Polysyndeton generates a catalog of items that are treated as roughly equal in importance.
|
|
He would be able to label these devices as antimetabole, polyptoton, epistrophe, antithesis, epanalepsis, anaphora, polysyndeton, anastrophe, etc.
|
|
He would be able to label these devices as antimetabole, polyptoton, epistrophe, antithesis, epanalepsis, anaphora, polysyndeton, anastrophe, etc.
|
|
The hallmark of Petrarchan-geminated adjectives, antithesis, polysyndeton, and amplificatio can be found both in Leopardi's Canti and in the Canzoniere.
|
|
Polysyndeton comes from the Ancient Greek πολύ poly, meaning "many", and συνδετόν syndeton, meaning "bound together with". A stylistic scheme, polysyndeton is the deliberate insertion of conjunctions into a sentence for the purpose of "slow[ing] up the rhythm of the prose" so as to produce "an impressively solemn note."Corbett and Connors, 1999. p. 52 In grammar, a polysyndetic coordination is a coordination in which all conjuncts are linked by coordinating conjunctions (usually and, but, or, nor in English).
|
|
He also uses other cinematic techniques of "cutting" quickly from one scene to the next; or of "splicing" a scene into another. Intentional omissions allow the reader to fill the gap, as though responding to instructions from the author, and create three- dimensional prose.Trodd (2007), 8 Hemingway habitually used the word "and" in place of commas. This use of polysyndeton may serve to convey immediacy.
|
|
Its use can have the effect of speeding up the rhythm of a passage and making a single idea more memorable. Asyndeton may be contrasted with syndeton (syndetic coordination) and polysyndeton, which describe the use of one or multiple coordinating conjunctions, respectively. More generally, in grammar, an asyndetic coordination is a type of coordination in which no coordinating conjunction is present between the conjuncts. Quickly, resolutely, he strode into the bank.
|
|
One of the outstanding features of the Peri Pascha is its extensive use of classical rhetorical devices such as homoioteleuton, polysyndeton, isocola, alliteration, chiastic antithesis and the deployment of rhetorical questions. The extensive use of such devices argues against the hypothesis, advanced by some scholars, that it was originally written in Syriac. Henry M. Knapp, 'Melito's Use of Scripture in "Peri Pascha": Second-Century Typology,' in Vigiliae Christianae, Vol. 54, No. 4 (2000), pp. 343-374,pp.343-344.
|
|
Elsewhere it is once every 8.7 lines. As comparison, in Peele's Edward I, the rate is once every 4.3 lines, and throughout Shakespeare, it never falls below once every 6.3 lines. Again, the numbers seem to equate Peele with Act 1, 2.1 and 4.1 and Shakespeare with the rest of the play. Vickers also attempts to show that Shakespeare is much more adept at employing rhetorical devices than Peele; and gives numerous examples throughout the play of the use of antimetabole, anadiplosis, epanalepsis, epizeuxis, articulus, epanorthosis, epistrophe, aposiopesis, anaphora, polyptoton, synoeciosis, polysyndeton and asteismus.
|
|