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List of Figures of Speech (Stylistic Devices)

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List of figures of speech (Stylistic devices) with definitions and examples

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On the following pages, we will explain some of the most important stylistic devices (also called rhetorical devices or figures of speech) - they are not only useful for analysing texts, but also for creating your own texts.

Stylistic devices make your speeches, essays etc. more interesting and lively and help you to get and keep your reader's / listener's attention.

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Stylistic Devices (Rhetorical Devices, Figures of Speech)

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On the following pages, we will explain some of the most important stylistic devices (also called rhetorical devices or figures of speech) - they are not only useful for analysing texts, but also for creating your own texts. Stylistic devices make your speeches, essays etc.

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Close Reading of a Literary Passage

To do a close reading, you choose a specific passage and analyze it in fine detail, as if with a magnifying glass. You then comment on points of style and on your reactions as a reader. Close reading is important because it is the building block for larger analysis. Your thoughts evolve not from someone else's truth about the reading, but from your own observations. The more closely you can observe, the more original and exact your ideas will be. To begin your close reading, ask yourself several specific questions about the passage. The following questions are not a formula, but a starting point for your own thoughts. When you arrive at some answers, you are ready to organize and write. You should organize your close reading like any other kind of essay, paragraph by paragraph, but you can arrange it any way you like.

I. First Impressions:

What is the first thing you notice about the passage?

What is the second thing?

Do the two things you noticed complement each other? Or contradict each other?

What mood does the passage create in you? Why?

II. Vocabulary and Diction:

Which words do you notice first? Why? What is noteworthy about this diction?

How do the important words relate to one another?

Do any words seem oddly used to you? Why?

Do any words have double meanings? Do they have extra connotations?

Look up any unfamiliar words. For a pre-20th century text, look in the Oxford English Dictionary for possible outdated meanings. (TheOED can only be accessed by students with a subscription or from a library computer that has a subscription. Otherwise, you should find a copy in the local library.)

III. Discerning Patterns:

Does an image here remind you of an image elsewhere in the book? Where? What's the connection?

How might this image fit into the pattern of the book as a whole?

Could this passage symbolize the entire work? Could this passage serve as a microcosm--a little picture--of what's taking place in the whole work?

What is the sentence rhythm like? Short and choppy? Long and flowing? Does it build on itself or stay at an even pace? What is the style like?

Look at the punctuation. Is there anything unusual about it?

Is there any repetition within the passage? What is the effect of that repetition?

How many types of writing are in the passage? (For example, narration, description, argument, dialogue, rhymed or alliterative poetry, etc.)

Can you identify paradoxes in the author's thought or subject?

What is left out or kept silent? What would you expect the author to talk about that the author avoided?

IV. Point of View and Characterization:

How does the passage make us react or think about any characters or events within the narrative?

Are there colors, sounds, physical description that appeals to the senses? Does this imagery form a pattern? Why might the author have chosen that color, sound or physical description?

Who speaks in the passage? To whom does he or she speak? Does the narrator have a limited or partial point of view? Or does the narrator appear to be omniscient, and he knows things the characters couldn't possibly know? (For example, omniscient narrators might mention future historical events, events taking place "off stage," the thoughts and feelings of multiple characters, and so on).

V. Symbolism:

Are there metaphors? What kinds?

Is there one controlling metaphor? If not, how many different metaphors are there, and in what order do they occur? How might that be significant?

How might objects represent something else?

Do any of the objects, colors, animals, or plants appearing in the passage have traditional connotations or meaning? What about religious or biblical significance?

If there are multiple symbols in the work, could we read the entire passage as having allegorical meaning beyond the literal level?

If you wish to walk through a close-reading of a Gerard Manley Hopkins poem, click here.
Copyright Dr. L. Kip Wheeler 1998-2017. Permission is granted for non-profit, educational, and student reproduction. Last updated January 11, 2018. Contact: kwheeler@cn.edu Please e-mail corrections, suggestions, or comments to help me improve this site.Click here for credits , thanks , and additional copyright information.

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anglo-saxon bible classic classical classics genres greece greek literature poetry medieval mythology renaissance roman schemes students tropes chinese genre rhetoric resources beowulf chaucer china english middle mishal rome transcription

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Close Reading of a Literary Passage To do a close reading, you choose a specific passage and analyze it in fine detail, as if with a magnifying glass. You then comment on points of style and on your reactions as a reader. Close reading is important because it is the building block for larger analysis.

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The process of writing an essay usually begins with the close reading of a text. Of course, the writer's personal experience may occasionally come into the essay, and all essays depend on the writer's own observations and knowledge. But most essays, especially academic essays, begin with a close reading of some kind of text-a painting, a movie, an event-and usually with that of a written text. When you close read, you observe facts and details about the text. You may focus on a particular passage, or on the text as a whole. Your aim may be to notice all striking features of the text, including rhetorical features, structural elements, cultural references; or, your aim may be to notice only selected features of the text-for instance, oppositions and correspondences, or particular historical references. Either way, making these observations constitutes the first step in the process of close reading.

The second step is interpreting your observations. What we're basically talking about here is inductive reasoning: moving from the observation of particular facts and details to a conclusion, or interpretation, based on those observations. And, as with inductive reasoning, close reading requires careful gathering of data (your observations) and careful thinking about what these data add up to.

1. Read with a pencil in hand, and annotate the text.

"Annotating" means underlining or highlighting key words and phrases-anything that strikes you as surprising or significant, or that raises questions-as well as making notes in the margins. When we respond to a text in this way, we not only force ourselves to pay close attention, but we also begin to think with the author about the evidence-the first step in moving from reader to writer.

Here's a sample passage by anthropologist and naturalist Loren Eiseley. It's from his essay called "The Hidden Teacher."

. . . I once received an unexpected lesson from a spider. It happened far away on a rainy morning in the West. I had come up a long gulch looking for fossils, and there, just at eye level, lurked a huge yellow-and-black orb spider, whose web was moored to the tall spears of buffalo grass at the edge of the arroyo. It was her universe, and her senses did not extend beyond the lines and spokes of the great wheel she inhabited. Her extended claws could feel every vibration throughout that delicate structure. She knew the tug of wind, the fall of a raindrop, the flutter of a trapped moth's wing. Down one spoke of the web ran a stout ribbon of gossamer on which she could hurry out to investigate her prey.

2. Look for patterns in the things you've noticed about the text-repetitions, contradictions, similarities.

What do we notice in the previous passage? First, Eiseley tells us that the orb spider taught him a lesson, thus inviting us to consider what that lesson might be. But we'll let that larger question go for now and focus on particulars-we're working inductively. In Eiseley's next sentence, we find that this encounter "happened far away on a rainy morning in the West." This opening locates us in another time, another place, and has echoes of the traditional fairy tale opening: "Once upon a time . . .". What does this mean? Why would Eiseley want to remind us of tales and myth? We don't know yet, but it's curious. We make a note of it.

Details of language convince us of our location "in the West"- gulch, arroyo, and buffalo grass. Beyond that, though, Eiseley calls the spider's web "her universe" and "the great wheel she inhabited," as in the great wheel of the heavens, the galaxies. By metaphor, then, the web becomes the universe, "spider universe." And the spider, "she," whose "senses did not extend beyond" her universe, knows "the flutter of a trapped moth's wing" and hurries "to investigate her prey." Eiseley says he could see her "fingering her guidelines for signs of struggle." These details of language, and others, characterize the "owner" of the web as thinking, feeling, striving-a creature much like ourselves. But so what?

3. Ask questions about the patterns you've noticed-especially how and why.

To answer some of our own questions, we have to look back at the text and see what else is going on. For instance, when Eiseley touches the web with his pencil point-an event "for which no precedent existed"-the spider, naturally, can make no sense of the pencil phenomenon: "Spider was circumscribed by spider ideas." Of course, spiders don't have ideas, but we do. And if we start seeing this passage in human terms, seeing the spider's situation in "her universe" as analogous to our situation in our universe (which we think of as the universe), then we may decide that Eiseley is suggesting that our universe ( the universe) is also finite, that our ideas are circumscribed, and that beyond the limits of our universe there might be phenomena as fully beyond our ken as Eiseley himself-that "vast impossible shadow"-was beyond the understanding of the spider.

But why vast and impossible, why a shadow? Does Eiseley mean God, extra-terrestrials? Or something else, something we cannot name or even imagine? Is this the lesson? Now we see that the sense of tale telling or myth at the start of the passage, plus this reference to something vast and unseen, weighs against a simple E.T. sort of interpretation. And though the spider can't explain, or even apprehend, Eiseley's pencil point, that pencil point is explainable-rational after all. So maybe not God. We need more evidence, so we go back to the text-the whole essay now, not just this one passage-and look for additional clues. And as we proceed in this way, paying close attention to the evidence, asking questions, formulating interpretations, we engage in a process that is central to essay writing and to the whole academic enterprise: in other words, we reason toward our own ideas.

Copyright 1998, Patricia Kain, for the Writing Center at Harvard University

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The process of writing an essay usually begins with the close reading of a text. Of course, the writer's personal experience may occasionally come into the essay, and all essays depend on the writer's own observations and knowledge.