, navigating delicately between the
Scylla of an untenable theory of history as an
objective compilation of facts . . . and the
Charybdis of an equally untenable theory of
history as the subjective product of the mind
of the historian . . . ." --Edward Hallett
Carr
Notice in these examples that the allusions are
to very well known characters or events, not to
obscure ones. (The best sources for allusions
are literature, history, Greek myth, and the
Bible.) Note also that the reference serves to
explain or clarify or enhance whatever subject
is under discussion, without sidetracking the
reader.
Allusion can be wonderfully attractive in your
writing because it can introduce variety and
energy into an otherwise limited discussion (an
exciting historical adventure rises suddenly in
the middle of a discussion of chemicals or some
abstract argument), and it can please the
reader by reminding him of a pertinent story or
figure with which he is familiar, thus helping
(like analogy) to explain something difficult.
The instantaneous pause and reflection on the
analogy refreshes and strengthens the reader's
mind.
ALLITERATION: repetition of the same sound
beginning several words in sequence.
*Let us go forth to lead the land we love." J.
F. Kennedy, Inaugural
*Viri validis cum viribus luctant." Ennius
*Veni, vidi, vici." Julius Caesar
ANACULOCTHON: lack of grammatical sequence; a
change in the grammatical construction within
the same sentence.
*Agreements entered into when one state of
facts exists -- are they to be maintained
regardless of changing conditions?" J.
Diefenbaker
ANADIPLOSIS: ("doubling back") the rhetorical
repetition of one or several words;
specifically, repetition of a word that ends
one clause at the beginning of the next.
*Men in great place are thrice servants:
servants of the sovereign or state; servants of
fame; and servants of business." Francis
Bacon
ANAPHORA: the repetition of a word or phrase at
the beginning of successive phrases, clauses or
lines.
*We shall not flag or fail. We shall go on to
the end. We shall fight in France, we shall
fight on the seas and oceans, we shall fight
with growing confidence and growing strength in
the air, we shall defend our island, whatever
the cost may be, we shall fight on the beaches,
we shall fight on the landing grounds, we shall
fight in the fields and in the streets, we
shall fight in the hills. We shall never
surrender." Churchill.
ANASTROPHE: transposition of normal word order;
most often found in Latin in the case of
prepositions and the words they control.
Anastrophe is a form of hyperbaton.
*The helmsman steered; the ship moved on; yet
never a breeze up blew." Coleridge, The Rime of
the Ancient Mariner
ANTISTROPHE: repetition of the same word or
phrase at the end of successive clauses.
*In 1931, ten years ago, Japan invaded
Manchukuo -- without warning. In 1935, Italy
invaded Ethiopia -- without warning. In 1938,
Hitler occupied Austria -- without warning. In
1939, Hitler invaded Czechoslovakia -- without
warning. Later in 1939, Hitler invaded Poland
-- without warning. And now Japan has attacked
Malaya and Thailand -- and the United States
--without warning." Franklin D. Roosevelt
ANTITHESIS: opposition, or contrast of ideas or
words in a balanced or parallel construction.
*Extremism in defense of liberty is no vice,
moderation in the pursuit of justice is no
virtue." Barry Goldwater
*Brutus: Not that I loved Caesar less, but that
I loved Rome more." Shakespeare, Julius
Caesar
APORIA: expression of doubt (often feigned) by
which a speaker appears uncertain as to what he
should think, say, or do.
*Then the steward said within himself, 'What
shall I do?'" Luke 16
APOSIOPESIS: a form of ellipse by which a
speaker comes to an abrupt halt, seemingly
overcome by passion (fear, excitement, etc.) or
modesty.
APOSTROPHE: a sudden turn from the general
audience to address a specific group or person
or personified abstraction absent or present.
*For Brutus, as you know, was Caesar's
angel."
"Judge, O you gods, how dearly Caesar loved
him." Shakespeare, Julius Caesar
ARCHAISM: use of an older or obsolete form.
*Pipit sate upright in her chair
Some distance from where I was sitting" T. S.
Eliot, "A Cooking Egg"
ASSONANCE: repetition of the same sound in
words close to each other.
*Thy kingdom come, thy will be done."
ASYNDETON: lack of conjunctions between
coordinate phrases, clauses, or words.
*We shall pay any price, bear any burden,
meet any hardships, support any friend, oppose
any foe to assure the survival and the success
of liberty." J. F. Kennedy, Inaugural
*But, in a larger sense, we cannot dedicate,
we cannot consecrate, we cannot hallow this
ground." Lincoln, Gettysburg Address
BRACHYLOGY: a general term for abbreviated or
condensed expression, of which asyndeton and
zeugma are types. Ellipse is often used
synonymously. The suppressed word or phrase can
usually be supplied easily from the surrounding
context.
*Aeolus haec contra: Vergil, Aeneid
*Non Cinnae, non Sullae longa dominatio."
Tacitus, Annales I.1
CACOPHONY: harsh joining of sounds.
*We want no parlay with you and your grisly
gang who work your wicked will." W.
Churchill
*O Tite tute Tati tibi tanta tyranne tulisti!
Ennius"
CATACHRESIS: a harsh metaphor involving the use
of a word beyond its strict sphere.
"I listen vainly, but with thirsty ear."
MacArthur, Farewell Address
CHIASMUS: two corresponding pairs arranged not
in parallels (a-b-a-b) but in inverted order
(a-b-b-a); from shape of the Greek letter chi
(X).
"Those gallant men will remain often in my
thoughts and in my prayers always."
MacArthur
*Renown'd for conquest, and in council skill'd.
CLIMAX: arrangement of words, phrases, or
clauses in an order of ascending power. Often
the last emphatic word in one phrase or clause
is repeated as the first emphatic word of the
next.
*One equal temper of heroic hearts,
Made weak by time and fate, but strong in will
To strive, to seek, to find, and not to yield."
Tennyson, Ulysses
EUPHEMISM: substitution of an agreeable or at
least non-offensive expression for one whose
plainer meaning might be harsh or unpleasant.
"When the final news came, there would be a
ring at the front door -- a wife in this
situation finds herself staring at the front
door as if she no longer owns it or controls
it--and outside the door would be a man... come
to inform her that unfortunately something has
happened out there, and her husband's body now
lies incinerated in the swamps or the pines or
the palmetto grass, "burned beyond
recognition," which anyone who had been around
an air base very long (fortunately Jane had
not) realized was quite an artful euphemism to
describe a human body that now looked like an
enormous fowl that has burned up in a stove,
burned a blackish brown all over, greasy and
blistered, fried, in a word, with not only the
entire face and all the hair and the ears
burned off, not to mention all the clothing,
but also the hands and feet, with what remains
of the arms and legs bent at the knees and
elbows and burned into absolutely rigid angles,
burned a greasy blackish brown like the
bursting body itself, so that this husband,
father, officer, gentleman, this ornamentum of
some mother's eye, His Majesty the Baby of just
twenty-odd years back, has been reduced to a
charred hulk with wings and shanks sticking out
of it." Tom Wolfe, The Right Stuff
HENIADYS: use of two words connected by a
conjunction, instead of subordinating one to
the other, to express a single complex idea.
"It sure is nice and cool today!" (for
"pleasantly cool")
"I love the Lord, because he hath heard my
voice and my supplications." Psalms 116
HYPALLAGE: ("exchanging") transferred epithet;
grammatical agreement of a word with another
word which it does not logically qualify. More
common in poetry.
*Exegi monumentum aere perennius
regalique situ pyramidum altius, Horace" - Odes
III.30
HYPERBATON: separation of words which belong
together, often to emphasize the first of the
separated words or to create a certain image.
*Speluncam Dido dux et Troianus eandem Vergil"
Aeneid 4.124, 165
HYPERBOLE: exaggeration for emphasis or for
rhetorical effect.
*My vegetable love should grow
Vaster than empires, and more slow;
An hundred years should got to praise
Thine eyes and on thine forehead gaze;
Two hundred to adore each breast,
But thirty thousand to the rest."
Andrew
Marvell, "To His Coy Mistress"
HYSTERON PROTERON ("later-earlier"): inversion
of the natural sequence of events, often meant
to stress the event which, though later in
time, is considered the more important.
"Put on your shoes and socks!"
IRONY: expression of something which is
contrary to the intended meaning; the words say
one thing but mean another.
"Yet Brutus says he was ambitious;
And Brutus is an honourable man." Shakespeare,
Julius Caesar
LITOTES: understatement, for intensification,
by denying the contrary of the thing being
affirmed. (Sometimes used synonymously with
meiosis.)
"A few unannounced quizzes are not
inconceivable."
"War is not healthy for children and other
living things. "
"One nuclear bomb can ruin your whole day."
(meiosis)
METONYMY: substitution of one word for another
which it suggests.
*He is a man of the cloth. "
"The pen is mightier than the sword."
"By the sweat of thy brow thou shalt eat thy
bread."
ONOMATOPOEIA: use of words to imitate natural
sounds; accommodation of sound to sense.
"At tuba terribili sonitu taratantara dixit."
"The bumblebees buzzed about the daffodils,
bzzzz."
OXYMORON: apparent paradox achieved by the
juxtaposition of words which seem to contradict
one another.
"I must be cruel only to be kind." -
Shakespeare, Hamlet
PARADOX: an assertion seemingly opposed to
common sense, but that may yet have some truth
in it.
"What a pity that youth must be wasted on the
young." George Bernard Shaw
PARAPROSDOKIAN: surprise or unexpected ending
of a phrase or series.
"He was at his best when the going was
good." - Alistair Cooke on the Duke of
Windsor
"There but for the grace of God -- goes God."
Churchill
PARONOMASIA: use of similar sounding words;
often etymological word-play.
"...culled cash, or cold cash, and then it
turned into a gold cache." E.L. Doctorow, Billy
Bathgate
"Thou art Peter (Greek petros), and upon this
rock (Greek petra) I shall build my church."
Matthew 16
"The dying Mercutio: Ask for me tomorrow and
you shall find me a grave man. Shakespeare,
Romeo and Juliet
PERSONIFICATION: attribution of personality to
an impersonal thing.
"England expects every man to do his duty."
Lord Nelson
PLEONASM: use of superfluous or redundant
words, often enriching the thought.
"No one, rich or poor, will be excepted."
"Ears pierced while you wait!"
"I have seen no stranger sight since I was
born."
POLYSYNDETON: the repetition of conjunctions in
a series of coordinate words, phrases, or
clauses.
"I said, 'Who killed him?' and he said, 'I
don't know who killed him but he's dead all
right," and it was dark and there was water
standing in the street and no lights and
windows broke and boats all up in the town and
trees blown down and everything all blown and I
got a skiff and went out and found my boat
where I had her inside Mango Bay and she was
all right only she was full of water."
Hemingway, After the Storm
PRAETERITIO (=PARAlEIPSIS): pretended omission
for rhetorical effect.
"That part of our history detailing the
military achievements which gave us our several
possessions ... is a theme too familiar to my
listeners for me to dilate on, and I shall
therefore pass it by." - Thucydides, "Funeral
Oration"
"Let us make no judgment on the events of
Chappaquiddick, since the facts are not yet all
in." A political opponent of Senator Edward
Kennedy
PROLEPSIS: the anticipation, in adjectives
or nouns, of the result of the action of a
verb; also, the positioning of a relative
clause before its antecedent.
"Consider the lilies of the field how they
grow."
SYLLEPSIS: use of a word with two others,
with each of which it is understood
differently.
"We must all hang together or assuredly we will
all hang separately." Benjamin Franklin
SYNCHYSIS: interlocked word order.
SYNECDOCHE: understanding one thing with
another; the use of a part for the whole, or
the whole for the part. (A form of metonymy.)
"Give us this day our daily bread." - Matthew 6
"I should have been a pair of ragged claws
Scuttling across the floors of silent seas."
T. S. Eliot, "The Love Song of J. Alfred
Prufrock"
"The U.S. won three gold medals." (Instead of,
The members of the U.S. boxing team won three
gold medals.)
SYNESIS (=constructio ad sensum): the agreement
of words according to logic, and not by the
grammatical form; a kind of anacoluthon.
"For the wages of sin is death." Romans 6
"Then Philip went down to the city of Samaria,
and preached Christ unto them." Acts 6
TAUTOLOGY: repetition of an idea in a different
word, phrase, or sentence.
"With malice toward none, with charity for
all." Lincoln, Second Inaugural
ZEUGMA: two different words linked to a verb
or an adjective which is strictly appropriate
to only one of them.
"Nor Mars his sword, nor war's quick fire
shall burn
The living record of your memory."