Structure

Question 1

Epizeuxis

Answer 1

also known as “palilogia’
Streetcar Scene 5: ‘Young man, young, young, young, young – man!’ with epizeuxis creating an emotional plea for her own age and serving as a mini-epiphany for Blanche as she comes to terms with her own age and her diminishing attractiveness

Question 2

Chiasmic structure

Answer 2

(ABBA e.g. noun verb verb noun’)

Passing and glassing: ‘the faded lavender is sweet, / sweet the dead violet’ makes the two images of the flowers enclose sweetness in the middle (sense that it may look faded and dry, but still holds internal value and sweetness, contrast between external and internal.

Feste says to Olivia: ‘Anything that’s mended is but patch’d; virtue that transgresses is but patch’d with sin, and sin that amends is but patch’d with virtue - CHIASMIC structure - 1.5, underscores the easily transgressible line between ‘virtue’ and ‘sin’

Question 3

Antilabe - 3.1 twelfth night

Answer 3

Shared lines where the pentameter is continued by a second character’s interruption of dialogue → sense of intimacy/matched wits, used frequently in ‘Romeo and Juliet’. Alternatively used to convey antagonism in ‘Merchant of Venice’

line 111 where it is Viola who makes up Olivia’s line ‘Dear Lady-’ aposiopesis

Question 4

Hypermetric - 3.1 twelfth night

Opposite of catalectic

Answer 4

line has too many syllables: 3.1 - line 114 + 117 (‘a ring in chase of you: so did I abuse’ ‘to force that on you, in a shameful cunning’) - theme of EXCESS enacted through syllables, emotions, PATHOS, masterfully encapsulated in metre and breeding an intensifying discomfort in the audience as the comedic tension and gender confusion climaxes to a ‘release’ and restoration - in which hypermetric lines are return to stable iambic pentameter (‘Orsino’s mistress and his fancy’s queen’) in Barber’s words.

Question 5

Stichomythia

Answer 5

Twelfth Night: The interchange of single lines) has a real energy of reciprocity and repressed passion (‘I pity you. / That’s a degree to love’); again, neither woman is able to express her true feelings

Streetcar: Scene 7 to create stichomythia as Blanche’s offstage ‘ballad is used contrapuntally with Stanley’s speech’, highlighting how her illusions of ‘make-believe’ are offended by his onstage claim that ‘she has, however’ been lying about her past.

Question 6

Syntactical foregrounding

Answer 6

e.g. of imperative verbs
places emphasis on words by positioning them at start of sentence

Question 7

Hendiadys

Answer 7

Expressing an idea using two words connected by an ‘and’ e.g. ‘nice and warm’

Question 8

Media res

Answer 8

effect is disorientating for the reader
- An easy passage
- Out of the bag: ‘hatless, groggy, shadowing’ line 50 after ellipsis trailed off

Question 9

Epistrophe

Answer 9

Nothing that is so, is so 4.1
The repetition of a word at the end of successive clauses or sentences. (opposite of anaphora)
E.g. Blanche scene 11: I can smell the sea air. The rest of my time I’m going to spend on the sea. And when I die, I’m going to die on the sea.

Question 10

Anastrophe

Answer 10

Inversion of word order e.g. “I like potatoes” → “potatoes I like”

Question 11

Reported v direct speech

Answer 11

poignance/significance builds if direct as speaker sacrifices their own voice to elevate another character’s

Question 12

diacope

Answer 12

repetition of words, separated by a small number of intervening words
e.g. hungry wolves stared hungrily with hungry eyes

Question 13

Parataxis

Answer 13

Words or sentences set next to each other so that each element is equally important. Parataxis usually involves simple sentences or phrases whose relationships to one another are left to the reader to interpret. Julius Caesar’s declaration, “I came, I saw, I conquered,” is an example of parataxis.

“Dogs, undistinguishable in mire. Horses, scarecely better—splashed to their very blinkers. Foot passengers, jostling one another’s umbrellas, in a general infection of ill-temper, and losing their foothold at street corners…”

Each of the sentences is on equal footing, all happening at the same time, one piling up on another, with no order or hierarchy provided by the text. As a result, the passage captures the chaos and bustle of the street, the people, the dogs, and the horses. Through parataxis, the reader is made to experience this riotous scene just as a person on the street would.
Out of the bag: sanatorium in Epidaurus had ‘theatre and gymnasium and baths’ - gives each noun equal weight and importance