ANTIMETABOLIC SEQUENCE: repetition of sounds in inverse order.

ALLITERATION: repetition of initial sounds.

ASSONANCE: repetition of vowel sounds.

CONSONANCE: repetition of consonant sounds.

FULL RIME: exact repetition of final vowel + consonant sounds in words at the end of successive phrases or clauses.

"All we like sheep have gone astray;

HOMOETELEUTON or NEAR RIME: repetition of final consonant sounds.

INTERNAL RIME: repetition of final sounds in words within a phrase or clause.

"they heart is not right in the sight of God" (Acts 8:21).

PAROMOEON: repetition of initial and final sounds.

SONANCE: rich combination of various sound figures.

ANADIPLOSIS: the final word(s) of one phrase or clause are the initial word(s) of the next.

ANAPHORA: repetition of initial words.

ANTIMETABOLE: words repeated in inverse order.

CLIMAX: a series of phrases or clause linked by repetition of final and initial words (see ANADIPLOSIS).

EPANADIPLOSIS: repetition of the same initial and final word(s) in a phrase or clause.

EPANALEPSIS: general or irregular repetition of words.

EPISTROPHE: repetition of final words.

EPIZEUXIS: immediate repetition of adjacent words.

POLYPTOTON: repetition of words with the same root.

SYMPLOCE: repetition of the same initial and final words in successive phrases or clauses.

ANACOLUTHON: a digression of syntactic structure so that a sentence begins with a clause that is never resolved and ends with a different clause (see Hamlet 5.1.172-75).

ASYNDETON: deletion of conjunctions between words in a series.

ELLIPSIS: omission of part of a phrase or clause structure.

HYPERBATON: unusual inversion of standard word order (see Hamlet 1.02.1-16).

INVERSION: variation on standard word order as a poetic convention.

"great shall be the peace of thy children" (Isa 54:13).

ISOCOLON: successive phrases or clauses with the same number of syllables.

"She shall give to thine head an ornament of grace:

a crown of glory shall she deliver to thee" (Pro 4:9)

PAIRS: sets of two synonymous or complementary or antithetical words.

PARENTHESIS: a phrase or clause that interrupts an idea.

PARISON: phrases or clauses with the same structure.

and where thou lodgest, I will lodge" (Ruth 1:16).

POLYSYNDETON: words or phrases joined by conjunctions in a series.

TETRADS: sets of four words.

TRIADS: sets of three words.

ANTITHESIS: words or phrases that contrast in meaning.

"for the letter killeth,

AUXESIS: a series of words or ideas that increase (or decrease) in length or degree within a passage.

CHIASMUS: similar words or phrases in inverse order.

HENDIADYS: an idea expressed by two nouns connected by and instead of being expressed by a noun and a qualifier; any expression in which coordinate words are used when one word would have been subordinate to the other.

NEOLOGISM: a new word "coined" into the language or borrowed from another language.

OXYMORON: the juxtaposition of paradoxical or contradicting ideas.

PARALLELISM: phrases or clauses with similar meanings.

"Create in me a clean heart, O God; and renew a right spirit within me" (Psa 51:10).

PERIPHRASIS: circumlocution; a long or roundabout way of expressing the meaning of a word or a short phrase.

PLEONASM: redundancy; repetition of synonymous words or phrases.

PUN: word-play created by two words that sound the same but have different meanings.

SENSE PLAY: word-play created by using two different senses of one word.

SORIASMUS: combination of words derived from different languages.

BINDERS: rhetorical figures which give cohesion to units of text or discourse by the repetition and variation of linguistic elements.

BREVIA: succinctness; a terse style with concise expressions.

COPIA: wordiness; verbosity; a profuse style, with lengthy expressions, using pleonasm, periphrasis, and so forth.

PLAIN STYLE: the tongue of angels; a humble, pure, and sincere style, patterned after the words of Christ, using the music of language to endorse the truth in love and life. (See 1 Cor 13).

REGISTER: levels of formality in speech and writing, such as frozen, high, normal, low, colloquial, and so forth.

"How are ya?"

"How are you?"

"How do you do?"

RHETORICAL FOCUS: the person who influences the variation of register in a scene or circumstance.

SENECANISM: a highly rhetorical style patterned after Seneca the younger, characterized by exaggerated horrors, sensational themes, unnatural crimes, revenge, hyperbole, detailed descriptions, narrative reports, soriasmus, gory diction, apostrophe, and interjections. (See Macbeth 2.01.36-39).

ARCADIANISM: a copious style patterned after that of Sidney's Arcadia, using sound repetition, word repetition, episodic sentence structure, and pathetic fallacy. (See Polonius in Hamlet).

EPISODIC SENTENCE: a long sentence using coordinate (paratactic) structure rather than subordinate (hypertactic) structure, though the structures are not necessarily parisonic (grammatically parallel). (See Comedy of Errors 4.03.1-6).

CICERONISM: a copious style patterned after that of Cicero, using sound repetition (e.g. homeoteleuton), word repetition, periodic sentence structure, and rhetorical devices of argument. (See Claudius in Hamlet).

PERIODIC SENTENCE: a sentence which begins with a series of dependent (subordinate) clauses and ends with the main clause or main verb; a sentence in which the main clause is postponed to the end. (See A Winter's Tale 4.04.79-83).

EUPHUISM: a style patterned after that of John Lily's Euphues, using balanced construction, antithesis, isocolon, parison, rhetorical questions, similes, illustrations, and so forth. (See Brutus in Julius Caesar).

PARISONIC SENTENCE: a sentence whose structure is syntactically and grammatically parallel to adjacent sentences. (See 2 Henry IV 1.02.180-84).

PLAIN STYLE: the tongue of angels; a humble, pure, and sincere style, patterned after the words of Christ, using the music of language to endorse the truth in love and life. (See 1 Cor 13).

Hamlet 1.01.158-64

MARCELLUS: It faded on the crowing of the cock.

Some say that ever 'gainst that season comes

Wherein our Savior's birth is celebrated,

This bird of dawning singeth all night long,

And then they say no spirit dare stir abroad,

The nights are wholesome, then no planets strike,

No fairy takes, nor witch hath power to charm,

So hallowed, and so gracious, is that time.

Hamlet 2.01.1-16

CLAUDIUS: Though yet of Hamlet our dear brother's death

The memory be green, and that it us befitted

To bear our hearts in grief, and our whole kingdom

To be contracted in one brow of woe,

Yet so far hath discretion fought with nature

That we with wisest sorrow think on him

Together with remembrance of ourselves.

Therefore our sometime sister, now our queen,

Th' imperial jointress to this warlike state,

Have we, as 'twere with a defeated joy,

With mirth in funeral, and with dirge in marriage,

In equal scale weighing delight and dole,

Taken to wife; nor have we herein barr'd

Your better wisdoms, which have freely gone

With this affair along.

Gertrude's description of Ophelia's drowning:

Clamb'ring to hang, an envious sliver broke,

Semantically, the branch breaks at the end of the second line in the middle of the passage. Syntactically, the passage breaks in the middle because of the anacoluthonic switch of subjects from clause to clause with the sentence. Furthermore, the sound patterns of the first two lines are repeated in inverse mimic-like fashion in the last two lines, heightening the reflected image of Ophelia climbing up onto the branch and dropping down. For example, the /w/i:/d/ and /br/o:/k/ sounds in weeds and broke have line-binding echoes in weedy trophies and weeping brook. Using these language details as a base, I can begin to evaluate the tone of Gertrude's narrative. The density of figures does not necessarily imply eloquence on the part of Gertrude, rather her affected linguistic fascination may seem a little disconcerting in light of Ophelia's suffering.

Exodus is the pattern and message of the text.

--George Tate

This life is but an interlude between two eternities.

--Thorpe B. Isaacsen

Seeing sights feeds the mind ideas. --Earl Wilson

The great grey Canada birds were fantastic, huge almost, wild and free, with a clamorous gabbling that made me shiver.

--Douglas Thayer

The killing was seen by millions. --Norman Cousins

Muscles come and go; flab lasts. --Bill Vaughan

Once, there were no specialized branches of inquiry, no separate mathematics, physics, psychology, etc. Everyone who desired knowledge thought carefully about all of experience, including its theological dimensions. This knowledge of experience was wisdom, and the search for wisdom was called philosophy. --C. Terry Warner

If you owe $275 you're a piker; if you owe $275 thousand you're a businessman; if you owe $275 million you're a tycoon; and if you owe $275 billion you're the government. --Anon.

It is a sin to bind a Roman citizen, a crime to scourge him, little short of the most unnatural murder to put him to death; what then shall I call this crucifixion? --Cicero

When angry, count ten before you speak; if very angry, a hundred. --Thomas Jefferson

The official rate of tipping is 12 and 1/2 percent, but 15 percent insures better service, which is why most people give 17 percent. --National Travel Association of Denmark

Formula for handling people:

1. Listen to the other person's story.

2. Listen to the other person's full story.

3. Listen to the other person's full story first.

--Gen. George C. Marshall

Men in great place are thrice servants: servants of the sovereign or state; servants of fame; and servants of business.

--Francis Bacon

There can be no friendship without confidence, and no confidence without integrity. --Samuel Johnson

This book is about a possibility. The possibility is that we are in large part self-deceived in our conceptions of what human beings are and why they act as they do. --C. Terry Warner

All service ranks the same with God, With God, whose puppets, best and worst, Are we. --Robert Browning

With death, death must be recompensed; on mischief, mischief must be heaped. --Ovid

Property produces men of weight. Men of weight cannot, by definition, move like lightening from the East unto the West.

--E.M. Forster

There came many prophets, prophesying unto the people that they must repent. --Book of Mormon

Charles and Diana are determined to raise their sons as normally as possible, lest they become little potentates in a kingdom of petticoat power. --Time Magazine

Already American vessels had been searched, seized, and sunk. --John F. Kennedy

Tart, tingling, and even ticklish. --Sprite ad

Larry Speakes knocks down a rumor that President Reagan had suffered a heart attack: He's hale and hearty, ruddy and robust, vigorous and virile, strong and sturdy, fit and feisty.

--Tucson Citizen?

Happiness has a habit of pursuing the person who feels grateful to his God, comfortable with his conscience, in favor with his friends, in love with his labors and in balance with his banker. --Science of Mind

I was standing between two ranks of white Doric columns, made of wood, on a balcony, looking down a row of white steps to...but at sight of what the steps led down to, I panicked.

--Willard Espy

I will have revenges on you both

That all the world shall -- I will do such things --

What they are yet, I know not; but they shall be

The terrors of the earth! --Shakespeare

I am trembling because I am so outraged. I haven't been able to get this out before, and I'm saying it now, and then I want you to put me in jail if you want to.

--William M. Kunstler

--Shakespeare

No New Year's Day to celebrate,

No choclate-covered candy hearts to give away.

No first of Spring, no sing to sing,

In fact, it's just another ordinary day.

--Stevie Wonder

I don't know who you are.

I don't know your company.

I don't know your company's product.

I don't know what your company stands for.

I don't know your company's customers.

I don't know your company's record.

I don't know your company's reputation.

Now--what was it you wanted to sell me?

--McGraw-Hill editor

It is in the soil of ignorance that poverty is planted. It is in the soil of ignorance that disease flourishes. It is in the soil of ignorance that racial and religious strife takes root. It is in the soil of ignorance that Communism brings forth the bitter fruit of tyranny. --Lyndon B. Johnson

Peace is art. Peace is when time doesn't matter as it passes by. --Maria Schell

Blessed are they that mourn: for they shall be comforted. Blessed are the meek for they shall inherit the earth.

--Matthew 5:4-5

We shall not flag or fail. We shall fight in France, we shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air, we shall defend our island, whatever the cost may be, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender.

--Winston Churchill

The most powerful human incentive, in families or organizations, is the opportunity to grow in an atmosphere that is free of accusing attitudes and evasion. --C. Terry Warner

Our schools ought to recognize and promote the highest and the best in art, to espose a standard which -- as represented by great writers like Shakespeare, Homer, and Dante -- mediates between the extremes of the naively optimistic and the faithlessly pessimistic visions of life. --Whitsitt

That which has been sanctioned by tradition and custom has an authority that is nameless, and our finite historical being is marked by the fact that always the authority of what has been transmitted -- and not only what is clearly grounded -- has power over our attitude and behavior. --Hans Georg Gadamer

I've pounded a few walls myself, when I'm alone, about this. It's frustrating. --Ronald Reagan

All that remained for the moment was to decide where I would go to graduate school and that question was settled -- the "snobs" were right -- by a Kellett Fellowship and then a Fulbright Scholarship to boot. --Norman Podhoretz

I was going after geese, ducks too, but mostly geese, Canada geese. --Douglas Thayer

If once a man indulges himself in murder, very soon he comes to think little of robbing; and from robbing he comes next to drinking and Sabbath breakin, and from that to incivility and procrastination. --DeQuincey

All landscapes lie under a veiling sky. Each one embraces ten views, each view a hundred sights, each sight a thousand shapes, each separate shape a million discriminations made from inward darkness by instrument, and every single one some apprehension of infinitude. --Arthur H. King

At about the time one learns to make the most of life, most of life is gone. --Anon.

The dreadful dead of dark midnight. --Shakespeare

`Ruffles' have ridges. --Potato chip commercial

Money talks: money prints: money broadcasts: money reigns.

--George Bernard Shaw

Give me liberty, or give me death. --Patrick Henry

First in war, first in peace, first in the hearts of his countrymen. --Henry Lee

Give up money, give up fame, give up science, give up the earth itself and all it contains, rather than do an immoral act.

--Thomas Jefferson

The government was created by the States, is amenable to the States, is preserved by the States, and may be destroyed by the States. --John Tyler

Without distinction, without calculation, without procrastination ... love. --Henry Drummond

No man ever was glorious who was not laborious.

--Benjamin Franklin

Anyone can count the apples on a tree, but it takes someone with vision to count the trees in an apple. --Anon.

This is the kind of impertinence up with which I will not put. --Winston Churchill

Tomorrow, and tomorrow, and tomorrow. --Shakespeare

When the right people get together for the right reason in the right place in the right way and at the right time, the right kind of memories are in the making.

"And it came to pass that on the morrow, when the multitude was gathered together, behold, Nephi and his brother whom he had raised from the dead, whose name was Timothy, and also his son, whose name was Jonas, and also Mathoni, and Mathonihah, his brother, and Kumen, and Kumenonhi, and Jeremiah, and Shemnon, and Jonas, and Zedekiah, and Isaiah--now these were the names of the disciples whom Jesus had chosen--and it came to pass that they went forth and stood in the midst of the multitude." (3 Nephi 19:4).

Alliteration is the repetition of phonemes at the beginning of words:

the silver strife (poem 157. verse 1. line 3)

Alliteration binds the adjacent words `silver' and `strife', so it is a word-binder.

Polyptoton is the repetition of various forms of a word by inflection. Inflections are often word-final suffixes, and in that case the frontal root of the word is a sign for sonantial repetition:

That was too fair before --

The polyptoton above is a line-binder.

Anaphora is the repetition of a word or words at the beginning of units. (This is not to be confused with the term anaphora, used in theoretical linguistics to describe the relationship between antecedents and referents.) :

Anaphora binds the adjacent sentences (T-units), so it is a sentence-binder. It also bonds two non-successive lines within a verse (as evidenced by the line-bonding alliteration of Dove and deep), so it is a line-bond. This kind of non-adjacent bonding is usually not specified in figure definition lists.

FOOTERS. Homeoteleuton, rhyme, and epistrophe are footers--figures of final sound repetition. Schematically, footers look like this:

.........A1

.........A2

Homeoteleuton is the repetition of sound(s) at the end of words:

Robin is gone. (5.1.6)

Rhyme is a special kind of homeoteleuton which repeats the stressed vowel of a word with any of its coda consonants or syllables. Although rhyme words can occur within textural units, they often appear at the ends of lines, making the repetition a doubly final figure which functions as a line binder (lines 1-2), a line bond (3,6), and a verse pattern (A A B c c B):

Note that the homeoteleuton of "morn" and "town" also occurs in rhyme position at the end of successive lines.

Epistrophe is the repetition of a word or words at the end of units:

In this one-verse poem, the epistrophic reiteration of to rankle there is a clause-binder, an immediate cohesive tie between the two coordinate and parallel clauses. But it also functions as an every-other-line bond in final position.

BRACKETS. The same words can appear at the beginning and end of a unit, making a frame or bracket called epanalepsis:

A1.........A2

Here's a simple example of line-binding epanalepsis:

Brain of his Brain --

Blood of his Blood --

(246.1.3-4)

The word Soul in this example is a verse-binding bracket:

Soul, Wilt thou toss again?

By just such a hazard

Hundreds have lost indeed --

But tens have won an all --

Angel's breathless ballot

Lingers to record thee --

Imps in eager Caucus

Raffle for my Soul!

(#139)

Because the bracket frames the entire poem, we can also speak of the figure as a poem-pattern.

Brackets also include repetitions of sounds or words in inverse order such as antimetabolic sequence, antimetabole, and chiasmus:

...A1...B1...B2...A2...

or..A1..B1..C1..D1..E..D2..C2..B2..A2..

Antimetabolic sequence is repetition of phonemes in inverse order within or across units. Burke calls this "tonal chiasmus" (Burke 372):

Fast in a safer hand (5.3.1)

The phoneme sequence /f,s,s,f/ is a word-bonder which is part of a larger sonantial line-pattern: /f, ae, s, n, s, f, ae, n/.

Antimetabole is repetition of two or more units in inverse order:

That Love is all there is,

Is all we know of Love; (1765.1.1-2)

Chiasmus is a text or textual unit that repeats its ideas or senses in inverse order, often employing sonantial word repetition:

A I shall know why -- when Time is over --

B And I have ceased to wonder why --

C Christ will explain each separate anguish

In the fair schoolroom of the sky --

C He will tell me what "Peter" promised --

B And I -- for wonder at his woe --

A I shall forget the drop of Anguish

That scalds me now -- that scalds me now!

(#193)

Antimetabole and chiasmus are sometimes hard to differentiate, but generally, chiasmus is more extensive repetition framing a super-sentence unit, whereas antimetabole often involves the exchange of two sets of terms for irony or paradox in smaller units.

BRIDGES. Sometimes sonantial repetition is a Bridge between the different fronts and ends of units. Paromeon and symploce are bridge figures. The pattern is like this:

A1.........B1

A2.........B2

Paromeon is the repetition of sounds at the beginning and end respectively of words in close proximity. It's a combination of alliteration and homeoteleuton on two or more words:

Yet I do not repine

Knowing that Bird of mine

Though flown --

Learneth beyond the sea

Melody new for me

And will return.

(5.1.6, 2.1.1 - 2.1.6)

The /r...n/ sign is a head-to-foot line-binder from 1.6 to 2.2; it is a line-foot-bond or verse-footer-pattern from 2.1 to 2.6.

Symploce is the repetition of words at the beginning and end respectively of units:

AIf I can stop one Heart from breaking

Unto his Nest again

BI shall not live in Vain. (#919)

The A and B repetition units make a sentence binder and a poem pattern. Note how the sentence structure unit supercedes the verse rhetorical unit in this case.

CHAINS. Chains link the end of one unit to the beginning of the next, as in the figure anadiplosis:

.........A1 A2.........

Anadiplosis is foot to head arrangement in this line-binder:

For nothing higher than Itself

Itself can rest upon -- (751.3.3-4)

Phoneme repetition can also create a chain-like effect, as in this phrase and line-binder:

Fast in a safer hand

Held in a truer Land (5.3.1-2)

CORES. Sonantial repetition can also occur centrally, although it's harder to define since boundaries of front, middle, or end are often set arbitrarily and not by phonetic, syllabic, semantic, or syntactic structure. Some Core figures include assonance and "senance."

The basic pattern is:

.....A1.....

.....A2.....

Assonance is the repetition of vowel sounds in successive words or words in close proximity (and vowels often appear as the center or core of a word or syllable unit):

Though flown--

(5.2.2-3)

"Senance" is not a traditional term, but rather my coinage for the repetition of words in the middle of successive phrases, clauses, etc.:

That Definition is none-- (797.4.3-4)

COPIES. A copy refers to the immediate repetition of a complete language unit. The main copy figure is epizeuxis, but there are variations with conjunctive forms:

A1 A2

orA1 and A2

The conjunctive forms are often idiomatic expressions:

When Winds go round and round in Bands -- (321.2.13)

Epizeuxis often appears at the word level, as in the repetition of Amber, or Dew, below:

Amber -- Amber -- Dew -- Dew -- (703.2.2)

Phrase or clause units also double up in Dickinson's poems:

'Tis so much joy! 'Tis so much joy! (172.1.1)

Since the repetition occurs within the line unit, the figure is a line pattern, but it's also a clause binder. In the next example, triple-unit epizeuxis is a line-bond, a verse-binder, and a poem pattern:

Poor little Heart!

Did they forget thee?

Then dinna care! Then dinna care!

Proud little Heart!

Did they forsake thee?

Be debonnaire! Be debonnaire!

Frail little Heart!

I would not break thee --

Could'st credit me? Could'st credit me? (#192)

BINDING. Although the Header, Footer, etc. categories above may show some general tendencies which guide the formation of language figures, it's important to remember that figures are often interwoven. Several figures may be supporting each other in the texture of a poem in ways that defy pigeon-holing. Even if someone were to create the perfect taxonomy of all rhetorical figures, a writer could always bend language to create a new figure pattern outside the boundaries.

In teaching the language of Shakespeare to university students, Arthur H. King and Camille S. Williams divide rhetorical figures into three basic but sometimes overlapping categories of repetition and variation: 1) sounds and words, 2) senses, and 3) syntactic structures. Once students can identify figures of speech in a Shakespearean text, King and Williams teach their students to recognize and analyze the cohesive, stylistic, or interactive effects of figures. Within the hierarchy of discourse units in a Shakespearean play (words, phrases, lines, passages, etc.), King and Williams have students look for functions such as these:

phrase pattern: repetition/variation within a phrase.

line pattern: rep/var within a line.

line binder: rep/var between successive lines.

passage binder: rep/var within a speaker's passage.

dialogue binder: rep/var between speakers' lines.

The same kind of analysis is possible for a Dickinson poem. In fact, Brita Lindberg-Seyersted insists that "it is in an analysis of a poem as a whole--not just line endings and separate stanzas--that the importance of syntax and rhetorical patterning becomes most apparent in Dickinson's poetry" (Lindberg-Seyersted 197). She speaks of semantic, syntactic, and sonantial kinships which are "binding devices" (172, 201). Here is my brief analysis of Emily Dickinson's poem #193, followed by a preliminary interpretation:

1.1I shall know why -- when Time is over --

1.2And I have ceased to wonder why --

1.3Christ will explain each separate anguish

1.4In the fair schoolroom of the sky --

2.1He will tell me what "Peter" promised --

2.2And I -- for wonder at his woe --

2.3I shall forget the drop of Anguish

2.4That scalds me now -- that scalds me now!

1.1, 2.3 I shall is a word sign for the figure anaphora, which is averse binder in line-header position.

1.2, 2.2 And I is a word sign for the figure anaphora, which is also a verse binder in line-header position.

1.3, 2.2, 2.3 anguish, woe, Anguish are word signs for a poem-bonding figure. See

poem #167.3.1-2: "This is the Sovereign Anguish! / This -- the signal woe!"

1.1-1.4 I, why, Time, I, why, Christ, sky. These word units share the phoneme sign /ai/ for the figures rhyme and assonance, which make a verse pattern. They also serve as word bonders or sentence binders in internal and line-footer position.

1.1, 1.2, 1.3, 2.1, 2.2, 2.3I shall, And I...wonder, will, will, And I...wonder, I shall are word signs (in head and core positions) for the figure chiasmus, which is a verse

binder.

1.2, 2.2 wonder why, wonder at his woe contain the phoneme sign /w/, which acts as a verse binder, a phrase-bond, and a phrase pattern through the figure of alliteration.

1.3-1.4, 2.2-2.3 wonder, anguish, wonder, Anguish are word units bonding lines and binding verses in an A B A B figure, which sets up counterpoint with the A B C C B A chiasmus figure.

1.4 schoolroom of the sky. The /sk/ phoneme is the sign for alliteration, which acts as a word binder and a phrase pattern.

2.1 "Peter" promised. The / p r / p r / consonant signs act as a word binder and a phrase pattern.

2.2 for wonder at his woe is a phrase unit acting possible as an exophoric literature-bond. In other words, there may be an echo of or an allusion to Horatio's lines in Hamlet 5.2.362-3: "What is it you would see? / If ought of woe or wonder, cease your search."

2.4 That scalds me now -- that scalds me now! are clause signs for the copy figure epizeuxis, which is a line pattern and a clause binder.

The persona of poem #193 is reconciling present pain with future relief, present mystery with future revelation. The speaker's efforts to ease the distress with the promised future blessings of Christ's atonement are echoed in the balanced chiasmatic elements and parallel figures in the first seven lines of the poem. In the eighth and final line, the epizeuxis shows how the equilibrium is nevertheless overwhelmed by the scalding effects of present anguish.

I. Nancy Christiansen:SH as rhetoric textbook; mimesis; language as character; emblems in Macbeth; etc.

II. Arthur Henry King:reading SH as a second language through rhetoric, philology, stylistics, sociolinguistics, etc.

A. Determine scenes and subscenes: French definition of scene, whenever a character enters or exits.

B. Establish hierarchy of clauses. Parsing: line up the clauses, phrases, and connectives of the text in hierarchical patterns. Generally speaking, main clauses appear flush to the left margin; subordinate clauses, phrases, and connections are indented to show their relationship to the main clause; parallel items are lined up directly beneath each other.

C. Identify figures [< IE *dheigh, to form, build. 1. OE daege, bread kneader: DAIRY; 2. OE hlaefdige, LADY; 3. DOUGH; 4. dhigh-ura, FIGURE, < Latin figura, form, shape, "result of kneading"; 5. FICTION

Repetition and variation of sounds & words, structures, and senses.

Interplay of prosody, phonology, grammar, syntax, lexis, and semantics.

SENECANISM: a highly rhetorical style patterned after Seneca the younger, characterized by exaggerated horrors, sensational themes, unnatural crimes, revenge, hyperbole, detailed descriptions, narrative reports, soriasmus, gory diction, apostrophe, and interjections. (See Macbeth 2.01.36-39).

ARCADIANISM: a copious style patterned after that of Sidney's Arcadia, using sound repetition, word repetition, episodic sentence structure, and pathetic fallacy. (See Polonius in Hamlet).

EPISODIC SENTENCE: a long sentence using coordinate (paratactic) structure rather than subordinate (hypertactic) structure, though the structures are not necessarily parisonic (grammatically parallel). (See Comedy of Errors 4.03.1-6).

CICERONISM: a copious style patterned after that of Cicero, using sound repetition (e.g. homeoteleuton), word repetition, periodic sentence structure, and rhetorical devices of argument. (See Claudius in Hamlet).

PERIODIC SENTENCE: a sentence which begins with a series of dependent (subordinate) clauses and ends with the main clause or main verb; a sentence in which the main clause is postponed to the end. (See A Winter's Tale 4.04.79-83).

EUPHUISM: a style patterned after that of John Lily's Euphues, using balanced construction, antithesis, isocolon, parison, rhetorical questions, similes, illustrations, and so forth. (See Brutus in Julius Caesar).

PARISONIC SENTENCE: a sentence whose structure is syntactically and grammatically parallel to adjacent sentences. (See 2 Henry IV 1.02.180-84).

PLAIN STYLE/MUSIC OF ENDORSEMENT: the tongue of angels; a humble, pure, and sincere style, patterned after the words of Christ, using the music of language to endorse the truth in love and life. (See 1 Cor 13).

D. Evaluate register and rhetorical focus; complement; tone.