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Hendiadys (/ h ɛ n ˈ d aɪ. ə d ɪ s /) is a figure of speech used for emphasis—"The substitution of a conjunction for a subordination". The basic idea is to use two words linked by the conjunction "and" instead of the one modifying the other. English names for hendiadys include two for one and figure of twins.
Hendiatris (/ h ɛ n ˈ d aɪ. ə t r ɪ s / hen-DY-ət-riss; from Ancient Greek ἓν διὰ τρία (hèn dià tría) 'one through three') is a figure of speech used for emphasis, in which three words are used to express one idea.
Hendiadys – using two nouns linked by a conjunction to express a single complex idea. Hermeneutics – the theoretical underpinnings of interpreting texts, usually religious or literary. Heteroglossia – the use of a variety of voices or styles within one literary work or context.
An example is found in two examples from Leviticus 25 where the nouns ger "stranger," and toshav "sojourner," are joined by conjunctive waw and usually construed as a hendiadys. However, in Numbers 35:15, each noun is accompanied by the repeated prepositional prefix lo- "to," as in " to -the stranger and ( vav ) to -the sojourner," which ...
Hendiadys is one rhetorical type found in several places in the play, as in Ophelia's speech after the nunnery scene ("The expectancy and rose of the fair state" and "I, of all ladies, most deject and wretched" are two examples). Many scholars have found it odd that Shakespeare would, seemingly arbitrarily, use this rhetorical form throughout ...
Also apophthegm. A terse, pithy saying, akin to a proverb, maxim, or aphorism. aposiopesis A rhetorical device in which speech is broken off abruptly and the sentence is left unfinished. apostrophe A figure of speech in which a speaker breaks off from addressing the audience (e.g., in a play) and directs speech to a third party such as an opposing litigant or some other individual, sometimes ...
In rhetoric, antonomasia is a kind of metonymy in which an epithet or phrase takes the place of a proper name, such as "the little corporal" for Napoleon I, or conversely the use of a proper name as an archetypal name, to express a generic idea.
In ancient Greek literature, authors such as Homer used polysyndeton to add rhythm, build tension, or create meaning and complexity to their works. For example, conjunctions like “και” (and) or “δε” (but) repeat frequently. A passage from the Book of Genesis gives an instance of the stately effect of polysyndeton: