English 11 AP Language and Composition

RHETORICAL AND LITERARY DEVICES YOU SHOULD KNOW

Concessionacknowledging with an attitude/ tone of respect the worthiness of an opponent
and the difference in viewpoints on the issue
Rhetorical questions questions posed by the speaker/author for which no answer is
expected. Rhetorical questions can be used to maintain interest, to transition from one point
to another, or to anticipate opposing points. Sometimes a rhetorical question is raised, then
answered by the speaker. What is honour? A word. (Shakespeare)
Imagerylanguage that appeals to the senses (tactile, visual, auditory, olfactory, gustatory)
and is often used to generate an emotional response in the reader or listener
Allusiona reference to literary, artistic, scientific, historical, mythological or biblical people,
places, things, or events. Where she walks the crowd will part like the sea for Israel. Arthur
Miller
Restatement repeating the same idea using different language in each case
Repetition repeating the same idea using the same of nearly the same language.
Similecomparing two things that share a resemblance, usually using the word like or as. The
Assyrian came down like the wolf on the fold. (Lord Byron)
Metaphora figure of speech that describes something by directly invoking some comparable
item or quality. Metaphors may be stated (Juliet is the sun, Shakespeare) or implied (My
memory was never loaded with anything but blank cartridges, Thomas Jefferson.) Metaphors
can also be extended, that is, a single metaphor developed throughout a text.
Analogy explaining or illustrating something by comparing it to something else. Often it is
used to explain something complex by pointing to the features of something simpler or better
known. Mama always said life was like a box of chocolates. You never know what you're
gonna get. (Forrest Gump)
Personificationascribing human characteristics, emotions or behavior to objects, animals or
situations. The sea is a harsh mistress.
Metonymythe use of a particular part or aspect of something to represent the whole. The
senator said we need to have more boots on the ground in Iraq.
Onomatopoeiaa word that sounds like its meaning. Hiss, snort, thump, crack.
Alliteration repetition of the initial consonant sound. Kingdom of daylights dauphin, dapple-
dawn-drawn Falcon. (Gerard Manley Hopkins)
Hyperbole extreme exaggeration , overstatement. The brightness of her cheek would shame
those stars, is daylight doth a lamp.(Shakespeare)
Understatement making something less important than it is. We know that poverty is
unpleasant. (George Orwell)
Litotesunderstatement formed by the denial of the opposite. It is not uncommon for
students to struggle with this assignment.
Asyndetonoccurs when conjunctions are left out of a series to suggest continuation, more
to come, afterthought. He was a liar, a cheater, a real loser.
Polysyndetonthe opposite of asyndeton. In this case, all the conjunctions are put in a
series; not just the last one. The effect is to slow down the rhythm of the syntax and achieve
emphasis. He was a liar and a cheater and a real loser.
Hyperbatonoccurs in writing or speech when the expected word ordering is altered, often
by putting a modifying adjective after the noun. This is the forest primeval .(Henry W.
Longfellow)
Aporiaan expression of uncertainty or doubt, often used deliberately to lead the audience
to a desired point. Whether I shall turn out to be the hero of my own life, or whether that
station will be held by anybody else, these pages must show.(Charles Dickens)
Metanoiaa phrase added to clarify or expand upon a statement or to widen its scope. He is
the best runner in the city, maybe in the state.
Parallelismthe repeated use of words or grammatical structures, so that parts of a sentence
or several sentences are phrased to show balance or connection. Example: As Caesar loved
me, I weep for him; as he was fortunate, I rejoice at it; as he was valiant, I honour him; but as
he was ambitious, I slew him. (Shakespeare)
AnaphoraA type of parallelism that involves the repetition of a word or phrase at the
beginning of successive phrases, clauses, or lines.
Antistrophethe repetition of a word or phrase at the end of successive phrases, clauses, or
lines.
ChiasmusRepetition of words or phrases in reverse order. Examples: Fair is foul and foul is
fair (Shakespeare) Your manuscript is both good and original, but the part that is good is not
original and the part that is original is not good. (Samuel Johnson)
ParenthesisInsertion of interrupting phrase or term into a sentence, usually set off by
commas or parentheses. Example: The English (it must be owned) are rather a foul-mouthed
nation.( William Hazlitt)
AntithesisJuxtaposition of contrasting words or ideas (often, although not always, in parallel
structure). Not that I loved Caesar less, but that I loved Rome more. (Shakespeare)
Hortative sentenceA sentence that strongly urges the audience or issues a call to action.
Often uses an imperative sentence structure. Join me, and together we can rule the galaxy as
father and son. (Darth Vader)
Periodic SentenceA sentence that begins with phrases or dependent clauses and withholds
the main independent clause until the end. Out from the marsh, from the foot of misty hills
and bogs, bearing Gods hatred, Grendel came. (Beowulf)
Loose Sentence/Cumulative SentenceA sentence that begins with the main independent
clause and then add more information with phrases and dependent clauses. He moved quickly
through the cloudy night, up from his swampland, sliding silently toward that gold-shining hall.
(Beowulf)
OxymoronThe combination of contradictory traits in a single image or phrase. Parting is
such sweet sorrow. (Shakespeare)
ParadoxA statement or that appears self-contradictory or impossible, but that expresses a
truth. While an oxymoron is purely a figure of speech, a paradox points out an ironic reality. It
is in giving that we receive. (Francis of Assisi)

OTHER TERMS YOU SHOULD KNOW
Diction a speakers or writers choice of words. Diction can be formal, informal, colloquial,
full of slang, archaic, poetic, ornate, plain, abstract, concrete, technical, academic, legal.
Syntaxthe arrangement of words in sentencessentence structure. Syntax can be simple,
complex, direct, indirect, flowing, rhythmic, balanced, horative, imperative, parallel.
Stylethe distinctive way in which a writer uses language. Style can be plain, ornate,
metaphorical, spare, descriptive, etc. Style is determined by such factors as sentence length
and complexity, syntax, use of figurative language, and imagery, and diction.
Tone The attitude a speaker /writer takes toward the subject or the audience. The tone can
be solemn, playful, ironic, sarcastic, critical, pretentious, comic, serious, worried, reverent,
irreverent, philosophical, impassioned, fervent, furious, and so on.
DenotationThe literal dictionary definition of a word or phrase.
ConnotationThe emotional weight carried by a word or phrase. The denotation of
scrawny and svelte is the same, but the connotation is different.
Implied meaningThe unstated (or implicit) point that a speaker is suggesting by choice of
words, logical pattern, connotative language, etc.
Explicit meaningIdeas or points that a speaker states directly.
InferenceSense that the audience draws of the speakers underlying attitude or ideas.
Similar to reading between the lines.
Persuasiona form of writing that aims to have a particular audience shift their beliefs or
take action. Persuasive rhetoric usually includes:
a call to action
proof supporting the speakers or writers position and motives for taking action
a heightened style intended to move the audience emotionally.
Personavoice or identity (literally mask) assumed by the writer or speaker.
Argumentassertions or claims supported with facts, statistics, logical, ethical and emotional
reasoning. In addition, an argument is the carefully constructed, well-supported
representation of how a writer sees an issue, problem or subject. Any text can be an
argument.
Ethos, pathos, and logosthe three most common types of persuasive appeals in classic
rhetoric.
Appeals to ethos establish the speaker as credible and trustworthy, and emphasize the shared
values and experiences between speaker and audience.
Appeals to pathos are directed at the audiences emotions. They generally rely on evocative
language, imagery, metaphors and compelling figures of speech.
Appeals to logos focus on logical thinking. They may involve close reasoning, presentation of
facts and evidence, discussion of causes and effects, and weighing alternatives. Most
persuasion combines appeals to both logos and pathos.
Rhetorical shiftA notable change in the apparent purpose, audience, diction, syntax, or tone
of the text. This may occur in several places in a single text.