1.

Fi
gur
at
i
v
e
Language:

Language
t
hat

uses
wor
ds
or

phr
ases
wi
t
h
a
meani
ng
t
hat

i
s
di
f
f
er
ent

f
r
om
t
he
l
i
t
er
al

i
nt
er
pr
et
at
i
on
Exampl
e:

"
t
he
wor
l
d
i
s
your

oyst
er
"

2.

Pun

A
pl
ay
on
wor
ds
cr
eat
ed
by
usi
ng
one
wor
d
t
o
suggest

t
wo
di
f
f
er
ent

meani
ngs,

bot
h
of

whi
ch
seem
appr
opr
i
at
e
i
n
t
he
cont
ex
t

of

t
he
sent
ence/
par
agr
aph,

even
t
hough
t
he
meani
ng
t
hey
suggest

may
be
di
f
f
er
ent

or

opposi
t
e
Exampl
e:

"
we
must
,

i
ndeed,

al
l

t
oget
her

or
,

most

assur
edl
y,

we
shal
l

al
l

hand
separ
at
el
y.
"

Ben
Fr
ank
l
i
n

3.

Doubl
e
Ent
endr
e:

A
f
i
gur
e
of

speec
h
i
n
whi
ch
a
spoken
or

wr
i
t
t
en
phr
ase
i
s
deci
ded
t
o
be
or

i
s
uni
nt
ent
i
onal
l
y
under
st
ood
i
n
ei
t
her

t
wo
ways

Exampl
e:

newspaper

headl
i
ne

Mi
ner
s
r
ef
use
t
o
wor
k
af
t
er

deat
h

4.

Onomat
opoei
a:

A
wor
d
made
t
o
convey
a
sound
Exampl
e:

pop,

f
i
zz

5.

Si
mi
l
e:

Compar
i
son
us
i
ng
l
i
ke
or

as
Exampl
e:

s
har
p
as
a
kni
f
e

6.

Met
aphor
:

A
f
i
gur
e
of

speech
i
n
whi
ch
a
wor
d
or

phr
ase
i
s
appl
i
ed
t
o
an
obj
ect

or

act
i
on
t
o
whi
ch
i
t

i
s
not

l
i
t
er
al
l
y
appl
i
cabl
e
Exampl
e:

"
f
eel
i
ng
bl
ue"

7.

Anal
ogy:

A
compar
i
son
bet
ween
t
wo
t
hi
ngs

Exampl
e:

a
gang
of

boys
l
i
ke
a
pack
of

wol
ves

8.

Concei
t
:

A
f
anci
f
ul

expr
essi
on
i
n
wr
i
t
i
ng/
speech

el
abor
at
e
met
aphor

Exampl
e:

bl
ue
eyes
l
i
ke
sapphi
r
es
s
hi
ni
ng
br
i
ght

9.

Per
soni
f
i
cat
i
on:

Gi
ve
human
char
act
er
i
st
i
cs
t
o
somet
hi
ng
nonhuman
Exampl
e:

t
he
st
ar
s
danc
ed
t
hr
ough
t
he
sky

A
wor
d
t
hat

appl
i
es

10.

Zeugma:

a
wor
d
t
hat

appl
i
es
t
wo
ot
her
s
i
n
di
f
f
er
ent

sense,

descr
i
bes
t
he
j
oi
ni
ng
of

t
wo
or

mor
e
par
t
s

of

a
sent
ence
wi
t
h
a
si
ngl
e
ver
b
or

noun
Exampl
e:

y
ou
hel
d
your

br
eat
h
and
t
he
door

f
or

me

11.

Al
l
egor
y:

a
st
or
y,

poem,

or

pi
ct
ur
e
t
hat

can
be
i
nt
er
pr
et
ed
t
o
r
eveal

a
hi
dden
meani
ng

Exampl
e:

t
he
st
or
y
of

Pi
nocchi
o
(
don'
t

t
el
l

l
i
es)

12.

Fabl
e:

a
shor
t

st
or
y
conveyi
ng
a
mor
al

Exampl
e:

t
he
boy
who
cr
i
ed
wol
f


13.

Met
ony
my:

t
he
subst
i
t
ut
i
on
of

t
he
name
of

an
at
t
r
i
but
e
or

adj
unct

f
or

t
hat

of

t
he
t
hi
ng
meant
,

usi
ng
one
wor
d
t
o
r
epr
esent

anot
her

Exampl
e:

t
he
sui
t
s
wer
e
at

a
meet
i
ng
(
sui
t
s
ar
e
busi
ness
men)

14.

Synecdoche:
a
f
i
gur
e
of

speech
i
n
whi
ch
a
par
t

i
s
made
t
o
r
epr
esent

t
he
whol
e
or

vi
ce
ver
sa
Exampl
e:

"
br
ead"
=
f
ood
or

money
as

i
n
"
br
eadwi
nner
"

15.

Apposi
t
i
on:
:

a
r
el
at
i
onshi
p
bet
ween
t
wo
or

mor
e
wor
ds
or

phr
ases
i
n
whi
ch
t
he
t
wo
uni
t
s
ar
e
gr
ammat
i
cal
l
y
par
al
l
el

and
have
t
he
same
r
ef
er
ent

Exampl
e:

"
l
i
ght

of

my
l
i
f
e"

16.

Epi
t
het
:

an
adj
ect
i
ve
expr
essi
ng
a
qual
i
t
y
char
act
er
i
st
i
c
of

t
he
per
son
or

t
hi
ng
ment
i
oned
Exampl
e:

"
I

had
r
eached
a
del
i
cat
e
cor
ner
"

17.

Hyper
bol
e:

exagger
at
ed
st
at
ement
s
or

cl
ai
ms
not

meant

i
n
a
l
i
t
er
al

way
Exampl
e:

t
ol
d
you
a
mi
l
l
i
on
t
i
mes

18.

Under
st
at
ement
:

t
he
pr
esent
at
i
on
of

somet
hi
ng
i
n
a
way
t
hat

makes
i
t

smal
l
er
,

l
ess,

or

wor
se
t
han
i
t

r
eal
l
y
i
s

Exampl
e:

"
i
t
'
s
a
bi
t

col
d"

t
he
t
emp
i
s

20

19.

Li
t
ot
es
:

i
r
oni
c
under
s
t
at
ement

i
n
whi
ch
an
af
f
i
r
mat
i
ve
i
s
expr
essed
by
t
he
negat
i
ve
of

i
t
s

cont
r
ar
y

Exampl
e:

y
ou
won'
t

be
sor
r
y=
you'
l
l

be
gl
ad

20.

Euphemi
sm:

a
mi
l
d
or

i
ndi
r
ect

wor
ds
or

expr
essi
on
subst
i
t
ut
ed
f
or

one
t
o
make
t
he
message
l
ess
har
sh
Exampl
e:

s
ayi
ng
downsi
zi
ng
i
nst
ead
of

cut
s

21.

Par
adox:

st
at
ement

t
hat

i
s
cont
r
ar
y
t
o
expect
at
i
ons
opi
ni
ons
or

exi
st
i
ng
bel
i
ef

Exampl
es:

wi
se
t
ool
,

am
nobody

22.

Oxymor
on:

a
f
i
gur
e
of

speech
i
n
whi
ch
appar
ent
l
y
cont
r
adi
ct
i
ons
t
er
ms
appear

i
n
conj
unct
i
on
Exampl
e:

open
secr
et
/

t
r
agi
c
comedy

23.

Al
l
usi
on:

an
i
ndi
r
ect

or

passi
ng
r
ef
er
ence
Exampl
e:

t
hi
s
pl
ace
i
s
t
he
gar
den
of

Eden


1.

*
*
*
Rhet
or
i
c
of

Par
al
l
el
i
sm
/

Par
al
l
el

St
r
uct
ur
e:

depi
ct
i
on
of

t
he
same
pat
t
er
n
of

wor
ds
or

phr
ases
wi
t
hi
n
a
sent
enc
e
or

passage
t
o
show
t
wo
or

mor
e
i
deas
have
t
he
same
l
evel

of

i
mpor
t
ance
Exampl
e:

what

you
see
i
s
what

you
get

2.

Rhet
or
i
c

of

El
l
i
psi
s:

t
he
omi
ssi
on
of

one
or

mor
e
wor
ds,

whi
ch
must

be
suppl
i
ed
by
t
he
l
i
st
ener

or

r
eader

Exampl
e:

t
he
aver
age
banker

t
hi
nks

he
i
sn'
t

[
aver
age]

3.

Rhet
or
i
c

of

Ant
i
t
hesi
s:

a
r
het
or
i
cal

devi
ce
i
n
whi
ch
t
wo
opposi
t
e
i
deas
ar
e
out

t
oget
her

i
n
a
sent
ence
t
o
achi
eve
a
cont
r
ast
i
ng
ef
f
ect

Exampl
e:

gi
ve
ever
y
man
t
hy
ear
,

but

f
ew
t
hy
voi
ce

4.

Asyndet
on:

st
yl
i
st
i
c
devi
ce
used
t
o
i
nt
ent
i
onal
l
y
el
i
mi
nat
e
conj
unct
i
on
bet
ween
t
he
phr
ases

i
n
t
he
sent
ence,

yet

mai
nt
ai
n
t
he
gr
ammat
i
cal

accur
acy

Exampl
e:

he
r
ecei
ved,

appl
ause,

pr
i
ze,

money,

f
ame.

5.
*
*
*

Pol
ys
yndet
on:

r
het
or
i
cal

t
er
m
f
or

a
sent
ence
t
hat

empl
oys
many
coor
di
nat
i
ng
conj
unct
i
ons

Exampl
e:

we
have
shi
ps
and
men
and
money
and
st
or
es

6.

Anaphor
a:

poet
i
c
t
echni
que
and
r
het
or
i
cal

devi
ce
t
hat

consi
st
s
of

par
al
l
el
i
ng
when
successi
ve
l
i
nes
or

phr
ases
begi
n
wi
t
h
t
he
same
wor
ds

Exampl
e:

mad
wor
k!

Mad
ki
ngs!

Mad
composi
t
i
on!

7.

Anadi
pl
osi
s:

r
epet
i
t
i
on
of

t
he
l
ast

wor
d
of

a
pr
ecedi
ng
cl
ause.

Wor
d
i
s
begi
nni
ng
of

f
i
r
s
t

sent
ence
and
end
of

t
he
next

Exampl
e:

al
l

ser
vi
ce
r
ank
s
t
he
same
wi
t
h
god.

Wi
t
h
god
whose
puppet
s
best

and
ar
e
we
al
l
.

8.

I
socol
on:

r
het
or
i
cal

devi
ce
t
hat

i
nv
ol
ves
a
successi
on
of

sent
ences,

phr
ases,

and
cl
auses
of

gr
ammat
i
cal
l
y
equal

l
engt
h

Exampl
e:

scr
eam,

you
scr
eam,

we
al
l

scr
eam,

f
or

i
ce
cr
eam

9.

Chi
asmus:

r
ever
si
ng
t
he
or
der

of

wor
ds
and
r
epeat
i
ng
t
hem
i
n
t
he
same
phr
ase
Exampl
e:

do
I

l
ove
you
because
you'
r
e
beaut
i
f
ul

or

ar
e
you
beaut
i
f
ul

because
I

l
ove
you?

10.

Excl
amat
i
on:

an
i
nt
er
j
ect
i
on,

expr
essi
ng
st
r
ong
emot
i
on
Exampl
e:

oh
j
oy!

Oh
r
apt
ur
e!

got

a
br
ai
n!

11.

Par
ent
hesi
s:

t
he
i
nser
t
i
on
i
f

some
ver
bal

uni
t

t
hat

i
nt
er
r
upt
s

nor
mal

synt
act
i
c
f
l
ow
of

t
he
sent
ence
Exampl
e:

and
wi
l
l

you
succeed?
Yes!

You
wi
l
l

i
ndeed!

(
98
and
3/
4
per
cent

guar
ant
eed)

12.

Apost
r
ophe:

used
t
o
det
ach
f
r
om
r
eal
i
t
y
and
al
l
ow
a
char
act
er

t
o
speak
t
o
a
non
r
esponse
obj
ect
,

or

ev
en
a
dead
per
son
Exampl
e:

"
I

shal
l

dr
i
nk
and
enj
oy
you"

t
he
man
sai
d
hol
di
ng
t
he
chal
i
ce

1.

St
y
l
e:

descr
i
bes
t
he
way
t
hat

t
he
aut
hor

uses
wor
ds

wor
d
choi
ce,

sent
ence
st
r
uct
ur
e,

ect
.

Exampl
e:

Emi
l
y
di
cki
nson'
sSummerShowerdescr
i
bes
t
he
scene
so
t
he
r
eader

can
vi
sual
i
ze
i
t
.

Ends
l
i
nes
i
n
r
hymi
ng
pat
t
er
n
t
o
gi
ve
a
l
i
ght

hear
t
ed,

happy
f
eel
.

2.

Di
ct
i
on:

a
st
yl
e
of

speaki
ng
by
a
speaker

or

wr
i
t
er

det
er
mi
ned
by
t
he
choi
ce
of

wor
ds
t
hey
use.

Exampl
e:

usi
ng
"
ye"

i
nst
ead
of

"
you"

3.

*
*
*
Synt
ax:

a
set

of

r
ul
es
i
n
a
l
anguage,

whi
ch
shows
how
di
f
f
er
ent

par
t
s
of

sent
ences
ar
e
out

t
oget
her

i
n
such
an
or
der

t
hat

i
t

conveys
a
compl
et
e
t
hought

Exampl
e:

"
t
he
man
dr
i
ves
t
he
car
"

not

"
t
he
car

dr
i
ves
t
he
man"

4.

Or
gani
zat
i
on/
St
r
uct
ur
e:

t
he
or
der

i
n
whi
ch
a
wr
i
t
er

chooses
t
o
pr
esent

hi
s
i
deas
t
o
t
he
r
eader

Exampl
e:

t
ypes
of

nar
r
at
i
ve,

chr
onol
ogi
cal
,

cause
and
ef
f
ect

5.

Nar
r
at
i
ve
St
r
uct
ur
e/
Nar
r
at
i
on:

a
r
epor
t

of

r
el
at
ed
event
s
pr
es
ent
ed
t
o
t
he
l
i
st
ener
s
or

r
eader
s
i
n
wor
ds
ar
r
anged
i
n
l
ogi
cal

sequence
Exampl
e:

havi
ng
a
mai
n
char
act
er

t
el
l

t
he
st
or
y
as
t
hey
exper
i
ence
i
t
,

Paper

Towns.

A
v
oi
ce
over

i
n
a
movi
e

6.

Det
ai
l
:

a
mi
nut
e
or

t
hor
ough
t
r
eat
ment
/

expl
anat
i
on
of

an
account

or

event

or

scene
*
*
*
Exampl
e:

t
he
snow
capped,

pal
e,

bi
t
ch
t
r
ees
st
ood
out

agai
nst

t
he
bl
ackness
of

t
he
ni
ght

7.

Theme:

mai
n
i
dea
or

under
l
yi
ng
meani
ng
of

a
wor
k

Exampl
e:

nur
ser
y
r
hymes,

pi
nocchi
o

don'
t

l
i
e

8.

Tone:

at
t
i
t
ude
of

a
wr
i
t
er

t
owar
ds
a
subj
ect

or

an
audi
ence
Exampl
e:

t
eacher

our

f
i
el
d
t
r
i
p
has
been
r
eschedul
ed
and
we
wi
l
l

t
ake
a
t
est

i
nst
ead.

St
udent

Gr
eat
!

l
ove
t
est
s!

Sar
cast
i
c
t
one
of

st
udent

9.

Mood/
At
t
i
t
ude:

l
i
t
er
ar
y
el
ement

t
hat

evokes
cer
t
ai
n
f
eel
i
ngs
or

vi
bes
i
n
a
r
eader

by
wor
ds
and
descr
i
pt
i
on
Exampl
e:

"
t
he
dar
k
f
or
es
t

r
ust
l
ed
sl
i
ght
l
y
i
n
t
he
si
l
ent

ni
ght

ai
r
"

eer
i
e
mood

10.

Humor
:

qual
i
t
y
of

a
wor
k
t
hat

makes
a
char
act
er
/

si
t
uat
i
on
f
unny
Exampl
e:

Dr
.

Seuss
uses
made
up
wor
ds
t
o
make
hi
s
wor
ks
f
unny


I
r
ony

(
3
t
ypes)

Ver
bal
:

i
r
ony
whi
ch
a
per
son
says
or

wr
i
t
es
one
t
hi
ng
and
means
anot
her

Exampl
e:

"
my
gr
ave
i
s
l
i
k
e
t
o
bed
my
weddi
ng
bed"

Romeo
and
Jul
i
et

Dr
amat
i
c
i
r
ony:

audi
ence
awar
e
of

somet
hi
ng
a
char
act
er

i
s
not

Exampl
e:

a
char
act
er

wal
ks
i
nt
o
a
haunt
ed
house
wher
e
t
he
audi
ence
knows
t
he
ki
l
l
er

i
s

Si
t
uat
i
onal

i
r
ony:

exact

opposi
t
e
of

what

means
t
o
happen,

happens

Exampl
e:

weat
her

per
son
pr
edi
ct
s
bi
g
st
or
m
and
t
hey
get

cl
ear

ski
es

Sat
i
r
e

t
o
use
humor
,

i
r
ony,

exagger
at
i
on
or

r
i
di
cul
e
t
o
expose
and
cr
i
t
i
ci
ze
peopl
e'
s
vi
ces
Exampl
es:

par
odi
es
of

s
ongs,

SNL
pol
i
t
i
cal

ski
t
s

Sar
casm

i
r
oni
c
or

sat
i
r
i
cal

r
emar
k
t
hat

seems
posi
t
i
ve
by
i
s
r
eal
l
y
t
aunt
i
ng
Exampl
e:

"
Wow
you'
r
e
j
ust

so
cool
,

i
t
'
s
pr
obabl
y
t
he
i
ce
i
n
your

hear
t
"

11.

Language:

wor
d
choi
ce
used
and
how
char
act
er
s
speak

Exampl
e:

*
*
*

per
haps
wr
i
t
t
en
i
n
ol
d
Engl
i
sh
t
o
show
t
i
me
per
i
od

Li
t
er
al

Meani
ng

denot
es
t
hat

al
l

wor
ds
ar
e
i
n
st
r
i
ct

accor
dance
wi
t
h
t
hei
r

or
i
gi
nal

meani
ngs

Exampl
e

"
he
got

away
f
r
om
t
he
wol
v
es"

t
he
man
act
ual

escaped
t
he
ani
mal
s

Met
aphor
i
cal
/
Fi
gur
at
i
v
e
Meani
ng

expr
essi
ng
t
he
met
aphor
i
cal
,

i
di
omat
i
c,

or

i
r
oni
c
sense
of

a
wor
d,

opposi
t
e
of

l
i
t
er
al

Exampl
e:

"
he
got

away
f
r
om
t
he
wol
ves"

he
managed
t
o
i
mpr
es
s
hi
s
cr
i
t
i
cs

For
mal
,

I
nf
or
mal
,

Col
l
oqui
al

char
act
er
i
st
i
cs
of

or

appr
opr
i
at
e
t
o
or
di
nar
y
or

f
ami
l
i
ar

conver
sat
i
on
r
at
her

t
han
f
or
mal

speech
or

wr
i
t
i
ng

Exampl
e:

t
he
wi
f
e
I

t
ypes
of

speech
not

on
a
f
or
mal

l
evel

Exampl
e:

my
mi
ssus

Connot
at
i
ve
or

Denot
at
i
ve

wi
de
ar
r
ay
of

posi
t
i
ve
and
negat
i
ve
associ
at
i
ons
t
hat

most

wor
ds
nat
ur
al
l
y
car
r
y

Denot
at
i
ve

pr
eci
se,

l
i
t
er
al

def
i
ni
t
i
on
Exampl
e

snake=
evi
l

or

act
ual

ani
mal


Abst
r
act

or

Concr
et
e

abl
e
t
o
be
up
f
or

i
nt
er
pr
et
at
i
on,

not

physi
cal

t
hi
ngs

Exampl
e

l
ove

conveys
one
l
i
t
er
al

meani
ng,

avai
l
abl
e
t
o
senses
Exampl
e

gr
een,

l
amp,

hot

Si
mpl
e
or

Pr
et
ent
i
ous

easi
l
y
under
st
ood,

nor
mal
l
y
r
oot

wor
ds
P

f
anci
er
,

mor
e
abst
r
ac
t

l
anguage
wi
t
h
l
ar
ger

wor
ds
Exampl
e

f
al
l

vs
aut
umn

12.

I
mager
y:

use
f
i
gur
at
i
ve
l
anguage
t
o
r
epr
esent

obj
ect
s,

act
i
ons,

and
i
deas
i
n
such
a
way
t
hat

i
t

appeal
s
t
o
t
he
physi
cal

senses

Exampl
e

t
he
si
l
ver
y
dol
phi
n
l
eaped
f
r
om
t
he
cr
yst
al

cl
ear

wat
er

t
o
f
l
ash
agai
nst

t
he
suns
et
.

13.

Ext
er
nal

and
I
nt
er
nal

Act
i
on:

Exposi
t
i
on

used
t
o
i
nt
r
oduce
back
gr
ound
i
nf
o
about

event
s,

set
t
i
ng,

char
act
er
s,

ect
.

Exampl
e:

openi
ng
t
i
t
l
e
sequence
i
n
St
ar

War
s

Ri
si
ng
Act
i
on

a
ser
i
es
of

r
el
at
ed
i
nci
dent
s
bui
l
di
ng
t
owar
ds
t
he
poi
nt

of

gr
eat

i
nt
er
est

Exampl
e

event
s
l
eadi
ng
up
t
o
Peet
a
and
Kat
ni
ss
havi
ng
t
he
games
st
opped
i
n
t
he
Hunger

Games

Cl
i
max

t
he
most

i
nt
ense,

exci
t
i
ng,

or

i
mpor
t
ant

par
t

of

a
st
or
y
Exampl
e

si
mon
r
eal
i
zi
ng
The
beast

i
sn'
t

a
r
eal

ent
i
t
y
but

somet
hi
ng
wi
t
hi
n
each
boy
i
n
The
Lor
d
of

t
he
Fl
i
es

Resol
ut
i
on

concl
usi
on
t
o
st
or
y
t
hat

pr
ovi
des
end
and
r
esol
ves
conf
l
i
ct
s

Exampl
e:

Peet
a
and
Kat
ni
ss
wi
n
t
he
hunger

games
and
ar
e
al
l
owed
t
o
l
i
ve
i
n
t
he
vi
ct
or
s
vi
l
l
age

14.

Ext
er
nal
/
I
nt
er
nal

Conf
l
i
ct
:

a
st
r
uggl
e
bet
ween
a
char
act
er

and
an
out
si
de
f
or
ce
Exampl
e

bat
man
vs
j
oker
,

shi
p/
cr
ew
vs
st
or
m
I

psychol
ogi
cal

st
r
uggl
e
wi
t
hi
n
t
he
mi
nd
of

a
char
act
er

Exampl
e

Dans
i
nt
er
nal

debat
e
over

whet
her

t
o
r
emi
nd
Di
ane
of

t
hei
r

dead
son
Gabe
or

l
eave
her

wi
t
hout

knowi
ng
so
hi
s
ghost

does
not

r
et
ur
n
i
n
Next

t
o
Nor
mal

15.

Suspense:

i
nt
ense
f
eel
i
ng
t
hat

an
audi
ence
goes
t
hr
ough
whi
l
e
wai
t
i
ng
f
or

t
he
out
come
of

cer
t
ai
n
event
s.

Exampl
e

cl
i
f
f
hanger
s,

"
t
une
i
n
next

t
i
me
f
or
.
.
.
"
,

l
ong
pause
af
t
er

mumbl
e
j
umps
i
n
t
he
wat
er

i
n
Happy
Feet
,

you
wonder

i
f

he
was
eat
en
by
a
seal

16.

Ver
se
For
m:

Bl
ank
Ver
se

unr
hymed
i
ambi
c
pent
amet
er
,

does
not

r
hyme
but

has
a
r
hyt
hm
cr
eat
ed
by
pat
t
er
ns
of

st
r
essed
and
unst
r
essed
syl
l
abl
es

Exampl
e

MendingWallsby
Rober
t

Fr
ost

Fr
ee
Ver
se

have
no
set

met
er
,

r
hyme
scheme,

or

any
par
t
i
cul
ar

st
r
uct
ur
e
Exampl
e:

Fogby
Car
l

Sandbur
g

Lyr
i
c
Poet
r
y

consi
st

of

a
poem
t
hat

expr
esses
t
he
t
hought
s
and
f
eel
i
ngs
of

t
he
poet
.

Addr
esses

t
he
r
eader

di
r
ect
l
y,

and
does
not

t
el
l

a
st
or
y.

Exampl
e:

Dyingby
Emi
l
y

Di
cki
nson

17.

Movement

of

Ver
se:

Rhyme

r
epet
i
t
i
on
of

si
mi
l
ar

soundi
ng
wor
ds

Exampl
e:

baa
baa
bl
ack
sheep
have
you
any
wool
?
Yes
si
r

yes
si
r
,

t
hr
ee
bags
f
ul
l
.

(
Any

nur
ser
y
r
hyme)

Rhyme
Scheme

t
he
pr
act
i
ce
of

r
hy
mi
ng
wor
ds
i
n
a
pat
t
er
n
i
n
a
poem
Exampl
e:

ABAB
i
sn'
t

l
i
f
e
swel
l
?
I
t
'
s
j
ust

so
gr
eat
!

Ever
yday
I

f
eel

so
wel
l
!

What

possi
bl
y
c
oul
d
t
her
e
be
t
o
hat
e?

Rhyt
hm

a
l
i
t
er
ar
y
devi
ce
whi
ch
demonst
r
at
es
t
he
l
ong
and
shor
t

pat
t
er
ns
t
hr
ough
st
r
essed
and
unst
r
essed
syl
l
abl
es

Exampl
e

"
As
OTHer
s
WERE

HAVE
not

SEEN"

pat
t
er
n
i
s
st
r
essed
capi
t
al

unst
r
essed
l
ower
case

Met
er

t
he
pat
t
er
n
of

beat
s,

and
whi
ch
syl
l
abl
es
and
accent
ed
and
whi
ch
ar
e
not

Exampl
e:

"
al
l

see
f
r
om
wher
e
I

st
ood"

18.

Devi
ces
of

Sound
(
need
exampl
es)
:

Al
l
i
t
er
at
i
on

t
he
r
epet
i
t
i
on
of

a
l
et
t
er

or

a
sound
at

t
he
begi
nni
ng
of

adj
acent

wor
ds
Exampl
e:

t
he
sl
i
my
si
l
ver

spi
l
l

spl
ashed
on
t
he
shor
t

st
and.

Assonance

Repet
i
t
i
on
of

vowel

sounds
t
o
cr
eat
e
i
nt
er
nal

r
hymi
ng
wi
t
hi
n
phr
ases
or

sent
ences.

Exampl
e:

"
Hear

t
he
mel
l
ow
weddi
ng
bel
l
s,

gol
den
bel
l
s!

What

a
wor
l
d
of

happi
ness
t
hei
r

har
mony
f
or
et
el
l
s!
"

Edgar

Al
l
en
Poe'
s
TheBells

Consonance

t
he
r
ecur
r
ence
of

si
mi
l
ar

sounds,

especi
al
l
y
consonant
s,

i
n
cl
ose
pr
oxi
mi
t
y
Exampl
e:

pi
t
t
er

pat
t
er

Ref
r
ai
n

a
phr
ase
or

v
er
ses
r
epeat
ed
at

i
nt
er
val
s
i
n
a
song
or

poem
Exampl
e:

StoppingByWoodsonaSnowyEvening"
and
mi
l
es
t
o
go
bef
or
e
I

sl
eep"

r
epeat
ed
at

t
he
end
t
wi
ce

19.

Pat
hos
,

Et
hos,

Logos:

(
Ar
i
st
ot
el
i
an
Appeal
s)

an
t
o
appeal

t
o
emot
i
ons
t
o
convi
nce
an
ar
gument

Exampl
e

ASAPCA
ads
E

appeal

t
o
et
hi
cs,

and
i
s
a
means
of

convi
nci
ng
someone
of

t
he
char
act
er

or

cr
edi
bi
l
i
t
y

of

t
he
per
suader

Exampl
e:

bel
i
evi
ng
somet
hi
ng
a
t
eacher

t
el
l
s
you
because
t
hey
ar
e
a
t
eacher

appeal

t
o
l
ogi
c,

per
suades
audi
ence
by
r
eason
Exampl
e:

s
t
at
s
gi
ven
i
n
an
ad,

"
40%
mor
e
peopl
e
wer
e
abl
e
t
o
qui
t

smoki
ng
wi
t
h
our

pr
oduct
"

20.

Rhet
or
i
cal

Quest
i
ons:

a
quest
i
on
t
hat

i
s
asked
t
o
make
a
poi
nt

Exampl
e:

"
can'
t

you
do
anyt
hi
ng
r
i
ght
?"

21.

Ad
Homi
nem
Devi
ce/
Ar
gument
:

l
i
t
er
ar
y
t
er
m
t
hat

i
nvol
ves
comment
i
ng
i
n
or

Agai
nst

an
opponent

t
o
under
mi
ne
t
hem
Exampl
e:

"
how
can
you
ar
gue
your

c
ase
f
or

veget
ar
i
ani
sm
when
you
ar
e
enj
oyi
ng
your

st
eak?"

22.

Logi
cal

Fal
l
aci
es
(
l
i
st

sever
al
)
:

a
f
al
se
st
at
ement

t
hat

weakens
an
ar
gument

by
dr
awi
ng
f
al
se
concl
usi
ons,

mi
sus
i
ng
evi
dence,

or

mi
susi
ng
l
anguage.

Many
t
ypes
i
ncl
udi
ng
Ad
Homi
en,

appeal

t
o
f
or
ce,

appeal

t
o
pi
t
y,

and
appeal

t
o
popul
ar

Exampl
es:

Ad
Homi
em
"
I

f
i
gur
ed
you
coul
dn'
t

possi
bl
y
get

i
t

r
i
ght
,

so
I

i
gnor
ed
your

comment
"

23.

Syl
l
ogi
sm:

r
het
or
i
cal

devi
ce
t
hat

st
ar
t
s
an
ar
gument

wi
t
h
a
r
ef
er
ence
t
o
somet
hi
ng
gener
al

and
f
r
om
t
hi
s
dr
aws
a
concl
usi
on
about

somet
hi
ng
mor
e
speci
f
i
c

Exampl
e:
*
*

i
f

Johnny
eat
s
sweet
s
ever
yday
he
i
s
at

r
i
sk
f
or

di
abet
es

24.

Reasoni
ng:

(
I
nduct
i
ve
and
Deduct
i
ve)

r
easoni
ng
t
hat

t
akes
speci
f
i
c
i
nf
or
mat
i
on
and
makes
a
br
oader
,

gener
al
i
zat
i
on
t
hat

i
s
pr
obabl
e
Exampl
e:

Suzy
i
s
a
doct
or
.

Doct
or
s
ar
e
smar
t
.

Suzy
i
s
smar
t
.

a
t
ype
of

r
easoni
ng
t
hat

goes
f
r
om
gener
al

t
o
speci
f
i
c.

Based
on
pr
emi
ses,

and
i
f

t
he
pr
emi
ses
ar
e
t
r
ue,

t
hen
t
he
r
easoni
ng
i
s
val
i
d
Exampl
e:

The
el
m
i
s
a
t
r
ee
and
al
l

t
r
ees
have
bar
k,

so
el
ms
have
bar
k.

25.

*
*
*
The
Gr
ot
esque:

a
moder
n
per
mut
at
i
on
of

whi
ch
t
he
t
er
m
has
under
gone.

Somewher
e
bet
ween
f
unny
and
f
r
i
ght
eni
ng
and
r
eal

and
f
ant
asy

Exampl
e:

s
t
or
y
about

a
man
bei
ng
t
ur
ned
i
nt
o
a
human
si
zed
i
nsect
,

t
wi
l
i
ght

zone
?

26.

Anachr
oni
sm:

an
er
r
or

i
n
chr
onol
ogy
or

t
i
mel
i
ne
i
n
a
l
i
t
er
ar
y
pi
ece.

I
n
ot
her

wor
ds
anyt
hi
ng
t
hat

i
s
out

of

t
i
me
and
pl
ace.

Exampl
e:

Cassi
us:

"
t
he
c
l
ock
has
st
r
i
cken
t
hr
ee"

(
t
oo
ear
l
y
f
or

mechani
cal

cl
ocks
ment
i
oned)