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An anticlimax or anti-climax is an abrupt descent (either deliberate or unintended) on the part of a speaker or writer from the dignity of idea at which they appeared to aim, [10] as in: "The English poet Herrick expressed the same sentiment when he suggested that we should gather rosebuds while we may.
A figure of speech or rhetorical figure is a word or phrase that intentionally deviates from straightforward language use or literal meaning to produce a rhetorical or intensified effect (emotionally, aesthetically, intellectually, etc.). [1] [2] In the distinction between literal and figurative language, figures of
Uses of figurative language, or figures of speech, can take multiple forms, such as simile, metaphor, hyperbole, and many others. [10] Merriam-Webster's Encyclopedia of Literature says that figurative language can be classified in five categories: resemblance or relationship, emphasis or understatement, figures of sound, verbal games, and errors.
Articles relating to figures of speech, words or phrases that entail an intentional deviation from ordinary language use in order to produce a rhetorical effect. [1
Anti-climax or anticlimax (that is, the opposite of climax in its various meanings) may refer to: Anticlimax (narrative), a literary element; Anticlimax (figure of speech), a rhetorical device; Anticlimax, a genus of sea snails; Anticlimax: A Feminist Perspective on the Sexual Revolution, a 1990 book by Sheila Jeffreys
Antanaclasis – a figure of speech involving a pun, consisting of the repeated use of the same word, each time with different meanings. Anticlimax – a bathetic collapse from an elevated subject to a mundane or vulgar one. Antimetabole – repetition of two words or short phrases, but in reversed order to establish a contrast.
A paraprosdokian (/ p ær ə p r ɒ s ˈ d oʊ k i ə n /), or par'hyponoian, is a figure of speech in which the latter part of a sentence, phrase, or larger discourse is surprising or unexpected in a way that causes the reader or listener to reframe or reinterpret the first part.
As a term for the combination of the very high with the very low, bathos was introduced by Alexander Pope in his essay Peri Bathous, Or the Art of Sinking in Poetry (1727). ). On the one hand, Pope's work is a parody in prose of Longinus's Peri Hupsous (On the Sublime), in that he imitates Longinus's system for the purpose of ridiculing contemporary poets, but, on the other, it is a blow Pope ...