GENERALITIES: Obama´s speech, definiciones de género, figures of speech
18:12
Silvia Lucía del V. Fernández
, Posted in
definiciones géneros
,
figures speech
,
Obama
,
5 Comments
- Barack Obama's inaugural address in full
Barack Obama has been sworn in as the 44th US president. Here is his inauguration speech in full.
My fellow citizens:
I stand here today humbled by the task before us, grateful for the trust you have bestowed, mindful of the sacrifices borne by our ancestors. I thank President Bush for his service to our nation, as well as the generosity and co-operation he has shown throughout this transition.
Forty-four Americans have now taken the presidential oath. The words have been spoken during rising tides of prosperity and the still waters of peace. Yet, every so often the oath is taken amidst gathering clouds and raging storms.
At these moments, America has carried on not simply because of the skill or vision of those in high office, but because we, the people, have remained faithful to the ideals of our forbearers, and true to our founding documents.
So it has been. So it must be with this generation of Americans.
Serious challenges
That we are in the midst of crisis is now well understood. Our nation is at war, against a far-reaching network of violence and hatred. Our economy is badly weakened, a consequence of greed and irresponsibility on the part of some, but also our collective failure to make hard choices and prepare the nation for a new age. Homes have been lost; jobs shed; businesses shuttered. Our health care is too costly; our schools fail too many; and each day brings further evidence that the ways we use energy strengthen our adversaries and threaten our planet.
These are the indicators of crisis, subject to data and statistics. Less measurable but no less profound is a sapping of confidence across our land - a nagging fear that America's decline is inevitable, and that the next generation must lower its sights.
Today I say to you that the challenges we face are real. They are serious and they are many. They will not be met easily or in a short span of time. But know this, America - they will be met.
On this day, we gather because we have chosen hope over fear, unity of purpose over conflict and discord.
On this day, we come to proclaim an end to the petty grievances and false promises, the recriminations and worn out dogmas, that for far too long have strangled our politics.
Nation of 'risk-takers'
We remain a young nation, but in the words of scripture, the time has come to set aside childish things. The time has come to reaffirm our enduring spirit; to choose our better history; to carry forward that precious gift, that noble idea, passed on from generation to generation: the God-given promise that all are equal, all are free, and all deserve a chance to pursue their full measure of happiness.
In reaffirming the greatness of our nation, we understand that greatness is never a given. It must be earned. Our journey has never been one of short-cuts or settling for less. It has not been the path for the faint-hearted - for those who prefer leisure over work, or seek only the pleasures of riches and fame. Rather, it has been the risk-takers, the doers, the makers of things - some celebrated but more often men and women obscure in their labour, who have carried us up the long, rugged path towards prosperity and freedom.
For us, they packed up their few worldly possessions and travelled across oceans in search of a new life.
For us, they toiled in sweatshops and settled the West; endured the lash of the whip and ploughed the hard earth.
For us, they fought and died, in places like Concord and Gettysburg; Normandy and Khe Sahn.
'Remaking America'
Time and again these men and women struggled and sacrificed and worked till their hands were raw so that we might live a better life. They saw America as bigger than the sum of our individual ambitions; greater than all the differences of birth or wealth or faction.
This is the journey we continue today. We remain the most prosperous, powerful nation on earth. Our workers are no less productive than when this crisis began. Our minds are no less inventive, our goods and services no less needed than they were last week or last month or last year. Our capacity remains undiminished. But our time of standing pat, of protecting narrow interests and putting off unpleasant decisions - that time has surely passed. Starting today, we must pick ourselves up, dust ourselves off, and begin again the work of remaking America.
For everywhere we look, there is work to be done. The state of the economy calls for action, bold and swift, and we will act - not only to create new jobs, but to lay a new foundation for growth. We will build the roads and bridges, the electric grids and digital lines that feed our commerce and bind us together. We will restore science to its rightful place, and wield technology's wonders to raise health care's quality and lower its cost. We will harness the sun and the winds and the soil to fuel our cars and run our factories. And we will transform our schools and colleges and universities to meet the demands of a new age. All this we can do. All this we will do.
Restoring trust
Now, there are some who question the scale of our ambitions - who suggest that our system cannot tolerate too many big plans. Their memories are short. For they have forgotten what this country has already done; what free men and women can achieve when imagination is joined to common purpose, and necessity to courage.
What the cynics fail to understand is that the ground has shifted beneath them - that the stale political arguments that have consumed us for so long no longer apply.
The question we ask today is not whether our government is too big or too small, but whether it works - whether it helps families find jobs at a decent wage, care they can afford, a retirement that is dignified. Where the answer is yes, we intend to move forward. Where the answer is no, programs will end. And those of us who manage the public's dollars will be held to account - to spend wisely, reform bad habits, and do our business in the light of day - because only then can we restore the vital trust between a people and their government.
Nor is the question before us whether the market is a force for good or ill. Its power to generate wealth and expand freedom is unmatched, but this crisis has reminded us that without a watchful eye, the market can spin out of control - that a nation cannot prosper long when it favours only the prosperous. The success of our economy has always depended not just on the size of our gross domestic product, but on the reach of our prosperity; on the ability to extend opportunity to every willing heart - not out of charity, but because it is the surest route to our common good.
'Ready to lead'
As for our common defence, we reject as false the choice between our safety and our ideals. Our founding fathers, faced with perils we can scarcely imagine, drafted a charter to assure the rule of law and the rights of man, a charter expanded by the blood of generations. Those ideals still light the world, and we will not give them up for expedience's sake. And so to all other peoples and governments who are watching today, from the grandest capitals to the small village where my father was born: know that America is a friend of each nation and every man, woman, and child who seeks a future of peace and dignity, and we are ready to lead once more.
Recall that earlier generations faced down fascism and communism not just with missiles and tanks, but with the sturdy alliances and enduring convictions. They understood that our power alone cannot protect us, nor does it entitle us to do as we please. Instead, they knew that our power grows through its prudent use; our security emanates from the justness of our cause, the force of our example, the tempering qualities of humility and restraint.
We are the keepers of this legacy. Guided by these principles once more, we can meet those new threats that demand even greater effort - even greater cooperation and understanding between nations. We will begin to responsibly leave Iraq to its people, and forge a hard-earned peace in Afghanistan. With old friends and former foes, we will work tirelessly to lessen the nuclear threat, and roll back the spectre of a warming planet. We will not apologise for our way of life, nor will we waver in its defence, and for those who seek to advance their aims by inducing terror and slaughtering innocents, we say to you now that our spirit is stronger and cannot be broken; you cannot outlast us, and we will defeat you.
'Era of peace'
For we know that our patchwork heritage is a strength, not a weakness. We are a nation of Christians and Muslims, Jews and Hindus - and non-believers. We are shaped by every language and culture, drawn from every end of this earth; and because we have tasted the bitter swill of civil war and segregation, and emerged from that dark chapter stronger and more united, we cannot help but believe that the old hatreds shall someday pass; that the lines of tribe shall soon dissolve; that as the world grows smaller, our common humanity shall reveal itself; and that America must play its role in ushering in a new era of peace.
To the Muslim world, we seek a new way forward, based on mutual interest and mutual respect. To those leaders around the globe who seek to sow conflict, or blame their society's ills on the West - know that your people will judge you on what you can build, not what you destroy. To those who cling to power through corruption and deceit and the silencing of dissent, know that you are on the wrong side of history; but that we will extend a hand if you are willing to unclench your fist.
To the people of poor nations, we pledge to work alongside you to make your farms flourish and let clean waters flow; to nourish starved bodies and feed hungry minds. And to those nations like ours that enjoy relative plenty, we say we can no longer afford indifference to suffering outside our borders; nor can we consume the world's resources without regard to effect. For the world has changed, and we must change with it.
'Duties'
As we consider the road that unfolds before us, we remember with humble gratitude those brave Americans who, at this very hour, patrol far-off deserts and distant mountains. They have something to tell us, just as the fallen heroes who lie in Arlington whisper through the ages. We honour them not only because they are guardians of our liberty, but because they embody the spirit of service; a willingness to find meaning in something greater than themselves. And yet, at this moment - a moment that will define a generation - it is precisely this spirit that must inhabit us all.
For as much as government can do and must do, it is ultimately the faith and determination of the American people upon which this nation relies. It is the kindness to take in a stranger when the levees break, the selflessness of workers who would rather cut their hours than see a friend lose their job which sees us through our darkest hours. It is the firefighter's courage to storm a stairway filled with smoke, but also a parent's willingness to nurture a child, that finally decides our fate.
Our challenges may be new. The instruments with which we meet them may be new. But those values upon which our success depends - honesty and hard work, courage and fair play, tolerance and curiosity, loyalty and patriotism - these things are old. These things are true. They have been the quiet force of progress throughout our history. What is demanded then is a return to these truths.
What is required of us now is a new era of responsibility - a recognition, on the part of every American, that we have duties to ourselves, our nation, and the world, duties that we do not grudgingly accept but rather seize gladly, firm in the knowledge that there is nothing so satisfying to the spirit, so defining of our character, than giving our all to a difficult task.
'Gift of freedom'
This is the price and the promise of citizenship.
This is the source of our confidence - the knowledge that God calls on us to shape an uncertain destiny.
This is the meaning of our liberty and our creed - why men and women and children of every race and every faith can join in celebration across this magnificent mall, and why a man whose father less than 60 years ago might not have been served at a local restaurant can now stand before you to take a most sacred oath.
So let us mark this day with remembrance, of who we are and how far we have travelled. In the year of America's birth, in the coldest of months, a small band of patriots huddled by dying campfires on the shores of an icy river. The capital was abandoned. The enemy was advancing. The snow was stained with blood. At a moment when the outcome of our revolution was most in doubt, the father of our nation ordered these words be read to the people:
"Let it be told to the future world... that in the depth of winter, when nothing but hope and virtue could survive... that the city and the country, alarmed at one common danger, came forth to meet [it]."
America. In the face of our common dangers, in this winter of our hardship, let us remember these timeless words. With hope and virtue, let us brave once more the icy currents, and endure what storms may come. Let it be said by our children's children that when we were tested we refused to let this journey end, that we did not turn back nor did we falter; and with eyes fixed on the horizon and God's grace upon us, we carried forth that great gift of freedom and delivered it safely to future generations.
Thank you. God bless you. And God bless the United States of America.
- Definiciones de género
Definición de los géneros
1. Definición del texto narrativo
Al contrario de la poesía y del teatro, que se identifican la primera por su estructura verbal, el segundo por su representación en el tiempo y en el espacio mediante la gestualidad y la palabra, el verbo, la novela no conoce limitaciones, ni en su producción, ni en su estructura. En ella se encuentran todos los temas. Todos los puntos de vista –desde la celebración épica o poética hasta la sátira, desde el aparente realismo hasta la fantasmagoría, desde el lirismo sentimental a la reflexión filosófica.
También existen todas las formas : desde el simple relato cronológico hasta formas cultas y poéticas. No sólo las novelas son muy diferentes sino que cada una puede resultar polifacética, yuxtaponiendo narración, descripción, diálogo, y análisis, reflexión, pasajes líricos...
Para proponer con todo una definición de esta género tan diverso, puede decirse que la novela es la descripción y el análisis de un universo social y/o mental ficticio. La novela es un relato de hechos ficticios.
El contacto entre el lector y este universo no es tan directo como en el teatro o en poesía, sino mediatizado por un narrador-analista cuya significación se nos transmite parcialmente mediante la organización del espacio y del tiempo, la cual va unida con la tan importante focalización y diferencia entre el tiempo de la historia, y el tiempo del relato ; se nos transmite también a través de los diferentes emisores del texto, o sea el escritor (quien orienta siempre el texto, aun cuando no aparece personalmente en él), el narrador, y los personajes. Habría que añadir a todo esto la cuestión de la institución literaria, que desempeña un papel al difundir la literatura según unos determinados códigos de apreciación : me refiero a las “etiquetas de márketing” que representan las menciones del subgénero novelesco, las colecciones editoriales que inscriben más o menos implícitamente la novela en una determinada categoría, la cual va dirigida a unos determinados clientes lectores.
La novela es pues un género muy libre. Sus modos de enunciación –narración, descripción, diálogo, comentario- son varios. La novela es pues un género abierto, polifónico, según la definición de Mijail Bajtín. Según él, hay que considerar este género ante todo como una unidad socio-histórica ; insiste en « el predominio de lo social sobre lo individual ». Este interés del crítico ruso por las características formales le llevó a desarrollar (especialmente en su estudio sobre la novela de Dostoievski) otra idea que llegó a desempeñar un papel importante en la teoría literaria : cada texto remite a otros anteriores, fenómeno que Bajtín designa por el concepto de “relación dialógica” y que Julia KRISTEVA retomó bajo el nombre de “intertextualidad”.
La novela aparece en esta perspectiva como « un sistema dialógico de imágenes, de lenguas, de estilos, de conciencias concretas e inseparables del lenguaje » dice Bajtín.
Lo que hoy se llama « Nouveau Roman » cuyo aparición se remonta al s. XX deja de tomarse como una representación y explicación objetivas de la realidad social y síquica para afirmarse como una visión subjetiva y una organización verbal en la que el estilo y la estructuras construyen el significado. Realidad y Verdad van perdiendo sus prerrogativas así como la coherencia lógico-cronológica. El acontecimiento se hace aleatorio, el personaje no es más que una entidad síquica ; a veces llega a perder su identidad. En el texto, ello habla, sin que sepamos siempre quién, ni si se trata de fantasmas, de juegos verbales o de una representación de lo real: algunas descripciones de un detallismo obsesivo no representan nada. Hay que relacionar esta corriente con el movimiento surrealista en la pintura. La anécdota abunda y se anuncia como ficticia.
La novela cuestiona los procedimientos, los ostenta, trabaja sus estructuras, tiende hacia una poética. En fin, la novela siempre habla de la novela.2. El texto dramático : La especificidad de la escritura dramática
Las obras de teatro se sitúan en el centro de dos sistemas significantes : el texto y el juego escénico, la literatura y las artes del espectáculo (canto, baile, etc.) Una obra de teatro es constituida por un mosaico de textos en primera persona y acotaciones escénicas (didascalias en griego = instrucciones). Se caracteriza por la virtualidad de su representación. En el teatro, predomina la acción ; el teatro es ante todo arte vivo.
Hablar en el teatro, es actuar. Aprehendemos a los personajes, muchas veces, a través de su actuación. En las acotaciones las palabras dramáticas describen una determinada actuación de los actores y la enunciación consiste en cumplir dicha actuación. “Dire c’est faire” para glosar el título de una obra de Austin.
Desde un punto de vista literario e histórico, diremos que el director de escena empezó a cobrar importancia institucional a partir de finales del s. XIX y se mantiene al servicio del texto a partir de los años ‘60. Muchas veces, dentro del academismo, el teatro se limita a su texto escrito, y al estudio de la historia del teatro y sus personajes.
Pero es también una presencia y una actuación concretas : la escena, el actor, la gestualidad, la palabra, la participación del público empiezan a tomarse en cuenta. El teatro se vale de dos tipos de significantes. El primero es i cónico (decorado, vestimenta), el otro es simbólico (una inscripción). El personaje es uno y otro : es un héroe ficticio y la realidad del actor. Asimismo, el lenguaje dramático es a la vez un medio para contar o expresar por una parte, y por otra parte un a palabra materializada, un texto poético. Se da a oír, a saborear, así como a entender en la inmediatez de la representación.
Escrito para ser representado, el texto de teatro ha de mimarlo todo en las categorías de la realidad : el espacio, el tiempo, la posibilidades físicas del actor y de la maquinaria. Lo que no puede ser representado se expresa detrás del telón de fondo o es narrado ante el público. El teatro depende muchísimo del sistema social, cultural y técnico en el que se inscribe.
La representación hace del teatro –a diferencia del relato, que supone un distanciamiento de los acontecimientos narrados y permite el análisi y comentario- un arte de la presencia y de lo efímero. Se desarrolla siempre en hic et nunc en el texto, aun cuando representa un espacio y tiempo imaginarios y eso repercute en el texto en el monopolio de la palabra oral y la exclusión de aquella del autor, mientras que la del personaje es plurifuncional : es a la vez representativa (dice lo que ve, lo que piensa, lo que experimenta), es dialógica (contesta a un interlocutor) y dramatúrgica (el autor se dirige al público a través de ella, prepara sus efectos, más allá del porta -voz). Por eso se habla de doble instancia en el teatro. Importa pues, a la hora de analizar un texto de teatro, distinguir todas esa funciones.
Una obra de teatro encuentra su existencia real en la representación. El público no tiene pues que imaginar, como el lector de la novela : es espectador. En cambio, tiene que participar y arriesgarse emocionalmente. El teatro suele interesar a las autoridades, ya que a veces encargan obras, otras lo censuran, y en bastantes casos lo subvencionan. Se trata de una manifestación pública.
Por consistir en producir un ritmo a partir de varios momentos y varios actores, por permitir la confrontación del diálogo y del ademán, los gestos, las peripecias, la interpelación del público, el teatro, al menos en la tradición occidental, descansa generalmente en el conflicto. Pone en escena antagonistas, parejas antitéticas y conflictivas, seres contradictorios.
En el teatro, la palabra crea la situación, el espacio, induce el movimiento escénico y el carácter, condiciona al público. Es poética y/o pragmática (susceptible de aplicaciones prácticas). En la ceremonia trágica, dedicada a la sublimación estética por escenificar una problemática insoluble, prevalece lo poético. En otros ámbitos, prevalece el carácter pragmático del lenguaje.
Insisto en el que el teatro implica dos textos : el literario (escrito) y el espectacular (icónico), lo cual implica la necesidad absoluta de tener presente la noción de teatralidad a la hora de analizar textos dramáticos.
La especificidad del lenguaje dramático consiste, dice Pierre Larthomas, en situarse a « medio camino entre el escrito y el oral ». El lenguaje dramático sería pues una especie de compromiso entre estos dos registros. : es la alianza en su esencia de lo escrito y de lo dicho lo que lo define. El autor dramático escribe su texto, pero al mismo tiempo, ha de imaginárselo enunciado (recitado) y representado. Esa es la finalidad del texto dramático.
Por otra parte, el dramaturgo puede jugar con las seis funciones del lenguaje que definió Jakobson : la referencial (o cognitiva), la emotiva, la conativa, la fática, la metalingüística, y la poética.3. La poesía
A diferencia de la prosa, la poesía obedece a reglas fijas respecto a su producción, su estructura y su recepción. Es un modo de escritura y de composición que responde a muchas y diversas exigencias formales, estrechamente codificadas. Se identifica con su estructura verbal.
Los elementos constitutivos del texto narrativo que ya hemos visto (como la historia, el relato, la narración, el marco espacio-temporal, los personajes y la mediación de un narrador) no ayudan para nada en el análisis de la poesía. En efecto, el poema no es una narración, ni siquiera en poesía épica ya que no hay narrador. Su objetivo no consiste en contar sino en expresar, mediante determinados ritmos, imágenes, procedimientos, unos sentimientos íntimos, sensaciones inefables. De por sí, el poema es un objeto lírico. La fuerza del ritmo, susceptible de conmover y captar al lector (u oyente) así como lo sugestivo de las imágenes que intrigan por ser formas expresivas fuera de la comunicación verbal común, y que solicitan mucho nuestra imaginación, son dos aspectos fundamentales del poema.
Conviene pues comprender de qué forma el ritmo de tal o cual poema nos afecta, y saber lo que son capaces de sugerir esas imágenes. Es forzoso ser capaz de decir en qué consiste la impresión que nos deja un poema, justificar su influencia en nosotros.
El significado y el sabor de un texto resultan de una combinación de signos organizados en estructuras (semánticas, sintácticas, rítmicas, fónicas) y a veces de una disposición gráfica en la página.
Una primera forma de aprehensión de un poema puede ser interesándose en la paginación. A veces, hace falta empezar, en efecto, en la disposición del texto en la página. No se trata de una presentación estrictamente exterior, sino de una estructura constitutiva del objeto literario que ha de orientar la lectura de él. En poesía, la forma significa siempre algo. Un poema es también un objeto visual, constituido por el reparto del blanco y negro. Según Paul Claudel :
Le rapport entre la parole et le silence, entre l’écriture et le blanc est la ressource particulière de la poésie… Le blanc n’est pas en effet seulement pour le poème une nécessité matérielle imposée du dehors : il est la condition même de son existence, de sa vie et de sa respiration.
Sin ello, nos resultaría difícil percibir el verso libre, la estrofa, etc. Hacer el estudio de un poema supone por una parte el análisis de la versificación y, pues, la consideración de tres componentes mayores, estrictamente codificadas, y además una cuarta, que se induce al fin y al cabo de las primeras, pero no resulta tan codificada por la tradición. Se trata del número de sílabas, de la rima, de la cesura, y del acento.
La concepción dominante de la poesía es la de un arte de las combinaciones verbales, que afecta al significado de las palabras y privilegia sus estructuras, especialmente el ritmo. Crea así un objeto verbal, rítmico, fónico.
- Figures of speech
Figures by Type | Definition |
figures which change the typical meaning of a word or words | |
figures which move the letters or syllables of a word from their typical places | |
figures which omit something--eg. a word, words, phrases, or clauses--from a sentence | |
figures which repeat one or more words | |
figures which repeat a phrase, a clause or an idea | |
figures which alter the ordinary order of words or sentences | |
a miscellaneous group of figures which deal with emotional appeals and techniques of argument |
Tropes | Definition | Example |
metaphor | the substitution of a word for a word whose meaning is close to the original word | Poor broken glass, I often did behold/ In thy sweet semblance my old age new born...---The Rape of Lucrece,1758-59 |
metonymy | a noun is substituted for a noun in such a way that we substitute the cause of the thing of which we are speaking for the thing itself; this might be done in several ways: substituting the inventor for his invention, the container for the thing contained or vice versa, an author for his work, the sign for the thing signified, the cause for the effect or vice versa | I must comfort the weaker vessel, as doublet and hose ought to show itself courageous to petticoat.---As You Like It, 2.4.6 |
synecdoche | substitution of part for whole, genus for species, or vice versa | Was this the face that launched a thousand ships,/ And burnt the topless towers of Ilium?---Dr. Faustus, 12.80-81 |
irony | expressing a meaning directly contrary to that suggested by the words | He was no notorious malefactor, but he had been twice on the pillory, and once burnt in the hand for trifling oversights.---Direccions for Speech and Style |
metalepsis | a double metonymy in which an effect is represented by a remote cause | Woe worth the mountain that the mast bear/ Which was the first causer of all my care (Medea cursing Jason).---The Arte of English Poesie, 183 |
paradox | a seemingly self contradictory statement, which yet is shown to be true | For what the waves could never wash away/ This proper youth has wasted in a day.---The Arte of English Poesie, 226 |
oxymoron | a condensed paradox at the level of a phrase | O modest wantons! wanton modesty!---The Rape of Lucrece, 401 |
anthimeria | the substitution of one part of speech for another; for instance, an adverb for a noun or a noun for an adverb | Lord Angelo dukes it well.---Measure for Measure, 3.2.100 |
litotes | deliberate understatement or denial of the contrary | He is no fool.---The Arte of English Poesie, 184 |
hyperbole | exaggerated or extravagant statement used to make a strong impression, but not intended to be taken literally | His legs bestrid the ocean, his rear'd arm/ Crested the world, his voice was propertied/ As all the tuned spheres...---Antony and Cleopatra, 5.2.82 |
Metaplasmic Figures | Definition | Example |
prosthesis | addition of letters to the beginning of a word | I all alone beweep my outcast state.---Shakespeare Sonnets, 29 |
aphaersis | omission of letters from the beginning of a word | Use every man after his desert, and who should 'scape whipping?---Hamlet, 2.2.561 |
epenthesis | addition of letters to the middle of a word | Lie blist'ring fore the visitating sun.---Two Noble Kinsmen, 1.1.146 |
syncope | omission of letters from the middle of a word | Thou thy worldly task hast done,/ Home art gone, and ta'en thy wages. Cymberline, 4.2.258 |
paragoge | addition of letters to the end of a word | I can call spirits from the vasty deep.---Henry IV, Part I, 3.1.52 |
apocope | omission of letters from the end of a word | I am Sir Oracle,/ And when I ope my lips let no dog bark!---The Merchant of Venice, 1.1.93 |
antisthecon | substitution of a letter or sound for another within a word | Or, ere they meet, in me, O nature, cesse!---All's Well That Ends Well, 5.3.75 |
metathesis | transposition of a letter out of its normal order in a word | With liver burning hot. Frevent.---The Merry Wives of Windsor, 2.1.122 |
Figures of Omission | Definition | Example |
ellipsis | omission of a word | And he to England shall along with you.---Hamlet, 3.3.1 |
zeugma | an ellipsis of a verb, in which one verb is used to govern several clauses | How Tarquin wronged me, I Collatine.---The Rape of Lucrece, 819 |
scesis onamaton | omission of the verb of a sentence | A maid in conversation chaste, in speech mild, in countenance cheerful, in behavior modest ...[etc.]---The Garden of Eloquence |
anapodoton | omission of a clause | Haply you shall not see me more; or if,/ A mangled Shadow.---Antony and Cleopatra, 4.2.26. |
aposiopesis | stopping a sentence in midcourse so that the statement is unfinished | He said you were, I dare not tell you plaine:/ For words once out, never returne againe.---The Arte of English Poesie, 139 |
occupatio | When the orator feigneth and maketh as though he would say nothing in some matter, when, notwithstanding he speaketh most of all, or when he saith something: in saying he will not say it.---The Garden of Eloquence, 130 | I will make no mention of his drunken banquets nightly, and his watching with bawds, dicers, whore masters. I will not name his losses, his luxurity, and staining of his honesty.---The Garden of Eloquence, 131 |
Figures of Repetition (words) | Definition | Example |
epizeuxis | emphatic repetition of a word with no other words between | Reputation, reputation, reputation! O! I have lost my reputation.---Othello, 2.3.264 |
polyptoton | repetition of the same word or root in different grammatical functions or forms | Disturb his hours of rest with restless trances,/ Afflict him in his bed with bedrid groans;/ Let there bechance him pitiful mischances,/ To make him moan but pity not his moans.---The Rape of Lucrece, 974-977 |
antanaclasis | repetition of a word, but in two different meanings | Whoever hath her wish, thou has thy Will,/ And Will to boot, and Will in overplus---Shakespeare Sonnets, 135 |
anaphora | repetition of a word at the beginning of a clause, line, or sentence | Mad world! Mad kings! Mad composition!---King John, 2.1.561 |
epistrophe | repetition of a word at the end of a clause, line, or sentence | I'll have my bond!/ Speak not against my bond!/ I have sworn an oath that I will have my bond.---The Merchant of Venice, 3.3.4 |
symploce | repetition of both beginnings and endings | Most true that I must fair Fidessa love,/ Most true that fair Fidessa cannot love./ Most true that I do feel the pains of love,/ Most true that I am captive unto love.---Fidessa, 62 |
epanalepsis | repetition of the beginning at the end | Blood hath bought blood, and blows have answer'd blows:/ Strength match'd with strength, and power confronted power.---King John, 2.1.329-30 |
anadiplosis | repetition of the end of a line or clause at the next beginning | For I have loved long, I crave reward/ Reward me not unkindly: think on kindness,/ Kindness becommeth those of high regard/ Regard with clemency a poor man's blindness---Fidessa, 16 |
gradatio | repeating anadiplosis | My conscience hath a thousand several tongues,/ And every tongue brings in a several tale,/ And every talecondemns me for a villain.---Richard III, 5.3.194 |
congeries | a heaping together and piling up of many words that have a similar meaning | But now I am cabin'd, cribb'd, confin'd, bound in/ To saucy doubts and fears.---Macbeth, 3.4.24 |
antimetabole | repetition of words, in successive clauses, in reverse grammatical order; a chiasmus on the level of words (AB; BA) | Thy sea within a puddle's womb is hearsed,/ and not the puddle in thy sea dispersed.---The Rape of Lucrece, 657-658 |
pleonasm | the needless repetition of words; a tautology on the level of a phrase | Sober he seemde, and very sagely sad,/ And to the ground his eyes were lowly bent,/ Simple in shew, and voyde of malice bad...---The Faerie Queene, Book 1, 1.29 |
Figures of Repetition (clauses and ideas) | Definition | Example |
auxesis | arrangement of clauses or sentences in ascending order of importance | I may, I must, I can, I will, I do/ Leave following that which it is gain to miss.---Astrophil and Stella, 47 |
isocolon | repetition of phrases or clauses of equal length and corresponding grammatical structure | I speak Spanish to God, Italian to women, French to men, and German to my horse.---Charles V |
tautology | needless repetition of the same idea in different words; pleonasm on the level of a sentence or sentences | If you have a friend, keep your friend, for an old friend is to be preferred before a new friend, this I say to you as your friend.---The Garden of Eloquence, 49 |
chiasmus | reversal of grammatical structures or ideas in sucessive phrases or clauses, which do not necessarily involve a repetition of words | But O, what damned minutes tells he o'er/ Who dotes, yet doubts; suspects, yet strongly loves.---Othello, 3.3.169 |
antithesis | repetition of clauses or idea by negation | A bliss in proof; and prov'd, a very woe;/ Before, a joy propos'd; behind a dream.---Shakespeare Sonnets, 129 |
periphrasis | the replacement of a single word by several which together have the same meaning; a substitution of more words for less | While memory holds a seat/ In this distracted globe...---Hamlet, 1.4.96 |
Figures of Unusual Word Order | Definition | Example |
anastrophe | arrangment by reversal of ordinary word order, usually confined to the transposition of two words only | Figures pedantical---Love's Labour's Lost, 5.2.407 |
hyperbaton | departure from ordinary word order | Yet I'll not shed her blood,/ Nor scar that whiter skin of hers than snow...---Othello, 5.2.3 |
hysteron proteron | reversal of temporal order | My dame that bred me up and bare me in her wombe.---The Arte of English Poesie, 142 |
hypallage | a reversal of words which seems to change the sense | Open the day, and see if it be the window.---The Garden of Eloquence |
parenthesis | a word, phrase, or sentence inserted as an aside in a sentence complete by itself | But now my Deere (for so love makes me to call you still)/ That love I say, that lucklesse love, that works me all this ill.---The Arte of English Poesie, 141 |
Figures of Thought | Definition | Example |
adynaton | the impossibility of expressing oneself adequately to the topic | Words cannot convey how much your letters have delighted me.---Elementorum rhetorices libri, |
aporia | true or feigned doubt or deliberation about an issue | Whether he took them from his fellows more impudently, gave them to an harlot more lasciviously, removed them from the Roman people more wickedly or altered them more presumptuously, I cannot well declare.---The Garden of Eloquence, 109 |
correctio | a correction or revision of previous words | Shameful it is--ay, if the fact be known...---The Rape of Lucrece, 239 |
prosopopoeia | representing an imaginary or absent person as speaking or acting; attributing life, speech or inanimate qualities to dumb or inanimate objects | With how sad steps, O Moon, thou climb'st the skies,/ How silently, and with how wan a face!---Astrophil and Stella, 31 |
apostrophe | a diversion of discourse from the topic at hand to addressing some person or thing, either present or absent | Within a month.../ She married--O most wicked speed: to post/ With such dexterity to incestuous sheets...---Hamlet, 1.2.153 |
You can leave a response, or trackback from your own site.
mau bonus ? klik disini judi sabung ayam
Ayuk Mainkan Sabung Ayam Online Bersama Bolavita sabung ayam live
Adu Ayam Birma Asli Menjadi Sorotan
Jadwal 04 Februari Sabung S128
Tips dan Trick Bermain Judi Online
Agen Togel Hongkong
Agen Togel Singapura
Agen Togel Sidney
Museumbola Slot Habanero
Museumbola Slot Pragmatic
Museumbola Slot Pulsa
Museumbola Joker123
Museumbola Livecasino
AKSES SEGERA SITUS KAMI 1 ID BANYAK PERMAINAN
WA OFFICIAL : +6283157394921
Telah hadir di bolavita deposit via pulsa telkomsel
dan banyak bonus2 mendarik lain nya min depo 25 rbu bisa jadi jutawan
ayo segera daftar dan buktikan sendiri sabung ayam s128
info lbh lanjut:
WA: +62812-2222-995