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In rhetoric, litotes (/ l aɪ ˈ t oʊ t iː z, ˈ l aɪ t ə t iː z /, US: / ˈ l ɪ t ə t iː z /), [1] also known classically as antenantiosis or moderatour, is a figure of speech and form of irony in which understatement is used to emphasize a point by stating a negative to further affirm a positive, often incorporating double negatives for effect.
The easiest stylistic device to identify is a simile, signaled by the use of the words "like" or "as".A simile is a comparison used to attract the reader's attention and describe something in descriptive terms.
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
The first figure yields a correct inference in a simple, direct manner. The other figures yield a correct inference indirectly by the addition of hidden inferences. They can be changed into the simpler first figure by changing the position of the middle term. Kant concluded the essay with several related remarks.
Elocutio (lexis or phrasis in Greek) [1] [2] is a Latin term for the mastery of rhetorical devices and figures of speech in Western classical rhetoric. [2] Elocutio or style is the third of the five canons of classical rhetoric (the others being inventio, dispositio, memoria, and pronuntiatio) that concern the craft and delivery of speeches and writing.
"He was not cruel" is a litote; "He was not unmerciful" is merely a vague and sloppy way of saying "He was merciful". It is the latter, the "not un-" construction, that bothered him. Indeed, the passage from the King James Ecclesiastes that he quotes in "P&EL" as an example of great writing is arguably the world's most famous litote. Quoth Orwell:
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' serpentine figure ') is a style in painting and sculpture, intended to make the figure seem more dynamic, that is typical of Mannerism. It is similar, but not identical, to contrapposto, and features figures often in a spiral pose. [1] Early examples can be seen in the work of Leonardo da Vinci, Raphael and Michelangelo.