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Using words like epizeuxis, chiasmus and litotes, Farnsworth demonstrates in detail what can be done with major rhetorical figures (speech patterns), looks at the best of what has been done with them in English, presents the occasions for their use in systematic fashion, and offers explanatory comments.
Given the unease that has accreted within the act of verbal repetition, Sordello's first singing here struggles to make emphasis melodious, to convert stuttering into epizeuxis.
Desde el punto de vista retorico, la antimetatesis (aproximacion de dos palabras que solo difieren por la composicion de algunas letras) se compara ora con la paronomasia (aproximacion de palabras cuyo sonido es mas o menos parecido, pero cuyo sentido es diferente) ora con la epizeuxis o contra-pleonasmo voluntario (llamada, recuerdo o evocacion por medio de una alusion sonora, del lexema principal de la asercion).
Her prayer employs epizeuxis, that is, the successive repetition of single words, to accelerate the rhythm and emphasize the forcefulness of her memory: "husband god, see what a little girl I am.
In the following excerpt, repetition is magnified due to epizeuxis, which provides a pattern of subsequent repetition, as well as hypozeuxis emerging in the use of both the infinitive and the negative ("neither", "rot", "nothing");
Isidoro classifica os seguintes esquemas: prolepse ou inversao, zeugma (um verbo para varias oracoes), hipozeuxis (um verbo por oracao), silepse (ausencia de concordAncia), anadiplose (comeco de verso pela palavra final do anterior), anafora (repeticao no inicio de varios versos), epanafora (repeticao no inicio e meio do verso), epizeuxis (repeticao seguida), epanalepse (repeticao no inicio e fim de verso), paranomasia (palavras de som semelhante e sentido diverso), "squesis onomaton" (palavras associadas), "paromeon" (aliteracao), "homoteleutori" (mesma terminacao), "hemeoptoton" e "polyptoton" (figuras casuais), "hirmos" (oracao intercalada por outra), po lissindeto e assindeto, antitese e hipalage.
Instances of anadiplosis (48), homoioptoton (86), and epizeuxis (129, 133) are also modes of repetition that add inherently musical dimensions to the language and narrative.
Concerning the figures, they paid attention to the epizeuxis, anadiplosis, climax, anaphora, epistrophe, epanalepsis, epanados, paronomasia, and polyptoton.
Even the syntax of her synecdoches is disintegrating: "The courtier's, soldier's, scholar's, eye, tongue, sword" is syntactically closer to epizeuxis (for example, King Lear's "Never, never, never, never, never" (conflated text, 5.
You already know what alliteration and hyperbole mean, but what about epizeuxis, diacope, and scesis onomaton?
Sunt autem multae schematum species, sed eminentiores hae: prolepsis, zeugma, hypozeuxis, sylepsis, anadiplosis, anafora, epanalepsis, epizeuxis, paronomasia, schesis onomaton, paromoeon, homoeoteleuton, homoeoptoton, poliptoton, hirmos, polisindeton, dialyton.
Supporting this point are the examples in the text of epanalepsis, disjunctio, polyptoton (see below), epizeuxis, and symploce.