100 Rhetorical/Devices Flashcards
Parallelism
similarity of structure in a pair or series of related words, phrases, or clauses. This basic principle of grammar and rhetoric demands that equivalent things be set forth in coordinate grammatical structures: nouns with nouns, prepositional phrases with prepositional phrases, adverb clauses with adverb clauses, etc.
Isocolon
is a scheme of parallel structure that occurs when the parallel elements are similar not only in grammatical structure but also in length (number of words or even number of syllables). This is very effective, but a little goes a long way.
Antithesis
the juxtaposition of contrasting ideas, often in parallel structure. The contrast may be in words or in ideas or both. When used well, antithesis can be very effective, even witty.
Anastrophe
the inversion of natural word order, often with the purpose of surprising the reader, gaining attention, or (most often) emphasizing certain words (those at the beginning and the end of the sentence). It is most effective if the author rarely writes awkwardly, because when set among well-structured sentences it emphasizes the inverted phrase.
Parenthesis
insertion of some verbal unit in a position that interrupts the normal syntactical flow of the sentence, thereby sending the thought off on an important tangent that has pronounced rhetorical effect. Often involves literal parentheses ( ), but not always; there are other ways to insert a comment into a sentence. One might use commas, or dashes, for example. The parenthetical remark, however, is off on a tangent, cut off from the thrust of the sentence and grammatically unrelated to the sentence.
Ellipsis
deliberate omission of a word or of words that are readily implied by the context and must be supplied by the reader or listener. While this can make clear, economical sentences, if the understood words are grammatically incompatible, the resulting sentence may be awkward.
Asyndeton
deliberate omission of conjunctions between a series of words, phrases, or clauses. The effects of this device are to emphasize each clause and to produce a punctuated rhythm in the sentence.
Polysyndeton
deliberate use of many conjunctions (does not involve omission, but is grouped with its opposite, asyndeton)). The effect of polysyndeton is to speed up or add a frenetic quality to the rhythm of the sentence.
Alliteration
repetition of initial or medial consonants in two or more adjacent words. Used sparingly, alliteration provides emphasis. Overused, it sounds silly.
Assonance
the repetition of similar vowel sounds, preceded and followed by different consonants, in the stressed syllables of adjacent words.
Anaphora
repetition of the same word or groups of words at the beginnings of successive phrases. This device produces a strong emotional effect, especially in speech. It also establishes a marked change in rhythm.
Epistrophe
repetition of the same word or group of words at the ends of successive phrases. Like anaphora, epistrophe produces a strong rhythm and emphasis.
Epanalepsis
repetition of the same word or words at both beginning and ending of a phrase, clause, or sentence. Like other schemes of repetition, epanalepsis often produces or expresses strong emotion.
Anadiplosis
repetition of the last word of one clause at the beginning of the following clause.
Climax
arrangement of words, phrases, or clauses in an order of increasing importance.
Antimetabole
repetition of words, in successive clauses, in reverse grammatical order.
Chiasmus
reversal of grammatical structures in successive phrases or clauses. Chiasmus is similar to antimetabole in that it too involves a reversal of grammatical structures in successive phrases or clauses, but it is unlike antimetabole in that it does not involve a repetition of words. Both chiasmus and antimetabole can be used to reinforce antithesis.
Polyptoton
repetition of words derived from the same root.
“But in this desert country they may see the land being rendered useless by overuse.” (Joseph Wood Krutch, The Voice of the Desert)
“We would like to contain the uncontainable future in a glass.” (Loren Eiseley, from an article in Harper’s, March 1964)
“With eager feeding food doth choke the feeder.” (Shakespeare’s Richard II 2.1.37)
Metaphor
implied comparison between two things of unlike nature
Simile
explicit comparison between two things of unlike nature, usually using “like” or “as”
Synecdoche
figure of speech in which a part stands for the whole
“I have nothing to offer but blood, toil, tears, and sweat.” (Winston Churchill, 1940)
“In Europe, we gave the cold shoulder to De Gaulle, and now he gives the warm hand to Mao Tse-tung.” (Richard Nixon, 1960)
“Give us this day our daily bread.” (Matthew, 6:11)
Metonymy
substitution of some attributive or suggestive word for what is actually meant.
The British crown has been plagued by scandal.
There is no word from the Pentagon on the new rumors from Afghanistan.
The pen is mightier than the sword.
Antanaclasis
repetition of a word or phrase whose meaning changes in the second instance. These are often “puns” as well
Personification
investing abstractions or inanimate objects with human qualities
Hyperbole
the use of exaggerated terms for the purpose of emphasis or heightened effect.
Litotes
deliberate use of understatement
“Last week I saw a woman flayed, and you will hardly believe how much it altered her appearance for the worse.” (Jonathan Swift, A Tale of a Tub)
“It isn’t very serious. I have this tiny little tumor on the brain.” (Catcher in the Rye)
Rhetorical question
asking a question, not for the purpose of eliciting an answer but to assert or deny an answer implicitly
Irony
use of a word in such a way as to convey a meaning opposite to the literal meaning of the word
Onomatapoeia
use of words whose sound echoes the sense
“Snap, crackle, pop!” (Rice Krispies commercial)
“…From the clamor and the clangor of the bells!” (Edgar Allan Poe, “The Bells”)
Oxymoron
the joining of two terms which are ordinarily contradictory “The unheard sounds came through, each melodic line existed of itself, stood out clearly from all the rest, said its piece, and waiting patiently for the other voices to speak.”
Paradox
an apparently contradictory statement that nevertheless contains a measure of truth
“And yet, it was a strangely satisfying experience for an invisible man to hear the silence of sound.” (Ralph Ellison, Invisible Man)
allegory
The device of using character and/or story elements symbolically to represent an abstraction in addition to the literal meaning. In some allegories, for example, an author may intend the characters to personify an abstraction like hope or freedom. The allegorical meaning usually deals with moral truth or a generalization about human existence.
allusion
A direct or indirect reference to something which is presumably commonly known, such as an event, book, myth, place, or work of art. Allusions can be historical, literary, religious, topical, or mythical. There are many more possibilities, and a work may simultaneously use multiple layers of allusion. Example: He was destined to fail; he always flew too close to the sun
analogy
A similarity or comparison between two different things or the relationship between them. An analogy can explain something unfamiliar by associating it with or pointing out its similarity to something more familiar. Analogies can also make writing more vivid, imaginative, or intellectually engaging. Example: Getting politicians to agree is like herding cats.
antecedent
The word, phrase, or clause referred to by a pronoun. The AP language exam occasionally asks for the antecedent of a given pronoun in a long, complex sentence or in a group of sentences.
aphorism
A terse statement of known authorship which expresses a general truth or a moral principle. (If the authorship is unknown, the statement is generally considered to be a folk proverb.) An aphorism can be a memorable summation of the author’s point. “A lie told often enough becomes the truth.”
atmosphere
The emotional nod created by the entirety of a literary work, established partly by the setting and partly by the author’s choice of objects that are described. Even such elements as a description of the weather can contribute to the atmosphere. Frequently atmosphere foreshadows events. Perhaps it can create a mood.
caricature
A verbal description, the purpose of which is to exaggerate or distort, for comic effect or ridicule, a person’s distinctive physical features or other characteristics
clause
A grammatical unit that contains both a subject and a verb. An independent, or main, clause expresses a complete thought and can stand alone as a sentence. A dependent, or subordinate clause, cannot stand alone as a sentence and must be accompanied by an independent clause. The point that you want to consider is the question of what or why the author subordinates one element, and you should also become aware of making effective use of subordination in your own writing.
colloquial/colloquialism
The use of slang or informalities in speech or writing. Not generally acceptable for formal writing, colloquialisms give a work a conversational, familiar tone. Colloquial expressions in writing include local or regional dialects.
conceit
A fanciful expression, usually in the form of an extended metaphor or surprising analogy between seemingly dissimilar objects, usually used in poetry. A conceit displays intellectual cleverness as a result of the unusual comparison being made, as in Shakespeare’s Sonnet 18: Shall I compare thee to a summer’s day?/Thou art more lovely and more temperate
diction
Related to style, diction refers to the writer’s word choices, especially with regard to their correctness, clearness, or effectiveness. For the AP exam, you should be able to describe an author’s diction (for example, formal or informal, ornate or plain) and understand the ways in which diction can complement the author’s purpose. Diction, combined with syntax, figurative language, literary devices, etc., creates an author’s style
Denotation
The strict, literal, dictionary definition of a word, devoid of any emotion, attitude, or color. (Example: the denotation of a knife would be a utensil used to cut)
Connotation
The non-literal, associative meaning of a word; the implied, suggested meaning. Connotations may involve ideas, emotions, or attitudes (the connotation of a knife might be fear, violence, anger, foreboding, etc.)
ethos
In writing and speaking, a persuasive appeal to the audience based on the credibility, good character, etc., of the speaker or writer
euphemism
From the Greek for “good speech,” euphemisms are a more agreeable or less offensive substitute for a generally unpleasant word or concept. The euphemism may be used to adhere to standards of social or political correctness or to add humor or ironic understatement. Saying “earthly remains” rather than “corpse” is an example of euphemism.
extended metaphor
A metaphor developed at great length, occurring frequently in or throughout a work
generic conventions
This term describes traditions for each genre. These conventions help to define each genre; for example, they differentiate an essay and journalistic writing or an autobiography and political writing. On the AP language exam, try to distinguish the unique features of a writer’s work from those dictated by convention for that genre.
homily
This term literally means “sermon,” but more informally, it can include any serious talk, speech, or lecture involving moral or spiritual advice. (One could say, “The President delivered a homily to the American people last night.”)
Imagery
The sensory details or figurative language used to describe, arouse emotion, or represent abstractions. On a physical level, imagery uses terms related to the five senses: visual, auditory, tactile, gustatory, and olfactory. On a broader and deeper level, however, one image can represent more than one thing. For example, a rose may present visual imagery while also representing the color in a woman’s cheeks and/or symbolizing some degree of perfection. An author may use complex imagery while simultaneously employing other figures of speech, especially metaphor and simile. In addition, this term can apply to the total of all the images in a work. On the AP language exam, pay attention to how an author creates imagery and to the effect of this imagery.
Inference/infer
To draw a reasonable conclusion from the information presented. When a multiple choice question asks for an inference to be drawn from a passage, the most direct, most reasonable inference is the safest answer choice. If an inference is implausible, it’s unlikely to be the correct answer..
invective
An emotionally violent, verbal denunciation or attack using strong, abusive language. (For example, in Henry IV, Part I, Prince Hal calls the large character of Falstaff “this sanguine coward, this bedpresser, this horseback breaker, this huge hill of flesh.
logos
In writing and speaking, a persuasive appeal to the audience based on logic and reason.
loose sentence/non-periodic sentence
A type of sentence in which the main idea (independent clause) comes first, followed by dependent grammatical units such as phrases and clauses. If a period were placed at the end of the independent clause, the clause would be a complete sentence. A work containing many loose sentences often seems informal, relaxed, or conversational. Generally, loose sentences create loose style. The opposite of a loose sentence is the periodic sentence.
Example: I arrived at the San Diego airport after a long, bumpy ride and multiple delays.
mood
The prevailing atmosphere or emotional aura of a work. Setting, tone, and events can affect the mood. Mood is similar to tone and atmosphere
narrative
The telling of a story or an account of an event or series of events. In political speech, also used to suggest the “story-line” a politician wants people to hear: “The President tried to push a narrative that he was raising taxes to help people.
parody
A work that closely imitates the style or content of another with the specific aim of comic effect and/or ridicule. It exploits peculiarities of an author’s expression (propensity to use too many parentheses, certain favorite words, etc.). Well-written parody offers enlightenment about the original, but poorly written parody offers only ineffectual imitation. Usually an audience must grasp literary allusion and understand the work being parodied in order to fully appreciate the nuances of the newer work. Occasionally, however, parodies take on a life of their own and don’t require knowledge of the original.
pathos
In writing and speaking, a persuasive appeal to the audience based on emotion.
pedantic
An adjective that describes words, phrases, or general tone that is overly scholarly, academic, or bookish (language that might be described as “show-offy”; using big words for the sake of using big words).
prose
One of the major divisions of genre, prose refers to fiction and nonfiction, including all its forms. In prose the printer determines the length of the line; in poetry, the poet determines the length of the line.
point of view
In literature, the perspective from which a story is told. There are two general divisions of point of view, and many subdivisions within those.
(1) first person narrator tells the story with the first person pronoun, “I,” and is a character in the story. This narrator can be the protagonist, a secondary character, or an observing character.
(2) third person narrator relates the events with the third person pronouns, “he,” “she,” and “it.” There are two main subdivisions to be aware of:
a. third person omniscient, in which the narrator, with godlike knowledge, presents the thoughts and actions of any or all characters.
b. third person limited omniscient, in which the narrator presents the feelings and thoughts of only one character, presenting only the actions of all the remaining characters.
repetition
The duplication, either exact or approximate, of any element of language, such as a sound, word, phrase, clause, sentence, or grammatical pattern.
rhetoric
From the Greek for “orator,” this term describes the principles governing the art of writing effectively, eloquently, and persuasively.
rhetorical modes
This flexible term describes the variety, the conventions, and the purposes of the major kinds of writing. The four most common rhetorical modes (often referred to as “modes of discourse”) are as follows:
(1) The purpose of exposition (or expository writing) is to explain and analyze information by presenting an idea, relevant evidence, and appropriate discussion. The AP language exam essay questions are frequently expository topics.
(2) The purpose of argumentation is to prove the validity of an idea, or point of view, by presenting sound reasoning, discussion, and argument that thoroughly convince the reader. Persuasive writing is a type of argumentation having an additional aim of urging some form of action.
(3) The purpose of description is to recreate, invent, or visually present a person, place, event or action so that the reader can picture that being described. Sometimes an author engages all five senses in description; good descriptive writing can be sensuous and picturesque. Descriptive writing may be straightforward and objective or highly emotional and subjective.
(4) The purpose of narration is to tell a story or narrate an event or series of events. This writing mode frequently uses the tools of descriptive writing.
