21 Rhetorical
Devices Explained
Paul Anthony Jones
November 21, 2014 - 2:00pm
http://mentalfloss.com/article/60234/21-rhetorical-devices-explained
Rhetoric is
often defined as “the art of language.” That might sound like a bit of a cliché
(which it is), but it’s actually quite a nice way of saying that rhetorical
devices and figures of speech can transform an ordinary piece of writing or an
everyday conversation into something much more memorable, evocative, and
enjoyable. Hundreds of different rhetorical techniques and turns of phrase have
been identified and described over the centuries—of which the 21 listed here
are only a fraction—but they’re all just as effective and just as useful when
employed successfully.
1. ADYNATON You’ll no
doubt have heard of hyperbole, in which an over-exaggeration is used for
rhetorical effect, like, “he’s as old as the hills,” “we died laughing,” or
“hyperbole is the best thing ever.” But adynaton
is a particular form of hyperbole in which an exaggeration is taken to a
ridiculous and literally impossible extreme, like “when pigs fly!” or “when
Hell freezes over!”
2. ANACOLUTHON Often used in literature to create a stream-of-consciousness style in which a
character’s thoughts flit from one idea to the next, anacoluthon describes
a sudden and unexpected break in a sentence that leads to it being concluded in
a different way than might have been expected. Although it can sometimes be due
to nothing more than a speaker losing their train of thought, in practice
anacoluthon can also be OH MY GOD I’VE LEFT THE GAS ON.
3. ANADIPLOSIS Anadiplosis is an
ingenious and memorable rhetorical device in which a repeated word or phrase is
used both at the end of one sentence or clause and at the beginning of the
next. As with practically all rhetorical devices, William Shakespeare liked
using it (“She being none of your flesh and blood, your flesh and
blood has not offended the king”), but you can thank George Lucas for what
is now probably the best-known example: “Fear leads to anger. Anger leads to
hate. Hate leads to suffering.”
4. ANTHYPOPHORA You know when you pose a question for dramatic effect and then immediately
answer it yourself? That’s anthypophora.
5. ANTIMERIA
If you’ve ever friended or texted
someone, emailed or DMed something,
tabled a meeting or motorwayed your way
across country, then you’ll be familiar with antimeria,
a rhetorical device in which an existing word is used as if it were a different
part of speech. More often than not this involves using a noun as if it were a
verb, a semantic process better known as “verbing”
(which is actually a perfect example of itself). Slang (and modern English in
general, for that matter) loves antimeria, but it is
Shakespeare who remains the undisputed master of it. Cake, drug, kitchen,
squabble, ghost, blanket, graze, elbow, and crank
were all only ever used as nouns before he got hold of them.
6. ANTIPROSOPOPOEIA Prosopopoeia is just a more formal name for
personification, in which inanimate objects are either described in human terms
or given human characteristics. The opposite of that is antiprosopopoeia,
a figure of speech in which a person is compared to an inanimate object. That
might sound odd, but it’s actually a very effective form of metaphor able to
confer a great deal of detail or information in a clever and often witty
way—think about what it means to call someone a doormat, a tank,
a firecracker, a mattress, or a garbage disposal and
you’ll see precisely how effective it can be.
7. ANTONOMASIA The Bard. The Iron Lady. The King.
Ol’ Blue
Eyes. When you substitute a proper name for an epithet
or a nickname, that’s antonomasia.
8. APOSIOPESIS In Act
2 of King Lear, the eponymous king rages against two of his daughters in
a disjointed speech that ends with the famous lines, “I will have such revenges
on you both that all the world shall—I will do such things—what they
are yet, I know not, but they shall be the terrors of the earth!” The point at
which Lear’s threat of revenge trails off, restarts, and trails off again is a
perfect example of aposiopesis, a rhetorical ploy in which an idea is
left unsaid or a sentence is left incomplete purely for emphatic effect. Why I oughta…
9. ASTERISMOS Right. Okay. Here goes. Asterismos is the use
of a seemingly unnecessary word or phrase to introduce what you’re about to
say. Semantically it’s fairly pointless to say something like “listen!” before
you start talking to someone, because they are (or at least should be) already
listening. Rhetorically, however, asterismos is a
seriously clever way of subconsciously drawing attention to what you’re about
to say.
10. ASYNDETON “We got there, the weather was bad, we didn’t stay long, we got back in the
car, we came home, end of story.” When you deliberately miss out the
conjunctions between successive clauses, you’re left with a choppy and abrupt
series of phrases that energetically push things forward, an effect properly
known as asyndeton. The opposite is called polysyndeton,
when you add more conjunctions to a phrase or clause than are strictly
necessary, often with the effect of intentionally dragging it out: “We ate and
drank and talked and laughed and talked and laughed and ate some more.”
11. CHIASMUS Apart from the fact that it’s part of a great speech, one of the reasons why
John F. Kennedy’s famous “ask not what your country can do for you, ask what
you can do for your country” line is so striking is that is a fine example of chiasmus,
a clever rhetorical formation in which the order of a pair of words or phrases
in one clause (your country, you) is inverted in the next (you,
your country). This gives a rhythmic and instantly memorable criss-cross pattern, AB-BA, which appropriately enough
takes its name from the X-shaped Greek letter chi.
12. CONGERY Congery is a form of tautology, the rhetorical use
of repetition. It refers to a writer or speaker using a number of different and
successive words or phrases that all effectively mean the same thing, purely to
emphasise the point. That’s it. That’s all. Done. Finished. Finito.
13. DIALOGISMUS
In a dialogismus,
a speaker either imagines what someone or something else might be thinking (“I
bet that guy’s thinking, ‘what am I doing here?’”), or else paraphrases
someone’s earlier words (“‘Don’t worry!’ she told me. ‘Everything will be
fine!’”). In either case, the speaker ends up talking not as themselves just
for rhetorical effect.
14. DYSPHEMISM
If a euphemism is a nicer turn of
phrase used in place of a more offensive or embarrassing one (like “call of
nature” or “bought the farm”), then a dysphemism is an offensive or
detrimental phrase deliberately used in place of a nicer one. This applies to
everything from using an insult instead of someone’s name, to phrases like frankenfood and junk food that try to
influence what we should think of genetically modified crops and take-out
restaurants with just a few choice words.
15. EUTREPISMUS First, we need to explain what this is. Second, we need to show how it works.
And third, we need to explain what it achieves. Eutrepismus
is the numbering or ordering of a series of phrases that are all under
consideration, and it’s used to structure arguments and speeches more clearly,
making them easier for an audience to take in and follow your train of thought.
16. EXPEDITIO An expeditio is that instantly recognisable figure of speech in which you list a number of
alternatives, and then proceed to eliminate all but one of them. “We can go for
Italian, Mexican, or Chinese. But I had Chinese last night and you hate garlic,
so it’s going to have to be Mexican.”
17. HYPOCATASTASIS When you say that something is like something else (“as busy as a bee”),
that’s a simile. When you say that something actually is something else
(“a heart of stone”) that’s a metaphor. But when you just go all out and label
something as something that it actually isn’t (“You chicken!”), that’s a hypocatastasis.
18. PLEONASM When you use more words than are in actual fact absolutely really strictly
necessary in order to communicate and make your point effectively and
efficiently, that’s a pleonasm. It needn’t be as clumsy and as
long-winded as that, of course, and more often than not the term pleonasm
is used to apply to what is otherwise called “semantic redundancy,” in which
extra qualifying words are used to force a point home—like “empty space,”
“boiling hot,” or “totally unique.”
19. SYNECDOCHE
A synecdoche is a figure of speech
in which a part or component of something is used to represent that whole—like
calling a car your “wheels,” the staff of a company the “hands,” or the film
industry as a whole “Hollywood.”
20. TMESIS Tmesis is the proper name for that fan-bloody-tastic technique of splitting a word in half by inserting
another word inside it. More often than not, the word being inserted in the
other is a swearword (you can provide your own examples for that), but it
needn’t always be—tmesis can be used any-old-how you
like.
21. ZEUGMA
There are several different forms and
definitions of precisely what a zeugma is, but in basic terms it
describes a figure of speech in which one word (usually, but not always, a
verb) governs or is directly related to two or more other words in the same
sentence. So you can run out of time, and out of the room. You can have
a go, and a laugh. And, to paraphrase Charles Dickens, you can go home in
floods of tears and a sedan-chair.