Analyse the effects of figures of speech on meaning and tone
Key notes :
Figures of speech are words or phrases that use language in a non-literal or unusual way.
An allusion is a brief reference to something or someone well known, often from history or literature.
The patriot, Barsad, was a hired spy and traitor, an unblushing trafficker in blood and one of the greatest scoundrels upon earth since accursed Judas—which he certainly did look rather like. —Charles Dickens, A Tale of Two Cities
Antithesis involves contrasting opposing ideas within a parallel grammatical structure.
To err is human; to forgive, divine. —Alexander Pope, An Essay on Criticism
Hyperbole is an obvious exaggeration that is not meant to be taken literally.
The thousand injuries of Fortunato I had borne as I best could. —Edgar Allan Poe, ‘The Cask of Amontillado’
A paradox is a statement that might at first appear to be contradictory, but that may in fact contain some truth.
Much Madness is divinest Sense To a discerning Eye – —Emily Dickinson
A simile uses like or as to compare two things.
A writhing horror twisted itself across his features, like a snake gliding swiftly over them. —Nathaniel Hawthorne, The Scarlet Letter
Verbal irony involves saying one thing but implying something very different. People often use verbal irony when they are being sarcastic.
Thirty-five is a very attractive age. London society is full of women of the very highest birth who have, of their own free choice, remained thirty-five for years. —Oscar Wilde, The Importance of Being Earnest
Learn with an example
🤜 Select the hyperbole in the passage.
In a time without film or television or recorded music, live performances provided the only opportunity for people to hear and appreciate music. What we now call ‘classical’ music was an art form that was enormously important in lives of the privileged and unfortunate alike, and composers like Beethoven often were seen as little less than gods. Newspapers wrote obsessively about musicians and composers, and huge crowds gathered outside concert halls when a new work was being performed.
From Russell Martin and Lydia Nibley, The Mysteries of Beethoven’s Hair. Copyright 2009 by Russell Martin and Lydia Nibley
The author describes composers as little less than gods, which is clearly an exaggeration. This is an example of hyperbole.
🤜 Select the simile in the passage.
As I was waiting, a man came out of a side room, and at a glance I was sure he must be Long John. He was very tall and strong, with a face as big as a ham—plain and pale, but intelligent and smiling. Indeed, he seemed in the most cheerful spirits, whistling as he moved about among the tables, with a merry word or a slap on the shoulder for the more favoured of his guests.
From Robert Louis Stevenson, Treasure Island
The narrator compares Long John’s face to a ham, using as. This is a simile.
🤜 Select the personification in the passage.
‘Aline!’
Aline, ugly, neat and enigmatic, appeared with the breakfast-tray. A delicious scent preceded her.
Mrs Clephane raised herself on a pink elbow, shook her hair over her shoulders, and exclaimed: ‘Violets?’
Aline permitted herself her dry smile. ‘From a gentleman.’
Colour flooded her mistress’s face. Hadn’t she known that something good was going to happen to her that morning—hadn’t she felt it in every touch of the sunshine, as its golden fingertips pressed her lids open and wound their way through her hair? She supposed she was superstitious. She laughed expectantly.
From Edith Wharton, The Mother’s Recompense. Copyright 1925 by Edith Wharton
The narrator compares sunshine to a person’s fingertips. This is an example of personification.
let’s practice!
Select the simile in the passage.
Her immobility before me was clearly expectant, and my part was to speak for my brother from the realm of forgetful shade. I was deeply moved at my responsibility and at her distress. I would have given anything for the power to soothe her frail soul, tormenting itself in its invincible ignorance like a small bird beating about the cruel wires of a cage. Nothing easier than to say, ‘Have no fear!’ Nothing more difficult. How does one kill fear, I wonder? How do you shoot a spectre through the heart, slash off its spectral head, take it by its spectral throat?
From Joseph Conrad, Lord Jim