Literary Terminology Describing Prose
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AP English Literature and Composition › Literary Terminology Describing Prose
Adapted from A Modest Proposal by Jonathan Swift (1729)
The number of souls in this kingdom being usually reckoned one million and a half, of these I calculate there may be about two hundred thousand couple whose wives are breeders; from which number I subtract thirty thousand couples who are able to maintain their own children, although I apprehend there cannot be so many, under the present distresses of the kingdom; but this being granted, there will remain an hundred and seventy thousand breeders. I again subtract fifty thousand for those women who miscarry, or whose children die by accident or disease within the year. There only remains one hundred and twenty thousand children of poor parents annually born. The question therefore is, how this number shall be reared and provided for, which, as I have already said, under the present situation of affairs, is utterly impossible by all the methods hitherto proposed. For we can neither employ them in handicraft or agriculture; we neither build houses (I mean in the country) nor cultivate land: they can very seldom pick up a livelihood by stealing, till they arrive at six years old, except where they are of towardly parts, although I confess they learn the rudiments much earlier, during which time, they can however be properly looked upon only as probationers, as I have been informed by a principal gentleman in the county of Cavan, who protested to me that he never knew above one or two instances under the age of six, even in a part of the kingdom so renowned for the quickest proficiency in that art.
I am assured by our merchants, that a boy or a girl before twelve years old is no salable commodity; and even when they come to this age they will not yield above three pounds, or three pounds and half-a-crown at most on the exchange; which cannot turn to account either to the parents or kingdom, the charge of nutriment and rags having been at least four times that value.
I shall now therefore humbly propose my own thoughts, which I hope will not be liable to the least objection.
I have been assured by a very knowing American of my acquaintance in London, that a young healthy child well nursed is at a year old a most delicious, nourishing, and wholesome food, whether stewed, roasted, baked, or boiled; and I make no doubt that it will equally serve in a fricassee or a ragout.
I do therefore humbly offer it to public consideration that of the hundred and twenty thousand children already computed, twenty thousand may be reserved for breed, whereof only one-fourth part to be males; which is more than we allow to sheep, black cattle or swine; and my reason is, that these children are seldom the fruits of marriage, a circumstance not much regarded by our savages, therefore one male will be sufficient to serve four females. That the remaining hundred thousand may, at a year old, be offered in the sale to the persons of quality and fortune through the kingdom; always advising the mother to let them suck plentifully in the last month, so as to render them plump and fat for a good table. A child will make two dishes at an entertainment for friends; and when the family dines alone, the fore or hind quarter will make a reasonable dish, and seasoned with a little pepper or salt will be very good boiled on the fourth day, especially in winter.
I have reckoned upon a medium that a child just born will weigh 12 pounds, and in a solar year, if tolerably nursed, increaseth to 28 pounds.
I grant this food will be somewhat dear, and therefore very proper for landlords, who, as they have already devoured most of the parents, seem to have the best title to the children.
The following sentence exemplifies which rhetorical device?
Hyperbole
Anecdote
Metonymy
Allusion
Aphorism
Explanation
A hyperbole is an exaggeration of facts or claims, not meant to be interpreted literally. Here, the hyperbole is the "devouring" of parents of children. The parents are not "devoured" in the literal sense of eaten in a ravenous or quick manner, but are treated very poorly and denied basic human rights.
It was a fine autumn morning; the early sun shone serenely on embrowned groves and still green fields; advancing on to the lawn, I looked up and surveyed the front of the mansion. It was three storeys high, of proportions not vast, though considerable: a gentleman’s manor-house, not a nobleman’s seat: battlements round the top gave it a picturesque look. …Farther off were hills: not so lofty as those round Lowood, nor so craggy, nor so like barriers of separation from the living world; but yet quiet and lonely hills enough, and seeming to embrace Thornfield with a seclusion I had not expected to find existent so near the stirring locality of Millcote. A little hamlet, whose roofs were blent with trees, straggled up the side of one of these hills; the church of the district stood nearer Thornfield: its old tower-top looked over a knoll between the house and gates.
I was yet enjoying the calm prospect and pleasant fresh air, yet listening with delight to the cawing of the rooks, yet surveying the wide, hoary front of the hall, and thinking what a great place it was for one lonely little dame like Mrs. Fairfax to inhabit, when that lady appeared at the door.
“What! out already?” said she. “I see you are an early riser.” I went up to her, and was received with an affable kiss and shake of the hand.
(1847)
What literary device does the follow phrase (sentence 4) employ? “A little hamlet, whose roofs were blent with trees, straggled up the side of one of these hills…”
Personification
Epiphany
Caricature
Quatrain
Soliloquy
Explanation
To say that the hamlet “straggled” up the hills is to give an inanimate object a human quality: personification. Epiphany is a sudden realization, often experienced by a character at the end of a short story, that changes someone’s life. Caricature is a cartoonish or exaggerated portrait of a person. A quatrain is a four-line unit of poetry (e.g. a four-line stanza). A soliloquy is a long monologue that, in drama, specifically refers to a monologue in which no other characters are present on the stage (e.g. Hamlet’s famous “To be or not to be” speech).
Passage adapted from Charlotte Brontë’s Jane Eyre: An Autobiography. (1847)
(1) From the listless repose of the place, and the peculiar character of its inhabitants, who are descendants from the original Dutch settlers, this sequestered glen has long been known by the name of Sleepy Hollow, and its rustic lads are called the Sleepy Hollow Boys throughout all the neighboring country. (2) A drowsy, dreamy influence seems to hang over the land, and to pervade the very atmosphere. (3) Some say that the place was bewitched by a High German doctor, during the early days of the settlement; others, that an old Indian chief, the prophet or wizard of his tribe, held his powwows there before the country was discovered by Master Hendrick Hudson. (4) Certain it is, the place still continues under the sway of some witching power, that holds a spell over the minds of the good people, causing them to walk in a continual reverie. (5) They are given to all kinds of marvelous beliefs, are subject to trances and visions, and frequently see strange sights, and hear music and voices in the air. (6) The whole neighborhood abounds with local tales, haunted spots, and twilight superstitions; stars shoot and meteors glare oftener across the valley than in any other part of the country, and the nightmare, with her whole ninefold, seems to make it the favorite scene of her gambols.
(1820)
What literary device can be seen in the following phrase? “the nightmare, with her whole ninefold, seems to make it the favorite scene of her gambols.”
Anthropomorphism
Hyperbole
Litotes
Ellipsis
Hypotaxis
Explanation
Here, the inanimate nightmare acquires human tastes and actions. This is an example of personification, also known as anthropomorphism. Hyperbole is intentional exaggeration, and litotes is intentional understatement. Ellipsis is the deliberate omission of one or more words for the purpose of concision. Hypotaxis or hypotactic sentences are ones in which clauses are subordinate to other clauses (e.g. “I am late because I overslept”).
Passage adapted from Washington Irving’s “The Legend of Sleepy Hollow” (1820)
As I ponder'd in silence,
Returning upon my poems, considering, lingering long,
A Phantom arose before me with distrustful aspect,
Terrible in beauty, age, and power,
The genius of poets of old lands, (5)
As to me directing like flame its eyes,
With finger pointing to many immortal songs,
And menacing voice, What singest thou? it said,
Know'st thou not there is but one theme for ever-enduring bards?
And that is the theme of War, the fortune of battles, (10)
The making of perfect soldiers.
What literary device can be seen in line 6?
Anastrophe
Pleonasm
Prolepsis
Stream of consciousness
Synecdoche
Explanation
Line 6, “As to me directing like flame its eyes,” has a purposely inverted word order: anastrophe. Pleonasm is the addition of unnecessary or redundant words (e.g. “the quiet soundless night”). Prolepsis is another word for flash forward, the literary technique of telling the reader what’s going to happen in the story’s future. Stream of consciousness is a style of writing designed to mimic the free-flowing thoughts of someone’s inner consciousness. Synecdoche is a specific type of metonymy in which the real word for something is replaced by a word for a part of that thing (e.g. someone saying they need a “hand” when they really need the entire person’s help).
Passage adapted from Walt Whitman’s “Song of Myself,” Leaves of Grass (1855).
As I ponder'd in silence,
Returning upon my poems, considering, lingering long,
A Phantom arose before me with distrustful aspect,
Terrible in beauty, age, and power,
The genius of poets of old lands, (5)
As to me directing like flame its eyes,
With finger pointing to many immortal songs,
And menacing voice, What singest thou? it said,
Know'st thou not there is but one theme for ever-enduring bards?
And that is the theme of War, the fortune of battles, (10)
The making of perfect soldiers.
What literary device can be seen in line 2?
Parallelism
Pathos
Epithet
Flashback
Portmanteau
Explanation
The repeated use of gerunds (“returning,” “considering,” and “lingering”) is an example of parallelism. An epithet is a descriptive phrase, an adjective, a sobriquet, or a nickname used to describe someone or something (e.g. “wine-dark” is a common Homeric epithet used to describe the sea). Flashback is a shift in narrative to a previous scene in order to provide the reader with important background information. A portmanteau is a neologism (new word) created by combining two existing words (e.g. Spanish + English = Spanglish).
Passage adapted from Walt Whitman’s “Song of Myself,” Leaves of Grass (1855).
Adapted from A Modest Proposal by Jonathan Swift (1729)
The number of souls in this kingdom being usually reckoned one million and a half, of these I calculate there may be about two hundred thousand couple whose wives are breeders; from which number I subtract thirty thousand couples who are able to maintain their own children, although I apprehend there cannot be so many, under the present distresses of the kingdom; but this being granted, there will remain an hundred and seventy thousand breeders. I again subtract fifty thousand for those women who miscarry, or whose children die by accident or disease within the year. There only remains one hundred and twenty thousand children of poor parents annually born. The question therefore is, how this number shall be reared and provided for, which, as I have already said, under the present situation of affairs, is utterly impossible by all the methods hitherto proposed. For we can neither employ them in handicraft or agriculture; we neither build houses (I mean in the country) nor cultivate land: they can very seldom pick up a livelihood by stealing, till they arrive at six years old, except where they are of towardly parts, although I confess they learn the rudiments much earlier, during which time, they can however be properly looked upon only as probationers, as I have been informed by a principal gentleman in the county of Cavan, who protested to me that he never knew above one or two instances under the age of six, even in a part of the kingdom so renowned for the quickest proficiency in that art.
I am assured by our merchants, that a boy or a girl before twelve years old is no salable commodity; and even when they come to this age they will not yield above three pounds, or three pounds and half-a-crown at most on the exchange; which cannot turn to account either to the parents or kingdom, the charge of nutriment and rags having been at least four times that value.
I shall now therefore humbly propose my own thoughts, which I hope will not be liable to the least objection.
I have been assured by a very knowing American of my acquaintance in London, that a young healthy child well nursed is at a year old a most delicious, nourishing, and wholesome food, whether stewed, roasted, baked, or boiled; and I make no doubt that it will equally serve in a fricassee or a ragout.
I do therefore humbly offer it to public consideration that of the hundred and twenty thousand children already computed, twenty thousand may be reserved for breed, whereof only one-fourth part to be males; which is more than we allow to sheep, black cattle or swine; and my reason is, that these children are seldom the fruits of marriage, a circumstance not much regarded by our savages, therefore one male will be sufficient to serve four females. That the remaining hundred thousand may, at a year old, be offered in the sale to the persons of quality and fortune through the kingdom; always advising the mother to let them suck plentifully in the last month, so as to render them plump and fat for a good table. A child will make two dishes at an entertainment for friends; and when the family dines alone, the fore or hind quarter will make a reasonable dish, and seasoned with a little pepper or salt will be very good boiled on the fourth day, especially in winter.
I have reckoned upon a medium that a child just born will weigh 12 pounds, and in a solar year, if tolerably nursed, increaseth to 28 pounds.
I grant this food will be somewhat dear, and therefore very proper for landlords, who, as they have already devoured most of the parents, seem to have the best title to the children.
Which of the following can be found in the passage?
Syllogism
Metonymy
Rhyme
None of these
All of these
Explanation
The only present rhetorical device out of the choices is syllogism. A syllogism is a deductive reasoning technique that leads to a sound conclusion. The fact that syllogism is used here ironically does not negate the use of it as a rhetorical tool. Metonymy is the use of a part to represent a whole. Rhyme involves repeating last sounds. Neither metonymy nor rhyme can be found in this passage.
Passage adapted from Cape Cod by Henry David Thoreau (1865)
Boston, New York, Philadelphia, Charleston, New Orleans, and the rest, are the names of wharves projecting into the sea (surrounded by the shops and dwellings of the merchants), good places to take in and to discharge a cargo (to land the products of other climes and load the exports of our own). I see a great many barrels and fig-drums, piles of wood for umbrella-sticks, blocks of granite and ice, great heaps of goods, and the means of packing and conveying them, much wrapping-paper and twine, many crates and hogsheads and trucks, and that is Boston. The more barrels, the more Boston. The museums and scientific societies and libraries are accidental. They gather around the sands to save carting. The wharf-rats and customhouse officers, and broken-down poets, seeking a fortune amid the barrels. Their better or worse lyceums, and preachings, and doctorings, these, too, are accidental, and the malls of commons are always small potatoes....
When we reached Boston that October, I had a gill of Provincetown sand in my shoes, and at Concord there was still enough left to sand my pages for many a day; and I seemed to hear the sea roar, as if I lived in a shell, for a week afterward.
The places which I have described may seem strange and remote to my townsmen, indeed, from Boston to Provincetown is twice as far as from England to France; yet step into the cars, and in six hours you may stand on those four planks, and see the Cape which Gosnold is said to have discovered, and which I have so poorly described. If you had started when I first advised you, you might have seen our tracks in the sand, still fresh, and reaching all the way from the Nauset Lights to Race Point, some thirty miles, for at every step we made an impression on the Cape, though we were not aware of it, and though our account may have made no impression on your minds. But what is our account? In it there is no roar, no beach-birds, no tow-cloth.
The underlined section, "The museums and scientific societies and libraries are accidental. They gather around the sands to save carting," serves to .
provide an exaggeration that strengthens the author's description of Boston
provide an understatement that strengthens the author's description of Boston
provide a metaphor for the decline of Boston's culture
make the description of Boston more ambiguous
contrast the author's description of the busy trade in Boston harbor
Explanation
This question asks you to interpret the author's use of exaggeration. The statement "The museums and scientific societies and libraries are accidental. They gather around the sands to save carting" hyperbolically suggests that museums and places of culture in Boston exist by the harbor only to shorten the distance that imported goods need to be transported. The author is using a comical exaggeration to suggest that industry is the only thing that happens in Boston, and that its culture is not significant. The purpose of this exaggeration is to downplay other aspects of Boston's culture, further highlighting the author's argument that trade and industry are the main occurences there.
“Now, what I want is, Facts. Teach these boys and girls nothing but Facts. Facts alone are wanted in life. Plant nothing else, and root out everything else. You can only form the minds of reasoning animals upon Facts: nothing else will ever be of any service to them. This is the principle on which I bring up my own children, and this is the principle on which I bring up these children. Stick to Facts, sir!”
… The speaker, and the schoolmaster, and the third grown person present, all backed a little, and swept with their eyes the inclined plane of little vessels then and there arranged in order, ready to have imperial gallons of facts poured into them until they were full to the brim.
What literary device can be seen in the following sentence (paragraph 1)? “This is the principle on which I bring up my own children, and this is the principle on which I bring up these children.”
Anaphora
Anthimeria
Pathetic fallacy
Loan word
Personification
Explanation
We have here the repetition of the beginning of clauses (indeed, practically the whole of the clauses), which is a case of anaphora. Anthimeria is the use of one part of speech in place of another (e.g. “gift someone a sweater,” with “gift” used as a verb instead of a noun), often to create an apropos new word. Pathetic fallacy is a type of personification wherein nature or the environment take on attributes mirroring the human conflicts, emotions, or drama of the work. A loan word is a word adopted into the vocabulary of another language without translation (e.g. café or bon mot from the French). Personification is the application of human traits or actions to non-human things (e.g. “the brook babbled”).
Passage adapted from Charles Dickens’s Hard Times (1854)
. . . Suffering is one very long moment. We cannot divide it by seasons. We can only record its moods, and chronicle their return. With us time itself does not progress. It revolves. It seems to circle round one centre of pain. The paralysing immobility of a life every circumstance of which is regulated after an unchangeable pattern, so that we eat and drink and lie down and pray, or kneel at least for prayer, according to the inflexible laws of an iron formula: this immobile quality, that makes each dreadful day in the very minutest detail like its brother, seems to communicate itself to those external forces the very essence of whose existence is ceaseless change. Of seed-time or harvest, of the reapers bending over the corn, or the grape gatherers threading through the vines, of the grass in the orchard made white with broken blossoms or strewn with fallen fruit: of these we know nothing and can know nothing.
For us there is only one season, the season of sorrow. The very sun and moon seem taken from us. Outside, the day may be blue and gold, but the light that creeps down through the thickly-muffled glass of the small iron-barred window beneath which one sits is grey and niggard. It is always twilight in one’s cell, as it is always twilight in one’s heart. And in the sphere of thought, no less than in the sphere of time, motion is no more. The thing that you personally have long ago forgotten, or can easily forget, is happening to me now, and will happen to me again to-morrow. Remember this, and you will be able to understand a little of why I am writing, and in this manner writing. . . .
(1897)
The passage makes frequent use of .
imagery
onomatopoeia
rhyme
meter
aside
Explanation
Imagery is the conjuring of mental pictures, often detailed, through words. From the description of the seasons changing in the world of nature, to the description of the light inside the speaker's cell, the passage makes frequent use of imagery.
Uses of meter, rhyme, and onomatopoeia are infrequent or nonexistent. An "aside" is impossible because that is a device used exclusively in drama, in which a character stops the normal flow of conversation to speak to himself or to the audience.
Passage adapted from Oscar Wilde's De Profundis (1897).
(1) During the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country, and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher. (2) I know not how it was—but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit. (3) I say insufferable; for the feeling was unrelieved by any of that half-pleasurable, because poetic, sentiment, with which the mind usually receives even the sternest natural images of the desolate or terrible. (4) I looked upon the scene before me—upon the mere house, and the simple landscape features of the domain—upon the bleak walls—upon the vacant eye-like windows—upon a few rank sedges—and upon a few white trunks of decayed trees—with an utter depression of soul which I can compare to no earthly sensation more properly than to the after-dream of the reveller upon opium—the bitter lapse into every-day life—the hideous dropping off of the veil.
What literary technique can be seen in the following phrase? “During the whole of a dull, dark, and soundless day in the autumn of the year…”
Consonance
Prolepsis
Epanalepsis
Allusion
Chiasmus
Explanation
Consonance is the repetition of consonant sounds, and it can be seen in “During,” “dull,” “dark,” “soundless,” and “day.” This could also be an example of alliteration (repetition of the same sounds at the beginning of words), so don’t confuse that term with allusion, which means a reference to another literary (or sometimes historical, artistic, etc.) thing, place, or event (e.g. the title of the novel Brave New World alludes to the lines “O brave new world, / That has such people in ‘t!” in Shakespeare’s The Tempest). Prolepsis is another word for flash forward, the literary technique of telling the reader what’s going to happen in the story’s future. Epanalepsis is another word for chiasmus, the repetition of the beginning of one clause at the end of the subsequent clause.
Passage adapted from Edgar Allan Poe’s “The Fall of the House of Usher,” (1839).