"emotional response. According to Warren, Whitman ""uses ""anaphora"", the repetition of a word or phrase at the beginning of lines; ""epistrophe"", the repetition of the same words or phrase at the end of lines, and ""symploce"" (the combined use of ""anaphora"" and ""epistrophe""), the repetition of both initial and terminal words. According to Raja Sharma, Whitman's use of ""anaphora"" forces the reader ""to inhale several bits of text without pausing for breath, and this breathlessness contributes to the incantatory quality"". This sense of incantation in the poem and for the framework for the expansive lyricism that scholars have called ""cataloguing""."
"and want shall shun you, Ceres' blessing so is on you.""</nowiki></poem> — Shakespeare,"" The Tempest ""(4.1.108-109; 116–17) Epistrophe Epistrophe (, ""return"") is the repetition of the same word or words at the end of successive phrases, clauses or sentences. It is also known as epiphora and occasionally as antistrophe. It is a figure of speech and the counterpart of anaphora. It is an extremely emphatic device because of the emphasis placed on the last word in a phrase or sentence. Greek epistrophe: ""a word coined by Plato as a goal of philosophical education and the term adopted by early Christians"
"Epistrophe Epistrophe (, ""return"") is the repetition of the same word or words at the end of successive phrases, clauses or sentences. It is also known as epiphora and occasionally as antistrophe. It is a figure of speech and the counterpart of anaphora. It is an extremely emphatic device because of the emphasis placed on the last word in a phrase or sentence. Greek epistrophe: ""a word coined by Plato as a goal of philosophical education and the term adopted by early Christians for conversion"". <poem>* <nowiki>""Hourly joys be still upon you! Juno sings her blessings on you. ... Scarcity"
"Anaphora (rhetoric) In rhetoric, an anaphora (, ""carrying back"") is a rhetorical device that consists of repeating a sequence of words at the beginnings of neighboring clauses, thereby lending them emphasis. In contrast, an epistrophe (or epiphora) is repeating words at the clauses' ends. The combination of anaphora and epistrophe results in symploce. Other than the function of emphasizing ideas, the use of anaphora as a rhetorical device adds rhythm to a word as well as making it more pleasurable to read and easier to remember. Anaphora is repetition at the beginning of a sentence to create emphasis. Anaphora serves"
"Repetition (rhetorical device) Repetition is the simple repeating of a word, within a short space of words (including in a poem), with no particular placement of the words to secure emphasis. It is a multilinguistic written or spoken device, frequently used in English and several other languages, and so rarely termed a figure of speech. Its forms, many of which are listed below, have varying resonances to listing (forms of enumeration, such as ""Firstly, Secondly, Thirdly and lastly...""), as a matter of trite logic often similar in effect. It features in famous poems such as: The life that I have<br>"
"repeated, it carries a different meaning. The word “chain” is defined as a series of things connected or following in succession. The repetition of a word from a verse of stanza following the next creates a chain like connection between the lines. Rhymes are pleasing to the ears and help to distinguish similarities and differences. It helps the poet to shape the poem and the reader to understand it; creating a link between sound and thought. Examples Two examples of chained verse from William T. Dobson ""Poetical ingenuities and eccentricities"", London, 1882 (see text here for the sources of these"
"Refrain A refrain (from Vulgar Latin ""refringere"", ""to repeat"", and later from Old French ""refraindre"") is the line or lines that are repeated in music or in poetry; the ""chorus"" of a song. Poetic fixed forms that feature refrains include the ""villanelle"", the ""virelay"", and the ""sestina"". The use of refrains is particularly associated with where the verse-chorus-verse song structure typically places a refrain in almost each and every song. The refrain or chorus often sharply contrasts the verse melodically, rhythmically, and harmonically, and assumes a higher level of dynamics and activity, often with added instrumentation. Chorus form, or strophic"
"their inflectional morphemes. The authors of the article that defined contrastive focus reduplication collected a corpus of examples in English. These include: The poem ""After the Funeral"" by Billy Collins contains many examples of contrastive focus reduplication. Contrastive focus reduplication Contrastive focus reduplication, also called lexical cloning or the double construction, is a type of syntactic reduplication found in some languages. Doubling a word or phrase – such as ""do you LIKE-like him?"" – can indicate that the prototypical meaning of the repeated word or phrase is intended. U.S. writer Paul Dickson coined the term word word in 1982 to"
"its own origin rather than reiterating the same analogy in myriad ways. Extended metaphor An extended metaphor, also known as a conceit or sustained metaphor, is an author’s exploitation of a single metaphor or analogy at length through multiple linked tenors, vehicles, and grounds throughout a poem or story. Tenor is the subject of the metaphor, vehicle is the image or subject that carries the weight of the comparison, and ground is the shared proprieties of the two compared subjects. Another way to think of extended metaphors is in terms of implications of a base metaphor. These implications are repeatedly"
"Polyptoton Polyptoton is the stylistic scheme in which words derived from the same root are repeated (such as ""strong"" and ""strength""). A related stylistic device is antanaclasis, in which the same word is repeated, but each time with a different sense. Another related term is figura etymologica. In inflected languages polyptoton is the same word being repeated but appearing each time in a different case. (for example, ""Iuppiter"", ""Iovis"", ""Iovi"", ""Iovem"", ""Iove"" [in Latin being the nominative, genitive, dative, accusative, and ablative forms of ""Iuppiter"" (the god Jupiter), respectively]). The form is relatively common in Latin Christian poetry and prose"
"Cataphora In linguistics, cataphora (; from Greek, ""καταφορά"", ""kataphora"", ""a downward motion"" from ""κατά"", ""kata"", ""downwards"" and ""φέρω"", ""pherō"", ""I carry"") is the use of an expression or word that co-refers with a later, more specific, expression in the discourse. The preceding expression, whose meaning is determined or specified by the later expression, may be called a cataphor. Cataphora is a type of anaphora, although the terms ""anaphora"" and ""anaphor"" are sometimes used in a stricter sense, denoting only cases where the order of the expressions is the reverse of that found in cataphora. An example of cataphora in English"
"of this sort is particularly common in formal contexts, using an anaphoric expression such as ""this"" or ""the following"": Cataphora In linguistics, cataphora (; from Greek, ""καταφορά"", ""kataphora"", ""a downward motion"" from ""κατά"", ""kata"", ""downwards"" and ""φέρω"", ""pherō"", ""I carry"") is the use of an expression or word that co-refers with a later, more specific, expression in the discourse. The preceding expression, whose meaning is determined or specified by the later expression, may be called a cataphor. Cataphora is a type of anaphora, although the terms ""anaphora"" and ""anaphor"" are sometimes used in a stricter sense, denoting only cases where"
"and similar lyrics. In postmodernism, the term ""reprise"" has been borrowed from musical terminology to be used in literary criticism by Christian Moraru: From the postmodern perspective, ""reprise"" is a fundamental device in the whole history of art. Reprise In music, a reprise () is the repetition or reiteration of the opening material later in a composition as occurs in the recapitulation of sonata form, though—originally in the 18th century—was simply any repeated section, such as is indicated by beginning and ending repeat signs. A partial or abbreviated reprise is known as a petite reprise (). In Baroque music this"
"Contrastive focus reduplication Contrastive focus reduplication, also called lexical cloning or the double construction, is a type of syntactic reduplication found in some languages. Doubling a word or phrase – such as ""do you LIKE-like him?"" – can indicate that the prototypical meaning of the repeated word or phrase is intended. U.S. writer Paul Dickson coined the term word word in 1982 to describe this phenomenon. The first part of the reduplicant bears contrastive intonational stress. Contrastive focus reduplication in English can apply not only to words but also to multi-word phrases such as idioms, or to word stems without"
"Acrostic An acrostic is a poem (or other form of writing) in which the first letter (or syllable, or word) of each line (or paragraph, or other recurring feature in the text) spells out a word, message or the alphabet. The word comes from the French ""acrostiche"" from post-classical Latin ""acrostichis"", from Koine Greek ἀκροστιχίς, from Ancient Greek ἄκρος ""highest, topmost"" and στίχος ""verse""). As a form of constrained writing, an acrostic can be used as a mnemonic device to aid memory retrieval. Relatively simple acrostics may merely spell out the letters of the alphabet in order; such an acrostic"
"to focus on the paraphrands of power or destruction rather than on, say, the paraphier of counterclockwise movement of wind. The English ""metaphor"" derived from the 16th-century Old French word ""métaphore"", which comes from the Latin ""metaphora"", ""carrying over"", in turn from the Greek μεταφορά (""metaphorá""), ""transfer"", from μεταφέρω (""metapherō""), ""to carry over"", ""to transfer"" and that from μετά (""meta""), ""after, with, across"" + φέρω (""pherō""), ""to bear"", ""to carry"". Metaphors are most frequently compared with similes. It is said, for instance, that a metaphor is 'a condensed analogy' or 'analogical fusion' or that they 'operate in a similar fashion'"
"word, ἀνθολογία (""anthologia"" ""a collection of flowers""), a reference to one of the earliest known anthologies, the ""Garland"" (), the introduction to which compares each of its anthologized poets to a flower. That ""Garland"" by Meleager of Gléagros of Gadara formed the kernel for what has become known as the Greek Anthology. ""Florilegium"", a Latin derivative for a collection of flowers, was used in medieval Europe for an anthology of Latin proverbs and textual excerpts. Shortly before anthology had entered the language, English had begun using as a word for such a collection. In East Asian tradition, an anthology was"
"to depict their subject. Though the term ‘concrete poetry’ is modern, the idea of using letter arrangements to enhance the meaning of a poem is old. Such shaped poetry was popular in Greek Alexandria during the 3rd and 2nd centuries BCE, although only the handful which were collected together in the Greek Anthology now survive. Examples include poems by Simmias of Rhodes in the shape of an egg, wings and a hatchet, as well as Theocritus’ pan-pipes. The post-Classical revival of shaped poetry seems to begin with the ""Gerechtigkeitsspirale"" (spiral of justice), a relief carving of a poem at the"
"Is all that I have<br> And the life that I have<br> Is yours.<br> The love that I have<br> Of the life that I have<br> Is yours and yours and yours.<br> A sleep I shall have<br> A rest I shall have<br> Yet death will be but a pause.<br> For the peace of my years<br> In the long green grass<br> Will be yours and yours and yours. (Leo Marks) Repetition (rhetorical device) Repetition is the simple repeating of a word, within a short space of words (including in a poem), with no particular placement of the words to secure emphasis. It is"
"Reprise In music, a reprise () is the repetition or reiteration of the opening material later in a composition as occurs in the recapitulation of sonata form, though—originally in the 18th century—was simply any repeated section, such as is indicated by beginning and ending repeat signs. A partial or abbreviated reprise is known as a petite reprise (). In Baroque music this usually occurs at the very end of a piece, repeating the final phrase with added ornamentation. Reprise can refer to a version of a song which is similar to, yet different from, the song on which it is"
"Strophic form Strophic form, also called verse-repeating or chorus form, is the term applied to songs in which all verses or stanzas of the text are sung to the same music. The opposite of strophic form, with new music written for every stanza, is called through-composed. The term is derived from the Greek word , ""strophē"", meaning ""turn"". It is the simplest and most durable of musical forms, extending a piece of music by repetition of a single formal section. This may be analyzed as ""A A A..."". This additive method is the musical analogue of repeated stanzas in poetry"
"Extended metaphor An extended metaphor, also known as a conceit or sustained metaphor, is an author’s exploitation of a single metaphor or analogy at length through multiple linked tenors, vehicles, and grounds throughout a poem or story. Tenor is the subject of the metaphor, vehicle is the image or subject that carries the weight of the comparison, and ground is the shared proprieties of the two compared subjects. Another way to think of extended metaphors is in terms of implications of a base metaphor. These implications are repeatedly emphasized, discovered, rediscovered, and progressed in new ways. Symbolism is a common"
"Alliteration In literature, alliteration is the conspicuous repetition of identical initial consonant sounds in successive or closely associated syllables within a group of words, even those spelled differently. As a method of linking words for effect, alliteration is also called head rhyme or initial rhyme. For example, """"h""umble ""h""ouse,"" or """"p""otential ""p""ower ""p""lay."" A familiar example is """"P""eter ""P""iper ""p""icked a ""p""eck of ""p""ickled ""p""eppers"". ""Alliteration"" is from the Latin word ""littera"", meaning ""letter of the alphabet""; it was first coined in a Latin dialogue by the Italian humanist Giovanni Pontano in the 15th century. Some literary experts accept as"
"von Appen, André Doehring and Thomas Phleps. Vol. 13 (2015). Strophic form Strophic form, also called verse-repeating or chorus form, is the term applied to songs in which all verses or stanzas of the text are sung to the same music. The opposite of strophic form, with new music written for every stanza, is called through-composed. The term is derived from the Greek word , ""strophē"", meaning ""turn"". It is the simplest and most durable of musical forms, extending a piece of music by repetition of a single formal section. This may be analyzed as ""A A A..."". This additive"
"that in long poems such as ""Garbage"", with their ""improvised, no-stopping, 'one-time event' compositional procedures,"" ""Ammons works with a continuum of utterance whose central furrows are the most frequently repeated words and phrases in the contemporary American vulgate, but whose far outcastings register the faintest traces of anomalous use."" That is, Ammons subjected his own poetic style and its relation to contemporary speech to considerable scrutiny. As Smith puts it, ""Ammons's premise is that the process of sorting and grouping (or abstracting) that produces what we commonly call 'garbage' also powers the appearances, disappearances, and re-appearances of words."" A. R."
"Words (Russian: слова). Writing poetry following the same principle is called ""capping verses."" Various other variants exist, such as Ancient Greek skolion. Word chain Word chain, also known as Grab on Behind, Last and First, Alpha and Omega, and The Name Game. is a word game in which players come up with words that begin with the letter or letters that the previous word ended with. A category of words is usually chosen, there is a time limit such as five seconds, and words may not be repeated in the same game. An example chain for food would be: Soup"
"first in Japanese; notable examples include Reborrowing Reborrowing is the process where a word travels from one language to another and then back to the originating language in a different form or with a different meaning. This path is indicated by A→B→A, where A is the originating language, and can take many forms. A reborrowed word is sometimes called a Rückwanderer (German, a 'returner'). The result is generally a doublet, where the reborrowed word exists alongside the original word, though in other cases the original word may have died out. Alternatively, a specific sense of a borrowed word can be"
"that I with faith implore, Lest Sin and Death sink me to rise no more. Lastly, O God, my course direct and guide, In Death defend me, that I never slide; And at Doomsday let me be rais'd again, To live with thee sweet Jesus say, Amen. </poem> Acrostic An acrostic is a poem (or other form of writing) in which the first letter (or syllable, or word) of each line (or paragraph, or other recurring feature in the text) spells out a word, message or the alphabet. The word comes from the French ""acrostiche"" from post-classical Latin ""acrostichis"", from"
"meaning or effect of its words without constructing a full allegory. Another element of poetic diction can be the use of vivid imagery for effect. The juxtaposition of unexpected or impossible images is, for example, a particularly strong element in surrealist poetry and haiku. Vivid images are often endowed with symbolism or metaphor. Many poetic dictions use repetitive phrases for effect, either a short phrase (such as Homer's ""rosy-fingered dawn"" or ""the wine-dark sea"") or a longer refrain. Such repetition can add a sombre tone to a poem, or can be laced with irony as the context of the words"
"The grand style may also feature epistrophe (Greek for 'return', also known as ""epiphoras"" or ""epiphora"", 'to carry upon'), in which the end parts of clauses are emphasized: In poetry, the grand style may feature a rhyming couplet, whereby the last two lines of a section rhyme. This creates a sense of control by the narrator of the poem or speaker in the play. Formal, ornamented language is used, while slang and vulgarity are avoided. Verbs are often used in the imperative form, with the goal of swaying an audience. This form of speech has long been considered to be"
"F. Kennedy Other examples of alliteration in some famous speeches: Alliteration is commonly used in modern music but is also seen in magazine article titles, advertisements, business names, comic strips, television shows, video games and in the dialogue and naming of cartoon characters. Alliteration In literature, alliteration is the conspicuous repetition of identical initial consonant sounds in successive or closely associated syllables within a group of words, even those spelled differently. As a method of linking words for effect, alliteration is also called head rhyme or initial rhyme. For example, """"h""umble ""h""ouse,"" or """"p""otential ""p""ower ""p""lay."" A familiar example is"
"and ""wretchedness"", which may be seen as polyptoton. According to Duyfhuizen, the gradual development of polyptoton in ""Frankenstein"" is significant because it symbolizes the intricacies of one's own identity. Polyptoton Polyptoton is the stylistic scheme in which words derived from the same root are repeated (such as ""strong"" and ""strength""). A related stylistic device is antanaclasis, in which the same word is repeated, but each time with a different sense. Another related term is figura etymologica. In inflected languages polyptoton is the same word being repeated but appearing each time in a different case. (for example, ""Iuppiter"", ""Iovis"", ""Iovi"", ""Iovem"","
"(the use of the same words at the beginning and end of lines, the repetition of a word, combination of words or previous line, or starting new sentence with a word that has the same root as the last word of the previous sentence). Comparisons and other symbolic devices are also found in their range, including straightforward comparisons, epithets, metaphors, synecdoches, allegories, personifications and parallelisms where seemingly unrelated concepts are used to liken events from nature to human life and different social classes. Lyrically, dainas concern themselves with native mythology and traditional festivals but, in contrast to most similar forms,"