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| A narrative in which abstract ideas figure as circumstances or person, usually to enforce a moral truth. |
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| Repetition of the same sound, usually initial, in two or more words. |
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| Repetition of a word, usually at the beginning of successive clauses or phrases. |
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| Abrupt failure to complete a sentence, for rhetorical effect. A pau.se to regain composure |
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| Address of an absent person or an abstraction, usually for pathetic effect. |
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| The close recurrence of similar sounds, usually used of vowel sounds. |
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| Omission of conjunctions in a closely related series. |
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| Arrangement of words, usually adjectives and nouns, in the pattern A B B A. |
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| The apparent digression describing a place, connected at the end of the description to the main narrative by hic or huc |
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Omission of one or more words necessary to the sense. Ex. "How are you?"
"Good! (here) You?" |
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| The running over of a sentence from one verse or couplet into another so that closely related words fall in different lines. |
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| Use of two nouns connected by a conjunction with the meaning of one modified noun. Ex: molemque et montes |
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| Reversal of the natural and logical order of events or ideas. Ex: thunder and lightning |
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| The arrangement of pairs of words so that one word of each pair is between the words of the other. A B A B. Ex: Adj N Adj N |
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| The use, clearly intentional or apparently unintentional, of words with a meaning contrary to the situation. Used to show flaws. |
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| An understatement for emphasis, usually an assertion of something by denying the opposite. Ex: Not bad.. not much.. |
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| An implied comparison, that is, the use of a word or words suggesting a likeness. |
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| Use of one noun in place of another closely related noun to avoid common or prosaic words. Ex: Can i have a coke? |
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| use of words whose sound suggests the sense. Ex: Cows moo, Donkeys neigh. |
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| (paradox) The use of apparently contradictory words in the same phrase. Ex. Bittersweet, icy hot |
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| Treatment of inanimate objects as human. |
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| Use of unnecessary words. Ex: the invisible air. |
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| Use of unnecessary conjunctions. |
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| Use of a word before it is appropriate in the context. Ex: the sunken ships run together. |
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| The assumption of another's persona for rhetorical or dramatic effect. Ex: "If the victim was here... she would say.." |
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| Use of the part for the whole to avoid common words or to focus attention on a particular part. Ex: head count. Synedoche is metonymy. |
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| Separation of the parts of a compound word, usually for metrical convenience. Ex: circum dea fudit instead of circumfundit. |
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| A device of emphasis in which the poet attributes some characteristic of a thing to another closely associated with it. Ex: sleepless nights |
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| A three-part increase of emphasis or enlargement of meaning. Ex: Veni, Vici, Vedi. |
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| The linking of one verb or adjective with two distinct words or clauses; often the connection to the one seems more natural than to the toher. |
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| an object that comes before the preposition. Ex: magna cum laude |
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| the same word, but in a different case. |
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