Anaphora Figure of Speech Examples
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Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G Latin text, study aids with vocabulary, and commentary ILDENHARD INGO GILDENHARD AND JOHN HENDERSON A dead boy (Pallas) and the death of a girl (Camilla) loom over the opening and the closing part of the eleventh book of the Aeneid. Following the savage slaughter in Aeneid 10, the AND book opens in a mournful mood as the warring parti es revisit yesterday’s killing fi elds to att end to their dead. One casualty in parti cular commands att enti on: Aeneas’ protégé H Pallas, killed and despoiled by Turnus in the previous book. His death plunges his father ENDERSON Evander and his surrogate father Aeneas into heart-rending despair – and helps set up the foundati onal act of sacrifi cial brutality that caps the poem, when Aeneas seeks to avenge Pallas by slaying Turnus in wrathful fury. Turnus’ departure from the living is prefi gured by that of his ally Camilla, a maiden schooled in the marti al arts, who sets the mold for warrior princesses such as Xena and Wonder Woman. In the fi nal third of Aeneid 11, she wreaks havoc not just on the batt lefi eld but on gender stereotypes and the conventi ons of the epic genre, before she too succumbs to a premature death. In the porti ons of the book selected for discussion here, Virgil off ers some of his most emoti ve (and disturbing) meditati ons on the tragic nature of human existence – but also knows how to lighten the mood with a bit of drag. -
New Latin Grammar
NEW LATIN GRAMMAR BY CHARLES E. BENNETT Goldwin Smith Professor of Latin in Cornell University Quicquid praecipies, esto brevis, ut cito dicta Percipiant animi dociles teneantque fideles: Omne supervacuum pleno de pectore manat. —HORACE, Ars Poetica. COPYRIGHT, 1895; 1908; 1918 BY CHARLES E. BENNETT PREFACE. The present work is a revision of that published in 1908. No radical alterations have been introduced, although a number of minor changes will be noted. I have added an Introduction on the origin and development of the Latin language, which it is hoped will prove interesting and instructive to the more ambitious pupil. At the end of the book will be found an Index to the Sources of the Illustrative Examples cited in the Syntax. C.E.B. ITHACA, NEW YORK, May 4, 1918 PREFACE TO THE SECOND EDITION. The present book is a revision of my Latin Grammar originally published in 1895. Wherever greater accuracy or precision of statement seemed possible, I have endeavored to secure this. The rules for syllable division have been changed and made to conform to the prevailing practice of the Romans themselves. In the Perfect Subjunctive Active, the endings -īs, -īmus, -ītis are now marked long. The theory of vowel length before the suffixes -gnus, -gna, -gnum, and also before j, has been discarded. In the Syntax I have recognized a special category of Ablative of Association, and have abandoned the original doctrine as to the force of tenses in the Prohibitive. Apart from the foregoing, only minor and unessential modifications have been introduced. In its main lines the work remains unchanged. -
A List of Rhetorical Terms and Examples
Antithesis: opposition, or contrast of ideas or words in a A List of Rhetorical Terms balanced or parallel construction. and Examples *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 Alliteration: repetition of the same sound beginning several Rome more. Shakespeare, Julius Caesar words in sequence. *The vases of the classical period are but the reflection *Let us go forth to lead the land we love. J. F. Kennedy, of classical beauty; the vases of the archaic period are Inaugural beauty itself." Sir John Beazley *Viri validis cum viribus luctant. Ennius *Demosthenes, Olynthiac 2.26 *Veni, vidi, vici. Julius Caesar Aporia: expression of doubt (often feigned) by which a speaker Anacoluthon: lack of grammatical sequence; a change in the appears uncertain as to what he should think, say, or do. grammatical construction within the same sentence. *Then the steward said within himself, 'What shall I do?' *Agreements entered into when one state of facts exists - Luke 16 - are they to be maintained regardless of changing *Demosthenes, On the Crown 129 conditions? J. Diefenbaker Aposiopesis: a form of ellipse by which a speaker comes to an Anadiplosis: ("doubling back") the rhetorical repetition of one abrupt halt, seemingly overcome by passion (fear, excitement, or several words; specifically, repetition of a word that ends one etc.) or modesty. clause at the beginning of the next. *Demosthenes, On the Crown 3 *Men in great place are thrice servants: servants of the Apostrophe: a sudden turn from the general audience to sovereign or state; servants of fame; and servants of address a specific group or person or personified abstraction business. -
A Study of Discontinuous Syntax: Hyperbaton with Reference To
A Study of Discontinuous Syntax ……………………………….………………( 9) A Study of Discontinuous Syntax: Hyperbaton with Reference to Some Biblical Verses ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﱰﻛﻴﺒﻴﺔ ﻏﲑ ﺍﳌﻨﺘﻈﻤﺔ : ﺍﻟﺘﻘﺪﻳﻢ ﻭﺍﻟﺘﺄﺧﲑ ﺑﺎﻹﺷﺎﺭﺓ ﺇﱃ ﺑﻌﺾ ﺍﻟﻨﺼﻮﺹ ﺍﳌﺄﺧﻮﺫﺓ ﻣﻦ ﺍﻹﳒﻲ ﺍﳌﺪﺭﺱ ﺍﳝﺎﻥ ﺧﻀﲑ ﻋﻮﺩﺓ Licturer. Iman Khudhair Al-Abodi University of Al-Qadisiya - College of Education A Study of Discontinuous Syntax ……………………………….………………( 10) A Study of Discontinuous Syntax ……………………………….………………( 11) A Study of Discontinuous Syntax: Hyperbaton with Reference to Some Biblical Verses ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﱰﻛﻴﺒﻴﺔ ﻏﲑ ﺍﳌﻨﺘﻈﻤﺔ : ﺍﻟﺘﻘﺪﻳﻢ ﻭﺍﻟﺘﺄﺧﲑ ﺑﺎﻹﺷﺎﺭﺓ ﺇﱃ ﺑﻌﺾ ﺍﻟﻨﺼﻮﺹ ﺍﳌﺄﺧﻮﺫﺓ ﻣﻦ ﺍﻹﳒﻴﻞ ﺍﳌﺪﺭﺱ ﺍﳝﺎﻥ ﺧﻀﲑ ﻋﻮﺩﺓ Licturer. Iman Khudhair Al-Abodi University of Al-Qadisiya - College of Education ﺍﳌﻠﺨﺺ ول ه ارا ا ا وا ى ا ا ن ات أي ا . م ااب و دة أو رة. و إ ات اا ا او ات اا أو . اطر ا ه ارا : مي و .ف اء اي إ إء ارا ا واق إ ات ا . ام ا ارة إ إ، وأما وأ ا . اء ا ا ا وا اص ا اذة اب اس.و أا، ات ا م ا. A Study of Discontinuous Syntax ……………………………….………………( 12) Abstract The study deals with hyperbaton as a figure of speech in which words in any sentence are not in their expected order. It is classified as a figure of disorder and is often used to emphasize a particular word or phrase. It refers to a separation of words which belong together, often to emphasize the first of the separated words or to create a certain image. The framework of this study is organized in two parts: theoretical and practical. The theoretical part gives the introduction of the study where the definition and etymology as well as varieties are presented. -
Questionable Classification of Figures of Speech As Fundamental to the Need for Powerful Rhetoric in Governance -- /
Alternative view of segmented documents via Kairos 8 August 2016 | Draft Questionable Classification of Figures of Speech as fundamental to the need for powerful rhetoric in governance -- / -- Introduction Dysfunctionally disparate classifications? Categorization of figures of speech in non-western cultures References Introduction As fundamental to persuasive rhetoric, it is curious, but potentially significant, that the variety of styles of speech is so notably framed by the term figures of speech. As a term which has both aesthetic and geometrical connotations, how are such "figures" to be understood -- especially in relation to imagining the great game of Castalia? This is discussed separately in a paper of which this is effectively an annex Evoking Castalia as Envisaged, Entoned and Embodied (2016). The implications of the following are discussed there in terms of metapoetics and musical-rhetorical figure theory (Musica poetica). Figures of speech are of course fundamental to discourse -- and to the public discourse central to governance, the processes of persuasion through argument, and to confidence building. The phrase "talking things up" is noteworthy in this respect. For Stephen Adams (Poetic Designs: an introduction to meters, verse forms, and figures of speech, 1997): Far from being artificial distortions of language, the figures have developed from patterns that naturally appear when language is used with great emotion and energy. As such they provide one means for identitying patterns that emerge in free verse and help give it formal organization... (p 108) Especially pertinent, at a time when arguments presented in English are challenged by those presented, in Arabic is the reflection on figures of speech by Hussein Abdul-Raof (Arabic Rhetoric: a pragmatic analysis, 2006): The traditional meaning of "figurative" has always involved a contrast with the "proper" meaning of a given word, its supposed meaning, the idea which comes to mind when the word is employed. -
Cicero's Style
MNS-245-albrecht.qxd 03/04/2003 12:13 Page i CICERO’S STYLE MNS-245-albrecht.qxd 03/04/2003 12:13 Page ii MNEMOSYNE BIBLIOTHECA CLASSICA BATAVA COLLEGERUNT H. PINKSTER • H. S. VERSNEL D.M. SCHENKEVELD • P. H. SCHRIJVERS S.R. SLINGS BIBLIOTHECAE FASCICULOS EDENDOS CURAVIT H. PINKSTER, KLASSIEK SEMINARIUM, OUDE TURFMARKT 129, AMSTERDAM SUPPLEMENTUM DUCENTESIMUM QUADRAGESIMUM QUINTUM MICHAEL VON ALBRECHT CICERO’S STYLE MNS-245-albrecht.qxd 03/04/2003 12:13 Page iii CICERO’S STYLE A SYNOPSIS FOLLOWED BY SELECTED ANALYTIC STUDIES BY MICHAEL VON ALBRECHT BRILL LEIDEN • BOSTON 2003 MNS-245-albrecht.qxd 03/04/2003 12:13 Page iv This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Albrecht, Michael von. Cicero’s Style: a synopsis / by Michael von Albrecht. p. cm. – (Mnemosyne, bibliotheca classica Batava. Supplementum ; 245) Includes bibliographical references (p. ) and index. ISBN 90-04-12961-8 1. Cicero, Marcus Tullius–Literary style. 2. Speeches, addresses, etc., Latin–History and criticism. 3. Latin language–Style. 4. Rhetoric, Ancient. 5. Oratory, Ancient. I. Title. II. Series. PA6357.A54 2003 875’.01–dc21 2003045375 ISSN 0169-8958 ISBN 90 04 12961 8 © Copyright 2003 by Koninklijke Brill NV, Leiden, The Netherlands All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Brill provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910 Danvers, MA 01923, USA. -
The Rhetoricity of Ovid's Construction of Exile and the Poeta
THE RHETORICITY OF OVID'S CONSTRUCTION OF EXILE AND THE POETA STRUCTUS EXSULIS (WITH A SPECIAL ADDENDUM CONCERNING ALEXANDER PUSHKIN) by SAMANTHA C. TOMAN A THESIS Presented to the Department of Classics and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2012 THESIS APPROVAL PAGE Student: Samantha C. Toman Title: The Rhetoricity of Ovid's Construction of Exile and the Poeta Structus Exsulis (With a Special Addendum Concerning Alexander Pushkin) This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of Classics by: P. Lowell Bowditch Chair Katya Hokanson Member and Kimberly Andrews Espy Vice President for Research and Innovation/ Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2012 ii © 2012 Samantha C. Toman iii THESIS ABSTRACT Samantha C. Toman Master of Arts Department of Classics June 2012 Title: The Rhetoricity of Ovid’s Construction of Exile and the Poeta Structus Exsulis (With a Special Addendum Concerning Alexander Pushkin) In Ovid’s Tristia and Epistulae Ex Ponto, the Latin poet constructs an elaborate poetic persona endowed with its own agency, which evokes the sympathy of the reader through engaging in various modes of discourse. This inquiry examines, in depth, how Ovid fashioned his poeta structus through complex modes of discourse and from making use of conventions of genre, namely elegy and epic. These modes of discourse are identified and explored, as well as Ovid’s markedly hyperbolic treatment of the landscape and inhabitants of his exilic outpost of Tomis on the Black Sea. -
A Linguistic Analysis of Demonstratives in Genres of Early Latin Fragments Erica L
Eastern Michigan University DigitalCommons@EMU Master's Theses, and Doctoral Dissertations, and Master's Theses and Doctoral Dissertations Graduate Capstone Projects 2016 Haec fortis sequitur illam indocti possident: A linguistic analysis of demonstratives in genres of early Latin fragments Erica L. Meszaros Follow this and additional works at: http://commons.emich.edu/theses Part of the English Language and Literature Commons Recommended Citation Meszaros, Erica L., "Haec fortis sequitur illam indocti possident: A linguistic analysis of demonstratives in genres of early Latin fragments" (2016). Master's Theses and Doctoral Dissertations. 847. http://commons.emich.edu/theses/847 This Open Access Thesis is brought to you for free and open access by the Master's Theses, and Doctoral Dissertations, and Graduate Capstone Projects at DigitalCommons@EMU. It has been accepted for inclusion in Master's Theses and Doctoral Dissertations by an authorized administrator of DigitalCommons@EMU. For more information, please contact [email protected]. Haec Fortis Sequitur Illam Indocti Possident: A Linguistic Analysis of Demonstratives in Genres of Early Latin Fragments by Erica L. Meszaros Thesis Submitted to the Department of English Language and Literature Eastern Michigan University in partial fulfillment of the requirements for the degree of MASTER OF ARTS in English Linguistics Thesis Committee: Eric Acton Ph.D., Chair Veronica Grondona, Ph.D. July 1, 2016 Ypsilanti, Michigan In memoriam Chloes ii Acknowledgments I am forever indebted to the ceaseless effort of my advisor, Dr. Eric Acton, who accepted me as an advisee though I had never been his student and had, in fact, not been anyone's student for more than three years. -
Commentary on Style
Cicero Philippics II Commentary on Style The following notes on Cicero’s use of rhetorical techniques cannot be complete or uncontentious, but if they provide the reader with a leg-up will serve their purpose. Asterisked terms are explained in the final sections of ‘Introduction – Oratory’. Two abbreviations might be unfamiliar: ‘sc.’ (scilicet, ‘supply this missing word or words’) and ‘cf.’ (confer, ‘compare with’). ‘[NLG…]’ designates a paragraph in Bennett’s New Latin Grammar (by Charles E. Bennett, 1895), available online at several web addresses. 44 Visne igitur… concedo: This series of *rhetorical questions and answers, given either by Cicero or by the imagined Antony, as if heckling or in cross- examination, animates the argument (a technique known as *anthypophora) – the brevity of the sentences, the *variatio between Cicero and then Antony answering, the petulant tone of patris… ista culpa est, provide the run-up to Cicero’s first catalogue of Antony’s misdemeanours. pietatis plena – note the ‘p’ *alliteration, picking up pseudo-Antony’s ‘patris…’. pietas, a particularly Roman virtue which could be described as a sense of obligation towards gods, family and friends that manifests itself in action, is conspicuously absent from Antony’s supposed interjection. cum esset… decoxisset: Cicero, who has accepted Antony was put in the position of a bankrupt by his father (Concedo, earlier), still harps on this memorable word for bankruptcy through *polyptoton: decoxisse… decoctoribus… decoxisset… The whole sentence ends with a *clausula, allowing the hearer to dwell on that last occurrence. Cicero wants to portray Antony as always spendthrift, always grasping (e.g. -
The Tools, Part
The Tools Part Two: Rhetoric, Rhetorical Devices, Figures of Speech & Turns of Phrase Used by Shakespeare These are tools; they are not an end in themselves. George Puttenham, in The Art of English Poesie (1589), calls them “conveyances” – think of them as vehicles you use to get where you’re going. Don’t let them scare you!!! You cannot do without Alliteration, Assonance, Antithesis, Simile and Metaphor, but the rest – it’s admirable to know they exist, but it’s unnecessary to the point of masochism to memorize them. However, keep this in mind: Shakespeare learned all of this when he went to grammar school. So did his actors, and so did most of his audience. Read through the list. If it makes you uncomfortable, put it away. Just keep it handy for reference when you need it. (By the way, the best online guide to the terms of classical and renaissance rhetoric, and the source for a great deal of what is discussed here, is Silva Rhetoricæ (rhetoric.byu.edu), provided by Dr. Gideon Burton of Brigham Young University.) Overview Rhetoric Rhetoric is the art of speaking or writing effectively. According to Aristotle’s On Rhetoric, it is “the ability, in each particular case, to see the available means of persuasion”. Persuasion is brought about through three kinds of proof or persuasive appeal: logos, the appeal to reason; pathos, the appeal to emotion; and ethos, the persuasive appeal of one’s character. These three appeals work together in combination toward persuasive ends. Aristotle called these “artistic” or “intrinsic” proofs – those that could be found by means of the art of rhetoric – in contrast to “non-artistic” or “extrinsic” proofs such as witnesses or contracts that are simply used by the speaker, not found through rhetoric. -
Louis Macneice: Apprentice and Critic of Horace
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies Legacy Theses 1999 Louis Macneice: apprentice and critic of horace Devlin, Sean Thomas Devlin, S. T. (1999). Louis Macneice: apprentice and critic of horace (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/16051 http://hdl.handle.net/1880/25455 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca THE UNIVERSITY OF CALGARY Louis MacNeice : Apprentice and Critic of Horace Sean Devlin A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES M PARTIAL FULFILMENT OF THE REQUIREMENTS FOR TKE DEGREE OF MASTER OF ARTS DEPARTMENT OF GREEK, LATIN AND ANCIENT HISTORY CALGARY, ALBERTA AUGUST, 1999 @ Sean Devlin 1999 National Library Bibliotheque nationale )*Iof Canada du Canada Acquisitions and Acquisitions et Bibliographic Services selvices bibliogaphiques 395 Wellington Street 395, rue Wellington Ottawa ON K1 A ON4 Ottawa ON K1 A ON4 Canada Canada Your lYe Votre reference Our rYo Norre rehrence The author has granted a non- L'auteur a accorde une licence non exclusive licence allowing the exclusive pennettant i la National Library of Canada to Bibliotheque nationale du Canada de reproduce, loan, distribute or sell reproduire, prgter, distribuer ou copies of hsthesis in microform, vendre des copies de cette these sous paper or electronic formats. -
A Glossary of Rhetorical Terms with Examples
A Glossary of Rhetorical Terms with Examples Socrates: The fact is, as we said at the beginning of our discussion, that the aspiring speaker needs no knowledge of the truth about what is right or good... In courts of justice no attention is paid whatever to the truth about such topics; all that matters is plausibility... There are even some occasions when both prosecution and defence should positively suppress the facts in favor of probability, if the facts are improbable. Never mind the truth -- pursue probability through thick and thin in every kind of speech; the whole secret of the art of speaking lies in consistent adherence to this principle. 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 Anacoluthon: 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.